Russian Religious Aesthetics in the First Half of the Twentieth Century
At the turn of the twentieth-century Russian culture experienced a spiritual-religious Renaissance, which was accompanied by a rise of religiously oriented aesthetics. Generally, this aesthetics amounted to an awareness of the highest role that aesthetic experience, and in particular art, plays in human life and culture. Within this aesthetics, beauty, the beautiful, art, artistic creativity and symbols, and the artist-creator were viewed in a spiritually heightened and almost sacred way. Beauty was considered as the highest value and often as an essential trait of God himself, Sophia, the Wisdom of God, the Holy Spirit, the Theotokos, or the Universal Church. Beauty was also considered to be the most important principle of the existence of the human race, or as an essential and divine foundation of culture and art. Art itself was conceptualized as divinely inspired creativity, and the artist as a divinely chosen conduit of spiritual ideas and images, which can be expressed exclusively in artistic forms; as a theurge, whose mind and hand are guided by divine powers. Finally, this aesthetics viewed artistic creativity as that ideal paradigm which, by providing aesthetic principles, serves as the foundation of human life, of the culture of the future, and of the final stage of the divine creation of the world—the creation of the Kingdom of God on earth—that will be taken over by artists-creators-theurges.