Abstract

In the course of his collaboration with GAKhN, whose task was to create a systemic 'scientific' theory of art, Losev undertook a systematic interpretation of German classical aesthetics as the historical presupposition for his own Christian, Platonist doctrine of art conceived as a dialectical universe comprising totalizing connections at all levels. This interpretation was concealed in a masterful way within the ' Commentaries' to Dialektika khudozestvennoj formy. Independently of the significant results achieved by this revival of the classical tradition, Losev 's mythologized theory of art called forth a critical reaction on the part of his GAKhN colleagues and brought to light some of the broader theoretical attitudes present among GAKhN 's collaborators.