- Tytuł:
-
Hezychastyczna koncepcja przebóstwienia (theosis) w ujęciu Grzegorza Palamasa (1296-1359) i jej wpływ na paletę barwną ruskich ikon XIV i XV wieku
Hesychasm and the Concept of Deification (Theosis) Developed by Gregory Palamas (1296 – 1359) and its Impact on Russian Icons, a Colourful Palette of the Fourteenth and Fifteenth Centuries
Hesychastisches Koncept der Vergöttlichung /theosis/ in der Auffassung von Gregorios Palamas /1296 – 1359/ und sein Einfluss auf die Farbenpalette der ruthenischen Ikonen im 14. und 15. Jahrhundert
Исихастическая концепция обожения (theosis) в трактовке Григория Паламы (1296-1359) и ее влияние на цветовую палитру русских икон XIV и XV веков - Autorzy:
- Cyrek, Olga
- Powiązania:
- https://bibliotekanauki.pl/articles/494510.pdf
- Data publikacji:
- 2012
- Wydawca:
- Wydawnictwo Naukowe Chrześcijańskiej Akademii Teologicznej w Warszawie
- Tematy:
-
deification
Ruthenian iconography
color palette
hesychasm
Trinity
Transfiguration of the Lord - Opis:
- This paper describes the concept developed by the deification of man from Mount Athos theologian Gregory Palamas (d. 1359) and its effect on the color icon fourteenth and fifteenth centuries. The concept teosis influenced primarily to provide light in the paintings. Under the influence of theology of Palamas remained above all the greatest icon painters in Rus-forming, such as Greek Teofan (†1410) and Andrew Rublev (†1430). Not only ascetics in prayer wanted to see and experience the divine light, which he wrote Palamas. Also, the artists portrayed in the paintings of light with certain colors mainly gold, white and luminous colors. Painters usually avoid dark colors and uses light colored, cheerful color palette. However, when they wanted to show the inscrutability of God's essence then painted in shades of light blue or dark green. In particular, see this luminous envelope around the body of Christ on the "Transforming the Lord." Important are the differences between these two artists' paintings. While the great Greek often narrowed the color palette to two colors (white and brown), the Rublev used a wide range of color and atmosphere created in the image of joy and transfigured world. Teofan rapidly poured light on the icon, and the whole tone of the work remained in monochromatic tones. Do not apply more complicated means of artistic expression and favored simplicity. Rublev entire plane while the works of light to penetrate evenly, which is painted with subtle and delicate colors. In this way, expressed the confidence and the hope of seeing the divine light and the world transformed under the influence of divine energies.
- Źródło:
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Rocznik Teologiczny; 2012, 54, 1-2; 197-228
0239-2550 - Pojawia się w:
- Rocznik Teologiczny
- Dostawca treści:
- Biblioteka Nauki
Artykuł