To understand how Plato distinguishes bad art, science, craft and practical-life behavior show large materials "Sophist", which is almost all, in fact, only consists of teachings on the arts. From the point - perspective of the new European aesthetics all these vast section of the arts "the Sophists" are sometimes just as some sort of exotic. However, we need to delve deeper into a very long series of differentiations "in the Sophist," to understand all the originality of the teachings of Plato on art, and also all its - obrazie ancient aesthetics.This is an overview of art in the "Sophist" in connection with attempts to define the concept of sophistic art. Still there were two such successive division of the arts, co - stavlyayuschej one definition. But Plato this is not orpa - nicelets and gives other sequential division of the arts. For the subsequent division of it uses already installed it above the concept of exchange of art, presenting it now in more detail. Barter art, according to Plato, can be either Daro - tion, or sold and can be sold or items made to sell themselves or made by others. Made others, too, can sell in our small shop, or to export to other cities. At this last her large and wholesale trade, one can pursue the goal of physical allowances and objectives relevant to the soul. Music, painting, trickery and many more is the subject of removal from town to town for sale and relates exclusively to the field of emotional needs. They also include the merchants who buy of knowledge the cities and sell them for money.
In some cases they prosecuted only the purpose of demonstration, a simple display, but in other cases there is a direct sold knowledge, and this knowledge has sold or is selling art (techn fipolicon), or knowledge of extparents. The latter is the art sophisticis - something, and then concludes with the construction of sophistry as sales of art, teaching virtue, to exchange the generic category of art. Here, therefore, the second main definition of the Sophist Further, Plato gives one a range of categories-arts detailing on this one too exposed already before the concept of co - schastlivogo art. The competition is either bickering or fighting, and the latter is either physical violence or verbal objection — the court or that the benefit is loshadkami contradictions. The contradiction can be me - nocnym and messy, but it can be methodical SPO - rum. The dispute can resrot all sorts of selfish reasoning in order easy gab, but you can do them iskani eat. The third definition of the Sophist consists in the fact that fights and empty costazuela . The fourth definition of the Sophist, with a forward by Plato art such as administering and Tauke carding, direct - Denia and weaving, Plato calls the common distinctive name, the art, because they are always something one is separated Then he puts first of all the thesis that even the creativity of the images is not quite that simple, as predstavlyaete co - fist. First of all the creative arts can be a divine - governmental and human , and, in addition, both the art and the gods and humans can create things (aytopoiëticon), or only the images of things . Obrazotvorche art is something that can come from the Sophist, because he can not actually create the earth, the sea, the sky and bpy a real miracle worker and can only create about one or the other view. Finally, Plato is obrazotvorche art calls then there's imitation , so far the neck division obrazovannogo art is at the same time and separation of types of imitation. After all this, — limiting the productive art work only some of the images, Plato and proceeds to a consideration of the productive arts. Obrabotanno art, according to Plato, is divided into upodobania when the imitation of things reproduces it in its literal size, RAM, and fantastic, when you draw something not being along, but only imaginary, and Plato's term phantasticon, of course, has nothing to do with the present disci - tions of the imagination, but only refers to him, these images, that nothing matches. This "fan - tastic" art is divided from Plato on is where the Creator operates with the help of any tools, and is where the Creator creates a Ghost without any special tools, its - his own body or voice.
Here Plato is again emphasized, what it he talking about imitation — that is, imitation, he refers to a special area of ghostly Fantasia. It fantazijnoe imitation, in turn, is divided by the imitation, knowing the object of his emulation and imitation of the ignorant object of his imitation. Unaware of leadership - are only subjective opinions (doxa), knowing the same use - lated by the method of objective description (histoйa). Here, among other things, Plato admits the obvious fluctuations in his terminology, because a few lines above he called the imitation of all fantasyyou imagery%3B immediately calls the imitation of only one section of this latter, which is based on ignorance and subjective, but not histoйa, which is based on the object - effective knowledge. Imitation, then, is not just subjective fantasies, but this is subjective of Fantasia still need to cast aside all objective knowledge and based only on subjective opinion%3B and only then will pure imitation. Finally, this last being either simple or porch-for art, clearly separating the complex to the simple. - dinaa easy to slowie, яснеfїшим understanding своіtства just simple. Art teaches us to act according to the rod, when my neuchem a particular soul, simple or slooo, the transition from simple to slooow or from complex to simple. With the art of words knows that the audience is shared and what is private, otherwise he would not have the art of words. "The expert swinsty chariot" — the one who can put her suchnost on clear elements and connect them into a whole, posname my mental and not just sensually . "The real art of government cares not about private, but about public interest, because common interests regard, private interests break state" — because in this case, the common - nie interests will be respected and better because throughout the life of the quotient will not interfere with the General . Thus, the highest form of art is the dialectic of the General and EDI-labor, case and mind still focused on the primacy of reason, and under the nature though and understands something more ancient, but still — subordinate. "Opinion, care, reason, art and law were previously hard, soft, heavy and light. Previously, there was also a great first piece and creating art, as they exist among the grass-roots%3B and that caused by nature, and nature itself — however, there is a name incorrectly applied — emerged later from art and reason and subject to them" . It is important to note that his dialectical understanding of art Plato brings not only to the Supreme intelligence that governs the cosmos, but also to the primordial that he is devoid всякоtі certainty and get this certainty only from the ideas. TA1"th first matter he directly calls created art - tively, ec technës .
"Artificially" hardly means here "random•", "unrealistic", "abstract". At least nick is such a disaster in space, arising apparently from the fact that they manage not only a reasonable idea, but Nesmelova perfomace - dence, did not violate his eternal harmony. Space taking them their food in its destruction, and all he suffers and commits itself in itself — by virtue of the laws of art . Thus, the real and primary art, according to Plato, is the influence of ideas, or Eidos, to a first matter and the functioning of the tion of this latter as "pospremiti" ideas. There is infinitely varied hierarchy of this interaction of ideas and matter. The lower region of space are less stable and more prone to different changes, until real disasters. The higher forms of such vzaimodeystvie — very stable-with its timeless art form, very rarely leave it, and it's leaving them harmless why give the gods what they do not need, it would be of no artistic value. It on g. Summing up all the previous arguments from the - relatively theory of art in Plato, and in formulating the General principle of this theory, one could say that art in Plato, with all the specifics of this thinker in the history of philosophy, is, quite simply, just nature. Art does sucesiones not different from nature — that's the main thesis and Platonic and all in General classical aesthetics. But this kind of principle suggests a number of other principles without which it octava.
In some cases they prosecuted only the purpose of demonstration, a simple display, but in other cases there is a direct sold knowledge, and this knowledge has sold or is selling art (techn fipolicon), or knowledge of extparents. The latter is the art sophisticis - something, and then concludes with the construction of sophistry as sales of art, teaching virtue, to exchange the generic category of art. Here, therefore, the second main definition of the Sophist Further, Plato gives one a range of categories-arts detailing on this one too exposed already before the concept of co - schastlivogo art. The competition is either bickering or fighting, and the latter is either physical violence or verbal objection — the court or that the benefit is loshadkami contradictions. The contradiction can be me - nocnym and messy, but it can be methodical SPO - rum. The dispute can resrot all sorts of selfish reasoning in order easy gab, but you can do them iskani eat. The third definition of the Sophist consists in the fact that fights and empty costazuela . The fourth definition of the Sophist, with a forward by Plato art such as administering and Tauke carding, direct - Denia and weaving, Plato calls the common distinctive name, the art, because they are always something one is separated Then he puts first of all the thesis that even the creativity of the images is not quite that simple, as predstavlyaete co - fist. First of all the creative arts can be a divine - governmental and human , and, in addition, both the art and the gods and humans can create things (aytopoiëticon), or only the images of things . Obrazotvorche art is something that can come from the Sophist, because he can not actually create the earth, the sea, the sky and bpy a real miracle worker and can only create about one or the other view. Finally, Plato is obrazotvorche art calls then there's imitation , so far the neck division obrazovannogo art is at the same time and separation of types of imitation. After all this, — limiting the productive art work only some of the images, Plato and proceeds to a consideration of the productive arts. Obrabotanno art, according to Plato, is divided into upodobania when the imitation of things reproduces it in its literal size, RAM, and fantastic, when you draw something not being along, but only imaginary, and Plato's term phantasticon, of course, has nothing to do with the present disci - tions of the imagination, but only refers to him, these images, that nothing matches. This "fan - tastic" art is divided from Plato on is where the Creator operates with the help of any tools, and is where the Creator creates a Ghost without any special tools, its - his own body or voice.
Here Plato is again emphasized, what it he talking about imitation — that is, imitation, he refers to a special area of ghostly Fantasia. It fantazijnoe imitation, in turn, is divided by the imitation, knowing the object of his emulation and imitation of the ignorant object of his imitation. Unaware of leadership - are only subjective opinions (doxa), knowing the same use - lated by the method of objective description (histoйa). Here, among other things, Plato admits the obvious fluctuations in his terminology, because a few lines above he called the imitation of all fantasyyou imagery%3B immediately calls the imitation of only one section of this latter, which is based on ignorance and subjective, but not histoйa, which is based on the object - effective knowledge. Imitation, then, is not just subjective fantasies, but this is subjective of Fantasia still need to cast aside all objective knowledge and based only on subjective opinion%3B and only then will pure imitation. Finally, this last being either simple or porch-for art, clearly separating the complex to the simple. - dinaa easy to slowie, яснеfїшим understanding своіtства just simple. Art teaches us to act according to the rod, when my neuchem a particular soul, simple or slooo, the transition from simple to slooow or from complex to simple. With the art of words knows that the audience is shared and what is private, otherwise he would not have the art of words. "The expert swinsty chariot" — the one who can put her suchnost on clear elements and connect them into a whole, posname my mental and not just sensually . "The real art of government cares not about private, but about public interest, because common interests regard, private interests break state" — because in this case, the common - nie interests will be respected and better because throughout the life of the quotient will not interfere with the General . Thus, the highest form of art is the dialectic of the General and EDI-labor, case and mind still focused on the primacy of reason, and under the nature though and understands something more ancient, but still — subordinate. "Opinion, care, reason, art and law were previously hard, soft, heavy and light. Previously, there was also a great first piece and creating art, as they exist among the grass-roots%3B and that caused by nature, and nature itself — however, there is a name incorrectly applied — emerged later from art and reason and subject to them" . It is important to note that his dialectical understanding of art Plato brings not only to the Supreme intelligence that governs the cosmos, but also to the primordial that he is devoid всякоtі certainty and get this certainty only from the ideas. TA1"th first matter he directly calls created art - tively, ec technës .
"Artificially" hardly means here "random•", "unrealistic", "abstract". At least nick is such a disaster in space, arising apparently from the fact that they manage not only a reasonable idea, but Nesmelova perfomace - dence, did not violate his eternal harmony. Space taking them their food in its destruction, and all he suffers and commits itself in itself — by virtue of the laws of art . Thus, the real and primary art, according to Plato, is the influence of ideas, or Eidos, to a first matter and the functioning of the tion of this latter as "pospremiti" ideas. There is infinitely varied hierarchy of this interaction of ideas and matter. The lower region of space are less stable and more prone to different changes, until real disasters. The higher forms of such vzaimodeystvie — very stable-with its timeless art form, very rarely leave it, and it's leaving them harmless why give the gods what they do not need, it would be of no artistic value. It on g. Summing up all the previous arguments from the - relatively theory of art in Plato, and in formulating the General principle of this theory, one could say that art in Plato, with all the specifics of this thinker in the history of philosophy, is, quite simply, just nature. Art does sucesiones not different from nature — that's the main thesis and Platonic and all in General classical aesthetics. But this kind of principle suggests a number of other principles without which it octava.
