to set themselves, whereas Protestant culture, leaving even
unquoted invisible world, pays into the scheme by the person in direct experience"
(Ibid. P. 121-122). Even in the nature of works of P. Florensky
selects the icon: "the Artist is sometimes forced to provide part of the work
others, but implied that he writes individually; the same painter,
on the contrary, sometimes being forced to work in isolation, but unity in the work
necessarily implied. Indeed, the lack of partners is required for
the unity of individual manners, and in the icon-the main business of nezamestnanosti
the Cathedral of the transmitted truth; and if creeping subjective interpretation
the icon will be mutually balanced if the wizard will mutually correct
each other in involuntary departures from objectivity, that is what
required" (Ibid. P. 134). We see that the symbolism begins
to emerge from Florensky not only in common objects, but even in
the manner of their creation, but also in the way of their perception (cf. "Temple
action...").![]()
unquoted invisible world, pays into the scheme by the person in direct experience"
(Ibid. P. 121-122). Even in the nature of works of P. Florensky
selects the icon: "the Artist is sometimes forced to provide part of the work
others, but implied that he writes individually; the same painter,
on the contrary, sometimes being forced to work in isolation, but unity in the work
necessarily implied. Indeed, the lack of partners is required for
the unity of individual manners, and in the icon-the main business of nezamestnanosti
the Cathedral of the transmitted truth; and if creeping subjective interpretation
the icon will be mutually balanced if the wizard will mutually correct
each other in involuntary departures from objectivity, that is what
required" (Ibid. P. 134). We see that the symbolism begins
to emerge from Florensky not only in common objects, but even in
the manner of their creation, but also in the way of their perception (cf. "Temple
action...").