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Humanism as the basis of the culture of the Renaissance. Humanism - the ideological basis of the culture of the Renaissance The concept of "Renaissance" and the periodization of the era

Humanism as the basis of the culture of the Renaissance. Humanism - the ideological basis of the culture of the Renaissance The concept of "Renaissance" and the periodization of the era

26.06.2020

The art of the Renaissance arose on the basis of humanism - a trend of social thought that originated in the 14th century. in Italy, and then during the second half of the XV-XVI centuries. spread to other European countries. Humanism proclaimed the highest value of man and his good. Humanists believed that every person has the right to freely develop as a person, realizing their abilities. The ideas of humanism were most vividly and fully embodied in art, the main theme of which was a beautiful, harmoniously developed person with unlimited spiritual and creative possibilities. Arising in the 16th century the term "revival" meant the emergence of a new art, reviving classical antiquity, ancient culture.

Changes in the art of Italy, first of all, affected the sculpture. They were prepared by the sculptural work of the master Nicolò Pisano (1220-between 1278 and 1284). Hexagonal marble pulpit (1260) - became an outstanding achievement of the Renaissance sculpture. The pulpit, made of white, pink-red and dark green marble, is a whole architectural structure. On the walls of the pulpit are scenes from the life of Christ, between them are the figures of the prophets and allegorical virtues. The columns rest on the backs of recumbent lions. Nicolò became the founder of a school of sculpture that became popular throughout Italy.

The most radical reformer of painting was one of the greatest artists of the Italian Proto-Renaissance, Giotto di Bondone (1266/). The main work of Giotto is the painting of the chapel in the city of Padua (city). Giotto's later work is the murals in a church in Florence. Gospel stories are presented by Giotto as real events.

Lorenzo Gibberti (g.) - - another representative of the Renaissance. Gibberti is one of the most educated people of his time, the first historian of Italian art. In his work, the main thing was the balance and harmony of all elements of the image. He devoted his life to one type of sculpture - relief. His quest culminated in the making of the eastern doors of the Florentine Baptistery (1425-1452), which Michelangelo called "The Gates of Paradise". With their expressiveness, they resemble picturesque paintings.

Donatello (circa 1386 - 1466) worked in Florence, Siena, Rome, Padua. On the one hand, Donatello was looking for life's truth in art. On the other hand, he gave his works the features of sublime heroics. These qualities were already evident in the early works of the master of the statues of saints, intended for the outer niches of the facades of the church in Florence. Donatello created "David" (1430), the first nude statue in Italian Renaissance sculpture. The statue was intended for the fountain. The biblical shepherd, the winner of the giant Goliath, one of the favorite images of the Renaissance.

A huge role in painting belonged to Tommaso Masaccio (g.). The classic example of the altar composition was his "Trinity" ((g.), Created for the church in Florence. The fresco is made on the wall, going into the depths of the chapel, which is built in the form of a Renaissance arched niche. Masaccio's creation is remarkable in every respect. In the expression of strength and Masaccio's sharpness of feeling is ahead of its time.Looking at the fresco "The Expulsion of Adam and Eve from Paradise" in the same chapel, the viewer believes that Adam and Eve, who violated the Divine prohibition, are really expelled from paradise by an angel with a sword in their hands.

A prominent representative of the High Renaissance is Leonardo da Vinci (g.) - an Italian painter, sculptor, architect, scientist and engineer.

The work of Leonardo before Vinci is inexhaustible. The scale and uniqueness of his talent can be judged by the master's drawings, which occupy one of the places of honor in the history of world art. With drawings by Leonardo da Vinci, sketches, sketches, diagrams, not only manuscripts devoted to the exact sciences, but also works on the theory of art are inextricably linked. In the famous "Treatise on Painting" (1498) and his other notes, much attention is paid to the study of the human body, information on anatomy, proportions, the relationship between movements, facial expressions and the emotional state of a person. A lot of space is given to the problems of chiaroscuro, volumetric modeling, linear and aerial perspective. The art of Leonardo da Vinci, his scientific and theoretical research, the uniqueness of his personality have passed through the entire history of world culture, had a huge impact on it.

“Madonna in the Rocks” () The characters are presented here surrounded by a bizarre rocky landscape, and the finest chiaroscuro plays the role of a spiritual principle that emphasizes the warmth of human relationships. "The Last Supper" (), which marks one of the pinnacles of European painting; its high ethical and spiritual content is expressed in the mathematical regularity of the composition, which logically continues the real architectural space, in a clear, strictly developed system of gestures and facial expressions of the characters, in the harmonious balance of forms.

"Mona Lisa" (Gioconda) d. In the history of world art there are works endowed with strange, mysterious and magical powers. It's hard to explain, it's impossible to describe. Among them, one of the first places is occupied by the image of the young Florentine Mona Lisa. Leonardo invested in her amazing look, directed at the viewer, in her famous, as if sliding, mysterious smile, in the facial expression marked by unsteady variability, a charge of such intellectual and spiritual strength, which raised her image to an unattainable height.

Michelangelo Buonarroti (g.) is the greatest master of the High Renaissance, who created outstanding works of sculpture, painting and architecture.

By order of Pope Paul III, Michelangelo painted the famous fresco The Last Judgment (1536-1541) on the end wall of the Sistine Chapel. Against the background of a cold blue-ashy sky, many figures are engulfed in a whirlwind. A tragic sense of world catastrophe prevails. The hour of retribution is approaching, the angels announce the coming of the Last Judgment. Michelangelo considered himself only a sculptor, which, however, did not prevent him, a true son of the Renaissance, from being a great painter and architect. The most grandiose work of monumental painting of the High Renaissance is the ceiling painting of the Sistine Chapel in the Vatican, made by Michelangelo in 1508 - 1512.

"David" (g.). The statue reaches five and a half meters in height. She personifies the limitless power of man. David is just preparing to strike the enemy with a stone fired from a sling, but it is already felt that this is a future winner, full of consciousness of his physical and spiritual strength. The hero's face expresses an unshakable will. The most famous work of the first Roman period is the "Pieta" ("Lamentation of Christ") (1498 - 1501) in the chapel of St. Peter's Basilica. On her knees, too young for such an adult son of Mary, the lifeless body of Christ is stretched out. The grief of the mother is light and sublime, only in the gesture of the left hand, mental suffering seems to spill out. White marble polished to a shine. In the play of light and shadow, its surface seems precious.

Raphael Santi () The idea of sublime beauty and harmony is associated with the work of Raphael in the history of world art. It is generally accepted that in the constellation of brilliant masters of the High Renaissance, in which Leonardo personified the intellect, and Michelangelo the power, it was Raphael who was the main carrier of harmony. Of course, to one degree or another, each of them possessed all these qualities. There is no doubt, however, that the relentless striving for a bright, perfect beginning permeates all of Raphael's work and constitutes its inner meaning. Raphael is considered to be a singer of female beauty. He painted more than twenty Madonnas, starting with the youthful painting "Madonna Conestabile" and ending with the "Sistine Madonna", which he created as a mature master, and each of them is captivating in its own way.

Madonna and Child (Madonna Conestabile) d. When Raphael painted the Madonna Conestabile, he was about seventeen years old. Therefore, it is difficult to find the characteristic features of the work of a brilliant master in it. There is still neither the classical beauty of his Madonnas of the mature period, nor their majesty. But there are other qualities in the Conestabile Madonna that make it no less remarkable than other creations by the same master. Its main feature is the feeling of lyrics penetrating the picture. It is present both in the very image of the Madonna and in the naive landscape, gently spreading behind her. Nature plays the role of an accompaniment to the image of the Madonna, which is depicted as a very young girl. And spring reigns in nature. The low hills are covered with light greenery, the leaves are just beginning to bloom on the trees. The main feature of the Madonna is thoughtful clarity, around her is the same mood. The picture was conceived specifically for a small format. It is even difficult to imagine a larger size. In its chamber character, it resembles a book miniature. Having chosen a circle as a form for his work, Raphael builds his composition accordingly. She is all sustained in soft rounded lines: the shoulder of the Madonna, the bowed head, the second shoulder. Her figure is placed strictly in the center. The baby's body is located at the same slope as the head of his mother. This is already an attempt to develop a geometric construction of the composition.

The Sistine Madonna d. The world of the Sistine Madonna is unusually complex, although, at first glance, nothing in the picture portends trouble. However, the viewer is haunted by a sense of impending anxiety. A sweet-voiced choir of angels sings, filling the sky and praising Mary. The kneeling Sixtus does not tear his enthusiastic gaze from the Mother of God, Saint Barbara humbly lowered her eyes. Nothing seems to threaten the peace of Mary and her son. But anxious shadows run and run along the folds of clothes and draperies. Clouds swirl under the feet of the Madonna, the very radiance surrounding her and the God-child promises a storm. All the eyes of the characters in the picture are directed in different directions, and only Mary with the divine baby is looking at us. Raphael depicted a wonderful vision on his canvas and accomplished the seemingly impossible. The whole picture is full of internal movement, illuminated by a quivering light, as if the canvas itself radiates a mysterious glow. This light either barely glimmers, or shines, or almost sparkles. And this pre-stormy state is reflected on the face of the infant Christ, his face is full of anxiety. He seems to see the lightning of an approaching thunderstorm, in his unchildishly severe eyes a reflection of distant troubles is visible, for "I did not bring peace to you, but a sword ...". He clung to his mother's breast, but peers uneasily at the world ...

Titian Vecellio () - the greatest artist of the Venetian Renaissance. He created works on both mythological and Christian subjects, worked in the portrait genre, his coloristic talent is exceptional, his compositional ingenuity is inexhaustible, and his happy longevity allowed him to leave behind a rich creative heritage that had a huge impact on posterity. Glory to Titian comes early. Already in 1516, he became the first painter of the republic, from the 20s - the most famous artist of Venice, and success does not leave him until the end of his days. Around 1520, the Duke of Ferrara commissioned him a series of paintings in which Titian appears as a singer of antiquity who managed to feel and, most importantly, embody the spirit of paganism (Bacchanal, Feast of Venus, Bacchus and Ariande, Danae).

"Danae" (g). Danae does not languish in the tower, her bed appears directly against the background of the landscape. Holding the edge of the canopy with her hand, the beauty looks up to the sky, where among the clouds the head of Zeus vaguely appears, descending to her with a stream of gold coins. The old maid sitting at the feet of Danae and trying to catch gold in her apron is introduced by the artist as a contrasting figure to the main character

The universal talent of the masters of the Renaissance is amazing - they often worked in the field of architecture, sculpture, painting, combined their passion for literature, poetry and philosophy with the study of the exact sciences. The concept of a creatively rich, or "Renaissance", personality later became a household word. Art has become a universal spiritual need.

· anti-church orientation;

recognition of a person as a harmonious unity of the bodily and spiritual principles, mind and passions;

understanding of a person as an active, active person;

Recognition of freedom of mind and thought;

recognition of creativity as the highest manifestation of human abilities;

Optimistic outlook, striving for the fullness of life.

“Talented, restless, unbridled minds, fast-working, excessively proud, never satisfied, with stoic speeches in the language, but greedy for money, for the blessings of life, for honors and respect, shamelessly currying favor with the noble and rich, viciously competing with each other” , - such is the portrait of these people of a new breed, proudly calling themselves humanists (A. Stepanov).

F. Petrarch, the spiritual father of the humanists, exclaimed: “As much as eloquence is more precious than life itself for all of us, spinning in the dust of a literary palestra, we strive so ardently for glory than for virtue!”

The ideas of humanism that in a person his personal qualities are important, such as intelligence, creative energy, enterprise, self-esteem, will and education, and by no means social status and origin, will become the basis of the culture of the New Age.

Even the titles of Renaissance treatises are evidence of new views on man: “On the advantage and superiority of Man” (Fazio) or “Speech on the Dignity of Man” (Pico Della Mirandola) (for comparison, we can recall the medieval message of the Pope: “On the insignificance of the human condition” ).

An example of a new personality is the Italian humanist philosopher Pico Della Mirandola(1463 - 1494). At the age of 20, he knew 28 languages, and his faith in the limitlessness of the human mind and his own education was so great that he agreed to invite 20 of the smartest people from all over the world to answer 700 of the most difficult questions. European culture did not know such self-confidence, especially after a thousand years of humiliation of medieval man.

The Renaissance gave justifications for such exaltation of man. Pico Della Mirandola interpreted the story of God's creation of man in a new way: having created man and "... placing him in the center of the world, God addressed him with the following words:" We do not give you, O Adam, either a certain place, or your own image, or a special obligation so that you may have a place and a person and a duty of your own free will, according to your will and your decision.

Freedom and independence were thus declared inalienable characteristics of man, but even more significant was the idea of man as the center of the world. It was she who became the basis of a new worldview - anthropocentrism, according to which man was considered the highest goal of the universe.

5. Appeal to antiquity.

Ancient culture became a source of inspiration and new ideas for the Renaissance. Humanists saw in antiquity a model of harmony, a reasonable social order and tried to get closer to the worldview of the ancients. The return to the forgotten achievements of ancient culture took place in the field of science, philosophy, literature, art, classical "Golden Latin". So, in Italy, manuscripts of ancient writers were searched for, works of ancient sculpture and architecture were retrieved from oblivion and became models for study and imitation (for example, Michelangelo portrays the biblical David in the image of an ancient hero).

Florence in the 15th century. The Platonic Academy was formed, where the enlightened aristocratic public studied eloquence, knowledge of Latin and Greek, grace of manners and the art of love.

The imitation of antiquity was often paradoxical. For example, the architect Alberti created in Rimini in the Gothic temple the tomb of a noble lady, on which there was a Latin inscription: “Divae Isotta Sacrum”, i.e. "Divine Isota", as they wrote on Roman tombstones. This example is very indicative: on the one hand, the Renaissance tried to revive pagan antiquity, but on the other hand, the creators of the Renaissance were people of Christian culture, and antiquity could not become organically close to them.

The Renaissance became, thus, the experience of combining the incompatible: pagan and Christian cultures. A vivid example of such an experience is the work of Botticelli, who depicted pagan goddesses with the faces of the Madonna.

Noteworthy in this regard is the point of view of O. Spengler, who considers the Renaissance a cultural regression: Europe did not create anything new, but only mechanically repeated the old discoveries.

6. Understanding creativity.

The Renaissance was not unfounded, putting man at the center of the world, in the place of God. Renaissance thinkers found convincing evidence for this: Man is like God, because. he is able to create. The ability to create has become for the Renaissance the main dignity of man. Creativity was valued above wealth and titles (a feature of humanism can be called a kind of hostility to the power of gold and wealth).

Many examples of recognition of the highest status for an artist are presented by the Renaissance, among which are Giotto, who allowed himself to be impudent and remarks about the King of Naples, or Michelangelo, whose fame was so great that his name did not need titles or even a surname.

The ideal of the Renaissance is a man - the creator, a universal genius who knows no boundaries, striving to embrace the impossible, to unite the divine and the human. An example is Michelangelo, who, as a creator, creates a new world in the frescoes of the Sistine Chapel. This understanding of man was called renaissance titanism. The best example of this is the figure Leonardo da Vinci.

In his work, he seemed to compete with nature and the Creator, as if he designed and built the world out of natural chaos. His "Gioconda" is an example of "higher synthesis" based on all knowledge about nature and man. When the viewer tries to give her certain emotions or ascribes to her this or that state of mind, he destroys Leonardo's plan: for Leonardo, these categories are shallow; ethics, soul, faith are too human. His idea is superhuman - everything at once and nothing concrete: the personality, age and gender of Gioconda (there is a version that this is a self-portrait of Leonardo at a young age and the image of a woman), the time of day, the season, the geography of the landscape and even his earthly origin remain a question for the viewer. “Mona Lisa smiles like the universe itself” (A. Yakimovich).

7. "The other side of titanism."

Unprecedented before the Renaissance, the artist's attempt to rise above nature turned into an attempt to rise above man. The researcher of culture A.F. Losev called this “Satanic temptation” and saw in the revivalist ideas a manifestation of immoralism.

Indeed, the everyday reality of the era very peculiarly embodied the ideas of humanists about human freedom. Unrestricted freedom has turned into permissiveness and contempt for all sorts of moral standards. There are many examples of this. For revenge, bowls of holy water were poisoned in churches. Pope Alexander IV accidentally poisoned himself with his own poison. In the residence of the Roman Pope, orgies were held, the Roman Popes went hunting with their retinue. Priests were forbidden to “become pimps for prostitutes for the sake of money,” monks indulged in orgies, and writers compared monasteries to dens. The Neapolitan king Ferrante kept his enemies in cages, fattened, killed, salted them and served them to the table of his enemies, and the Duke of Ferrara used to walk around the city naked. "The reverse side of titanism" called it A.F. Losev.

Antiquity provided a peculiar basis for a double morality: relying, depending on the circumstances, either on Christian or on ancient authorities, it was easy for a Renaissance person to justify any thought, any act.

The antipode of humanism was, in fact, the views of the Italian thinker Nicolo Machiavelli(1469-1527), justifying the use of any means to achieve the goal. Machiavelli, in his book The Sovereign, expressed the idea that a politician is free from the prohibitions of morality, comparing him with a centaur: "The new sovereign must master the nature of both the beast and man." This was the first awareness of the tragic contradiction between universal morality and political interests.

The ideas of the English humanist Thomas More (1478-1535) and the Italian philosopher Tommaso Campanella (1568-1639), who saw the ideal of social harmony in a society built on a rigid hierarchical system that regulates all spheres of life, were also self-negation of revival humanism. Subsequently, this model will be called "barracks communism." At the heart of this metamorphosis lies a rather deep feeling by the thinkers of the Renaissance of the dual nature of freedom.

The era of the Italian Renaissance is conditionally divided into a number of stages:

Proto-Renaissance (trecento) - the end of the XIII - XIV centuries.

Early Renaissance (quattrocento) - XV century.

High Renaissance (cinquecento) – 1st half of the 16th century.

Late Renaissance - 2nd half of the 16th - early 17th centuries.

Proto-Renaissance(the period of the XIII - the beginning of the XIV centuries) largely paved the way for the art of the Renaissance. This period is marked by the work of the great poet Dante Alighieri, the architect Arnolfo di Cambio, the sculptor Nicolae Pisano, and the author of the frescoes Giotto di Bondone (1266/1267 - 1337) whose name is associated with a turn to realistic art,

Early Renaissance. Literary creativity belongs to the period of the Early Renaissance Francesco Petrarch(1304-1374). He remained in the history of the Renaissance as the first humanist and passionate popularizer of the heritage of ancient authors, as evidenced by his treatise On the Great Men of Antiquity. Petrarch's sonnets on the life and death of the Madonna Laura, which glorify the sublime love for a woman, received worldwide fame.

A student and follower of Petrarch was Boccaccio(1313-1375) - the author of the collection of realistic short stories "The Decameron", which became a satire on the church, full of subtle observations, excellent knowledge of psychology, humor and optimism.

The legacy of the outstanding master of the brush of the Early Renaissance Sandro Botticelli(1445-1510), who worked at the Medici court in Florence, is distinguished by subtle coloring and a mood of sadness.

Sculptor Donatello(c.1386-1466), reviving ancient traditions, was the first to present a naked body in sculpture. His art is characterized by a realistic manner.

Philippe, one of the founders of Renaissance architecture Brunelleschi(1377-1446) revived the main elements of ancient architecture, skillfully solved the most complex technical problems (the construction of the dome of the Florence Cathedral), made a great contribution to fundamental science (the theory of linear perspective).

high renaissance. The period of the High Renaissance was relatively short. It is associated primarily with the names of three brilliant masters, the titans of the Renaissance - Leonardo da Vinci, Raphael Santi and Michelangelo Buonarroti. In the work of representatives of the High Renaissance, the realistic and humanistic foundations of the culture of the Renaissance reached their peak.

Leonardo da Vinci(1452-1519) is hardly equal in talent and versatility among the representatives of the Renaissance. Leonardo was at the same time an artist, art theorist, sculptor, architect, mathematician, physicist, mechanic, astronomer, physiologist, botanist, anatomist, enriching these and many other areas of knowledge with discoveries and brilliant guesses.

In the work of Leonardo, the universalism of the representatives of the Renaissance was most fully expressed, where it is difficult to find sharp lines between science, artistic fantasy and the embodiment of ideas.

A younger contemporary of Leonardo, the great painter of Italy Rafael Santi(1483–1520) entered the history of world culture as the creator of pictorial masterpieces imbued with grace and soft lyricism (The Sistine Madonna). The master is also famous for the paintings of the ceremonial halls of the Vatican Palace (the fresco "The School of Athens") and architectural projects.

The last master of the High Renaissance was Michelangelo Buonarroti(1475-1564) - a great sculptor, painter, architect and poet. Despite his versatile talents, he is called, first of all, the first draftsman in Italy due to the most significant work of an already mature artist - the painting of the vault of the Sistine Chapel in the Vatican Palace (the total area of the fresco is 600 square meters).

As a sculptor, Michelangelo became famous for his early work David. But Michelangelo gained true recognition as an architect and sculptor as a designer and construction manager of the main part of the building of the Cathedral of St. Peter in Rome, which remains to this day the largest Catholic church in the world. No less famous brought him architectural and sculptural work in Florence, in particular, the sculptural composition in the Medici Chapel. Four nude figures on the sarcophagi of the rulers of Florence "Evening", "Daughter", "Morning" and "Day" very clearly illustrate the master's awareness of the limitations of human capabilities, despair before the fast-flowing time. These tragic moods are heard in the poem of the last titan of the Renaissance, written on behalf of the sculpture "Night":

“It is gratifying to sleep, it is more gratifying to be a stone

Oh, in this age, criminal and shameful,

Not to live, not to feel is an enviable lot.
Please, shut up, don't you dare wake me up."

Art of Venice. The period of the High and Late Renaissance was the heyday of art in Venice. In the second half of the XVI century. Venice, which has retained the republican structure, becomes a kind of oasis and the center of the Renaissance. Among the artists of the Venetian school - Giorgione(1476-1510), who immortalized his name with the canvases "Judith", "Sleeping Venus", "Country Concert". The greatest representative of the Venetian school - Titian Vecellio(1477 or 1487 -1576). During his lifetime, he received recognition in Europe. Titian's works are attracted by the novelty of solving primarily coloristic and compositional problems ("Penitent Magdalene", "Love earthly and heavenly", "Venus", "Danae", "Saint Sebastian", etc.)

Late Renaissance. The Late Renaissance period was marked by the advent of the Catholic Church. The Church tried to restore the partially lost undivided power over the minds, encouraging cultural figures, on the one hand, and using repressive measures against the recalcitrant, on the other. So, many painters, poets, sculptors, architects abandoned the ideas of humanism, inheriting only the manner and technique of the great masters of the Renaissance (the so-called mannerism). Among the largest artists of mannerism are Jacopo Pontormo (1494-1557), Francesco Parmigianino (1503-1540), Angelo Broisino (1503-1572), who are characterized by the ideal of cold and at the same time sensually mysterious beauty.

North Caucasian State Technological University

ABSTRACT

On the topic: "History of the idea of humanism"

Student group ASU-01-2

Barasheva Vasily.

Vladikavkaz, 2001

The term "humanism" comes from the Latin "humanitas" (humanity), which was used as early as the 1st century BC. BC. the famous Roman orator Cicero (106-43 BC). For him, humanitas is the upbringing and education of a person, contributing to his exaltation.

The principle of humanism presupposed an attitude to a person as a supreme value, respect for the dignity of each individual, his right to life, free development, the realization of his abilities and the pursuit of happiness. Humanism presupposes the recognition of all fundamental human rights, affirms the good of the individual as the highest criterion for evaluating any social activity.

As a feature of world culture, humanism manifested itself in the ancient world. Already from the era of the Old Kingdom in Egypt (3rd millennium BC), statements such as the inscription of the priest Sheshi have come down to us: "I saved the unfortunate from the stronger ... I gave bread to the hungry, clothes to the naked. I transported on my boat who I buried my son who had no son..." A large number of such texts testify to the existence of a strong humanistic current that pervaded the culture of Ancient Egypt.

The ancient Egyptians were able to develop remarkable principles of the moral behavior of the individual, humanism. The books of wisdom of Amenemon testify to a very high level of morality. In ancient Egyptian culture, everything is immersed in an atmosphere of religiosity, but at the same time, everything at the same time has powerful roots in the depths of pure humanity.

As a trend in culture, humanism arose in the 14th century in Italy and spread to Western Europe from the 15th century. The Renaissance, or Renaissance (from the French renaitre - to be reborn) has become one of the brightest eras in the development of European culture, covering almost three centuries from the middle of the 14th century. until the first decades of the 17th century. It was an era of major changes in the history of the peoples of Europe. Under the conditions of a high level of urban civilization, the process of the emergence of capitalist relations and the crisis of feudalism began, the formation of nations and the creation of large national states, a new form of political system appeared - absolute monarchy, new social groups were formed - the bourgeoisie and hired workers. The spiritual world of man also changed. The man of the Renaissance was seized with a thirst for self-affirmation, great achievements, actively involved in public life, rediscovered the world of nature, strove for its deep comprehension, admired its beauty. The culture of the Renaissance is characterized by a secular perception and understanding of the world, the assertion of the value of earthly existence, the greatness of the mind and creative abilities of a person, and the dignity of the individual. The ideological basis of the culture of the Renaissance was humanism.

Humanists opposed the dictatorship of the Catholic Church in the spiritual life of society. They criticized the method of scholastic science based on formal logic (dialectic), rejected its dogmatism and belief in authorities, thus clearing the way for the free development of scientific thought. At first, it manifested itself in the form of a defense of secular values against oppression by the ascetic medieval church. Some Italian universities have returned to the ancient cultural and scientific heritage, half-forgotten and rejected in the Middle Ages. In improving the spiritual nature of man, the main role was assigned to a complex of disciplines, consisting of grammar, rhetoric, poetry, history, and ethics. It was these disciplines that became the theoretical basis of the Renaissance culture and were called "studia humanitatis" (humanitarian disciplines). The Latin concept of "humanitas" then meant the desire to develop human dignity in spite of the long belittling of the importance of everything connected with human life. The ideal was seen in the harmony between enlightenment and activity.

Humanists called for the study of ancient culture, which the church denied as pagan, perceiving from it only that which did not contradict Christian doctrine. The restoration of the ancient heritage was not an end in itself for them, but served as the basis for solving urgent problems of our time, for building a new culture. The birth of Renaissance literature in the second half of the XIV century. associated with the names of Francesco Petrarch and Giovanni Boccaccio. They affirmed the humanistic ideas of the dignity of the individual, linking it not with generosity, but with the valiant deeds of a person, his freedom and the right to enjoy the joys of earthly life.

The founder of humanism is unanimously considered the poet and philosopher Francesca Petrarch (1304-1374). Petrarch was the first great humanist, poet and citizen who managed to see the wholeness of the pre-Renaissance currents of thought and unite them in a poetic synthesis, which became the program of future European generations. With his work, he managed to instill in these future generations of diverse tribes in Western and Eastern Europe a consciousness - albeit not always clear - of a certain spiritual and cultural unity, the beneficial effect of which is also reflected in our modern age.

In his work - the beginning of many ways in which the development of the Renaissance culture in Italy went. In his treatise “On the Ignorance of His Own and of Many Others,” he resolutely rejects the scholastic learning inherent in the Middle Ages, in relation to which he defiantly proclaims his supposed ignorance, because he considers such learning to be completely useless for a man of his time.

In the mentioned treatise, a fundamentally new approach to the assessment of the ancient heritage is manifested. According to Petrarch, it is not blind imitation of the thoughts of remarkable predecessors that will allow to come to a new flowering of literature, art, science, but the desire to rise to the heights of ancient culture and at the same time rethink and surpass it in some way. This line, outlined by Petrarch, became the leading one in the relation of humanism to the ancient heritage.

The first humanist believed that the sciences of man should become the content of true philosophy, and in all his work there is a call to reorient philosophy to this worthy object of knowledge.

With his reasoning, Petrarch laid the foundation for the formation of personal self-awareness of the Renaissance. In different eras, a person realizes himself in different ways. A medieval person was perceived as more valuable as a person, the more his behavior corresponded to the norms adopted in the corporation. He asserted himself through the most active inclusion in a social group, in a corporation, in a God-established order - such is the social prowess required of an individual. The Renaissance man gradually abandons the universal medieval concepts, turning to the concrete, individual.

Humanists are developing a new approach to understanding a person, in which the concept of activity plays a huge role. The value of the human personality for them is determined not by origin or social affiliation, but by personal merits and the fruitfulness of its activity.

A vivid embodiment of this approach can be, for example, the versatile activities of the famous humanist Leon Battista Alberta (1404-1472). He was an architect, painter, author of treatises on art, formulated the principles of pictorial composition - the balance and symmetry of color, gestures and poses of characters. According to Albert, a person is able to overcome the vicissitudes of fate only by his own activity. “The one who does not want to be defeated easily wins. The one who is accustomed to obey endures the yoke of fate.

Humanistic thought in the second half of the 15th century. enriched with new ideas, the most important of which was the idea of the dignity of the individual, indicating the special properties of man in comparison with other creatures and his special position in the world. Giovanni Pico della Mirandola (1463-1494), in his eloquent Oration on the Dignity of Man, places him at the center of the world:

“We do not give you, O Adam, either your own place, or a certain image, or a special duty, so that you have a place, a person, and duties of your own free will, according to your will and your decision.”

It is argued that God (contrary to church dogma) did not create man in his own image and likeness, but gave him the opportunity to create himself. The culmination of humanistic anthropocentrism is Pico's idea that the dignity of a person lies in his freedom: he can become whatever he wants.

Glorifying the power of man and his greatness, admiring his amazing creations, the thinkers of the Renaissance inevitably came to the rapprochement of man with God.

“A man tames the winds and conquers the seas, knows the account of time ... In addition, with the help of a lamp, he turns night into day. Finally, the divinity of man is revealed to us by magic. She creates miracles with human hands - both those that nature can create, and those that only God can create.

In such reasonings of Giannozzo Manetti (1396-1472), Marsilio Ficino (1433-1499), Tommaso Campanella (1568-1639), Pico (1463-1494) and others, the most important characteristic of humanistic anthropocentrism appeared - the tendency to deify a person.

However, the humanists were neither heretics nor atheists. On the contrary, the overwhelming majority of them remained believers. But if the Christian worldview asserted that God should come first, and then man, then the humanists brought man to the fore, and then talked about God.

The presence of God in the philosophy of even the most radical thinkers of the Renaissance implied at the same time a critical attitude towards the church as a social institution. The humanistic worldview, therefore, also includes anti-clerical (from Latin anti - against, clericalis - church) views, i.e. views directed against the claims of the church and the clergy to dominance in society.

The writings of Lorenzo Valla, Leonardo Bruni (1374-1444), Poggio Bracciolini (1380-1459), Erasmus of Rotterdam (1469-1536) and others contain speeches against the secular power of the popes, exposing the vices of the ministers of the church and the moral depravity of monasticism. However, this did not prevent many humanists from becoming ministers of the church, and two of them - Tommaso Parentuchelli and Enea Silvio Piccolomini - were even erected in the 15th century. to the papal throne.

I must say that until the middle of the XVI century. the persecution of humanists by the Catholic Church is an extremely rare phenomenon. The champions of the new secular culture were not afraid of the fires of the Inquisition and were known as good Christians. And only the Reformation - (from lat.reformatio - transformation) a movement for the renewal of the faith, which turned against the papacy - forced the church to go on the offensive.

The relationship between the Reformation and the Renaissance is contradictory. On the one hand, the humanists of the Renaissance and the representatives of the Reformation were related by a deep dislike for scholasticism, a thirst for religious renewal, the idea of returning to the origins (in one case - to the ancient, in the other - to the gospel). On the other hand, the Reformation is a protest against the Renaissance exaltation of man.

This inconsistency is fully manifested when comparing the views of the founder of the Reformation, Martin Luther, and the Dutch humanist Erasmus of Rotterdam. The thoughts of Erasmus often echo those of Luther: this is both a sarcastic look at the privileges of Catholic hierarchs and caustic remarks about the way of thinking of Roman theologians. But they disagreed about free will. Luther defended the idea that in the face of God, man has neither will nor dignity. Only if a person realizes that he cannot be the creator of his own destiny, he can be saved. Faith is the only and sufficient condition for salvation. For Erasmus, human freedom meant no less than God. Sacred Scripture for him is a call addressed by God to man, and the latter is free to respond to it or not.

One way or another, the Renaissance, which replaced the Middle Ages, “built on” Christian ethics and contributed to the further development of humanism.

Development of the ideas of humanism in Russia.

Already among the first significant Russian poets of the 18th century - Lomonosov and Derzhavin - we find secularized nationalism combined with humanism. It is no longer Holy Rus', but Great Rus' that inspires them; national eros, intoxication with the greatness of Russia relate entirely to the empirical existence of Russia without any historiosophical justification. In this appeal to Russia there is, of course, a reaction against the blind worship of the West and the dismissive attitude towards everything Russian, which was so clearly manifested in Russian Voltairianism. Lomonosov was an ardent patriot and believed that:

Maybe Plato's own

And quick-witted Newtons

Russian land to give birth.

Derzhavin, the true "singer of Russian glory", defends the freedom and dignity of man; in poems written for the birth of the grandson of Catherine II (the future Emperor Alexander I), he exclaims:

Be the master of your passions

This motif of pure humanism is increasingly becoming the crystallization core of the new ideology. In order not to drown in the immeasurable material related here, let us dwell only on two bright representatives of Russian humanism of the 18th century - Novikov and Radishchev.

Novikov (1744-1818) was born into the family of a poor landowner, received a rather poor education at home, but worked hard on his self-education. At the age of 25, he undertook the publication of a magazine ("Truten"), in which he showed himself to be a man of great social intuition, a passionate exposer of various lies in Russian life, and an ardent idealist. Struggling with blind worship of the West, ridiculing the cruel customs of Russian life of that time, Novikov writes with deep sorrow about the plight of the Russian peasants. The work of thought proceeded under the sign of a reaction to the then "Westerners" and the development of a new national identity. But in the humanism of the 18th century, Russians increasingly began to put forward the basic meaning of morality and even preached the primacy of morality over reason. In pedagogical dreams, so close in Russia in the 18th century to the utopian plan of "creating a new breed of people", the first place was put forward by the "development of the most elegant heart", and not the mind, the development of "the inclination towards goodness." Fonvizin in "Undergrowth" even expresses such an aphorism: "The mind, as long as it is only the mind, is the most trifle; the direct price of the mind gives good manners." In these words, moralism is very typically expressed, as a kind of new feature of the Russian consciousness.

Let us turn to another bright exponent of Russian humanism of the 18th century - A. N. Radishchev, in whom we will find even more philosophical content.

Radishchev's name is surrounded by a halo of martyrdom (like Novikov too), but, besides this, for subsequent generations of the Russian intelligentsia, Radishchev became a kind of banner, as a bright and radical humanist, as an ardent supporter of the primacy of the social problem.

In the person of Radishchev, we are dealing with a serious thinker who, under other conditions, could have contributed a lot of value in the philosophical field, but his fate was unfavorable. At the same time, Radishchev's work received one-sided coverage in subsequent generations - he turned into a "hero" of the Russian radical movement, into a bright fighter for the liberation of the peasants, a representative of Russian revolutionary nationalism. All this, of course, was in him; Russian nationalism, and before him secularized, in Radishchev absorbs the radical conclusions of "natural law", becomes a hotbed of that revolutionary ferment, which was first clearly manifested in Rousseau.

The hard fate of Radishchev entitles him to the exclusive attention of historians of the Russian national movement in the 18th century - he is undoubtedly the pinnacle of this movement, as a bright and ardent representative of radicalism. The secularization of thought proceeded very rapidly in Russia in the 18th century and led to the secular radicalism of the descendants of those who previously stood for ecclesiastical radicalism. Radishchev more vividly than others, somehow more holistically than others, relied on the ideas of natural law, which in the 18th century merged with Rousseauism, with criticism of modern untruth. But, of course, Radishchev was not alone in this - he only expressed the new ideology more vividly than others, asserted the primacy of the social and moral theme in the construction of a new ideology more fully than others. But Radishchev must first of all be put in connection with the last task - with the development of a free, non-church, secularized ideology. The philosophical substantiation of this ideology was next in line - and Radishchev was the first to try to give an independent substantiation of it (of course, relying on the thinkers of the West, but synthesizing them in his own way). Developing within the boundaries of nationalism and humanism, Radishchev is imbued with the ardent pathos of freedom and the restoration of the "natural" order of things.

In the spiritual mobilization of the creative forces of Russia, Russian Freemasonry of the 18th and early 19th centuries played an enormous role. On the one hand, it attracted people who were looking for a counterbalance to the atheistic currents of the 18th century, and in this sense it was an expression of the religious demands of the Russian people of that time. On the other hand, Freemasonry, captivating with its idealism and noble humanistic dreams of serving humanity, was itself a phenomenon of non-church religiosity, free from any church authority. Capturing significant sections of Russian society, Freemasonry undoubtedly raised creative movements in the soul, was a school of humanism, and at the same time awakened intellectual interests. Giving scope to the free quest of the spirit, freemasonry freed from superficial and vulgar Russian Voltairianism.

Humanism, nourished by Freemasonry, is already familiar to us from the figure of N. I. Novikov. At the heart of this humanism was a reaction against the one-sided intellectualism of the era. The favorite formula here was the idea that "enlightenment without a moral ideal carries poison in itself." Here, of course, there is closeness to the preaching of Rousseau, to the glorification of feelings - but there are also echoes of that trend in Western Europe that was associated with the English moralists, with the formation of the "aesthetic man" (especially in England and Germany), i.e. with everything that preceded the emergence of romanticism in Europe. But here, of course, various occult currents also influenced, which raised their heads just at the height of European enlightenment. In Russian humanism associated with Freemasonry, purely moral motives played an essential role. In this regard, the humanism of the 18th century is in close connection with the moral pathetism of Russian journalism of the 19th century.

Turning to the religious and philosophical currents in Freemasonry, we note that Freemasonry has been spreading in our country since the middle of the 18th century - in the reign of Elizabeth. Russian high society by this time had already completely departed from its native antiquity. Some were fond of cheap "Voltairism," as Boltin put it, some went into nationalist interests, into pure humanism, occasionally into scientific pursuits (especially Russian history). But there were people of a different sort, who had spiritual needs and painfully experienced the emptiness created with the departure from the church consciousness. The successes of Freemasonry in Russian society showed that there were a lot of such people: Freemasonry opened the way for them to a concentrated spiritual life, to serious and genuine idealism, and even to religious life (outside the Church, however). In the translation and original Masonic literature, the main religious and philosophical theme appears quite clearly: the doctrine of the hidden life in man, the hidden meaning of life in general. Here theoretical and practical interest merged; This mystical metaphysics was particularly attractive due to its independence from the official church doctrine, and at the same time a clear superiority in comparison with the current scientific and philosophical teachings of the era. For Russian society, the teachings that were revealed in Freemasonry seemed to be a manifestation of precisely modernity - in its deeper course. Freemasonry, like all secularized culture, believed in a "golden age ahead", in progress, called for creativity, for "philanthropy". In Russian Freemasonry, all the main features of the future "advanced" intelligentsia were formed - and in the first place here was the primacy of morality and the consciousness of the duty to serve society, in general, practical idealism. It was the path of ideological life and active service to the ideal.

In modern philosophy, with the changes in life and thoughts that have taken place since the end of the 19th century with increasing acceleration, many principles, including classical humanism, have been called into question.

The philosophy of existentialism (from the late Latin existentia - existence) seems to be a kind of humanism of the new wave. The father of existential thought for modern existentialism was Martin Heidegger. He also had a decisive influence on French existentialism.

The central thesis of existentialism is the assertion that "the essence of human existence lies in eksistence, in crime", in going beyond all other beings and oneself .. This means not only that, as Sartre wanted to show in his essay "Existentialism is humanism", a person is open to the world, and not bound by predestination ... but also the fact that a person inside himself is a constant crime, an endless soaring.

Heidegger opposes his concept to traditional humanism in the rational and optimistic form of the 18th-19th centuries, as well as to the dogmatic form of affirming immutable values. However, he refutes humanism not in the name of anti-humanism, but in the name of man's eksistence, his incompleteness, his creative knowledge.

Existentialism is a harsh and sober philosophy, at the center of its research is a person who, thanks to the experience of two world wars, has become hostile to ideology, a person whose strength is only enough to exist and pursue a single goal: externally and internally to cope with the burden of his fate.

Humanism brought into ethical thought the recognition of the inherent value of the human person and earthly life. From here the ideas of happiness, justice and equality of people gradually developed. Willingly or unwittingly, but the humanistic course of the Renaissance contributed to the assertion of the rights of the individual and, in particular, the recognition of the right to a happy life. It should not be surprising that in the future, humanism organically transformed into philanthropy, promoting gentleness in relationships, compassion, mercy, friendliness, and eventually tolerance for dissidents. Many philosophical currents have absorbed the features of humanism. Humanism as a phenomenon turned out to be a historically changing system of views. Born in art, it paved the way for science, the scientific and technological revolution, contributed to the economic boom, education, social transformations and revolutions.

List of used literature:

1. L.M. Bragina "Socio-ethical views of the Italian humanitarian

nists" (second half of the 15th century) MGU Publishing House, 1983

2. Essays on the history of Russian ethical thought. M., "Science", 1976

3. From the history of culture of the Middle Ages and the Renaissance. Publishing house "Science", M., 1976

4. Aesthetics. Dictionary. Politizdat, M., 1989

Raphael

All Italian art of the 15th-16th centuries. in its very essence it is imbued with harmony, grace, a sense of proportion; reason and logic predominate in him over feeling, humble the most unbridled impulses. And there is an artist, at the same time one of the greatest in the entire history of the world, who has found a foothold for his highest aspirations.

This artist is Raphael. The son of an artist and a humanist poet, Rafael Santi early reached the highest honors. Already in his earliest works, the beginnings of a new ideal are visible.

An example of this is the Conestabile Madonna. This is one of Raphael's earliest incarnations of the image of the Madonna, which occupied an important place in his art. Unlike the masters of the 15th century, new qualities were outlined in the painting of the young Raphael, when the harmonic compositional construction not only does not fetter the images, but, on the contrary, is perceived as a necessary condition for the feeling of naturalness and freedom that they generate.

To an even higher extent, these qualities were reflected in the best of his early works - "The Betrothal of Mary", in which the mastery of the artistic organization of all elements of the picture was very clearly manifested.

Raphael's creative progress was so rapid that Perugino's studio became too small for him. In 1504 the painter moved to Florence. He enthusiastically studies the creations of such masters as Leonardo and Michelangelo. Art for Raphael is to present with all evidence and perfect clarity the truths of theology and history. From the point of view of the painter, art repeats the act of divine revelation. Raphael deduces the correctness of the depicted forms not from ideal ideas, but from life experience. The beautiful is nothing but the best among what exists in nature and is found through selection and comparison.

In general, Raphael's successes in Florence were so significant that they made his name widely known. In 1508 he was invited to Rome to the papal court. Having become, as it were, the official painter of the papal court, he involuntarily approaches in his creations the expression of a comprehensive religious ideal, the ideal of unearthly, peaceful beauty and the general harmony of soul and body.

Raphael was entrusted with painting the pope's apartments - the so-called villages (that is, rooms). The best of Raphael's Vatican frescoes are among the greatest creations of Renaissance art. They make it possible to trace the main patterns of the evolution of Raphael's work and the art of this period as a whole.

Instead of the mythology that adorned these walls, Raphael immediately brought here the atmosphere of the Renaissance. In four extensive compositions he depicted allegorically Religion, Art, Philosophy and Law.

Each of the frescoes is an apotheosis of eternal beauty. Each is the apotheosis of the happiness of a man, transformed, ascending in soul and thought to the deity. It is difficult to find any other artistic ensemble in the history of art that would give the impression of such figurative saturation in terms of ideological and pictorial-decorative as the Vatican villages of Raphael. Unlike Leonardo, Raphael does not torment us with his secrets, does not crush us with his omniscience, but affectionately invites us to enjoy earthly beauty with him.

“Raphael was aware,” writes Vasari, “that in anatomy he cannot achieve superiority over Michelangelo. As a man of great reason, he realized that painting does not consist only in depicting a naked body, that its guardianship is wider ... Not being able to equal Michelangelo in this area, Raphael tried to equal him in another.

Raphael aspired to the highest synthesis, to the radiant completion of everything that had been achieved before him, and this synthesis was found and embodied by him.

The past merges with the present. The poets of classical antiquity communicate with the poets of the Renaissance ("Parnassus"). Praise is given to secular and ecclesiastical legislation ("Jurisprudence").

But the best fresco of the villages and the greatest work of Raphael in general should be recognized as the “Athenian School”. This composition is one of the most striking evidence of the triumph in Renaissance art of humanistic ideas and their deep ties with ancient culture. The image of the perfect man found a concrete expression - this is Aristotle.

The picture shows a large renaissance portico. At the top of a wide staircase, Plato and Aristotle stand side by side, arguing. Plato - a representative of idealism - points to the sky with his hand. He looks like a biblical prophet. Aristotle, on the contrary, stretches his hand down, pointing to the earth, and as if proving that the basis of the system should be the study of natural phenomena on earth.

Aristotle is the most beautiful creation of the earth. His face, turned towards Plato, against the background of floating clouds, glows with reason and kindness. Calmness, moderation, genuine strength, commanding human passions, are imprinted in his image. The ideal type of man, born from the inspiration of Baldassare Castiglione and raised to true perfection by the genius of Raphael, found in him the most complete, complete personification.

On all sides, these figures are surrounded by groups of philosophers, scientists and students. They eagerly listen to the debate of two great teachers, others are busy with their own disputes. Characteristics of the actors have acquired special relief.

There are different schools here. Pythagoras, Heraclitus, Democritus, Socrates, etc. It is impossible to list all those depicted here in lively and expressive poses.

The whole picture is a whole world of science, philosophy and will forever delight and surprise the viewer with the extraordinary beauty of the harmonious whole and the stamp of the inspired author lying on it.

As before, an important place in the subject of Raphael was occupied by the image of the Madonna. The Florentine Madonnas of Raphael are also beautiful, pretty, touching and charming young mothers. Madonnas created by him in Rome, that is, in the period of full artistic maturity, acquire other features. These are already mistresses, goddesses of goodness and beauty, promising the world that spiritual harmony that they express. "Madonna in the Chair", "Madonna with a Fish", "Madonna del Foligno" and others mark Raphael's new searches, his path to perfection in the embodiment of the ideal image of the Mother of God.

The Sistine Madonna (so named for the monastery for which this altarpiece was painted) is Raphael's most famous painting.

Mary is walking on the clouds carrying her child. Her glory is not underlined by anything. Bare feet. But as a mistress, Pope Sixtus, dressed in brocade, meets her on his knees; Saint Barbara lowers her eyes with reverence, and two little angels look up dreamily and thoughtfully.

She goes to people, young and majestic, holding something anxious in her soul; the wind blows the child's hair, and his eyes look at us, at the world with such great power, as if he sees his own fate, and the fate of the entire human race.

This is not reality, but a spectacle. No wonder the artist himself parted a heavy curtain in front of the audience in the picture. A spectacle that transforms reality in the grandeur of things, wisdom and beauty, a spectacle that elevates the soul with its absolute harmony, conquers and ennobles us, the same spectacle that Italy of the High Renaissance longed for and finally found in the dream of a better world.

In the gaze of the Sistine Madonna, there is something that seems to allow us to look into her soul. She does not look at us, but past or through us - there is a shade of anxiety and that expression that appears in a person when his fate is suddenly revealed to him. The dramatic nature of the image of the mother is set off in its unity with the image of the infant Christ, whom the artist endowed with unchildish seriousness and insight.

The "Sistine Madonna" provides a clear example inherent in Raphael's images of movements and gestures. In the movement of her hands carrying the baby, one can guess the instinctive impulse of the mother, hugging the child to her, and at the same time the feeling that her son does not belong only to her, that she is carrying him as a sacrifice to people.

Raphael pulled out the image of the Madonna from the narrow sphere of Catholic views and turned it into flesh and blood. On the other hand, in the beauty of man, he found a deity.

The state of the soul, which has already left the earth and is worthy of heaven, is a deep, constant feeling, sublime, comprehending the secrets of heaven, silent, unchanging happiness, which is all contained in the words: I feel and I know!

The “Sistine Madonna” is the embodiment of that ideal of beauty and goodness that vaguely inspired the popular consciousness in the age of Raphael and which Raphael expressed to the end, parting the curtain, the very one that separates everyday life from inspired dreams, and showed this ideal to the world, to all of us and those who come after us.

The work of Raphael had a great influence on the development of European painting. The words belonging to the friend of the artist Castiglione are true: "his first life has ended: his second life - in his posthumous glory - will continue forever in his works and in what scientists will say in his praise."

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Introduction

humanism renaissance culture

Purpose: to understand what role the ideas of humanism played in the formation of the culture of the Renaissance.

1. To study and analyze literary sources on this topic;

2. Define the term humanism;

3. Analyze the work of the humanists of the Renaissance;

4. Reveal the influence of humanistic ideas on the culture of the Renaissance;

Subject: Revival culture.

Object: Creativity of humanists.

1. The concept of "Renaissance" and the periodization of the era

The Middle Ages, or rather the period of transition from medieval culture to the culture of modern times (XIV-XVII centuries), is called the Renaissance.

At this time, anti-feudal sentiments, humanistic worldviews, and an appeal to the cultural heritage of antiquity prevail in society. Hence the name "revival". The revival arose and most clearly manifested itself in Italy.

Elements of humanistic ethics and realism appeared in art. The art of the Renaissance is divided into 4 stages: Pre-Renaissance, Early Renaissance, High Renaissance, Late Renaissance. Chronological boundaries in different countries do not coincide due to historical circumstances. So the Renaissance in the Nordic countries of Europe is late compared to Italy. Rozin V. M. Introduction to cultural studies. M.: Infa-M Forum, 2000. p.158

The culture of the Renaissance reflected the specifics of the transitional era. The old and the new often bizarrely intertwined in it, representing a peculiar, qualitatively new alloy. The culture of the Renaissance is inseparable from the humanistic worldview. During the Renaissance, certain areas of science and culture were not yet completely differentiated, and many ideas were formulated not by professionals (there were few of them), but by artists, poets, and scientists. However, the Renaissance (especially the 16th century) was already marked by major scientific advances in the field of natural science. Its development, which in this period was directly connected with the demands of practice (trade, navigation, construction, military affairs, and others), of the emerging capitalist production, was facilitated by the first successes of a new, anti-dogmatic worldview. Rozin V. M. Introduction to cultural studies. -M.: Infa-M Forum, 2000. pp.86-87 A specific feature of the science of this era was a close relationship with art; the process of overcoming the religious and mystical abstractions and dogmatism of the Middle Ages proceeded simultaneously in science and art, sometimes uniting in the work of one person (a particularly striking example is the work of Leonardo da Vinci - an artist, scientist, engineer).

It is believed that the beginning of the era was in Italy and is associated with Florence in the 15th century. From here, this powerful cultural upheaval gained momentum, involving other regions of Italy, then France, Spain, communicating their ideas and discoveries to artists and thinkers in Germany, England, the Netherlands, Poland, the Czech Republic, Hungary, the Balkan states, infecting with confidence in the new possibilities of man. Shishova N. B. History and cultural studies. -M.: Logos, 2001. p.98 For the first time, Europe could unite on the basis of ideas that had not an orthodox-religious, but a universal, humanistic character. The birth of the idea of the limitless possibilities of man, but not only the idea, the birth of its active bearer - a new subject of culture - a humanist. This is how the Renaissance entered the history of human culture.

The era from the Renaissance to the Reformation is internally contradictory, passing from the old to the New time, it stretched out in many regions of Europe for more than three centuries.

Humanists, looking back into Antiquity, remained unconditional Christians. In their own lives, in their humanitarian studios, they connected two worlds of equal size - Antiquity and the Christian Middle Ages. Thus, the Renaissance sets a temporary unity unknown until now - the spiritual history of mankind. Remaining Christians and not infringing on the rights of the Holy Church, not renouncing the Almighty, but only trying to clarify His main plan for man, humanists entered the works, days, language and scientific studies of the ancient Romans and Greeks into the real world of Italian, and then all European everyday life. . Europe for the first time felt the living connection of times. Shishova NV History and cultural studies. -M.: Logos, 2001. p.103-105

Both humanists and reformers in their own way prepared Europe for a new turn in culture, and they also found words that still designate the era that began in the 17th century - the era of the New Age. Both of them foresaw and tried in their own way to implement the idea of the unity of human culture in its history.

2. Worldview

The new worldview that arose in the Renaissance is commonly called humanism (from Latin - human, humane). Separate features of humanism are present in ancient culture, but renaissance humanism was more voluminous and holistic.

Humanism means not only that a person is recognized as the highest value, but also that a person is declared the criterion of any value. This feature of humanism was expressed in antiquity by Protagoras: "Man is the measure of all things." Such a view presupposed the self-knowledge of man.

The humanism of the Renaissance manifested itself as the exaltation of reason as the main tool of knowledge. In fact, this meant the recognition of the dominance of the mind over the surrounding world. From this followed another feature of humanism - the belief in universal and infinite progress. Finally, the poetization of man and everything human entailed an aesthetic perception of reality, a passion for the beautiful and the sublime. The humanism of the Renaissance, without denying that man was created in the image and likeness of God, at the same time affirmed the right of man to unlimited creativity. It was in creativity, humanists believed, that, first of all, the likeness of man to God should be manifested. Markov A.N. History of world culture. M, 1997.-438s.

3. Philosophy

The socio-political and cultural conditions of the Renaissance favorably influenced the development of philosophical thought. In this regard, first of all, it should be pointed out that the philosophy of this time freed itself from the Christian church oppression, ceased to be a servant (slave) of theology and began to develop according to its own laws. This is first. And secondly, in the philosophical thought of that time - especially in the early period - almost all directions and shades of ancient philosophy were revived and began to actively operate. Here one could see both Aristotelianism (Peter Pomponazzi, Zabarella) and Neoplatonism (Georg Pletona, Marcio Feccino, Martin Luther, Thomas Münzer) and Stoicism (Petrarch), Epicureanism (Lorenzo Valla, Francois Rabelais), and skepticism ( Montaigne) and others. Shishova N.V. History and cultural studies. M.: Logos, 2000. p.76

The work of Francesc Petrarca (1304 - 1374), who is considered the first European humanist ("Canzoniere"), is widely recognized. His sonnets on the life and death of the Madonna Laura gained worldwide fame. A follower of Petrarch was the humanist writer Giovanni Boccaccio (1313 - 1375), the author of The Decameron, a collection of realistic short stories united by a common humanistic ideal and representing a single whole, who made a significant contribution to the development of the Italian literary language based on the folk.

Dante, Francesca Petrarch and Giovanni Boccaccio are famous poets of the Renaissance and were the creators of the Italian literary language. During their lifetime, their works became widely known not only in Italy, but also far beyond its borders, and entered the treasury of world literature.

But the philosophy of the Renaissance was not limited only to the revival and development (adaptation to its modernity) of ancient philosophy. Along with this, and in organic connection with this, the Renaissance enriched the history and content of the philosophy of all mankind with the development of new and important problems of worldview. The most important among them, which have not lost their acute relevance in modern conditions, is the formulation and development of the problems of Humanism.

4. Creativity of humanists

In his work - the beginning of many ways in which the development of the Renaissance culture in Italy went. In his treatise “On the Ignorance of His Own and of Many Others,” he resolutely rejects the scholastic scholarship inherent in the Middle Ages, in relation to which he defiantly proclaims his alleged ignorance, for he considers such scholarship to be completely useless for a man of his time.

The first humanist believed that the sciences of man should become the content of true philosophy, and in all his work there is a call to reorient philosophy to this worthy object of knowledge.

With his reasoning, Petrarch laid the foundation for the formation of personal self-awareness of the Renaissance. In different eras, a person realizes himself differently. A medieval person was perceived as more valuable as a person, the more his behavior corresponded to the norms adopted in the corporation. He asserted himself through the most active inclusion in a social group, in a corporation, in a God-established order - such is the social prowess required of an individual. The Renaissance man gradually abandons the universal medieval concepts, turning to the concrete, individual.

However, it would be wrong to idealize humanism, not to notice its individualistic tendencies. The work of Lorenzo Valla (1407-1457) can be read as a true hymn to individualism. In his main philosophical work “On Pleasure”, Valla proclaims the desire for pleasure as an inalienable property of a person. The measure of morality for him is the personal good. “I can’t quite understand why someone wants to die for their homeland. You are dying because you don’t want your homeland to perish, as if with your death it will not perish either. ” Such a worldview position looks like an asocial one.

“We do not give you, O Adam, either your own place, or a certain image, or a special obligation, so that you have a place, a person, and duties of your own free will, according to your will and your decision” Bragina L.M. Social - ethical views of the Italian Humanists. -M, 2003 .-303s..

Glorifying the power of man and his greatness, admiring his amazing creations, the thinkers of the Renaissance inevitably came to the rapprochement of man with God.

One way or another, the Renaissance, which replaced the Middle Ages, “built on” Christian ethics and contributed to the further development of humanism.

5. Science

If in the art of the Renaissance sensual corporality became the universal ideal and natural criterion, then in science this role was assigned to rational individuality. Not individual knowledge or opinion, but the certainty of individuality itself turned out to be the true basis of rational knowledge.

Everything in the world can be questioned, only the fact of doubt itself is undoubted, which is a direct evidence of the existence of reason. This self-justification of the mind, taken as the only true point of view, is a rational individuality.

The science of the Renaissance differed little from art, since it was the result of a personal creative search for a thinker. An artist is a seeker of true images, a thinker is a seeker of true ideas. The artist has a technique of representation, the thinker has a technique of clarification, or a method of cognition. The thinker is able to penetrate beyond the limits of the sensory world into the intentions of the Creator. And just as the creation of the world on the basis of perfect images continued in the artist's work, so in the work of the scientist God's plans for the world were revealed.

It may seem strange, but the tradition of seeing in pure reason a means of comprehending God and his plans, which was followed by Renaissance scientists, developed in medieval mysticism. This tradition originates in antiquity - in the teachings of the Pythagoreans, in the philosophy of Plato. Gaidenko P.P. Evolution of the concept of science.- M, 1999.-115p.

The humanistic orientation of the Renaissance was manifested in the fact that the scientific worldview of the era was associated with the problem of human existence.