I realized that in order to live a full life, there is not enough science, not enough book knowledge alone... I discovered the beauty of nature, the deep connection of artistic creations with the homeland of their creators.

I. A. Bunin

The article deals with the problem of dominance in the Far Eastern philosophical and aesthetic knowledge of inexpressible, non-discursive, body knowledge, as opposed to socially oriented knowledge based on the text. The latter has been considered the main form of true knowledge about the world in the West for the last 2.5 thousand years. But the aesthetics of Romanticism tended to rely on the sensual, physical aspect of the mind, which brought it closer to the traditional Japanese aesthetics of Geido.

Keywords: non-discursive, body knowledge, Far Eastern aesthetic tradition, romanticism aesthetics.

Since the mid-20th century. in European philosophy, there are studies devoted to the traditionally obscured area of individual non-discursive knowledge, which underlies the self-perception of any living being, but is realized only by a person. In the philosophy of phenomenology (E. Husserl, M. Merleau-Ponty), existentialism (M. Heidegger, K. Jaspers, J.-P. Sartre), as well as in the latest studies of radical constructivism (P. Wenceslaus), the philosophy of autopoiesis (W. Maturana and F. Kant). Varela), cybernetic philosophy (G. Bateson) gradually identified the problem of the irreducibility of the human mind to its communicative, discursive, social "dimension" (see: [Pugacheva, 2008, p. 24 - 38, 40 - 41, 69 - 97)]. In fact, it was an attempt to formulate an alternative to the view of true knowledge as a text transmitted in an unchanged form, regardless of the qualities of its carriers and means of communication. Within the framework of this tradition, a living person as a finite and somatic being was not recognized as an independent creator of knowledge about the universe. His sensory experience was at best regarded as material for the theorizing function of the mind.

Since Aristotle, in Western philosophy, man with his inner world and everything around him have been objects of impersonal scientific knowledge. Gradually, from an environment hostile to humans, the outside world turned into a huge workshop, a means of providing physical and mental comfort - a source of minerals, food, oxygen, and impressions. In relation to the world (object), the person (subject) was invariably in the position of an outside observer, whose indi-vidual position was not that of an external observer.-

page 5
the specific features of the species did not correspond to the qualities of this world and could not influence its characteristics. This position corresponded to the desire of man to create a system of universal knowledge about the world. The position of the" observer " allowed Aristotle to formulate the axioms and rules of inference of formal logic, which remained unshakable and are still used in the formulation of scientific theories. It was only in the twentieth century that the idea of creating a consistent "theory of everything" was dispelled by K. Godel, who proved by means of formal logic itself two theorems about the incompleteness of formalized systems (1931), which include all known religious, scientific, and philosophical theories.

Nevertheless, it is clear to everyone that the picture of the world and their own life in it are far from being limited to scientific, religious and philosophical texts. There is something that does not fit into the framework of discursive knowledge - knowledge conveyed by words; an aspect of the world that is "overlooked precisely because it is given with the utmost evidence to every eye" (Malyavin, 1997, p.171). Moreover, "the thought uttered is a lie "(f. Tyutchev), in other words, the essence of being-has an inexpressible character, but it is acutely felt by artists and is comprehended by a person directly, by the" mute " experience of the body, which is part of the world continuum. Such an individual experience of direct interaction with the world continuum in the "here and now" mode is primary in the ontogenic development of man: the human child, like any animal, confidently exists in this "participant" mode, i.e., the absence of "past", "present" and "future" time, in constant bodily interaction with the human body. the world continuum. But this experience is also basic in the formulation of categories and concepts of scientific theories. This becomes obvious if we turn to explanatory dictionaries, where complex scientific terms are explained using simpler concepts (see: [Pugacheva, 2008, pp. 246-256]). In addition, the source of any new knowledge that takes verbal form is a specific individual. It is not an impersonal mind in a meaningless body carrier, but a complete body being in the fullness of its individual being.

In the religious and philosophical practice of many peoples, a person's direct individual knowledge of the world was a very significant moment (we will mention here the teaching of Kabbalah, the practice of experiencing unity with the Divine in Sufism, the ideal of the Tao-man in ancient Chinese philosophical practice, the Vedic idea of the Atman, the Buddhist teaching of Dharmakaya). In the teaching of the Orthodox fathers, much attention was paid to the formation of the "inner personality" (Ap. Paul, 2 Cor. 4; 16). It is the religious experience of spiritual mentors that testifies to the organic, closest connection between the states of mind and body. Practice of ascetic life (limiting the main bodily needs) It was one of the most effective means of improving and spiritualizing the "inner man", who is open to God and the world in good thinking and virtuous activity, in contrast to the" outer man", who observes religious rules on a purely" external", formal level, which does not change the world for the better.

But even in ordinary, so to speak, profane life, we often find ourselves in a situation where we need to act "with the whole body", without hesitation, within the framework of "autopoiesis" - self-creation and at the same time self-knowledge, in a single "life act". At this point, the truth of life becomes our inner experience:" ... in the mode of actual existence, when there is no time for logical analysis, it is the body that shows by a subtle change in its state what should be said and done and what should not be " [Pugacheva, 2008, p. 224]. These are situations of choice in extreme conditions ("borderline situations" in existentialism), situations of duels in martial arts, situations of communication in unpredictable circumstances (meeting lovers, talking to superiors, lecturing an interested audience, driving a car in a difficult road situation, acting improvisation).

page 6
The "body mind" is also important in mastery learning situations where discursive instruction is completely insufficient to master a complex skill (for example, driving a car or writing hieroglyphics). In such cases, the master teaches not only and not so much with words as with his own example, literally "implanting" his knowledge/skill into the integral, body-rational being of the student.

The most complete understanding of the role of the nonverbal basis of the universe and man is realized in the teachings of Zen (Chinese chan-) Buddhism. According to this teaching, experiencing the synchronicity of individual life and the natural continuum, leading to satori (enlightenment), is an act of transformation of the individual, acquiring a new quality. Although this is an inner experience of a Buddhist monk, an experienced Zen master sees such a transformation of the disciple through the smallest nuances of behavior that he alone understands. The presence of non-verbal true knowledge is an axiom for the Zen adept, and the method of transmitting such knowledge originates from Shakyamuni's "flower sermon", when he silently showed a flower to a disciple's question about the true nature.

The tradition of direct non - verbal transmission of sacred knowledge from teacher to student was transferred to China at the beginning of the sixth century. There, she was enriched with the ideas of Taoist Wuwei (literally, "non-action") - the doctrine of non-interference with the natural order of Tao and that a perfect natural person contributes to the harmonization of the Middle Kingdom. ("Since it, like water, does not struggle with things, it does not make mistakes" [Ancient Chinese Philosophy, 1972, p. 117].) This teaching became the basis of the worldview of the "wind and flow" artists - fengliu, who believed that the purpose of art is to convey direct, individual comprehension-the artist's experience of the most subtle changes in the natural continuum. Such an experience, synchronized with the movement of the universe, is reflected in a spontaneous creative act that occurs without regard to any norms or rituals, in an act of self-restoration-self-knowledge, when the fact of acquiring knowledge is manifested in a gesture and act and does not need to be verbally expressed: "the knower does not speak, the speaker does not know." Nevertheless, the adherents of Taoism and Zen Buddhism, thus asserting the primacy of non-discursive knowledge, also recognized the significance of texts belonging to revered teachers. The famous Chinese poet and thinker Bo Ju-yi (772-846) drew attention to this inconsistency of their position.:

"Who says-knows nothing,
he who knows is silent."
These words are known to people,
Lao belong.
But if so, Venerable Lao
is the one who knew, -
How come he left
a five-thousand-word book?1

[Chinese Classical Poetry, 1984, p. 273].

Bo Ju-yi is a representative of another spiritual tradition, Confucianism, rather than Taoism. The latter was embodied mainly in the system of ethics and social organization of the countries of the Far East and was based on the" sacred "texts of the" Nine Books", which took shape by the Tang era (VI-X centuries). Confucianism proclaimed the ideal of a perfectly wise ruler who, by his righteous, humane and responsible behavior, harmonizes the state of affairs in the Middle Kingdom. An unjust, hard-hearted, greedy ruler, on the contrary, violates the order given by Heaven and becomes the cause of natural disasters. In the oldest book of Confucianism-

1 Translated by L. Z. Eidlin.

page 7
Shu Ching "(A book of History compiled around 97, containing materials from the XXIV-VIII centuries BC) we read: "If the proper seasonality (the actions of the five natural phenomena) is disturbed during the day, month, and year, then various cereals do not have the opportunity to ripen, the country is managed blindly and stupidly, outstanding people are relegated to the shadows, and the country is in a state of restlessness" [Ancient Chinese Philosophy, 1972, p.110].

Thus, the two main philosophical traditions of China, which were largely opposed, converged on a very significant point: both showed a belief in the interdependence of the state of the natural continuum and human knowledge-behavior, and their mutual correlation. At the center of both systems is man with his psychophysical constitution, given to him by Nature (Heaven). Both systems, despite the apparently differing ideal person (in one case it's a virtuous educated officials, embodying the order of the ritual in another contemplative hermit, denying the achievements of culture and the rules of life, as recorded in the text), called for careful, even a loving attitude towards Nature, based on the idea of the deep at the entity level, physical relationship with her man.

Both of these teachings arrived on the Japanese Islands as part of continental culture almost simultaneously with the first sutras introduced by the founders of the so-called six southern sects of Buddhism. In Buddhism, the relationship and interdependence of man and his environment is given a sacred meaning. The nature in it - both living and inanimate-is the " transformed body of the Buddha." Man-like everything else in nature-is a single and indistinguishable in its deepest basis actual Being "here and now", which only by appearance and unconsciousness looks divided into a multitude of"deeds and things".

The task of realizing the deep kinship and even identity of all the elements of the universe was at the same time an ontological task of finding the original Buddha nature - the achievement of a state of calm and light by all people and the entire universe - Nirvana. One of the ways to advance along the path of Buddhist and Taoist knowledge-self-restoration and enlightenment-was considered to be a journey in Nature. "The occupation of the Tao-man is a "journey" (yu) "[Malyavin, 1997, p. 171]. Indeed, the tradition of monastic vagrancy migrated from India to China, where it received "ideological support" from Taoist hermits. They spent much of their lives in the mountains and forests in search of herbs for the "elixir of immortality" and hallucinogenic mushrooms that put them in a special state of "trance", which gave a sense of self - absence and the fullness of a comprehensive - at the level of the whole organism-experience of unity with the Tao.

In Japan, too, the tradition of wandering has taken root as one of the forms (along with meditation) of understanding unity with the universe using the "mind of the body". Buddhist monasteries and hermitages were built in the mountains, among the forests, and traveling from one shrine to another was practiced in all sects of Japanese Buddhism. This tradition has received special support in the Shugendo sect, known since the eighth century. According to the researcher of Japanese medieval culture E. Steiner, " the religious practice of all faiths included votive journeys, for example, on the anniversary of the death of a teacher, pilgrimages to holy places, the departure of calendar cyclic cults from different localities, etc. Some, mainly Yamabushi monks who were attached to the mountain sect of Shugendo, spent most of their lives on the road"[Steiner, 1987, p. 193]. The scientist emphasizes that "travel was primarily a religious act, and therefore most often the wanderer was surrounded by a mystical atmosphere, in which there were ideal models of the macrocosm, given from time immemorial-Rivers, Mountains, Waterfalls" [ibid., p. 194].

page 8
However, not only monks, but also artists adopted the tradition of long journeys in China and Japan. The most striking example of a nonverbal experience of connecting with the universe is found in the so - called Zen arts, which are considered representative of classical forms of artistic practice and developed under the patronage of Zen monasteries. Ikkyu Sojun (1394-1481), a monk-wanderer and at the same time a calligrapher, painter, poet and connoisseur of theater and tea performances, became the main influential figure here. His great ideological and aesthetic influence on such founders of new types and genres of Japanese traditional art of Geido as Zentiku (1405-1470), Murata Shuko (1432-1502) and others is beyond doubt.

Tao is not only a physical journey, but also a way of self-restoration of a person. The hieroglyph "path" (Japanese do) also denotes a person's professional activity in the traditional art of goido (path of creativity), which combined professional skill with the stages of self-improvement of the artist. Geido theorists believed that the pinnacle of mastery can only be achieved if one realizes the unity of one's individual path with the original path of Tao.

The group of Zen arts of Geido (and martial arts in particular) adopted the position of isomorphy of human nature and the macrocosm as an ideological aesthetic basis. It was the acceptance of this view of the world, inherited by Zen Buddhism from the great Chinese teachings and traditional Buddhism, that gave Geido theorists the right to claim that their art can not only pacify the hearts of people, but also harmonize Nature itself. Thus, the outstanding poet and film theorist Tsurayuki (c. 882-945) writes in the Preface to the Kokinshu anthology (905-922):: "Without any effort, it moves the sky and the earth, inspires compassion for invisible gods, spirits, and demons" (Kokinshu Poetry Anthology, 2005, p. 44; see also: Dzami, 1989; Gluskina, 1979, p. 280).

A student of the neo - Kantian G. Rickert (1863-1936), the German scholar Eugene Herrigel (1884-1955), who taught philosophy at the University of Heidelberg, specifically lived for six years in Japan in order to study Zen Buddhism. He has come a long way to experience the work of finding the "primordial state of consciousness", i.e., the realization of" non-duality", the unity of the universe, through the so - called luka-kyudo path. The testimonies of a professional Western philosopher who has joined a purely Eastern spiritual practice are of exceptional interest. Herrigel went from student to master of the martial art of kyudo and" from the inside " described all the stages of self-transformation in the course of mastering technical techniques. He penetrated deep into the mysterious connection of purely physical - on the verge of purely mechanical drill-practice with the states of consciousness that arise when the body resists such a drill. Only his boundless trust in his master kept him on the difficult path to enlightenment, which is achieved by realizing oneness with the original Nature of the universe. As a result, Herrigel gained the ability to transcend his self, the experience of transcending, the unity of the self, the target, the bow and arrow.

"The observer perceives things only through their relations with each other, and what is inside the perceived set of things, he clearly divides into the past and the future. The seer, on the contrary, knows nothing about it; his way of seeing exists in the unrelated present, in the unreflected "now" of an almost infinite event, " writes Herrigel (2005, p. 146). And he makes the following conclusion: "Direct understanding creates a new, unusual dimension of being - the primal sphere in the ontic sense, in which everything has a form, image and meaning, but still continues to be beyond any theoretical justification" (my italics - E. S.) [Herrigel, 2005, p. 203].

It should be noted that even in the early sects of Japanese Buddhism, there was an idea of true existence, which lies at the foundation of the universe and does not have any aberrations.-

page 9
space-time characteristics. Thus, the secret teaching of the Shingon sect (founder - Kobo Daishi, 774-835) is based on the sermon of Shakyamuni, which he "delivered-thought in the body of the Law", i.e. outside the spatial and temporal coordinates: "This sermon," writes the modern Buddhist N. N. Trubnikova, " occurs in a certain timeless way (according to the timelessness of the body of law itself), it is not related in any way to any point in the three worlds (past, present, and future). Nor can it be connected with the inner time of preaching the law, with such milestones as the enlightenment of Shakyamuni Buddha under the bodhi tree, the sermon in Benares, on the Eagle Mountain, or the last sermon before Nirvana" [Trubnikova, 2000, p.13].

Due to the introversion of the attitudes of Chan or Zen Buddhism (the ideological basis of the classical Japanese artistic tradition of Geido), intuition is revered in the East as the pinnacle of human cognitive abilities. It is not by chance that the practice of psychotraining is so widespread here, aimed at gradually "removing" all layers of the personal " I "up to the complete elimination of the Self-consciousness and immersion in the depths of the" body mind", where all barriers between the world of" I "and" not-I " are dissolved.

The main way to understand the world continuum in the East is considered to be Satori-mystical intuition. However, according to Herrigel, there is a fine line between satori and mystical intuition in the Western Christian tradition. "In European mysticism," writes Herrigel, "the self is not completely dissolved - in God, in the Deity, in what and where the unio is performed (Latin:" union", "union" - E. S.), whatever it is called... On the contrary, the self is saved, receives forgiveness and confirmation of its existence " (Herrigel, 2005, p. 146). Man, even after the act of unio, continues to be an "observer" of Nature. Unity with the primordial Nature in Taoist-Zen culture is constant, and the more the self dissolves into the natural continuum, the truer its primordial being becomes.

In his time, C. G. Jung (1885-1961) closely studied the philosophical systems of the East and came to the conclusion that for them the most important thing is the psyche. "It is the all-pervading breath, the essence of the Buddha; it is the spirit of the Buddha, the One, the dharma-kaya. All life flows out of it, and all the multiple forms of phenomena dissolve back into it. This is the fundamental psychological premise that permeates the Eastern person to the bottom, determining all his thoughts, feelings and actions, no matter what faith he considers himself to be" [Jung, 1994, p. 107] (see also: [Nisitani, 1985; Nakamura, 1985, p. 25-46]).

Like many other researchers, Jung wondered: is East-West interaction possible? (see: [Skvortsova and Lutsk, 1985, pp. 132-139; Lutsk, 1985, pp. 54-62; Skvortsova, 1996]). The differences between them, in his opinion, are so great that there are no reasonable grounds for such interaction. "You can't combine fire and water. The spiritual make-up of the East stupefies the Westerner, and vice versa. It is better to accept the conflict as it is , because if there is a solution at all, it is only an irrational one" [Jung, 1994, p. 105]. Jung's skepticism about the possibility of mutual understanding between Eastern and Western thinking styles is well justified. What a Westerner understands with the help of reason and logic, by Eastern standards, is considered only one of the shells of truth.

Nevertheless, already in Romanticism (late XVIII - first third of the XIX century), an attempt was made to "remove" the contradiction between East and West within the framework of the glorification of natural naturalness and direct feeling.

The theme of Nature is one of the main themes in the work of romantics. Nature as an element has never played such an important role in the history of European aesthetics. This role is quite comparable to the role of nature in the art and aesthetics of the Japanese art tradition of Geido (see Grigorieva, 1979).

page 10
The Taoist-Buddhist aesthetics of Geido, like the aesthetics of Romanticism, did not have a formalized aesthetic theory. The East did not know aesthetics as a separate theory, it grew out of one root - tao (Chinese) or do (Japanese), i.e. the way [see: Skvortsova, 2010(2), pp. 26-50]. Tao is an incomprehensible principle of the universe, the essence of which consists in the continuous negation of the forms created by itself, in constant fluidity and variability. Only a symbol can indicate the presence of a dao. The closest symbol to the Tao is Nature with its alternation of seasons, atmospheric phenomena, flowering and withering, awakening and fading.

Man, as a small part of Nature, feels and perceives these metamorphoses in his heart. The heart that has received the movement of the tao in the rhythms of Nature, filled with its moving charm, seeks to express it.

Japanese theoretical painters reproduced Chinese works on painting and calligraphy, which treat the heart as the source and root of art (see Zavadskaya, 1978). But the role of the heart is especially strongly emphasized by the masters of tea art - Murata Shuko (1432-1502), Takeno Joo (1502-15555) and Sen Rikyu (1522-1591), who thoroughly consider the "heart" in its two guises - as a feeling and thinking (shin, kokoro) and as a physical, bodily organ (shinzo). (Note that even the ancient Taoists and Confucians considered astringent tea bitterness useful both for the cheerfulness of the mind and for the rhythmic work of the heart muscle.) The heart as a mentally-sensitive source of creativity was also pointed out by the founders of the theater art of Noh and the founding fathers of the tea ritual of tianyu [Zeyami, 1987; Ignatovich, 1997].

Through the artist's heart pass those innumerable subtle changes of infinite reality, of which he himself is a part and which he can only embody in symbolic form. Although not always explicitly, Taoism was at the core of every Japanese artist's worldview and found expression in various forms of traditional art. The very concept of traditional art - geido, as well as the concepts denoting specific types of art-all contain the character tao (do). For example, kado is the art of versification, sado is the art of tea ritual, nogakudo is the art of Noh theater, and so on.

The main "poets of Geido" were the founders of Taoism Lao Tzu (VI-V centuries BC) and Chuang Tzu (369-286 BC), whose texts are revered in Zen Buddhism, as well as the" Lankavatara Sutra "and the"Platform Sutra of the 6th Patriarch". These poets and philosophers masterfully celebrated the beauty of elusive images of nature in an aphoristic and artistic form. In their texts, the tao is likened to the "gate of innumerable subtleties", then to a "moving shadow", then to a network that captures everyone in its cells. The original examples of aesthetic treatises in the Far East can be considered the books "Daodejing" and "Zhuangzi" written by the founders of Taoism, which contain the entire Geido tradition. The founders came closest to the essence of the original transcendent reality.

Taoism is also associated with the understanding of the role of the artist not as an autonomous "creator", but as a translator of subtle metamorphoses of the tao. The artist does not create, but passes an endless chain of transformations through his heart. He catches their rhythm, captures their shadow, their trace - in a word, gesture, hieroglyph, landscape, arrow flight, sword swing. This is why many works of medieval Japanese art are anonymous: not sticking out the " I " is the norm.

Before creating, the master must embody the tao with his life, become its guide. Strict rules and taboos are required, which are mandatory for anyone who wants to achieve mastery in a particular art form. "The only person who can be called an indubitable master," wrote the founder of the No Joami Motokiyo Theater (1363-1443)," is one whose speech is not base, whose appearance bears the innermost beauty " [Joami, 1987, p.89]. To meet these requirements, three strict taboos had to be observed: no drinking, no adultery, and no gambling.

page 11
gambling. The master was obliged to remain faithful to the tao-the chosen path in art-all his life.

A traditional artist is created within the framework of the iemoto system, or "house", where he gradually passes all the stages of introduction to art - from neophyte to master-according to his age. Training takes place directly by the physical method of mikiki (literally, "see and hear"), when the skill is transmitted through personal communication between the teacher and the student - from heart to heart (Japanese: kokorozuke). This is not just how professional skills are transferred. Since the concept of "home" implies kinship relations, from teacher to students, from generation to generation, both the lifestyle and personality characteristics of the master are transmitted. A part of his heart, his professional skills are acquired by the student from childhood, they are embodied in the student. The student's creative gaze is always directed back to the wisdom of the teacher, and the teacher's gaze is always directed back to the wisdom of the first teachers.

Training takes place in a strictly ritualized form, with the student's will completely subordinated to the teacher's requirements; just as an obedient child fulfills all the instructions of a strict father, just as a monk obeys the will of the abbot of a monastery. Therefore, in the art of Geido, despite the anti-nationalist attitude, the individual freedom of the artist was limited, firstly, by the strict discipline and ritual adopted in the "house" system, and, secondly, by the rules of the canon adopted in this "house". "Antiquity is an instrument of knowledge: to transform means to know this instrument, but not to become its servant, "says the treatise on painting" Hua Yulu " (1670) [Zavadskaya, 1978, p.360]. The new tree grew organically out of the familiar and traditional one, like a young shoot out of an old tree deeply rooted in its native soil. That is why, if you don't know exactly the name of a medieval author, you can't distinguish who owns a particular "song" in Japanese poetry anthologies or a particular monochrome landscape on the screens and sliding partitions of monasteries. Even in the texts of the theater's plays, But instead of the author's signature, it simply indicated "such and such wrote down..."

But back to Romanticism. Alexander Blok has an important definition of Romanticism for us today: this "is nothing more than a way to arrange, organize a person, a carrier of culture, for a new connection with the elements" [Blok, 1982, p.357]. Blok notes that " romantics have put forward, among other things, a strange-sounding (emphasis mine. - E. S.) for our ears the slogan "saving nature", a slogan close to one of our deepest romantics - Vladimir Solovyov " [Blok, 1982, p. 358]. Today, saving nature has long ceased to be a romantic requirement and is a necessary condition for human survival. Romantics did not even know how right they would be in their intuitive insight.

The attitude of Romantics to the natural elements is internally contradictory. This contradiction is very clear in the following excerpt from the aesthetic treatise of F. R. Tolkien. Schiller's "On Naive and sentimental Poetry": "What could attract us by itself a nondescript flower, a spring, a moss-covered stone, the chirping of birds, the buzzing of bees, etc.? Which might give them the right... for our love? We don't love these things, but the idea they embody. We love in them a quiet creative life, quiet original activity, being according to our own laws, inner necessity, eternal harmony with ourselves "(cit. by: [Istoriya estetiki, 1967, p. 132]).

This fragment can easily be mistaken for an aesthetic essay by some Japanese poet or artist. And at first glance, it may seem that it serves as a confirmation of the idea of kinship between the Japanese art tradition of Geido and the aesthetics of romanticism. But only at first glance. After all, if the Japanese have Nature as an essence in itself, an infinite universe and a person - only an insignificant part of it, then the Romantics have nature as only an object of self-affirmation of the artist's personality, reflecting his idea.

Pay attention to how nature is characterized, for example, in Charles Baudelaire's Confessions: "Nature, the ruthless enchantress, the eternal rival and winner, leave

page 12
me! Do not tempt my ambition and pride! Comprehension of beauty is a duel where the artist screams in terror before falling defeated" (quoted in: [European Poetry, 1977, p. 684]).

Here the fear of the artist's personal "I" before the "original activity" of nature is clearly expressed, a fear completely unknown to Eastern aesthetics. Even more significant is the fact that the horror of the threat of erasing the "I" does not arise in the face of romantically stormy nature - a formidable element, but in the face of a quiet, musically picturesque, idyllic nature. Even such a peaceful existence seems hostile to the poet. Conversely, a stormy nature, a formidable element becomes for romantics a kind of psychological mirror, an expression of the freedom of the personal "I", the strength of the spirit and therefore is perceived quite in a related way.

It is very significant that a romantic is ready to admit fraternal feelings for nature only when it embodies the idea of free flight of his soul. But even then, it remains a twin enemy. The Eastern author, of course, could never have thought of anything like this. If he considered himself a brother of nature, he was the youngest and weakest, able only to reflect the richness of her life to a small extent. To see nature as something equal to one's own personality was something only a Western artist could do.

The difference in the understanding of the relationship "man-nature" in the West and in Japan is very subtly analyzed by I. A. Voronina on the example of a study of Japanese medieval literature. Developing the position of the remarkable Russian Japanese scholar Serge Eliseev, who noted that " the Japanese did not represent nature, he lived by its moods, without introducing his feelings into it "(cit. according to [Voronina, 1981, p. 194]), Voronina clarifies that the personification was still very special. "Undoubtedly," she writes, " it was a personification of a different kind, different from the Western European one. If the latter is the result of artistic distraction from the subject, then the personification of nature in Japanese literature is a consequence of the merging of the artist with the depicted" [Voronina, 1981, p. 195].

In other words, in the pair "man-nature", the Western thinking and artistic tradition unequivocally places man in the first place, considering nature, although important, but secondary to him as a character. On the contrary, in the spiritual tradition of Japan, nature is a much more significant and active component. Using a large number of examples taken from classical Japanese literature, I. A. Voronina demonstrates how much the Japanese are "inscribed" in nature, how the description of their feelings and emotions is easily replaced by a description of the state of the environment. "Often pictures of nature... as if they express the meaning of what is happening or precede what should happen to the characters of the work "[Voronina, 1981, p. 197]. Many plot moves, the fate of the characters are correlated with natural seasonal changes. In the artistic complex of traditional Japanese Geido arts, the individual is organically "embedded" in the natural universe, in contrast to romanticism, where it is opposed to it.

One of the common and widespread themes in both Geido literature and Romanticism literature is the departure from society to nature. However, even here we see a significant, deep difference. In Japan, for example, going to a mountain monastery lost in the woods or moving to a remote province is aimed at dissolving the individual in the universe, achieving maximum renunciation of oneself, of one's egoistic desires; in essence, it is the erasure of the individual "I" [Skvortsova, 2010(1), pp. 32-47].

Romantic art, on the contrary, is dominated by the tendency to contrast the proud active "I" with inert nature and society. Nature is just a background for the self-affirmation of a romantic hero (think of Pushkin's Aleko from "Gypsies" or Lermontov's Mtsyri). At the same time, the main subject of the romantic worldview is the human creator in a beautiful and violent world. "The hero is more romantic-

page 13
the artist, magician, fighter, rebel, outcast, crank is always forced to assert himself in spite of circumstances, he goes against fate in the name of high spiritual goals " [Miroshnikov, 2006, p. 9]. He is opposed to the philistine routine and avoids the society of dull fellow citizens, bound by the boring rules of bourgeois morality. The priority of living feeling over rational coldness, which he asserts not only theoretically, but also in all his living, bodily behavior, attracts him to nature, to travel around the world.

A romantic hero has a lot in common with a Taoist wanderer or a Buddhist monk. He sees his life as " always a special one, his own path of self-restoration, self - transformation- a difficult path of evolution of the consciousness of a person who is trying... push the boundaries of the finite to see what it currently sees as true and infinite" [Vishnevskaya and Saprykina, 2005, p. 9].

One of the most significant works is Novalis ' novel (1772-1801) "Heinrich von Oftendingen", in which the hero's journey through the expanses of his native Germany is a necessary condition for the inner formation of the hero as an artist. The goal of such self-restoration is to create an ideal work that can change the world. "Knowledge of the world and oneself is understood as real creativity. And for Novalis, it is quite clear that only an artist, a poet, who is able to see the "figurative", corporeal basis of the world and recreate it - to create an ideal work of art-can be a person capable of implementing it" (Lagutina, 2005, p.48).

The native nature that embraces the traveling artist is thus ultimately a pedestal for his personal ambitions. Pride in the consciousness of one's own exclusivity makes it possible to judge the whole world and divide all the people living in it, just as E. T. A. Hoffman did, into two unequal parts: "true musicians" and all the others [Hoffman, 1987, p.8].

According to the Romantics, the true creator is an exception in the world of philistine boredom. Romanticism celebrates the proud loner who challenges and opposes bourgeois society. Therefore, it is no accident that proud villains like Ahasuerus, the Flying Dutchman, Mephistopheles, the Demon, and Pechorin are often found among the wandering heroes. Here the artistic method and ideas of romanticism directly face the problem of aestheticizing evil.

As for the wanderings of romantic heroes, their attitude to travel as a Path of bodily and mental self-restoration is contradictory. On the one hand, this is a trusting, welcome entry into the natural universe, but, on the other hand, the hero's intellectual repulsion from this universe. This is the eternal drama of the romantic artist's duality and disconnection between the ecstasy of the sensuous-bodily awareness of himself as a small cell of nature and the rational, self-loving position of his own exclusivity.

This duality is not accidental at all, it is a consequence of the peculiarity of Western Christian mysticism - the ideological support of Romanticism, which asserts the isolation, isolation of the individual from being, despite brief moments of mental and sensory unity with it. The proud mind of the romantic artist does not trust the sensations of the "body mind", insisting on its fundamental isolation from the natural continuum. But "the more a person becomes aware of his self and the more insistent his attempts to increase it and bring it to perfection - in essence, the unattainable, infinite-the more he moves away from the depth of being, which ceases to be his own basis" (Herrigel, 2005, p.117).

In the Far East, one of the ways to dive into the natural continuum was considered a journey. Going on a journey, a monk or artist turned from an outside observer of the alternation of seasons and nature's paintings into a direct participant in its most subtle changes. The traveller's work has activated the bodily aspect of the mind, making it forget the extra whims of the mind, the vanity of the world

page 14
glory. "The mind of the body" was the necessary creative charge, which gradually accumulated in the process of heavy routine work of the path, and spilled out in the spontaneous nature of the creative act. "Entering" into the flow of natural existence, invariably associated with humility, self-abasement of the individual, implicitly became his second, expanded "I", stimulating creative activity. Therefore, it turned out that the artist creates like nature.

It is not without reason that in the traditional aesthetics of Geido, an artist only becomes a true master when, having realized with the mind of his body unity with the natural continuum, he begins to act as a conductor of the "innumerable subtleties" of Life, as its most diligent student. Here the nature is quiet and natural. In such genres as "bamboo" or "flowers and birds", for example, she calmly leaves herself to the artist for contemplation. Nature is close to the viewer and as if invites you to admire the smallest details: leaves, stamens, feathers. A monochrome landscape, on the contrary, pushes nature into the distance, forcing first of all to perceive its greatness and self-sufficiency and to realize its own smallness. The calmness of nature as a universe-whether it is the grandeur of its whole or the harmony of its small particulars - never serves as a direct illustration of the artist's subjective states. A person, a person, is almost absent here. The artist's hand movements are primarily subordinated to revealing the inner essence of the depicted fragment, and his own internal state resonates with the natural state, but not vice versa. Taking up the brush, the artist takes nature into himself, and does not impose his subjective states on it.

In Geido aesthetics, the image of Nature is central in the full sense of the word. This applies not only to the subject matter of traditional artists ' creativity, i.e., a purely informative moment. The art form itself also tends towards natural patterns. Here nature plays a much more significant and independent role than in the aesthetics of romanticism. The Buddhist aesthetic tradition of Geido is based on the concept of emptiness of the True Being (as mentioned above), as well as on the idea of the identity of samsara and nirvana-the main idea of the most revered "Lotus Sutra"in Japan. Its essence lies in the fact that "in the empirical we meet with the same absolute, only in a different form, and, consequently, samsara and nirvana are essentially the same" (Rosenberg, 1991, p.187). A further development of this idea was the development of the doctrine of the Buddha in the body of Law as the one absolute, and therefore unlimited and timeless beginning, which is the true view of all things and deeds.

The habitat appears in the worldview of medieval artists and writers in Japan as a manifestation of the Buddha, one of his transformed bodies (kejin) [Ignatovich, 1985, p. 67]. Moreover, the prosaic and dramatic works of traditional art have primarily taken on the content side of Buddhist teaching, so characters in plays of the Noh theater or heroes of medieval novels openly quote the most popular sutras.

As for the emptiness of the Buddhist Absolute, it is unfathomably revealed in a myriad of deeds and things, and the task of the Geido artist is to display this highly abstract idea in a concrete image. Special techniques have been found to denote the idea of voidness in various forms of traditional Geido art. In monochrome painting, this is an empty space. Empty stage, pauses and fixed poses - in traditional theater. However, nothing can compare in this respect with the figurative structure of Buddhist dry gardens. In the architecture of the Japanese garden, as in all Zen aesthetics, the role of pause, silence, is very significant. It is no coincidence that among all types of garden compositions, "empty" gardens, consisting mainly of a simple area covered with white pebbles, are of particular importance [see: Nikolaeva, 1973, p.49-64; Murian, 1985, p. 179].

page 15
* * *

Romanticism's interpretation of nature had two tendencies. The first is an assessment of nature, which is close in spirit to the postulates of the eastern artistic tradition, as a valuable entity in itself, a universe of which the human "L"is an infinitesimal part. The second, dominant one is the one that opposes the artist's personality to nature as an equivalent and equal entity. Of course, the worldview source of the second trend, which has manifested itself much more vividly and strongly, is the doctrinal features of the" discursive "Western spiritual culture, imbued, since the Renaissance, with a pronounced" personal " beginning.

In the East, contact with nature reflected a pre-reflexive, pre-theoretical, pre-sign contact with the ineffable basis of being. It was carried out consciously on the Path-the Tao, which is both the true path of life and the path of professional development. However, it was not easy to achieve "true knowledge" for a person who ceased to be a purely natural, animal being and reached a certain cultural level (i.e., perceiving the world mainly in sign, text form). It was also not easy to feel like a direct part of the ineffable order of being as the basis of the universe.

Achieving true knowledge required a long preparatory period, routine, heavy "obedience" (to the mentor - in the monastery, to the head of the "house" - in traditional art). Perfect mastery of the technical skills of mastery and observance of the rituals accepted in the monastery or "house" was achieved with constant monitoring by a recognized authority and was accompanied by the spiritual growth of the student. This was an absolutely necessary condition for an unexpected enlightenment, a "deep vision" of the world and oneself in it in a continuous fluid becoming. At the same time, there was a "leap" from the level of rational discursive knowledge to the level of bodily awareness of the unity of the world continuum.

Summing up the results of our research, we can say that Romanticism should be considered a kind of "bridge" between East and West in the sense that it demonstrated an unconscious attempt to overcome the traditional Western discourse with the help of some techniques used in the framework of the Eastern spiritual tradition.

list of literature

Blok A. A. O romantizme [On Romanticism]. In 6 volumes, vol. 4. L.: Khudozhestvennaya literatura, 1982.

Voronina I. A. Classic Japanese Novel, Moscow: Nauka Publ., 1981.

Vishnevskaya N. A., Saprykina E. Yu. Another eternal metaphor in the romantic context / / Romanticism: eternal journey, Moscow: Nauka, 2005.
Grigorieva T. P. Japanese Art tradition, Moscow: Nauka Publ., 1979.

Grigorieva T. P. Japan: the Path of the Heart, Moscow: Novy Akropol Publ., 2008.
Gluskina A. E. Notes on Japanese literature and Theater, Moscow: Nauka Publ., 1979.

Gofman E. T. A. Letters, statements, documents, Moscow, 1987.
Joami Motokie. The legend of the flower of style. Fusi kaden / Translated and commented by N. G. Anarina, Moscow, 1989.

Drevnekitayskaya filosofiya [Ancient Chinese Philosophy], Moscow: Mysl', 1972.

Evropeyskaya poeziya XIX veka [European poetry of the XIX century]. Moscow: Khudozhestvennaya literatura, BVL, 1977.

Zavadskaya E. V. Esteticheskie problemy pisinki stary Kitay [Aesthetic problems of painting in old China]. Moscow: Iskusstvo, 1978.

Ignatovich A. N. "Habitat" in the system of Buddhist creation / / Man and world in Japanese culture, Moscow: Nauka, 1985.
Ignatovich A. N. Tea Action, Moscow: Russian Phenomenological Society, 1997.
History of aesthetics. Monuments of world aesthetic thought. Vol. 3. Moscow: Iskusstvo Publ., 1967.

Chinese Classical Poetry, Moscow: Khudozhestvennaya literatura, 1984.
Lagutina I. N. "...Space and Time: an Early Romantic artist in search of Identity (based on Novalis 'novel" Heinrich von Ofterdingen") / / Romanticism: Eternal Journey, Moscow: Nauka, 2005.

Lutsky A. L. Japanese spiritual tradition and existentialism. // Peoples of Asia and Africa. 1985. N 3.

page 16
Malyavin V. V. The perfect man in the Taoist tradition. The Phenomenology of the Tao-man // A perfect person. Teologiya i filosofiya obraz [Theology and Philosophy of Image]. Moscow: Valent, 1997.

Miroshnikov Yu.I. Mirovozzrenie romantizma [The worldview of Romanticism]. Yekaterinburg: Institute of Philosophy and Law of the Ural Branch of the Russian Academy of Sciences, 2006.

Murian I. F. Sady Daitokuji / / Chelovek i mir v yap'skoy kul'tury [Man and World in Japanese Culture]. Moscow: Nauka Publ., 1985.

Nakamura Yujiro. Koiteki tekkan to nihon geijutsu (Intuition of practical action and the art of Japan) / / Bigaku (Aesthetics). In 5 vols. Vol. 5. Tokyo: Toke daigaku shuppankai, 1985.

Nikolaev N. A. the Canonical structure of the Japanese garden (on the example of the "dry" Zen garden // the Problem of the Canon in ancient and medieval art of Asia and Africa. M.: Nauka, 1973.

Nishitani Keiji. Nishida Kitaro. Sono hito to shiso (Nishida Kitaro. Man and thinker). Tokyo: Tsukuma sebo, 1985.

Poeticheskaya antologiya Kokinshu [Poetic Anthology of Kokinshu], translated and commented by I. A. Voronina, Moscow: IMLI RAS, 2005.

Pugacheva L. G. Evolyutsiya razuma cheloveka kak epistemologicheskaya problema [Evolution of the human mind as an epistemological problem].
Rozenberg O. O. Trudy po bududizmu [Works on Buddhism], Moscow: Nauka Publ., 1991.

Skvortsova E. L., Lutsky A. L. On the problem of perception of Western philosophy in Japan // Questions of philosophy. 1985. N 10.

Skvortsova E. L. Sovremennaya yaponskaya estetika [Modern Japanese Aesthetics], Moscow: State Institute of Art Studies. 1996.

Skvortsova E. L. Wanderings as the artist's way in traditional Japan. 2010(1). N 3.

Skvortsova E. L. Japan: philosophy of Beauty. Moscow: Novy Akropol. 2010(2).

Trubnikova N. N. "Distinguishing the teachings" in Japanese Buddhism of the 9th century. Kukai (Kobo-Daishi) on the differences between secret and explicit teachings. Moscow: Rosspen, 2000.

Steiner E. S. Ikkyu Sojun, Moscow: Nauka Publ., 1987.
Herrigel E. Zen and the art of archery. The Zen way. St. Petersburg, Nauka Publ., 2005.

Jung K.-G. O psikhologii vostochnykh religiy i filosofiy [On the Psychology of Eastern religions and Philosophies]. Moscow: Medium, 1994.

page 17

Permanent link to this publication: