CANNON AND STYLE IN SACRED ART (BASED ON THE WORKS OF GK WAGNER)
Abstract
Scientific research is devoted to the relation of the Byzantine canonical icon painting to the religious picture. The great heritage of the iconographic tradition of the Ecumenical Church with its artistic, theological and cultural features is taken into account. The author attempts to distinguish the icon from the painting and to analyze the main differences between them in the light of the artistic canon.
Research methodology. The article is analyzed the state of scientific study of the canon in art. Nowadays the study of the iconographic canon is remained extremely relevant in european art criticism and theological research. The first scientific developments were made in the early twentieth century. The first researcher of the genre canon was Georgy Karlovich Vagner. The theme of the genre canon in iconography is being explored for the first time in Ukraine.
Results.The article is analyzed the state of scientific study of the canon in art. Nowadays the study of the iconographic canon is remained extremely relevant in european art criticism and theological research. The first scientific developments were made in the early twentieth century. The first researcher of the genre canon was Georgy Karlovich Vagner. The theme of the genre canon in iconography is being explored for the first time in Ukraine.
Many a generation of scholars ask, what did the uniqueness of the special artistic «idom» seen in the monuments attributed to the sacred tradition? What are the sources of the emergence of atypical features of iconography, style and interpretation of the sacred image? One key to answer the above questions may be to look at the sacred tradition as a phenomenon comprising an entire corpus of original, atypical and innovative features as compared to Byzantine canonical art.
Ukrainian culture stands as inheritor of the rich Christian canonical tradition which found its ultimate expression in icon painting. However, under explored asitis, culture arguably remains salsoon the most underappreciated cultures worldwide. Its history is not only about the emergence of an extensive legacy including world-class masterpieces of human genius, but, more than not, it is also about a millennium-long despoliation of its holy sites, destruction of places of worship, miss appropriation, be as and rewriting history. Unfortunately, Ukraine has not yet been able to fully fathom the scale of loss suffered your national culture and completely regain his to rememorize. This is why, raising the awareness of celebrated and icon relics of the princely period, which, through the ire mergence, are closely linked to the history and spiritual tradition of Ukraine, will contribute to filling this gap in Ukrainians’ collective memory to some extent. Preserved Christian relics, sacred architecture and icons all to them are components of the sacred canonical tradition.
Novelty. The novelty of scientific research lies in the fact that the domestic art and the art community has little information to study the problem. Using analytical principles of art, the author draws a qualitative and reasoned distinction between the classical Ukrainian canonical icon and the religious picture.
The practical meaning. The practical meaning is determined by the novelty of the scientific research and the results obtained. The material of the research can be used for further investigate in the fields of art and culturology.
