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1 comment:
or oblagodetel, more "calm" in God or just
under the purpose of his life's journey, often depicted in icons
extremely moving" (P. 232). As you can see, the symbolism of movement/stillness
built E. Trubetskoi quite clearly.
Here again we return to the already mentioned dependencies of the icon from
temple. E. Trubetskoy says: "the Icon of her idea is indissolubly
the whole is a temple, and therefore subject to its architectural design.
Hence our amazing architectural religious painting:
the subordination of the architectural form is felt not only in the temple a whole, but
in each icon image: each icon has its own special,
internal architecture, which can be observed outside of the immediate context
her Church' building in the narrow sense of the word" (p.233).
Very interesting analysis of icons depicting the evangelists, in which
there is a change of one semiotic channel to another: from vision to hearing.
The type of posture of man as it shows that "the Evangelist is drawn to the light
not by sight, and hearing. Sometimes it's not even a turn, and pose of a man
fully in-depth into myself, listening to some inner, unknown
where outgoing voice, which cannot be localized in
space. But always is listening is displayed in
icons, how to turn invisible. Hence the evangelists are
otherworldly expression of eyes that do not see the surrounding" (P. 258).
In the icon of the beginning and middle of the XIV century E. Trubetskoy sees the period
when the "painter still does not dare to be Russian. The faces they have
oblong, Greek, beard short, sometimes slightly pointed, not
Russian. Even icons of Russian saints-princes Boris and Gleb, -- in
the Central Museum of Alexander III play not Russian, and
Greek type. The architecture of the churches-also or Greek, or wearing
print transitional stage between Russian and Greek. The head of the Church still
poorly sharpened and are of almost round form of the Greek dome: Russian
the bulb apparently is still in the process of education" (p.271).
In the aftermath, and it is a XV and XVI century, is the national rise
who touched and painter. All obrasilo -- "in the icon of this change
mood affects primarily the appearance of a broad Russian face,
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