THE THEOLOGICAL CONCEPT OF ART CRITICISM IN THE WORKS OF PAVEL FLORENSKY
The article covers the problem of the conceptual originality of the theology of the icon in the works of P.A. Florensky. The structure of the article is determined by its basic idea: historical evolution and the current theoretical state of research in the field of domestic theory and cultural history make possible the theological conceptualization of art studies as a practice of figurative interpretation and a holistic understanding of the close spiritual connection between the real face and the icon-painting face. The concept contains an analysis of the possibility of the icon image impact on the external appearance of the contemplator, the comparison of the icon image to God's image, the danger of spiritual impoverishment, which is outwardly manifested in the degradation of the appearance in the mask, the specifics of the spatio-temporal relations between the prayer book and the icon, etc. The theological conceptualization of art in P.A. Florensky’s works, manifested in his special attention to the problem of the relationship between face and representation of face on icon, theological refinement of the concepts of light and shadow, etc., is an indispensable condition for the study and reconstruction of the main theses of the theological art history within the framework of a single history and in the general humanitarian perspective of Russian intellectual culture.
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