Beyond Vision: Essays on the Perception of Art by Pavel Florensky

By Pavel Florensky

Past imaginative and prescient is the 1st English-language selection of essays on artwork via the Russian polymath Pavel Florensky (1882_1937), with introductory essays via the editor and an intensive bibliography. Florensky_s recognition as a theologian and thinker is already demonstrated within the English-speaking international. this primary assortment in English of his artwork essays should be a revelation to these within the field.Pavel Florensky, a super author, mathematician, theologian, scientist, and artwork historian used to be condemned to a Siberian hard work camp in 1933, and finished 4 years later. Nicoletta Misler is Professor within the division of jap ecu experiences on the Istituto Universitario Orientale, Naples. Wendy Salmond is head of the artwork background application at Chapman collage, Orange, California.

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What I'm saying is evangelical and not just Orthodox. 28 39 In 'The Church Ritual as a Synthesis of the Arts' Florensky reinforced his preference for the humble, awkward, but sincere participation in the liturgy (both by the faithful and the clergy), affirming that there was an undeniable difference between the liturgical style of the simple 'black' or celibate monks, even 'bad monks' , and that of the more suave 'white' or married priesthood. While we should take account of the special context, Florensky's declaration would seem to be in striking contradiction to the general aestheticism that, nonetheless, pervades 'The Church Ritual as a Synthesis of the Arts'.

An extraordinary knowledge of diverse arguments notwithstanding, Florensky was a cultivated dilettante rather than a professional art historian a status shared by other intellectuals of Russia's cultural renaissance just before and after the October Revolution, including close friends such as the poet Andrei Bely, the semiotician Aleksandr Larionov,3 the icon specialist Yurii Olsuf'ev (illus. 14),4 the biologist Pavel Kapterev (illus. 15),5 and the art and military historian Pavel Muratov. 6 Of course, the word 'dilettante' is being used here in the sense that Florensky intended it, for in applying a wide array of professional instruments to investigate a specific art-historical subject he did not hesitate to transcend the immediate boundaries of a discipline in order to reach a thematic intersection of broader resonance.

Y. Ef[imova] there is a love of Russia, of the land, of the baby 51 [peasant women], and of nature. It is a love that is free of any tendentious imposition of concepts from outside (as with the peredvizhniki [nineteenth-century Realist painters]), an understanding of the Russian man and woman not as ethnographical material for scientific study and not as material for social experiments, but [as material] of their very own life itself. Y. E[fimova] elicits not sorrow for our people, but rather recognition ofour people as it is.

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