Papers by Luba Stefanova
ОБРАЗНОСТЬ КАК ПЕРЕСЕЧЕНИЕ ДВУХ РЕАЛЬНОСТЕЙ В РАННЕХРИСТИАНСКИХ ФИЛОСОФСКИХ МОДЕЛЯХ МИРОЗДАНИЯ ФИЛОСОФСКИХМОДЕЛЯХ МИРОЗДАНИЯЛ. С. Стефанова, 2021
Главный редактор С. С. Аванесов (Новгородский государственный университет им. Ярослава Мудрого) О... more Главный редактор С. С. Аванесов (Новгородский государственный университет им. Ярослава Мудрого) Ответственный секретарь Е. И. Спешилова (Новгородский государственный университет им. Ярослава Мудрого) Редакционная коллегия Т. С. Борисова (Афинский национальный университет им. И. Каподистрии, Греция) Прот. Стефан Ванеян (Московский государственный университет им. М. В. Ломоносова) А. К. Гладков (Институт всеобщей истории РАН, Москва) Архидиакон Геворг Гущян (Ереванский государственный университета, Армения) Прот. Сергий Золотарёв (Санкт-Петербургская православная духовная академия) Т. А. Касаткина (Институт мировой литературы имени А. М. Горького РАН, Москва) В. В. Лепахин (Университет г. Сегед, Венгрия) Е. В. Максимова (Новгородский государственный университет им. Ярослава Мудрого) А. Д. Охоцимский (Научный центр восточнохристианской культуры, Лёвен, Бельгия) Н. И. Сазонова (Томский государственный педагогический университет) Р. В. Светлов (Российский государственный педагогический университет им. А. И. Герцена, Санкт-Петербург) Н. Станкович (Белградский университет, Сербия) И. Фолетти (Масариков университет, Брно, Чехия) Редакционный совет М. Баччи (Фрибурский университет, Швейцария) Е. Богданович (Университет штата Айова, США) Г. В. Вдовина (Институт философии РАН, Москва) Д. Е. Крапчунов (Новгородский государственный университет им. Ярослава Мудрого) Прот. Георгий Крейдун (Барнаульская православная духовная семинария) А. М. Лидов (Научный центр восточнохристианской культуры, Москва) Е. Г. Маргарян (Российско-Армянский (Славянский) университет, Ереван, Армения) Н. Х. Орлова (Зелёногурский университет, Польша) А. А. Петрова (Казанский (Приволжский) федеральный университет) Т. Ю. Царевская (Государственный институт искусствознания, Москва)
Проблема интерпретации образного мышления ранних христианских писате-лей и художников связана с анализом и пониманием того, как они выражают слож-ные богословские идеи, сформировавшиеся в первые века зарождения христиан-ской философии. В христианском мышлении идея связи Божественного с человеком воплощается посредством образов. Это основа не только богатого метафорического и аллегорического словесного выражения, но и визуальной интерпретации той же идеи в искусстве
IMAGE AND SYMBOLIC NOTIONS OF AREOPAGITE'S TREATISESIN ARTISTIC TRENDS OF TARNOVO MEDIEVAL WALL-PAINTING, 2019
Common trends of Balkan painting as the basic cultural locus of old Byzantine culture influenced ... more Common trends of Balkan painting as the basic cultural locus of old Byzantine culture influenced Medieval iconographic models of the wall-painting heritage of Christian temples in Tarnovo and its region dating from the XV-XVIII century. Iconography was developed and enriched by symbolic images and interpretations of motives and events fundamental in Christian philosophy, the Bible and hymnography. The artistic tradition of Christianity, strongly apparent in theocentric compositions of church vaults of that period revealed the ideas of the Protoimage of God and its realization in the cognizable world.
О "месте безмерного" по Аристотелю и динамике образа в учении святого Йоанна Дамаскина, 2023
Научный журнал «Теология: теория и практика» зарегистрирован в Российской Федерации Федеральной с... more Научный журнал «Теология: теория и практика» зарегистрирован в Российской Федерации Федеральной службой по надзору в сфере связи, информационных технологий и массовых коммуникаций (Роскомнадзор). Свидетельство о регистрации СМИ ПИ № ФС 77-85733 от 14.08.2023 г. Издается с 2022 г., выходит четыре раза в год. Учредитель и издатель-Паламаренко Е.В. Главный редактор ПАЛАМАРЕНКО Евгений Викторович, кандидат теологии, доцент кафедры теологии, Московский государственный университет технологий и управления имени К.Г. Разумовского Выпускающий редактор ЛАЗАРЕВА Анна Юрьевна, начальник организационно-научного отдела, научный сотрудник, Общецерковная аспирантура и докторантура им. святых равноапостольных Кирилла и Мефодия Редакционный совет БОЧКОВ Павел Владимирович, священник, Dr. Hab., ThDr, кандидат юридических наук, профессор кафедры теологии и христианской коммуникации, Межрегиональная академия управления персоналом, Украина ВАСИЛЬЕВА Ольга Юрьевна, доктор исторических наук, профессор, академик РАО, президент Российской академии образования ВОЛОСЮК Владимир, доктор богословия (Dr. Hab.), профессор кафедры практического богословия, Христианская богословская академия в Варшаве, Польша ВОРОНЦОВА Ирина Владимировна, кандидат исторических наук, старший научный сотрудник отдела новейшей истории Русской Православной Церкви, Православный Свято-Тихоновский Гуманитарный университет КАТАСОНОВ Владимир Николаевич, доктор философских наук, доктор богословия, профессор, Общецерковная аспирантура и докторантура им. святых равноапостольных Кирилла и Мефодия КРУТОВА Марина Семёновна, доктор филологических наук, профессор, главный палеограф отдела рукописей, Российская государственная библиотека МАРЧЕНКО Алексей Николаевич, протоиерей, доктор исторических наук, доктор церковной истории, начальник отдела докторантуры, Общецерковная аспирантура и докторантура им. святых равноапостольных Кирилла и Мефодия НАРИНСКАЯ Елена, PhD, научный сотрудник кафедры теологии и религии, Оксфордский университет, Великобритания САФОНОВ Дмитрий Владимирович, священник, кандидат исторических наук, кандидат богословия, доцент кафедры теологии, Московский государственный лингвистический университет СИМОНОВ Вениамин Владимирович (архимандрит Филипп), доктор экономических наук, профессор, заведующий кафедрой истории Церкви, Московский государственный университет имени М.В. Ломоносова СИТНИКОВ Алексей Владимирович, доктор философских наук, профессор кафедры государственно-конфессиональных отношений, Российская академия народного хозяйства и государственной службы при Президенте Российской Федерации ФЕРДЕК Богдан, доктор теологии, профессор, Папский богословский факультет во Вроцлаве; член Комитета богословских наук, Польская академия наук ЧЕБОТАРЁВ Сергей Алексеевич, кандидат исторических наук, Тамбовский государственный университет им. Г.Р. Державина
В Ареопагитското учение понятието „образ“ има особен смисъл, който изразява проявата на енергият... more В Ареопагитското учение понятието „образ“ има особен смисъл, който изразява проявата на енергията като аспект от Божествената същност в иманентния свят. Този образ не трябва да се схваща като повърхностно и случайно изявление на природната форма в сетивния свят, от което веднага би последвало и алегорично тълкувание на понятието „символ“. Образът в Дионисиевото учение трябва да се разбира като категория с гносеологически характер. Той може да бъде изграден от няколко други подобрази, или да взаимодейства с други образи. При това се получават образни алгоритми, които са взаимообвързани, и имат функцията на посредници в процеса на духовното възхождане към Бога. Тези образи, които са едновременно многопластови и динамични, чрез прехождането си един в друг осъществяват предаването на знания от Първопричината към подстоящите същности.
In the Areopagite doctrine, the term "image" has a special meaning, which expresses the manifestation of energy as an aspect of the Divine essence in the immanent world. This image should not be understood as a superficial and accidental statement of the natural form in the sensory world, which would immediately follow an allegorically interpretation of the term "symbol". The image in Dionysius' teaching must to be understood as a category of epistemological character. He can be built from several other subimages, or interact with other images. This results in image algorithms that are interconnected and have the function of mediators in the process of spiritual ascension to God. These images that are both multi-layered and dynamic, through their transition into each other, carry out the transfer of knowledge from the First Cause to the subordinate beings.
Божествената светлина в иконите на Йоаникий Папавитанов и Тревненската живописна школа Divine light in iconographic heritage of Joaniky Papa Vitanof and Tryavna painting school , 2017
Изследването се фокусира върху духовната сила на образите в иконите на „Богородица-Троеручица”, д... more Изследването се фокусира върху духовната сила на образите в иконите на „Богородица-Троеручица”, дело на Йоаникий Папавитанов и на Симеон Цонюв. В творчеството на тревненските зографи от края на XVIII и началото на XIX в. са запазени и претворени художествените традиции на византийската средновековна иконопис. Въпреки силното европеизиране на изкуството през Възраждането, българските иконописци успяват да съчетаят навлизащите нови тенденции на осветскостяване в живописта със силата и духовността, която носят образите на светците от предходните исторически епохи, влагайки свой собствен усет при интерпретирането на светийските образи.
In the church painting of Joaniky Papa Vitanof – one of the brightest representatives of iconography from Bulgarian revival time – there is such pronounced symbolic recreation of divine light in form of radiance that gives sacred images special attractive power. The artistic originality of these strictly canonical works of iconography urges spectators to come back over and over again in temple or exhibition, because of their adequacy to divine prototypes. Joaniky differed from his contemporaries by his exceptional ability to shine upon his images. They hold special mystical expressiveness that refers to associations of mentation and image with the image of God as a prototype perceived in its mystical radiation. The descendant of a group of distinguished masters – Vitanovs, Joaniky worked in the 1st half of the 19th century together with his cousin – Papa Vitan Junior – and created icons for many of the most representative churches in Bulgarian revival times. Restoration of the icon of Theotokos The Tree handed from the collection of Regional museum of history at Koprivshtitsa gave the opportunity of comparison between the interpretation of this iconographic theme by Joaniky and by the elder master of Vitanovs – Simeon Tsoniyv – through analysis of individual features of their artistic work.
ЛИЧНОСТНОТО ПРИСЪСТВИЕ НА ДРУГИЯ В ХРАМОВАТА ЖИВОПИС И ИЗОБРАЗИТЕЛНИТЕ ПРИНЦИПИ ПРИ ИЗЯВЯВАНЕ НА ДРУГОСТТА В СЪВРЕМЕННАТА ИКОНОГРАФИЯ THE PERSONAL PRESENCE OF THE OTHER IN THE TEMPLE PAINTING AND THE IMAGINARY PRINCIPLES IN THE EXPRESSION OF THE OTHERNESS IN CONTEMPORARY ICONOGRAPHY, 2020
Abstract: In the conditions of modern digitalized communication, temples remain one of the few ... more Abstract: In the conditions of modern digitalized communication, temples remain one of the few places, where the importance of real, essential presence and interpersonal dialogue is reaffirmed through the eternal connection between artist and creation. The printed images, brought to the temple, raise the question of the difference in the conceptual, spiritual, moral, and aesthetic perceptions of the objects of worship and prayer. Although there is still a common notion of appreciating traditional ways of decorating temples, digitized prints are increasingly entering the contemplative field of believers, turning spiritual communication into an attributive homage to the icon, and imposing a norm, formed as a result of the depersonalization of the ancient Christian pictorial continuity. The role of the icon painter, as a real person, present, and an active conductor of spirituality, is more than ever equated with that of the priest in his liturgical vocation, as a mediator between man and his Creator. The way to restore the overall harmony in the sacramental contemplation of the transcendent revelations is that of clear awareness of the active, living, and real presence of the person in the sacred space.
Keywords: Art, printed images, incarnation, depersonalization
The study focuses on the complex and plush literary language of Pseudo-Dionysius, through which ... more The study focuses on the complex and plush literary language of Pseudo-Dionysius, through which the contemplative states of the human mind are discovered in the quest for God's knowledge. Dedication to liturgical sacraments through symbols has a major role to play in this cognitive process. Under the influence of Neoplatonism, the author builds his symbolic language to express the purely Christian view of God and His manifestation in the world of humans.
Изследването се фокусира върху сложния и наситен с образи литературен език на Псевдо-Дионисий Ареопагит, чрез който се откриват съзерцателните състояния на човешкия ум в стремежа му към богопознание. Посвещаването в литургичните тайнства посредством символите има основна роля в този познавателен процес. Под влияние на неоплатонизма авторът изгражда своя символен език, за да изрази чисто християнското схващане за Бога и Неговото проявление в света на хората.
Notwithstanding the difference in historical periods of creativity, in the treatises of some of t... more Notwithstanding the difference in historical periods of creativity, in the treatises of some of the most famous thinkers both in Islamic culture and in the Christian world, ideas and understandings of the image are found as a notion that does not exhaust the perception of God, but is relevant to the pursuit of God's knowledge. The brief historical distance between the emergence of the Pseudo-Dionysian treatises and those of Islamic philosophy allows us to make a comparison between the two religious worldviews. The two monotheistic concepts of the manifestations of God in the visible world have common foundations in the Geek philosophy and the views of the Neoplatonists. The rich and tangled language in the Pseudo-Dionysian treatises reveals the two-sided process of the interrelation between the divine and human realities. In the texts of the Muslim thinker Muhammad al-Ghazālī, the image of the contemplative man's ascension to the Almighty and indescribable God is also revealed. This article attempts to compare the patterns of thought through which these two philosophers, with different religious beliefs, express their understanding of the image of God and the path of contemplative rising to Him. The image of the One, from where the entire immanent world originates, occupies the first place for both wise men. But while for the Muslim philosopher the manifestations of God in the world are a direct realization of His gentle mind, the Christian thinker focuses on the image of the incarnation of God in the person of Christ.
Иконографските особености на сюжетите и иконичността на образите свързани в единна система чрез б... more Иконографските особености на сюжетите и иконичността на образите свързани в единна система чрез богословските концепции за йеротопия (изграждане на литургично пространство) и йеропрепия (свещено-достойно изобразяване) претърпяват изменения през вековете в съответствие с развитието на богословската мисъл и оформянето на иконописните канони. При този процес понякога се надграждат живописни слоеве, които зафиксират промените през отделните епохи и съществените разлики в художествените решения вписващи се в една обща културна и вероизповедна традиция.
Abstract: Christian ideas about the human link to God are based on Old-Testament
texts about Crea... more Abstract: Christian ideas about the human link to God are based on Old-Testament
texts about Creation and influenced by Ancient philosophical thought, explaining the
beginning of the world. From the works of the first Christian writers, and during the whole Medieval ages, the world of perception is being represented as the creation of God in His initial shape of Logos. Depictions do not have only narrative character but they translate by image definite transcendent states of mind that exceed the ideas of the ontological time. Heaven created by Triune God is represented in its verbal depiction as the natural environment of transcendental first humans in their initial state. A couple of Adam and Eve is included in the representation of Creation not as ordinary historical narrative, but in the context of the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic language of Western European tradition gives rational sense to being, while eastern ideas
insist on spiritual contemplation of images. The tree becomes a unifying point of the building of symbolic borders dividing and uniting transcendent and immanent aspects of being.
In the Аrt, which so far follows the rules of ecclesiastical medieval painting, elements of Weste... more In the Аrt, which so far follows the rules of ecclesiastical medieval painting, elements of Western European aesthetics are entering, which lead to the change of basic pictorial principles.They gradually change his appearance and set a sharp boundary between "church" and "secular" art in all the conditionality of these two terms.
Abstract: Christian ideas about the human link to God are based on Old-Testament
texts about Crea... more Abstract: Christian ideas about the human link to God are based on Old-Testament
texts about Creation and influenced by Ancient philosophical thought, explaining the
beginning of the world. From the works of the first Christian writers, and during the whole
Medieval ages, the world of perception is being represented as the creation of God in His initial
shape of Logos. Depictions do not have only narrative character but they translate by image
definite transcendent states of mind that exceed the ideas of the ontological time. Heaven
created by Triune God is represented in its verbal depiction as the natural environment of
transcendental first humans in their initial state. A couple of Adam and Eve is included in the
representation of Creation not as ordinary historical narrative, but in the context of
the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic
language of Western European tradition gives rational sense to being, while eastern ideas
insist on spiritual contemplation of images. The tree becomes a unifying point of the building of
symbolic borders dividing and uniting transcendent and immanent aspects of being.
В християнското изкуство, наред с наративните композиции, откриваме и такива, които са изградени... more В християнското изкуство, наред с наративните композиции, откриваме и такива, които са изградени на базата на философското осмисляне на сложната символика, зародила се в дългия процес на формиране и установяване на христологичните и триадологични догмати. Статията е фокусирана върху образа на Христос Пантократор като център на трансцедентното време и времето в човешката история.
In Christian art, along with the narrative compositions, we also find ones that are built on the basis of the philosophical conception of the complex symbolism that has begun in the long process of formation and establishment of the Christological and Triadological dogmas. The article focuses on the image of Christ Pantocrator as the center of transcendental time and time in human history.
Сакралното архитектурно пространство на православния църковен храм с неговите специфични елементи... more Сакралното архитектурно пространство на православния църковен храм с неговите специфични елементи представлява символичен богословски израз на срещата на иманентните и трансцедентни идеи в християнството очертаващи връзката между Бога и човечеството при посредничеството на свещените персонажи. Въплъщението на християнската философия отразена в светоотеческата мисъл през вековете чрез пространствените измерения на църковните сгради изразява дълбокия и висш смисъл на съ-битието на общността на невидимата небесната и осезаемата земна църковна структура.
Conference Presentations by Luba Stefanova
The universe of God ... the universe of man. The newly revealed scenes of the Creation in the underlying tray of the iconostasis in the church "St. Nikolay Mirlikiyski "in the village of Chelopech, 2018
Christian ideas about the human link to God are based on Old-Testament
texts about Creation and i... more Christian ideas about the human link to God are based on Old-Testament
texts about Creation and influenced by Ancient philosophical thought, explaining the beginning of the world. From the works of the first Christian writers, and during the whole Medieval ages, the world of perception is being represented as the creation of God in His initial shape of Logos. Depictions do not have only narrative character but they translate by image definite transcendent states of mind that exceed the ideas of the ontological time. Heaven created by Triune God is represented in its verbal depiction as the natural environment of transcendental first humans in their initial state. A couple of Adam and Eve is included in the representation of Creation not as an ordinary historical narrative, but in the context of the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic language of Western European tradition gives rational sense to being, while eastern ideas insist on spiritual contemplation of images. The tree becomes a unifying point of the building of symbolic borders dividing and uniting transcendent and immanent aspects of being
Божествената светлина в иконописното наследство на Йоаникий Папавитанов и Тревненската живописна школа, В: Сборник с доклади "Народните занаяти", т. XIII, 2017 г. от Международна научна конференция, организирана от Министерство на Културата, Обина Габрово и ЕМО "Етър" - Габрово" , 2017
In the church painting of Joaniky Papa Vitanof – one of the brightest representatives of iconogra... more In the church painting of Joaniky Papa Vitanof – one of the brightest representatives of iconography from Bulgarian revival time – there is such pronounced symbolic recreation of divine light in form of radiance that gives sacred images special attractive power. The artistic originality of these strictly canonical works of iconography urges spectators to come back over and over again in temple or exhibition, because of their adequacy to divine prototypes. Joaniky differed from his contemporaries by his exceptional ability to shine upon his images. They hold special mystical expressiveness that refers to associations of mentation and image with the image of God as a prototype perceived in its mystical radiation. A descendant of a group of distinguished masters – Vitanovs, Joaniky worked in the 1st half of the 19th century together with his cousin – Papa Vitan Junior – and created icons for many of the most representative churches in Bulgarian revival times. Restoration of the icon of Theotokos The Tree handed from the collection of Regional museum of history at Koprivshtitsa gave an opportunity of comparison between the interpretation of this iconographic theme by Joaniky and by the elder master of Vitanovs – Simeon Tsoniyv – through analysis of individual features of their artistic work.
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Papers by Luba Stefanova
Проблема интерпретации образного мышления ранних христианских писате-лей и художников связана с анализом и пониманием того, как они выражают слож-ные богословские идеи, сформировавшиеся в первые века зарождения христиан-ской философии. В христианском мышлении идея связи Божественного с человеком воплощается посредством образов. Это основа не только богатого метафорического и аллегорического словесного выражения, но и визуальной интерпретации той же идеи в искусстве
In the Areopagite doctrine, the term "image" has a special meaning, which expresses the manifestation of energy as an aspect of the Divine essence in the immanent world. This image should not be understood as a superficial and accidental statement of the natural form in the sensory world, which would immediately follow an allegorically interpretation of the term "symbol". The image in Dionysius' teaching must to be understood as a category of epistemological character. He can be built from several other subimages, or interact with other images. This results in image algorithms that are interconnected and have the function of mediators in the process of spiritual ascension to God. These images that are both multi-layered and dynamic, through their transition into each other, carry out the transfer of knowledge from the First Cause to the subordinate beings.
In the church painting of Joaniky Papa Vitanof – one of the brightest representatives of iconography from Bulgarian revival time – there is such pronounced symbolic recreation of divine light in form of radiance that gives sacred images special attractive power. The artistic originality of these strictly canonical works of iconography urges spectators to come back over and over again in temple or exhibition, because of their adequacy to divine prototypes. Joaniky differed from his contemporaries by his exceptional ability to shine upon his images. They hold special mystical expressiveness that refers to associations of mentation and image with the image of God as a prototype perceived in its mystical radiation. The descendant of a group of distinguished masters – Vitanovs, Joaniky worked in the 1st half of the 19th century together with his cousin – Papa Vitan Junior – and created icons for many of the most representative churches in Bulgarian revival times. Restoration of the icon of Theotokos The Tree handed from the collection of Regional museum of history at Koprivshtitsa gave the opportunity of comparison between the interpretation of this iconographic theme by Joaniky and by the elder master of Vitanovs – Simeon Tsoniyv – through analysis of individual features of their artistic work.
Keywords: Art, printed images, incarnation, depersonalization
Изследването се фокусира върху сложния и наситен с образи литературен език на Псевдо-Дионисий Ареопагит, чрез който се откриват съзерцателните състояния на човешкия ум в стремежа му към богопознание. Посвещаването в литургичните тайнства посредством символите има основна роля в този познавателен процес. Под влияние на неоплатонизма авторът изгражда своя символен език, за да изрази чисто християнското схващане за Бога и Неговото проявление в света на хората.
texts about Creation and influenced by Ancient philosophical thought, explaining the
beginning of the world. From the works of the first Christian writers, and during the whole Medieval ages, the world of perception is being represented as the creation of God in His initial shape of Logos. Depictions do not have only narrative character but they translate by image definite transcendent states of mind that exceed the ideas of the ontological time. Heaven created by Triune God is represented in its verbal depiction as the natural environment of transcendental first humans in their initial state. A couple of Adam and Eve is included in the representation of Creation not as ordinary historical narrative, but in the context of the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic language of Western European tradition gives rational sense to being, while eastern ideas
insist on spiritual contemplation of images. The tree becomes a unifying point of the building of symbolic borders dividing and uniting transcendent and immanent aspects of being.
texts about Creation and influenced by Ancient philosophical thought, explaining the
beginning of the world. From the works of the first Christian writers, and during the whole
Medieval ages, the world of perception is being represented as the creation of God in His initial
shape of Logos. Depictions do not have only narrative character but they translate by image
definite transcendent states of mind that exceed the ideas of the ontological time. Heaven
created by Triune God is represented in its verbal depiction as the natural environment of
transcendental first humans in their initial state. A couple of Adam and Eve is included in the
representation of Creation not as ordinary historical narrative, but in the context of
the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic
language of Western European tradition gives rational sense to being, while eastern ideas
insist on spiritual contemplation of images. The tree becomes a unifying point of the building of
symbolic borders dividing and uniting transcendent and immanent aspects of being.
In Christian art, along with the narrative compositions, we also find ones that are built on the basis of the philosophical conception of the complex symbolism that has begun in the long process of formation and establishment of the Christological and Triadological dogmas. The article focuses on the image of Christ Pantocrator as the center of transcendental time and time in human history.
Conference Presentations by Luba Stefanova
texts about Creation and influenced by Ancient philosophical thought, explaining the beginning of the world. From the works of the first Christian writers, and during the whole Medieval ages, the world of perception is being represented as the creation of God in His initial shape of Logos. Depictions do not have only narrative character but they translate by image definite transcendent states of mind that exceed the ideas of the ontological time. Heaven created by Triune God is represented in its verbal depiction as the natural environment of transcendental first humans in their initial state. A couple of Adam and Eve is included in the representation of Creation not as an ordinary historical narrative, but in the context of the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic language of Western European tradition gives rational sense to being, while eastern ideas insist on spiritual contemplation of images. The tree becomes a unifying point of the building of symbolic borders dividing and uniting transcendent and immanent aspects of being
Проблема интерпретации образного мышления ранних христианских писате-лей и художников связана с анализом и пониманием того, как они выражают слож-ные богословские идеи, сформировавшиеся в первые века зарождения христиан-ской философии. В христианском мышлении идея связи Божественного с человеком воплощается посредством образов. Это основа не только богатого метафорического и аллегорического словесного выражения, но и визуальной интерпретации той же идеи в искусстве
In the Areopagite doctrine, the term "image" has a special meaning, which expresses the manifestation of energy as an aspect of the Divine essence in the immanent world. This image should not be understood as a superficial and accidental statement of the natural form in the sensory world, which would immediately follow an allegorically interpretation of the term "symbol". The image in Dionysius' teaching must to be understood as a category of epistemological character. He can be built from several other subimages, or interact with other images. This results in image algorithms that are interconnected and have the function of mediators in the process of spiritual ascension to God. These images that are both multi-layered and dynamic, through their transition into each other, carry out the transfer of knowledge from the First Cause to the subordinate beings.
In the church painting of Joaniky Papa Vitanof – one of the brightest representatives of iconography from Bulgarian revival time – there is such pronounced symbolic recreation of divine light in form of radiance that gives sacred images special attractive power. The artistic originality of these strictly canonical works of iconography urges spectators to come back over and over again in temple or exhibition, because of their adequacy to divine prototypes. Joaniky differed from his contemporaries by his exceptional ability to shine upon his images. They hold special mystical expressiveness that refers to associations of mentation and image with the image of God as a prototype perceived in its mystical radiation. The descendant of a group of distinguished masters – Vitanovs, Joaniky worked in the 1st half of the 19th century together with his cousin – Papa Vitan Junior – and created icons for many of the most representative churches in Bulgarian revival times. Restoration of the icon of Theotokos The Tree handed from the collection of Regional museum of history at Koprivshtitsa gave the opportunity of comparison between the interpretation of this iconographic theme by Joaniky and by the elder master of Vitanovs – Simeon Tsoniyv – through analysis of individual features of their artistic work.
Keywords: Art, printed images, incarnation, depersonalization
Изследването се фокусира върху сложния и наситен с образи литературен език на Псевдо-Дионисий Ареопагит, чрез който се откриват съзерцателните състояния на човешкия ум в стремежа му към богопознание. Посвещаването в литургичните тайнства посредством символите има основна роля в този познавателен процес. Под влияние на неоплатонизма авторът изгражда своя символен език, за да изрази чисто християнското схващане за Бога и Неговото проявление в света на хората.
texts about Creation and influenced by Ancient philosophical thought, explaining the
beginning of the world. From the works of the first Christian writers, and during the whole Medieval ages, the world of perception is being represented as the creation of God in His initial shape of Logos. Depictions do not have only narrative character but they translate by image definite transcendent states of mind that exceed the ideas of the ontological time. Heaven created by Triune God is represented in its verbal depiction as the natural environment of transcendental first humans in their initial state. A couple of Adam and Eve is included in the representation of Creation not as ordinary historical narrative, but in the context of the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic language of Western European tradition gives rational sense to being, while eastern ideas
insist on spiritual contemplation of images. The tree becomes a unifying point of the building of symbolic borders dividing and uniting transcendent and immanent aspects of being.
texts about Creation and influenced by Ancient philosophical thought, explaining the
beginning of the world. From the works of the first Christian writers, and during the whole
Medieval ages, the world of perception is being represented as the creation of God in His initial
shape of Logos. Depictions do not have only narrative character but they translate by image
definite transcendent states of mind that exceed the ideas of the ontological time. Heaven
created by Triune God is represented in its verbal depiction as the natural environment of
transcendental first humans in their initial state. A couple of Adam and Eve is included in the
representation of Creation not as ordinary historical narrative, but in the context of
the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic
language of Western European tradition gives rational sense to being, while eastern ideas
insist on spiritual contemplation of images. The tree becomes a unifying point of the building of
symbolic borders dividing and uniting transcendent and immanent aspects of being.
In Christian art, along with the narrative compositions, we also find ones that are built on the basis of the philosophical conception of the complex symbolism that has begun in the long process of formation and establishment of the Christological and Triadological dogmas. The article focuses on the image of Christ Pantocrator as the center of transcendental time and time in human history.
texts about Creation and influenced by Ancient philosophical thought, explaining the beginning of the world. From the works of the first Christian writers, and during the whole Medieval ages, the world of perception is being represented as the creation of God in His initial shape of Logos. Depictions do not have only narrative character but they translate by image definite transcendent states of mind that exceed the ideas of the ontological time. Heaven created by Triune God is represented in its verbal depiction as the natural environment of transcendental first humans in their initial state. A couple of Adam and Eve is included in the representation of Creation not as an ordinary historical narrative, but in the context of the cosmogonic structure of the world, where they are part of the harmonious whole. The symbolic language of Western European tradition gives rational sense to being, while eastern ideas insist on spiritual contemplation of images. The tree becomes a unifying point of the building of symbolic borders dividing and uniting transcendent and immanent aspects of being