Only semiotically deep is the research of P. Florensky in
the field of art history. This first "Analysis of space and
time in art-graphic works" (on the same
the Department of P. Florensky worked in the higher art in the twentieth) and
the iconography of "Reverse perspective" and "Iconostasis". But we want to start with
the work of the "Temple action as synthesis of the arts", first published in 1922
In it, he argues that in the Museum the artwork
comes out of the real context of its functioning. In this regard
lighting icons, namely those for which it was created must be
flashing light the lamps. "Designed for the game tremulous, agitated every
a breeze flame, in advance taking into account the effects of colored reflexes from bundles
light passing through the colored, faceted glass sometimes, the icon may
to soderzhatsya as such only at this stroenii, only excitement
light partitioning, uneven, as if pulsating, rich, warm
prismatic rays -- of light, which is perceived by all as lively as
soul as emitting a warm fragrance" (Florensky P.
The iconostasis. SPb., 1993. P. 297).
He stresses that the Church "functioning" are:
plastic and rhythmic movements of the clergy of the game and play of folds
fabrics, incense, vocal and poetic art. He gradually
connect to consider all the senses. "Even details such as
a specific touch to a variety of surfaces, to sacred things
different material, it smeared and soaked with oil, spices, and
the incense, the icons, though touching of the sensitive parts of our
body, lips -- is part of the whole action, as a special art, as
special art area, such as the art of touch as art
of smell, etc., eliminating them, we would have lost the fullness and completeness
artistic whole" (Ibid. P. 302). Florenskyrequires
consideration of the temple action as a kind of supersnake, where the impact
happens all the existing channels of perception. And only together, and not
each one of them individually can be analyzed in the study of the temple
action.![]()
the field of art history. This first "Analysis of space and
time in art-graphic works" (on the same
the Department of P. Florensky worked in the higher art in the twentieth) and
the iconography of "Reverse perspective" and "Iconostasis". But we want to start with
the work of the "Temple action as synthesis of the arts", first published in 1922
In it, he argues that in the Museum the artwork
comes out of the real context of its functioning. In this regard
lighting icons, namely those for which it was created must be
flashing light the lamps. "Designed for the game tremulous, agitated every
a breeze flame, in advance taking into account the effects of colored reflexes from bundles
light passing through the colored, faceted glass sometimes, the icon may
to soderzhatsya as such only at this stroenii, only excitement
light partitioning, uneven, as if pulsating, rich, warm
prismatic rays -- of light, which is perceived by all as lively as
soul as emitting a warm fragrance" (Florensky P.
The iconostasis. SPb., 1993. P. 297).
He stresses that the Church "functioning" are:
plastic and rhythmic movements of the clergy of the game and play of folds
fabrics, incense, vocal and poetic art. He gradually
connect to consider all the senses. "Even details such as
a specific touch to a variety of surfaces, to sacred things
different material, it smeared and soaked with oil, spices, and
the incense, the icons, though touching of the sensitive parts of our
body, lips -- is part of the whole action, as a special art, as
special art area, such as the art of touch as art
of smell, etc., eliminating them, we would have lost the fullness and completeness
artistic whole" (Ibid. P. 302). Florenskyrequires
consideration of the temple action as a kind of supersnake, where the impact
happens all the existing channels of perception. And only together, and not
each one of them individually can be analyzed in the study of the temple
action.
