Picture-allegory

[Laura]

"Melancholy" Dürer

Art historian C. G. Nesselshtraus in the capital work (Nesselshtraus, 1961: 144-153) presents a brief within ancient and medieval doctrine of the four temperaments, carefully highlighting the melancholic temperament and thinking about it, the different views on the melancholy, the new representation of the melancholic in the Renaissance, reflected so strongly in the engraving of the great German Renaissance artist Albrecht Durer's "Melancholia" (1514).

In ancient and medieval times it was customary to assume that the melancholy induced by the Earth under the sign of Saturn, the dry, cold, embodies the evening, autumn and old age, while sanguine generated by the air under the sign of Jupiter or Venus, carries humidity, warm air embodies the morning, spring breeze, youth, choleric, generated by the fire under the sign of Mars, is a dry and hot, embodying the afternoon, summer, maturity, and the phlegmatic, generated by the water, so depending on the "cold and associated with the sea of ​​the moon" wet, cold, a relative of the night, winter, old age.

Medieval Medicine and the worst danger was of a melancholy temperament (Villanova, 1970: 35-36). "People in this category - writes C. G. Nesselshtraus - characterized by the addition of awkward, skinny, dark skin, dark hair and eyes, they are gloomy, sad, inert, lazy, they are characterized by greed, greed, deceit, they are vicious and cowardly , shunned society and seek solitude. " These "unpleasant and unfortunate people," born under the sign of the unhappiest of all the planets, more than any other subject of mental illness. "The only thing to some extent, they can serve as a consolation, and sometimes redeems or mitigates their weaknesses - which is manifested in some of their penchant for science and thinking that they indulge in their solitude."

[SPOILER] Melancholic temperament in Gothic art "is usually associated with laziness - one of the qualities attributed to this category. Sleeping next to plow a farmer, asleep beside the crucifix burgers, dozed off at the spinning woman, and sometimes a whole family sleeping or lounging idlers - in these and similar images is presented in a series of engravings Melancholia dodyurerovskoy pores "[1].

Durer, as the Nesselshtraus, in his celebrated work on "Melancholy" has relied on the prevailing during the second half of XV century Italian humanists in the environment a new interpretation of the melancholic temperament that comes from Aristotle's position that special melancholic anxiety, being abnormal, causes mental illness as well as normal or only slightly painful, "stimulates the mind and the acuteness of the senses."

"Affected then depression, excessive exuberance, melancholic as it always teetering between two precipices, but their path lies above the level of mediocrity, his talent melancholic surpass all other mortals. According to Aristotle, "all great men, distinguished in philosophy, in public affairs, in poetry or art - melancholic, some even to the extent that they suffer from ill health caused by black bile." Based on similar views, Plato developed his theory of "divine madness" which he considered the highest accessible only to selected, a form of enlightenment. "

Nesselshtraus notes further that "the views of Aristotle and Plato were known for the medieval Scholastics," but in those days, "when faith took precedence over reason and the human talent did not attach much importance, they could not affect the assessment of adverse melancholic temperament. Only in the Renaissance interest in the development of personality, intelligence and talents of man has created a way for the resurrection of the theory of Aristotle and Plato. Now, a melancholy temperament, the past was only fear and contempt, was surrounded by a halo of genius. What was once considered a misfortune, although it was dangerous, but an enviable gift. Without denying the shortcomings of the melancholic temperament, the Italian humanists, however argued that it was his owners have created a higher value generated by the human mind. " Now, many began to imitate melancholic. It was found that "the Greek philosopher Plotinus also had a high opinion of the god Saturn, as Aristotle melancholic temperament. According to Plotinus, Saturn, being older than all the gods, is closer to the original source of life than those born from him, Jupiter and other gods. This ancient god of embodies the highest intellect, because he created everything that seized and that only understand others. Naturally, the planet Saturn was a welcome patron saint for those who sought to penetrate the secrets of the universe. Many in those days were given to the protection of the planet while trying to protect themselves from its harmful effects by wearing special amulets. "

Let us feel and think over how to analyze T. G. Nesselshtraus "Melancholy" by Durer, which lie in the conception of the new, humanist view:

"... We face the sea shore, water, and unlimited distance twilight sky, cut by a rainbow and the sinister rays of a comet. In the foreground, surrounded by scattered in disarray carpentry and construction tools, sitting, resting his hand the head, lost in deep thought winged woman. In her hand she unfurled a compass attached to his belt a bunch of keys and purse. Nearby on the ground lies a wooden bowl, a large stone is seen on a polyhedron, which is due to the melting pot looks. Behind the woman climbed to the grindstone sullen boy with difficulty takes something on the board. Near curled into a ball skinny dog. On the right rises in the depths of a stone building, perhaps unfinished, because to him leaning against a wooden staircase. On the walls of the building hanging hourglass, scales, and a bell and traced a magic square. In the sky, in the light of comets spread out the wings of a huge bat. On the wings of the mouse inscription: "Melancholia I» (...) Immediately sensing that the winged woman oppressed by doubt and frustration, the audience, however, becomes a dead end in front of many scattered hints here. Why melancholy depicted winged, which means its inaction, which depicts a little boy behind, what is the value of the magic square, which are scattered around the instruments, what is the meaning of the numbers «I»? »

From the old prints of various artists depicting Melancholy mocking hostility, Durer, "retains a traditional gesture commonly accompanies gloomy meditation - holding up the head arm. He also retains and idleness as a feature inherent melancholy, but the idleness of a winged woman in Durer's engraving is not caused by laziness. Do not sleep, but doubts have paralyzed its activities. Instead of lazy or sloppy housewives in the engraving by Durer in front of us a supreme being, which has a rich intellect, surrounded by the tools of creative work, but fallen into a painful thought. " Magic square (a square with numbers whose sum of all horizontal and vertical rows of the same) to amplify, was believed to impact on the person on the planet Jupiter is likely to have a talisman, guarding against the evil influence of Saturn. Saturn is considered the patron of agriculture and "geometry - the science that has grown, as is evident from its name, from surveying. Therefore, Dürer thought it possible to provide the attributes of Melancholy, which is usually endowed while the personification of geometry. In essence, he submitted his melancholy as a Geometry. "

Melancholy - "the image of owning all the achievements of human thought and science genius who dared to penetrate the secrets of the universe, but stopped suddenly in front of an obstacle." Shown in this engraving by Durer "unquenchable thirst for knowledge was in harmony with his epoch, when the great, transformed the world of discoveries and inventions have generated a strong belief in the boundless possibilities of the human mind (...) For an external passive winged woman guessed bold the flight of human thought, ready to join the audacious rivalry with God. "

Dürer's Melancholia is close to his own spiritual world thirst for knowledge, doubt, frustration, disappointment, and a strong desire "to the extent possible approach to truth and beauty." "In" Melancholy, "he (Dyurer. - MB) embodies only those familiar doubts himself, who always stand in the way of creative genius. Each success opens up new horizons and at the same time make it again and again to make sure in the immensity unknown. But if this rise in dissatisfaction with it, it also pushes him to new daring. "

Dürer himself suggests that "tied to his belt Melancholy keys are a symbol of power and the purse - wealth (this is the usual attribute of melancholic, meaning well and stinginess). The bat is associated with melancholy because her element - the evening twilight, and accompanied her to the loneliness and despair, the dog is because of all the animals it is endowed with the highest intelligence and at the same time more than any other subject of rabies, saw what the relationship with a penchant melancholic to mental illness. Sitting on the millstone something hard drawing a boy, perhaps, represents the practical activity, devoid of knowledge and thought. "

But the most mysterious of all the allusions contained in this engraving is a figure of «I», inscribed on the wings of a bat next to the word "melancholy". Now assume that the key to its interpretation of his work to be found in the famous German scientist and magician Cornelius Agrippa of Nettesheim 'On the occult philosophy. " This book develops the idea of ​​the existence of three levels of human genius. The first of these are people with imagination and living in a world of spatial representations - the artists and artisans, on the second stage are those who have dominated his mind, - the scientists and statesmen, and finally, the highest, the third level are those who prevail intuition, which allows them to rise to the apprehension of divine truth, from among them go theologians and prophets. Since, according to this classification, "Melancholy" Dürer to its geometry attributes should be assigned to the first stage of crafts and arts - it is possible that the figure «I» is the designation of this level.

It seems that the magic of engraving (this spiritual self-portrait of a great artist) lies in her psychotherapy, psychoprophylactic effects directed to the melancholic: the greatness of wistful melancholy reveals a doubt, the spiritual force of uncommon intellectual melancholic physical weakness, impracticality in a broad sense.

All this is well-known detail is important to know the person with defenzivnostyu, in order to mitigate, to dispel the painful experience of his inferiority, or at least feel great uncertainty about the thoughts of his unworthiness. Showing slides of prints, illustrations, in albums, I talked about this melancholy, anxiety, depression, self-conscious patients in the dark, cozy atmosphere "psychological room", and here, among the healing candles and beautiful cups of tea, they talked excitedly about these important for the state of moments, and I explained that their emotional difficulties are not called in the old way are now called: if all these experiences, disorder called the "melancholy," and these people - "melancholic."

[Laura]

PSYCHOLOGY OF TRAGIC IN PICTURES Hieronymus Bosch and Pieter Bruegel the Elder
Con Son GR,
HCA them. Maimonides,
Moscow

The article is devoted to studying the psychology of the tragic scenes in the famous no-derlandskih painters - Hieronymus Bosch and Pieter Bruegel the Elder. For the study of the problem created by the author based on one of the greatest scientists, psychologists, Russia in the first third of XX century, Lev Semenovich Vygotsky methodology of understanding works of art that generally makes it possible to reveal the depths of the strata-nye analyzed the content of paintings, clarifying them the essence of tragic-ray and his psychology.
Key words: psychology of the tragic, Hieronymus Bosch, Pieter Bruegel the Elder, Netherlandish painting, story line and plot, good and evil, ethics and aesthetics.

PSYCHOLOGY OF TRAGIC
AT THE PAINTINGS OF HIERONYMUS BOSCH
AND PIETER BRUEGEL THE ELDER
Konson G. R.,
State Classical Academy by Maimonides
Moscow
The article is devoted to the study of the psychology of tragic in the artistic heritage of famous painters of Netherlands - Hieronymus Bosch and Pieter Bruegel the Elder. To study the problem posed by this paper his author is based on the methodology of comprehension of a work of art created by one of the greatest scientists of Russia in the first third of XX century, Lev Semenovich Vygotskiy. This makes it possible to reveal the deep layers of the contents analyzed in this paper works of art, clarifying aspects of the embodiment in researched works the tragic and its psychology.
Key words: psychology of the tragic, Hieronymus Bosch, Pieter Bruegel the Elder, the Nether-lands painting, story and plot, good and evil, ethics and aesthetics.
 
 
On duality in Psychology
perception of paintings by Hieronymus Bosch
and Pieter Bruegel the Elder


     In the perception of figurative and semantic aspects of the paintings of Bosch and J. P. Bruegel the Elder inhomo-cially, single marked a certain sequence, originating from the external emotional of perception to a deeper. A close friend of Bruegel, a distinguished geographer and cartographer A. Ortelius wrote that "in all his works should always be able to understand more of what is shown" [op. at 9, 40]. This trend is stronger in the domestic literature of the Bosch and Bruegel. Known boskhoved G. Fomin to focus on what at first glance, the paintings of Hieronymus Bosch created a sense of unsophisticated genre pictures, but when when-steel examination revealed a complex theological or cosmological concept see [10, 13].
According breygeleveda A. Lewandowski, in paintings by Brueghel, "a cursory inspection of integer-one dish, but on closer - is another" [12, 289]. Initially perceived umili-tional scene (such as "Children's Games" by Brueghel), but in reality - a picture of severe beatings [see 12, 287].
[SPOILER] on a kind of duality in the paintings of Brueghel the content of written Hungarian artificial-voved E. Selleshi: "At first glance, the warm, red color spots, sparkling in the sleep-Gennes town in" The Massacre of the Innocents in Bethlehem "... cause the mood fun genre picture. However, the topic of this work is cruel, and a careful look at the picture shows how the tragic events in this friendly atmosphere "[18, 17]. Add to this the opinion of the national art critic Daniel S., "Bruegel painting suggests the effect of pre-deceived expectations. The mass of people swarming in the inn, all-the general excitement, bright colors, an abundance of details, etc. - All this, at first glance, the impression of a normal, full of lively business-like picture of the world. But she looked closely, the viewer discovers the fantastic absurdity of what is happening "[7, 18]. In Bruegel's paintings, according to T. Baskakov, you need to get used to, to understand them intuitively. Send your impressions of them, "using only" rational "means of expression," it is impossible [1, 9].
    As a result, it seems that in the paintings of both artists there is any pattern, whereby the impression of movement. However, the art - the art of non-temporary. Therefore, the embodiment of the movement as a process of organizing the dramatic picture, it is impossible. But even superficially Bosch, which existed before it changed the structure of the Netherlands altars (prochityvaniya content of paintings from the center to the edge of it, the valves) [see 10, 123], introduced the principle of reading the story left to right. Govo-series Fomin words, "the creation of the world and human life on earth by the sins of retaliation, thus giving the length of time the story of human history and the logical sequence of his moral vision" [10, 123].
     In connection with the discovery of a contradiction - a non-temporary painting art form and feel a kind of plot and psychological movement in the paintings of Bosch and Bruegel - try to find out the reasons for such an impression as it really?
     To decrypt the paintings of Bosch and Bruegel turn to a method of psychological analysis of works of art, Lev Semenovich Vygotsky applied. Although he studied art and considered art, but his theory of the interaction of the plot and story in the literature was the fundamental and other art forms. This method was generally significant because it reflects the vital processes which are at present in the system have received understanding of psychology. Here, in particular, we study the conflict between individual rights and aspirations of their implementation, more even, quite often their realization in my life, "many of us dreamed of being scientists, doctors, dance schitsami, actresses, writers, musicians, and became accountants, economists and lawyers.
     We have tormented the rest of his life, hated doing the work, sometimes in the heart warming thoughts about unrealized dreams "[21]. To understand this phenomenon helps the teachings of L. Vygotsky's two models of the human mind - a realistic and autistic (dreamy). In his judgment, "the right knowledge of reality is impossible without a certain element in-obrazheniya without departure from reality, from the immediate, concrete individual impressions that this reality is presented in elementary acts of our cos-naniya" [3, 453]. In such a divergence of human dreams and reality is seen not only the interaction of two types of thinking, but the mismatch in life the plot and the oo-Geta.
     Recall that in his theory of Vygotsky identified two as mutually exclusive to the direction of ¬ drama: the pursuit of goals and avoiding it. The first direction - external, visible - is the plot line [4, 75]. Second, masking the pursuit of goals, internal, often encrypted content, the plot is a line [4, 188-189], in fact, underwater, for a psychological plot. Clashes also generate their emotional and psychological closure.
     Research works of Bosch and Bruegel usually also held positions with several angles. G.Fomin by analyzing the contents of multiple layers of paintings of Bosch, came from the medieval notion of interrelationship of world events, and found there are four basic meanings:
- Literally - in the concept of a story outline Fomin, consisting of "specifically the tangible forms of the human world of everyday life" [10, 122];
- Figurative or allegorical, is associated with the interpretation of the Bible, studying the parallels between the leu-Old and New Testament, of comparing the present Events of time with a long past;
- Moral and instructive, by which moral positions are identified Bosch, his satire, grotesque interpretation;
- A secret, which is expressed astrological symbolism of the Middle Ages. This level of picture is revealed through encrypted poetic images - pictures of nature, the traveler, domestic animals, birds, geometric shapes, even the shoes of [see 10, 122-125].
     Thus, in all the four levels identified Fomin, revealed the existence of the plot or story. In the literal sense of this fact (if you qualify in terms of Vygotsky's theory) refers to the fable, the moral - the plot, allegorical - associative-dissociative interaction of plot and story, a secret - a sort of step phase-shift Buly in the plot. Otherwise - the plot in all aspects of the figurative meaning is presented through the invariable scene control, which could already anticipate the next philosophical concept - XVII century, showing the plot through the prism of moral sense (moral sense - the term EE K. Shaftesbury).
     Charles de Tolnay in the works of Bosch reveals other aspects that lie along the lines of its new ethical-psychological concept of understanding the world picture, which is due to its dilapidated mo-General in the understanding of the artist is only an illusion. Tion contained in it includes the following components:
- Fraud, which is masked by virtue and holiness, as well as the actual content. In line with this perception of the world is the opinion of N. Nikulin, which determines the perfect vision in the central part of the triptych "The Garden of Earthly Delights" as "deception and delusion, under which lie the sins and vices" [16, 360];
- In connection with the interpretation of the world as deceptive phenomena change in the understanding of the tragic and the comic sense to the picture [see 22, 48];
- Dream and reality;
- The emergence of terror and disturbing images of beauty, fear and pleasure [22, 36]. Charles de Tolnay writes that in the later period of his dreams, Bosch makes the character even in lotnam on the biblical story, for example, in "The Carrying of the Cross." According to the scientist, "the space of this work has lost all touch with reality. Lost among risen from the darkness and huddled like a weightless bubble heads, Jesus sleeps with his eyes closed-mi. It was he dreaming this whole nightmare. In his motionless face just dropped to the bottom corners of the mouth give an oppressive fear of asphyxiating, boiling mass of people executed threat "[22, 35]. To this we add that hibernate Christ - does not mean netragichesky. His aspirations depleting dreams, which are "psychic product of" a person [the term Freud, 19, 95], are specified in the disputed him, grotesquely tragic emo-tions. If you compare his appearance to some paintings by Italian artists (for example, worked in Ferrara, Parma master Gian Francesco Miner), we find that Christ is his Sleepless in the film "Christ Carrying the Cross" is not tragic, but rather a lyrical way, but still with a touch of mannerism.
     Thus, the marked antithesis Tolnaem are in duality, that is, the psychological dimensions of a literary text, in images where the reality, obviously, should have been disclosed to the content side of the fable, and likah sleep and deception - the story.
N. Gershenzon, in the paintings of Brueghel Chegodaeva sees a duality, a source of which is actually a combination of visual and verbal forms of creativity, "Literature, Scripture, folklore", omitted through the soul of the artist [5, 4]. As a result, according to the researcher, the nature of the impact of art on the Breughel produces a dual audience - both aesthetic and literary and preaching [5, 4], or else, as we define it, literary and ethical. In addition, a scientist finds a painting by Brueghel deeply inherent higher meaning associated with the medieval tradition of embodiments of good and evil, eternity and fuss, one hundred light-and dark-ron of life, a meaning which can be explained on the basis of the psychology of the artist, who devoted simultaneously un- 'perceived impressions of his soul "[ibid. S. 4]
     From this it follows that AN-Gershenson Chegodaeva Bruegel examines creativity in combining "incompatible contrasts provocatively, in a bizarre combination which ryh born a special quality, striking for its originality," [6, 4]. The quality of this appears to us as a classification of "contrast conceptions" special "point at infinity smyslitse" [Freud's terms, 19, 17].
An original key to the decipherment of Bruegel paintings, which enabled him to understand the philosopher-velocity psychological attitude to the world, was a conceptual discovery by Charles de Tolnaem. Scientists believe that the artist "used" by the transfer of the real facts of life in a kind of a psychological perspective, the "upside down" (a term Tolna), where ¬ crazy Noah humanity driven by human vices, that is, contrary to common sense.
     In understanding this kind of social psychology in the works of Bruegel was scheduled pro-gap in the future. Regardless of breygelevskih paintings, about psychology, specific to the era of the Reformation, wrote Erich Fromm, drawing parallels between it and the policies of Hitler and lamenting the fact that the characteristic of this era usually forget "about its emphasis on the depravity of human nature-tion, the insignificance and the helplessness of the individual, the need for submission of indie kind of external force. The same idea of ​​the insignificance of the individual, its principal unpaired sobnosti to rely on themselves, their needs subordinated to the main thesis of Hitler's ideology, which, however, there was no place for concepts of freedom and moral principles characteristic of Protestantism "[20, 210] .
     In the works of Bruegel's "mad world of human life - to monitor N. Gershenzon, Chegodaeva - opposed to a reasonable and harmonious world of nature, which in the flatter-height ¬ shy law of expediency, since the world began reigning in the universe" [5, 122].
     The main theme in this upside-down world of a man count ¬ lektiv with a common primitive herd consciousness, deprived ¬ nym reasonable start, and so wandered astray. At the same man ¬ vechesky team due to the loss of reason could not make you free ¬ boron between God and the devil as to initiate in his writings, not ¬ metsky religious philosopher HYDRATED Sebastian Frank (1490 - ca. 1542), and then advanced Netherlands thinkers - remember, a prominent geographer, a close friend of Pieter Bruegel the Elder, Abraham Ortelius (1527-1598) [see 5, 238] and the famous Flemish philosopher, engraver, poet, scholar, ¬ ry Manistee Dirk Folkertzon Koornhert (1522-1590) , who met Bruegel [see 5, 117]. To this add two more, which calls F. gazelle - archaeologist Hubert Goltzius and publisher a product of Bruegel, the collector of his works - Christophe Plantin [9, 40].
     Because of her free ¬ flawed human psychology Bruegel depicted vechesky ¬ ¬ tinued about the team remain in a state of sin and was thus tragically doomed.
     Observations of Charles de Tolna and N. Gershenzon, Chegodaeva should be supplemented by the fact that the re-return to the world of paintings by Brueghel, Bosch and earlier (which can also include this definition of Tolna), both artist ¬ nick reproduce the negative ethical values, manifesting -shiesya in their philosophical and psychological concepts defining principle. And Bosch, Bruegel and they expressed the very essence of the plot of car ¬ ting.
Both the Dutch were convinced that stupidity and madness are closely woven with the re ¬ theologians-cal idea of ​​original sin and human vices, are the fundamental basis of life-you. In this embodiment philosophemes psihologemy and disclosed that the world of right-vit stupid that she - if ¬ rank prevailing in the land of evil, clinging to outmoded past, and that it is on the way to new knowledge. Revealing this psycho-philosopher, Bosch is in the wounds, which his works - paintings picaresque "Magician" and "Operation stupidity" - predvoskhi-til genre of didactic satire humanist Sebastian Brandt and Erasmus, from the Lich special mocking humor [see: 10 , 17]. The picture is indicative of the image of a stupid and duped by a magician of the crowd, characterized by herd mentality. In the opinion of Charles de Tolna, in the work of Bosch, "we see before us is no longer in the group of individuals, but one many-headed creature, entirely located in the power of a magician, a powerful hydra disorder, symbolizing the human powerlessness in the face of mocking magic" [22, 15 ]. The influence of the picaresque plot, Bosch embodied in "The Magician", A. Devi, Tina sees in the paintings of "Rounders" M. da Caravaggio (1596), "Schuler" J. de Latour (c. 1630), "Misanthrope" by P. Brueghel (1568), see [8, 22, 23].
     Stupidity in the film "Operation nonsense" treats ironically K.-A. Roque, saying that it "is nothing like the wisdom of the contrary and therefore, if, according to rumor, the alchemists are able to extract from his own head the Sorcerer's Stone, then in the head-on must be a fool acquires a stone priduri - enough to remove it and a fool wiser "[17, 133]. A. De Vitino sees the source of the story of this painting in the Dutch expression "to have a stone in the second-fishing," which meant "to be stupid, insane, his head is not in place." The plot of removal "stupid stone" in the Dutch scholar traces the engravings, paintings and literature to the XVII century. As one of the famous picture of the results Devitini A. Lucas van Leyden, "Surgeon" (1524), devoid, however, all the grotesque [8, 16, 17].
     AN Nikulin in the Bosch painting reveals the relationship with the Netherlands folklore. In his statement, "the operation of head stones mocked in comic verse, cheap popular graph-vyurah on the national stage a street theater. Known funny story about Lubberte of Reymbuha where deceived Lubbert cut off a bump folly to be treated for out-it. " By analyzing the picture, N. Nikulin focuses on the existing label on it: "Master cut stones, my name is Lubbert" [16, 326].
In Bruegel, who knew the work of the humanists E. Rotterdam, T. Moore and D. Koornherta, the essence of this genre has been expressed in the idea of ​​confrontation between Wisdom and Folly, where the wisdom of the just-Gershenson Chegodaeva opinion, concentrated "in a single personality," Stupidity and provided "the lot of the crowd" [5, 155].
     In addition to understanding the phenomenon of nonsense, the moving world, Bruegel was close Rot terdamskomu Koornhertu and understanding of Christian humanism. About this vicinity Mr. Martin wrote: Bruegel's position was "close to the position previously perceived Erasmus of Rotterdam, and preached the Christian humanist Dirk Koornhertom, poet and engraver, who lived in Antwerp. Koornhert belonged libertinistov movement, their views were ignored by the authorities. The essence of the views libertinistov embodied in the doctrine of individual salvation, Mr. Christian, is not dependent on the church ceremony, but only from the immediate-term relationship of man with God. Of course, the appearance Bruegel obey the rules, but its true creed of tolerance was not establishing a distinction between a rabbi, a Catholic priest or Protestant "[15, 4].
From our analysis of concepts of creativity Bosch and Bruegel nym becomes obvious:
- The content is revealed in at least two plans - the real and inverted, and real worlds or deceptive;
- The plot and the plot are related to ethics and aesthetics;
- The plot is revealed in the critical breaking story;
- Comic and tragic genres coexist in unity of polyphony;
- The closure of the plot and story create a background in creating the plot and psychological impression of movement in the drama of a literary text, and breakthrough creative artists of the method in the future.
     To see the marked features, discuss them more specifically. To do this, from a wide range of images, Bosch and Bruegel reproduced, focus on the three - on-multiple of stupidity likah hell and tempters hermits. We have selected them for the analysis of collisions of poles in the conflict and tragic comedy show, the real and fantasti-sky worlds.

Psychology of a tragic
in the embodiment of images stupidity


     In the painting of Bosch "Operation stupidity" (Madrid, Prado) the closure of the plot and the plot takes place in the very title, in the concept because it is impossible to operate on stupidity. Under this absurdist title embodies two topos: stupidity in the form of surgical and deception - in dressed in clerical robes medical charlatans. Consequently, the plot of this film depicts business-like operation on the subject - its condemnation of the action as the crooks. Opposition to this absurdity is a wonderful psychological Pei-RTA and placed him in the character of punishment for sin - the gallows and the wheel. In general, the tondo in which the plot unfolds, symbolizes, as we know, the image of the world, to constructing here at the stupidity and lies.
     In a well-known Bosch painting "Ship of Fools" (Paris, Louvre), inspired by pre-position of Tolna, a plot of the poem "The Ship of Fools" by S. Brant [22, 21], sati ¬-parameter of the content is based on the fable of several conflict- subject lines that summarize here in the Xia-concept absurdity of human existence. Despite the fact that in European literature ¬ tion-round of the XV century this concept has already been formed (in the poem "The Ship of Fools" by S. Brandt with illustrations by a young A. Durer, satirical utopian ¬ FDI "Praise of Folly" NAI-more universal thinker of the era , Rotterdam, the Netherlands humanist E.), in the embodiment of the idea of ​​painting the absurd was the kind of leap into the future, particularly in many of the modernist trends of the XX century. In the near future (circa 1520) it was the mannerist painters, fantastic adopted some elements of the Bosch paintings by Flemish painter Jan Wellens de Kock (1475/1480-1527), see [22, 42].
     In the picture a pair of Bosch's conflict of the plot and story is the concept expressed in the fact that apparently "Ship of Fools" - is farcical, almost doll, merry to-Rabelais, sailing out of nowhere to nowhere, "without a rudder and without sail," and they are intended - on the earth's mo ¬ riam fuss.
Conflict of another pair of the plot and the plot is shown in the ideological sphere-shaped. Externally, the whole com ¬ pany is made up of fools. They do not notice how long the mast overgrown by lush foliage, and under the flag as an emblem of stupidity and lust hanging headless chicken. Indeed in the same society on the ship - is not only foolish, but sinners. Just look at the red-song loud crying drunk monk and nun, on izobli ¬ waiting for the flag with the symbol of the star and Crescent ¬ syatsa, meaning is falling away from true faith.
     The conflict of the third pair of the plot and the plot focuses on the psychology - depicted in the painting-zhennoy riotous living destined to punishment, as evidenced by the image of death attests ¬-ty, ladnenko perched to the mast in its branched crown.
     Another pair of plot and story of the aperture em ¬ social aspect. As stupid plot represents different sectors of society here, which fleshed out, as already noted, the image-s fallen priests, drunken revelers, clowns, and quarrelsome wives, and the plot - to-Rabelais, who, as if dropped from the framework of civilized society ¬ . And not just because it waits for death, but because the society of fools who live their lives befuddling, making it for myself in a kind of moral code. This insightful pi-sal researcher Bruegel W. Frenger: "Fool - anti-social nature. It operates without regard to his neighbor: this is - assotsialny element of society. At the same time stay in conditions duracheskoy life rises to the level of social ¬ tion of the principle. People are living alone in a state of unrestrained selfishness. Relations between them are made solely on the basis of negative negative emotions: hatred, dislike ... exaggerated, "I-principle", pro-against the will of the people, leads to universal connectivity, the clutch of people based on their disconnector-tion, which thus becomes paradoxically a hundred ¬ "enzyme association" "[op. at 6, 171].
     The result marked the closure of the plot and story focus in ethical and social-psychological concept, where the picture of society of fools, on the one hand, it was exposed to unequivocally condemned, on the other - revealed peculiar psychology of an independent consciousness.
     Multi-layer closure of the plot and the plot is expressed in Bosch painting "The Prodigal Son" (Rotterdam, Museum Boymans-van Beyningen), in which the protagonist was captured in the moment of moral choice. Closures are found in different aspects of a literary text:
- The concept:
 a) between the characteristic sketch (vain), and the landscape as a divine incarnation of the first plan (ie, eternal). In the image of the landscape that Charles de Tolnay believes "the first pure landscape in the history of art," the scientist compares with Bosch's Leonardo da Vinci, showing that first sought to convey "the mysterious poetry of nature," and Leonardo "wanted to trace the origin of our world "[22, 30];
 b) between the moral and psychological choice of a righteous path and return to the unrighteous. Charles de Tolnay points out that this choice of Bosch in the iconographic tradition of the show broke the "prodigal son" in a situation of feast or repentance. Embodying an allegory of choice, "Bosch stood in the doorway to the acknowledgment of the idea of ​​free will, the Renaissance man. But precisely because it portrays a man is not emotionally able to do or physical Nations High-rise, as did Italian artists, and are able to do-shevnoy bodily weakness and fragility, his work is more impressive, "[22, 37];
- In the drama - in the intrapersonal conflict, what is the unusual perspective of the hero, is characterized by half-hearted turn of the body and head and face;
- In the genre field - between the devastatingly cynical-consumer stage and poetic, lyrical landscape. This landscape, monitoring Fomina, anticipates panteistiche-skie pictures of the great landscape painters of the XVII century [see: 10, 84], one of whom was Joachim de Patinir, 1480-1515 [see 22, 42], the creator of masterpieces " Rocky Landscape with St.. Jerome "," Landscape with St.. Jerome "," Landscape with a scene from the legend of St. Rohe, "" Crossing to the Preis-raised ";
- In the color scheme - in the predominance of dull gray and dirty-belesovogo colors with which depicted the hero's past, and a warm brown, here, so to speak, the color of the future.
     With these closures revealed the psychology of ethical perspective in the film, co-tory, in turn, is in the closure of the aesthetic, characterized by a mono-color design hromnym, who appeared later on the specific feature of the new-rule in art - mannerism.
     The embodiment of the psychology of an independent consciousness, albeit in an unusual way, undermining the old medieval hierarchical structure in E ¬ ra with its categorical subordination of life on earth from heaven. A similar trend for Bosch, Bruegel, and then have been a reflection of the processes occurring in reality and regulated by the Catholic CER-kovyu. Thus, Pope Pius II (1458-1464), formerly known as a writer and historian, Enea Silvio Piccolomini, in his youth scribbling juicy sensual novels and scabrous comedy in the style of Boccaccio. It was for his wit and knowledge of languages, he, while still popular Novelli-Stom, like Cardinal Kaprianike and was appointed secretary of the Council of Basel, Subsequently, making the spiritual career of Trieste to the Archbishop of Pope Pius II. Pius - ("pious"), published in 1463 a kind of bull, which demanded from believers' proy-ty "by Aeneas (the name of pi ¬ satellite in the world. - GK) and focus on FDI [see 13, 203 - 204], ho-cha essence of the humanist will never leave ...


Psychology of a tragic
in the embodiment of images of Hell


 

     An unusual closure of the plot and the plot takes place in the transfer of real psychology of people and the people of Hell in a car ¬ tinah Bosch "hay" (Madrid, Prado) and the "Last Judgment" (Vienna Academy of Fine Arts).
     Previously unknown and unseen images of Hell were - half people, mutants, a hundred evil-Ruhi, because we have ¬, hag, whore, feeble-minded with a bad disease, combining the zve-rinye, nasekomoobraznye and vegetable items. Here, of course, has affected the practice of Bosch in the "Brotherhood of the Mother of God," in which he was [see: 10, 12], and which, among other of its activities in Hertogenbosch (home Bosch) worked ustroitelstvom Karna-shaft nravouchi ¬ Tel'nykh circuses for example, subjects' Antony and his temptations, "and other didactic ¬ České topics. In the pictures, "hay" and "Last Judgment" being referred to - the demo HN, monsters - make up a story line. And the plot - it's energetic, hard-working people with specific professions. This is literally wrote Mr. Fomin: "The army of builders, masons, carpenters, movers hastily erected it (Ada. - GK), new construction, and they stirred solution lay out rows of bricks, sculptured logs, raised through the gate - all rules of construction equipment at the time - Thunder ¬ adnye beam from the lower to the upper tier "[10, 32].
    In this expansion of the boundaries of Hell psychology of its inhabitants is startling in its similarity to the psychology of people. In the words of G. Fomina, "astonishing precision professional gestures and movements. They are like skilled craftsmen - the builders of medieval cathedrals, engaged in the business and only in fancy obryazhennyh masks of demons and devils "[10, 32]. Bosch method also can be characterized Kant's words: "Only the descent samopozna of hell-paving the way for the deification of" [11, 835].
     In such a depiction of images of Hell once again affected the breakthrough into the future. Charles de Tolnay writes that "rude joke song Jana Mundine and Peter Hayes has used its current stage of Hell" [22, 42]. To this we add that and actually demonic scenes, in particular in the paintings of Jan Mandeyna (Mandyn), treated by them as a force of temptation saint ("Landscape with the legend of St. Christopher"), too, were written under the influence of Bosch, as was Mandeyn his disciple and follower [see 16, 94]. For this type of painting with a businesslike, brutal story, and we put a large sheet of Swiss painter Niklaus Manu-ale Deutsch (c. 1484-1530) "The Execution of John the Baptist" (c. 1520). In this picture, the cynicism of nizyvaet each figure - dressed up to the executioner, holding briskly just severed, bleeding head of John, very pleased with Herodias, eagerly holding a dish for the prophet's head, piously obedient servant of the young and elegant Herodias second porter, stepping barefoot the blood that carries away on a stretcher lifeless body of John the Baptist.
     Closure of the absolutely incredible plot and story appears in the left wings of the two-yard alta, depicting scenes in the "hay" and "terrible ¬ HYDRATED court" (from the film "Heaven and Hell"), trans-schenie angels unknown creepy hybrid - symbol of evil spirits . Straight from the sky, with bo-Divine feet, it reached even before Eve, and even more so to the ground, fallen angels izna ¬ initially, before the birth of people defined their psychology and morality. Consequently, the plot of paradise - a paradise, and the plot - in the most "heights" of heaven are already residents of hell. Both Bosch triptychs ¬ metaphysically elaborate on the idea of ​​original sin, the shaft and showed through this unique and irreversible path of humanity to hell.
     Thus, referring again to the most ¬ veloped in the Middle Ages, the concept of heaven and hell, Bosch has given her "earth" in psychology, rethinking the whole "religious metaphors" (the definition of a philologist Andreev). As a result, the life of the demonic world and its powerful head - the devil - has become in the paintings of Bosch as a werewolf and a bizarre extension of the human psychology in real life. It is no accident G. Fomin, calling Bosch's "honorary pro-fessor of nightmares," notes the proclamation of Bosch's contemporary surrealists "my spiritual father and a forerunner of" [10, 7]. This was written and F. gazelle: "Even in the twentieth century sur-realists - European avant-garde artists - such as Magritte and Max Ernst, dili-iskho of Bosch and Bruegel's art, depicting monsters and fantastic hybrid creatures." This method Netherlands artist accompanied ¬ companied by the release in the future, the use of surrealism, arts, particularly in the work of Dali.
     On the basis of being tagged with the interactions of the plot and story in these pictures, we come to the conclusion that their closures occur in the figurative and psychological sphere, where the dominant motive is dark science fiction, through which the artist has shown his refutation of the inhabitants of hell on the otherness of people.


Psychology in the incarnation of the tragic images of the hermits and their seducers

     In the paintings of hermits and ascetics (triptych "The Temptation of St. Anthony" (Lisbon, national museum of the old art), "St. Jerome" (Ghent, Museum of Fine-arts), "John the Baptist" (Madrid, Jose Lazaro Museum Galdiano) the closure of the plot and story also takes place in the psychological sphere-shaped, but the emphasis is different. It carries out by then ¬ th, that Bosch in the search out of the contradictory fact ¬ Xia tortured to reveal a positive start in life, though evil, was waiting in the human his righteous-tion of everyday life, for it was somehow haunting nightmare. A similar interpretation of the image of St. Anthony held Alsatian artist Martin Schongauer, in its boundary-vyure on copper, "The Temptation of St. Anthony" see [6, 177], Mathis Nithart-Gothart, known as Grunewald (Izengeymsky altar, 1512-1515). [9, 42]. Direct analogy with Bosch and Bruegel gazelle sees Capriccio Giuseppe Arcimboldo (1527-1593), "Seasons," in particular "Winter" [10, 42]. We refer here and the images of two more seasons ("summer" and "Autumn"), the face of unexpectedly ugly Flora, "Lawyer", and symbolic images of four elements of nature - "Earth," "Water," " air "and" Fire "from his" Barbarous Gale-yards. "
     Subject Psychology hermit and his temptations come to the art of Bosch and Bruegel of the Middle Ages, where the evil is infringed upon human flesh, the sinful temptations of the earth to-slazhde ¬ tions. In addition, it does not exist by itself, but as the flip side of good, co-Thoroe in the human soul is often absent. On such an orthodox ethical teachings coming from the dam by St. Augustine and Thomas Aquinas to Bosch, he wrote, in particular, Mr. Fomin [see 10, 51].
     In the same era as the Bosch seemed the evil forces of the devil and rampant pre ¬ undershirt, encroached on the human mind. It seems that one of the sources was boskhovskogo bestiary of art of the ancients, including illustrations of Egyptian graphics (color pictures on papyrus) to the "Book of the Dead," which was an extensive collection of magic-klinany, religious hymns and prayers. The most dynamic in the book was the scene of the court in the realm of the dead - "Weighing the heart of the deceased." Figure Hunefera from the "Book of the Dead" (Ancient Egypt. XIX dynasty. Approx. In 1300 BC British Museum. London). Such a representation-tion of the afterlife, to monitor B. Rivkin, later had a powerful influence on the "Christian religion and its iconography characteristic of Judgment" [2, 20].
     Interpretation of evil as evil revelry, which was trying to subdue a clear consciousness of human-ka, have contributed to the bloody social conflicts in which the church and the feudal State shall tried to retain power. In 1464 Pope Innocent VIII issued a monstrous bul-lu about witches, known ¬ nuyu the initial words: «Summis desiderantes» («With the greatest zeal-em"), the cause of which was in fact the refusal of some regions in Germany plans no tit- ¬ tribute feasible [13, 208]. As a result, the call for the destruction of Pope diabolical heresy of Europe blazed with fire. In the Netherlands, in particular, Tse ¬ lye burned the village, the massive process of burning witches and Leray ¬ tics.
     The implementation of the bloody scenes in the present Bosch has reached such a sophisticated, irre-trivial, located at the time of pre ¬ affairs of human consciousness fantasies, and these, almost pathological ¬ skih forms that sometimes lost its character of an objective action, proving a huge reflection of the psychology of the hypertrophied the author. According to G. Fomina, "out of science fiction, the builder of the infernal worlds Bosch turned cold here in the analyst's darkest windings of the human soul, and open them in this way is worse than the reality of his phantasmagoria" [10, 71]. This method is an unprecedented tragic reflection of the world have celebrated Spanish historian Bosch H. de Siguentsa (1545-1606): "In my opinion I ¬ NIJ, since the difference between the painting of the man and the other lies in the fact that others are trying, for as much as possible, writing a person as it looks from the outside, while it has muzhest of writing it as he was within "[op. at 22, 44].
     But in his perception of the world picture, affecting a sinister fantasy vision of the world, under-understood in the Bossche as if from the depths of his subconscious, hu ¬ dozhnik made a huge leap into the future (think kaprichchosy Goya "The sleep of reason produces monsters"), and therefore possible explanation for his paintings from the standpoint of the psychology of modern man. Relevant here represent ¬ lyaetsya theory of the American psychiatrist R. Lang, who believed that fantasy - this is a special way of relating to a world in which a substantial part of the semantic action is adequate. And if this action is a threat to man, in his consciousness arises ¬ UT defense mechanisms. The result - the person feels as if forked, which is "experiencing a more than a full person, but as part of a person exposed to second-destructive Proposition psihopa ¬ tologicheskih" mechanisms "in the face of which it is - from the relatively helpless victim" [14 , 238].
     In the end, reflecting the evil coming from the outside world and from the depth of the human subconscious ¬ bin, Bosch has given him unprecedented and unheard of before him figuratively and psychological meanings, Stu. On the right generalization Fomina, "evil acts in the works of the artist (Boskha. - GK) is a real life ¬ A similar situation, then as a metaphysical category, it turns out that stupid people, their sins, then it acts as an object temptations of ¬, then as an instrument of retribution. In scenes from the lives of the saints, it appears as an emanation of a particular state of the human soul ... "[10, 61].
     By this judgment should be up to ¬ add that this plot is a kind of "safeguards" that Bosch, writing down every ¬ Dyj leaf with detail of Jan van Eyck, the image-zil as saints themselves and nature, as pets, as well as in as a "gravity mi-ra" behind St. Christopher. The artist even introduced a kind of double protection: the crucifixion and Christ himself, personally (!) Has submitted his crucifixion in the central wing of the altar, "The Temptation of St.. Anthony. " The plot is absorbed and then the real evil, which the artist reflects ¬ zil in the brew of burning the land and the psychology of people who were tortured, and the gloomy ¬ no-evil fantasy, which he caused, so to speak, looking at the se ¬ os, and handed it to the disembodied Infernals-generators of psychological demoniuma.
     Thus, the psychology in the field circuit of the plot and story in the paintings of Bosch those th hermit was associated with an embodiment of the bilateral themes of good and evil - the identification is transitive, lyrical imagery and philosophical claim them as standard, lift-depleting over the negative. In translating the idea of ​​positive images contained works regardless of the human mind and its defense mechanisms are at their highest ethical and aesthetic sense.
     In general, creating paintings for different themes (social-incriminating, infernal, on-shelnicheskie, pantheistic), Bosch and Bruegel multi-vector expressed the aspiration of the human mind and antisoznaniya and understanding of this conflict to build its extensive system of philosophical and ethical-aesthetic and psychological artistic vennye concept.
     As a result, we have tracked the closures of the plot and story in the paintings of Bosch and Bruegel the impression of heightened psychological conflict displayed by where at first glance to the fore in the paintings serves unpretentious story. After the closure of the plot of her role is weakened, and at the forefront previously coded plot. In this plasticity functions plot and story in the paintings of both pro-Netherlanders was their innovative interpretation of the ethical and psychological nature of the phenomena displayed due to this high concentration of the tragic content.