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IrinaC, Dear Irina did not need to ascribe to me then what I do not pisal.Ya just gave epigraph from "Woe from Wit. Share nravitsya.Anekdoty because you love but not with a religious theme. They are worse than the old and trite.
Do not peredergivat.Vy understand perfectly about what museums are rech.Ne Church Archaeological obschesva opened in the Kazan Cathedral Museum of the History of Religion. "The Church and the present daily requesting the return of her confiscated ".. for further storage and anti-religious propaganda among the unenlightened masses" objects of worship. Including ikony.Vyderzhka quote from the Decree of People's Commissars of 15.05.1932g. proclaimed the so-called "godless five years. And do not tell that this Decree wrote pontiff's Cathedral.
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Сообщение от Cyril Syzransky
You seem to have not read?
Well not all be well-read! Must prochtu.I AS Pushkin's "Tale of the Priest and ....
... of His Workman Balda ".
Olga Popova in the 21st, the decorated puppet show on the fairy tale!
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God is with you, why are you so respond? I f you do not argue, but simply a clarification.
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Сообщение от VYACHESLAV
Excerpt quote from the Decree of People's Commissars of 15.05.1932g. proclaimed the so-called "godless five years.
And if this was mentioned Lunacharsky, said that he was the Commissar of Education from 1917 to 1929.
And in the early 1930 Lunacharsky - Director of the Institute of Literature and Art, one of the editors of the Literary Encyclopedia.
And much to the creation of this decree had no direct relationship. He was appointed as the time since then to Spain, where he really did not get, he died on the road in France, in Menton ...
. of His Workman Balda ".
Olga Popova in the 21st, the decorated puppet show for this story!
I read your post and remembered how back in 1982 in our Bukin sold some excellent sketches of registration plates of the performance of this tale at the Odessa Opera House. Nazarian-author Ivan Nazarov Semenovich
Artist Theater. Genus. in 1893 in Constantinople (now Istanbul), Turkey - the mind. August 9, 1954 in Kharkiv. Completed courses in drawing and painting Reyngbalda (1916-18), the theater school B. Lorenzo (1918-23), Odessa hudozhesvenny Institute (1926-28), where he studied under W. Muller. Member of CW CFS since 1949. Member of Republican and All-Union Exhibition (since 1954). He worked as chief artist of the Odessa Opera House (1929-41), chief designer of Kharkov State Academic Theater of Opera and Ballet. NV Lysenko (1947-54), taught at the Odessa Art Institute (since 1948). One word in this day did not buy, the next-flew to rabotu.Do they still before my eyes. We see no destiny
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Whether we like it or not, a full understanding on the complex problems can not be achieved due to objective reasons. Some more knowledgeable, more - less, one look at the root, while others slip on horseback, some are inclined to doubt, others - utterly self-confident, and one is given an intuitive knowledge of some things - no other: some are looking at the stars as a miracle, others -- as bright dots in the sky. Not to mention the antinomies and other obstacles to understanding.
Funny, but how many worrisome humor.
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Where some see only insulting banter, while others notice a range of shades - naughty banter, joke, too razryazhayuschauyu electrified or pathetic situation, witty, good-natured fun, intellectual provocation, irony and self-irony, etc.
No matter how serious the issue, the high note for a long time can not withstand. By the way, and an occasion to return to the rituals and customs, and recall the rhythms of culture, vacillating between the sacred and the profane, of folk culture with the obligatory ritual change of top and bottom ...
The ironic aspect of public debate is that the change of top and bottom of them is without any rituals - simply by virtue of heterogeneity of participants. It's not noticeable, and a secondary fully seizes attention. A popular representation, drawn from popular media, are seen as the obvious truth, and the provisions requiring a thorough understanding and familiarity with the subject of an internal culture - as rubbish.
Now try all the same deal with the icons. Ninni is well identified are the historical degradation in understanding the meaning and content of iconography.
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Сообщение от Ninni
Iconography excludes CREATIVITY in its full sense at a time when PAINTING based on creativity and although considered to be part of the iconography of paintings - many of them disagree.
Use of paints and brushes is not an argument for the reunification of icon painting and painting.
Paints and brushes used by painters and many other remesliniki, but it does not give reason to call them artists.
Icon painters do not have freedom within the canon, but rather the responsibility in this framework.
The Icon is the one-way through the same prayer.
Being a sacred object, the icon is devoid of any elements of freedom not only in its content, but also in the language of artistic forms and pictorial technique.
Great importance and Technology, and spiritual expression of icons, and a great responsibility falls on the icon painter, who must rise to the level of a theologian and a custodian of church tradition.
The icon painter - this is not an artist (in a worldly sense of the word), no "I", "my" here originally should not be.http://www.ukoha.ru
What is creativity in its full sense "? Who would dare to say about himself that he possesses such understanding? In any case, creative people know that freedom of creativity - it is not self-will, and the path to the tantalizing insights and creativity. All this is present in this iconographer (which is very little, who art).
Further, the definition of painting does not tie it - and in principle can not connect - with creativity. There is a huge mass of incompetent craft of painting, created by painters, in which the crowd ( "many") uzrevaet genuine creativity, and there are masterpieces of high art, that the crowd truly believes incompetent daubs.
We have no right to change the definition of painting historically in the direction of its restriction on the basis of commonplaces of today's opinions. Concepts are not determined by popular vote, while the substance of the case.
On the canon. Icon painters given complete freedom in the canon, limited only by his personal responsibility. Moreover, the icon painter, if he is holy, has the right to change the canon. Yes, the holy icon painters in history enough. Did geniuses secular painting much?
Yes, picturesque task-specific icons. But in modern painting, each gifted artist decides its own special creative task that is not a cause for doubt - this is art or not.
If "Icon is the one-way through the same prayer," then and every great work of art can say: this is the prayer of the artist through the colors and images.
Since the Augmented confusion about icons is associated with understanding the genesis and meaning of the canon, here's a great excerpt from Florensky brilliantly would treat this complex topic.
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All the icons - a phenomenon. And when it comes to the icon of the nature of portraiture, it is surely of such work to become the icon must rely on the kind of vision, such as a vision of light, although a living person, so there is a direct antithesis icons phenomenon. As for the icons on the legend, because it is not sufficient to describe the abstract iconography and artistic image, and therefore there must be something to see their own spiritual eyes.
Not only in the Eastern Church, during its internal stability, it is understood icons, as it is written on the vision that was important, but even in the West, and, moreover, during the most distant from the mystic contemplation, secretly living faith in the appearance of the icon, as a rule of iconography; and that was acknowledged and recognized as truly worthy of reverence and worship, was made not from the earth, and from the celestial source. A striking example of this - Raphael. In a letter to his friend Count Baldassare Castiglione, he left a few mysterious words, the solution of which is preserved in manuscripts of another of his friend - D'Angelo Donato Bramante.
"In a world so few images of female beauty: therefore, I clung to a secret image, which sometimes comes to see my soul." What do you mean it "comes to see my soul? But the parallel message Bramante: "For my own fun here, I want to keep the miracle which has entrusted to me, my dear friend, Rafael, and ordered to conceal under the seal of silence. Once, when I told him to open and full heart, expressed surprise over the lovely images of the Madonna and Holy Family, and begged him, that he guessed I: where, what kind of world he had seen the incomparable beauty, a touching sight, and inimitable expression in the form of the Blessed Virgin ? With youthful modesty, with humility, his peculiar, Rafael for some time silent, then, much moved, tears rushed to my neck and opened its secret. He said that from the most tender youth has always shone in his soul a special affection for the holy Mother of God, sometimes even loudly pronouncing her name, he felt the sadness of the soul. From the very first motivation to painting he held within himself invincible desire - to paint the Virgin Mary in heaven its perfection, but never dared to trust their forces. And night and day incessantly restless spirit of his work in the minds of the Virgin, but was never able to satisfy himself, he felt that this image is still otumanen some darkness before the eyes of imagination. However, sometimes if a heavenly spark zaranivalas in his soul, and the image in light outline was in front of him as I would like him to write it, but it was one fleeting moment: he could not hold a dream in his heart. Sustained anxiety stirred the spirit of Raphael, he just casually looked at the characteristics of his ideal, and a dark sense of soul never intended to be transformed into a bright spot, and finally, he could not be kept longer, trembling hand began to paint the Madonna, while the inner spirit of it more and more rasplamenyalsya. One night, when he was in a dream prayed to the Blessed Virgin, what happened to him often, suddenly cheered by a strong emotion from the dream. In the darkness of the night eye Rafael brought the vision was light on the wall opposite his own bed, he vglyanulsya into it and saw that hanging on the wall, still unfinished image of the Madonna shine a gentle glow and seemed to be perfect and if a living form. He had expressed his divinity, that tears rolled down hail from the astonished eyes of Raphael. Which inexpressibly touching, look, he looked at his eyes tear, and every minute seemed to him, this image would have to move, even it seemed that he was moving really. But more wonderful than all that Rafael found him exactly what I was searching all my life and what was dark and vague foreboding. He could not remember how he slept, but, getting up in the morning, if the newly reborn: a vision forever etched in his soul and feeling, and that is why he managed to depict the Mother of God in the way in which he carried her in his heart, and with Since then, always with awe looking at the image of his Madonna. - That's what I told my friend, my dear Raphael, and I thought it is a miracle so important and wonderful that for his own pleasure kept it on paper. " This explains the words of Raphael secretly, sometimes visits his soul.
Icon, as the establishment and declaration, the proclamation of colors of the spiritual world, by its very nature is of course a matter of who sees this world - a saint, and because, of course, an icon of Arts in accordance with the fact that the language is called a secular art, belongs to none other than the holy fathers. Ecclesiastical same consciousness, expressed especially clearly in the famous ruling of the Seventh Ecumenical Council, did not even consider it necessary to allocate icon painters in the proper and highest sense of the host of the holy fathers in general, but oppose them in the lowest sense of icon, a copyist, to a large extent simply artisans, craftsmen iconic business, or Ikonnikov, as they were called here in Russia, with the careless attitude toward his craft reputed for Bogomazov ...
From the remotest times of antiquity established the Christian conception of the icon as an object, not subject to arbitrary change, and oplotnyayas the course of history, this view particularly strongly expressed in our Russia, in ecclesiastical definitions XVI and XVII centuries. It was confirmed by numerous iconic originals, both verbal and facial, which its very existence proves the stability of iconic legends, and its main objects and the basic forms are given to the times of greatest antiquity, to the first centuries of the Church, and parts and components are often rooted in the impenetrable darkness of pre-Christian history. Understandable deliberate warning in the original iconic master of that, who will write an icon is not the legend, but from his inventions, is guilty of eternal torment.
In these rules the secular mind of the Church historians and theologians see a positivistic characteristic of the Church of its usual conservatism, an old man holding the usual forms and techniques because they run out of church work, and evaluate such standards as barriers to emerging efforts of the new religious art. But this lack of understanding of the church of conservatism is, however, and lack of understanding of artistic creativity. Latter canon has never served as a hindrance, and difficult canonical forms in all branches of art has always been only a touchstone on which broke insignificance and sharpen these talents. Rising to the heights reached by mankind, the canonical form releases the creative energies of artists to new developments, the creative ups and obviate the need to creatively repeating old lessons: the requirements of the canonical form, or rather a gift from the artist of the canonical form of humanity is to liberate, not embarrassment. Painter, ignorance, imagine that without the canonical form it will create a great one, like a pedestrian who is hampered in his opinion, solid ground, and who thinks that hanging in the air, he would have gone farther than on land. In fact, such an artist, throwing a perfect shape, unconsciously grabs the bits and pieces of the same form, but accidental and imperfect, and that some unconscious reminiscences attracts the epithet "art". Meanwhile, the true artist does not want her at whatever cost, a beautiful, beautiful objectively, that is the artistic embodiment of the truth of things, and not engaged in petty smug question whether the first or the hundredth he says the truth. If only it was true - and then the value of the product itself is established. As anyone who lives, busy with thought, if he lives to tell the truth or not, rather than those provided if his life is like a neighbor's life - live with himself for the truth and convinced that a sincere life for the truth certainly is individual in itself inherently not repeatable, the same can be true only in the flow of the entire human history, not as a deliberately invented - so no other life and art: the artist, drawing on the artistic canons of all mankind, when they are found here and there, through them, and They found strength to embody a truly contemplate the reality and knows full well that his case if it is free, not someone else will be a doubling of the case, although the concern of his - not a match with someone, but the truth shown to them. The adoption of the canon have a feeling connection to humanity and consciousness, that is not lived in vain as it has not been the same without the truth, as his grasp of truth, tested and refined the Cathedral of peoples and generations, it is cemented in the canon. The immediate objective - to comprehend the meaning of the canon, from the inside to enter it as a condensed human mind, and spirit strained to the highest level achieved, identify themselves as from this level to me, the individual artist is the truth of things, a well known fact that this Offset voltage at their individual mind in the form of universal opens spring of creativity. On the contrary, weak and proud of escape from human forms leaves the artist in the lower level has been achieved and in this sense is not personal, but merely a random and unconscious, figuratively speaking, dip your finger in the ink, instead of a pen is not a sign of either an individual identity, nor much inspiration if a way were written some poems. The harder and farther away from the routine work of art, the more you want to focus on the artistic canon of a corresponding kind as to the responsibility of such art, and poor accessibility to the required experience here.
In regard to the spiritual world the Church is always lively and creative, does not seek the protection of old forms, as such, and does not oppose their new, as such. Understanding of art and the church was and is and will be one - realism. This means: the Church, "the pillar and ground of the truth" requires only one thing - the truth. In the old or whether new forms of truth. The Church that does not ask, but always requires a permit, whether something is true, and if the certificate is given, - bless and invests in its treasury of truth, and if not given - rejected.
When applied to the case disassembled, already found and verified the council, the entire human canon of art is satisfied, then there is a formal guarantee that the proposed icon or simply reproduces the already recognized the truth, or, moreover, reveals something else, too true, and when there is no compliance, it or below the acceptable, or at least requires, as a new revelation, in check. And then the artist has to understand what 'he does, and be prepared to answer. Thus, the Cathedral Church of the mind can not help but ask Wrubel, Vasnetsov, Nesterov and other new icon painters, whether they are conscious that depict not something imagined and invented them, but some actually existing reality and that this reality, they said, or the truth, and then gave a number pervoyavlennyh icons - incidentally, numerically superior to all that have seen the holy icon painters throughout Church history - or a lie. Here it is not that bad or good shows, some women, especially because it is "bad" and "good" is largely determined by the intent of the artist, but whether it really is the Mother of God. If these artists, at least internally, for myself, can not certify samotozhdestvo the character if it is someone else, it does not happen here if the greatest spiritual confusion and embarrassment and did not say whether the artist brush lie about the Virgin? The search for contemporary artists model in the Scriptures holy image in itself is proof that they do not see clearly - they depict unearthly way: if you saw clearly, every outsider image, besides the image of a different order, otherwise the world would be hindrance rather than help ensure spiritual contemplation. I think most artists, no clear or unclear, just do not see anything, and convert an external image slightly under half-consciousness reminiscences of Bogomaternih icons and, mixing truth with its own statutory unauthorized, knowing what they do, dare inscribed the name of the Virgin. But if they can not verify the veracity of his images and even to themselves, in not sure, then perhaps it does not mean that they are claimed by the witness of questionable, take responsibility and work of the holy fathers, not as such, imposture, and even perjuring?
If a theologian, a writer was to depict the life of the Virgin, saying no to church legend, the reader does not have the right was to ask him about the sources? And not having received a satisfactory answer, there was no right to blame the theologian in the wrong? A theologian house painter, zhivopisuya Virgin, for some reason thinks its a privilege to lie. And while renanovsky novel, whatever its value as a novel, never read the reasoning in the Temple, instead of the Gospel, equivalent, "Vie de Je'sus" works hand not only are the temples, but also require all religious activities bestowed icons. Meanwhile, it is an icon - a proclamation of the truth to everyone, even illiterate, while the theological writings available to a few, and therefore less responsible, as other modern icons have publicly proclaimed in the Temple of blatant perjury.
Painters of the Renaissance, in no way related to the canon, constantly appealed to a very narrow range of basic to iconography, although no one forced them to, and even in some of the points respect the Church's Tradition, to show how the artist feels the need to normal. And how little is actually embarrass the church rule, even under the most strict observance of it, the icon painter, clearly shows the comparison of ancient icons on the same theme and even one of translation: the two do not find the icons that are identical among themselves, and the similarities that are recognized at the first examination, only increases total podhozhdeniya individual identity of each of them. And further, as new work from contact with the new experience of heavenly mysteries quite fit in the already open canonical forms, entering them as if in a nest is laid, - shows Rublyovskaya Trinity. This story of three angels during meals has long existed in the religious art and received a canonical definition. In this sense, Andrey Rublev did not invent anything new, and externally, archaeological finds, it is the icon of the Trinity in a long series preceded it, beginning with the IV-VI centuries, and her subsequent images praotecheskogo hospitality. These images were, in their archaeological meaning, icons, illustrations from the personal biography, it is Abraham, and, as such, were still predznamenovatelny sense of revelation about the coming of the Holy Trinity. But actually the ternary value of these icons was the same predznamenovatelnym as baptismal conversion value of the Hebrews across the Red Sea or Bogorodichno - fireproof bush: no matter how the image looked into the latest, even more perfect, it clearly is not thou shalt see no hint of a virgin. Similarly, the phenomenon of pilgrims Abraham, only an abstract idea could lead to the dogma of the Trinity, but in itself the contemplation of the Holy Trinity does not depict.
But in the XIV century, this dogma, for various reasons has been the subject of special attention to the universal Church and received a verbal formulation embossing. Finality is the case, uvenchatelem Middle Ages, became "chtitel Holy Trinity - St. Sergius of Radonezh. He grasped the blue sky, calm, unworldliness world, flowing into the bowels of eternal perfect love, as an object of contemplation and the commandment of translating the whole of life as the foundation of building and church, and personal, and government and public. He saw the image of love embedded in the canonical form Mamvriyskogo Epiphany. That his experience, new experiences, new vi? Denie the spiritual world, took from him, the monk himself, Andrei Rublev, led by the teacher. Nikon: so he wrote "the praise of his father Sergius" icon of the Trinity. Now it has ceased to be one of the lives of the facial image and its relation to Mamvre - already rudiment. This icon shows a startling vision of the Most Holy Trinity, a new revelation, albeit under the cover of the old and certainly less significant forms. But these old forms are not constrained by the new revelation, precisely because neither they were composed, and expressed the true reality, not a new revelation, clearer and more informed, but the revelation of the same reality, there was no subjective do'myslom. Is it any wonder if the outline of the vision he had seen once as a shadow approaching the truth, but not understood in his time until late realized the profundity, fully included, close them clothed, the same vision, or rather, the vision of the same reality, but uzrennoe after millennia spiritual work of humanity, when developed in the fertile mind of understanding requirements of the Authority. And then the historical details themselves have disappeared from the tracks, and an icon of Rublev, or more precisely, of St. Sergius, old and new at once, pervoyavlennaya and repetition, has become a new canon, new model, embodied mind of the Church and firmly established as the norm Stoglav and other Russian Cathedral .
What ontological spiritual attainment, the more certain it is accepted as something long familiar, long-awaited sense of all mankind. Yes indeed, it is good news of nevi depths of being forgotten, but secretly cherished the memory of the spiritual homeland. And in fact, getting from spilling into this home of the testimony, we do not see him outside, but in themselves remembered: the icon is a reminder of rock prototype. That is why the penetration of the spiritual world is not deep and exclusive ways, are dressed in unusual shapes, mysteriously folded, a kind of spiritual world, puzzles, visual arts is on the border of the verbal narrative, but without verbal clarity. Then, in the limit, the character degenerates into an allegory. This does not mean that such allegorizirovanny symbol was certainly abstraction in the minds of its inventors. But his contemplative clarity and immediacy of the transition through to the znamenuemomu available in only a few, and in this sense, as something of a schism from the universal humanity, these characters are being countered by the present cathedral signs and symbols, and the more vaunted over them, can easily become a source of heresy, ie, separation, and in Latin - of the sect.
Since the end of XVI century Russian icon painting, together with the general devaluation of church life, this spirit of allegory creeps in, as the flip side of the ontological degeneration and otyazheleniya, already struggling soaring over the area sensually. Failure to quite clearly see beyond the icon painter wants to make complex theological constructions: as theological rationalism is connected to the icon with the typical images here and now and then degenerates into a first abstract schema, conventionally expressed degenerated in the second - a secular frivolity and sensuality. Such is the sad end, in the XVIII century, which is so dismal that nowhere but only in Russia, art was unique in world history summit.
Russian Icon Painting XIV-XV centuries have reached the perfection of description, which equal or similar knows the history of world art and which in a sense can be compared only to Greek sculpture - is also the embodiment of spiritual images and also after the recovery of light spread out rationality and sensibility. And now, at this top of his, icon, alien and shadows allegory, opens its spirit bright visions of untouched purity in forms so immediately perceived that they admit the canons indeed all mankind, and as revelations of life in Christ more than anything else , being purely a phenomenon strictly ecclesiastical art, this form are cherished ancestral forms of all mankind. We learn them piecemeal and fragmented open ancient cultures - the features of Christ Almighty Zeus, Athena and Isis in the Virgin Mary, etc., so "justified by the wisdom of children of Her." Yes, the spiritual vision, these children of preparatory to all the world history of ancient wisdom, its essential truth has shown that the right was the wisdom in his foreboding hint of truth. You can say what ontological vision, the form of cosmopolitanism, which it expressed, just as the sacred words of the most mysterious - the most simple: a father and son, birth, sognivayuschee and germinating seed, the bride and groom, the bread and wine, a breath of wind, sun with its light, etc. The canonical form - this is the most natural form, it is easier then you can imagine, while deviations from the canonical forms of oppressive and artificial: What if I cried voluntary artists, if any pictorial form of any of them were recognized as the norm !
In contrast, in the canonical forms can breathe easy: they wean from random, interfering in the case of motion. The more stable and harder than the canon, the deeper and purer than it expresses the unity of human spiritual need: there is a canonical church, church - Cathedral, conciliar same - all mankind. Therefore purification of the soul feat of removing all subjective and accidental, opens the ascetic eternal, primordial truth of human nature, humanity, created in Christ, ie, the absolute pillars of creation; ascetic finds in the depths of his own spirit the same thing that had previously been expressed and not could not be expressed throughout history. From the depths of his ascetic and bustle of the day, sees the beauty of the starry sky.
For some reason I remember something here Optina Elder Ambrose with his icon, ie, written, although not sufficiently sensitive, an artist, imbued with naturalism skills brushes, icons, Sporitelnitsy loaves. From the little cell of a provincial monastery Kaluga province, ranging from simple, wretched old man is given an extraordinary boost in complete contradiction with all the systems of modern ecclesiastical intelligence, contrary to the Synod, to write the Good Goddess: after all, what is this Sporitelnitsa bread, nor a vision of the Virgin in the image, in the canonical form of the Mother Bread - Demeter? Through do not submit to the spiritual impulse painting techniques 80-ies a sense, however, of seeing just that, a mysterious vision of the church "yes" to the ancient image of the blessed of Demeter, which the Greeks gathered some of their anticipations of the Mother of God.
In the proper and strict sense of the word iconic artists can only be holy ...
Here and tale end. : p
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13.02.2009, 15:15
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