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"Medieval man sees symbols everywhere. The universe is made for
it is not of the elements, energies and laws, but of images. The images represent
themselves, but beyond that something else, higher: ultimately --
the only truly high-God and eternal things. So each image
becomes a symbol. He points up beyond himself. Can
more precisely: he is from above, from the region lying on the other side
him. The symbols are found everywhere: in the cult and in art; folk
custom and public life" (Guardini R. end of the new time //
The problems of philosophy. -- 1990. -- No 4. P.134).
Subjective "clue" to the interpretation of medieval
was actually translated a huge volume of Henry aken with
introductory article of Professor I. Graves (Aiken G. History and system
the medieval worldview. SPb., 1907). We give only one quote from
him: "People, animals and plants could enter the circle depicted objects
not for their own sake, but only insofar as admitted them
some relevance to the ultimate goal of all things, the Kingdom of God that
light. Art image was supposed to be nothing more than
sensual symbolic expression of the supersensible" (ibid.
S. 634-635).
The historical approach is especially favorable for the germination of the "semiotic
bean" also for the following reason: here, the researcher's happening
clash of fundamentally divergent sign systems -- his own
and in this case medieval. P. Bitsilli writes about this other world:
"the slow flow of life in the middle ages and the coincidence of subjective and
intersubjective spheres makes a person insensitive to the perception
rhythm of life, made him feel the world is still before
he expressed the idea of this stillness in concepts. If it is to us
process, for medieval man the world -- the finished result"
(P. bitsilli, decree. Op. P. 138). "Narozeniny" nature of the world
P. Bitsilli sees the painting and sculpture of the middle ages: "Raised in
the jump the horse's legs seem never to descend; the angel flying down from heaven in
the cell of the blessed virgin, as if rooted to the floor; locked in a desperate
battle warriors froze in their postures; hand ZANESSA sword, not to defeat the enemy.
How far is art from the Renaissance!" (Ibid. P. 139).
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