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Leonardo da Vinci as a philosopher

The philosophical thought of the Renaissance was closely connected with the development of natural science.

The titanic figure of Leonardo da Vinci (born in 1452 in the town of Vinci, near Florence, the last years of his life - in France, where he died in the castle of Cloux, near the city of Amboise, in 1519) is rightly regarded as the most complete embodiment of the Renaissance genius, realization of the ideal of the “Heroic Man“.

For the history of philosophical thought of the Renaissance, the phenomenon of Leonardo is interesting primarily as a manifestation of certain trends in its development.

Philosophical views of Leonardo, considered in its historical context as a special, original expression of the main trends of Renaissance thought. The main source of the formation of the scientific and philosophical interests of the young Leonardo was undoubtedly the bottega - the workshop. Leonardo's close acquaintance with many of his contemporaries - scientists, mathematicians, craftsmen, builders, doctors, architects, astronomers, combined with intense interest in the most acute and important problems of the natural sciences, allowed him to keep abreast of the current state of knowledge about the world.

An insatiable inquisitive approach to life and an indestructible thirst for learning is the beginning of all beginnings, the first step on the path of knowledge. Because the desire to know, learn and grow is a kind of powerhouse of all knowledge, wisdom and new discoveries.

Learn to think for yourself and free your mind from the yoke of restrictions that weigh on it - and such are our hardened habits and preconceived opinions. Leonardo used the word Dimostrazione precisely to emphasize how important it is for each of us to learn on our own, based on our own, purely practical experience.

The ability to see, hear, feel. Now take a moment to delve into yourself and try to remember how many times over the past year have you felt authentic - alive and real? Perhaps in these moments your feelings somehow became especially aggravated. The third principle - Sensazione - is precisely to consciously and systematically refine, polish and hone the five senses given to you by nature. Leonardo believed that the improvement of our sensory consciousness - the ability to see and hear the world around us - gives us the most reliable key to enriching our sensory experience.

As a lively, childish curiosity awakens in your soul and an irrepressible thirst to ask "childish" questions, you will more and more often have to overcome uncertainty, fighting your worst enemies - confusion, uncertainty and internal split. Principle number four, Sfumato, will serve as a reliable compass in your quest to get comfortable with the unknown and make friends with the paradox.

In order for harmony and creativity to be born out of uncertainty and vague uncertainty, principle number five, Arte-Scienza, or what we now call holistic thinking, must be applied. As Leonardo believed, the formation of our inner harmony should not be limited to the sphere of our psyche alone.

We need to strive for a harmonious interaction of body and mind.

It is Connessione that ties everything together. This is the ability:

chart events

capture systemic relationships and deep kinship between various things and phenomena.

It is a desire to understand how your dreams, your goals and values, your highest ideals and aspirations can be woven into a single, strong fabric of your everyday life.

Leonardo da Vinci (1452 - 1519)

1 Experience - an active purposeful experiment. Da Vinci is trying to comprehend the role of experiment for knowledge. Of course, he does not create a theory of experiment, but, most importantly, he claims that experience is impossible without relying on theory, and in this case it will be “blind”, having no significance. "Science is the commander, practice is the soldiers."

2 The role of mathematics. Mathematics must be combined with experiment. So far, this is more of a declaration, but nevertheless, the ideas from the notebooks of Leonardo da Vinci are a feature of modern science.

Experiment as a method and application of mathematics determine the specifics of modern science. Leonardo is already groping for the significance of these two points.

The problem of the relationship between nature and human art. Continues the humanistic line. First, human nature is active, man is a doer. Nature is a creative power, nature creates, the law of necessity and causality (the generation of a consequence) operates in it. God is the root cause and prime mover, but nature has a creative power. Leonardo does not oppose nature and man, the natural and the divine. philosophical vinci artist renaissance

Man is "the great instrument of nature."

Man continues creative activity where nature ends it, and creates "countless kinds of new things."

Man relies on nature and surpasses it, because he produces what nature could not create. Man is like God, can be called "grandson of God" (son of nature).

The creator of The Last Supper and Mona Lisa also showed himself as a thinker, realizing early on the need for a theoretical substantiation of artistic practice: “Those who devote themselves to practice without knowledge are like a sailor setting off on a journey without a rudder and a compass ... practice should always be based on good knowledge of theory.

Demanding from the artist an in-depth study of the objects depicted, Leonardo da Vinci entered all his observations in a notebook, which he constantly carried with him. The result was a kind of intimate diary, the like of which is not found in all world literature. Drawings, drawings, and sketches are here accompanied by brief notes on perspective, architecture, music, natural science, military engineering, and the like; all this is interspersed with various sayings, philosophical reasoning, allegories, anecdotes, fables. Taken together, the records of these 120 books provide materials for an extensive encyclopedia. However, he did not seek to publish his thoughts and even resorted to cryptography, a complete transcript of his notes has not yet been completed.

Recognizing experience as the only criterion of truth, opposing the method of observation and induction to abstract speculation, Leonardo da Vinci, not only in words, but in deeds, delivers a mortal blow to medieval scholasticism with its predilection for abstract logical formulas and deduction. For Leonardo da Vinci, to speak well means to think correctly, that is, to think independently, like the ancients, who did not recognize any authorities. So Leonardo da Vinci comes to deny not only scholasticism, this echo of the feudal-medieval culture, but also humanism, the product of still fragile bourgeois thought, frozen in superstitious worship of the authority of the ancients. Denying book scholarship, declaring the task of science (as well as art) to be the knowledge of things, Leonardo da Vinci anticipates Montaigne's attacks on learned letter-eaters and opens the era of new science a hundred years before Galileo and Bacon.

... Those sciences are empty and full of delusions that are not generated by experience, the father of all certainty, and do not end in visual experience ...

No human research can be called true science unless it has gone through mathematical proofs. And if you say that the sciences that begin and end in thought have truth, then we cannot agree with you on this, ... because experience, without which there is no certainty, does not participate in such purely mental reasoning.

Iron rusts without finding a use for itself, stagnant water rots or freezes in the cold, and the mind of a person, not finding a use for itself, withers.

Wisdom is the daughter of experience.

Happiness comes to those who work hard.

The painter argues and competes with nature.

Painting is poetry that is seen, and poetry is painting that is heard.

The painter who sketches meaninglessly, guided by the practice and judgment of the eye, is like a mirror that reflects all the objects opposed to it, without having knowledge of them.

Those who live in fear die of fear.

Whoever wants to get rich in a day will be hanged in a year.

Experience is the true teacher.

He who is fond of practice without science is like a helmsman entering a ship without a compass.

You can only love what you know.

It is better to be deprived of respect than tired of being useful.

Pitiful is the student who does not surpass his teacher.

An adversary looking for your mistakes is more useful than a friend who wants to hide them.

He who does not appreciate life is not worthy of it.

Where hope ends, there is emptiness.

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The philosophical thought of the Renaissance was closely connected with the development of natural science. The most striking and consistent expression of the new trend of philosophical thought was found in the work of one of the greatest naturalists of the Renaissance - Leonardo da Vinci. Leonardo da Vinci (born in 1452 in the town of Vinci, near Florence, worked in Florence, Milan, Rome, the last years of his life - in France, where he died in the castle of Cloux, near the city of Amboise, in 1519) is rightly regarded as the most complete embodiment of the Renaissance genius, the realization of the ideal of the “Heroic Man”. For the history of philosophical thought of the Renaissance, the phenomenon of Leonardo is interesting, first of all, as a manifestation of certain trends in its development. Scattered notes of a general philosophical and methodological nature, lost among thousands of equally scattered records on the most diverse issues of science, technology, art. creativity, were never intended not only for printing, but also for any wide distribution.

The main source of the formation of the scientific and philosophical interests of the young Leonardo was undoubtedly the bottega workshop. Leonardo's close acquaintance with many of his contemporaries - scientists, mathematicians, craftsmen, builders, physicians, architects, astronomers, combined with intense interest in the most acute and important problems of the natural sciences, allowed him to keep abreast of the current state of knowledge about the world. The desire to capture all the richness and diversity of natural phenomena in his observations, to understand and analyze everything, without subordinating them at the same time to the usual well-established scheme, led to the fact that Leonardo did not set himself the task of creating some kind of comprehensive code. To bring together the material he feverishly collected, even a dozen of such lives richly filled with incessant work could not be enough. The main thing in Leonardo's unfinished search is an attempt to create a new method of cognition.

Declaring that “all our knowledge begins with sensations,” Leonardo resolutely rejected other knowledge, not based on a direct study of nature, whether it be received from revelation or from Holy Scripture. Knowledge of theologians. Knowledge that is not based on sensation and experience cannot claim any certainty, and certainty is the main sign of true science. Theology has no real basis in experience and therefore cannot claim to possess the truth.

Another, according to Leonardo, a sign of untrue science is the discordance of opinions, the abundance of disputes. Leonardo's position is essentially a denial of theology. Knowledge based on revelation, on “influence”, on Holy Scripture is unreliable and therefore cannot be taken into account; having given his naturalistic explanation of the nature of the human soul, Leonardo scornfully speaks of the theological interpretation of "brothers and fathers" - monks and priests. Leonardo equates false constructions based on what he calls "dreams" to knowledge by intuition. False sciences, contrary to experience and not confirmed by reliable arguments and evidence, Leonardo considered "prophetic" astrology (from which he distinguished in his notes "observational" astrology), alchemy (again, highlighting in it an almost indisputable part associated with experiments to obtain compounds natural elements), attempts to create a perpetual motion machine, and especially necromancy and various types of witchcraft based on the use of "spirits".

Another hindrance to true knowledge is the power of tradition, book learning, neglecting direct observation and experience. Turning to experience as a source of knowledge is not a declaration. Rather, on the contrary, it is the conclusion of the constant and daily practice of Leonardo - an observer, an artist, an experimenter, a mechanic, an inventor.

The meaning and greatest value of Leonardo's legacy for posterity is that it undeniably confirms the limitless possibilities of a person endowed with spirit and mind to create, to continue the process of creating the world. For his 67 years, he managed to be an artist, architect, scientist in many fields (mechanics, mathematics, anatomy, astrology, geodesy). Scientific interests of Leonardo were boundless. His notes reflect the author's studies in mathematics and physics in its various branches (mechanics, optics, hydraulics), astronomy, geodesy and cartography, botany, physiology and anatomy. The era of Leonardo was not ready to use all his insights in the field of technology, but engineering practice 250-300 years after Leonardo's life confirmed the correctness and genius of his developments.

Leonardo da Vinci is inseparable from his homeland - Italy and his historical era - the Renaissance, which has become a unique chapter in the history of European and world civilization. The name of Leonardo is among the names of those who embodied this era and subsequently became its symbol.

1. Introduction;
2. General Characteristics of the Great Epoch;
3. Leonardo Da Vinci, about him;
4. Philosophy of Leonardo Da Vinci;
5. Conclusion;
6. Bibliography.

1. Introduction.

The “greatest progressive upheaval”, which, according to F. Engels, was the Renaissance, was marked by outstanding achievements in all areas of culture. The era "which needed titans and which gave birth to titans" was the same in the history of philosophical thought. It is enough to mention the names of Nicholas of Cusa, Leonardo da Vinci, Michel Montaigne, Giordano Bruno, Thomas Companella to imagine the depth, richness and diversity of philosophical thought of the 14th-15th centuries 1 .

The titanic figure of Leonardo da Vinci is rightly regarded as the most complete embodiment of the Renaissance genius, the realization of the ideal of the “Heroic Man”. The philosophical thought of the Renaissance was closely connected with the development of natural science.

The most striking and consistent expression of the new trend of philosophical thought was found in the work of one of the greatest naturalists of the Renaissance - Leonardo da Vinci

"Look at the light and peer into its beauty. Blink your eye, looking at it - the light that you see was not there before, and the one that was is now gone. What recreates it if the creator is constantly dying?" 2

A striking phrase, similar to which there are many in the notes of Leonardo da Vinci, but, most importantly, it reveals the secret of the perception of being, the world, the cosmos by this thinker, in general, closed to the people around him.

For the history of philosophical thought of the Renaissance, the phenomenon of Leonardo is interesting primarily as a manifestation of certain trends in its development. Scattered notes of a general philosophical and methodological nature, lost among thousands of equally scattered records on the most diverse issues of science, technology, and artistic creativity, were never intended not only for printing, but also for any wide distribution. Made in the most precise sense “for oneself”, in a mirror style, never brought into the system, they never became the property not only for contemporaries, but also for the immediate descendants, and only centuries later became the subject of in-depth scientific research.

2. General characteristics of the great era

The era of the Renaissance (Renaissance), covering the period from the XIV to the beginning of the XVII centuries, falls on the last centuries of medieval feudalism. The Dutch culturologist I. Huizinga called it “the autumn of the Middle Ages”. Based on this, that the Renaissance is a period different from the Middle Ages, one can not only distinguish between these two eras, but also determine their connections and points of contact. The Renaissance had a great influence on the further development of culture and philosophy.

The figures of the Renaissance themselves contrasted the new era with the Middle Ages as a period of darkness and ignorance. But the originality of this time is rather not the movement of civilization against savagery, culture against barbarism, knowledge against ignorance, but the manifestation of another civilization, another culture and another knowledge. 3

The Renaissance is a revolution, first of all, in the system of values, in the assessment of everything that exists and in relation to it. There is a conviction that a person is the highest value. Such a view of a person determined the most important feature of the culture of the Renaissance - the development of individualism in the sphere of worldview and the comprehensive manifestation of individuality in public life.

One of the characteristic features of the spiritual atmosphere of this time was a noticeable revival of secular moods. Cosimo Medici, the uncrowned ruler of Florence, said that he who seeks support in heaven for the ladder of his life will fall, and that he personally always strengthened it on earth.

The secular character is also inherent in such a bright phenomenon of Renaissance culture as humanism. In the broad sense of the word, humanism is a way of thinking that proclaims the idea of ​​the good of man as the main goal of social and cultural development and defends the value of man as a person. In this interpretation, this term is used in our time. But as an integral system of views and a broad current of social thought, humanism arose in the Renaissance. 4

The ancient cultural heritage played a huge role in the formation of Renaissance thinking. The Renaissance refers to antiquity, especially to late antique teachings filled with ideas of humanity. But the very understanding of humanity is significantly reinterpreted. The ancient world evaluated the individual not as an individual, but as a bearer of something universal, such as virtue, and the revived antiquity saw in the individual as an individual a unique expression of the Universe, i.e. something unique, irreplaceable and infinitely significant. Man, like a microcosm, in itself is a source of knowledge that it contains some innate ideas, or somehow that a person contains in himself all the potentialities of his own development. The idea of ​​man as a small cosmos is expressed by Anaximenes, Heraclitus, Democritus, Plato. But the man of the Greek philosophers is not equal and is not identical to the cosmos. It is rather part of the cosmic order.

A consequence of the increased interest in classical culture was also the study of ancient texts and the use of pagan prototypes to embody Christian images, the collection of cameos, sculptures and other antiquities, as well as the restoration of the Roman tradition of portrait busts. The revival of antiquity, in fact, gave the name to the whole era, because the "renaissance" is translated as "revival".

Teaching and scientific research was no longer exclusively the work of the church. New schools and universities arose, natural science and medical experiments were carried out.

In architecture, secular buildings, public buildings, palaces, city houses began to play a leading role. Using order partitioning, walls, arched galleries, colonnades, vaults, domes, architects (Brunelleschi, Alberti, Brammante, Palladio in Italy, Lesko Delom in France) gave their buildings majestic clarity, harmony and proportionality to man. 5

Artists and sculptors strove in their work for naturalness, for a realistic recreation of the world and man. Classical statues and human anatomy were studied. Artists began to use perspective, abandoning the planar image. The objects of art were the human body (including the nude), classical and contemporary subjects, as well as religious themes. Famous artists of the Renaissance are Donatello, Masaccio, Piero della Francesca, Raphael, Leonardo da Vinci, Michelangelo, Vironese in Italy; Jan van Eyck, Brueghel in the Netherlands; Niethard, Holbein, Dürer in Germany.

Capitalist relations were emerging in Italy, and diplomacy began to be used as a tool in relations between city-states. Scientific and technological discoveries, such as the invention of the printing press, contributed to the spread of new ideas. Gradually, new ideas took possession of the whole of Europe.

Philosophy occupies a special place in the spiritual culture of this time, and it has all the features that were mentioned above. The most important feature of the philosophy of the Renaissance is the anti-scholastic orientation of the views and writings of the thinkers of this time. Its other characteristic feature is the creation of a new pantheistic picture of the world that identifies God and nature.

Finally, if the philosophy of the Middle Ages is theocentric, then the characteristic feature of the philosophical thought of the Renaissance is anthropocentrism. Man is not only the most important object of philosophical consideration, but also the central link of cosmic existence. Christianity was also anthropocentric in the sense that the whole world was understood as created by God primarily for man. However, a specific feature of the religious monotheistic worldview was the idea of ​​deification, understood in the spirit of Christian mysticism. Mysticism consisted in the fact that the union with God occurs as a result of the condescension of divine grace, the perception of divine energies as a result of the mood of the spirit, achieved by an ascetic way of life and special prayers. 6

Humanism has changed its point of view. Man was placed at the center as a god-like being as a result of his own creative abilities. Anthropocentrism as the focus of the humanists' worldview meant the replacement of the concept of deification as one of the basic concepts of the religious-ascetic worldview of the Middle Ages with the concept of the deification of a person, his maximum convergence with God on the paths of creative activity, captured then in so many works of art that still delight people.

3. Leonardo da Vinci, about him

Leonardo da Vinci (1452-1519), great Italian artist, inventor, engineer and anatomist of the Renaissance. Leonardo was born in or near Vinci, between Florence and Pisa, on April 15, 1452. He was the illegitimate son of a Florentine notary, who was barely 23 years old, and a peasant girl, Katerina. In 1457, his father takes Leonardo to the Vinci estate and soon marries another girl. He was brought up in his father's house and, being the son of an educated man, received a thorough primary education in reading, writing and counting.

Little is known about the first years of training. In 1470, or a little later, Leonardo was apprenticed to one of the leading masters of the early Renaissance in Florence, Andrea del Verrocchio. In 1472, Leonardo joined the guild of artists, having learned the basics of drawing and other necessary disciplines. In 1476 he was still working in Verrocchio's workshop, apparently in collaboration with the master himself. 7

By 1480, Leonardo da Vinci was already receiving large orders, but in 1482 he moved to Milan. In a letter to the ruler of Milan, Lodovico Sforza, he introduced himself as an engineer and military expert, as well as an artist. The years spent in Milan were filled with varied pursuits. Leonardo painted several paintings and the famous fresco "The Last Supper" and began to diligently and seriously keep his notes. The Leonardo whom we recognize from his notes is a design architect (creator of innovative plans that were never carried out), an anatomist, a hydraulician, an inventor of mechanisms, a designer of scenery for court performances, a writer of riddles, puzzles and fables for the entertainment of the court, musician and art theorist.

After the expulsion of Lodovico Sforza from Milan by the French in 1499, Leonardo left for Venice, visiting Mantua along the way, where he participated in the construction of defensive structures, and then returned to Florence; it is reported that he was so absorbed in mathematics that he did not want to think about picking up a brush. For twelve years, Leonardo constantly moved from city to city, working for the famous Cesare Borgia in Romagna, designing defenses (never built) for Piombino. In Florence he entered into a rivalry with Michelangelo; this rivalry culminated in the enormous battle compositions that the two artists painted for Palazzo della Signoria (also Palazzo Vecchio). Then Leonardo conceived a second equestrian monument, which, like the first, was never created. All these years, he continued to fill his notebooks with a variety of ideas on subjects as diverse as the theory and practice of painting, anatomy, mathematics, and the flight of birds. But in 1513, as in 1499, his patrons were expelled from Milan.

Leonardo da Vinci went to Rome, where he spent three years under the auspices of the Medici. Depressed and distressed by the lack of material for anatomical research, Leonardo fiddled with experiments and ideas that led nowhere.

The French, first Louis XII and then Francis I, admired the works of the Italian Renaissance, especially Leonardo's The Last Supper. Therefore, it is not surprising that in 1516, Francis I, well aware of the various talents of Leonardo, invited him to court, which was then located in the castle of Amboise in the Loire Valley. Although Leonardo worked on hydraulic projects and plans for a new royal palace, it is clear from the writings of the sculptor Benvenuto Cellini that his main occupation was the honorary position of court sage and adviser. Leonardo died at Amboise on May 2, 1519; his paintings by this time were scattered mainly in private collections, and the notes lay in various collections almost in complete oblivion for several more centuries. eight

Leonardo da Vinci devoted himself completely to his work. In Vasari's description of Leonardo's work, admiration for him is clearly felt, he says that "not a single talent of God could create anything more perfect." Absolute accuracy, love for details, attentiveness to the most insignificant trifles are observed in the works of da Vinci - he drew and enlivened every little thing. The natural-science knowledge of the artist is already beginning to be combined into some kind of intricate fantasies, real in their details, chimerical in their complexity and, perhaps, quite modern for the Renaissance in their external theme. Sometimes in such themes Leonardo da Virnci rose to unheard-of virtuosity, reaching a stunning effect. So, he made the head of Medusa - with an extraordinary plexus of snakes instead of hair, which defies any description. “It can be said with complete certainty that these snakes seemed as alive as water, herbs and animals in his other youthful experiments.” 9

Once Petro da Vinci, Leonardo's father, gave his son a round shield made of fig wood with a request to paint it at his own discretion. Leonardo carefully processed the surface of the shield, filled it with plaster and began to invent what would depict on it a particularly terrible and monstrous. He collected in his working room, where no one was allowed, a huge number of lizards, butterflies, crickets, lobsters, bats. Of all these animals, he made one incredible combination, imagining a terrible monster that spews poison from its mouth, fire from its eyes, smoke from its nose. The artist's studio was filled with suffocating smard from dying living creatures, but Leonardo did not feel this - "out of great love for art." When father Pierre Vinci saw the result of his son's efforts, he recoiled in horror.

Other scientists believe that the point is in the peculiarities of the author's artistic manner. Allegedly, Leonardo applied paint in such a special way that the face of Mona Lisa is constantly changing.

Many insist that the artist depicted himself in a female form on the canvas, which is why such a strange effect turned out. One scientist even found symptoms of idiocy in Mona Lisa, motivating them with disproportionate fingers and lack of flexibility in the hand. But, according to the British doctor Kenneth Keel, the peaceful state of a pregnant woman is conveyed in the portrait.

There is also a version that the artist, who was allegedly bisexual, painted his student and assistant Gian Giacomo Caprotti, who was next to him for 26 years. This version is supported by the fact that Leonardo da Vinci left this painting to him as a legacy when he died in 1519.

They say... ... that the great artist owes his death to the Gioconda model. That many hours of exhausting sessions with her exhausted the great master, since the model herself turned out to be a biovampire. This is still talked about today. As soon as the picture was painted, the great artist was gone.

6) Creating the fresco "The Last Supper" Leonardo da Vinci searched for ideal models for a very long time. Jesus must embody Good, and Judas, who decided to betray him at this meal, is Evil.

Leonardo da Vinci interrupted work many times, going in search of sitters. Once, while listening to the church choir, he saw in one of the young choristers the perfect image of Christ and, inviting him to his studio, made several sketches and sketches from him.

Three years have passed. The Last Supper was almost completed, but Leonardo never found a suitable sitter for Judas. The cardinal, who was in charge of painting the cathedral, hurried the artist, demanding that the fresco be completed as soon as possible.

And after a long search, the artist saw a man lying in the gutter - young, but prematurely decrepit, dirty, drunk and ragged. There was no time for studies, and Leonardo ordered his assistants to deliver him directly to the cathedral. With great difficulty they dragged him there and put him on his feet. The man did not really understand what was happening and where he was, and Leonardo da Vinci captured on canvas the face of a man mired in sins. When he finished the work, the beggar, who by this time had already recovered a little, went up to the canvas and shouted:

I have seen this picture before!

- When? Leonardo was surprised. “Three years ago, before I lost everything. At that time, when I sang in the choir, and my life was full of dreams, some artist painted Christ from me ...

7) Leonardo had the gift of foresight. In 1494, he made a series of notes that paint pictures of the world to come, many of which have already come true, and others are coming true now.

"People will talk to each other from the most distant countries and answer each other" - we are talking here, of course, about the telephone.

"People will walk and not move, they will talk to those who are not, they will hear those who do not speak" - television, tape recording, sound reproduction.

"You will see yourself falling from great heights without any harm to you" - obviously skydiving.

8) But Leonardo da Vinci also has such riddles that baffle researchers. Maybe you can figure them out?

"People will throw out of their own homes those supplies that were meant to sustain their lives."

"Most of the male race will not be allowed to breed, because their testes will be taken away."

Want to learn more about Da Vinci and bring his ideas to life?