Iconological Method Research Articles

A Chinese screen in the collection of the State Hermitage Museum

The object of the study is a Chinese screen. The subject of the study is the characteristic features of the Chinese screen based on the material of the Hermitage collection. During the consideration of the topic, such issues as the degree of study of the issues under consideration, the connection of the screen with the fields of fine and decorative arts are traced and analyzed. The analysis of seven items from the collection of the State Hermitage Museum is carried out. The analysis of rare samples of the Chinese screen allows us to identify the characteristic features of this subject, the specifics of the development of the Chinese screen in the XVIII – XIX centuries, as well as to discover its relationship with the spheres of decorative, applied and fine arts of China. The author examines in detail the artistic features of the objects, their design characteristics, the use of various materials – porcelain, wood, metal, jade, the content of calligraphic inscriptions appearing on the objects in the context of the aesthetics of the epoch and socio-cultural space. The research involves the systematization of information related to collecting, studying, and describing the screen in Russian museum practice and theory. Traditional methods of art criticism and historiographical analysis are used; a combination of formal and iconological methods allows to create a reliable idea of the works of art under consideration, identify meaningful and formal features; the historical and cultural method allows to clarify the nature of the patterns of screen development. The scientific novelty of the research primarily consists in the fact that for the first time an analysis of the Chinese screen in the collection of the State Hermitage Museum is carried out, a detailed description and a comprehensive art historical analysis of a number of previously unexplored objects are given. The systematization of Russian publications devoted to the problem of the screen is carried out, in particular, offering a description and analysis of certain screens. The study clarifies and expands existing ideas about the Chinese screen, clarifies the attribution of a number of objects in the collections of the State Hermitage Museum. It is concluded that the objects presented in the Hermitage collections are of considerable variety and give an idea of the variety of techniques and materials for creating screens in China in the XVIII – XIX centuries, allow us to see the connection between the art of creating screens with the field of decorative and applied arts and painting. The screen of this period is a work of art with high artistic value. The aesthetics of the screen is connected not only with the current trends in the development of decorative, applied and fine arts, but also with the socio-cultural context.

On the Construction and Sources of Erwin Panofsky’s Iconology

The article deals with the impact of Karl Borinski and Karl Mannheim on Erwin Panofsky’s iconological method of interpretation of works of visual arts as presented in his 1939 Studies in Iconology. In a slightly different form it was firstly published in The Journal of Medieval and Renaissnce Studies XXXVII, 1974, 368–373.

ЕТАПИ РОЗВИТКУ СКУЛЬПТУРНОГО ДЕКОРУ РЕНЕСАНСОВОЇ КАМ’ЯНИЦІ НА ПЛ.РИНОК, 23 У ЛЬВОВІ

The sculptural decor of Renaissance tenements attracts the attention of researchers not only from the point of view of its aesthetic qualities, but also its symbolic meaning. The Scholz-Wolfovych tenement house, which is located at Sq. Rynok, 23 in Lviv, stands out among the Renaissance buildings of the city with its specific sculpture decor. On the basis of new research (iconographic and iconological methods, methods of comparative analysis), a complete picture of the stages of the formation of the sculptural decor of the tenement house was formed, and it was shown how the political and cultural context of the era influenced its development.

Interpretation of Spanish Dance in Antonio Gades’s Stage Choreography

The purpose of the article is to reveal the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades. The research methodology. A set of methods typical for art analysis is applied. To study the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades, the problem-logical and general scientific method of modeling is applied, as well as the iconological method, that enabled a formal analysis and determination of symbolic meanings by revealing the national and cultural roots of the dance. Scientific novelty. The production activity of the leading Spanish choreographer Antonio Gades is studied; the peculiarities of the interpretation of Spanish dance in the process of working on stage productions are considered. For the first time in domestic art history, the choreographic performances by A. Hades «Blood Wedding, or Bodas de Sangre» («Blood Wedding, or Bodas de Sangre», 1974), «Flamenco Suite» («Flamenco Suite», 1989), «Fuenteovejuna» («Fuenteovejuna», 1994) are analysed. Conclusions. The study of the productions by A. Hades revealed a peculiar choreographic handwriting, the originality of the choreographer's decision and the individuality of plastic interpretations of Spanish dances. In the process of creating choreographic productions full of conceptual unity and depth, the master positions Spanish dance as a universal style with huge expressive possibilities, which allows him to non-verbally represent classic works of European literature in different parts of the world, in particular «Bloody Wedding» by F. García Lorca, «Fuenteovejuna» by Lope de Vega, «Carmen» and others. According to A. Hades, any work of art can be understood only in the unity of its content, means of artistic expression and cultural reminiscences (memory, echo, echo, which lead to comparison with something), which provide a kind of "connection of times" in the mind the viewer. The choreographer demonstrates this approach in the process of translating famous Spanish literary and dramatic works into the language of dance, turning to national dances, in particular the Pasodoble ballroom dance, Spanish folk dances Bolero, Cachucha, Muneira, Segidilla, Sarabanda, Sardana, Fandango, as well as dances in the southern Spanish Flamenco style.
 Key words: Spanish dance, dance interpretation, flamenco, Antonio Gades, stage choreography, choreographic productions.

ТРАНСФОРМАЦИЯ ОБРАЗА МАРИИ МАГДАЛИНЫ В СЮЖЕТЕ «ПИР У СИМОНА ФАРИСЕЯ» В ИТАЛЬЯНСКОЙ ЖИВОПИСИ

Mary Magdalene occupies a special place among the Gospel characters. Her name is mentioned several times in all the synoptic Gospels. Being a participant in the central events of the Crucifixion and Resurrection of Christ, she appears already in the earliest Christian images. The rich pictorial tradition associated with her expanded as her fascinating and controversial biography developed, blending the features of various heroines with the name Mary or nameless sinners. This article considers the process of composition, as well as semantic and artistic transformation of the plot, which became widespread in European fine art — "The Feast in the House of Simon the Pharisee" on the example of Italian art from the Middle Ages to the High Renaissance. This selectivity is justified by the fact that the key processes in the formation of iconographic schemes took place in early Christian and medieval art and underwent qualitative changes in Proto-Renaissance and Renaissance art in Italian art schools. In turn, the Italian High Renaissance art in this case is limited to the Venetian school, since it was within this national school that the most characteristic processes were observed. The study uses historicalformal, iconographic and iconological methods.

ICONOLOGY: SPECIFICITY AND LIMITS OF THE METHOD AND ITS OPPORTUNITIES IN TEACHING ART HISTORY AT CHILDREN'S ART SCHOOLS

The peculiarities of the iconological method are considered in this article in connection with the topical issues of teaching art history at children's art school. It is impossible to adequately understand painting and graphics of the Middle Ages, Renaissance and the 17th century without iconological interpretations, however, from the point of view of pedagogy difficulties arise associated with the complexity of semantic interpretation, many aspects of which are extremely difficult to be explained to schoolchildren. Competent and dosed application of iconological techniques will enrich students' perception of art works, expand their cultural horizons, and update existing knowledge and skills. The author formulates a comprehensive view on the specificity of iconology, examines the methodological foundations of various interpretations of works of classical Western European art and offers some recommendations regarding the use of iconology in teaching art history at initial stage of art education.

Features of Solving Plots in Temple Painting by the Founders of the Religious-national Trend and Artists of the Circle of M. M. Vasiliev

The subject of the study is to identify the peculiarities in solving the plots of church painting of individual representatives of the religious-national trend of the turn of the XIX - XX centuries. The purpose is to show the development of national trends of Russian monumental church art by the founders of the religious-national trend on the examples of the work of V. M.Vasnetsov, M. V. Nesterov, M.A. Vrubel and artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, K. S. Petrov-Vodkin, F. R. Raylian, to identify similarities and differences in the manner and in the transmission of images and compositions, as well as to substantiate the significance of these differences for art history. The basis of art criticism research is the formal stylistic method of G. Velflin, the iconographic method of N. P. Kondakov, the iconological method of E. Panofsky; the method of phenomenological analysis of the aesthetic perception of the artistic work of V. V. Bychkov and G. K. Wagner. Comparative analysis of murals by artists M. M. Vasiliev, A. P. Blaznov, L. A. Pyanovsky, F. R. Raylian, K. S. Petrov-Vodkin in comparison with the work of representatives of the "Vasnetsov school" allowed us to see the development of the national style in art, from an abstract-figurative understanding to a conscious spiritual-symbolic interpretation of church painting of the Middle Ages and pre-Petrine Russia as an integral artistic phenomenon of the religious-national trend. The practical significance of the study lies in the fact that the example of the artists of the "Vasiliev circle" revealed a kind of overcoming of one of the main problems of the iconographic image, which consists in maintaining a delicate balance of life-likeness and ideality. In their works, in the context of interpretation, the measure of realism of the image is traced, in which the spiritual content can be embodied in a material form without losing its sacred content, which is a valuable example for modern artists who set themselves the task of creating images without copying, but remaining in the canon.

Restoration of the Kyiv-Podil Pokrovska Church in the 1950s: Monumental Painting by Lidia Spaska

The purpose of the article is to find out the history of Lidia Spaska's painting during the restoration of the Kyiv-Podil Pokrovska Church in the 1950s, and its iconographic and stylistic features. The research methodology is based on the application of archival and bibliographic searches, which enabled finding and highlighting the unknown facts; iconographic and iconological methods, which made it possible to analyse the development of plots, and the method of comparative evaluation allows to clarify the peculiarities of the artist's approach to their interpretation. The scientific novelty consists in the introduction into scientific circulation of previously unknown materials about L. Spaska's participation in the restoration of the Kyiv-Podil Pokrovska Church in the 1950s; in the first attempt at an iconographic and iconological analysis of her monumental paintings in this restoration process. Conclusions. It has been established that Lidia Spaska was the author of the monumental painting of the Kyiv-Podil Pokrovska Church. The following works belonged to her brush: two compositions “The Entombment” and “The Resurrection” in half-domes; two wall paintings in the northern and southern arms – “Ascension of Virgin” and “Apparition of Virgin on Mount Pochaiv”; paintings of the drum of the central dome and elastic arches. These works have not survived in their original form to our time. The iconography of the images gives reason to believe that L. Spaska did not use fixed subjects, but on the basis of her knowledge and experience tried to interpret or adapt them to the wishes of the customer, as evidenced by their iconographic analysis. The compositions of all works are subordinated to the architectural space and are organically perceived in the general interior of the temple. In her painting, L. Spaska focused on the fine modeling of the face, giving it increased attention, while the clothes and the background were painted more generally; the figures are characterised by expressive silhouette and movement. Losses and later renewals of paintings do not allow us to draw general conclusions about the color and its features.
 Key words: Lidia Spaska, Kyiv-Podil Pokrovska Church, religious painting, Lamentation, Entombment, Resurrection, Apparition of the Virgin Mary.

DIASPORA CULTURE: THE MAIN METHODOLOGICAL AND TERMINOLOGICAL ASPECTS OF CULTURE LOGICAL COMPREHENSION

The purpose of this article is to justify the necessary of the complex approach to study of the diasporian culture. It is shows that the culture of diaspora usually don`t considered as the original autonomous phenomenon, but only as a small separate marginal part of the native culture. This point of view bases on the outdated ansystem inefficient paradigm of so-called "Island" anthropology. One of the most effective approaches to understanding the essence of culture is theory of dissipative systems. The fact that the theory of dissipative systems not only explains but also proves the naturalness and regularity of the appearance of various branches/ directions of any culture is one of its most important results. Study of the diaspora culture that has been existed during the centuries in another country, it should include research on the entire material sphere of its life, all the artifacts created by its representatives. It is proves the expedience to use iconological method, the approaches of the Actor-Network theory (ANT) and the “Philosophy from below” in this contex. The ANT considers artifacts as active units/ actors of social relations, which make up “sociality”, as well as the principles of "Philosophy from below".

Genre Analysis of The Film Halloween Kills in The Context of Iconographic And Iconological Critical Method

İlk yıllarında kayıt altına aldığı gündelik hayatı gösteren sinema, zaman içinde kurmaca hikayelere de yer vermeye başlar. Bu hikayelerde de gerçek hayattan esinlenen sinemanın komedi, müzikal, korku gibi birçok türde ürettiği filmler üretimin gerçekleştiği ortama bağlı yansımalar taşır. Bu çalışma, korku sinemasının alt türü olan slasher filmlerinin zaman içinde geçirdiği dönüşümleri inceleyerek değişen ekonomik, siyasal ve toplumsal değerlerin slasher filmlerinin ikonlarını nasıl etkilediğini ortaya koymayı amaçlar. Edebiyat eserlerinde benzer temalar ile oluşan türler sinemada da karşılık bulur. Türleri oluşturan içerikte her türün sahip olduğu ikonografi ayırt edici özellik taşır. Aynı zamanda filmler, sinematografinin sağladığı imkanlar ile anlatının vermek istediği duyguyu izleyicisine yönetmenin isteği doğrultusunda aktarır. Bu aktarımın taşıdığı mesaj özellikle korku filmleri bağlamında düzene, iktidara, sisteme, aileye, kısaca siyasal, ekonomik ve sosyal her alana dair eleştirilerin rahatlıkla sunulması açısından ikonografiye kolaylıkla yansıtılabilir. Bu nedenle çalışma, öncelikle sinemada tür kavramına yer vererek korku türünün günümüze kadar olan tarihine bakmayı hedeflemektedir. Ardından çalışmada, örneklem olarak seçilen Cadılar Bayramı Öldürür (2021) filminin ikonografisi üzerinden bir tür analizi yapılacaktır. Çalışma, ahlak sorgulayan ve gelenekselliğe yönlendirme yapan ilk slasher ikonlarının değişen politikalar nedeni ile farklılaşmasını ve ideolojinin ikonografi üzerindeki etkisini ortaya koyması nedeni ile önem taşımaktadır.

Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism

This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts.

Скрытая символика в «Трёх хоралах для большого органа» Сезара Франка

The article is devoted to one of the enigmatic compositions by French romantic composer Cesar Franck Three Chorales for Large Organ (1890). The traditional chorale arrangements are built on original church chants, which spread its connotation on all the parameters of the composition’s musical texture – tonality, musical-lexical units, rhythm, etc. The uniqueness of Franck’s chorales lies in the absence in them of direct quotations from liturgical practice, which provides a greater amount of complexity in the ways of interpreting this cycle. The main goal of the article is to find the semantic mechanisms based on an integrated approach, which includes the semiotic, hermeneutic, iconographic and iconological methods of analysis. Given Franck’s ability of drawing and his many years of working as a church organist of the Catholic church of St. Clotilde in Paris (Basilique Sainte-Clotilde), the author of the article notes the synesthesia quality of his musical thinking manifested in this work. The music of the chorales relies not on a textual-musical basis, but on spatial-visual iconography, which can be regarded as a manifestation of the synthesis of the arts, characteristic of the Romanticist composers of the 19th century. The author of the article puts forward the following assumption – that the cycle reflects the main doctrinal images of Christ, in terms of their spatial arrangement within the premises of the Catholic Church, according to the canon of the iconic scenario. The semantic structure of the work is based on the three-dimensional semantics of the premises of the church, symbolizing human beings’ path towards God.

ВКЛАД Л. КРАНАХА СТАРШЕГО В РАСПРОСТРАНЕНИЕ РЕФОРМАЦИОННЫХ ИДЕЙ МАРТИНА ЛЮТЕРА (ПЕРВАЯ ПОЛОВИНА XVI В.)

By the example of the “Christ and the woman the work of taken in adultery” (“Christus und die Ehebrecherin”) painting, the article considers the role of German painter Lucas Cranach the Elder and his workshop in spreading the Reformation ideas. The choice of that specific artwork stems from the painter’s frequent usage of that biblical plot and from many variations which have survived to the present day. The authors intend not only to compare the different periods of Cranach’s creative activity but also to reveal, with the help of the iconological method, the context and the main motives which influenced the transformation of his works. To characterize one of the most important factors – the religious context of the early Modern times – the authors refers to the quotations from the Lutheran interpretation of the biblical story about an adulteress, based on Martin Luther’s sermon of 1531. They also do not overlook the third-party sources of inspiration, that belong to the pre-Reformation period or have no connection with the Reformation at all. Therefore, the article tries to define the peculiarities of Cranach’s works of art and to find the intersection point between the well-established canons of art tradition and the visualization of the new protestant principle of the “sola gratia” (“only grace”).

Soporte tela, pigmentos y moldura como manifestaciones de identidad cultural. Un estudio desde el cuadro San Francisco niño reparte el pan a los pobres (Cusco – Chile, ca. 1668–1684)

This article highlights the importance of applying material and technical studies to the pictorial heritage of Cusco, especially in situations where written accounts of the resources and creative processes involved in its production are limited. Through the analysis of samples of the physical order of the painting San Francisco distributing bread to the poor as a child, exhibited in the Museo Colonial de San Francisco in Santiago de Chile, the material iconological method was used to identify links with the European pictorial tradition and South Andean contributions and inventions. From this specific study, a way is presented by which a series of laboratory examinations focused on recognising the techniques and materials used in viceregal painting can provide valuable information about the context and society that gave them form and meaning.

Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries

Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.

Світобудова Михайла Гуйди

Purpose of the article is to show the particular features of the model of the universe in the genre portrait-paintings and compositions of the modern Ukrainian artist M. E. Guyda are investigated. Historico-culturalogical, comparative, iconographic and iconological methods are applied. The ideological content and the particular features of the formal solution of figurative compositions are considered in the context of the heritage of world art. The national character of the images and symbols of the house, the clan and the native land are revealed; as is the nature of the manifestation of the relationship of the earthly and the heavenly. It was found that in the center of creation in compositions of M. E. Guyda is a spiritually inspired person from the folk. The depiction of people of different ages in interaction with nature helps to convey a natural course of time. It was clarified that the European aristocratic ceremonial portrait is foundational for the Ukrainian master. Artistic-stylistic analysis revealed that in the portrait-paintings "At the Well" (2013) and "Baba Kilyna" (2016), canonical composition was transformed by the artist through the expansion of space filled with individual symbolic content. The components of the ritual ceremonial portrait (columns, draperies, table-altar) are transformed into the image of a Cossack courtyard with a hedge, a tree of life, a well, a rainbow path. In the painting "Green Festivities" (2004), the house is shown as a temple. In the composition "Chumatsky Way" (2014), the world is presented as a universe – a model of the universe-house, with the architectonics of earth and sky. Scientific novelty is that the transformation of the canonical composition of the ceremonial portrait in the work of the contemporary artist M. E. Guyda is shown. The cultural and historical content of the master’s compositions was studied in connection with the problems of national self-identification and polystylism of the art of the twentieth century.is that the appeal to archetypes and symbols allowed the artist to expand the chamber space of his native Cossack house-yard to the "Model of Guyda’s Universe". The persuasiveness of individual pictorial images and symbols is based on the unity of personal, emotional perception of life with supra-individual mythological thinking. Practical significance. The presented materials, their artistic and stylistic analysis and generalization can be used in scientific research devoted to the art of portrait painting in Ukraine and in the world.

ІДЕЯ ПРОСВІТИ У МОЗАЇЦІ М. А. СТОРОЖЕНКА "ЛЬВІВСЬКЕ СТАВРОПІГІЙНЕ БРАТСТВО XVI–XVIII ст."

The purpose of the article is to study the history of creation and the ideological content of the mosaic by Mykola Andriyovych Storozhenko (1928–2015) "Lviv Stavropegic Brotherhood of the 16th – 18th centuries." in the interiors of N.N. Bogolyubov ITF of the National Academy of Sciences of Ukraine in Feofaniya (1969) in the context of the heritage of Ukrainian and world monumental art. Methodology.The study uses historical and cultural, comparative, iconographic and iconological methods. We rely on the hermeneutics of Hans-Georg Gadamer and the theory of "big time" by M.M. Bakhtin, which allows us to consider the mosaics of M.A. Storozhenko in the context of the heritage of world art. Main results. In the mosaic "Lexicon”, the greatness of the word is affirmed by means of monumental art. Storozhenko restores its sacred meaning, forgotten in the days of atheism. The master showed the importance of the printed word for the formation of Ukrainian culture. The ideological content of the monumental composition “Stauropegia. Lexicon": the educational value of words and art. Combining the interiors of the printing house and art workshop with the architectural space of the city, the master creates the image of Lviv as a cultural and educational center of Orthodoxy in Western Ukraine. The use of comparative analysis showed that M. Storozhenko synthesizes the artistic heritage of the ancient world (Tripoli, Egypt), Kievan Rus (monumental art and miniature), Renaissance, Rococo, Cubism, abstractionism and others. Polystylism, characteristic of art of the XX–XXI centures, became the basis for the formation of the individual artistic style of one of the leading artists of our time. Scientific novelty. The cultural-historical and artistic meaning of the monumental mosaic of M.A. Storozhenko has been studied in connection with the problems of national self-identification and polystylism of art of the twentieth century. Practical significance. The results of the study are necessary for the creation of a modern history of monumental and decorative art of Ukraine.

La transmisión formal e iconográfica de modelos en cuatro ejemplos del arte renacentista en León

The iconological method lies on the basic idea of iconographic type, understood as the inluence that a previous visual or textual model has over a concrete artistic work. The discovery of four different models in four works from the Renaissance art of León (an engraving of Marcantonio Raimondi for a possible relief of Hércules; a german engraving of G. Pencz for a triumph of Venus; different drawings by N. Rosex for a decorative panel, and another engraving, by H. B. Grien, as a model for a St. Sebastian) supports the thesis of a general influence exerted by the Italian and German art over Spanish art during the Renaissance, and allows to differentiate among various kinds of influences: the direct and literal copy of the model, the formal variation and the stylistical transformation of an artistic tradition. In the four examples, it is not possible to guarantee or to refuse (only from the formal analyis) if the original simbolic meanings of the models remain in the influenced images.

“Ymage del mon”: o corpo e o mundo no Atlas Catalão de Cresques Abraham, 1375

O presente artigo pretende compreender as inter-relações espaciais presentes no Atlas Catalão (1375) entre o corpo microcosmo e o macrocosmo, utilizando como fundamento a visão de mundo manifesta na própria fonte sobre a relação interdependente e espelhada entre ambos, a considerar que essa relação consiste em uma perspectiva amalgamada a partir dos entrelaçamentos transculturais e transtemporais. Para nossa análise, primeiramente, apresentaremos o contexto político e social da produção do Atlas Catalão e a situação específica de seu autor, o judeu Cresques Abraham (1375). Na sequência, analisaremos a representação do homem zodiacal no fólio I da fonte, utilizando o método iconológico, com o suporte teórico de Aby Warburg, Erwin Panofsky e John Brian Harley. O homem zodiacal é uma figura recorrente em iluminuras medievais, compreendida por nós como vetor entre o macrocosmo e o corpo humano, no entanto, chegamos ao resultado de que há especificidades desta representação no Atlas Catalão que o diferenciam de outros de sua época: os gestos de seus pés, mãos e olhos, bem como outras características, como a performance corporal, tamanho de barba e cabeleira, apontam para uma profunda presença da mística judaica ibérica construída a partir de confluências culturais ao longo de séculos.

ИСТОРИЯ ИСПОЛЬЗОВАНИЯ «АТЛАСА ДЕВЫ МАРИИ» ОБЩЕСТВА ИИСУСА В РУССКОЙ ИКОНОГРАФИИ

The purpose of this study is to form new iconographies as a set of subjects, compositional schemes and their historical features on the example of the list of Our Lady of the Snow image, brought to Eastern Europe by the Dominican Order and distributed with the participation of the Jesus Society. The history of Russian iconography in a generalized form can be represented by two stages, char-acterizing, respectively, the influence on it of the images of the Eastern Roman Empire (earlier than the second half of the 17-th century) and Western Europe (from the second half of the 17-th centu-ry). The Jesus Society plays an important role in this process, or as its representatives later came to be called - the Jesuits. The objectives of the study were to trace the path from the source of icono-graphy in Rome to Eastern Europe, and then consider the examples of the «Joy of All Who Sorrow» in the Russian image of the Mother of God use, including one of the churches of the Orel region. While conducting the research, the historical method is used, in the study of events and processes in dynamics. To consider specific cultural values, the iconological method is used, which makes it possible to present both the visual form and its content in a comprehensive way.