The article deals with the study of aesthetic reflection in K. Paustovsky’s works about nature. The aim of the study is to identify the peculiarities of the writer’s aesthetics of nature on the basis of two methodological approaches: the philosophical theory of aesthetic perception of nature by man and sensory poetics. The main section of the article consists of two parts. The first part talks about K. Paustovsky’s double aesthetic reflection on the basis of perception and aesthetic interpretation of landscapes in the works of Russian writers, composers and artists. The text gives examples of flash fiction dedicated to M. Lermontov, I. Bunin, S. Esenin, N. Zabolotsky, M. Prishvin, whose description of landscapes influenced the formation of Paustovsky’s aesthetic consciousness. The second part of the article deals with revealing the peculiarities of sensory poetics in such works as “The Meshcherskaya Side”, “Alone with Autumn”, “The Ilyinsky whirlpool”, “The Golden Rose” and others. The author of the article reveals visual images described through color, light, shape, size; auditory images are represented by various sounds of insects, birds, animals, as well as water, wind, etc. Paustovsky’s olfactory, tactile and gustatory images are just as interesting. The article also gives examples of the writer’s “polysensory compositions”, where he masterfully combines the results of perception through all five channels. The author of the article comes to the conclusion that on the basis of a deep comprehension of natural phenomena K. Paustovsky formed certain aesthetic judgments and natural philosophical aesthetic perspective, which influenced his creative method. Sensory images reveal the depth of the psychological state of the author-narrator, the emotional background of the narrative, enhance the aesthetic functions of the literary landscape, giving symbolic meaning to natural phenomena.
Irina S. Boldonova (Fri,) studied this question.