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At least in the field of transcendental ethics, the Kantian principle (see "Critique of practical reason"). Policy and empirical ethics, Kant is prudent: since nothing NS can be identified with the transcendental normative subject, from a theoretical point of view it was correct would make a deal with existing authorities (Kant I. What is Enlightenment?).
Only semiotically deep is the research of P. Florensky inthe field of art history. This first "Analysis of space andtime in art-graphic works" (on the samethe Department of P. Florensky worked in the higher art in the twentieth) andthe iconography of "Reverse perspective" and "Iconostasis". But we want to start withthe work of the "Temple action as synthesis of the arts", first published in 1922In it, he argues that in the Museum the artworkcomes out of the real context of its functioning. In this regardlighting icons, namely those for which it was created must beflashing light the lamps. "Designed for the game tremulous, agitated everya breeze flame, in advance taking into account the effects of colored reflexes from bundleslight passing through the colored, faceted glass sometimes, the icon mayto soderzhatsya as such only at this stroenii, only excitementlight partitioning, uneven, as if pulsating, rich, warmprismatic rays -- of light, which is perceived by all as lively assoul as emitting a warm fragrance" (Florensky P.The iconostasis. SPb., 1993. P. 297). He stresses that the Church "functioning" are:plastic and rhythmic movements of the clergy of the game and play of foldsfabrics, incense, vocal and poetic art. He graduallyconnect to consider all the senses. "Even details such asa specific touch to a variety of surfaces, to sacred thingsdifferent material, it smeared and soaked with oil, spices, andthe incense, the icons, though touching of the sensitive parts of ourbody, lips -- is part of the whole action, as a special art, asspecial art area, such as the art of touch as artof smell, etc., eliminating them, we would have lost the fullness and completenessartistic whole" (Ibid. P. 302). Florenskyrequiresconsideration of the temple action as a kind of supersnake, where the impacthappens all the existing channels of perception. And only together, and noteach one of them individually can be analyzed in the study of the templeaction.
that icons are not random for the organization of the Cult.The substance used in this case, symbolic. "Do not directlyobviously, the sounds of instrumental music, even the sound organdon howsuch, i.e. irrespective of the composition of music, nottolerated in Orthodox theology" (P. FlorenskyIconostasis.P. 89). Very close to this sound opinion N. Danilevsky: "Ifcontinued existence of ancient forms of life, we similarly not allowedwould the bravura 'arias and concerts, similar to excerpts from operas, whileworship, as (due to the positive ordinances of the Church) is notpermitted by the organdnew in the churches" (Danilevsky N. I. Russia andEurope. -- Moscow, 1991. P.272).
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