Философский контекст «Иконического текста» в прозе Л. Н. Толстого
| Jazyk: | ruština |
|---|---|
| Rok vydání: | 2016 |
| Předmět: |
ИКОНА ОБРАЗ ИКОНИЧЕСКИЕ МОТИВЫ САКРАЛЬНАЯ СИМВОЛИКА СЮЖЕТНОЕ "СЦЕПЛЕНИЕ" ФИЛОСОФСКОЕ ЗНАЧЕНИЕ ХРИСТИАНСКАЯ НРАВСТВЕННОСТЬ L.N. TOLSTOY ICON IMAGE ICONIC MOTIFS SACRED SYMBOLS PLOT "GRIP" PHILOSOPHICAL SIGNIFICANCE CHRISTIAN MORALITY |
| Zdroj: | Текст. Книга. Книгоиздание. |
| ISSN: | 2311-3774 2306-2061 |
| Popis: | В статье рассматривается развитие сюжета в произведениях Л.Н. Толстого, в частности обращения к православной обрядовости и атрибутике, имеющие большое значение в жизни персонажей, способствующие осмыслению свойств их души и расширяющие изображение художественного пространства до религиозной философии писателя в целом. The article of A.M. Amirkhanyan discusses the philosophical context of iconic images in the prose of Leo Tolstoy. This is a complex and undeveloped theme of reflection of religious semantics of the text in the artistic expression of Tolstoy. This problem is investigated on the example of the attitude of the writer to icons and to features of creating iconic images in the art works of the novelist. The author examines the development of the plot in L.N. Tolstoy's works and his address to Orthodox rites and attributes that are of great importance in the lives of the characters, as they contribute to the understanding of the properties of their soul and broaden the depicted artistic space of works to the religious philosophy of the writer in general. The paper attempts to show not a simple microscope image of the icon, which builds the understanding of the details of the texts, but "decoding" of the context of cult objects and iconic paintings shown in Tolstoy's works that reveal their semantic imagery as an independent philosophical meaning. This content gives an icon as a character the "portrait" quality. After all, iconography is of particular importance for faithful Christians. In the construction of Tolstoy's work of art the concept "icon" has a special role of Christian philosophy personified in cult objects (compare: in an episode of War and Peace Maria Bolkonskaya gives Prince Andrew a "golden icon pendant"). The semantic center "golden icon pendant" structures the concept sphere of the icon, and the language model of the picture of the amulet connects the nature and categories of being and time. The attitude of the characters, like of Tolstoy himself, to the Christian idea of the icon is sensible and is inspired by faith and hope, and the metaphysics of love is subject to discursive generalization as a technique in the artistic scenes of icon-painting "cohesion". "Iconic" lines, scenes and motifs by weaving into the fabric of the text give an idea of the icon as a mental visual memory of the author and the characters: there is a perception of the world and its subsequent evaluation, the characters see different meaning in the art of painting holy faces and eyes that are traditionally depicted in close-up. Thus, the philosophical understanding of the contextual "iconic text" in the canvas of the works, of icons is a kind of "genre in the genre" in a prose text that extends the compositional originality and the semantics of the motifs and their meanings. The "iconic text" is the mechanism of genre formation that connects the links of artistic creativity, artistic time and a realistic image. Iconic motifs are multidimensional and organically woven into the basic idea of the work, they summarizes the overall perspective of the religious aspects of L. Tolstoy's works. |
| Databáze: | OpenAIRE |
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