1.2 History of the formation of the subject of aesthetics

The selection of aesthetics, as already mentioned, occurred in the middle of the XVIIIth thanks to, first of all, the works of Baumgarten. In the depths of philosophy, aesthetics existed from deep antiquity. Ancient Greek philosophy was the first to realize the importance of the emotionally indifferent perception of the world and the attitude of man towards him, seeing in this ability of a person of great spiritual value About Losev, clarifying the concept of \ "istestesis \", they understand him as \ "sensual feeling \". His Latin analogue is the concept \ "sensus \" (sensus) means \ "tactile \", i.e. sensory-sensual perception According to O Losev, both concepts mean \ "everything spiritual, all spiritual - and feeling, and mood, and intention, and aspiration, and any feelings that you can imagine \" [7, p. 166] Along with these concepts, Greek terms \ "Estani May \", \ "Estes \", \ "Estanome \" were also formed, which correspond to the concept \ "feeling \" and at the same time reflect an individual human attitude to the subjects [2, with 7th, "respect" One hour viddravivali іndivіdualne lyudske staged to the subjects [2, p. 7].

The subject of aesthetics in the process of historical development of sensuality has undergone significant changes. Even the ancient Greeks were aware of the all-pervading nature of human indifference, tracing in it the great value of the world they understood as spiritualized material-sensual cosmos with harmonious, proportionate vitality, rhythmic shaping that is majestic and appropriate. in itself, beautiful integrity. In addition, the objective world in it each time represents the indivisible unity of ideas. Things and its material structure The substantial and material ways of vitality form the harmonious integrity of the thing, are united in its essence and manifestation. It is on this basis that, as Losev considers, it is legitimate to assert that all ancient philosophy is, finally, nothing but aesthetics [8 , p 183-184] Human activity, in particular, artistic formations, was considered as an imitation (mimesis) of the beauty of the cosmic whole, designed not to disturb the general harmony of the world whole. In addition, any formation was seen as one hundred It is a form based on beauty; therefore, technical and aesthetic beginnings in it exist as organic integrity (as opposed to modern civilization, where these spheres diverged among themselves).

At the stage of transition from mythological consciousness to reflexive and in the subsequent period, aesthetics focuses on clarifying the question of the relationship between ideas and matter. This problem arises, we catch the center of research interest Beauty problems are determined by an important component of ancient philosophy, comprehends beauty as the ontological quality of myrtle.

Another important problem that explored the direction of philosophy in the direction of aesthetic issues was the problem of art. It was in ancient Greece that it became a special subject of research and attention for two reasons. The first is the interpretation of art as a special kind of spiritual activity aimed at the formation of ideal objectivity through imitation (mimesis) of sensually tangible forms Affirmed by experience in images of art, objects of indifference arise from the unity of inner vitality experiencing the forms and experience of experiencing the attitude towards them (unity of the idea and image) Another reason for interest is \ "practical \" This study of the impact of art on the senses of the perceiving subject and the formation of their perfection content of perfect works of art In the era of antiquity was a series of concepts were defining for aesthetics and in the future this concept of archetype (Greek arche - beginning, typos - image) - a prototype, an idea, in particular, an artistic idea; association (lat. associo - connect, fl \ "connect) - a means of artistic expression; kalokagatia (Greek calos - beautiful; agathos - good) - harmony of the external and internal in man; catharsis (Greek katharsis - purification) - characterization of the action of art on the mind and feelings of a person; mimesis (Greek mimesis - imitation) - the principle of the creative activity of the artist's ruling dyalnost mitsya.

These fundamental ideas of ancient philosophy regarding the sensual beauty of the world, the beauty of the spirit embodied in artistic phenomena, the idea of ​​experiencing an attitude to beauty laid the foundation for the further development of this range of problems, which later formed the aesthetic sphere as a particular branch of philosophical knowledge.

In the era of the European Middle Ages (IV-XIII centuries), the central problems of the philosophy of antiquity did not lose relevance. The nature of understanding the origins and sources of beauty, the role of art in the spiritual to its vision and value, experiencing an attitude to the world, changed. Medieval philosophers and theologians view the world as a beautiful creation of God, and God - the personification of the trinity of the Absolute Truth, Goodness and Beauty Beauty is not shipped by something permanent, but mobile, hierarchical, its perfection grew as follows: from material and material beauty s objective world to the spiritual world, and from him to the Absolute, God structural and laws of the universe manifest themselves as aesthetic principles. This integrity, unity, rhythm, proportionality, harmony, proportion Beauty of art is also based on these principles. In the Middle Ages, the idea of ​​beauty was first formulated criterion of artistry of art. The higher the degree of beauty in a work of art and the more appropriate the character of its manifestation, the higher the value of the work. The value of art in its origin is influenced by Twa - the emotional sphere and aesthetic judgments that are associated with a sense of satisfaction or dissatisfaction. So, ideas about beauty, art as a sensual embodiment of the idea of ​​beauty, experiencing beauty and its features, deepened in the direction of increasing the value of the spiritual principle. Beauty, remained the central problem of philosophy, it gives the ponds to consider the leading character of the problem of beauty, because other philosophical problems are based on it as ascendingists viscous.

In the Middle Ages, the subject of aesthetics is a spiritually personal absolute, therefore it reflects not the body-sensory givenness of the beauty of the world, but a certain out-of-body, spiritual content. As such, it can be reflected only roughly, that is, symbolically in the medieval aesthetics of the leading character, Symbolic art forms are also called upon to reflect supersensitive spiritual ideas by means of sensually perceived means.

The Renaissance (XIV-XVI centuries) deepens attention to beauty issues, changing the emphasis in its understanding. Incarnation of beauty gives rise to a creative human personality as a combination of natural and spiritual race, unity of sensible and sensual beginnings of the spirit. parameters of beauty: proportion, harmony, measure Aesthetic consciousness of the Renaissance is characterized by beauty, because the rhythm, the proportions do not belong to the plasticity and space, and above all, to the subjective optical visibility [7, p. 571. 571].

In the Renaissance, artistic thinking focuses on searching for the laws of human perception and experiencing the phenomena of the real world. The value of art is based on the character of its perception, namely, the angle of pleasure or displeasure, that is, principles developed even in the middle, but specified taking into account the change in ideas about the purpose art.

The days of the Enlightenment (XIV-XVI centuries) was of particular importance for creating a range of problems of the new science of sensual culture. The enlightening philosophers were notable for the new person’s “natural” being who put Enu with a wealth of mental and sensual abilities. In this era, the nature of human ability was explored. judgments as the spiritual quality of the subject of indifference, the essence and dialectic of the objective and subjective in the content of the category of the beautiful Central, next to the beautiful, in this era consider the category \ "harmony \ “, which allows to reveal the characteristics of nature, art, the spiritual world of man in the dialectic and the emotional and rational, objective and subjective and that sub-active.

In the Age of Enlightenment, the concept of "taste" acquires categorical importance. The subject of research attention is the analysis of the social role of art, the influence of its various forms on the moral perfection of personality. In this era, aesthetics stand out as a special kind of philosophical knowledge, an independent philosophical science. - good by nature, and the evil in the branch is explained by imperfect laws and the lack of proper upbringing in this connection. zi belongs to the function of a spiritual mentor, improves feelings and positively affects the morale of society.

Finally, the status of an independent science gets aesthetics thanks to the works of the classics of German philosophy: Kant, F. Schelling, Hegel G, and Kant, for example, formulated the ideas of beauty as a "free play by appearance". In this way certainty was given the subject of aesthetics , with beauty considered not a certain subjective formation, but a reflection of truth. And Kant is the main category of aesthetics in the important "rational" manifestation of which the beautiful has arisen. In Aesthetics of Kant, the beautiful is the leading aesthetic category Also important was the idea of ​​the connection between the beautiful and moral in art, the definition of the concept of aesthetic ideal in art as a sensory manifestation of an idea. Not less important was the classification of types of art, based on the analysis of the specific ways of expressing aesthetic ideas, that is, beauty in certain Philosophical romanticism F. Schelling sees the aesthetic highest form of spiritual experience, addressed to the whole person and is a complete embodiment of the idea The art scientist regards as a sphere in which the opposition of theoretical and moral 'practical principles is overcome, the gap conscious and unconscious without conscious Hegel develops the idea of ​​aesthetics as a philosophy of art. In his aesthetics and art for the first time appears not just a set of artistic phenomena, but takes on the character of a display system ideas of certain historical epochs by artistic means. He considers art as the main subject and in essence the problem of aesthetic theory. From the point of view artistic creativity explores a wide range of issues of the aesthetic theory: the concept of a beautiful, aesthetic ideal, the creative personality of the artist, the nature of talent and genius, artistic formation and aesthetic integrity of the work, the problem of the symbol and the essence of the work, the problem of the symbol і under.

The aesthetic theory of the XX - early XXI centuries - the period of postmodern culture, is characterized by the loss of its subject, since the aesthetics of postmodernism is fundamentally anti-systematic, consciously eclectic, aimed at shaking the conceptual apparatus of classical aesthetics, its principles, norms and criteria.

So, the analysis of the formation of the subject of aesthetics in the history of philosophical knowledge allows us to conclude that the main range of problems that are defined as problems of aesthetics are: ontological beauty and beauty in our history; the beautiful as a category of aesthetics, artistically beautiful, the aesthetic experience of the beauty of art, the social role of art, the connection between the moral and the beautiful; art as a historical phenomenon; artist talent and genius, their creatively forming natures.

Therefore, philosophy became the theoretical basis of aesthetic knowledge and laid the foundation for the further development of aesthetic problems, contributing to the development of aesthetics as an independent science. A special role in this belonged, as already mentioned, to the works of Baumgarten and Kant, F Schelling, Hegelgel.