Austrumu Ortodoksālās Baznīcas Ikonas Kanoniskuma Izpratne Un Attīstība: The Development and Conception of the Icon in the Tradition of the Orthodox Church.
The aim of this article is to reveal the subject what is canon, canonicity of the icon in the tradition of the Orthodox church, to view history and evolution of canon in icon painting and transformation of their interpretation and meaning, because it is difficult to define canonicity and each new ag...
| Published in: | Cel̜š |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | Latvian |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
LU Akadēmiskais apgāds
2012
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| In: |
Cel̜š
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| Further subjects: | B
ICON painters
B History of religion B ICON painting B ICONS (Religious art) B Orthodox Eastern Church B ECUMENICAL councils & synods |
| Online Access: |
Volltext (kostenfrei) |
| Summary: | The aim of this article is to reveal the subject what is canon, canonicity of the icon in the tradition of the Orthodox church, to view history and evolution of canon in icon painting and transformation of their interpretation and meaning, because it is difficult to define canonicity and each new age looks for new understanding of this issue. Investigating the icon painting in broader sense - as a cultural history phenomenon comprising theology, religion, and anthropology - the issue of canonicity in its historical aspect and modern outlook sets forth specific conditions. However, traditionally the icon painting is viewed as a sacral art subject with strict rules. It has developed from century to century, starting from the first rule (Rule 82), decreed by the Council in Trulo, the part of the Sixth Ecumenical Council to nowadays. The Sixth and the Seventh Ecumenical Councils established the icon painting rules and stated that icon painters had to follow an older tradition but how exactly they were to do this was not described. Hence it is required to establish the essence of canon in the Orthodox icons in the context of sacral art and theology and relationship between the art and theology - the secular and the sacral, the artist and the theologian as an icon regards both painting and church liturgy. Canon should not be perceived as a rule or restriction rather as a condition to achieve the ideal. Although canon can be viewed as a principle, its understanding is versatile both in art and in veneration of icons. Canonicity has been widely studied by P. Florensky, L. Ouspensky, V. Lepahin, J. M. Lotman, S. Averincev et cetera in the field of culture, semiotic, art and theology. Russian scientist I. J. Chibakova draws attention to the new tendencies to refuse canon and traditions of the icon painting nowadays - for example, as with allegorical icons and mysticdidactic ("vbcnbrj-lblfrnbxtcrbt") icons. To sum up, the following conclusions can be drawn, - the icon painting canon established by the Sixth and the Seventh Ecumenical Councils has proved itself as a central principle or axis, impelling to refine the content and form to perfection, meanwhile precluding transformation and evolution. Changes in church dogmas and rituals are reflected in church icons. Furthermore, the church icon has been subjected to national individualities, aesthetic perception, and modernity, and has been subjected to cross-cultural influence. |
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| Contains: | Enthalten in: Cel̜š
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