TY - JOUR

T1 - Патриарх Авраам в городском пространстве раннего Нового времени

T2 - иконография и сцена

AU - Lurie, Z.

N1 - Publisher Copyright: © 2020 Ltd "Integration: Education and Science". All rights reserved.

PY - 2020

Y1 - 2020

N2 - Understanding by "urban space" the totality of images, ideas and interpretations that existed in the midst of the European city of the early modern times, the author studies evolution of the image of Abraham under the influence of confessional processes. The data obtained from the analysis of visual sources (about 170 images) and evangelical drama of the 16th - 17th centuries are used. Three themes - the sacrifice of Isaac, the visit of three strangers to Abraham, and the expulsion of Hagar - appeared to have universal importance. They were almost equally represented in the art of the late Middle Ages, the period of the Reformation and the confessional era. However, the study of theatrical material allowed to conclude that the content of the scenes had been sufficiently rethought. Taking Abraham as the father of believers the evangelicals saw and his whole life as a manifestation of living faith - with the experience of temptations, doubts and miracles. At the same time, Lutheran authors did not limit themselves only to the spiritual dimension, striving to show the world order on two other levels - the House and the State. Despite the fact that the image of Isaac retained its strong connection with the image of Christ, Abraham lost his connection with God the Father. Also, in the 16-17th centuries fine arts the following subjects appeared - the path to Mount Moriah, the altar of thanksgiving, and Abraham's farewell to Hagar and Ismail - that also reflect the semantic shifts. The image of Melchizedek as the high priest completely disappeared from Protestantism: iconography remained strictly Catholic. Although he can be found in biblical illustrations, dramatists (with the exception of Jan Amos Comenius) didn't apply this subject. Besides, the author makes a number of observations about the scenography of evangelical performances, which turned out to be quite close to the medieval ones (Isaac was shown like Christ, the guests appeared under the guise of three angels, etc.). The only important change that several writers felt as necessary to make was the rejection to depict God on the stage. Some authors replaced His figure with angels, remaining in the world of the Middle Ages, while others left only His voice. And in this case, a completely different, almost modern, theater was being formed.

AB - Understanding by "urban space" the totality of images, ideas and interpretations that existed in the midst of the European city of the early modern times, the author studies evolution of the image of Abraham under the influence of confessional processes. The data obtained from the analysis of visual sources (about 170 images) and evangelical drama of the 16th - 17th centuries are used. Three themes - the sacrifice of Isaac, the visit of three strangers to Abraham, and the expulsion of Hagar - appeared to have universal importance. They were almost equally represented in the art of the late Middle Ages, the period of the Reformation and the confessional era. However, the study of theatrical material allowed to conclude that the content of the scenes had been sufficiently rethought. Taking Abraham as the father of believers the evangelicals saw and his whole life as a manifestation of living faith - with the experience of temptations, doubts and miracles. At the same time, Lutheran authors did not limit themselves only to the spiritual dimension, striving to show the world order on two other levels - the House and the State. Despite the fact that the image of Isaac retained its strong connection with the image of Christ, Abraham lost his connection with God the Father. Also, in the 16-17th centuries fine arts the following subjects appeared - the path to Mount Moriah, the altar of thanksgiving, and Abraham's farewell to Hagar and Ismail - that also reflect the semantic shifts. The image of Melchizedek as the high priest completely disappeared from Protestantism: iconography remained strictly Catholic. Although he can be found in biblical illustrations, dramatists (with the exception of Jan Amos Comenius) didn't apply this subject. Besides, the author makes a number of observations about the scenography of evangelical performances, which turned out to be quite close to the medieval ones (Isaac was shown like Christ, the guests appeared under the guise of three angels, etc.). The only important change that several writers felt as necessary to make was the rejection to depict God on the stage. Some authors replaced His figure with angels, remaining in the world of the Middle Ages, while others left only His voice. And in this case, a completely different, almost modern, theater was being formed.

KW - Comenius

KW - Confessional culture

KW - Exegesis

KW - Hagar

KW - Reformation

KW - Rembrandt

KW - Sarah

KW - Théodore de Bèze

KW - Comenius

KW - Hagar

KW - ISAAC

KW - Reformation

KW - Rembrandt

KW - SACRIFICE

KW - Sarah

KW - Theodore de Beze

KW - confessional culture

KW - exegesis

KW - Théodore de Bèze

KW - Confessional culture

KW - Exegesis

UR - http://www.scopus.com/inward/record.url?scp=85097887453&partnerID=8YFLogxK

UR - https://www.mendeley.com/catalogue/d9b0dc1d-aa35-3e40-b86b-2824b975f000/

U2 - 10.18254/s207987840012808-7

DO - 10.18254/s207987840012808-7

M3 - статья

AN - SCOPUS:85097887453

VL - 11

JO - ЭЛЕКТРОННЫЙ НАУЧНО-ОБРАЗОВАТЕЛЬНЫЙ ЖУРНАЛ ИСТОРИЯ

JF - ЭЛЕКТРОННЫЙ НАУЧНО-ОБРАЗОВАТЕЛЬНЫЙ ЖУРНАЛ ИСТОРИЯ

SN - 2079-8784

IS - 11

ER -