Title of the article:

SYMBOLS OF SLAVIC ART OF THE XX-TH CENTURY

Author(s):

Vasiliy I. Bugaev

Information about the author/authors

Vasiliy I. Bugaev — PhD in Philosophy, Associate Professor, Taras Shevchenko Luhansk National University, Oboronna St., 2, 91011 Luhansk, Ukraine. E-mail: VasilBugajov@.ua

Section

History of Arts

Year

2017

Volume

Vol. 47

Pages

Pp. 214-219

Received

November 11, 2017

Date of publication

March 15, 2018

Index UDK

7.01

Index BBK

85

Abstract

The article examines the development of the symbolism of Slavic art in the twentieth century. Prominent representatives of the Slavic culture of N. K. Roerich, M. A. Pryimachenko, A. A. Tarkovsky, S. I. Parajanov have expressed “pantheistic ideal”`s symbolics in their works. The concept of the “Pax Cultura” by N. K. Roerich represents a synthesis of world cultures. Slavic art is the peer participant of such a synthesis. The miraculous artwork of M. A. Priimachenko represents the “peak of the semiosphere” (the concept of Y. M. Lotman) of Slavic art, while the cinematic art of A. A. Tarkovsky and S. I. Parajanov enriched the world culture with a deep symbolic of pantheism. The genesis of the Slavic symbolism is characteristic of the twentieth century. The beginning of the century starts with the revival of the ancient Russian crafts and the upsurge in interest towards all things the Russian – Russian style which becomes way of life of a kind. Representatives of the cultural intelligentsia were at the height of this Russian-Slavic process development. The works of outstanding Russian artist N. K. Roerich served as inspiration for the latter. “Pax Cultura” symbolism is consonant with the conception of “Past-Present-Future” of the Russian thinker V. I. Vernadsky. The paper explores the XX century as a complex process of the art formation. The trends of the Itinerants` classical heritage are clearly visible in the beginning of the century followed by the revolutionary “Russian avant-garde” and “socialist realism” in the middle of the century. Slavic art coexisted with all directions of the “semiosphere” all along the 20th century. A prominent Russian researcher Y. M. Lotman defined the artistic space as a symbolic model of the cultural and historical representations of the epoch. Slavic symbolism of the twentieth century came to be a definite model of the genesis of modern art in the consonance of diverse image-symbols.

Keywords

symbol, Slavic art, “Pax Cultura”, artifact, spirituality, aesthetics, tradition.

References

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