| Popis: |
The article is devoted to the development of two traditions in Russian Christian culture: icon-painting, adopted from Byzantium, and bell-traditions — from Western countries. Considered are the main stages of the synthesis of these traditions, and the symbolic meaning of the image of bells and bell-bearing structures on the icons is analyzed. The analysis of scientific publications has shown that the theme of iconographic images of bells in campanology is very poorly developed and there are only a few scientific studies carried out by I. V. Konovalova, O. V. Azarova, and L. D. Blagoveshchenskaya. The lack of regular research on this issue actualizes some issues that need to be addressed: the development of bell art in relation to the formation of Christian culture, as well as the definition of trends in the symbolic icon-painting of bells. These issues are considered in the context of the historical stages of the Russian state formation: pre-Mongol, Mongol invasion, the Muscovy Tsardom, and Synodal periods. At each stage, the general cultural situation of the country is considered, and the icon-painting and bell tradition are compared according to historical evidence. In Ancient Russia (pre-Mongolian and Mongolian periods), there was an amazing balance between the fully accepted Christian culture of Byzantium and individual traditions of Western countries. The bells organically entered into worship, church and public life in general. But in church painting there was no synthesis of the cultural traditions of the East and West. During the period of the gathering of Russian lands around the Moscow Principality and the weakening of the Byzantine influence on culture, bells and bell structures were depicted in hagiographic icons. Their important symbolic load, as a rule, is evidence of a miracle of salvation or healing, of the appearance of the Mother of God and the Lord. That is, such a touch to the spiritual world. During the Synodal period, the process of secularization of Orthodox culture takes place, Western influence on icon painting intensifies and the trend of depicting bells on icons continues, but the symbolic meaning changes with a bias towards historicity. |
