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The Icon and the Hatchet. The Motif of Aggression Against Icons in Russian Literature before the Revolution

100%
Walczak D.
Ikonotheka
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2017
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vol. 27
93-108
EN
The present work focuses on the motif of aggression against icons introduced in the works by many Russian writers before the Revolution. Analysed material includes the works of Nikolai Gogol, Fyodor Dostoyevsky, Nikolai Leskov, Lev Tolstoy, Dmitri Merezhkovsky and Vsevolod Krestovsky. The main aim of the article is to define how the authors imagined an act of imagebreaking and to determine who played the role of an iconoclast and what the presented motivation of such actions were. It attempts to answer the question of why so many authors felt the need to incorporate the motif of aggression against icons in their works, what literary and propagandistic aims this motif served, what feelings it was meant to evoke in the readers and what image of the world it strove to create.
2
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Old Believers and the World of Evil: Images of Evil Forces in Old Believer Art

100%
Sulikowska-Bełczowska A.
Ikonotheka
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2017
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vol. 27
71-91
EN
The article considers the Old Believers’ beliefs about, and the manner of depicting, the Antichrist, the end of the world, Satan and the devils. It discusses how both Old Believer literature and philosophy relate to their art, which was created between the second half of the 17th century and 1917. The subject matter includes popular images from Old Believer iconography, such as images of John the Baptist, the Angel of the Desert, the Archangel Michael, the Archistrategos of the Heavenly Hosts, Saint Nicetas fighting a devil, or Saint George slaying a dragon, as well as several illustration sets from various editions of the Old Believer Annotated Apocalypse. Many of the Old Believer icons, drawings and craftworks from various groups and workshops display angels, but also Satan and the devils. The latter may be considered particularly controversial in the light of the doctrine of icon painting and of the Old Believers’ particular beliefs. The article attempts to answer the question as to what reasons stood behind the fear of such representations and why they were ultimately accepted by the faithful.
3
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Неолитические архетипы в творчестве Казимира Малевича

100%
Симонова О.
Przegląd Wschodnioeuropejski
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2012
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vol. 3
421-430
EN
The problem of determining the origins of the phenomenon of creativity Malevich is usually considered by researchers through the prism of the influence of Moscow’s artistic and cultural environment, not paying attention to the provincial period of the artist's life. Comparison of traditional Ukrainian culture and creative heritage of Malevich reveals the deep roots of the philosophy of his art, the system of the universe, encoded in the Neolithic Age.
4
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The Icons of Military Saints in Rus’. An Attempt at Classifying Iconographic Types from before the Beginning of the 17th Century

86%
Zielińska P.
Ikonotheka
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2017
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vol. 27
55-70
EN
Depictions of military martyrs were among the most popular subjects in icon painting in Rus’. Between the 11th and the 17th century local workshops adopted canonical Byzantine models and gradually developed and changed them depending on local factors and conditions. The present article attempts to classify the most common iconographic types and to describe the dynamic of the changes in the iconographic canon on the basis of a  qualitative and quantitative analysis of extant and known works.
5
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Wzory rosyjskiego malarstwa ikonowego w 2. połowie XIX i początku XX wieku. Uwagi wstępne na przykładzie obiektów z Podlasia i Lubelszczyzny

58%
Szybalska A.
Biuletyn Historii Sztuki
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2022
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vol. 84
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issue 4
879-946
EN
The issue of patterns used by icon painters in the second half of the 19th and the early 20th century has so far won only marginal scholarly attention. It refers to the application of the pan-European canon of academicism, the influence of Western and Russian models (the latter produced in the spirit of the Latin culture and referring to a reworked native tradition), the process of adapting compositions compliant with the canon of Orthodox Church painting, and the process of borrowing from popular graphic art (both Western and Russian). Artworks from Podlachia and the Lublin Land under analysis in the current article have been categorised according to recurrent compositions. Their examination has been complemented with examples of icons from central Russia and Asia. This helped to recognise the popular patterns applied by icon painters and the methods of their dissemination by, among others, mass-produced graphic prints and photographic prints. Relevant analyses have shown that the standard production of artworks for the use of the Orthodox Church did not require the compositional arrangement to be original, and that the reception of Latin aesthetics increased regardless of the fact that the national style was forming in Russia at the time.
PL
Problem wzorów stosowanych przez malarzy ikon 2. połowy XIX i początku XX w. był dotąd marginalnie poruszany przez badaczy. Dotyczy on stosowania ogólnoeuropejskiego kanonu akademickiego, oddziaływania wzorów zachodnich i rosyjskich (w duchu kultury łacińskiej i nawiązujących do przetworzonej tradycji rodzimej), adaptowania kompozycji zgodnych z kanonem malarstwa cerkiewnego, czerpania z grafiki popularnej (zachodniej i rosyjskiej). Analizowane obiekty z terenów Podlasia i Lubelszczyzny zostały uporządkowane według powtarzających się kompozycji. Badania uzupełniono przykładami ikon z centralnej Rosji i Azji. W efekcie rozpoznane zostały popularne wzory stosowane przez twórców ikon i sposoby ich popularyzacji, m.in. poprzez masowe odbitki graficzne i fotografie. Przeprowadzone analizy dowiodły, że standardowa produkcja artystyczna dzieł na potrzeby Cerkwi nie wymagała oryginalności ujęć kompozycyjnych, a pomimo kształtowania się wówczas w Rosji stylu narodowego nastąpiła wzmożona recepcja estetyki łacińskiej.
6
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Anielski śpiew i anielskie trąby w reprezentacjach Sądu Ostatecznego Staroobrzędowców

58%
Sulikowska-Bełczowska A.
Ars inter Culturas
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2019
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vol. 8
35-52
EN
The purpose of this paper is to describe the musical concept of angel singing and the iconography of angel horns in the culture of Russian Old Believers in the 19th century. From the mid-17th century, the Old Believers rejected the new customs of the Muscovite official Church, including musical traditions, and accepted only vocal music. Musical instruments in Old Russian and Old Believer art depicted on icons and miniatures were based primarily on Byzantine models. Further examples can be given from the Book of the Apocalypse and on eschatological icons, which show angels playing the horn. The article discusses items from a 19th century Apocalypse from the collection of the National Library in Warsaw and icons from the National Museum in Warsaw. Angels with horns announce the approaching of the Last Judgement. These images are symbolic in meaning and do not refer to musical practices.
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