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Bruxelles, 2014 Art and Literature Scientific and Analytical Journal

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Bruxelles, 2014 Art and Literature Scientific and Analytical Journal Art and Literature Scientific and Analytical Journal Texts 2.2014 Bruxelles, 2014 EDITORIAL BOARD Chief editor Burganova M. A. Bowlt John Ellis (USA) — Doctor of Science, Professor of Slavic Languages and Literatures in University of Southern California; Burganov A. N. (Russia) — Doctor of Science, Professor of Stroganoff Moscow State Art Industrial University, Full-member of Russia Academy of Arts, National Artist of Russia, member of the Dissertation Council of Stroganoff Moscow State Art Industrial University; Burganova M. A. (Russia) — Doctor of Science, Professor of Stroganoff Moscow State Art Industrial University, Full-member of Russia Academy of Arts, Honored Artist of Russia, member of the Dissertation Council of Stroganoff Moscow State Art Industrial University, editor-in-chief; Glanc Tomáš (Germany) — Doctor of Science of The Research Institute of East European University of Bremen (Germany), and assistant professor of The Charles University (Czech Republic); Kazarian Armen (Russia) — Architectural historian, Doctor of Fine Arts in The State Institute of Art History, Advisor in Academy of Architecture and Construction Sciences; Kravetsky A. G. (Russia) — Candidate of Sciences, research associate of Russian Language Institute of the Russian Academy of Sciences; Lavrentyev Alexander N. (Russia) — Doctor of Arts, Professor of Stroganoff Moscow State Art Industrial University and Moscow State University of Printing Arts; Alessandro De Magistris (Italy) — PhD, Full-Professor of History of Architecture Politecnico di Milano Department of Architecture and Urban Studies; Misler Nicoletta (Italy) Professor of Modern East European Art at the Istituto Universitario Orientale, NaplesPavlova I. B. — Candidate of Sciences, Senior Researcher of Institute of World Literature of the Russian Academy of Sciences; ISSN 2294-8902 © TEXTS, 2014 Pletneva A. A. (Russia) — Candidate of Sciences, research associate of Russian Language Institute of the Russian Academy of Sciences; Pociechina Helena (Poland) — Doctor of Science; Profesor of the University of Warmia and Mazury in Olsztyn; Pruzhinin B. I. (Russia) — Doctor of Sciences, Professor, editor-in- chief of Problems of Philosophy; Ryzhinsky A. S. (Russia) — Candidate of Sciences, Senior lecturer of Gnesins Russian Academy of Music; Sahno I. M. (Russia) — Doctor of Sciences, Professor of Peoples’ Friendship University of Russia; Sano Koji (Japan) Professor of Toho Gakuyen University of Music (Japan) — Professor of Toho Gakuyen University of Music; Shvidkovsky Dmitry O. (Russia) — Vice-President of Russian Academy of Arts and its secretary for History of Arts, and Full member; Rector of Moscow Institute of Architecture, Doctor of Science, Professor, Full member of Russian Academy of Architecture and Construction Sciences, Full member of the British Academy; Tanehisa Otabe (Japan) — Doctor of Sience, Professor, Head of Department of Aesthetics at Tokyo; Tolstoy Andrey V. (Russia) — Doctor of Sciences, professor in the History of Art at the Moscow State Institute of Architecture, a Full- member of the Russian Academy of Fine Arts and President of the Russian National section of International Association of Art Critics (AICA) affiliated with UNESCO; Tsivian Yuri (USA) — Doctor of Science, Professor, University of Chicago, Departments: Cinema and Media Studies, Art History, Slavic Languages and Literatures; Editor Smolenkova J. (Russia) TABLE OF CONTENTS Maria A. Burganova The image of God the Father in Russian sacred sculpture 6 Peter L. Baranov St. Clement’s Church in Moscow and Architect Karl Blank 23 Guzel R. Galiamova The Sculpture of Paul Gauguin 41 Tatiana G. Malinina “Modernism” and “The Modernism”: the meaning of the concept and its greater extension in architectural criticism by the XXIst century Methodological notes 49 Julia A. Smolenkova Stroganov School of Sculpture. The new concept of monumental sculpture in the new architectural program. The second half of the XXth century 62 Frederick Turner The Phoenix and the Fire Reflections on the Art of Richard MacDonald 74 Elena A. Cheburashkina & Kirill N. Cheburashkin Russian design at Milan Design Week 2014 86 Valery I. Perfiliev Konstantin Persidsky 100 Maria A. Burganova. The image of God the Father in Russian sacred sculpture Maria A. Burganova Full Member of the Russian Academy of Arts, Doctor of Arts, Professor Stroganov Moscow State Art Industrial Academy [email protected] Russia, Moscow THE IMAGE OF GOD THE FATHER IN RUSSIAN SACRED SCULPTURE Summary: The article deals with the image of God the Father and his interpretation as a central image in the space of the church. The questions of the iconography are considered on the example of the typical monuments. Keyword: God the Father, the Lord of Sabaoth, sacred sculpture, canon, iconography The problem of uniting a sacred idea, canon and a religious feeling with the practice of creating an artistic image is one of the most important problems in religious art. In fact, these important components are not dissoluble. But modern scholars at times consider the works, that fill the space of the temple, relying only on canonical programs, replacing the research of the work of religious art with seeing only church dogmas in its composition and plastics, or on the contrary, analyzing only the artistic image. However, the history of religious art is replete with examples of masterpieces, leaving the scope of the canon through artistic originality of solutions and expressiveness of images. That is, based on their understanding, new sacred images appeared, multiple versions and interpretations of the original plot were created. A religious feeling, based on a sacred idea, is constantly looking for special forms of its expression. And sometimes priorities in choosing the iconographic repertoire are determined not by a canonical idea but by a religious feeling. — 6 — Maria A. Burganova. The image of God the Father in Russian sacred sculpture 1. Burnt Notke. Fatherland. 1500. St.-Annen-Museumü, Lubeck — 7 — Maria A. Burganova. The image of God the Father in Russian sacred sculpture One of the examples that have illustrated these processes in religious art for a long time is the image of God the Father (the Lord of Sabaoth). The existence of a variety of iconographic recensions of this image and its various interpretations during centuries of religious means that there is a possible divergence of religious program and religious feelings. There isn’t a lot of research dedicated to the study of the image of God the Father in the church sculpture. And for the most part it is related to the controversy on the church councils regarding a mismatch of dogmata and practices of artistic reflection of God. The famous dispute between the Metropolitan Macarius and clerk Viskovatov at the Council in 1554 was just about it. The very possibility of a realization of the God the Father image onto iconic images was discussed. His images in paint, especially in a three-dimensional sculptural expression, relying on the declared fact of an immaterial intangible invisible essence of the Lord of Sabaoth, were sharply criticized. At opposite poles were those who believed his appearing in the prophetic visions to be a sufficient argument, and those who denied the possibility of transmitting the image of God the Father by graphic means. Such ambivalence about this issue constantly accompanied the image of the Lord of Sabaoth in the comments to the church fine arts. Great Moscow Council acted firmly and definitely on the matter: “… и да престанет всякое суемудрие не праведное, иже обыкоша всяк собою писати безсвидетельства: сиречь Господа Саваофа образ в различных видех. Повелеваем убо от ныне Господа Саваофа образ в предь не писати: в нелепых и не приличных видениих зане Саваофа (сиречь Отца) никтоже виде когда воплоти» (Moscow Council Acts 1666 and 1667, Moscow, 1893) It is also necessary to note that the issue of the image of God the Father was repeatedly raised in the preceding and subsequent periods in the eastern and western Christian churches, which means the separation of the widespread church art practice from the dogmas of religious ideas Today, despite a certain attitude of the Church to this problem, one can rarely find a temple, where there would not be a consecrate image of the Lord of Sabaoth. Desire and ability to create and contemplate God, which reflected the religious feelings during the whole period of — 8 — Maria A. Burganova. The image of God the Father in Russian sacred sculpture 2. God the Father with the body of Christ. Beginning of the XVI century. Suermont-Ludwig-Museum, Aachen — 9 — Maria A. Burganova. The image of God the Father in Russian sacred sculpture existence of the image of God the Father in fine arts, were in constant conflict. Such a position of the image in a number of selected subjects, a constant criticism and at the same time stubborn reluctance to abandon the image of God the Father attract attention and put certain questions, the answers to which are in the specifics of the coexistence of historicism and symbolism in Christianity, the weave of senses and reason. The topic of depicting God did not exist in the first centuries of turning into Christianity. And even after the end of the catacomb period this problem was not discussed by the Church due to the absence of the subject matter — the anthropomorphic images of the Lord of Sabaoth. God the Father almost never occured during the formation of Christian iconography and the development of artistic canons of figurative images him. His place in the program of sacred space was not determined. One can only conclude that the image of Lord of Sabaoth is found on the images on the objects which did not organize a church space, but which were “broughht” into it — on the reliefs of the sarcophagi, the decor of cult utensils. The image of God the Father on the scene of the blessing by Eve, who was created from Adam’s rib, on the reliefs of the Big Lateran sarcophagus is an example of this. In this monument the group of the Holy Trinity is located on the periphery of the composition on the left side of the relief.
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