Спасти красотой: культурфилософские основания теургического проекта Вл. Соловьева в эпоху «расколдованного мира»
Журнал: Наследие веков @heritage-magazine
Рубрика: Антропология культуры
Статья в выпуске: 2 (46), 2026 года.
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Автор исследует теургический проект Вл. С. Соловьёва как философский ответ на десакрализацию культуры позднего модерна («расколдование мира» М. Вебера). Цель работы – выявить преемственность между идеей Ф. Достоевского о спасительной силе красоты и ее развитием Вл. Соловьёвым в метафизике всеединства. Материалы включают эстетические трактаты, историософские построения и софиологическую поэзию Вл. Соловьёва, а также труды российских философов и культурологов, изучавших его наследие. Проведена философская диагностика десакрализации и рассмотрена преемственность идей Ф. Достоевского и Вл. Соловьёва; в полемике с гегелевской эстетикой реконструировано теоретическое ядро теургии; софиологическая поэзия изучена как практическое воплощение теургического принципа. Установлено, что теургический проект Вл. Соловьёва сохраняет актуальность и эвристическую ценность, проблематизируя автономию искусства и предлагая антирелятивистский критерий прекрасного в условиях ценностного кризиса.
Короткий адрес: https://sciup.org/170213617
IDS: 170213617 | УДК: 130.2(470+571):[111.852+141.33]:111.853 | DOI: 10.36343/SB.2026.46.2.002
To Save by Beauty: The Cultural and Philosophical Foundations of Vladimir Solovyov’s Theurgic Project in the Era of the “Unenchanted World”
The author examines Vladimir Solovyov's theurgic project as a philosophical response to the desacralization of late modern culture, defined by Max Weber as the "disenchantment of the world". The study aims to identify the continuity between Fyodor Dostoevsky's intuition of the saving power of beauty and its systematic development by Solovyov within the metaphysics of all-unity, reconstructing the concept of theurgic art as an instrument of resacralization. The sources include Solovyov's aesthetic treatises (Beauty in Nature, The General Meaning of Art, Lectures on Godmanhood), his historiosophical constructions, and Sophiological poetry (poems of the 1880s–1890s, the poem Three Encounters), as well as the works of philosophers and cultural scholars who studied the legacy of the Russian philosopher. The research employs historical-philosophical analysis (to reconstruct the context of desacralization), comparative method (to juxtapose Solovyov's typology of art with Hegel's aesthetics), and hermeneutic analysis of poetic texts (to identify the theurgic function of lyrics). The study follows a logic from the general to the particular and from theory to practice: first, a philosophical diagnosis of the crisis of desacralization is provided, and the continuity from Dostoevsky to Solovyov is established; then, the theoretical core of theurgy is reconstructed, including the historiosophical typology of art and the polemic with Hegelian aesthetics; finally, sophiological poetry is analyzed as an experience of the practical embodiment of the theurgic principle. The findings show that Solovyov's theurgic project, despite its utopian elements, retains heuristic value: it problematizes the autonomy of art, offers an anti-relativist criterion of the beautiful based on the degree of embodiment of the transcendent ideal in immanent matter, and raises the question of the soteriological mission of artistic creativity in a disenchanted world. The vulnerable aspect remains its magical-mystical core, resistant to rational verification. The scholarly novelty of the present study consists in (1) a systematic reconstruction of Solovyov’s theurgic project as a holistic response to desacralized culture, encompassing both theoretical and poetic dimensions; (2) a juxtaposition of Solovyov’s typology of art with Hegel’s aesthetics, considered in the context of exposing the polemical potential of theurgy; and (3) an analysis of Solovyov’s poetic practice as an integral component of the theurgic act, possessing an independent transformative function.
