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Psychoanalytický přístup v esteticko--filozofických koncepcích ruského a českého symbolizmu

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Vorel J.
Studia Slavica
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2014
|
vol. 18
|
issue 1
49-60
EN
Aesthetic-philosophical concepts of “young generation symbolists” were based on the conviction that art was made to understand the “secret spiritual value” of phenomenal world and understand the immediate anchoring of human in the Absolute which is the source of spiritual energy. In this frame the symbolists touched connection of principals that formed western and eastern civilization in a harmonic complex. We can speak about new reconciliation of intuition of spiritual cosmos, deep understanding for illusive essence of things with clear and powerful activity, reconciliation of science and religion, freedom and law, sacredness and beauty which is the only aim of all arts and sciences. O. Březina and A. Belyj were considering that point the most intensively of all. They both strove for overcoming of the two extreme demonstrations of human psychical life that isolate people from real complex consciousness. They defined both the extremes as: 1) the extreme of inner (“brain”, rational) life of an individual 2) life of subconscious physicality. To sum up, the art creation should head for creative connection of rationalism and contemplation in a harmonic complex which forms higher entity symbolizing perfect complexity and fullness. As the followers of modern psychology, also the “young symbolist generation” considered the problems of human consciousness. As a rule the art must originate from the same depths where the understanding of secret of all things is realized. Therefore, equally to S. Freud and C. G. Jung, they were convinced about the existence of collective psychological crucial base, collective source, human spiritual being which leads to understanding of life as a complex and spiritual powers hidden there; these powers are needed for transformation and renewal of human and humankind as whole that remains unchanged and independent on the time and space; we can find discover and understand there “secret beginning of life” itself.
2

The Aesthetic Meaning of Catholicism and Orthodoxy

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Mikhailov M. I.
Dialogue and Universalism
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2014
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issue 4
187-192
EN
The article considers the aesthetic meaning of Catholic and Orthodox cultural phe-nomena. According to the author, Catholicism is closely related to the notion of the tragic, which is manifested in the contrast between the Heavenly (spirit) and the Earthly (body). Therefore Catholicism, generating an important aesthetic notion, gave rise to Romanticism. The author regards Orthodoxy as the foundation of the Russian Sym-bolism (i.e. neo-Romanticism). Its essence is the proclamation of the Beauty of the man, which is revealed in the synergy of the Spiritual (i.e. heavenly) and the Earthly (i.e. bodily). In the aesthetic aspect Catholicism and Orthodoxy rather complement than oppose each other.
3
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Garnet Bracelet in 'The Garnet bracelet' by Aleksandr Kuprin: Symbolics of the Image

100%
Ранчин А.
Slavia Orientalis
|
2020
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vol. LXIX
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issue 1
4
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Ikonografia ogrodów symbolizmu rosyjskiego. Bez

84%
Malej I.
Prace Filologiczne. Literaturoznawstwo
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2011
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issue 1(4)
135-155
EN
Lilac has been the symbol of Russian gardens for ages, gradually becoming their inseparable attribute. The Russian word ‘’ (lilac) is derived from Greek ‘syrinx’ meaning a pipe (musical instrument). This name has also its own mythic explanation of double i.e. Greek and Scandinavian origin. Since the 19th century lilac has been attracting attention of many Russian poets and painters, becoming the source of their inspiration. The most eminent painter of lilac is Mikhail Vrubel, whose “portraits” of lilac: Lilac bush () , 1900) and Lilac (, 1900 and 1901) are magical, ambiguous and  stunning with their enchanting, iridescent colours and the atmosphere of mystery. Vrubel gives his paintings a profound philosophical meaning playing with the ambivalence of his subject. This subject is the transformation of Chaos into Cosmos. The same attitude can be observed in the poems of A. Blok, K. Balmont, I. Annenski. In each of the iconic representations of lilac analysed by the author of this article, lilac obtains the status of a symbol as an artistic sign with a complex semantic structure and definite, melancholically sensual emotional quality. In this way lilac becomes an iconic announcement with a multi-level structure for Russian symbolists. The process of perception of poetry and paintings becomes the way a realibus ad realiora, from matter to feeling. It leads to the conclusion that Russian artists of the turn of the 19th and 20th centuries saw in lilac the sign of a higher, better world, where all its elements (real, mystic, mythic and fantastic) coexist, the sign of yearning for the idea of harmony.
5

Teurgický princip v českém a ruském symbolizmu

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Vorel J.
Studia Slavica
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2014
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vol. 18
|
issue 2
51-58
EN
In this article we are showing inner connections in genesis of Czech and Russian literature at the end of 19th and beginning of 20th century. Our interest was focused mainly on metamorphoses of aesthetic-philosophical approaches of O. Březina and A. Belyj whose work presents gradual heading for Czech and Russian modern art. The interest was fixed on metamorphoses of modern art, from decadent-symbolist one to evolutionary and at the same time high phase of symbolism, which can be called theurgic, using the words of the Russian philosopher Vladimir Solovjov. The theurgy was introduced into the world of art – i.e. synergy of aesthetic and religious spheres as conviction that artistic creation can take part in re-forming of the world. Březina and Belyj, reached the conclusions speaking about the metamorphosis of art into an activity understood as creative unveiling and re-shaping of basic life forms, by means of aesthetic forms and deepened aesthetic principals. Thus the idea of spiritual, psychical, physiological and physical re-forming of contemporary human who would become the first step on the way to the “Solovjovian godmanhood” became the aim and essence of theurgy. Then the art could head for correlation of earthly dimensions with the cosmic ones. The poets as the artists of life would reveal the hidden beauty of the world, they were lead by the beauty and imagination that could set free and unite everything around in the deep intuition of spiritual essence.
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