Cultural Codes and Russian Product Development
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The document discusses key differences between Russian and Western visual cultures and their implications for product design. Some key points: - Russian culture emphasizes word over image, with icons serving as a "window" to spiritual truth rather than realistic depictions. Western culture places more importance on images. - In Russian fairy tales, the supernatural is embedded within everyday life rather than distinct distant lands. Western tales separate the mundane from magical worlds. - Russian Orthodox churches use indirect lighting to represent divine light from within, whereas Western churches emphasize direct sunlight through windows. - Darkness and minimal lighting are part of Russian visual culture for spiritual, climatic and safety reasons, whereas Western culture associates abundant light with progress.
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Cultural Codes and Russian Product Development
- 1. Cracking Russian Cultural Code for Successful Product Development Dutch Design Week, Eindhoven, 2009 Caravan Cultura Agency, Design Huis Dr Ekaterina Khramkova, Lumiknows, Moscow, Russia
- 3. Metaphor for Russian visual identity… ©2009 Lumiknows
- 4. Adoration of the Magi , 1422, Don Lorenzo Monaco , Galleria degli Uffizi The Resurrection of Christ, icon of the 16 c., Moscow Kremlin Russian archetype is rooted in the holiday of Easter to the same extent as Western - in Christmas The Miracle of the Resurrection The Fact of the Incarnation
- 5. Adoration of the Magi , 1422, Don Lorenzo Monaco , Galleria degli Uffizi The Resurrection of Christ, icon of the 16 c., Moscow Kremlin Russian archetype is rooted in the holiday of Easter to the same extent as Western - in Christmas "And the Word was made flesh “ , “ The human nature of Jesus Christ ”, “ Son of Man”… “ God became man so that man might become god ”, St Athanasius the Great “… So it is with the resurrection of the dead. What is sown is perishable, what is raised is imperishable. It is sown in weakness, it is raised in power. It is sown a physical body, it is raised a spiritual body .” (1Corinthians15:42-45) The Miracle of the Resurrection The Fact of the Incarnation ©2009 Lumiknows
- 6. At the base of Western mentality is duality of the imperfect “earth” - perfect “heaven” and Man whose great mission is to “improve” the situation – create a paradise on earth. View of the St. Patrick’s cathedral from across Fifth Avenue with Lee Lawrie's bronze statue of Atlas
- 7. “ Because you’re worth it!” Man deserves a Better World and can create it. ©2009 Lumiknows
- 8. JMG Galleries.com Western visual culture is characterized by vertical dominant –that which connects “earth” with “sky”, “heaven”. ©2009 Lumiknows
- 9. Russian mentality is not so much about the Man, but about the Being where both “mundane” reality, earth and “another world”, heaven are not separated but co-exist as parallel realities.
- 10. The main book of Christianity, the Bible, has different meanings in the English (“Genesis”) and Russian (“Bytie”) languages. The Book of Being The Book of Genesis ©2009 Lumiknows
- 11. Russian «Бытие» Bytie translates into English as “Existence”, “Being”, “(Objective) Reality” whereas for Russians this is one of the most important philosophical category of a metaphysical nature . In Russian vocabulary, “Bytie” means “our, humans’” and “another world” all together. They are intermingled and inseparably linked with each other. St.Ioann Kronshtadsky , 19 c. Co-existence of “Earth” and “Heaven” as parallel realities is essential for understanding Russian archetype. “… To see in everyday life – “Bytie”, in the mundane – the sacred.” Fiodor Dostoevski, 19 c. “ What can be more fantastic and unexpected than reality?… ” ©2009 Lumiknows
- 13. The “Sky” and the “Earth” as metaphors for “Another” and “This” worlds in fairy tales in the West are absolutely different places. Map depicting distant lands from the journey of Frodo Baggins as he travels away from the safety and familiarity of his home in the Shire to fulfill the almost impossible mission . “ In premodern philosophy all relations to another world were conceived in terms of transcendence. The world that is another than the one we are in is transcendent to it. The way we get from this world to that one is through transcending this one. …T he philosophical tradition's basic error was to presuppose that absolute transcendence, the act of transcending, and transcendence-in-immanence, are all the same thing, or indeed that they belong together. ” Motzkin, Gabriel Gideon Hillel. Iser's Anthropological Reception of the Philosophical Tradition New Literary History - Volume 31, Number 1, Winter 2000, pp. 163-174
- 14. The caption that accompanies the famous medieval anonymous engraving in Flammarion's book : "A missionary of the Middle Ages tells that he had found the point where the sky and the Earth touched ” ©2009 Lumiknows
- 15. “ Another” and “This” worlds in fairy and folk tales in Russia are “localized” in the same place . This is not so much an issue of departing for a long journey to some distant lands as demonstrating that the marvelous, supernatural is embedded in the very essence of customary day-to-day life and visa versa. ©2009 Lumiknows
- 16. An oak tree greening by the ocean; A golden chain about it wound: Whereon a learned cat, in motion Both day and night, will walk around; On walking right, he sings a ditty; On walking left, he tells a lay. A magic place: there winds his way The wood sprite, there’s a mermaid sitting In branches, there on trails past knowing Are tracks of beasts you never met; On chicken feet a hut is set With neither door nor window showing. There wood and dale with wonders teem; At dawn of day the breakers stream Upon the bare and barren lea, And thirty handsome armored heroes File from the waters’ shining mirrors, With them the Usher from the Sea. There glimpse a prince, and in his passing He makes the dreaded tsar his slave; Aloft, before the people massing, Across the wood, across the wave, A warlock bears a warrior brave; [A grieving princess in a cell, And faithful wolf that serves her well]; See Baba Yaga’s mortar glide All of itself, with her astride. There droops Kashchey, on treasure bent; There’s Russian spirit… Russia’s scent! And there I stayed, and drank of mead; That oak tree greening by the shore I sat beneath, and of his lore The learned cat would chant and read. One tale of these I kept in mind, And tell it now to all my kind… Translated by Walter Arndt У лукоморья дуб зелёный; Златая цепь на дубе том: И днём и ночью кот учёный Всё ходит по цепи кругом; Идёт направо -- песнь заводит, Налево -- сказку говорит. Там чудеса: там леший бродит, Русалка на ветвях сидит; Там на неведомых дорожках Следы невиданных зверей; Избушка там на курьих ножках Стоит без окон, без дверей; Там лес и дол видений полны; Там о заре прихлынут волны На брег песчаный и пустой, И тридцать витязей прекрасных Чредой из вод выходят ясных, И с ними дядька их морской; Там королевич мимоходом Пленяет грозного царя; Там в облаках перед народом Через леса, через моря Колдун несёт богатыря; В темнице там царевна тужит, А бурый волк ей верно служит; Там ступа с Бабою Ягой Идёт, бредёт сама собой; Там царь Кащей над златом чахнет; Там русский дух... там Русью пахнет! И я там был, и мёд я пил; У моря видел дуб зелёный; Под ним сидел, а кот учёный Свои мне сказки говорил. Одну я помню: сказку эту Поведаю теперь я свету... Russia as a fantasy land “Lukomorie” in famous Alexander Pushkin’s introduction to “Ruslan and Ludmila” poem.
- 17. “ Earth” and “Sky” are not so inherently distant from each other – verticals are subdued to horizontals in Russian visual preferences. Negative image Based on research conducted by Lumiknows in 2007-09 Stability Conservatism ( European ) traditions Certainty Timelessness Sophistication Chaotic Uneasy Messy Uncertainty American lifestyle Too radical Positive image ©2009 Lumiknows
- 18. City Landmark for Khanty-Mansiysk in Siberia, Foster&Partners Russia Tower, Mooscow Foster&Partners Okhta Tower for Gazprom, St. Petersburg, RMJM Continuing themes first explored in the Tokyo Millennium Tower, this project extends the practice’s investigation into the nature of the tall building, taking structural, functional, environmental and urban logic to a new level. …I t will be the tallest naturally ventilated tower in the world. From Foster + Partners website on Russia Tower in Moscow. Will projects of these buildings be well perceived in Russia? ©2009 Lumiknows
- 19. St Augustine is shown on the left kneeling before Pope St Gregory who sent him to convert the Angles c.596. C hapel of St Gregory and St Augustine in Westminster Cathedral Why image is less influential in Russian cultural archetype than word comparing with the West. By the year 600, Christianity was firmly established in some parts of Europe (Italy, Southern France) but virtually unknown elsewhere (England, much of Germany). One of the Gregory the Great’s goals was to spread Christianity to those who were not Christian… Gregory is crucial because images are one of the means he used to achieve these goals. “ For a picture is displayed in churches on this account, in order that those who do not know letters may at least read by seeing on the walls what they are unable to read in books”. Gregory to the bishop of Marseilles who was iconoclast, or breaker of images. By the end of the sixth century images had become central to (Western) Christianity. Word And Image: The Art Of The Early Middle Ages, 600-1050 , William J. Diebold
- 20. Different attitude to the image in Russia and the West was formed in 6 – 8 cent. A.D. Sistine Chapel in Vatican City, 16 c. Typical interior in Russian Orthodox church And the Word was made It is sown a physical body, it is raised a spiritual body flesh
- 21. Sistine Chapel in Vatican City, 16 c. Typical interior in Russian Orthodox church “ Icon” in Russia “ Image” in Europe “ An icon (from Greek εικων, eikon, "image" ) is an artistic visual representation or symbol of anything considered holy and divine, such as God, saints or deities. ” supernatural, abstract, schematic, two-dimensional realistic, three-dimensional natural, figurative,
- 22. Theotokos of Vladimir is one of the most venerated Orthodox icons and a typical example of Byzantine iconography. The Theotokos is regarded as the holy protectress of Russia. About 1131 the Greek Patriarch of Constantinople sent the icon as a gift to Grand Duke Yury Dolgoruky of Kiev. Tretyakov Gallery, Moscow Church tradition asserted that the icon was painted by St Luke .
- 24. Tretyakov Gallery, Moscow The Orthodox describe the process of painting an icon as "writing" because icons are an expression of the Gospel, a medium by which the Word made flesh is proclaimed to the world… If over centuries image has become more important than word in the West, Russian tradition preserved the Byzantine approach to image as to only a tool to emphasize a spiritual truth rather than visible reality .
- 26. http://www.flickr.com/photos/foje64/3010654089/sizes/o/ “ T he (church) space is not illumined by the sun from without, but rather the illumination originates from within” Byzantine poet Lit not by the sun from without, but by spiritual light from within … While western models, from the Gothic period onwards, generally let light in directly through large, and often huge, windows in the walls, Byzantine churches have tended to emphasise the lighting from windows higher up, and particularly in the drum. Side windows are by comparison smaller . Some principles of orthodox church , Aidan Hart
- 28. Ensemble on Kizhi island, early 18 c., Russian North Boyars (landlords) estate, 16 c., Nizhni Novgorod, central Russia Lack of light is an essential element of Russian visual culture due to at least three reasons: (a) spiritual; (b) climatic when because of long winters to prevent heat loss window openings were mostly few and of small size; (c) safety issues. Summer house near Moscow, 2009
- 29. Lots of light lit through large windows is positively associated in Russian mentality with Western lifestyle. The Holy Chapel, Paris ©2009 Lumiknows http://www.flickr.com/photos/feijeriemersma/2159638156/ New Conservatorium, Amsterdam
- 30. Compensating “lack of light” through adding light elements into spaces. Project of restaurant by Totan Kuzembayev, Moscow centre, 2009 “ Fire-Bird” by Nikolay Polesski, 2007 ©2009 Lumiknows
- 31. Compensating “lack of light” through applying large windows and active use of glass. Yacht-club by Totan Kuzembayev, Moscow countryside, 2009 Private “Dutch house” in Samara, central Russia, 2009 ©2009 Lumiknows
- 32. Factory rebuilt, Moscow Office centre, Rostov-na-Dony, South of Russia Residential complex, Nizhni Novgorod, central Russia Office centre, Moscow ©2009 Lumiknows Overall glazing is a new element in the architecture of Russian cities having much to do with reference to Western standards of lighting.
- 33. in product design in interior in art in consumer electronics Light as an active element is getting popular in Russia ©2009 Lumiknows
- 34. Byzantine heritage T he Cathedral of the Resurrection of Christ , St.-Petersburg, exterior “ Rich in decoration” “ festive mood” http://www.flickr.com/photos/guaida/1833127818/
- 35. “ Rich in decoration” “ nariadno” “ festive mood” Byzantine heritage Entrance to the metro station in Moscow ©2009 Lumiknows
- 36. © copyrighted by L. Toshio Kishiyama, 2006 Gold is the color which resembles the Heavenly Kingdom T he Cathedral of the Resurrection of Christ , St.-Petersburg, interior
- 37. Why is this building a winner according to the Internet voting for the best building in St. Petersburg -2009? ©2009 Lumiknows Office complex “Benois Building” facades of which are covered with prints applied to glazed walls and featuring stage designs of famous Russian artists Alexander Benois (early 20 th c.). By Russian architect living in Germany Sergey Choban.
- 38. Fairytale Big size Festive mood Link to Russian history Why is this building a winner according to the Internet voting for the best building in St. Petersburg -2009: Russian identical motifs combined with the newest Western technologies (serigraphy, glass printing). ©2009 Lumiknows Office complex “Benois Building” facades of which are covered with prints applied to glazed walls and featuring stage designs of famous Russian artists Alexander Benois (early 20 th c.). By Russian architect living in Germany Sergey Choban. Bright image New technologies Glass
- 39. The co-existence of “incompatibles” – of “Earth” and “Sky” archetypes in the single “metaphysical universe”, - immanent driver of Russian national Weltanschauung responsible for all its contradiction and contrasts… Atlas – Man as a Titan giant, one of the symbols of Western civilization. The Cathedral of the Resurrection of Christ – one of the most prominent signs of Russian cultural identity. ©2009 Lumiknows
- 40. Thank you. Dutch Design Week, Eindhoven, NL, 2009 Dr Ekaterina Khramkova, Lumiknows, Russia http://www.designresearch.ru
Hinweis der Redaktion
- We will begin with this image which is one of the best illustrations of Russian visual culture – where contradiction and contrasts are probably the best descriptors. Now I want you to see behind this image not only typical signs of different style and architecture, but that philosophical and religious context which have always been extremely important for understanding Russian national archetype. As other countries do, Russian culture makes the foundation of what the Russian mind will become. Therefore, we cannot explore the roots of the Russian mind without understanding Russian culture.
- The Holiday of Easter. Easter is a holiday which celebrates the resurrection of Jesus. According to Paul, the entire Christian faith hinges upon the centrality of the resurrection of Jesus on the third day, and the hope for a life after our own death. Икона «Воскресение Христово» («Сошествие во ад»), написанная также во второй половине XVI века для Спасо-Преображенского собора, в XIX веке находилась в кладбищенской церкви во имя преподобного Онуфрия Великого (1822). В среднике в сияющих золотых одеждах изображен Христос во «славе», выводящий из ада прародителей – Адама и Еву; Спасителя окружают избавленные от тьмы преисподней ветхозаветные цари и пророки; воскрешенные праведники встают из гроба. В клеймах вокруг средника представлены: десять событий Страстей Христовых; праздники, связанные с последними днями земной жизни Спасителя и прообразами всеобщего воскресения: «Вход в Иерусалим», «Воскрешение Лазаря»; события и церковные праздники после Воскресения Христова: «Уверение Фомы», «Жены-мироносицы у Гроба Господня», «Преполовение Пятидесятницы», «Вознесение Господне», «Сошествие Святого Духа на апостолов» и «Святая Троица». В нижнем ряду помещены два типичных для второй половины XVI века «символико-дидактических» изображения: «София Премудрость Божия», «Во гробе плотски». Писали икону новгородские (или каргопольские) мастера, приглашенные святым игуменом Филиппом для выполнения больших живописных работ в храме. Две соловецкие иконы второй половины XVI века - «Достойно есть» и «Воскресение Христово» ныне находятся в пристенном иконостасе на северной стене Свято-Успенского собора Московского Кремля. http :// en.wikipedia.org / wiki / Easter Рождество Христово. Андрей Рублёв, Nativity Cathedral of the Annunciation of the Moscow Kremlin, 1405 Adoration of the Magi by Don Lorenzo Monaco (1422) Galleria degli Uffizi http :// www.newadvent.org / cathen /07706b.htm#I2 The Incarnation is the mystery and the dogma of the Word made Flesh. ln this technical sense the word incarnation was adopted, during the twelfth century, from the Norman-French, which in turn had taken the word over from the Latin incarnatio . The Latin Fathers , from the fourth century, make common use of the word; so Saints Jerome , Ambrose , Hilary, etc. The Latin incarnatio ( in : caro , flesh) corresponds to the Greek sarkosis , or ensarkosis , which words depend on John ( 1:14 ) kai ho Logos sarx egeneto , "And the Word was made flesh О ВОСКРЕСЕНИИ First Epistle to the Corinthians, глава 15 http :// bible.oremus.org /?passage=1Corinthians+15 Первое послание к Коринфянам 42 So it is with the resurrection of the dead. What is sown is perishable, what is raised is imperishable. 43It is sown in dishonour, it is raised in glory. It is sown in weakness, it is raised in power. 44It is sown a physical body, it is raised a spiritual body. If there is a physical body, there is also a spiritual body. 45Thus it is written, ‘The first man, Adam, became a living being’; the last Adam became a life-giving spirit.46But it is not the spiritual that is first, but the physical, and then the spiritual. 47The first man was from the earth, a man of dust; the second man is from heaven. 48As was the man of dust, so are those who are of the dust; and as is the man of heaven, so are those who are of heaven. 49Just as we have borne the image of the man of dust, we will also bear the image of the man of heaven. 50 What I am saying, brothers and sisters, is this: flesh and blood cannot inherit the kingdom of God, nor does the perishable inherit the imperishable. 51Listen, I will tell you a mystery! We will not all die, but we will all be changed, 52in a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised imperishable, and we will be changed. 53For this perishable body must put on imperishability, and this mortal body must put on immortality. 2 Так и при воскресении мертвых: сеется в тлении, восстает в нетлении; 43 сеется в уничижении, восстает в славе; сеется в немощи, восстает в силе; 44 сеется тело душевное, восстает тело духовное. Есть тело душевное, есть тело и духовное. 45 Так и написано: первый человек Адам стал душею живущею; а последний Адам есть дух животворящий. 46 Но не духовное прежде, а душевное, потом духовное. 47 Первый человек — из земли, перстный; второй человек — Господь с неба. 48 Каков перстный, таковы и перстные; и каков небесный, таковы и небесные. 49 И как мы носили образ перстного, будем носить и образ небесного. 50 Но то скажу [вам], братия, что плоть и кровь не могут наследовать Царствия Божия, и тление не наследует нетления. 51 Говорю вам тайну: не все мы умрем, но все изменимся 52 вдруг, во мгновение ока, при последней трубе; ибо вострубит, и мертвые воскреснут нетленными, а мы изменимся. 53 Ибо тленному сему надлежит облечься в нетление, и смертному сему облечься в бессмертие. 54 Когда же тленное сие облечется в нетление и смертное сие облечется в бессмертие, тогда сбудется слово написанное: поглощена смерть победою. An issue of belief: "Blessed are those who have not see and yet have believed If the dead are not raised at all, why are people baptized on their behalf? Jesus' resurrection validated his claim to provide the means by which people may attain eternal life (John 14:6)
- The Holiday of Easter. Easter is a holiday which celebrates the resurrection of Jesus. According to Paul, the entire Christian faith hinges upon the centrality of the resurrection of Jesus on the third day, and the hope for a life after our own death. Икона «Воскресение Христово» («Сошествие во ад»), написанная также во второй половине XVI века для Спасо-Преображенского собора, в XIX веке находилась в кладбищенской церкви во имя преподобного Онуфрия Великого (1822). В среднике в сияющих золотых одеждах изображен Христос во «славе», выводящий из ада прародителей – Адама и Еву; Спасителя окружают избавленные от тьмы преисподней ветхозаветные цари и пророки; воскрешенные праведники встают из гроба. В клеймах вокруг средника представлены: десять событий Страстей Христовых; праздники, связанные с последними днями земной жизни Спасителя и прообразами всеобщего воскресения: «Вход в Иерусалим», «Воскрешение Лазаря»; события и церковные праздники после Воскресения Христова: «Уверение Фомы», «Жены-мироносицы у Гроба Господня», «Преполовение Пятидесятницы», «Вознесение Господне», «Сошествие Святого Духа на апостолов» и «Святая Троица». В нижнем ряду помещены два типичных для второй половины XVI века «символико-дидактических» изображения: «София Премудрость Божия», «Во гробе плотски». Писали икону новгородские (или каргопольские) мастера, приглашенные святым игуменом Филиппом для выполнения больших живописных работ в храме. Две соловецкие иконы второй половины XVI века - «Достойно есть» и «Воскресение Христово» ныне находятся в пристенном иконостасе на северной стене Свято-Успенского собора Московского Кремля. http :// en.wikipedia.org / wiki / Easter Рождество Христово. Андрей Рублёв, Nativity Cathedral of the Annunciation of the Moscow Kremlin, 1405 Adoration of the Magi by Don Lorenzo Monaco (1422) Galleria degli Uffizi http :// www.newadvent.org / cathen /07706b.htm#I2 The Incarnation is the mystery and the dogma of the Word made Flesh. ln this technical sense the word incarnation was adopted, during the twelfth century, from the Norman-French, which in turn had taken the word over from the Latin incarnatio . The Latin Fathers , from the fourth century, make common use of the word; so Saints Jerome , Ambrose , Hilary, etc. The Latin incarnatio ( in : caro , flesh) corresponds to the Greek sarkosis , or ensarkosis , which words depend on John ( 1:14 ) kai ho Logos sarx egeneto , "And the Word was made flesh О ВОСКРЕСЕНИИ First Epistle to the Corinthians, глава 15 http :// bible.oremus.org /?passage=1Corinthians+15 Первое послание к Коринфянам 42 So it is with the resurrection of the dead. What is sown is perishable, what is raised is imperishable. 43It is sown in dishonour, it is raised in glory. It is sown in weakness, it is raised in power. 44It is sown a physical body, it is raised a spiritual body. If there is a physical body, there is also a spiritual body. 45Thus it is written, ‘The first man, Adam, became a living being’; the last Adam became a life-giving spirit.46But it is not the spiritual that is first, but the physical, and then the spiritual. 47The first man was from the earth, a man of dust; the second man is from heaven. 48As was the man of dust, so are those who are of the dust; and as is the man of heaven, so are those who are of heaven. 49Just as we have borne the image of the man of dust, we will also bear the image of the man of heaven. 50 What I am saying, brothers and sisters, is this: flesh and blood cannot inherit the kingdom of God, nor does the perishable inherit the imperishable. 51Listen, I will tell you a mystery! We will not all die, but we will all be changed, 52in a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised imperishable, and we will be changed. 53For this perishable body must put on imperishability, and this mortal body must put on immortality. 2 Так и при воскресении мертвых: сеется в тлении, восстает в нетлении; 43 сеется в уничижении, восстает в славе; сеется в немощи, восстает в силе; 44 сеется тело душевное, восстает тело духовное. Есть тело душевное, есть тело и духовное. 45 Так и написано: первый человек Адам стал душею живущею; а последний Адам есть дух животворящий. 46 Но не духовное прежде, а душевное, потом духовное. 47 Первый человек — из земли, перстный; второй человек — Господь с неба. 48 Каков перстный, таковы и перстные; и каков небесный, таковы и небесные. 49 И как мы носили образ перстного, будем носить и образ небесного. 50 Но то скажу [вам], братия, что плоть и кровь не могут наследовать Царствия Божия, и тление не наследует нетления. 51 Говорю вам тайну: не все мы умрем, но все изменимся 52 вдруг, во мгновение ока, при последней трубе; ибо вострубит, и мертвые воскреснут нетленными, а мы изменимся. 53 Ибо тленному сему надлежит облечься в нетление, и смертному сему облечься в бессмертие. 54 Когда же тленное сие облечется в нетление и смертное сие облечется в бессмертие, тогда сбудется слово написанное: поглощена смерть победою. An issue of belief: "Blessed are those who have not see and yet have believed If the dead are not raised at all, why are people baptized on their behalf? Jesus' resurrection validated his claim to provide the means by which people may attain eternal life (John 14:6)
- http :// en.wikipedia.org / wiki / Easter Рождество Христово. Андрей Рублёв, Nativity Cathedral of the Annunciation of the Moscow Kremlin, 1405 Adoration of the Magi by Don Lorenzo Monaco (1422) Galleria degli Uffizi View of the cathedral from across Fifth Avenue (with Lee Lawrie 's bronze statue of Atlas in the right foreground) (March 2005). This is especially profound in American architecture.
- Metaphysics – ontology, science of being, science of existence. Motzkin, Gabriel Gideon Hillel. Iser's Anthropological Reception of the Philosophical Tradition New Literary History - Volume 31, Number 1, Winter 2000, pp. 163-174 The Johns Hopkins University Press In premodern philosophy all relations to another world were conceived in terms of transcendence. The world that is another than the one we are in is transcendent to it. The way we get from this world to that one is through transcending this one. …T he philosophical tradition's basic error was to presuppose that absolute transcendence, the act of transcending, and transcendence-in-immanence, are all the same thing, or indeed that they belong together. http://nnm.ru/blogs/argamak2/stanovlenie_russkogo_mirovozzreniya_do_xvi_veka_chast_5/ Становление русского мировоззрения (до XVI века). Часть 5 Между небом и землей Все, что могло бы дать хотя бы небольшой перевес материальному началу (то есть послужить недолжному смешению их), воспринималось уже как огрубление духовного бытия, – отсюда, например, отказ от скульптуры в храме и, наоборот, безоговорочное поклонение иконописи. Точно так же надо толковать противление инструментальной музыке в храме и постепенное развитие церковного пения… Можно разно толковать эти явления русской религиозности, но все это, конечно, от Логоса, а не вне его, все это насыщено глубокими плодотворными интуициями» (В.В. Зеньковский). Начиная с митрополита Илариона, русская мысль склонна к онтологизму, к постановке бытийных вопросов. Она менее интересуется важными практическими проблемами, которые периферийны по отношению к смыслу бытия. Русское философствование больше интересуется онтологическими, чем гносеологическими проблемами: вопрос «что мы познали?» и «в чем сущность предмета познания?» волнует больше, чем вопрос «как мы познаем?» Как отмечает Николай Бердяев, если во Франции дискуссируется проблема любви, то темы могут звучать: «Любовь у Петрарки», «Любовь у Данте», «Любовь у Шекспира», в то время как русское общество интересует прежде всего тема «Что есть любовь сама по себе». Русское мировосприятие – это поиск целостности, синтетического единства во всем – в конкретном явлении и в универсальных проблемах бытия. Киреевский, определяя различие западноевропейского и русского менталитетов, писал, что у европейского человека в душе есть перегородки. Одной частью души европеец познает рациональные проблемы, другой частью он занимается нравственными вопросами, третьей частью он решает практические проблемы. Русская душа лишена подобных перегородок, настроена каждую проблему осознать и пережить целостно, экзистенциально, стремится распознать прежде всего сущность явления.
- Metaphysics – ontology, science of being, science of existence. Motzkin, Gabriel Gideon Hillel. Iser's Anthropological Reception of the Philosophical Tradition New Literary History - Volume 31, Number 1, Winter 2000, pp. 163-174 The Johns Hopkins University Press In premodern philosophy all relations to another world were conceived in terms of transcendence. The world that is another than the one we are in is transcendent to it. The way we get from this world to that one is through transcending this one. …T he philosophical tradition's basic error was to presuppose that absolute transcendence, the act of transcending, and transcendence-in-immanence, are all the same thing, or indeed that they belong together. http://nnm.ru/blogs/argamak2/stanovlenie_russkogo_mirovozzreniya_do_xvi_veka_chast_5/ Становление русского мировоззрения (до XVI века). Часть 5 Между небом и землей Все, что могло бы дать хотя бы небольшой перевес материальному началу (то есть послужить недолжному смешению их), воспринималось уже как огрубление духовного бытия, – отсюда, например, отказ от скульптуры в храме и, наоборот, безоговорочное поклонение иконописи. Точно так же надо толковать противление инструментальной музыке в храме и постепенное развитие церковного пения… Можно разно толковать эти явления русской религиозности, но все это, конечно, от Логоса, а не вне его, все это насыщено глубокими плодотворными интуициями» (В.В. Зеньковский). Начиная с митрополита Илариона, русская мысль склонна к онтологизму, к постановке бытийных вопросов. Она менее интересуется важными практическими проблемами, которые периферийны по отношению к смыслу бытия. Русское философствование больше интересуется онтологическими, чем гносеологическими проблемами: вопрос «что мы познали?» и «в чем сущность предмета познания?» волнует больше, чем вопрос «как мы познаем?» Как отмечает Николай Бердяев, если во Франции дискуссируется проблема любви, то темы могут звучать: «Любовь у Петрарки», «Любовь у Данте», «Любовь у Шекспира», в то время как русское общество интересует прежде всего тема «Что есть любовь сама по себе». Русское мировосприятие – это поиск целостности, синтетического единства во всем – в конкретном явлении и в универсальных проблемах бытия. Киреевский, определяя различие западноевропейского и русского менталитетов, писал, что у европейского человека в душе есть перегородки. Одной частью души европеец познает рациональные проблемы, другой частью он занимается нравственными вопросами, третьей частью он решает практические проблемы. Русская душа лишена подобных перегородок, настроена каждую проблему осознать и пережить целостно, экзистенциально, стремится распознать прежде всего сущность явления.
- Metaphysics – ontology, science of being, science of existence. Das Sein Die Schoepfung Motzkin, Gabriel Gideon Hillel. Iser's Anthropological Reception of the Philosophical Tradition New Literary History - Volume 31, Number 1, Winter 2000, pp. 163-174 The Johns Hopkins University Press In premodern philosophy all relations to another world were conceived in terms of transcendence. The world that is another than the one we are in is transcendent to it. The way we get from this world to that one is through transcending this one. …T he philosophical tradition's basic error was to presuppose that absolute transcendence, the act of transcending, and transcendence-in-immanence, are all the same thing, or indeed that they belong together. Sermon by priest Yakov Krotov The moleben at the Cathedral of the Redeemer blessed and sanctified rocket forces of Russia. Well, it seems to be closer to heaven than sanctified BMWs of the new Russian rich . The kingdom of God is to be found in the church, or in the scholar’s study, or in the sweeper’s utility room. The Lord of the world is everywhere where the man is. Yakov Krotov , priest Novaya Gazeta, 2007
- Литература Древней Руси http :// referat.kulichki.net / files /page.php?id=32766 Чудесное, сверхъестественное в древнерусской словесности воспринималось как не менее подлинное, чем привычное, обыкновенное. Представления об участии Бога в жизни человека, о неразрывной связи земного бытия с потусторонним миром характерны для всей древнерусской литературы и выражены в произведениях самых разных жанров. Лишь в конце XVII - начале XVIII в. зарождается новый тип героя - предприимчивого и деятельного, добивающегося успеха в жизни смекалкой и плутовством. Таков, например, Фрол - центральный персонаж "Повести о Фроле Скобееве". Понятие авторства в современном смысле появляется лишь в XVII веке. Придворные стихотворцы Симеон Полоцкий, Сильвестр Медведев, Карион Истомин уже считают себя создателями оригинальных творений, подчеркивая своё литературное мастерство. Они получают от царей денежные вознаграждения за свои сочинения. Их современник протопоп Аввакум, ревностный приверженец традиций старины, тем не менее постоянно нарушает устоявшиеся правила и пишет автобиографическое повествование - собственное жизнеописание в форме жития святого (ни один книжник прежних веков не мог и помыслить такого). Аввакум уподобляет себя апостолам и самому Христу. Он вольно переходит от книжного языка к разговорному просторечию. Реформы Петра I начертали для русской культуры и словесности новый путь: восторжествовало светское, мирское искусство, образцом стали сочинения западноевропейских авторов. Древние традиции были оборваны, собственная литература забыта. Постепенное открытие, "второе рождение" древнерусской словесности происходило в XIX и XX столетиях. Перед исследователями и читателями предстал особенный мир, прекрасный и загадочный в своей непохожести на современную литературу.
- Bilbo's journey takes him from light-hearted, rural surroundings into darker, deeper territory.[2] The story is told in the form of an episodic quest, and most chapters introduce a specific creature, or type of creature, of Tolkien's Wilderland. By accepting the disreputable, romantic, fey and adventurous side of his nature (the "Tookish" side) and applying his wits and common sense, Bilbo develops a new level of maturity, competence and wisdom.
- T he Flammarion woodcut is an anonymous wood engraving (once believed to be a woodcut ), so named because its first documented appearance is in Camille Flammarion 's 1888 book L'atmosphère: météorologie populaire ("The Atmosphere: Popular Meteorology "). The engraving depicts a man, dressed as a mediaeval pilgrim and carrying a pilgrim's staff, who peers through the sky as if it were a curtain to look at the hidden workings of the universe . One of the elements of the cosmic machinery bears a strong resemblance to traditional pictorial representations of the "wheel in the middle of a wheel" described in the visions of the Hebrew prophet Ezekiel (see Merkabah ). The caption that accompanies the engraving in Flammarion's book translates as "A missionary of the Middle Ages tells that he had found the point where the sky and the Earth touched..." The text that accompanies the image reads, in part, "What, then, is this blue sky, which certainly does exist, and which veils from us the stars during the day? ... And yet this dome does not exist. In a balloon, I myself have risen higher than where the Greek gods were supposed to live without getting to this point, which of course disappears at the same rate in which we approach it." [1] The engraving is often described as being medieval due to its visual style, its fanciful vision of the world, and what appears to be a depiction of a flat Earth . Flammarion does not provide any attribution for the image in his book.
- In a certain sense, Russia has suffered not from a lack, but from an excess of philosophy Nowhere else were the teachings of Plato regarding the relationship of ideas to the foundation of a State incarnated so literally and on such a grandiose scale as in Russia, and especially in in the Soviet Union. Russian thought always exerted itself in the task of embodying the most general ideas in social relationships and in the substance of everyday life. The ideal was to philosophize reality , to transform it into a transparent kingdom of ideas . Mikhail Epstein. AN OVERVIEW OF RUSSIAN PHILOSOPHY "The Karamazovs are not scoundrels but philosophers, because all real Russian people are philosophers..."Dmitry Karamazov, in Fyodor Dostoevsky. The Brothers Karamazov It is a property of the Russian people to indulge in philosophy. ...The fate of the philosopher in Russia is painful and tragic. Nikolai Berdyaev. The Russian Idea
- Иконостас верхнего храма, Воскресенский скит Word And Image: The Art Of The Early Middle Ages, 600-1050 (Icon Editions) (Paperback) by William J. Diebold By the year 600, Christianity was firmly established in some parts of Europe (Italy, Southern France) but virtually unknown elsewhere (England, much of Germany). One of the Gregory the Great’s goals was to spread Christianity to those who were not Christian… Gregory is crucial because images are one of the means he used to achieve these goals. “ For a picture is displayed in churches on this account, in order that those who do not know letters may at least read by seeing on the walls what they are unable to read in books”. Gregory to the bishop of Marseilles who was iconoclast, or breaker of images. By the end of the sixth century images had become central to Christianity. The importance of art in the later Christian church (Chartres Cathedral, 13 c., Sistine Chape, 16 c.). The question of legitimacy of images arose for Christians because the two most important sources of Christian culture, classical antiquity and Old Testament, both had their doubts about them. Plato’s condemnation of images as nothing more than deceptive imitations of truth was influential in the early church. And in the Old Testament, God himself questioned the value of art, commanding “Thou shalt not make to thyself a graven thing, nor the likeness of any thing that is in heaven above, or in the earth beneath… Thou shalt not adore them or serve them” (Exod. 20:4-5). Since the central Christian test, the New Testament, contains almost no references to images, the Second Commandment was the most important statement on images for Christians. According to one strict reading, the commandment forbids representation art; thus, many Jews and Muslims prohibit images in synagogues and mosques. But from early on Christians tended to read the text loosely… It was alright to make representational images as long as they were not worshiped. The almost universal destruction of images that occurred in Byzantium during the iconoclasm of the eighth and ninth centuries… Paintings like the Christ icon are illusionistic: They are intended to resemble the things they depict. Britain had been the last part of Western Europe to be added to the Roman Empire and the first to be lost. By the time of Augustine’s mission, such elements of Roman heritage as the Latin language or illusionistic images had been long forgotten or actively suppressed by the invading Saxons. The visual culture in Britain was very different from that of Rome. http://fullhomelydivinity.org/iconsfullpage.htm Icons in Anglicanism the Second Council of Nicaea, which brought an end to the iconoclastic controversy and established the legitimacy of icons in the architecture and worship of the Church, was concerned only with images. For the fathers of the council, the issue of images, or icons, was a Christological issue: the material depiction Christ and the saints in icons is an affirmation of the reality of his Incarnation and bodily Resurrection and of the restoration of the image of God in all who are sanctified in him. Before the Reformation, images abounded in English churches. Wood and stone carving, stained glass, painted and woven work depicted God and his saints, biblical stories, and the lives of the saints. Orthodox Christians reverence icons because they are a particular way in which the presence of God is made known. While icons have a sacramental quality, people do not worship the icon itself. Icons have been described as "windows to heaven." When praying in front of an icon, it is said that a person looks through the icon to the heavenly reality behind it. To show reverence to an icon is to worship God. The orthodox understanding of icons, clarified in the decrees of the Second Council of Nicaea, makes a careful distinction between worship, which may be given to God alone, and reverence, which may be shown to icons and other symbols which direct us to God. Just as light figures significantly in the art of stained glass, light is an important characteristic of icons. The eyes of people portrayed in icons are never depicted as reflecting light. Rather, an icon and the person depicted radiate light from within, the divine Light who is the second Person of the Trinity. It is this Light which illumines the saints who are, in turn, the lights of the world in their generations. The Orthodox describe the process of painting an icon as "writing" because icons are an expression of the Gospel, a medium by which the Word made flesh is proclaimed to the world. The actual writing of an icon is more than a technique or artistic process. It is a form of prayer in itself and traditional iconographers prepare for their work by prayer and fasting. As icons have found their way into Anglican churches and prayer, interest in writing icons has also arisen and iconographers are being trained in the traditions passed down through the ages in the East. Чань постоянно борется с семантической функцией языка расчленить реальность на фиксированные, обладающие конкретным значением единицы. Основной мотив мировоззрения дзэн - внеязыковой опыт, восприятие мира вне логического осмысления. На Западе значение слова, подчинившего себе в средние века живопись, стало падать только в позднем средневековье. (Лишь после этого живопись превратилась в самостоятельное искусство! Что касается современного этапа развития искусства, то он ознаменован повсеместной “озабоченностью” дизайном. Один из ведущих специалистов в этой области Дж. Нельсон говорит как раз о том, что основной общей чертой современного дизайна и концепций чань является большая вера в вещественный изобразительный знак, чем в слово. Универсальность языка чань и дизайна предполагают и его неоднозначность, - преодоление элитарной замкнутости культуры - основной пафос и дизайна и, по мнению Нельсона, эстетики чань .).
- Иконостас верхнего храма, Воскресенский скит Word And Image: The Art Of The Early Middle Ages, 600-1050 (Icon Editions) (Paperback) by William J. Diebold By the year 600, Christianity was firmly established in some parts of Europe (Italy, Southern France) but virtually unknown elsewhere (England, much of Germany). One of the Gregory the Great’s goals was to spread Christianity to those who were not Christian… Gregory is crucial because images are one of the means he used to achieve these goals. “ For a picture is displayed in churches on this account, in order that those who do not know letters may at least read by seeing on the walls what they are unable to read in books”. Gregory to the bishop of Marseilles who was iconoclast, or breaker of images. By the end of the sixth century images had become central to Christianity. The importance of art in the later Christian church (Chartres Cathedral, 13 c., Sistine Chape, 16 c.). The question of legitimacy of images arose for Christians because the two most important sources of Christian culture, classical antiquity and Old Testament, both had their doubts about them. Plato’s condemnation of images as nothing more than deceptive imitations of truth was influential in the early church. And in the Old Testament, God himself questioned the value of art, commanding “Thou shalt not make to thyself a graven thing, nor the likeness of any thing that is in heaven above, or in the earth beneath… Thou shalt not adore them or serve them” (Exod. 20:4-5). Since the central Christian test, the New Testament, contains almost no references to images, the Second Commandment was the most important statement on images for Christians. According to one strict reading, the commandment forbids representation art; thus, many Jews and Muslims prohibit images in synagogues and mosques. But from early on Christians tended to read the text loosely… It was alright to make representational images as long as they were not worshiped. The almost universal destruction of images that occurred in Byzantium during the iconoclasm of the eighth and ninth centuries… Paintings like the Christ icon are illusionistic: They are intended to resemble the things they depict. Britain had been the last part of Western Europe to be added to the Roman Empire and the first to be lost. By the time of Augustine’s mission, such elements of Roman heritage as the Latin language or illusionistic images had been long forgotten or actively suppressed by the invading Saxons. The visual culture in Britain was very different from that of Rome. http://fullhomelydivinity.org/iconsfullpage.htm Icons in Anglicanism the Second Council of Nicaea, which brought an end to the iconoclastic controversy and established the legitimacy of icons in the architecture and worship of the Church, was concerned only with images. For the fathers of the council, the issue of images, or icons, was a Christological issue: the material depiction Christ and the saints in icons is an affirmation of the reality of his Incarnation and bodily Resurrection and of the restoration of the image of God in all who are sanctified in him. Before the Reformation, images abounded in English churches. Wood and stone carving, stained glass, painted and woven work depicted God and his saints, biblical stories, and the lives of the saints. Orthodox Christians reverence icons because they are a particular way in which the presence of God is made known. While icons have a sacramental quality, people do not worship the icon itself. Icons have been described as "windows to heaven." When praying in front of an icon, it is said that a person looks through the icon to the heavenly reality behind it. To show reverence to an icon is to worship God. The orthodox understanding of icons, clarified in the decrees of the Second Council of Nicaea, makes a careful distinction between worship, which may be given to God alone, and reverence, which may be shown to icons and other symbols which direct us to God. Just as light figures significantly in the art of stained glass, light is an important characteristic of icons. The eyes of people portrayed in icons are never depicted as reflecting light. Rather, an icon and the person depicted radiate light from within, the divine Light who is the second Person of the Trinity. It is this Light which illumines the saints who are, in turn, the lights of the world in their generations. The Orthodox describe the process of painting an icon as "writing" because icons are an expression of the Gospel, a medium by which the Word made flesh is proclaimed to the world. The actual writing of an icon is more than a technique or artistic process. It is a form of prayer in itself and traditional iconographers prepare for their work by prayer and fasting. As icons have found their way into Anglican churches and prayer, interest in writing icons has also arisen and iconographers are being trained in the traditions passed down through the ages in the East. Чань постоянно борется с семантической функцией языка расчленить реальность на фиксированные, обладающие конкретным значением единицы. Основной мотив мировоззрения дзэн - внеязыковой опыт, восприятие мира вне логического осмысления. На Западе значение слова, подчинившего себе в средние века живопись, стало падать только в позднем средневековье. (Лишь после этого живопись превратилась в самостоятельное искусство! Что касается современного этапа развития искусства, то он ознаменован повсеместной “озабоченностью” дизайном. Один из ведущих специалистов в этой области Дж. Нельсон говорит как раз о том, что основной общей чертой современного дизайна и концепций чань является большая вера в вещественный изобразительный знак, чем в слово. Универсальность языка чань и дизайна предполагают и его неоднозначность, - преодоление элитарной замкнутости культуры - основной пафос и дизайна и, по мнению Нельсона, эстетики чань .).
- Gold is the color which resembles the Heavenly Kingdom. It is also used to add a sense of indefinite depth to icons, which would otherwise be perceived as flat. Painted icons are intentionally composed in a two-dimensional, non-perspective fashion to allow equal viewing regardless of the placement, position, and/or angle of the observing person, as well as to emphasize that the depiction is primarily of a spiritual truth rather than of visible reality A Byzantine poet said this is precisely the effect of Hagia Sophia in Constantinople: “the space is not illumined by the sun from without, but rather the illumination originates from within.” While western models, from the Gothic period onwards, generally let light in directly through large, and often huge, windows in the walls, Byzantine churches have tended to emphasise the lighting from windows higher up, and particularly in the drum. Side windows are by comparison smaller
- Gold is the color which resembles the Heavenly Kingdom. It is also used to add a sense of indefinite depth to icons, which would otherwise be perceived as flat. Painted icons are intentionally composed in a two-dimensional, non-perspective fashion to allow equal viewing regardless of the placement, position, and/or angle of the observing person, as well as to emphasize that the depiction is primarily of a spiritual truth rather than of visible reality A Byzantine poet said this is precisely the effect of Hagia Sophia in Constantinople: “the space is not illumined by the sun from without, but rather the illumination originates from within.” While western models, from the Gothic period onwards, generally let light in directly through large, and often huge, windows in the walls, Byzantine churches have tended to emphasise the lighting from windows higher up, and particularly in the drum. Side windows are by comparison smaller
- Chambers of Zaryadye is one of the first museums in Moscow, situated not far from Kremlin on the territory of the former boyars Romanovs estate. The progenitor of Russian tzar dynasty M.F.Romanov was born here. In 1856 one of Romanov posterity - Emperor Alexander II ordered to restore the old building and to found a museum in honor of his noble ancestors. The Museum was opened in 1859. In the course of centuries the exterior and designation of the chambers have changed several times and at present the chambers are rare monument of the Russian civil architecture of the 15-17th centuries.
- For rebuilding an old mansion in Moscow’s centre to make a trendsetting restaurant, famous Russian architect Totan Kuzembayev designed an ecologically orientated space full of light. His aim was to create an atmosphere in which Russian culture having lots to do with wooden art of building is enriched by new elements such as wooden bricks, glowing walls, bar-stove. At the heart of the concept – well-known warmth of the Russian soul, its hospitality and openness. Wood is more “domestic” and, at the same time, more “warm” material which has strong associations with the Russian visual culture heritage. Another important issue of the project – active use of lighting which makes this a la Russian interior more comfortable and European in its style and look. The point is that Russian climate with its long winters makes light really scarce and presence of it in sufficient amount is indispensable for Russians to feel good, to help them imagine as if they are in shiny Italy or Spain.
- The Church of the Savior on Spilled Blood is one of the main Russian Orthodox churches of St. Petersburg, Russia. It is also variously called the Church on Spilt Blood and the Cathedral of the Resurrection of Christ, its official name. The name refers to the blood of the assassinated Alexander II of Russia, who was mortally wounded on that site on March 13, 1881. Architecturally, the Cathedral differs from St. Petersburg's other structures. The city's architecture is predominantly Baroque and Neoclassical, but the Savior on Blood harks back to medieval Russian architecture in the spirit of romantic nationalism. It intentionally resembles the 17th-century Yaroslavl churches and the celebrated St. Basil's Cathedral in Moscow. The Church contains over 7500 square metres of mosaics -- according to its restorers, more than any other church in the world. Size matters... look at it in its original size
- This is the interior of the Church on Spilled Blood
- Филипп Большие размеры, стекло, рисунки, сказка Люда «Старинные одежды», несовременный вид Катя Балет – это скучно, сиди два часа и слушай…
- Филипп Большие размеры, стекло, рисунки, сказка Люда «Старинные одежды», несовременный вид Катя Балет – это скучно, сиди два часа и слушай…
- We will begin with this image which is one of the best illustrations of Russian visual culture – where contradiction and contrasts are probably the best descriptors. Now I want you to see behind this image not only typical signs of different style and architecture, but that philosophical and religious context which have always been extremely important for understanding Russian national archetype. As other countries do, Russian culture makes the foundation of what the Russian mind will become. Therefore, we cannot explore the roots of the Russian mind without understanding Russian culture.