The authors of this article analyze the reception of classical German philosophy in Soviet art criticism in the 1920s, using the works of F.W.J. Schelling (1775-1854) and A.G. Gabrichevsky (1891-1968) as examples. These cultural figures are significant and influential figures in the history of philosophical thought. While A.G. Gabrichevsky is better known in Russian art history circles, F.W.J. Schelling is rightfully considered one of the greatest German philosophers, whose works exerted a colossal influence on the development of both classical and non-classical philosophical thought, and whose ideas remain relevant today. Schelling's concepts have generated academic interest worldwide, and they have been reworked and re-examined by numerous researchers, art historians, and cultural scholars. One of those whose attention was drawn to the thought of the great idealist was the Soviet scientist and philosopher of art, Alexander Georgievich Gabrichevsky, whom the authors examine. This article provides a comparative examination of the ideas of these thinkers, addressing key issues in the philosophy of art: the nature of the artistic object, the essence of creative perception, and the act of creativity in general. Both thinkers viewed art forms as stages in the process of establishing the Absolute Synthetic Principle. However, they substantiated the necessity of specific aspects and forms of art differently. For Schelling, specific forms encompass the absolute, which remains static and unchanging in its essence. In turn, each unique moment of art in Gabrichevsky's system of views expresses a very specific qualitative feature of absolute synthetic reality. The ideas of the Soviet art critic not only acquire greater concreteness but also develop a number of problems, for example, the question of the place and essence of the symbolic in the language of art. Based on the relationships established between the constructs of F. W. J. Schelling and A. G. Gabrichevsky, the authors conclude that the legacy of classical German idealism was actively received in art criticism during the 1920s of the Soviet era. They also point to the need to understand A. G. Gabrichevsky's approach to classical philosophy as one of the essential forms of resolving the problems facing contemporary philosophical thought. Establishing and actively understanding this approach to classical thought is a prerequisite for the possibility of philosophizing in general and contributes to a clarification of the essence of contemporary philosophical thought and the paths for its further productive development.

art; artistic object; absolute; creativity; philosophy of art; idealism; dynamics; statics; synthesis; identity; perception; work of art; ontology; German idealism; idea

Габричевский А.Г. Морфология искусства. М.: Аграф, 2002.

Гаврюшин Н.К. Философское окружение Г.Г. Шпета в ГАХН: Т.И. Райнов, А.Г. Габричевский, В.П. Зубов // Искусство как язык - языки искусства: ГАХН и эстетическая теория 1920-х годов. Т. 1. М.: Новое литературное обозрение, 2017.

Главацкий М.Е. Философский пароход: год 1922-й. Историографические этюды. Екатеринбург: Изд-во Уральского ун-та, 2002.

Иванов А.В. Идеализация в искусстве // Искусство Евразии. 2023. № 3(30). С. 204-213. DOI: 10/46748/ARTEURAS.2023.03.014

Муравьев А.Н. Существует ли русская философия как таковая? // Философия истории философии. 2021. Т. 2. С. 376 - 391.

Самарина Т.А. Онтологические основы теории искусства (П.А. Флоренский и А.Г. Габричевский) // Известия РГПУ им. А.И. Герцена. 2008. № 60. С. 239-244.

Шеллинг Ф.В.Й. Изложение моей системы философии. СПб.: Наука, 2014.

Шеллинг Ф.В.Й. Сочинения в 2 т.: Т. 2. М.: Мысль, 1989.

Шеллинг Ф.В.Й. Философия искусства. М.: РИПОЛ классик, 2022.

Schelling F.W.J. Sämtliche Werke. Stuttgart und Augsburg: J.G. Cotta’schen Verlag, 1858, Bd. 3.

Schelling F.W.J. Vorlesungen über die Methode der Akademischen Studium. Stuttgart und Tübingen: J.G. Cotta’schen Buchhandlung, 1830.