PHILOSOPHICAL PRINCIPLES OF THE BAROQUE WORLDVIEW

Abstract

The article analyzes the philosophical foundation of the formation of such a complex phenomenon in the space of European thought and culture as Baroque. For a long time, philosophers, cultural experts, art critics, historians, etc., have devoted their research to it, but until now there is no unity regarding the interpretation and understanding of the content, nature, limits of application, and methodological possibilities of this complex phenomenon. The purpose of this article is to analyze the philosophical foundation of the baroque worldview on the example of the European philosophical tradition (H. Leibniz) and the domestic philosophical tradition (H. Skovoroda), which contributes to a better understanding of the nature of the baroque, the sources of its emergence, and cognitive and methodological possibilities in cognition and culture in general. During the writing of the article, dialectical, historical-comparative, as well as some general logical methods were used: analysis and synthesis, abstraction, analogy, etc. The results of our research show that the formation and development of baroque culture was largely determined by Gottfried Leibniz’s philosophical ideas about the “monadic” structure of the world, in which monads play the role of spiritual atoms that make up and reflect the whole the whole world. At the same time, the principle of reflection becomes one of the main formative and worldview principles of the Baroque era. Baroque reorients European culture from the old narrative type of reality reproduction to a fundamentally new one based on its encoding and concealment. Hryhoriy Scovoroda continues this European line of development of philosophy in his work, transforming it and supplementing it with original images and concepts such as architype, vice figure, etc.