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This book contributes to the re-emerging field of 'theology through
the arts' by proposing a way of approaching one of the most
challenging theological concepts - divine timelessness - through
the principle of construction of space in the icon. One of the main
objectives of this book is to discuss critically the implications
of 'reverse perspective', which is especially characteristic of
Byzantine and Byzantining art. Drawing on the work of Pavel
Florensky, one of the foremost Russian religious philosophers at
the beginning of the 20th century, Antonova shows that Florensky's
concept of 'supplementary planes' can be used productively within a
new approach to the question. Antonova works up new criteria for
the understanding of how space and time can be handled in a way
that does not reverse standard linear perspective (as
conventionally claimed) but acts in its own way to create
eternalised images which are not involved with perspective at all.
Arguing that the structure of the icon is determined by a
conception of God who exits in past, present, and future,
simultaneously, Antonova develops an iconography of images done in
the Byzantine style both in the East and in the West which is truer
to their own cultural context than is generally provided for by
western interpretations. This book draws upon philosophy, theology
and liturgy to see how relatively abstract notions of a deity
beyond time and space enter images made by painters.
This book considers a movement within Russian religious philosophy
known as "full unity" (vseedinstvo), with a focus on one of its
main representatives, Pavel Florensky (1882-1937). Often referred
to as "the Russian Leonardo," Florensky was an important figure of
the Russian religious renaissance around the beginning of the
twentieth century. This book shows that his philosophy,
conceptualized in his theory of the icon, brings together the
problem of the "religious turn" and the "pictorial turn" in modern
culture, as well as contributing to contemporary debates on
religion and secularism. Organized around the themes of full unity
and visuality, the book examines Florensky's definition of the icon
as "energetic symbol," drawing on St. Gregory Palamas, before
offering a theological reading of Florensky's theory of the
pictorial space of the icon. It then turns to Florensky's idea of
space in the icon as Non-Euclidean. Finally, the icon is placed
within wider debates provoked by Bolshevik cultural policy, which
extend to current discussions concerning religion, modernity, and
art. Offering an important contribution from Russian religious
philosophy to issues of contemporary modernity, this book will be
of interest to scholars of religious philosophy, Russian studies,
theology and the arts, and the medieval icon.
This book contributes to the re-emerging field of 'theology through
the arts' by proposing a way of approaching one of the most
challenging theological concepts - divine timelessness - through
the principle of construction of space in the icon. One of the main
objectives of this book is to discuss critically the implications
of 'reverse perspective', which is especially characteristic of
Byzantine and Byzantining art. Drawing on the work of Pavel
Florensky, one of the foremost Russian religious philosophers at
the beginning of the 20th century, Antonova shows that Florensky's
concept of 'supplementary planes' can be used productively within a
new approach to the question. Antonova works up new criteria for
the understanding of how space and time can be handled in a way
that does not reverse standard linear perspective (as
conventionally claimed) but acts in its own way to create
eternalised images which are not involved with perspective at all.
Arguing that the structure of the icon is determined by a
conception of God who exits in past, present, and future,
simultaneously, Antonova develops an iconography of images done in
the Byzantine style both in the East and in the West which is truer
to their own cultural context than is generally provided for by
western interpretations. This book draws upon philosophy, theology
and liturgy to see how relatively abstract notions of a deity
beyond time and space enter images made by painters.
This book considers a movement within Russian religious philosophy
known as "full unity" (vseedinstvo), with a focus on one of its
main representatives, Pavel Florensky (1882-1937). Often referred
to as "the Russian Leonardo," Florensky was an important figure of
the Russian religious renaissance around the beginning of the
twentieth century. This book shows that his philosophy,
conceptualized in his theory of the icon, brings together the
problem of the "religious turn" and the "pictorial turn" in modern
culture, as well as contributing to contemporary debates on
religion and secularism. Organized around the themes of full unity
and visuality, the book examines Florensky's definition of the icon
as "energetic symbol," drawing on St. Gregory Palamas, before
offering a theological reading of Florensky's theory of the
pictorial space of the icon. It then turns to Florensky's idea of
space in the icon as Non-Euclidean. Finally, the icon is placed
within wider debates provoked by Bolshevik cultural policy, which
extend to current discussions concerning religion, modernity, and
art. Offering an important contribution from Russian religious
philosophy to issues of contemporary modernity, this book will be
of interest to scholars of religious philosophy, Russian studies,
theology and the arts, and the medieval icon.
Despite its key role in the intellectual shaping of state
socialism, Communist ideas are often dismissed as mere propaganda
or as a rhetorical exercise aimed at advancing socialist
intellectuals on their way to power. By drawing attention to
unknown and unexplored areas, trends and ways of thinking under
socialism, the volume examines Eastern Europe and Russian histories
of intellectual movements inspired - negatively as well as
positively - by Communist arguments and dogmas. Through an
interdisciplinary dialogue, the collection demonstrates how various
bodies of theoretical knowledge (philosophical, social, political,
aesthetic, even theological) were used not only to justify dominant
political views, but also to frame oppositional and nonofficial
discourses and practices. The examination of the underlying
structures of Communism as an intellectual project provides
convincing evidence for questioning a dominant approach that
routinely frames the post-Communist intellectual development as a
"revival" or, at least, as a "return" of the repressed intellectual
traditions. As the book shows, the logic of a radical break,
suggested by this approach, is in contradiction with historical
evidence: a significant number of philosophical, theoretical and
ideological debates in post-Communist world are in fact the logical
continuation of intellectual conversations and confrontations
initiated long before 1989.
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