MUSIC AND PAINTING IN THE ARTISTIC AND PHILOSOPHICAL INTERPRETATION OF HRIGORIY SKOVORODA

Abstract

The article is devoted to the analysis of the interpretation of painting and music in the texts of H. Skovoroda. It is established that the basis of the interpretation of these topos is the biographical context and biblical symbolism. The works and epistolary of the writer, which express the author's attitude to music and painting, are analyzed.
It is highlighted that the reception of musical themes is characteristic of the poems and philosophical treatises of H. Skovoroda. This is represented by the musical vocabulary present in the works, as well as the inserted “musical” elements (songs, choral parts). It is emphasized that the philosopher's favorite instrument was the flute, but other musical instruments are also presented in the texts. It is traced that the peculiarity of their interpretation is baroque symbolism, allegoricality and biblical context. It is analyzed that the organ symbolize the Holy Scriptures, the trumpet – prophetic speech, the pipe and the flute – pastoral idyll, the instrument – a person, the song – human life.
It has been established that symbolic interpretation is also inherent in images from the field of painting: a painting personifies the Bible, a drawing – the invisible, and paint – visible nature. Other painting topos (brush, picture, proportion) also have a symbolic context. They, like musical images, serve as means of expressing philosophical ideas, in particular the idea of visible and invisible nature, related occupation. Graphic elements (emblems) in the structure of the treatise “Alphabet” are also traced. They testify to a certain painterly talent of the author, and at the same time – to his visual reception of allegorical-symbolic concepts.
It is proven that painting and music are not treated equally in H. Skovoroda: if music is a related occupation, recreation for the writer, then painting, on the contrary, is painstaking daily work.