Живопись советского периода полна блистательных имён. К сожалению, время подчас безжалостно по отношению к памяти на искусство некогда известных авторов. Примером этому может служить имя безвременно ушедшего в 1997 году действительного члена РАХ, заслуженного деятеля искусств РСФСР Олега Павловича Филатчева(1937-1997). В 2007 в Академических залах на Пречистенке состоялась выставка его памяти включившая в себя живописные и графические произведения представленные семьёй художника. О.П. Филатчев больше известен, как художник-монументалист. Он много работал не только в СССР, но и заграницей. Его росписями были украшены стены посольства СССР в Вашингтоне. Некоторые радикально настроенные граждане связывали прижизненный успех с "гиперконформизмом" мироворения художника по отношению к власти. Оставим на их совести это суждение. О. П. Филатчев вошёл в историю искусств, как художник переосмысливший пасмурную эстетику сурового стиля, обогатив её новым образно-пластическим языком. Любимыми художниками Филатчева были художники раннего Возрождения. Именно в этой культурно-исторической парадигме находился живительный источник вдохновения и творческий ориентир данного автора. Несомненным интересом являются серии портретов современников художника, выполненные темперой по левкасному грунту, а также великолепная серия графических работ посвящённая рыбакам севера и военным лётчикам.
Большая часть наследия художника включена в собрания крупных государственных музеев. На рынке практически нет работ этого автора. В связи с этим отсутствует и информация о художественном наследии. А ведь жаль. Творчество О.П. Филатчева не столь однозначно трактуется в контексте культурной проблематики художественной жизни СССР 70-х годов. Он сам, не только, как живописец, но и как личность, являл собой тип универсального и гармоничного человека эпохи Большого Стиля.
Большая часть наследия художника включена в собрания крупных государственных музеев. На рынке практически нет работ этого автора. В связи с этим отсутствует и информация о художественном наследии. А ведь жаль. Творчество О.П. Филатчева не столь однозначно трактуется в контексте культурной проблематики художественной жизни СССР 70-х годов. Он сам, не только, как живописец, но и как личность, являл собой тип универсального и гармоничного человека эпохи Большого Стиля.
Icon and symbol
Запись от OTROK NIKODIM размещена 28.02.2010 в 19:20
Lepakhin V.
In various theories of symbol and symbolism was consolidated general view that the symbol - is the living unity of the object image and the deep meaning. That is why he has inexhaustibility internal content and is capable of transmitting the sacred, ineffable. But it is often overshadowed the question of what exactly causes a character (as opposed to a sign or allegory) is the living unity of ideas, meaning and objective way, and how the artist, house painter finds or creates a character.
Holy Fathers of the earliest Christian era, and advanced over the centuries developed the theory of ontological character. In patristic literature, God as the Creator of the world and is often called a painter. The roots of understanding the act of creation as an act of art, go to the Bible. In the Old Testament, personified Wisdom says of his participation in the creation of the world: "Then I was with him the Artist" (Pr.8: 30). In the New Testament the apostle Paul calls God the Creator "builder and artist" (Evr.11: 10). The visible world in the patristic literature is perceived as a perfect work of art Artist. "Father of Orthodoxy" svt. Athanasius calls God the Creator and artist, and Man of God Fine Arts "," God's work ". For svt. Gregory the Theologian, Christ is the "artistic creative word. Svt. Basil the Great says that "the world is a work of art", and calls:''Let's greet the best Artists, wisely and skillfully created the world, and the beauty of the visible urazumeem surpassing all beauty ...''. Svt. Gregory of Nyssa exclaims: "All nature, extending from first to last, there is a single image of everything '. Svt. Cyril of Jerusalem repeatedly glorifies the Creator as an artist. URR. Symeon the New Theologian calls the Father, the Artist, and Son - Artist-word. Svt. Gregory Palamas writes that the human soul - "a work of superb grandeur of Artists," Venerable. Nicodemus Holy Mountain said that the nature of "behind the facade resides invisibly inherent himself an owner and artist of all, acting and obviously demonstrating their arts ...". URR. Maximus the Confessor in the comments on "Titus hierarchy" St. Dionysius the Areopagite clarifies: "... The creation of the world, coming from the invisible God, is in some ways the rank of a symbol. These small but vivid expressions can easily be multiplied.
In the first line of Scripture, the general view of the Church Fathers, under the "sky" is necessary to understand the invisible world, and the word "earth" - the world visible. Bishop Nikolai (Velimirovic) reveals that the patristic interpretation as follows: "Under the sky of course the realm of spiritual realities - the invisible and incorporeal. (1) under the earth of course a set of characters of these realities, the visible and bodily. Earth, so there is a symbolic image of the sky" ( Nicholas 1993:7). (2) If we return to the classification system for st. John of Damascus, it is possible to hold a further parallel: the sky - a collection of images of the second kind, and the earth brings the image of the third and fourth births.
World Dolní in patristic literature is seen iconicity and symbolically. It is not a self-sufficient reality, suggesting a symbolic display and interpretation required to understand its essence simvolotvorchestva, and is ready intelligible symbol of peace. The visible world is the symbol of the invisible world - such is one of the most important provisions of the early Christian patristic theory of character. A person can get an idea of the unseen world, only because he has before him a visible symbolic image. God created the world according to the laws of beauty, (3) on the principle of art, even, dare say, for artistic and symbolic principle.
In terms of ontological symbolism interpreted and named names of animals, birds and every living soul "(Byt.2 :18-20). Adam - writes Bishop Nikolai (Velimirovic) - could give every creature a name corresponding to the spiritual essence or meaning which is symbolically represented by the creature ... It is easy to read all the characters actually, because it was given to know the reality, and no characters; because he looked at them crystal-clear heart, and in the Creator through the Creator. " In the fall this power of spiritual vision and insight through the visible into the invisible Adam lost. Archetypal as it escaped from a man who hid behind the visible things, phenomena that are hiding their characters. Heaven, the invisible became inaccessible to direct knowledge, but thanks ontological symbolism of God of creation, it was called for a mediated learning through character. (Continued at: http://old.portal-slovo.ru/rus/art/44/944/945/2203 /)
In various theories of symbol and symbolism was consolidated general view that the symbol - is the living unity of the object image and the deep meaning. That is why he has inexhaustibility internal content and is capable of transmitting the sacred, ineffable. But it is often overshadowed the question of what exactly causes a character (as opposed to a sign or allegory) is the living unity of ideas, meaning and objective way, and how the artist, house painter finds or creates a character.
Holy Fathers of the earliest Christian era, and advanced over the centuries developed the theory of ontological character. In patristic literature, God as the Creator of the world and is often called a painter. The roots of understanding the act of creation as an act of art, go to the Bible. In the Old Testament, personified Wisdom says of his participation in the creation of the world: "Then I was with him the Artist" (Pr.8: 30). In the New Testament the apostle Paul calls God the Creator "builder and artist" (Evr.11: 10). The visible world in the patristic literature is perceived as a perfect work of art Artist. "Father of Orthodoxy" svt. Athanasius calls God the Creator and artist, and Man of God Fine Arts "," God's work ". For svt. Gregory the Theologian, Christ is the "artistic creative word. Svt. Basil the Great says that "the world is a work of art", and calls:''Let's greet the best Artists, wisely and skillfully created the world, and the beauty of the visible urazumeem surpassing all beauty ...''. Svt. Gregory of Nyssa exclaims: "All nature, extending from first to last, there is a single image of everything '. Svt. Cyril of Jerusalem repeatedly glorifies the Creator as an artist. URR. Symeon the New Theologian calls the Father, the Artist, and Son - Artist-word. Svt. Gregory Palamas writes that the human soul - "a work of superb grandeur of Artists," Venerable. Nicodemus Holy Mountain said that the nature of "behind the facade resides invisibly inherent himself an owner and artist of all, acting and obviously demonstrating their arts ...". URR. Maximus the Confessor in the comments on "Titus hierarchy" St. Dionysius the Areopagite clarifies: "... The creation of the world, coming from the invisible God, is in some ways the rank of a symbol. These small but vivid expressions can easily be multiplied.
In the first line of Scripture, the general view of the Church Fathers, under the "sky" is necessary to understand the invisible world, and the word "earth" - the world visible. Bishop Nikolai (Velimirovic) reveals that the patristic interpretation as follows: "Under the sky of course the realm of spiritual realities - the invisible and incorporeal. (1) under the earth of course a set of characters of these realities, the visible and bodily. Earth, so there is a symbolic image of the sky" ( Nicholas 1993:7). (2) If we return to the classification system for st. John of Damascus, it is possible to hold a further parallel: the sky - a collection of images of the second kind, and the earth brings the image of the third and fourth births.
World Dolní in patristic literature is seen iconicity and symbolically. It is not a self-sufficient reality, suggesting a symbolic display and interpretation required to understand its essence simvolotvorchestva, and is ready intelligible symbol of peace. The visible world is the symbol of the invisible world - such is one of the most important provisions of the early Christian patristic theory of character. A person can get an idea of the unseen world, only because he has before him a visible symbolic image. God created the world according to the laws of beauty, (3) on the principle of art, even, dare say, for artistic and symbolic principle.
In terms of ontological symbolism interpreted and named names of animals, birds and every living soul "(Byt.2 :18-20). Adam - writes Bishop Nikolai (Velimirovic) - could give every creature a name corresponding to the spiritual essence or meaning which is symbolically represented by the creature ... It is easy to read all the characters actually, because it was given to know the reality, and no characters; because he looked at them crystal-clear heart, and in the Creator through the Creator. " In the fall this power of spiritual vision and insight through the visible into the invisible Adam lost. Archetypal as it escaped from a man who hid behind the visible things, phenomena that are hiding their characters. Heaven, the invisible became inaccessible to direct knowledge, but thanks ontological symbolism of God of creation, it was called for a mediated learning through character. (Continued at: http://old.portal-slovo.ru/rus/art/44/944/945/2203 /)
