ПРОБЛЕМА ПРИХОВАНОГО СИМВОЛІЗМУ ЯК СПЕЦИФІЧНОЇ ФОРМИ ОБРАЗОТВОРЧОГО ТРОПОСУ В КОНТЕКСТІ ЕСТЕТИЧНОЇ ДУМКИ РЕНЕСАНСУ ТА МАНЬЄРИЗМУ
The problem of hidden symbolism as a specific form of tropos in fine arts in the context of aesthetic thought of the Renaissance and Mannerism

Summary/Abstract: The article shows the role of rhetorical concepts in the Renaissance Fine Art justification place in the family of "Liberal Arts". The treatise of Leon Battista Alberti, "Three books on painting" is considered, in which the artist uses a theoretical category of classical rhetoric to define creativity of the artist. The differences between the aesthetics of the Florentine Platonism and theory of art of 15-16th century are revealed in relation to the phenomenon of allegory in the visual arts . The author emphasizes the philosophy of neo-Platonism as an influential factor in the formation of the phenomenon of artistic renaissance in general, and in particular fine tropos, but asks the question : what is meant for the renaissance artist "to be Platonist", or is it possible to identify the theoretical and speculative system of artistic practice ? It is justified rather ideological, structural and methodological than substantive significance of Neo-Platonism for the art of the Renaissance, its importance as a model for understanding the world, God and man. Creating and making out renaissance myth of the man, philosophical and aesthetic thought of neoplatonism actively developed the scope of artistic allegory, but it was not interested in the problems of fine art. At the same time, the extensive use of the symbol, allegory and metaphor in art practice, the artists – theorists of the Renaissance do not expose them to the reflection in the practical theory of art, which is oriented on imitation of nature. Alberti's treatise "On Paintin" refers to the demystification of Platonic metaphor of the "screening ", is an expression of the structure of allegory.The article shows that the specific form of the Renaissance Fine tropos (" hidden symbolism ") has not been the subject of attention of the Renaissance aesthetic thought. The explication is performed between justification non "Finito" in the theoretical treatises of Leonardo da Vinci and the problems of hidden symbolism. It is revealed the importance of the Renaissance aesthetic category of "Variety" (diversity) for understanding the phenomenon of allegory in the visual arts of the Renaissance, in which mimesis and creative constructing are identified , so that the mythology is in the form of imitation. The famous text by Leonardo da Vinci about the stains on the wall" is not analyzed in the context of the doc-trine of artistic fantasy and imagination , but on the " language " level , as a result, a semantic ambiguity appears as a source of estrangement . The relation of "non Finito " with the erosion of the canonical iconography is detected , allowing the archetypal form to find another meaning , which is the mechanism of latent symbolism. It is proved that desemantization of iconographic canon as a way of forming a semiotic autonomy image was on the " language" level one aspect of the Renaissance processes in the visual arts. Manneristic theory of beauty is regarded as the theoretical basis for tropos in art and necessary element in the forming of the prerequisites for aesthetic reflection of questions of artistic visual language; for the theory of allegory in art.

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