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Ванеян С. С. Панофский, Гомбрих и смысл значения в искусстве и иконологии // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2013. Вып. 1 (10). С. 21-43.
Panofski, the acknowledged founder of iconology, which forms a new concept of the science of art rather than just a new method of semantic analysis, developed from his German and Neo-Kantian texts written in 1930s to clear and convincing texts of his American period; i.e. from hermeneutics of symbolic forms as existential auto-interpretation to cultural and historical contextualization of intended meanings. E. Gombrich, one of relatively recent (1972) critics of iconology, made an attempt to replace the philosophical basis of iconology with kind of philosophy of ordinary consciousness, as it was no more than ‘rules of good conduct’ that he saw in scientific discourse. Self-restriction in terms of epistemological ambitions of a historian was his main virtue.
Iconology, science of art, semantic analysis, hermeneutics of symbolic forms, existential auto-interpretation, intended meaning, philosophy of ordinary consciousness, scientic discourse
1. Wanhuser K. J. Iskusstvo ponimaniya texta. Literaturovedcheskaya etika i tolkovanie Pisaniya (The Art of the Texts' Understanding. Ethics of Literary Criticism in the Interpretations of Holy Scripture), Moscow, 2007.
2. Edmonds D., Eidinow J. Kocherga Witgenshtejna. Istoriya desyatiminutnogo spora mezhdu dvumya velikimi filosofami (Vitgenshtein' Spoker. The history of Ten Minuts Debate of Two Great Philosophers), Moscow, 2004.
3. Quine U.W.O. 2010, in S tochki zreniya smysla, pp. 81—102.
4. Kung H. 1998, in Analiticheskaya filosofiya. Stanovlenie i razvitie, pp. 302—321.
5. Petrenko V. F., Nikiforov A. L. 2009, in Enciklopediya epistemologii i filosofii nauki, pp. 251—253.
6. Bialostocky J. 1973, in Dictionary of the History of Ideas, pp. 524—541.
7. Forssman E. 1966, in Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, vol. 11, pp. 132—169.
8. Gothe J. W. Schriften zur Kunst, München, 1962.
9. Hirsch E.D. Validity and Interpretation, New Haven, 1967.
10. Holly, Michael Ann. Panofsky and the Foundations of Art History, New York, 1984.
11. Mitchell T. J. W. Bildtheorie, Frankfurt am Main, 2008.
12. Pacht O. Methodisches zur Kunsthistorischen Praxis. Ausgewahlte Schriften, München, 1977.
13. Riegl A. Gesammelte Aufsatze, Berlin, 1995.
14. Strzygowsky J. Die bildende Kunst der Gegenwart. Ein Büchlein für Jedermann, Leipzig, 1907.
Vaneian Stepan, archpriest
Ванеян С. С. Гомбрих и Винд: ритуалы и мистерии в науке об искусстве иконология как дидактика и как поэтика // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2013. Вып. 3 (12). С. 124-143.
Iconology as practice of interpretation can be infl uenced by images in return. This happens when material (a work of art) has a pronounced rhetoric program, i. e. is particurlarly spectator-oriented, so the spectator is seen as target of educating or enlightening. This is typical for Renaissance artistic practice. Here one can see the main aspect of infl uencing the spectator — archaic sacredness, modernized with the help of Christian reiterated interpretation. E. Gombrich fi nds the way of neutralizing this Прот. Стефан Ванеян. Гомбрих и Винд: ритуалы и мистерии в науке об искусстве... infl uence on the spectator, stressing in the scientifi c text as it is possibilities of critical but fully conventional building of interpretation. This may resemble some sacral rituals though rather scientifi c as they impose restrictions on fantasy and put the content of interpretation within the limits of verifi able communication. E. Wind, in turn, criticises G’s methodological program, stressing that any contact with archaic sacredness, even though in it’s visual reproduction, is a revival of the mysterial essence of this kind of images.The only solution is discovering in a scientifi c text its poetic functions that support the activity and, as a result, independence of the spectator-interpreter.
iconology, hermeneutics, problem of verifi cation, Renaissance, neopla- tonism, archaic sacredness, science as communication and ritual, mysterial character of visual contacts with an
1. Wind E. Pagan Mysteries in the Renaissance, New Haven, 1958.
Vaneian Stepan, archpriest
Ванеян С. С. Гомбрих, Хофман и Аккерман: искусствознание — репрезентация ответственности, сомнительности и условности. Три английских и четыре немецких послевоенных текста // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2014. Вып. 1 (13). С. 149-181. DOI: 10.15382/sturV201413.149-181
In this article, an attempt is made to compare 3 postwar texts written in the space of about 10 years. All 3 belong to the same genre: theoretical introduction to the problem of the science about art as both a science and a model of knowledge. The fi rst text is comparised of 2 articles by E. Gombrich published in “Atlantisbuch der Kunst” (1951) in which there was briefl y outlined his concept of history of art as a specific way of representing the rational cognitive side of aesthetic and artistic experience. The main point here is conventional and symbolic communication of members of a scientific community, the scientifi c truth is seen as the part of an artistic meaning that is available to anyone being equally intended for free reception and ‘verifying falsifi cation’. The science about art appears to be the practice of answering questions that art asks to itself. The second text, by Werner Hoff man, published 10 years later (1960), suggests a diff erent model of knowledge. Here cognitive discourse is aimed at art itself as the object of questioning and, at the same time, as the source of knowledge; the restricted abilities of science are not in focus here. Finally, the text by James Ackerman from “Humanistic Scholarship in America” (1963) transfers the problem from the epistemological sphere into the sphere of poetology. The conventionality of visual reception, rather than scientifi c knowledge, urges us to pay attention to the practice of the verbal and symbolic representation of cognitive equivalents to aesthetic experience whose essential features are subjectivity and criticism. Art history is corrected by art criticism, which means the genre of an encyclopedic essay is the only reliable form of knowledge in which gathered together pieces of conceptual material appear to be stimuli to feelings and wanting’s.
the concept of history of art as a specifi c way of representing the rational cognitive side of aesthetic and artistic experience; conventional and symbolic communication of members of a scientifi c community (Gombrich); the art itself as the object of q

1. Ackermann J., Carpenter R. Art and Archaeology. Englewood Cliffs, New York, 1963.
2. Das Atlantisbuch der Kunst. Eine Enzyklopedie der bildenden Künste, Zürich, 1952.
3. Hofmann W. (ed.) Bildende Kunst, Frankfurt am Main, 1960, vol. 2.
4. Helden Klaus. 2010 “Einführung“, in Edmund Hussеrl. Ausgewählte Texte, Stuttgart, 2010, vol. 1.
5. Hofmann W. “Produktive Konflikte“, in Kunsthistoriker in eigener Sache… pp. 113–132.
6. Gombrich E. H., Kris E. “The Principles of Caricature”, in British Journal of Medical Psychology, 1938, vol. 17.
7. Gombrich E. Symbolic Images, London, 1972.
8. Gombrich E. 1990 “Wenn’s euch Ernst ist, was zu sagen…“, in Sitt M. (ed.) Kunsthistoriker in eigener Sache, Berlin, 1990.
9. Gombrich E. H. A Lifelong Interest. Conversations on Art and Science with Didier Eribon, London, 1993.
10. Lützeler H. Kunsterfahrung und Kunstwissenschaft: systematische und entwicklungsgeschichtliche Darstellung und Dokumentation des Umgangs mit der bildenden Kunst, Freiburg, 1975.
11. Pächt Otto. Methodisches zur kunsthistorischen Praxis, München, Prestel, 1986.
Vaneian Stepan, archpriest
Ванеян С. С. Йозеф Гантнер и префигурация научного творчества // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2014. Вып. 2 (14). С. 139-170. DOI: 10.15382/sturV201414.139-170
Pre-gestalt forms of phantasy and their manifestation in art’s not only unpresents Gantner’s life or introduces his teacher’s names (including Heinrich Wellfl in and Adolfo Venturi), but it also briefly outlines his essential concepts, such as ‘prefi guration’ and ‘non finito’. They were coined by Gantner so as to communicate the shift of the researcher’s interest from a completed work of art to process of it generation. Prefi gurative incompleteness is a characteristic feature of any creation process, scientific as well as artistic. In each of these discourses one can find a way to the very origins of human existence, not to mention artistic quality, - a way to the core of soul (see the name of Gantner’s essay ascending to Michelangelo) where there is a possibility of meeting God as the Master of time and the Lord of eternity. Rev. Stefan Vaneyan
study of art; Gantner; Gantner’s Theory of Prefi gation; pre-fi guration; de-fi guration; pre-gestalt; incompleteness (non fi nito)

Vaneian Stepan, archpriest
Ванеян С. С. Вильгельм Воррингер: чувствуя абстракцию // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 1 (21). С. 123-164. DOI: 10.15382/sturV201621.123-164
Famous W W's «Abstraktion und Einfühlung» (1908), whose 1st chapter is presented here in Russian translation, has received its status of a cult text of artistic avant-guard of the 20th century thanks to its daring reconsideration of traditional aesthetic concepts of the 19th century. Instead of «Einfühlung» or «empathy», «abstraction» has become the key concept. Instead of the focus on picturing, geometrism and «crystallization» have been stressed; instead of the feeling of life — the overcoming of «the human» in creative work. The former is a sign of natural, pre-human existence, whereas the latter is an overcoming of the dependence on natural existence. The former corresponds to an early stage of the human evolution, the latter, by contrast, is a testimony of maturity and modernity. The analysis of this conceptual pair allows to conclude that the abandoning of legitimate, psychologically justified 'empathy' for the sake of 'abstraction' is an attempt to form the basis of independence — not only for artistic, but also scholarly activity. This means art history gains its autonomy at the same time as it receives an autonomous subject to investigate — the independent work of art, free of natural attitudes. Thus Worringer's text becomes a manifest of artistic-historical concreteness, as well as artistic-actual abstraction.
Wilhelm Worringer, the psychology of artistic creativity, abstraction, perception-empathy, the origin of art, artistic avant-garde and classic art, naturalism, style, ornament and architecture.

Vaneian Stepan, archpriest