“Real Deed of an Artist” and Philosophy of Art: Solovyev – Fyodorov – Chekrygin

E.M. Titarenko
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Abstract

The article is dedicated to the aesthetic views of an artist and philosopher V.N. Chekrygin (1897–1922). His ideas are compared to the philosophy of art of V.S. Solovyev and N.F. Fyodorov. Theoretical heritage of the artist is analyzed, it reflects understanding of the tasks of creativity, history and language of the visual art. The research is based on the texts of Chekrygin: “A Manifest of the Painters (1920)”, “The Program of One-year Course on Art Philosophy” (1920), “About Upcoming New Era of the All-European Art” (1921), “About Convocation of the Resurrecting Museum’ (1921), and his epistolary art. Little-known materials from the archive are considered. Studying aesthetic works of Fyodorov and Solovyev allows to make comparative-typological research of the artist and philosopher of art. The connection is shown between Chekrygin’s ideas and aesthetic tradition of the Russian religious philosophy. Signs of aesthetics of Christian universalism can be seen in his project of a new era of the art. The idea of the project of “living art” of Chekrygin is opposed to the research of avantgarde art and it was inspired by the ideas of conciliarity and theurgy. It is shown that philosophical-aesthetic ideas of the artist are close to the philosophy of art of V.S. Solovyov and even more to the doctrine of the aesthetic supramoralism of Fyodorov. The research discloses particularities of the aesthetic ideas of the artist, which are permeated with the spirit of eschatological anxiety. Chekrygin shows the way that modern art should follow referring to the topics of theophany, to the process of contemplation of the space evolvement and the creation of the church-museum of the universal resurrection. It is proved that the artist creates the image of the final ideal of art conceiving the philosophical ideas of Solovyov and Fyodorov. It is proved that the artist remains in line with modernism discourse at the same time creating the outlines of the art of the future.
"艺术家的真实行为 "与艺术哲学:索洛维约夫 - 费奥多罗夫 - 切克里金
这篇文章专门论述了艺术家兼哲学家 V.N. 切克里金(1897-1922 年)的美学观点。他的观点与 V.S. Solovyev 和 N.F. Fyodorov 的艺术哲学相比较。对这位艺术家的理论遗产进行了分析,它反映了对创作任务、历史和视觉艺术语言的理解。研究以切克里金(Chekrygin)的著作为基础:画家宣言(1920 年)"、"艺术哲学一年课程计划"(1920 年)、"关于即将到来的全欧艺术新时代"(1921 年)、"关于复活博物馆的召集"(1921 年)以及他的书信艺术。研究了档案中鲜为人知的资料。通过研究费奥多罗夫和索洛维耶夫的美学作品,可以对艺术家和艺术哲学家进行类型学比较研究。切克里金的思想与俄罗斯宗教哲学美学传统之间的联系得到了体现。在他的艺术新时代计划中可以看到基督教普遍主义美学的迹象。切克里金 "活的艺术 "计划的思想与前卫艺术的研究相反,它受到协和与神学思想的启发。研究表明,该艺术家的哲学-美学思想与 V.S. Solovyov 的艺术哲学相近,与 Fyodorov 的美学超道德主义理论更为接近。研究揭示了艺术家美学思想的特殊性,其中渗透着末世论的焦虑精神。切克里金(Chekrygin)指出了现代艺术应遵循的道路,即以神谕为主题,沉思空间演变的过程,以及创建普遍复活的教堂博物馆。事实证明,艺术家根据索洛维约夫和费奥多罗夫的哲学思想创造了艺术最终理想的形象。事实证明,艺术家在创造未来艺术轮廓的同时,始终与现代主义话语保持一致。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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