შუა საუკუნეების ესთეტიკის ერთი ასპექტის შესახებ. ABOUT ONE ASPECT OF MEDIEVAL AESTHETICS

dc.contributor.authorგულიაშვილი/Guliashvili, ნანა/Nana
dc.date.accessioned2022-09-07T12:48:49Z
dc.date.available2022-09-07T12:48:49Z
dc.date.issued2022-07-14
dc.description.abstractAccording to the rationalist and scientist paradigm established in modern European culture, such unfair notions are still used in the assessment of the Middle Ages, such as backwardness, darkness, etc. The point is that the scientific spirit has become the only unmistakable factor in establishing the truth of the new time. Our aim is to show that the medieval picture of reality is based on the ontological preconditions by which that picture is conditioned. Thus, the assessment of the Middle Ages from the position of European rationalism is not entirely correct. This era is not an era of intellectual crisis, as modern-day thinkers understand it. In the medieval model of the relationship between man and reality, we find brilliant examples of thinking, what is demonstrated is the doctrine of John of Damascus about the “face-icon”. Nearly a millennium of “iconoclasm” has weakened some areas of culture. In particular, the development of religious fine arts has virtually ceased. But, it is this period that Byzantine culture should be thankful for, the formation of the whole Eastern Byzantine aesthetic theory. Face-icon theory combined ontology, epistemology, religion, art. The unification of all this was done on the basis of its aesthetic significance. The problem of the face-icon was also realized by the first Christian thinkers, but the issue comes to the fore only after the official ban on religious images. Iconoclasm was actively opposed by John of Damascus (675-749). Damascus believes that every face is a manifestation and display of everything hidden. Through the face man will know the world. The cognitive capacity of the human soul is limited by material nature, he can not clearly imagine the invisible, that’s why he thinks the face is made up, to act as a knowledge guide as well as to reveal the hidden. According to Damascus, “the divine nature is not described and is not reflected”. It is impossible to reflect an invisible deity, but the deity embodied in the human body must be reflected, this is also necessary. The Icon is the face of worship, worship is a sign of fear, obedience. The Icon is worshiped not its matter, but also the image reflected in it – the archetype.en_US
dc.identifier.citationივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტი ჰუმანიტარულ მეცნიერებათა ფაკულტეტი, აკადემიკოს მარიამ ლორთქიფანიძის დაბადებიდან 100 წლის იუბილესადმი მიძღვნილი XVI საფაკულტეტო სამეცნიერო კონფერენცია, თეზისები, თბილისი, 2022, გვ.: 75-78 / Ivane Javakhishvili Tbilisi State University Faculty of Humanities, 16th FACULTY SCIENTIFIC CONFERENCE IN HONOUR OF THE 100th ANNIVERSARY OF THE BIRTH OF MARIAM LORTKIPANIDZE, Abstracts, Tbilisi, 2022, pp.: 75-78en_US
dc.identifier.urihttps://dspace.tsu.ge/handle/123456789/1858
dc.language.isogeen_US
dc.subjectესთეტიკაen_US
dc.subjectსახე-ხატიen_US
dc.subjectონტოლოგიაen_US
dc.subjectგნოსეოლოგიაen_US
dc.subjectრელიგიაen_US
dc.subjectaestheticsen_US
dc.subjectface-iconen_US
dc.subjectOntologyen_US
dc.subjectGnoseologyen_US
dc.subjectreligionen_US
dc.titleშუა საუკუნეების ესთეტიკის ერთი ასპექტის შესახებ. ABOUT ONE ASPECT OF MEDIEVAL AESTHETICSen_US
dc.typeThesisen_US
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