11 2 Category Beautiful: genesis, essence, dialectic of reality and ideal

The beautiful category reflects the laws of harmonious interaction of qualities in an object and the ability of the subject's spiritual structures to harmoniously interact with them. The beautiful is a broad category of aesthetics, insulting the purposeful forms of existence of the manifested world, the forms of human life in the self-organization characteristic of them, according to the idea of perfection, and the self-organization of consciousness into harmonic connections with the world.

The need for harmonization exists in a person, because it creates a psychologically comfortable state: a feeling of peace with peace. I recall the characteristic mythology of the need to create harmony with the natural world by "introducing" it into the space of human life and providing the qualities of human vitality. he adjusts to interaction and harmonizes this process. The object happens to empathize, setting up for admiration, admiration, inspiration. The objective basis of a harmonious relationship is the quality of the subject, harmonizing the spiritual structures of the subject, creating a grounded and disinterested perception (that is, without a practically directed goal) and an enthusiastic admiration of their expressive vitality. The basis of identification manifested as beautiful, there are such objective qualities of them: measure, harmony, proportion, order, balance, etc. Aesthetic theory defines them as ontological qualities that give objects expressive and purposeful vitality. At the same time, they represent the organizing principle of authentic expressions of vitality not only in natural objects, but also the forming principle of the human spirit. In the world of the subject, the perfect vitality of natural phenomena is objectified as the ability to experience the beauty of the world and form objectivity according to laws. Те жизни The creation of the beautiful is a valuable activity, characteristic first of all for artistic formation.

The theory of beauty, the establishment of which is connected with the aesthetics of Ancient Greece, develops in the interaction of two main trends. The first is focused on the search for ideal standards of beauty, laid down in the objective world itself (Pythagoras, Aristotle). The second one tries to derive the speculative idea of the beautiful, the application of which to concrete things and the manifestation of their perfection that allows understanding (Plato, Plotinus).

The beautiful in its categorical sense is the unity of the essential characteristics of phenomena and the ability of the subject to determine his attitude towards them. he who is directly interested in the beauty of nature has the measures and prerequisites of a morally good way of thinking. The connection between the beautiful and the moral in the world of the subject reflects the unity of the intellectual and sensual relationship.

Let us note that the beautiful, as an ontological quality of the natural world, is not something constant and unchanging in phenomena, but an expressive, expedient vitality in itself, which is a consequence of self-organization. At the level of scientific knowledge, the mentioned qualities acquire the credibility of truth, fitting into mathematically expressed numerical values. In human culture. Truth is correlated with Goodness and Beauty. The sensory experience of perceiving the orderly essence of the world gives rise to the experience of it as beautiful. The truth of mathematical proofs is confirmed by practice: the formation of purposeful objectivity and the activity of artistic formation (art) have measures produced by nature as the starting principle. Without taking into account the laws of self-organization of the natural world, any purposeful activity would be simply impossible (just as consciousness itself would be impossible). A person and subject formation Harmonious relations between a person and the world - the ideal of human relations.

The concept of "harmony" reflects the internal and external coherence, integrity and proportionality of form and content in phenomena. This concept has been used since the time of Ancient Greece to depict the orderly vitality and manifestations of the world, as opposed to disorder - chaos. G. Hegel ("Phenomenology of Spirit") considers harmony as a manifestation "absolute formation" Modern science defines harmony as a certain order of the system, the interaction of the components of which enriches the content and form of any of them. The harmonious organization of a certain system is characterized by the correspondence of its internal connections to its connections with the outside world.

Symmetry as a way of organizing systems reveals its universality at the level of the structural structure of material bodies in nature The achievements of modern physics allow

Is it possible to prove that everywhere in the Universe there is an interaction of the principles of symmetry and asymmetry? True, the law of symmetry does not have an absolute character, since if particles and antiparticles exist in equal quantities, all matter would suffer annihilation. Symmetry ensures the principle of stability in the organization of systems. This is the symmetry of external forms, which hides at least the deep symmetry of the structure of matter, the arrangement of elements that guarantee the stability of the system. he is special Based on the data of modern physics, symmetry appears to be a universal property of any processes, any forms, as it is directly related to their structure.

The principle of symmetry, as already noted, manifests itself in the organization of structures of mental activity. It is the law of formation in subject-practical activity and art, in all its forms, and is especially prominently traced in architecture, sculpture, painting, ornaments.

The fundamental laws of existence include the rhythm to which the entire cosmos is subject - from atoms to the universe. It is a reflection of the periodicity, cyclicity of alternating processes and the cosmos. Its all-pervading action, periodicity and repeatability is manifested in space and time - not the most factor in the formation of the mythological represented by the animacy of nature. Rhythmicity in biological systems reflects the dialectical contradiction between destruction and creation, death and life. rhythm is one of the strangest mysteries of nature and art."

The need for harmonious interaction with the natural world was determined in the genesis and history of mankind as a condition for physical survival and a source of nourishment for the spirit through the expressiveness of its forms. K. Bucher ("Work and Rhythm") emphasizes the interdependence of physiological and mental rhythms. The rhythm of labor processes is achieved already at the beginning of human history, as the scientist believes that the rhythmic organization of sounds, the alternation of which is objectively determined by the rhythms of breathing. In turn, the rhythmic organization of labor activity thanks to the rhythm of sounds fixed the latter as intrinsic. On this basis, dance, song, rituals are created. moments from physiological pleasure that facilitates work due to rhythm, to the allocation of rhythm into a certain "abstraction". The laws of rhythmic organization are the basis of artistic creativity "In the concrete integrity of a work of art, rhythm obeys the general aesthetic law of form, that is, it is also a form relative to some (special) content. Rhythmic lines in poetry, rhythmicity of sounds in music, rhythmicity of movement in dance , the rhythmic repetition of details in architectural structures is nothing more than the reality of the manifestation of natural phenomena in their spatio-temporal rhythmic existence transferred to the aesthetic-artistic sphere.

The mayor belongs to the essential expressions of the beautiful. The measure category indicates the specific (generic) quality of the object and the certainty of its connections with other objects. Violation of the aesthetic measure of qualities in the object leads to their degradation, leading to the destruction of the specific quality, and vice versa, their concentration is able to give it expressive ideal vitality.

The aesthetic measure of the relationship, adequate to the qualities of the object, is the manifestation of the spiritual ability of feelings and intellect to harmoniously interact with the world. Beautiful as expressed, the purposeful vitality manifested in itself adjusts consciousness to the harmonious interaction of all spiritual structures, exerting a formative influence on them. Evidence of such a formative influence is the aesthetic expressiveness of the consequences of formation, which models the expressiveness of natural forms.

In artistic formation, the laws of aesthetic measure are considered by G. Hegel as a dialectical process: as the spiritual experience of mankind is perfected, the principle of degree deepens. In the natural world, as its laws are mastered, purposeful vitality opens up, which in an aesthetic sense is defined by the concept of "beauty" in Soloviev's attention beauty is expressed in wealth, because we see beauty everywhere as an actual fact, a product of real natural processes taking place in the world.

Awareness of the value of the beauty of nature is a product of historical experience of spiritual-practical and practically spiritual interactions with it. O Losev draws attention to the dialectically contradictory nature of the attitude of the ancient Greeks to nature, while the general trend is a change in the way the world is presented in the direction of its aestheticization. The most ancient ideas are focused on the spontaneous, chaotic, disordered in it, which leads to the idea of catastrophic

and terrible. In the Homeric epic, human life is compared to the powerful and catastrophic manifestations of nature. In Homer's similes, a later period of human development is available, where in relation to nature, a person is gradually freed from terror and begins to look into forms and distinguish them, notice structure, observe patterns.

Let us remind you that Kant, analyzing the wealth expressed by beauty in the natural world, sees man as its personification above. Only man can be truly beautiful as a reasonable beginning of nature. After all, only a person is capable of setting goals and creatively realizing them. F. Schelling and G. Hegel, concretizing the understanding of the beautiful, see its manifestation in the perfect artistic formation - in art, it arises from the achievement of the creativity of genius. In artistically beautiful, the spiritual attitude to the world is objectified by the artist in the aesthetically expressive vitality of ideal objects of indifference. In other words, the artistically beautiful is the unity of the internal logic of the vitality of phenomena and their self-unfolding expressed in the artistically convincing language of the composition. At the same time, every element of the ego, every character trait of the heroes, every mood change must correspond to the logic of the whole, i.e. be internally motivated Regardless of the type of art, the general law of artistically beautiful creation is the unity of the idea (the general organizing logic of the work as a spiritual whole) and its expressive fullness, its embodiment in the artistically perfected language of a specific art form. spiritual-subjective reality is a work of art. As the perfect integrity of the being of an idea in artistic images, the work is a spiritual reality. Every real work of art is a new spiritually-subjective being, embodying perfect measure, harmony, symmetry, proportion, etc., that is, those ontological qualities, standing as a sign of real ego vitality. But now they acquire the qualities of spiritual reality. So, a work of art is the personification of the integrity of the being of an idea in a holistic, sensibly determined, artistically perfected embodiment of it.

Let us remind you that the subject of an artistic image can be both beautiful and ugly. In the first case, when there is a unity of the beautiful inner vitality of the subject of the image and the perfect way of embodying its expressive vitality (mastery of talent, genius), we are talking about ideal beauty. In the second case, when we are talking about an artistically perfect image of negative manifestations of life, we are talking about the skill of the artist, in which the objects themselves testify to their shortcomings, forming the corresponding attitude of the subjects of aesthetic experience.

Let's consider the connections between the beautiful and the ugly, forming a dialectical unity. We are forced to state that sometimes imperfect forms focus more attention on themselves than aesthetic ones. This is due to the fact that feelings activate the mind to find out the reasons why the phenomenon goes beyond measure and the analysis of the level of deviation from harmony, symmetry, degree of existence, deviation from the qualitative determination of the existence of the phenomenon as beautiful in activates the logical structures of consciousness, in contrast to the harmonic vitality of the self-sufficient object in his being and leaves a desire to admire him/ His reasons are not only in the loss of connections between the moral and the beautiful. It is believed that interest in the ugly to a certain degree is caused by such a factor as the disappearance of fear of unexpected manifestations of natural elements and spontaneous human activity. The rationalization of spiritual experience objectively determines interest in phenomena that are directed not to contemplation and admiration, but to logical analysis and clarification of the reasons for the dominance of evil. and ugly in relationships. Evil beckons with its surprise and at the same time scares away, maximally arousing feelings, causing states of affect. In the history of culture, interest in repetition has long been traced. Let's say, archetypal images of ugly figures in which half-human-half-animal features (centaurs, Minotaurs, sirens, etc.) are combined in an amazing way have become entrenched in mythology.

Explaining the growing interest in the ugly in modern times, L. Shestov sees its causes in the dissatisfaction with beauty. It beckons, but is not capable of becoming a real organizing force for the creation of human life according to the ideal "For centuries, even millennia, human thought has vainly searched for clues to the great secret of life in good and , how

it is known, she found nothing but theodicy and theories, they denied the existence and possibility of the secret of theodicy with their naive optimism, long ago everyone was tired of the suffering humanity turned away from the old idols and put evil and madness on a pedestal.

Finally, in the most typical manifestations, interest in disharmonic and ugly phenomena is determined by the limitation of experience, which means the lack of a culture of responding to harmonic phenomena. Rough, undeveloped feelings are activated by "their" subject: rough, ugly manifestations of objects. Harmonic phenomena activate developed aesthetic feelings capable of re-announcing the phenomenon. The rough are excited more often. Frankly, in anti-aesthetic phenomena, Voltaire connects the culture of feelings precisely with the ability to announce the richness of the expressed qualities in an object. Noting the interest in the ugly characteristic of modern culture, we must state that it is conditioned by the loss of orientation to the idea of moral perfection of a person, an important condition of which is the harmonization of feelings with the content of the beauty of art.

The idea of beauty, concretized in morality as the need to live with beauty in order to get the right to enjoy its wealth, created an idea of heaven and hell. Moral goodness in mythological and religious ideas becomes the basis and guarantee of life in beauty, but not in this world, but in the next, " Those who did not succeed in this life gain the strength to live with the hope of justice in the "afterlife".

So, the aesthetic theory affirms beauty as an idea and the basic condition of the existence of the world, and sensual richness is manifested as beautiful. For the ancient Greeks, a harmonious, ordered cosmos is the ideal model for a reasonable and perfect human creativity. Medieval philosophy sees the beauty of the world as a consequence of the produced ability. The Absolute is the creator of the idea of forms and ideal forms, as a result of which natural beauty appears as "wt noy" by chance in the Middle Ages the beauty of the forms of the natural world gave way to spiritual beauty, in particular, its ideal forms expressed in symbols of faith, which received an image thanks to the means of artistic formation (art ) The idea of "secondary nature" of natural beauty, transferred to the modern world, has become the cause of a destructive attitude to nature, including human bodily nature. Neglect of life as a value is a general tendency of post-civilizational culture.

The aesthetic theory of the New Time narrows the sphere of the beautiful into the sphere of art, that is, it takes the beautiful beyond the limits of practical and formative abilities of a person into the sphere of purely spiritual life. However, in modern times, even this sphere loses itself as the embodiment of the creative spirit, since creativity breaks with its subject - free activity according to the laws of beauty. The idea of beauty is capable of acquiring the real power of the formative principle of the human spirit, which means its objectification in the perfection of a person and the perfect manifestations of his being when organizing public life on the basis of the harmony and orderliness of his structures. The latter is represented by the dialectical unity of the special and the universal (the world of social and individual experience in their non-contradictory interaction). This aspect is important to emphasize, since modern humanity has moved away from the general laws of life in the world, according to which, with all the diversity of forms (including social) , the condition for the normality of life is the dominance of order (ordo) on the basis of interspecies interaction. Kant's beauty of the natural world, expressed in the expediency and expressive vitality of forms, approaches art.

Beautiful as an attitude is the free contemplation of perfection. Let us remind you that "immediate interest in the beauty of nature, as Kant notes, is always a sign of a good soul." It is obvious that the prospects of humanity are conditioned by harmony with the natural world, harmonization of social relations, harmonization of one's own nature. True perfection in its named manifestations arises only under the condition of development and perfection of the intelligence of human nature: feelings and intellect.

Aesthetic theory considers the beautiful in the dialectic of universal, special and individual. If the universal is defined on the basis of the concept of "idea of beauty", then the particular is concretized in the historical, mental, national, social experience of relations. For example, early human images (images of "Paleolithic Venuses") testify to the awareness of the value of the female nature as a vital force. In them, the emphasis is on her reproductive function. Only in the long term

in the course of historical development, mankind comes to understand its qualitative difference from other types of natural life: spirituality as its essential quality is gradually established as the basis of beauty, predetermines all its other manifestations.

The variety of the image of beauty, characteristic of the history of mankind, caused by differences in mental experience: climatic and geographical conditions of life of peoples, types of economy, style of relations, beliefs, etc. They give individual uniqueness to ideas about the perfect beauty of nature, relationships, activities, traditions, finally, human beauty. The same function is performed by social representations. Characterizing the basis of the excellent in their content, M. Chernyshevsky in his dissertation "Aesthetic and the relationship of art to reality" examines the excellent in the way of life, and then - in the spiritual experience of the peasantry and aristocracy. On this basis, for an aristocrat, a beautiful woman is fragile, pale, since the aristocrat sees signs of his spirituality in these features of the appearance, while in the peasant, such an image is more likely to evoke sympathy, since paleness and fragility will be perceived as a consequence of malnutrition, that is, it will be associated with material difficulties. Accordingly, for a peasant, a beautiful woman is a ruddy, strong physique, because her life is connected with work. Her grace is combined with dexterity.

The individualization of beauty, as noted by G. Hegel ("Aesthetics"), is revealed in its regularities in the modification of methods of artistic embodiment of the idea of beauty in artistic creation. The spiritualization of human images in sculpture (somatism) is characteristic of the ancient era of property. The spirit strives to break out of its confinement in marble or bronze, presenting itself in the form of feminine grace or the noble strength of heroes. In the art of the Renaissance, he gets the opportunity to individualize in portrait images, which prove the uniqueness of a person through facial expression, conveys an inner state, is moved through plasticity, picturesqueness of details, etc. In the further development of its spirit, the spirit manifests itself as a beauty that comes from the depths of the soul and acquires uniqueness in musical and poetic images.

Art reveals beauty as a process of its acquisition and discovery in the form of a unity of idea and image, individual and universal, which is concentrated in the concept of "a beautiful person" - some universal essence of the human. The latter is a dialectical unity in the human ego of reality and the ideal of perfection.

So, the beautiful is a broad category of aesthetics, which concentrates the experience of harmonious human interactions with the world, the result of which is the establishment of the perfection of the human personality as the highest education of the evolution of the planetary mind.