4 AESTHETICS of the Middle Ages 4 1 Spiritual prerequisites of aesthetics of the Middle Ages

The basis of medieval aesthetics (and culture in general) is a personal absolute, as opposed to the culture of antiquity, in the center of which is the sensual-material cosmos. Outer materiality irazhae in the Middle Ages a certain non-bodied, spiritual content It can be expressed in sensual matter only approximately, symbolically .

In order to understand the origins of medieval aesthetic ideas, it is important to turn to the aesthetics of late antiquity, since it was in the I-IV centuries that important features of the worldview were created, which were a synthesis of ancient ideas and Judaism. On this basis, patristics became a philosophical and religious direction of late antiquity, gives theoretical justification of the Christian ideology of his statement, I was a response to the needs of the time: to satisfy the spiritual needs of a person, which begins to be actively interested in moral Lemmas centered around the concepts of the meaning of being, the afterlife, retribution in that side world. The ancient Greek polytheist religion, having absorbed, besides the gods of Olympus, a large number of Eastern gods, as well as various mystical cults, was unable to answer these questions whether they could also be Hellenic. philosophical systems. However, it was Hellenistic subjectivism and psychologism that advanced the idea of ​​a personal mediator between the world and the spiritual absolute. Christianity formed the th idea into the idea of ​​a personal Divinity - the God-man and, designed by its ideologues, its being to eliminate the initial dualism .It is about the dualism of spirit and matter, thinking and being Personal origin, having arisen precisely in ancient culture in the context of the destruction of the ideal of classical culture and the development of individualism, which received thus its archetypal image - the image of the God-manhood of Bogolyudini.

The spiritual culture of Christianity, and consequently its aesthetic ideas, were formed on the basis of the synthesis of Greco-Roman and Hebrew cultures. Antique culture, impregnated with aesthetic world view, artistic features, influenced the formation of symbols of the Christian faith, and Greek mathematics, physics, astronomy, philosophy didn sculptural", plasticity and sensual givenness of the images underlying the ancient aesthetics [9, 180-186]. Plasticity is the basis of the Greek understanding of the world. In Greek aesthetics I clearly distinguish tsya form and content in the phenomena of nature and in works of art. The Israelis did not have either a concept or a term corresponding to the Greek form . The form and artistic embodiment of space in contemporary European painting adheres to the ancient tradition. In the Old Testament there are no descriptions from the outside: in the foreground is the practicality of life [8, with 243] An important distinction of cultures is also the fact that the ancient Greeks appreciated the physical beauty of the Body in the sculptural images of perfect figures of people and gods spiritualized character (known Greek somatism ) In Jewish culture, the body is important only as a repository of the spirit. Such a vision subsequently influenced Christian religious images, from the cream to the Byzantine icon-painting of the image, zokrem on the vіzantіyska ikonopisannya.

In the Old Testament culture, the main types of art were music and the poetry of its aesthetics is not inherent plasticity, but rich color symbolism is characteristic. It significantly influenced Christianity precisely in this order of creation of symbols of faith by means of color and light The light (or) for Israelis had the same meaning as for of the Greeks, the concept of beauty is a reflection of divine wisdom. The color symbolism of the supervisor is developed in Hebrew aesthetics: white and red are the most important The light here is an aesthetically gnoseological category, because biblically th mythology in the image of light, God appears worldly and can be sensually perceived, there is known .

No less pronounced differences between the two cultures, characteristic for the organization of the text. Texts in Greek culture are individualized (have plastic closed form ) - this is the author’s form. Old Testament tests have open form even when there is the name of their author (Prophet ) With Averintsev, he calls this phenomenon the essential anonymity of the Old Testament literature.

The catacomb Roman Christian culture, which developed in opposition to Roman monumentalism, resorts to the synthesis of the arts, in particular, uses antique plastic for the image of the Christian god, and is imitating from classical forms and reviving the Greek archaic, gave a planar image of Christian artists interested not in physical, but in spiritual images in the Early Christians pay great attention to symbolic images (cross, anchor, ship, grapes, vine, sheep, shepherd) [4, 19-2020].

The interaction of two different cultural traditions influenced the formation of the new aesthetic principles of Hellenistic thinking, subsequently reflected in the aesthetics of Christianity. Philo of Alexandria (28 g. To the last, 41 g.) Made a decision to eliminate the extreme contradictions and inconsistency of the aesthetics of antiquity and Judaism. in the elimination of the specification of aesthetic knowledge depended on the types of art (a trend characteristic of ancient culture from the time of Aristotle) mi of the Old Testament culture considered art inseparable from life practice. His philosophy was a synthesis of scientific knowledge and sensory perception of the world based on an allegorical interpretation of the history of Adam and Eve. The author revealed the dialectical relationship of mind and feelings. The aesthetics of pleasure to the race of images, even by the process of perception, served as a means for Philo elimination of agnosticism in epistemology: God is not recognizable, its transcendental essence is incomprehensible to the mind However, according to Ilona, ​​the process of knowledge itself serves as a source m of pleasure According to the aesthetics of Judaism, Philo pays special attention to visual images of beauty. The concept of beauty has a complex meaning in its aesthetics, which from there affects the understanding of the image. This is a combination of an epistemological, moral and aesthetic attitude, aimed at spiritual contemplation of the ideal of beauty, which appears to be high degree of good In the aesthetics of Philo united theory of ideas Plato, on the model of which the world was created, and the Old Testament idea of ​​creating the world based on the feasibility of all existing Mi p, according to his symbolic understanding, once considered the beautiful likeness of a beautiful sample Philon comprehends the beauty of art in terms of its value content, suggesting not to get involved in the form, not to sway the form.

Philo developed the gradation of the cross of light, combining in them the ancient Greek tradition and the Old Testament. Each of the light levels has its own carrier. This, respectively, is the Divine, the Logos, the human soul, the sun and the stars, and finally, the darkness of Philo owned an attempt to develop the categorical meaning of the concept "symbolic image".

Aesthetics Philo created the basis for a new vision of beauty, presented a synthesis of two cultural traditions and subsequently played an important role in the creation of Christian symbols, particularly in Byzantine aesthetics.