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She paired the archival pieces with a ring from Bulgari's 2019 high jewelry .... dressed a number of Met Gala guests in vintage and contemporary jewels. Among ...
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In "Reverse perspective", written in 1919
P. Florensky spoke against the consideration adopted in the icon
prospects as "illiterate". The paradox of this is: "Icons,
for immediate artistic perception of the most creative, always
are promising a "flaw". And icons, more satisfying
the textbook perspective, -- soulless and boring" (P. FlorenskyReverse
perspective // P. Florensky Iconostasis. SPb., 1993. P. 179).
Florensky believed that the painters of the past are not inept, not
wanted to use the version of Outlook we use
today. A more General point of view, which he holds is
the following: "the image of the object is not there in image quality
also did not have a copy of things that are not doubles of the world, but
specifies the original as its symbol" (P. 238). And further:
"There is a picture symbol always, every image, and
promising and unpromising, whatever it may be, and images of art
fine differ from each other not because some-symbolic
others, allegedly, nature
their "new Kingdom." It is beyond the human power and .wisdom.
This is due to the triumph of the human madness in the tale,
the exaltation of the fool over the strong and wise in the human sense
the words" (P. 418). Regardless of this interpretation, we have to agree
in any event, "fool" creates a more complex structure. More simple
the option would protect one kind of behavior, punishing its violation. The tale is
offers incomprehensible for today is stereoscopic.
The existence of limits and borders should not be expressed in inaction, as
this takes place in a Russian fairy tale. "The exaltation of the fool above
hero, replacement of personal achievement hope for a wonderful help, at all
the weakness of the strong-willed heroic element, are traits that
painful strike in a Russian fairy tale. This is a beautiful poetic dream, in
which Russian man looking for the advantage of calm and repose;
the tale inspires his dream, but at the same time, lulls his energy" (P. 427).
Hence E. Trubetskoy goes to comparison of Russian operas with operas
Wagner: "you are immediately struck by the contrast between the feminine Russian melody
courageous, heroic motives Siegfried or Valkyrie. The hell is that
is in direct proportion to the tale, which is inspired by one
the Russian, on the other hand, the German magic Opera. In the tale
German the feat of the hero is everything (...)" (P. 428).
And last comment of a biographical order. Prince E. Trubetskoy
he lived in Kiev from 1894 to 1906 and worked first as assistant Professor and then
1897, Professor of the Kiev University. SV. Vladimir. He then became
a Professor at Moscow University, was one of the founders of the party
cadets. Then there was the revolution, and under threat of arrest he left Moscow. To
that he was warned about the arrest of Sergei Bulgakov, calling him on
phone, saying that it was required in Latin.
If you draw a line under our consideration the semiotic aspects
the works of E. Trubetskoy it should be mentioned the following: it is quite
analyzed visual language that is characterized by
old Russian icon, showed a strong influence of the context in which it
function. We list again the following traits that characterize
the results of the analysis of E. Trubetskoy
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