That is why the suffering of another and the suffering of the individual itself affect the same being.
and, accordingly, the prevention and cessation of suffering. ”Denying the psychological interpretation of compassion (which assumed that compassion arises from the instantaneous deception of the imagination when we transfer ourselves to the place of the sufferer), Schopenhauer showed that its essence can only be understood through metaphysical consideration. To do this, he turns to Kant’s doctrine of the thing-in-itself.
The world is presented to man as the objectification of the will. Will is a thing-in-itself or the inner meaning of the world. The will to live is always associated with constant struggle and suffering. The knowledge that people have about themselves is not complete at all, to a greater extent we remain unknown to ourselves. Space and time make plurality possible as a principle of individuation. Therefore, in the part that is available for our knowledge, each is different from the other.
However, there is another part that remains hidden, unknown – it is the same for everyone. That is why the suffering of another and the suffering of the individual itself affect the same being. The difference between those who cause suffering and those who are forced to endure it is only phenomenal, it does not apply to the thing-in-itself, that is, the only will for all. It is in this recognition by one individual in another of himself, his true essence is, according to Schopenhauer, the metaphysical foundation of ethics, only on this basis becomes possible the existence of compassion.
Of course, it is difficult for us to agree with Schopenhauer that compassion, the metaphysical basis of which is a “blind” irrational principle – the will to live, can be a reliable, solid foundation of ethics. Because it is obvious that morality is impossible if there is no faith in good, if a person does not perform good deeds consciously and intelligently, if he is not aware of the objectivity and independent meaning of goodto such.
However, undoubtedly, Schopenhauer is right that compassion reveals in man, in the depths of his own “I” a certain ideal scale of universality, which asserts itself directly, so that man becomes involved in the suffering of all living things, thus revealing the inner unity of being. and the deep fullness of being.
In modern philosophical and ethical literature, the phenomenon of compassion is increasingly considered in the context of the paradigm of communication. Awareness of the fundamental importance of communication processes for the development of culture and civilization, and for each individual – a characteristic feature of the philosophy of the XX century. It is in the process of communication that “moral issues acquire a perfect form, fully realize their spiritual and humanistic potential.” Personal communication is dialogical, problematic communication, when the position of another is personally significant. In this case, my personal development becomes possible only with the development of another. , which allows to overcome such moral vices as envy, vanity, greed, and, conversely, promotes compassion, empathy, mutual assistance and more.
The ability to show sympathy for the masses is not only of biological origin (as noted, for example, by the Russian philosopher P. Kropotkin). The biological constitution of man only allows him to feel certain feelings. However, it does not determine what feelings will be inherent in this individual.
And real-life facts show that not all people are able to empathize with others. For this to happen, it is necessary to come to understand that this “other” is unique in its “otherness”, that its inner world is no less interesting than our own, and that suffering can destroy this unique world, and we ourselves become impoverished without getting to know each other. with him.
With our tactful compassion, we can support the existence of another when he is suffering. And if we are not interested in this particular person (in which case it is most difficult to show compassion), then we must understand that our compassion for her, our help can be crucial for the existence of another “other” for which she ( the person suffering) is the most important person in the world. Such an awareness of the value of compassion is possible only in the process of human communication in the conditions of deep knowledge of the meaning of life, other people and inquisitive self-knowledge.
11/16/2010
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St. Sophia Cathedral as an outstanding work of art
Created in the distant XI century, Sophia of Kyiv has always fascinated and continues to fascinate people as an outstanding work of art. Another ancient Russian writer Hilarion said of her: “The Church is strange and glorious to all the surrounding countries …”
Around St. Sophia Cathedral stood the patronal churches of St. Irene and St. George, stone princely and boyar palaces, wooden houses of Kiev. The temple retained its important town-planning significance in the following times – and after the invasion of hordes of steppe nomads in the formidable year 1240 https://123helpme.me/write-my-lab-report/, when, plundered but survived, it was a functioning city cathedral; and in the seventeenth century, when wooden monastic houses were erected in its courtyard; and in the XVIII century, when an ensemble of stone baroque buildings grew around it, which adorns Kyiv even today.
Many events of the political, social and cultural life of Ancient Russia are connected with Sophia of Kyiv. Here were the solemn ceremonies of “installation” of the prince on the throne of Kiev, meetings of foreign envoys, peace treaties between the princes. Here was the first library in Russia, collected by Yaroslav the Wise, there was a workshop of miniature artists and book copyists. Sophia retained the significance of the community center in the following centuries as well.
Reconstructions of the 17th-18th centuries radically changed the original appearance of the monument, but under later baroque layers the structures of the 11th century have been preserved. The main dimensions inside the building (37 x 55 meters and a height of 29 meters) remained ancient. However, the compositional design and architectural forms of the building were different. On the eastern façade there were five apses (indicating an internal five-nave structure), and to the north, west and south the cathedral was surrounded by two rows of open galleries – two-storey internal and one-storey external.
The building was topped with thirteen hemispherical baths covered with lead. On the west façade stood two asymmetrically placed stair towers for ascending the choirs. The eastern end of the northern gallery was a closed room with a small apse, which housed the Grand Ducal tomb (there were stone sarcophagi of Yaroslav the Wise, Vsevolod Yaroslavych, Vladimir Monomakh and other politicians of Ancient Russia).
The peculiar picturesqueness of the appearance of the cathedral was given by the open masonry of the walls – rows of dark red rubble stone, layers of thin bricks (plinths) on a pink cement mortar.
Inside the cathedral are mostly preserved architectural forms of the XI century. These are the walls of the main core of the building, twelve cruciform pillars that divide the interior space into five naves, pillars and arches of galleries, as well as thirteen baths with light drums. The main bath, placed at the intersection of the longitudinal and transverse naves, illuminates the central bath space.
In the 18th century, the second floor with baths and open arches were added above the one-storey galleries. Inside, windows were carved into the walls of the cathedral, and a large arch was made at the site of the ancient entrance. The western two-tiered triple arcade in the central sub-basin (similar to the southern and northern) and the ancient choirs above it have not survived. Due to this, the central bath space, which in ancient times had the shape of an isosceles cross, changed its original appearance in the western part.
Of particular value is the wall painting of Sophia of Kyiv of the XI century – 260 square meters of mosaics (images taken from cubes of colored smalt) and about 3000 square meters of frescoes made of water-based paints on raw plaster. The surviving mosaics and frescoes are a third of all the paintings that adorned the temple in ancient times. The first known renovations of the frescoes of Sophia, made with adhesive paints, belong to the XVII century. At the turn of the 17th and 18th centuries, all the walls of the cathedral were plastered and whitewashed. On top of this layer during the XVIII century the walls were covered with oil paintings. In the XIX century the frescoes were discovered, but they were restored with oil, mostly preserving the ancient pattern.
In places where the frescoes were lost, new plaster and painting were added. With the organization of the museum in the St. Sophia Cathedral, major restoration works were carried out: the mosaics were cleaned, later oil layers were removed from the frescoes, plaster and painting were strengthened. Late images are left only where the ancient plaster has not been preserved. Therefore, in addition to mosaics and frescoes of the XI century, on the walls of the cathedral we see some works of the XVII-XVIII centuries and works of the XIX century. Mostly it is a painting of religious content, but for us it is valuable for its artistic merits – drawing, color scheme, compositional techniques, the transfer of the inner world of man.
The combination of mosaics and frescoes in a single decorative ensemble is a characteristic feature of Sophia of Kyiv. Colorful mosaics decorate the main bath and the central apse, drawing people’s attention to the altar of the temple. The mosaics depict the main characters of the Christian faith: in the zenith of the bath in the medallion – Christ Almighty, around him – four figures of archangels, of which only one remains in mosaic in a blue dress (others added by M. Vrubel in 1884).
In the sheets of the drum – twelve apostles (mosaic partially survived the image of Paul). On the sails – four evangelists (the most complete image of Mark has come down to us). On the pillars of the pre-altar arch there is a scene of the “Annunciation”: on the left – the figure of Gabriel, on the right – the Virgin Mary. Above them on the arches are images of martyrs in medallions. Above the altar arch is a well-preserved mosaic composition “Deisus” (“Prayer”). In the vault of the main altar – a majestic six-meter figure of Oranta: in the middle register of the apse – a multi-figure composition “Eucharist” (symbolic scene of the communion of the apostles), above – “Holy Order” (figures of saints and archdeacons).