РЕЛИГИОЗНИ ЕЛЕМЕНТИ В ТУРСКАТА ПОЕЗИЯ СЛЕД ТАНЗИМАТА

Turkish poets turn to religious topics immediately after converting to Islam. The orientation towards Western literature led to the adoption of the poetic forms. Society's worldview changed. After the Tanzimat, the religious elements continued to be present in Turkish literature, but through the prizm of social relations in Turkish society. The authors found inspiration in the religious images in the holy books. Both their hardships and their personal virtues were described. The poets emphasized their determination and steadfastness in the name of good. They set personal examples of modesty, tolerance, strength and self-sacrifice. Through the religious images, poets sent messages to the modern people.

Madonna in flower garlands in Flemish painting of the XVII century

The subject of this research is Flemish painting the XVII century in the spiritual and cultural context of the Counter-Reformation, which created remarkable decorative and religious images to counter the iconoclastic trends of the Reformation movement. The object of this research is Flemish paintings of the Baroque Period of the XVII century with flower garlands edging the central image of Madonna. Special attention is given to the variety of iconographic patterns of the image of Virgin Mary framed in a flower garland, which was widely popular in painting of the Baroque period. Some artists use the pattern of “painting in a painting”; others imitate sculpture, the color of which accentuates the brightness of garlands. The article employs iconographic, iconological, and artistic methods, as well as stylistic analysis. The scientific novelty consists in proving the fact that Virgin Mary appears in painting not only as an individual image, but in paintings of flower garlands as well. The acquired results demonstrate that in the XVII centuries, the artists used different iconographic patterns for creating the image of Virgin Mary. The masters were able to combine different types of flowers, reaching the harmony of floral motifs and balancing them with the image of Madonna. The artists demonstrated the beauty of flower garlands by adding different living creatures in their paintings, such as birds and animals, to make them look more colorful, peaceful and vibrant. Thanks to these works, the image of Madonna remained extremely revered in the XVII century.

Religious views of Cardinal Gabriele Paleotti on sacred art

Being founded upon the book «Instructions on religious and secular images» (1582), the article examines cardinal Gabriele Paleotti’s views on sacred art. The author explores the issue of perception of painting as a God-pleasing art, exposes the ideological aspect of sacred painting and reveals the cardinal’s complex evidence base on the need for the existence of religious images in churches and their significance in the life of every person. It is concluded that objects of art should be perceived not only as an artistic commentary on the text of Holy Scripture, but also as a prayer image that plays a cohesive role in interlocution with God.

Becoming a gay caretaker of a religious image (Camarero): Catholic devotion in the Philippines as a gendered social practice

Pagsasanto or the beliefs and practices associated with the caretaking of religious images is a Catholic devotion brought by the Spanish colonization in the Philippines. The history of pagsasanto illuminates a religious tradition exclusively performed by old-rich women (camareras) and prominent political families. At present, the changing gender roles in pagsasanto through the growing participation of gay caretakers of religious images (camareros) has redefined the practice. This shift prompted the researchers to investigate how gender mediates a devotional practice and how gender is constructed, negotiated, and performed through pagsasanto. Using ethnography, the researchers did participant observation to examine the meanings and practices associated with pagsasanto activities such as decorating the image and its carriage as well as joining the procession. To facilitate further analysis, interviews and focus group discussions were undertaken among four gay informants, highlighting their life histories as image caretakers. Data were categorized through themes and analysed from a critical cultural perspective. The research found that gender mediates pagsasanto and vice versa. The becoming of a gay camarero is rooted in cultural practice and familial Catholic tradition. The changing meanings of pagsasanto arecontingent on gender performativity, market, social media and the growingcommunity networks.

Religious Images and Iconoclasm in Reformation Iceland

This work assesses what happened to liturgical objects from Icelandic churches and monastic houses during and after the Lutheran Reformation, through an examination of written sources, such as inventories and Visitation books, and material evidence in museum collections and from archaeological excavations. The aim of this work is first, to assess the extent and nature of iconoclasm in Iceland and secondly to re-examine traditional narratives of the Icelandic Reformation in the light of material culture.

«На острове Патмос»: отшельник С.И. Калмыков

The article is devoted to the work of Sergei Kalmykov, a Russian artist, illustrator, decorator, and writer. His art career started in the 1910s in Saint-Petersburg and later he called himself as “the last avant-garde of the first draft”, being aside of the mainstream of the development of Russian art. His free art was like a diary, like an endless dialog with himself. Each of his paintings from this monologue is a fragment tear out from one whole. The author interprets the painting “On the Island of Patmos” on the basis of an interdisciplinary approach that combines the principles of art history, cultural studies and mythopoetic analysis of a work of art. The study shows how complex his 'web' of creating thinking is and how it unexpected and deeply intertwined in one cultural field with other artists (Velimir Khlebnikov, Robert Lax) and even with religious images of almost two thousand years ago (John the Theologian). Статья посвящена творчеству Сергея Ивановича Калмыкова, русского художника, иллюстратора, декоратора, писателя. Начав свой творческий путь в 1910-е годы в петербургской художественной среде, он впоследствии сам себя называл «последним авангардистом первого призыва», оказавшись на задворках главенствующей линии развития отечественного искусства. Его свободное творчество представляло собой форму дневника, бесконечного одинокого разговора с самим собой. Каждая его картина из этого монолога — вырванный фрагмент из одного целого. На основе междисциплинарного подхода, сочетающего искусствоведческий, культурологический и мифопоэтический принципы анализа художественного произведения, автор статьи интерпретирует картину «На острове Патмос». Исследование демонстрирует, как сложна «паутина» творческого мышления, нити которого ткутся посредством художественного сознания и переплетаются самым неожиданным образом в общем культурном поле с другими творческими судьбами (Велимир Хлебников, Роберт Лакс) и даже с религиозными образами почти двухтысячелетней давности (Иоанн Богослов).

Abstraction and ineffability in the visual cultural central middle ages and intersubjective apophatic imagination: a first approximation

and quasi-abstract motifs were widely used in the religious images of the central Middle Ages. In many cases, these were certainly not simple ornamental devices but, on the contrary, they functioned as cognitively challenging semiotic devices affected by complex theological ideas. As this article will suggest, the miniatures discussed here — produced in the Byzantine, Insular, Carolingian, and Ottonian contexts — were created in accordance with apophatic spirituality, using nonfigurative representation to emphasise God’s ineffability. Thus, visual culture from the late seventh to the early eleventh century established an intricate transregional network in which iconic and symbolic contents were communicated rhizomatically. This phenomenon will be described here as the intersubjective apophatic imagination. The aim of this notion is to reflect the influence of important authors, whether closely or distantly associated with the via negativa, such as Pseudo Dionysius Areopagita, Kosmas Indikopleustes, Bede, and Ioannes Scotus Eriugena. Taking these elements into account, the article will argue that the aesthetic and semantic singularities of the images in question would have sought to avoid the presentification of meaning as a way of capturing the incomprehensibility of the divine essence.