The main socio-historical and socio-economic conditions that gave rise to a new stage and the development of aesthetic thought, artistic creation, architectural practice and theory. Awareness of the "dignity" of the individual. Theoretical substantiations of the principles of humanism and optimism in the spiritual life of society (Giovanni Picco della Mirandola, Lorenzo Balla). The rationalistic nature of aesthetics. Mathematical and geometric interpretation of beauty. The coryphaeus of the Renaissance in the field of art and the development of aesthetic thought (Alberti, Durer, Leonardo da Vinci), "Treatise on Painting" by Leonardo da Vinci as the source of the new interpretation of the nature of the Beautiful. Renaissance artists about creativity. Attitude to nature, its aesthetic characteristics. The place and role of the artist in the spiritual life of society. Architect in the Renaissance. The great pleiad of Renaissance architects and their theoretical works: Alberti (“On Painting”, “On Status”, “On Architecture”), FiF Laret (“Treatise on Architecture”), Palladio (“Four Books on Architecture”), Vasari (“ Lives of the most famous painters, sculptors and architects "). Renaissance architects about the aesthetic organization of the environment. Applied aesthetics in the Renaissance culture.
Revival on the threshold of the New time . The transition period from the culture of the Middle Ages to the Renaissance (the 13th and 14th centuries): Dante, Giotto, Petrarch, Boccaccio. Modern cultural studies on the cultural environment of the Renaissance: "the rise of culture" and (or) the beginning of the "crisis of culture."
New interpretation of European values. The attractor of the EC system in the Renaissance is humanism . The revival version of the value understanding of humanism: the protection of the dignity of the individual, his freedom and all-round harmonious development.
Theoretical substantiation of the principles of humanism and optimism in the spiritual life of society (Giovanni Picco della Mirandola, Lorenzo Valla).
The cultural environment of the Renaissance - as a culture of "choice" and the choice of culture. Choice - as a manifestation of creative freedom. The choice of ancient culture. Creative attitude to antiquity. Installation on cultural construction, on the cultural creation of their world.
Features of the Renaissance stage in the development of culture. One artistic system "Renaissance" and different, independent artistic subsystems - up to the XV century; XV century; XVI v .; to. XVI century.
The pathos of the 15th century is a cheerful discovery by a man of the world for himself. The man is a "young scientist." "The contemplative joy of the diversity of things" (Woolfin).
The 16th century is a reserved attitude to the world of the "venerable scientist."
Formation of personal consciousness as the basis of social consciousness. The personal consciousness of the Renaissance as - the glorification of the personality. Personality - the center of attention, interest, the highest value. Idealized view of personality . The ideal of personality: the unity and harmony of the rational and sensual; universal, comprehensively educated person.
The idea of human dignity. Human dignity is peace and simplicity. The dignity of man and his creative freedom.
Personality is the Creator , the Artist . The artist is not by profession, but the essence of the creator. The subjective inquisitiveness of the artist is a distinctive feature of the Renaissance culture. The value of the authorship of works in the culture of the Renaissance. Self-portrait genre.
The place and role of the artist in the spiritual life of society.
Renaissance Man is like the Universe.
The world - space - spacious, "his".
Different figures of the Renaissance Affinity of man and the universe. Variants of the similarity of the Universe and man (Rabelais, Leonardo, Raphael, Michelangelo, Durer).
Each person can become the center of the universe. Everyone can create their own universe.
The concept of the universe as endless and ever changing.
The relationship of the Renaissance culture to nature. The idea of the equilibrium harmony of man and nature in the culture of the Renaissance;
Selection and design of a viable, comfortable space.
The development of the land - the choice of man of the Renaissance. Cultural development of the land. The desire to create comfortable conditions for man on earth appears and is being realized.
"Opening" the depths of space and the depths of time .
Depth of space. This is a great geographical discoveries and "reverse perspective". Rethought The place of man in the world.
Knowledge is a union of accurate knowledge and imagination, fantasy and mathematical calculation.
Aesthetic culture of the Renaissance . A new stage in the development of aesthetic thought, artistic creativity, architectural practice and theory. Coryphaeus of the Renaissance in the field of art and the development of aesthetic thought (Alberti, Dürer, Leonardo da Vinci).
The rationalistic and pluralistic nature of aesthetics. The lack of a single aesthetic system. Aesthetic theory in the "format" of individual notes, aphorisms, diary entries.
A special place and the role of the ideal in the culture of the Renaissance. Conscious desire for the ideal, the conscious creation of the ideal. Ideal - the goal of creative human life
Aesthetics of the Renaissance - the science of art, the science of beauty .
Aesthetics of the Renaissance about art. Science and art are sisters. Art is a special sphere of manifestation of the artist’s creative personality and its individuality. Turning art into a method (Choisy). A special place of art in the culture of the Renaissance. Commonwealth - the harmony of science and art.
The great pleiad of Renaissance architects and their theoretical works: Alberti (“On Painting”, “On the Statue”, “On Architecture”), Philaret (“Treatise on Architecture”), Palladio (“Four Books on Architecture”), Vasari (“Biography” most famous painters, sculptors and architects ").
Beauty, decoration, decor in the aesthetics of the Renaissance (LB Alberti "On architecture"). Beauty is the result of cultural creativity; the embodiment of the earthly ideal of man. Different "faces" of beauty in the culture of the Renaissance.
"Treatise on painting" by Leonardo da Vinci - the source of a new interpretation of the beautiful nature. Mathematical and geometric interpretation of beauty.
Artists thinkers of the Renaissance of creativity. The conviction of the Renaissance culture in the unlimited possibilities of man in the works.
Ideal is the starting point, purpose and criterion of creativity. Creative installation: from the general, ideal to the particular.
The artistic culture of "Mannerism" and the individual style. Awareness of the problem of the creative method. The birth of individual formative concepts.
Cultural Environment Renaissance and architecture. New civilian objects: town halls, merchant guild houses, universities, warehouses, markets, etc. A new value understanding of the person and the appearance of the Palazzo - the city palace, country villa. New ideas of urban planning, reconstruction of urban centers. Projects of ideal cities. Particular attention to detail, to create comfort. Renaissance architects about the aesthetic organization of the environment. “Ideal City” is a favorite topic of the Renaissance.
Dreams of creating a harmonious environment “ideal city. (Leonardo, Alberti).
An open perspective, mathematically calculated proportions, the “golden section” are means of approaching the ideal.
New forms in architecture. Architecture "horizontal." "Horizontal" with visually clear, rationally calculated borders (F. Brunelleschi).
Epp architecture of the Renaissance. Aesthetic principles of formation as an interconnected organic system. Particular attention to the proportion in the works of artists of the Renaissance.
Aesthetic principles of shaping in the culture of the Renaissance and the creation of the ideal of beauty.
The ideal of the Renaissance architecture is natural-organic shaping. Dramatic variations in the interaction of two tectonic systems: order and wall.
Dynamic harmony between the "tectonics of gravity" and "overcoming the force of aggression."
"Tectonics of gravity" - as the personification of the forces of the Earth.
"Overcoming gravity" is an expression of a person's ability to overcome the forces of his cultural activities.
The architecture is similar to the self-awareness of the human dignity of the Renaissance culture. Calm and simplicity of its volumes, rhythms and forms.
Human perception of the Renaissance and centrism of the compositions of the Renaissance architecture.
Composition (integrity) - centricity, visibility, static, elegant, “life-affirmation”, comfort, comfort.
Harmony - uniformity, equivalence of nature and culture.
The measure is proportionality to the Renaissance man. The measure is a giant, idealized person.
Rhythm - from smooth, calm, solid, restrainedly majestic to "tense dynamics".
The architecture of the Renaissance - "artistic architecture". Artistry is an attractor of the Renaissance architecture system.
The artistic image is like a special, dominant function. Strengthening the role, place and meaning of expressive means and techniques of architecture. The artistic ideal is, above all, beauty.
The variability of the artistic image of the Renaissance architecture:
Peace, elegance, “cozy display” simplicity and severity “without the delusions of Gothic architecture of the XV century (Wolfin, Choisy). Nobility, grandeur, dignity, power, significance, degree, solemnity - “classical calm”, grandeur, festivity, “highly pathetic style” (Wolffin) of 16th century architecture. “The Energy of the Storm”, “the overlapping of pathos over the edge” (Woolfin) of architecture after the XYI century.
In creativity , as a target setting, conscious dilution of the function and artistic image takes place.
A variety of Renaissance architecture ratings.
Architect in the Renaissance. Architectural education in the culture of the Renaissance.
Applied aesthetics in the Renaissance culture.
Historical conditionality (the end of the XVI and the beginning of the XVII centuries) manifestations of pessimism symptoms in individual treatises and works of art (Michelangelo, Montaigne, El Greco, Shakespeare).
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