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University Microfilms International 300 N HESYCHASM AND THE ORIGINS OF RAYONISM. Item Type text; Thesis-Reproduction (electronic) Authors Smith, William Walter, 1946- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 13:58:53 Link to Item http://hdl.handle.net/10150/275250 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. 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Zeeb Road Ann Arbor, Ml 48106 1325066 SMITH, WILLIAM WALTER, III HESYCHASM AND THE ORIGINS OF RAYONISM THE UNIVERSITY OF ARIZONA M.A. 1985 University Microfilms International 300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright i985 by SMITH, WILLIAM WALTER, III All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V . 1. Glossy photographs or pages 2. Colored illustrations, paper or print 3. Photographs with dark background r 4. Illustrations are poor copy 5. Pages with black marks, not original copy 6. Print shows through as there is text on both sides of page 7. Indistinct, broken or small print on several pages 8. Print exceeds margin requirements 9. Tightly bound copy with print lost in spine 10. Computer printout pages with indistinct print 11. Page(s) lacking when material received, and not available from school or author. 12. Page(s) seem to be missing in numbering only as text follows. 13. Two pages numbered . Text follows. 14. Curling and wrinkled pages 15. Other University Microfilms International HESYCHASM AND THE ORIGINS OF RAYONISM by William Walter Smith III A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 5 Copyright 1985 William Walter Smith III STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to bo~iowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permi~sion for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: )att /{ I Robert M. Quinn Date Professor of Art © 1985 WILLIAM WALTER SMITH III Ail Rights Reserved TABLE OF CONTENTS 1. HESYCHASM: ITS ORIGINS 1 2. PALAEOLOGAN RENAISSANCE 5 The "Uncreated Light" 5 Theophan the Greek 8 3. HESYCHASM AND RUSSIAN MONASTICISM 12 Monastic Beginnings 12 Dissolution and Rebirth 16 4. SLAVOPHILE MOVEMENT 20 Revival 2 0 Avant-Garde Art 22 5. HESYCHASM IN ART 2 7 Icons 27 Theophan 27 Rublyov 31 Rayonism 35 Realistic 35 Pure Rayonism 38 6. DOCUMENTAL EVIDENCE 40 "Rayonist Painting" by Larionov 40 "Preface to Catalogue of One-Man Exhibition" by Goncharova 4 3 REFERENCES 4 8 ii i LIST OF ILLUSTRATIONS Page Figure 1. Abel. Fresco by Theophanes the Greek, 1378, Novgorod, Church of the Transfig­ uration 10 2. The Evanqelists. By Natalya Goncharova, 1910-11 25 3. The Transfiguration. By the fourteenth century Palaeologue master Theophan the Greek, Tretyakov Gallery Moscow. 28 4. Christ in Glory. By Andrei Rublyov, circa 1410-1415, Tretyakov Gallery, Moscow 33 5. Glass. By Mikhail Larionov, 1911 37 6. Red Rayonism. By Mikhail Larionov, 1913, private collection, Paris 39 ABSTRACT Hesychasm developed in the Orthodox Church amid controversy regarding relations with the West. The Hesychastic doctrine of the "uncreated light" found expression in the art of the Palaeologan Renaissance. Traveling artists, such as Theophan the Greek, transmitted the style and content of this Byzantine art to Russia. Meanwhile, the growing monastic establishment of the Russian Church cultivated the spirit of Hesychasm and simultaneously shaped Russian culture. The Slavophile movement, beginning in the nineteenth century, revived traditional Russian art forms and influenced contemporary artists. Thus the medieval icons, expressive of hesychastic doctrine, became the bases for Rayonism. v CHAPTER 1 HESYCHASM: ITS ORIGINS Rayonism has been commonly described as a Russian offshoot of Futurism or, occasionally, of Cubism. Statements by its originators regarding its essentially Russian character have been routinely ignored as so much chauvinistic rhetoric- It is my contention that, far from deriving from Futurism, Rayonism is theoretical ly patterned upon a phase of Eastern Orthodox theology called Hesychasm, and that the Russian character of the movement is quite literally true. Furthermore, I contend that the stylistic devices of Rayonism constitute a revival of Byzantine artistic conventions of the Palaeologan era which had been adopted by Russian artists of the fifteenth century. The path of this rather unexpected development is clear enough, but protracted and, at times, meandering. Thus an understanding of this movement in Russian avant- garde art need begin with an understanding of the fourteenth century controversy surrounding Hesychasm. Hesychasm is a method of contemplative prayer within the Orthodox Church that makes use of the control of physical faculties and concentration on the Jesus Prayer 1 2 to attain a vision of the "uncreated light of God." This light, seen by the Hesychist, is the same as was manifest at Christ's Transfiguration. This vision is not a mere created phenomenon, rather it is the eternal light of God Himself. It is not, however, the Divine essence; "no man can see God face to face in this world" (John 1:18), but it is the Divine action. In God, action is truly distinct from essence.1 There is a regular technique for seeing the divine light, which requires concentration of consciousness through an intensive exercise of those bodily organs in which spiritual potentialities are thought to be located. Sitting with the chin resting on the chest the monk (almost all practitioners were monastics) controls his breathing, focuses his eyes on the navel, flexes his muscles, concentrates on the heartbeat and repeats continually, "Lord Jesus Christ have mercy on me," while the will is relaxed in an act of forgiveness and mercy towards all men and hope in God. This exercise prepared one for absolute quietude of soul and for an experience of that same Divine light which Peter, James, and John wit- nessed at the Transfiguration of Jesus on Mount Tabor. ^Kew Catho1ic Encyc1opedia, 1967 ed., s.v. "Hesychasm," by F. X. Murphy. ^New Catho1ic Encyc1opedia, s.v. "Jesus Prayer," by H. D. Hunter. 3 Hesychasm, by the fourteenth century, asserted a clear distinction between the divine essence and the divine attributes, specifically the attribute-energy, in God. This theory, which is fundamentally opposed to the Western scholastic concept of God, had been prepared by Greek theologians centuries before. Ultimately, this idea may be traced back to neo-Platonism. The Platonists had thought of God as unapproachable in every way, far removed from every category of being known to us. God Himself could not even act upon matter, rather divine action was put into effect by demiurges, intermediaries between God and creation. The Greek Fathers had tended to distin­ guish, in the same way, between God's unapproachable essence and His action or energy operating on creation. God transcends all things, he is absolute, unknown, infinite and above everything. But we can know and attain God's action. Thus, the foundation was laid for a real distinction between the unapproachable essence and the approachable energy. The Hesvchasts illustrated this distinction between God's essence and energy (light) by analogy to the sun, whose rays are distinct from its globe, although there is only one sun.3 Bitter controversy raged over these ideas.
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