The article investigates the peculiarities of Durer's aesthetic views in the context of Renaissance philosophy and the theory of cognition of Modern times. Its provisions are compared with fragments of texts by L.-B. Alberti, Leonardo da Vinci, Raphael. The semantic interrelationships of Durer's positions with mysticism, pantheism, natural philosophy and empiricism of Modern Times are emphasized. The interrelation of the problem of knowledge with the theme of freedom and beauty is considered in detail. The authors analyze various opinions and ways (...) of comprehending the beautiful, presented in the philosophical constructions of Durer, his concept of "rational knowledge", "scientific ignorance". Special attention is paid to the boundaries of freedom in Durer's representation. The novelty of the research lies in the fact that the presented concept of the evolution of A. Durer's aesthetic views helps to comprehend those contradictory trends that existed in the Renaissance itself. Thus, Durer believed that freedom conditioned by knowledge ends where attempts to transcend nature begin. A necessary condition for freedom is the understanding that the beautiful is relative. From the understanding of the relativity of the beautiful, from the concrete utopian program of its achievement, an imperative grows, meaning denial, the completion of the aesthetics of Rebirth. According to him, the artist should not limit himself to one type, but should be knowledgeable in various ways of depicting all kinds of types. In order to make such an image as is required of him. Thus, the professionalism of the artist, his experience, knowledge, recognition of the power of knowledge and, at the same time, understanding of its relativity – all this, as an achievement of the Renaissance theory of art, loses its meaning. All this is sacrificed to the tastes of employers. (shrink)

Within the framework of this article, the authors analyze the cycle of engravings "Apocalypse" by Albrecht Durer in the context of the categories of space and time that have developed in the history and philosophy of culture of the Middle Ages and Renaissance. The metaphysical essence of time, defined by Christian eschatology, found its vivid embodiment in the activities of many figures of artistic culture of that era. Apocalyptic moods, which largely determine the consciousness of people of the Reformation era, (...) were also inherent in A. Durer. The cycle of engravings "Apocalypse" in many ways should be considered as the quintessence of these moods and a reflection of the image of death that develops in this era. Space also acquires metaphysical characteristics, becomes heterogeneous, emotionally colored. The authors conclude that in the "Apocalypse" there is a mixed (and therefore very peculiar) interpretation of the category of time and space. It clearly shows the transition of the space-time representations of the Middle Ages to the ideas of time and space inherent in the New Time. It is also possible that we have before us one of the variants of the Renaissance mastery of the categories of time and space in the art of Europe. Attention is drawn to its openness and conscious demonstrativeness, because two artistic systems interact with each other on an equal footing; their stylistic potential and expressive means are used entirely, with full dedication and as a result, with maximum impressive force. (shrink)

The subject of research in this article is some aspects of the life path of a prominent figure of the Reformation in Germany, Philip Melanchthon, which influenced the evolution of his worldview. Special attention is paid to the facts of his biography, the characteristics of his early works, as well as his assessments of the confessional struggle and calls for the active involvement of administrative resources to crack down on dissidents. The methodological basis of this article is the dialectical approach, (...) in particular, the principle of the relationship between the general and the singular, as well as the principle of the unity of the logical and historical. These principles allow us to identify the ethical nuances of the evolution of F. Melanchthon's views as a Reformation figure based on his statements and assessments. Philip Melanchthon is often evaluated in the scientific literature as one of the founders of the new faith, the second most important after Martin Luther, whose merit was the attempt to reconcile humanistic views and new confessional interests. However, based on a detailed analysis of the material presented in the article, the authors come to the conclusion that Philip Melanchthon, having devoted himself entirely to the Reformation, renounced the German humanistic tradition of the XV century, the values of humanism represented in the works of Jacob Wimplefing, Johann Reichlin, Erasmus of Rotterdam, Thomas More, John Colet. Therefore, its classification as "Christian humanism" is erroneous. (shrink)