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Piękno jako potrzeba ludzka

100%
Skolimowski H.
Estetyka i Krytyka
|
2003
|
issue 2(5)
68-89
PL
“Piękno” jest jednym z najważniejszych i najbardziej “dręczonych” pojęć w historii filozofii zachodniej. Piękno oślepia nas swoją wspaniałością i równocześnie opiera się naszym próbom jego zdefiniowania. Najpierw zostało zdefiniowane jako obiektywna własność przedmiotów i stanów rzeczy (Pitagoras i Platon). Później było rozumiane subiektywnie, jako własność umysłu: piękno tkwi w oku odbiorcy. Następnie, uległo głębokiemu kryzysowi, tak że od wieku siedemnastego do dwudziestego filozofowie unikali idei piękna. W tym artykule Autor stara się określić nowe – ewolucyjne – pojęcie piękna. W koncepcji tej piękno nie jest ani obiektywne, ani subiektywne, lecz jest uniwersalne oraz intersubiektywne (w obrębie gatunku); tzn. gdy jest postrzegane we właściwym ewolucyjnym kontekście. Walka o piękno jest nieodłącznym atrybutem kondycji człowieka. Bez piękna człowiek więdnie.
EN
“Beauty” is one of the most important and tantalising concepts in the history of Western philosophy. It dazzles us with its splendour and at the same times resists our attempts to define it. It was defined first (by Pythagoras and Plato) as an objective property of things and states of affairs. Next it was conceived as subjective — as a property of the mind: beauty is in the eye of the beholder. Then it underwent a deep crisis, so that from the 17th to 20th centuries, philosophers avoided the idea of beauty. In this paper we try to establish a new — evolutionary — concept of beauty. This concept proposes that that beauty is neither objective nor subjective, but it is nevertheless universal and intersubjective (within the species); that is when it is viewed in a proper evolutionary context. The quest for beauty is an inherent attribute of the human condition. Without beauty human beings wither.
2

Beauty and Judgement in German Aesthetics

100%
Marinescu A.
Human and Social Studies
|
2014
|
vol. 3
|
issue 1
124-138
EN
The birth of aesthetics in the 18th century marks the passage from beauty to fine taste and the emergence of art as a separate sphere of culture. Indeed, before the Renaissance, art is not viewed separately from handcraft and the craftsman does not receive the distinctive status of a specialist of beautiful, an artist. This is due to two sets of reasons: first, the transformation of beauty, which becomes little by little a matter of taste and is subjective, and second, the emergence in the European culture of a special status for the artist, distinguishing him from the artisan. This slow evolution announced at the beginning of the Renaissance, will be completed only at the beginning of the 19th century
3
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Piękno w filozofii Teilharda de Chardina

88%
Karas M.
Estetyka i Krytyka
|
2010
|
issue 19
61-71
EN
The article discusses the problem of beauty in the historiosophy of Teilhard de Chardin. When taking into consideration the writings of this French scientist, one may come to a conclusion that his whole philosophy is imbued with an aesthetic element. According to Teilhard, the world is beautiful and worthy to receive the highest worship. In spite of the fact that the beauty of the world arises gradually, it has become the domain of human creativity since the appearance of man on earth. Among the central themes of de Chardin’s reflection are optimism and universal evolution in combination with Christianity.
4

Beauty, Beautiful, and Beautifulness in Plotinus (Enn. I,6 [1] 6,13–32)

88%
ZAMORA CALVO J. M.
Eirene. Studia Graeca et Latina
|
2017
|
vol. 53
|
issue 1-2
127-149
EN
The purpose of this paper is to analyze Plotinus’ Ennead I,6 [1] 6,13–32, where the complex terminology in reference to beauty renders significant nuances about the different levels of reality in which the beautiful manifests itself. In fact, Plotinus begins by adopting an ascending approach, and postulates that the beauty of soul consists in being purely and entirely what it is: an incorporeal, intellective and divine form (6,13–21). Further on, in 6,25, he changes his perspective and proposes a hierarchy of beauties in descending order, departing from the Good, identified with the beautifulness, followed by the Intellect that is the beautiful, passing through the soul, made something beautiful by the Intellect, up to the sense objects, which are made beautiful by the soul (6,25–32). A close reading of the cited passage unveils how the general terms referring to beauty, at times overlapped, are better defined if considered within the frame the henological-processional schema of Plotinus’ ontology.
5
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Integracyjna rola muzyki w Kościele na podstawie nauczania papieży Benedykta XVI i Franciszka

88%
Nowak D.
Liturgia Sacra. Liturgia - Musica - Ars
|
2022
|
vol. 59
|
issue 1
317-326
EN
In the liturgy of the Church, music, among other things, is a factor that supports a living relationship with God and unites believers. Pope-emeritus Benedict XVI and Pope Francis for the modern Church are guides and supreme guardians who point out the sense of maintaining the proper level of music in the Church. In his search for the right ways of church music, Benedict XVI does not deal thoroughly with musicological issues, but from the point of view of a theologian, he looks for points of contact between faith and art. For the pope, the musical expression of praise to God remains in harmony with the Christian dogma of the incarnation, which is realized in the Church and the sacraments. Music is one of the elements that create a space for the continuation of the events of the incarnation. Submitting to integration, it purifies the human being, liberates and inclines thoughts towards God. The current Pope Francis constantly recognizes music in the Church as a unifying element of the community and as a means of proclaiming the faith. He considers it necessary to constantly renew liturgical music and chant, especially in terms of quality, so that Church music is fully inculturated in the artistic and musical language of today. Getting to know the richness of music and traditions of different parts of the world helps to preserve the tradition of the Church in the modern world and to enrich it with what the modern times bring. Such an updating builds a living community which by listening or performing music unites diversity in one song of praise to God. The theological perspective on the meaning of sacred music and its qualities allows for the proper use of music as an integrating factor for both the individual believer and the whole community. The theological perspective on the importance of sacred music and its qualities helps to make the right use of music as an integrating factor for the individual believer and the community.
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Divine Eros and Divine Providence in Proclus’ Educational System

75%
Terezis C., Tsakoymaki M.
Peitho. Examina Antiqua
|
2014
|
vol. 5
|
issue 1
163-176
EN
This study examines the way in which the Neoplatonic philosopher Proclus treats an episode of the dialectic communication between Socrates and Alcibiades in the Platonic dialogue Alcibiades I. More specifically, it refers to how the characteristics and the choices of two different types of lovers – the divinely inspired one and the vulgar one – are displayed in the aforementioned text. The characterization ‘divinely inspired lover’ befits a person who communicates in a pure way with his beloved one and attempts to teach the latter the objective values of the intellect. By contrast, the characterization of the ‘vulgar lover’ befits that individual that approaches another individual exclusively on the basis of his external beauty. The first type of lover is presented within the realms of the permanently qualitative, while the second as someone who satisfies solemnly his subjectivity and his instincts. Furthermore, it is interesting to note that Proclus argues that Socrates, whom he considers to represent the very definition of a divinely inspired lover, is inspired by divine powers and attempts to act towards to his fellows – in this instance to Alcibiades – in the way through which the divine providence is revealed.
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Shaftesbury`ego "Moraliści"

75%
Grzeliński A.
Estetyka i Krytyka
|
2002
|
issue 1(2)
103-110
PL
Tekst poniższy jest kontynuacją wstępu do tłumaczenia "Listu o entuzjazmie" Shaftesbury`ego (Estetyka i Krytyka nr 1), a także zarysem najważniejszych cech teorii estetycznej prezentowanej m.in. w "Moralistach". Są nimi: poszukiwanie emotywistycznych warunków doświadczenia piękna, niechęć do metafizyki, celowościowe tłumaczenie zjawisk. Charakterystyczny styl utworu, nawiązującego do Platońskich dialogów, ma na celu wzbudzenie entuzjazmu (podobnego do poetyckiego uniesienia) czytelnika, który może dzięki temu dostrzec idealny charakter piękna całości natury pojmowanej na podobieństwo dzieła sztuki. Podstawowym wymogiem doświadczenia estetycznego jest postawa bezinteresowna, zaś samo doświadczenie ma również charakter poznawczy: jest potwierdzeniem "jedności, zgodności i sympatii" spajającej cały świat, a w konsekwencji dobroci jego Stwórcy. Teleologiczny charakter rozważań sprawia, że piękno jest dla Shaftesbury`ego jedyną wartością estetyczną.
EN
This essay is a continuation of the introduction to translation of Shaftesbury`s works (published in the last issue of Estetyka i Krytyka) and to his aesthetic theory as presented in "Moralists" and in other works. The main features of the theory are: a search for the emotivistic conditions of the aesthetic experience, an aversion to methaphysics, and a teleological explanation of phenomena. The characteristic style of the work, deeply influenced by Plato`s dialogues, aims to arouse enthusiasm in the reader (something similar to poetic exaltation) in order that he might realize the ideal beauty of the whole world, regarded as similar to a work of art. The basic condition of aesthetic experience is a disinterested attitude. Experience also has a cognitive value, for it enables the observer to perceive the "unity, conformity and sympathy" that binds all phenomena of the universe, and, as a consequence, the goodness of its Creator. The teleological character of the inquiry makes beauty the only category in Shaftesbury`s aesthetic theory.
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Metafizyczne uzasadnienie koncepcji piękna Mikołaja z Kuzy

75%
Widomski J.
Estetyka i Krytyka
|
2003
|
issue 2(5)
140-145
PL
Artykuł ma przedstawić koncepcję piękna absolutnego i piękna jakie przynależy naturze i sztuce u Mikołaja z Kuzy. U podstaw tak rozumianej kategorii piękna leży założenie, że nie ma współmierności (proporcji) pomiędzy tym, co nieskończone, a tym, co skończone. Piękno absolutne odnosi Mikołaja z Kuzy do Boga, podczas gdy piękno panujące w świecie wynika z proporcji i harmonii. Koncepcja ta zgodna jest z poglądami na piękno Pseudo-Dionizego Areopagity.
EN
The purpose of the article is to introduce the idea of absolute beauty and the beauty, which belongs to nature and to art at Nicolas’ of Cuza thought. There is a supposition undertaking the foundation of such understanding of category of beauty that there is not commensurability (proportion) between the infinite and the finite. Nicolas of Cusa refers the absolute beauty to God while beauty existing in the world results from proportion and harmony. This idea of beauty is parallel to pseudo-Dionysius’ opinions on beauty.
9
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Body, Beauty, and Death in an Andean Context: A Self-Ethnographic Narration

75%
Segovia J. S.
Qualitative Sociology Review
|
2020
|
vol. 16
|
issue 3
86-105
EN
With this article I seek to build bridges between the different narrative elements where the body is situated as a central language, of experiences as a researcher in socio-cultural contexts of Bolivian indigenous peoples in the years 1984 and 1998. In this biographical period I have lived different reflective processes, frustrations, and successes that can contribute to an understanding of the framework of gender, ethnic, and political relations. This text, auto-ethnographic, enables us to see the deconstruction and subjective transformations in an androcentric context of a traditional Andean culture, as well as the investigative awareness achieved during interactions in the field. In my field work I have used tools from different disciplines (anthropology, sociology, social psychology), that are useful for validating the autoethnography as a methodological model to the gender autonomy, listening and learning the different ways of understanding corporal discourses. That is, I wish to recognize the value of various types of production and interpretation of knowledge, such as narration, arts, literature, film, and photography that favors emancipation of the peoples and their inhabitants.
10
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Entuzjazm i piękno w estetyce Shaftesbury`ego

75%
Grzeliński A.
Estetyka i Krytyka
|
2001
|
issue 1
149-154
PL
Dwa główne pojęcia teorii estetycznej Shaftesbury`ego (1673-1713) to entuzjazm i piękno. Entuzjazm przestaje być synonimem religijnego fanatyzmu (jakim był przed Shafbesburym) i powinien być traktowany jako poetycki (czy estetyczny) poryw, który pozwala odktyć piękno. W teorii tej pojęcie piękna posiada trzy znaczenia: zjawisk zmysłowych, wewnętrznego piękna ludzkiej duszy i piękna najwyższego ducha, ducha wszechświata. Artykuł ten jest wstępem do dwóch tłumaczeń pism Shaftesbury`ego: "Listu o entuzjazmie" (1709) - drukowanego w tym numerze i fragmentu "Moralistów" (1711) - który ukaże się w najbliższym numerze "Estetyki i Krytyki".
EN
Two main terms of the aesthetic theory of Shaftesbury (1673-1713) are enthusism and beauty. For Shaftesbury enthusism ceases to be a synonym for religious fanaticism and should be also meant as a poetic (or aesthetic) means which lets us discover beauty. The notion of beauty in this theory has three meanings: a sensual phenomena, on a kind of inward beauty of human soul, and the beauty of the Souvereign Genus or the Mind of the universe. The paper is an introduction to the two translations of Shaftesbury`s writings: "A Letter Concerning Enthusiasm" (1709) and a fragment of "Moralists" (1711) - the latter translation in the fortcoming number of "Estetyka i Krytyka".
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Beauty and the Cosmetic Secret

63%
Heggenstaller A. K., Rau A., Coetzee J. K., Smit R., Ryen A.
Qualitative Sociology Review
|
2018
|
vol. 14
|
issue 4
66-84
EN
Cosmetic surgery is often linked to the perception that women who resort to cosmetic interventions to alter their physical appearance are vain, superficial, and narcissistic. Few investigations have acknowledged and explored the individual’s personal motivations and experiences of her action and choice with regards to aesthetic surgery. By focusing on subjective experience, alternative insights can be gained on the cosmetic procedure(s) and on how their reshaped body influences an individual’s lifeworld experience. The article explores the perceived benefits and consequences of reshaping, enhancing, and/or reducing a perceived flaw or shortcoming of the body. From this exploration the focus moves to the individual’s subjective and intersubjective perceptions: how she motivates and justifies her physical transformation whilst keeping private, and at times hiding, her surgical intervention. Drawing on narratives from several women, we attempt to understand how they experience cosmetic surgery in terms of their personal sense of self and their everyday social reality.
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Piękno naturalne a piękno dzieł sztuki w "Kallias-Briefe" Fryderyka Schillera

63%
Kaśkiewicz K.
Estetyka i Krytyka
|
2003
|
issue 1(4)
25-51
PL
"Kallias-Briefe oder über die Schönheit" ("Listy o pięknie") stanowią fragment korespondencji wymienionej zimą 1793 roku między Fryderykiem Schillerem a jego przyjacielem, Christianem Gottfriedem Körnerem, wprowadzającej tego pierwszego w myśli filozoficzną Immanuela Kanta. Listy nie były przeznaczone do publikacji, stanowiły wymianę myśli na temat piękna, jakie zrodziły się po lekturze "Krytyki władzy sądzenia". W przyszłości miały stanowić trzon schillerowskiej koncepcji estetycznej. Ponieważ jednak treść tych 9 listów (6 Schillera i 3 Körnere) tworzą zwartą całość, późniejsi wydawcy i komentatorzy pism Schillera nadali im wspólną nazwę. Myśli wyrażone w "Listach o pięknie" odsłaniają estetyczne zapatrywania Schillera, w których piękno jest zjawiskiem wolności w świecie przyrody i które znalazły swój wyraz w późniejszych esejach (np. "O wdzięku i godności", "O wzniosłości"). Można zatem ująć "Kallias-Briefe" jako zarys koncepcji pięknego człowieczeństwa, wyrażony w późniejszych pismach Schillera.
EN
"Kallias-Briefe oder über die Schöheit" ("Letters on Beauty") are fragments of the series of letters exchanged in winter 1793 between Fryderyk Schiller, the German playwright, poet and philosopher, and his friend Christian Gottfried Körner, who introduced the German poet to the philosophy of Immanuel Kant. The letters not being intended for publication were just the exchange of thoughts and ideas concerning the value of beauty, the ideas that originated after reading Kant`s "Critique of Judgment". They were meant to become the core of Schiller`s theory of aesthetisc. Since the content og those 9 letters (of with 6 were written by Schiller himself and 3 by Körner) is a coherent whole, the publishers and commentators of Scholler`s writing gathered them under one title and since then they have been treated as such a whole. It is widely recognized that the views on aesthetics that found their shape in the "Letters on Beauty" aer a sketch of an announced yet never written essay on beauty. They express Schiller`s original aesthetic standpoint acording to which beauty is a phenomenon of freedom perceived in the world of phenomena of nature; we can find the same idea in the subsequent works by Schiller (such as "Anmut und Würde" and "Über des Erhabene"). Thus "Kallias-Briefe" can be seen simply as an introductory sketch of the conception of the beautiful humanity found in the subsequent writings of the philosopher. From this perspective all the mechanism of development of the philosophical conception formed in the shape of elaborated and finished essays prepared for publication is easily visible.
13
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Trynitarny wymiar piękna w świetle teologii symbolicznej Brunona Fortego

63%
Czura T.
Teologia w Polsce
|
2014
|
vol. 8
|
issue 2
165-176
PL
Potocznie przyjęło się traktować piękno jako wartość artystyczną, wydaną wyłącznie na żywioł sztuki. Podczas gdy jest ono drogą do jedności tak powszechnej, że obejmuje wszystko, ma charakter absolutnie powszechny. Nie ma bowiem aspektu życia, który nie byłby objęty zbawczym działaniem piękna. Nawet grzech naruszający harmonię i wprowadzający rozłam tam, gdzie panowała dotychczas jedność, nie może ostatecznie pokonać porządku, który zachwyca swym blaskiem. Piękno jest drogą do jedności absolutnej, ale nie totalizującej, czyli takiej, która uznaje i chroni poszczególne części tej całości. Jest ono słowem Słowa, trynitarnym blaskiem człowieczeństwa Logosu. Jeśli bowiem fundamentem człowieczeństwa w Bogu jest Słowo, to Jego pierwszym słowem skierowanym do ludzi jest trynitarne pię kno. Bóg w tym słowie daje człowiekowi najdoskonalszy paradygmat jedności.
EN
The subject ofthese considerationswill be the problemof beauty initsTrinitarian perspective and in the context ofthe symbolic theology of Brunon Forte, which providesthe appropriate toolstoexplorethi s issue. This article presents the beauty of the Father, who is the beginning without the beginning of the other divine persons, who eternally come from Him. The Father eternally begotten the Son and on the foundation on His relationship with Him, He creates the universe. In this way, by giving up being everything, God the Father becomes the beginning of harmony whose light reveals everlasting beauty. In turn, by the act of the Incarnation, the Son of God enables intra-Trinitarian harmony to reveal in the space of creation, which is wounded by sin. In Christ,it becomes possible tocompletethe unification ofsinful humanitywith the mercifulGod. Heis thereforethe only way tounity, reflecting theunityof the Trinity. Holy Spirit also builds the unity of both the Trinity and ecclesial space. For he is the bond of love between the Father and the Son; Their communion open to others. Thanks to that, he may serve a similar function in the community of the Church as he serves in the Trinity - uniting people. All this allows one to consider beauty as a beautifully mysterious attribute of God, manifested in the light of unity, which dominates in the Trinitarian relations. By the act of the Incarnation, this unity is shared by humanity.
14

Anglicisms in Online German Newspapers and Magazines. A Quantitative and Qualitative Analysis of Articles in ‘Die Welt’, ‘Der Spiegel’, and ‘Der Stern’ in February 2016

63%
Czech-Rogoyska A., Zboch M.
Social Communication. Online Journal
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2016
|
issue 1(13)
25-58
EN
Needless to say, words originating in English largely influence other languages. As postulated by Plümer [2000, p. 28], since the nineteenth century English has become the main donor language for German and due to the ongoing influx of Anglicisms used in German both in Fachsprache, i.e. German for specific purposes and on a daily basis, lexical interference between the two languages increases. Some linguists oppose the excessive use of words originating in English postulating that as a consequence, German may become a peripheral language, whereas others posit that it indicates openness to world and language development. The study focuses on the application of Anglicisms in German newspapers in February 2016. The corpus encompasses 90 articles in online versions of three newspapers, viz. Die Welt, Der Spiegel and Der Stern, structured into three categories, be it Beauty, Politics, and IT. Every category covered thirty parallel topics, in order to arrive at a succinct yet comprehensive summary of the total ratio of Anglicisms. The article was divided into four main categories, i.e. theoretical framework, quantitative analysis, qualitative analysis, and concluding remarks.
15
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Trynitarny wymiar piękna w świetle teologii symbolicznej Brunona Fortego

63%
Czura T.
Teologia w Polsce
|
2014
|
vol. 8
|
issue 2
165-176
EN
The subject of these considerations will be the problem of beauty in its Trinitarian perspective and in the context of the symbolic theology of Brunon Forte, which provides the appropriate tools to explore this issue. This article presents the beauty of the Father, who is the beginning without the beginning of the other divine persons, who eternally come from Him. The Father eternally begotten the Son and on the foundation on His relationship with Him, He creates the universe. In this way, by giving up being everything, God the Father becomes the beginning of harmony whose light reveals everlasting beauty. In turn, by the act of the Incarnation, the Son of God enables intra-Trinitarian harmony to reveal in the space of creation, which is wounded by sin. In Christ, it becomes possible to complete the unification of sinful humanity with the merciful God. He is therefore the only way to unity, reflecting the unity of the Trinity. Holy Spirit also builds the unity of both the Trinity and ecclesial space. For he is the bond of love between the Father and the Son; Their communion open to others. Thanks to that, he may serve a similar function in the community of the Church as he serves in the Trinity - uniting people. All this allows one to consider beauty as a beautifully mysterious attribute of God, manifested in the light of unity, which dominates in the Trinitarian relations. By the act of the Incarnation, this unity is shared by humanity.
PL
Potocznie przyjęło się traktować piękno jako wartość artystyczną, wydaną wyłącznie na żywioł sztuki. Podczas gdy jest ono drogą do jedności tak powszechnej, że obejmuje wszystko, ma charakter absolutnie powszechny. Nie ma bowiem aspektu życia, który nie byłby objęty zbawczym działaniem piękna. Nawet grzech naruszający harmonię i wprowadzający rozłam tam, gdzie panowała dotychczas jedność, nie może ostatecznie pokonać porządku, który zachwyca swym blaskiem. Piękno jest drogą do jedności absolutnej, ale nie totalizującej, czyli takiej, która uznaje i chroni poszczególne części tej całości. Jest ono słowem Słowa, trynitarnym blaskiem człowieczeństwa Logosu. Jeśli bowiem fundamentem człowieczeństwa w Bogu jest Słowo, to Jego pierwszym słowem skierowanym do ludzi jest trynitarne piękno. Bóg w tym słowie daje człowiekowi najdoskonalszy paradygmat jedności.
16
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La poesie erotique et metaphysique. Lieu de rencontre entre Oscar Milosz et Czeslaw Milosz

63%
Lubelska-Renouf M.
Prace Polonistyczne
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2015
|
vol. LXX
177-197
EN
In “Amorous Initiation”, Oscar Milosz tells the story of the love of Mr. Pinamonte for Clarice-Annalena. A chance meeting with a woman who is, among other things, easy and fickle, perhaps even a prostitute, becomes a mystical meeting with the divine. Annalena is ambivalent : An ordinary woman, a bewitching Circe, a Great Whore of Babylon, a sign of the beauty of creation, a symbol of God. Above all she is the way to Transcendence. Annalena reappears years later in the poem of Czesław Miłosz, and, in turn, invites the poet on a great voyage. This is a voyage through the woman to the other side of the looking glass, towards God. When I say “through the woman” it is to be taken literally: “I loved your velvet yoni, Annalena, the long voyages in the delta of your legs”. The woman in the poetry of C. Miłosz is as ambivalent as her prototype in “Amorous Initiation”. She is the incarnation of nature — a crushing, sucking, chewing, digesting thing, she is the fragile creature who arouses deep compassion, a travel companion, an incarnation of Beauty, and finally a symbol of the divine. We are now going to retrace this voyage through women in the poems of C. Miłosz.
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Modernism, Mysticism and the Pursuit of Freedom Bringing the initial instinct of the Modernists to its fullment in the model of the Christian mystic

51%
Szczecina L. Z.
Language. Culture. Politics. International Journal
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2021
|
vol. 1
171-191
EN
While one can certainly debate about the forms Modernism (in the artistic sense) manifested itself in and what actually qualied as Modernism, one cannot deny that the desire for freedom was one of its underlying tenets. In the 21 st century it would seem however that the desire for freedom has not been satiated. In the following essay I will explore whether emancipating art from a moral authority achieved the freedom modernist artists so deeply desired and I will question whether severing himself from objective truth the artist was allowed to fully thrive. Comparing Modernist concept's (Stream of consciousness, that art should reect reality and the emphasis on subjectivity etc.) with the fundamentals of Christian mysticism (i.e. the interior life) and by reconciling subjective experience with objective truth through the use of St John Paul II's philosophical anthropology I hope to pose an alternative path to satiate, truly satiate, the Modernist's thirst for freedom.
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Doświadczenie i ewolucja greckiego ideału piękna w koncepcji Pseudo-Dionizego Areopagity. Artysta jako pokorny hymnograf

38%
Miśkiewicz G., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
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2014
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vol. 12
EN
Beauty, as one of the key concepts of classical philosophy and affirmed by Christianity, is subject to further evolution. In its hierarchy, as Plato stressed, it rises from the physicality through actions and laws up to the truth that reveals beauty in and of itself – unchanging and eternal. Plotinus believed in the beauty of things from their presence in the ideal, which is true Oneness. Higher areas of beauty can be seen only by the soul. The culmination of Beauty as recognized Plotinus is the highest Beauty and the supreme Good in itself that gives everything and loses nothing. According to the theory of emanation, beauty also passes into deeds and cultivated activities, especially art, which as a tool portrays and reveals the essence of things. Participation in giving form to eternal beauty is possible because a man, an artist, has a vision of eternal ideas. Plotinus established a hierarchy of those, who because of their predispositions are able to advance and discover the beauty of the divine mind: musician – aficionado – philosopher. This three-stage initiation was transformed by Pseudo-Dionysius into the concept of the celestial hierarchy and the Church hierarchy. Together, they form the way to know God’s Truths. Highest beings receive the doctrine of God’s miracles by means of illumination. Next, they pass it down to the lower hierarchies so that they can glorify and receive God according to their predispositions. In this way, says Dionysius, the texts of the Bible provide the people with hymns, sung by the angels of the highest hierarchy in which was revealed the greatness of their extraordinary light. Hymns and canticles which are sung by the Church are a reflection of the spiritual hymns from the celestial hierarchy. According to Dionysius, any other being participates in beauty because it comes from God, and therefore it can become a source of the most profound contemplation. The concept of Plotinus implies breaking down barriers in the quest to catch a glimpse of beauty, suitable to lead both the musician, the artist, and the lover, so that they can see the true beauty. For Dionysius, the musician is a recipient and utterer of the beauty which is contained in the eternal, heavenly hymns. His faith makes him a tool of God, and he becomes a humble hymnist.
PL
Piękno, jako jedno z kluczowych pojęć filozofii klasycznej, przejęte przez chrześcijaństwo, podlegało dalszej ewolucji. W swej hierarchii, jaką kreślił Platon, piękno wznosi się od cielesności poprzez czyny i prawa aż do prawdy, która odsłania piękno samo w sobie – niezmienne i wieczne. Plotyn uzależniał piękno rzeczy od ich udziału w idei będącej prawdziwą jednością. Wyższe rejony piękna postrzegane mogą być jedynie przez duszę. Punktem kulminacyjnym piękna w ujęciu Plotyna jest Arcypiękno i najwyższe Dobro samo w sobie, które dając wszystko, nie bierze i nie ujmuje sobie niczego. Zgodnie z teorią emanacji to piękno przechodzi również na czyny i uprawiane zajęcia, w tym przede wszystkim sztukę, traktowaną jako narzędzie ukazywania idei, odsłaniającą istotę rzeczy. Udział w odwzorowywaniu piękna wiecznego jest możliwy, bo człowiek – artysta – chociaż stworzony ze zmieszanych substancji, posiada odblask wiecznych idei. Plotyn ustalił hierarchię tych, którzy ze względu na swoje predyspozycje, zdolni są odbyć drogę wzwyż i odkryć arcypiękno boskiego Rozumu. Są nimi: muzyk – miłośnik – filozof. Ta trójstopniowa inicjacja została przez Pseudo-Dionizego przekształcona w koncepcję hierarchii niebiańskiej i odpowiadającą jej koncepcję hierarchii kościelnej. Wspólnie tworzą one drogę do poznania boskich Prawd. Najwyższe substancje odbierają naukę o cudach bożych drogą iluminacji i dalej przekazują ją w dół, niższym hierarchiom, by i one mogły otwierać się na wysławianie i przyjęcie Boga, stosownie do swoich predyspozycji. W ten sposób, stwierdza Pseudo-Dionizy, teksty Pisma przekazały ludziom hymny śpiewane przez Anioły najwyższej hierarchii, w których ukazana została cała wielkość ich niezwykłej światłości. Hymny i kantyki śpiewane przez Kościół są więc odbiciem hymnów pochodzących z hierarchii niebiańskiej. Według Pseudo-Dionizego każdy byt, ponieważ pochodzi od Boga, partycypuje w pięknie, dlatego może stać się źródłem najpiękniejszych kontemplacji. Koncepcja Plotyna zakłada przełamywanie barier w dążeniu do ujrzenia piękna, odpowiednie poprowadzenie muzyka i miłośnika, aby mogli oni ujrzeć prawdziwe piękno. U Dionizego muzyk jest odbiorcą i przekazicielem piękna zawartego w wiecznych, niebiańskich hymnach. Jego wiara sprawia, że staje się bożym narzędziem, pokornym hymnografem.
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