Pictures of gospel plots. Evangelical plots in Russian painting of the XIX century: spiritually - moral aspect
The second part of the Bible is called New Testament. This is a meeting of 27 books, which includes:
4 Gospel, acts of Apostles., 21 Epistle of Apostles and Book Revelations of John the Bogoslov (Apocalypse).
The new covenant was written in a new time - the time of the so-called our era (the Old Testament was written to our era). Our era opens by the gospel texts of the New Testament, talking about the birth, life and death of Jesus Christ. In Russian tradition, these books reached us in the Greek translation of the Bible - Septuag andnTU. The new Testament of the Bible is most important for Christianity, while Judaism does not consider it a cornering (does not recognize).
The new covenant consists of books belonging to eight writers: Matthew, Mark, Luke, John, as well as Peter, Pavel, Jacob and Jude.
In the Slavic and Russian Bible, the books of the New Testament are placed in the following order:
Historical
Gospel (Good news)
Message of Jacob
Messages Peter
Messages John
Message of Judah
Messages Paul
to Romans
to Corinthians
to Galatam
to Ephesians
to Filippians
to Colossians
to thesalonicians
timothy
to tit
to Filimon
to the Jews
Revelation of John the Bogoslov (Apocbut lipsis)
from Matthew
from Mark.
from Luke
from John
Acts of Apostolic Luki.
Tutorials
prophest
Gospel
The first four books of the new Testament of the Bible - but ngelie Word Gospel translated from the Greek as " good news"(Message, bearing good - a good start for people). This is news (\u003d news) about the birth of Jesus Christ - the Savior of the world, mesianand and(translated as a savior). The events of the New Testament are opening a new era, a new summer (our era).
The gospel, telling about the life of Jesus Christ, was written by four evangelists - Math, Luke, John and Mark.
Matthew - The author of the first gospel (his second name - Levi). Before the apostle became a student of Christ (they were 12), Matthew was Mytarem - collected tribute, taxes. After the death of Jesus, he preached Christianity and martyrs died in Ethiopia (his symbolic sign is a man).
John (theologian) – the author of the fourth gospel. Favorite student of Christ. He was with him in the most important moments of his life. The author of the revelation from John the Bogosla, the Apocalypse (the end, the death of the world) (his sign - Eagle).
The images of evangelists in the church are located on the royal gates - this is the entrance to the altar, symbolizing the Heavenly Jerusalem.
Evangelical events were reflected in the so-called festive, or scene, cycle of the Russian icon.These events became precedent situations of Christian culture.
Evangelical plots in the mirror of art
You are always new, eyelids in a century,
After year, for a moment MIG,
Stand up - the altar before a person
About the Bible! About book book!
V.Ya. Bruisov
Mystery evening
The Last Supper is the traditional name of the last meal of Christ with students. In connection with the threat from Sanhedrin (the Jewish Supreme Board, which included high priests, elders and scribes) The meeting took place secretly. During the meal, the most important event was occurring - the establishment of the New Testament and the Mystery of the Eucharist (communion), which since then is committed by the Church in memory of the Savior. Information about the secret evening is contained in all the Gospels and in general coincide.
The symbolism of the secret evening and the Eucharist is associated with the traditions of the Old Testament and the ancient pagan ritual customs (sacrifices), which existed from various peoples: fraternal meals, symbolizing the unity of people with both each other and the deity. In the Old Testament the sacrificial blood, which members of the community had sprinkled, symbolized "Uniforms", that is, did the participants of the rite with single-barbers, whose life belongs only to God.
In the New Testament, the Lord himself becomes a voluntary victim, gives her blood and flesh to people, thereby combining them. The church emphasizes that to strengthen faith it is necessary to repeat the rite of the Eucharist. Just how the adoption of food strengthens the physical forces of a person and introduces it to nature, the Eucharist attaches spiritual strength through the body and soul of Christ. "And when they spruce, Jesus, taking bread, blessed, prevented, gave them and said: Take, beg; This is my body. And, taking a bowl, thanks, he filed them: and drank everything. And he said to them: this is the blood of my new covenant, for many exhausted. " (Matt. 26:23); (MK. 14: 22-24).
Evidence of the Eucharist - the liturgical component of the secret evening. However, it has two more plot lines - the ablution of the legs (the lesson of limitless love and humility, taught by Christ) and the betrayal of the teacher (Christ) by the student (Jew).
Three main topics - the sacrament of the communion, an example of humility and love, sin of betrayal and deceived trust - form the main types of the image of the secret investigation in art.
The first images of the plot of the secret evening belong to the VI - VII centuries and, in fact, are illustrations for evangelical texts.
Altar Fronton from Suriguerola Monastery. 12th century.
Italian-Byzantine master. Painted.
Jotto. Last evening.
The usual attributes of the meal - wine (blood of Christ), bread (the body of Christ); In the early images there is a fish (the most ancient symbol of Christ).
Food table. Fragment.
Members of the meals can recline or sit at a rounded or rectangular table.
Unknown artist of Lorentzetti School. 14 century
Fra Beato Angelico. 15th century.
Dirk Boauts. The central part of Triptych. 15th century.
The number of participating in the meal may be different, which causes the perplexity of the audience, who know that the disciples of Christ were twelve. The explanation of the discrepancies lies, firstly, in the unclearness of the issue of the presence of Judah in the sacrament of the Eucharist. Some interpreters believe that he took part in the evening from the beginning to the end. Others argue that Judas attended when the legs were abolished, and after the words of Jesus appeared to him "What are you doing, do more" Removed and the sacraments of the communion from Christ did not accept. That is why some artists depicted, not counting Christ, eleven, and the other twelve acting persons of the secret evening.
| Lucas cranes.16 century |
Secondly, considering that the evening is a feast, should not surprise the presence in some images of additional characters: servants, women (Mary, Mary Magdalen). In the late historical iconography of the plot "the portraits of contemporaries of artists, children, animals are made.
Throughout the Middle Ages, the painters did not seek to particularly differentiate the characters, the exception was Christ and Judas. The latter attribute is a constant wallet associated with the thirty Srebreniki and the betrayal of the teacher. Unlike other students, Judas was depicted without Himba either with a black nimber, or with a figure of a trait by shoulders - all this symbolized the idea of \u200b\u200bbetrayal. In the following works of Kastagno and Rosselli, the compositional reception of Judas is noted (nomination to the foreground) and thereby displays it from all other scene participants.
Andrea del Kastano. 15th century. Fragment
Kozimo Rosselly. 15 century
From the Renaissance Age, an interest in individuality arises, and the artists seek to create psychologically reliable human characters within the framework of the canonical plot. They depart from strict canonation in the interpretation of the plot, their innovation is implementing humanistic ideas, leveling the religious semantics of painting. Naturally, the liturgical component of the plot is moving into the background, giving way to the historically truthful image of the climax episode of the mystery in the evening, when Christ said: "One of you betray me." Shocked apostles in different ways (poses, gestures, facial expressions) react to the words of the teacher.
In the art of the Quatrocheto, the topic of "secret inku" arose quite often, perhaps all the famous artists appeared to it. The skill of the Renaissance painters was manifested in the diversity and expressiveness of the images created, in the exact and thorough, to the smallest details, the transfer of natural phenomena, in the skill using the opening of the linear perspective. According to a fair remark I.E. Danilova, "In an effort to portray the world, the world is not breathtaking, but visible (revival theorists insisted that the artist should depict only what sees the eye), that is, something material, concrete at the Item image - artists sought achieve visual illusion. "
Andrea del Sarto. 16th century.
Sknofully built, harmoniously balanced on the composition of the Renaissance picture is imposed by the viewer for attentive examination and evaluation: it is properly or incorrectly built, it looks like or unrespatible, etc.
Works with the gospel plot became not just illustrations of canonical texts, and every time they demonstrated the author reading, an individual view (artist or customer).
Numerous variations on the theme of mystery in the evening differ not only by technical techniques, artistic language, but, which is especially important, semantic accents.
The top of the high Renaissance and at the same time an important stage in the evolution of European painting was the "Last Supper" Leonardo da Vinci. This work can still be viewed as a classic sample, first of all because Leonardo itself (scientist researcher, humanist, writer) - the personality is bright, extraordinary, embodies their era, its ideal impulses and utopian illusions. "The Last Supper" Leonardo is a brilliant embodiment of the Spirit of Time, his philosophical understanding.
Leonardo da Vinci. 15 century
At first glance, work lies in line with tradition: Christ and twelve apostles are sitting behind the frontal stretched table. Carefully considering the scene presented, we begin to notice how mathematically the composition is accurate, the shapes are arranged, each gesture is recovered, turning the head. Composite Center (Point of Perspective Lines) and Semantic Center - a calm figure of Jesus with divorced hands. View of the viewer, gliding by hand, mentally draws a triangle whose vertex is the head of Christ, clearly released against the background of the illuminated window. Behind him is a paradise blueness, happy expanse of earthly or unknown eternal life.
The figures from the center are geometrically lined up: two groups of six characters on each side, but broken back on the subgroups in three. Student jumped with seats burly gesticulates, express a variety of feelings: bewilderment, bitterness, fear, indignation, depression, etc. The figures are dynamic and at the same time discreet, there is no fuss, but a sense of movement is created. So only a great master could work.
A schematic representation clearly identifies the wave-like movement, emphasizing the expression of the dramatic situation. Light-shadow modeling of figures is carefully thought out and subordinate to the plan. Leonardo places Judas among other students, but so that the light does not fall on his face, and it turns out to be dark. The thinking of Leonardo is remembered that the artist has two goals: a person and manifestation of his soul. The first is simple, the second is difficult and mysterious. She seemed to say: "Miscelled - and you will hear me!"
The depth and meaning of the artist created by the artist's images, the use of new techniques and technologies made it a "secret evening" by a semantically inexhaustible, mysterious in its self-loading and self-sufficiency, breeding numerous religious-symbolic interpretations and secular interpretations. For all the differences, they contain a total component - the right to choose a person and the moral meaning of this choice. Rudolf Steiner called the "Last Supper" Leonardo "key to the meaning of earthly being."
The works of late Renaissance lose rigor and harmony. Veronese at the forefronts are purely picturesque, decorative tasks.
Paolo Veronese. 16 century
The mystery of the evening ceases to be a secret and performed sacred and moral meanings. In Veronese's paintings, we see Venetian life in all its carnival beauty and feast: many characters, often minor interfering with traditional reading. Sensual pleasures and impressions are self-concrete and create a spectacular effect of pomp and decorativeness.
A different philosophical understanding and artistic solution demonstrates Tintoretto.
Jacopo Tintoretto. 16 century
The last option of the party, written in the year of the artist's death, demonstrates at the form of the form of a love tintoretto manherism. This is manifested in the ornamental composition of the composition, sharp contrasts of light and shadow, a screw-like, swift movement.
The feeling of the instability of the world, the inconquency of a person on earthly limits causes a tintoretto, like many baroque authors, look for meanings in the embodiment of the highest, mystical moments, such as the sacrament of communion.
The new time continued to develop the plot of the secret evening, increasingly focusing on the individually copyright reading of the evangelical history.
As an example, you can bring the classic version of the Pussen and the bar and rockey option.
Nikola Pussen. 17th century
Giovanni Tapolo 18th century
Of particular interest is the painting of Russian artists of the XIX century, who focused on the social and moral problems of their time. Even the gospel plots they developed not so much in religious, how much in the philosophical-ethical vein, raising the subject of personality responsibility, inevitable sacrifice in the name of the future.
The most striking example is the "Last Supper" N. Ge. The picture was perceived by the public so topically that the Saltykov-Shchedrin was called by a secret gathering, on which serious political discrepancies were discovered.
Nikolai Ge. Last evening. 19th century
Of particular relevance in the eyes of the audience, the work attached to the fact that the head of Christ's head wrote from Herzen prohibited in Russia and lived in emigration. The drama of the teaching gap with a student with some connoisseurs was interpreted in the light of ideological disagreements and the gap of Herzen with her friend and like-minded Granovsky.
Turning to the gospel plot, the GE is trying through the past to understand modernity, but modernity, tilted on the historical plot, introduces new paints and meanings.
The author's name of the painting "Field of Judah" clearly emphasizes its meaning. Judas in the understanding of the GE is not a banal traitor, but a significant, worthy of interest personality. Its figure defines the compositional asymmetry of the picture, sharp light contrasts attract the viewer's attention to it, reinforcing the dramatic stress of the scene.
The work of Ge contemporaries met ambiguously: from praise and delights to criticism and accusations of the artist in false and bias. A kind of hell in disputes was summed up by I. Goncharov: "... But no picture ever depicted and does not depict the whole" secret evening ", that is, a whole evening and the whole meal of the Savior, from beginning to end ..."
It becomes obvious that, creating a picture on the biblical plot, but not seeking a dogmatic interpretation of the text, the artist turns out to be in the field of humanitarian interpretation of it that admits subjectivism, voluntaryism and other "liberties".
The art of the 20th century marked the watershed between the traditional, academic religious painting and the new, living in other laws, even if it appeals to the "eternal" biblical plots.
Throughout the century, art for a long time and painfully struggles with history, a museum attitude to the past, looments of established traditions and gates. For this, sometimes entering a straight or mediated dialogue with the masters of the classic era.
The game reception of artistic citation, paraphrase recognizable paintings, interpretation and reinterpretation of well-known plots, free manipulation by any material is widely distributed in painting.
An indicative example is the famous picture of El Salvador Dali.
Salvador Dali. Last evening. XXVEK
Not only mystico-religious mood of the artist, but a certain cospace of his worldview, is given a big epic cloth.
Coloristically discreet, in color, built on the contrast of warm golden-ocher and cold bluish-gray tones, the picture ends the glow and fascinates the viewer.
The composition explicitly sends Leonardo to work, but it is more rationalistic and geometrically recovered. It seems the impression of stiffness and the coldness of the perfect forms, in which he was so believed and in the sacred power of which did not doubt.
Free interpretation by the artist of the Gospel Text: the lack of household realities and religious attributes, the immersion of Christ on the water belt (the symbol of the baptism), the presence of a ghostly figure of the ghostly figure generates semantic multigid and multiplicity of interpretations of the work of the work.
Artists attract a variety of layers of the plot and the semantic context of the biblical evening. They continue to contact "Eternal History." Some embodies it in accordance with religious canons and classical approaches. Others, passing through the prism of subjective personal perception, consider the story of the evening as the vital problem of modern society, as a warning, as a drama of betrayal and sacrificial love. And others perceive the plot as an abstract reference point for their own self-expression. Watch, judge and choose - the viewer.
Natalia Tsarkakova. XX century
Maria Mitskevichius. XXVEK
Wednes Spencer. Last Supper XX Century
Gustav Van Forshin. XX century
Alexander Alekseev-Svinkin. XX century
Pharaoh Mirzoyan. XX century
Zurab Tsereteli. XX century
Ivan Akimov. XX century
The most significant canvas on the gospel plot among the masterpieces of Russian painting is undoubtedly the picture A. A. Ivanova "The phenomenon of Christ to the people". The painter gave the creation of this masterpiece twenty years of his life. He painted this work in the period from 1837 to 1857. The artist wrote more than 600 etudes and sketches of oil, many of which have the importance of independent works / "Branch", "Neapolitan Bay", etc. /
The plot of the picture itself tells about the appearance of Christ to the people at the time of the admission of Baptism from John the Baptist on the shores of Jordan. Ivanov leaves the simple illustration of the text. For him, the image of Christ is a revealed word, performed prophecy, indicating humanity to salvation and spiritual update. The basis of the collision is a collision of worldviews, the eternal problem of faith and challenging, the choice between tangible material well-being and an unacceptable, but transformative man of spiritual freedom (the figure of Mr. and a slave in the center of the picture). Recognizing the philosophical scale of this "plot of the world", the critic Vasily Stasov wrote: "Ivanov is one of the greatest personalities ever appeared on the light ..."
Christmas of Jesus Christ
"The Christmas of Jesus Christ was as follows: on the hollow of his mother of Mary with Joseph, before they were combined, it turned out that she had in the womb of the Holy Spirit.
Joseph, her husband, being righteous and not wanting to announce her, wanted to go secret secretly. But when he threw it, - Xie, angel of the Lord appeared in a dream and said: Joseph, the son of Davidov! Do not be afraid to take Maria, your wife, for it is born in it from the Holy Spirit; He will give birth to a son, and give him the name Jesus, for he will save his people from their sins "(c)
Victor Vasnetsov. Our Lady with a baby. 1885
Jacob drip. Our Lady. 1853g.
Peter Shamshin. Holy Family. 1858
Alexey Egorov. Holidays in Egypt. 1827
Sermon and wonders
"And when Jesus came to the house of the boss and saw the swirls and the people in confusion, told them: Go out, because the girl did not die, but sleeps. And laughed at him.
When the people were expelled, he, enjoying her hand over his hand and gazed. And there was a rumor about the ses along the whole of the land. "(C)
Ilya Repin. Resurrection of IAIR daughter. 1871
Vasily Polenov. Christ and sinner. 1888
Heinrich Semiradsky. Christ among Maternity and Mary. 1886
Mystery evening
"The Son of Human goes, as written about him, but the grief of the man who is indulging in that the son of the Son: it would be better to be born to this man"
Vasily Shebuyev. Last evening. 1838
Nikolai Ge. Last evening. 1883
Nikolai Ge. The exit of Christ with students with a secret evening in the Garden of Gethsemane. 1889
Praying about the Bow
"And leaving a little, fell on his face, prayed and said: my father! If possible, but the bowl of this booster will take me; however, not as I want, but like you ...
if there can not be a bowl of soaking me so that I do not drink it, you will be your will. "
Fedor Bruni. Praying about the bowl. Mid 1830x
Ivan Kramskaya. Christ in the desert. 1872
Court over Jesus
"Jesus became the ruler. And his ruler asked: Are you a king of Judean?
He told him in response: You say "(c)
Nikolai Ge. "What is the truth?" Christ and Pilate. 1890
Execution of Jesus Christ
"The ruler said: what kind of evil did he?
But they shouted even more: yes will be crucified "(c)
Karl Bromlov. Crucifixion 1838
"There were also watched many women who followed Jesus from Galilee, serving him" (c)
Mikhail Botkin. Wives, published looking at Calvary. 1867
Resurrection
"Angel, turning a speech to women said: Do not be afraid, for I know that you are looking for Jesus crucified; he is not here - he rose as he said" (c)
Alexander Ivanov. The phenomenon of Christ Mary Magdalene after the resurrection. 1835
"Eleven students went to Galileo, to the mountain, where Jesus commanded them, and having seen him, they bowed to him, and others doubted. And, approaching, Jesus told them: I am given to me every power in the sky and on earth. So, go and go and Teach all the peoples, the kreat of them in the name of the Father and the Son and the Holy Spirit, teach them to observe everything that I have commanded you; and this, I am with you all the days before the Location of the Century. Amen "
N.N. GE - portrait of the work of Nikolai Yaroshenko
Biography Nikolai G.
Ge Nikolai Nikolaevich. Years of life: 1831 - 1894
Historic painter, portraitist, landscape. Born in Voronezh in the noble family. He studied at the Mathematics Faculty of Kiev, then Petersburg University. In 1850, without graduating from the university course, entered the Academy of Arts, where his greatest interest was caused by the legacy of K.P. Brullov. The impact of the latter is very noticeable in the early works of the GE, in particular in the competitive program on a large gold medal, the ADDOR wizard causes the shadow of Samuel Saul from the Anestory Magician, 1856, MRM). The dramatic plot (the shadow of the Prophet Samuel predicts Saul death in the upcoming campaign), the dynamics of gestures and facial expressions of the heroes, the special sound of purple color and other features make you remember the author of the last day Pompeii with his romantic pathetic. In the 1850s, another tendency of artist's creativity was developed, which manifested in portraits. They prevailed realisticly discreet, concentrated approach to the model, lack of external, distracting moments in the interpretation of images ("Portrait of Father", 1854, KMRI; "Portrait Ya.P. Merkulova", 1855, timing, etc.). Having received the highest award of the Academy, he visited Germany and his wife, Switzerland, France and settled in Italy (1857). Here he worked on the plots from the history of ancient Rome ("Death of Virginia", sketches, 1857-1858, - GTG, GRM, KMR;, Love Vestniki, sketches - GTG, KRI). Then, not without influence A.A. .Ivanov, addressed the evangelical legends to express his ideas about the good and evil, about the moral problems of humanity. In a number of these works, a secret audio "(1863, TRM, reduced repetition of 1866 -GTG). The opposition of Christ and Judas, a tragedy of a person who predicts the betrayal of the student, but ready for self-sacrifice, make up the basis of a dramatic conflict. He is understandable by an artist not in canonical, religious, but in a moral and psychological plan. The picture had tremendous success in Russia. Advanced criticism paid her paramount attention, noted the deep interpretation of the traditional plot, understood by contemporaries in connection with the social problems of their era. The most profound analysis of the painting was given M.E. Saltykov-generous. It is significant that the reaction camp saw in the work invalid "materialism", the picture was forbidden to reproduce. After the demonstration of her in St. Petersburg, he returned to Florence. Here he has repeatedly met with A.I.Gsenov, who had a great importance in the spiritual life of the artist. Portrait of Herzen (1867, GTG, repetition of 1878 - CMER) - One of the best in the work of GE - was secretly brought by the artist to Russia. In Italy, portraits of I.Dodhanza (1868, GTG), M.A. Bakunina (GTG), "Portrait of an unknown in blue blouse" (1868, GTG) and others have written and many landscapes during these years. Upon returning to Russia (1869), the artist was among the organizers of the partnership of mobile art exhibitions. He got close to the advanced cultural figures, many of them portrayed (portraits: I. S. Turgenev, 1871, Art Gallery of Armenia; M. Saltykova-Shchedrin, 1872, GRM; N.Nekrasova, 1872, Ibid, Repetition - Hermitage, etc.). At the first mobile exhibition (1871), the picture of GE "Peter I interrogates Tsarevich Alexey Petrovich in Peterhof", at the same time acquired by P.M.Tretyakov (repeatedly repeated by the artist). The content of the picture, the simplicity of its deciduous decision amounted to a new word in the development of a realistic historical picture. In the 1870s, the Creative Crisis experienced, and about three years almost did not take for a brush (1876-1879). At that time, he settled on the farm in the Chernihiv province, there was a majority of his subsequent life. Since 1882, he became close to L.N. Tolstov and became a follower of his religious-moral teachings. The moral and philosophical and psychological problems, expressed in the images and plots of the Gospel, took a leading place in the work of the 780-1890s. To the most deep in content and innovative in the form belongs to the paintings "Christ and Nicodem" (about 1889, GTG), "What is the truth?" ("Christ and Pilate", 1890, GTG; Repetition in the Odessa Art Museum), "Calvary" (1893, not finished, GTG). In the last decade, the artist did not leave work and over the portrait, in particular, repeatedly addressed the image of L.N. Tolstoy. The review was published in the magazine "Contemporary", 1863, No. 11. In the composition of extensive literature on the life and work of N.N.G. It is necessary to allocate studies and publications of N. Yu. Zograya, in particular: N. N. Ge. Exhibition of works. Catalog. The author will join, articles and compiler N.Yu. Zograf. M., 1969; N.N.G. Letters, articles, criticism, memories of contemporaries. Join the article, comp. and notes. N.Yu.Zographer. M., 1978.
Source: http://www.bibliotekar.ru/kge/index.htm.
"Christ in the Gethsemane Garden." 1869. State Tretyakov Gallery, Moscow
"" What is the truth? ". Christ and Pilate. " On the gospel plot specified in the author's inscription in the picture (John 18:38). 1890g, canvas, oil. 233x171 cm State Tretyakov Gallery, Moscow
Gospel from John, ch. eighteen
37 Pilate told him: So are you king? Jesus answered: You say that I king. I was born and came to the world to testify to the truth; Anyone who is from the truth listening to my eyes.
38 Pilate told him: What is the truth? And, saying it, again came to the Jews and told them: I do not find any guilt in it.
"Last Supper". End of 1866, paper on canvas, oil. 43.6 x 58.5 cm State Tretyakov Gallery, Moscow 
"Calvary". On the gospel plot (Matt. 27: 33-38; John 19: 17-18) 1893g, Xolst, butter, 222,4 x 191.8 cm State Tretyakov Gallery, Moscow 
"Conscience. (Judas)". 1891. 
"The exit of Christ with students with a secret evening in the Gethsemane Garden", 1888 
"Return from the burial of Christ." Sketch of an unfulfilled picture. On the gospel plot (Lux. 23: 56) 1859, paper on cardboard, oil, 43 x 54.2 cm State Tretyakov Gallery, Moscow 
"Mary, Sister Lazari, meets Jesus Christ, going to her house." Sketch of an unfulfilled picture 1864g, Xalst, oil. 49x68,8 cm cm State Tretyakov Gallery, Moscow 
"Christ and the robber." 1893. 
"Christ in the synagogue" 
"Christ and Nicodemus." 1889. 
Introduction Evangelical Plots in Art
Empty of the Gospel: from illustrating to the author's interpretation of texts.
· "Jesus from Nazareth" J. Dzefirelli. Statement on the topic.
· "Gospel of Matthew" P.P. Pasolini. "I see so."
· "Last temptation of Christ" M. Scorsese. Copyright, too copyright.
· "Passion of Christ" M. Gibson. "So everything was ..."
Introduction
Evangelical plots in artwork phenomenon is quite frequent. "Art is a longing of ideal," this kind of activity was determined by Andrei Tarkovsky. Consequently, the creation of a work of art should be understood as the creation of an ideal image, the achievement of which is the meaning of life, and at the same time the tragedy of life, because the achievement of the ideal is impossible in itself. The meaning is concluded in the process. So, the concept of art is associated with the concept of ideal. First of all, with a person's ideal, as a carrier of high moral values. One of the first to create such an image tried Dostoevsky. "I want to create an image of a completely beautiful person," so it formulated his task on the pages of the diary, where the thoughts recorded about the work on the novel "Idiot". An example of the "absolutely beautiful person" for him was Jesus Christ, it was his features that the writer endowed the main hero of the novel. That is, in this case, there was a generalization of the qualities of one person and transfer to another, in another context, while maintaining an element of recognition. The cinema willingly used this way - one or another gospel plot was transferred to the conditions of the modern director of reality, thus setting the depth of perception of the work. Example: The film of the Scorsese "Taxi driver", where the features of Sodom and Gomorra are guessed behind the modern New York, and the initial hero is an angel carving retribution. But one thing is separate images, motifs and plots of the Gospel, and the other - work with all the text. The story of Jesus, set forth in the New Testament, has repeatedly become material for cinema. At the same time, only the director of the author's direction was taken for this material. The author's glance on the gospel sometimes entered the dispute with the original source, sometimes fully matched the letter of Scripture.
"Jesus from Nazareth" J. Dzefirelli. Outline on the topic
Dzefirelli in her picture clearly showed that I was technically imagined to portray the ideal, but in terms of the artistic result it is impracticable. The aim of the director who shot the film by the Catholic Church, apparently was to create a popular science presentation of the describing evangelical events. It seems that this is an option for those who are not yet familiar with the text of the New Testament, and after viewing it must be read. Dzfirelli painting is rather similar to a fairy tale. In the sense that the events depicted events and Jesus, as the main character of the narration, as if he had come down from the pages of the works of folklore. For these works, a complete idealization of the hero and the lack of explanations are so-called. Wonderful events. An explanation is not from the point of view of science or rational logic, but from the point of view of the laws of the genre. After all, a wonderful miracle is not a direct display of what happened, a generalized concepts are hidden. And in the film they are given precisely because it is written in the gospel. Following the letter, and not a meaning, was delivered to the chapter. Following this principle gave rise to averaged, conformal option suitable for all.
However, when considering the context of the appearance of the picture, many becomes clear. By the year of release, many films were created, where the main acting face is a certain hero with extraordinary abilities and helping people. These films had a sufficiently serious audience success, filmed largely with the involvement of special effects, they impressed the viewer. At the same time, no statement by the texts of the Gospel could compete with these films on such a criterion as a spectator success. And for the creators of the film "Jesus from Nazareth", it was this factor that is the film, and, therefore, and the hero should like everyone. Therefore, the authors went along the path of creating the image of Jesus, as an externally attractive hero, which has the abilities to help people, and when working on the image, achieved paintness and amazing epic. And, I must say, the authors have achieved their goal - according to the polls of the teleadia, the film liked everyone who looked at most of the audience, the positive image of Christ has developed. However, Dzefirelli director is not the last order, so he managed to fulfill the task and at the same time to withstand the balance between the symbolic, realistic and psychological approaches to the image.
"Gospel of Matthew" P.P. Pasolini. "I see so"
Pasolini, as a representative of the author's cinema, could go along the path of the simplest material. "I see so," the sacramental phrase attributed to people who are engaged in artistic creativity, used in the case of Pasolini's picture is no coincidence. The "Gospel of Matthew" of the Italian director was removed almost in a documentary manner, the viewer becomes almost an accomplice of events, and the camera becomes his (viewer) with eyes. Thus, this story is noticeable by modern man. Pasolini to the limit is saturated with a picture of various types of textured natural materials. Here is a stone, and wood, and fabrics - everything is absolutely real, the real, tangible, due to this achieves the effect of the reliability of what is happening. Even faces - Pasolini searched for people for a very minor role - amazed by texture, biography, lively life has been printed on these faces. All shooting was conducted on nature - initially planned Jordan, but Pasolini found more suitable in Tuscany. Searches for nature were subordinated to the only requirement - compliance with the plan of the director, according to which the story described in the Gospel should be transferred as really what is happening. Non-professional actors were invited to most of the roles, which, first of all, an element of recognition of the recognition by the actor, secondly, worked on the intention. Unprofessional is also invited to the role of Jesus, however, unlike all other characters, his face is modern. The documented reality of the picture penetrates other signs of modernity - a jazz composition sounds in one of the scenes. Pasolini offers us your version of events, while insisting on their reality. The latter is just the author's interpretation of gospel history. In his theoretical works, Pasolini said that the stylistic features, the manner of the presentation plays a key role in the understanding of the work. Jesus Pasolini is a revolutionary who went to death for his own beliefs, he did not renounce them, expecting that his victim will be a shocks in society, which will destroy the oldations of the books and Pharisees. The modern type of actor acting on Jesus, tells us that these shocks should occur in a modern director of the world. Pasolini adhered to prommunistal views and its anti-bourgeois moods are expressed in this film. In addition, Pasolini was a convinced atheist, the image of Christ he understood primarily as an image of a fighter for justice. Miracles, creative by Christ, Pasolini removes as something of granted. "This Gospel had to become a disruptive cry into the future, floundering in his own blindness of the bourgeoisie, which prefers his own end and in the final can only be obtained by the destruction of the anthropological, classical and religious essence of a person," the plan of Pasolini himself determined. Thus, Pasolini in the picture used the image of Christ to report its author's thoughts about the need to purify and update the Company into the modern era. However, the direction of the director is in the context of the evangelical history about the sacrifice of Christ in the name of the atonement of the sins of all mankind, therefore, it is important, in the presence of author's interpretation, the meaning of the text of the Scripture is not distorted.
"Last temptation of Christ" M. Scorsese. Copyright, too copyright.
Martin Scorsese dreamed of putting a film on the novel of the Greek writer Nikos Kazanzakis for fifteen years. In the exact sense, this is not an emptying of the Gospel, but the fact that the director took as a basis the interpretation of the biblical text is already indicative. In the novel, he attracted the interpretation of gospel history, as parables about the eternal rivalry in the man of earthly and divine. According to this version, the usual carpenter from Nazareth, called upon by God, is forced to carry all the purposes of his destination. The latest temptation for Jesus was the vision of the future life with Maria Magdalina in the event that he could avoid crucifixion on the cross. The company "Universal" with Syrridge allocated $ 7 million to the project, and then, provided that the next project will be thoroughly commercial. The lack of funds was felt in all - Barbara Hershi (Maria Magdaline) had to even make a tattoo independently. The picture caused indignation among Catholics and Orthodox - mainly due to the free image of Christ, then naked on the cross, then indulging lovers with Magdalina. However, there was no scandalous fame at this time, so the reaction of the church became a big blow to him. The epigraph to the film are the words of Nikos Kazanzakis: "The dual essence of Christ is the greatest thirst for a person to know God, thirst for so human and at the same time as inhuman ... Always was an incomprehensible secret for me. With early adolescence, my deepest suffering and the source of all my joys and flour was the incessant and merciless battle between the spirit and flesh ... ". It was not without inexplicable: at the time of the film, there were strange frames at the very end of the film, before the titers. They were not in the scenario, obviously, just the camera had failed.
Scorsese created a work, very freely interpreting the evangelical text. Therefore, in the first place, it is most likely to put the author's promise of the director, and not the meanings of the Gospel himself.
"Passion of Christ" M. Bearison. "So everything was ..."
"Yes, everything was it," this is this phrase after watching the film Pope, Roman Benedict XVI. And indeed, the reliability in the film Gibson comes to the limit bordering on naturalism.
In this film system, the American director and actor Mel Gibson tells about the events directly preceding the crucifixion of Christ. The film begins with the hethyman prayer, the appearance of the devil and his dialogue with the Savior and ends with the stage when the body of Jesus is removed from the cross. In the box office, the picture was demonstrated with subtitles (because the heroes speak on Aramaic and Latin), but despite this, the amount of cash receipses around the world amounted to a phenomenal figure for this kind of films - more than $ 600 million. Despite the fact that many theologians celebrated a significant discrepancy between the story of the tape with the Gospel, and critics are busting with scenes of cruelty, representatives of different denominations consider the film by the necessary and truthful. The executor of the leading role, James Cavizel, did not have to be extremely zealous to depict the physical torment of Christ - he really experienced pain. Gibson knew that he would need the best made in the world in the world to make the scenes of the beat and crucifixion as realistic as possible. For the filming of these episodes of Cavizel daily made for seven hours. From a multi-layer makeup, his body was covered with blisters, so he could not even sleep! The cross, which actor carried on Calvary, really weighed about 70 kg. Although the shooting took place in winter, James was dressed only in the lion's skin. He often gotten so cold that he could not move his lips, and he had to warm him. And during the scenes, Cavizel's definitions twice learned the "touch" of the whip to the nude flesh. If the first blow only piled it from his feet, then the second disguised the poor thing to the brush.
It would seem that such naturalism of the removable scenes may seem only a formal technique necessary to create a shocking effect. But why then this effect is needed? In my opinion, the reception is absolutely justified - Gibson at the expense of him, forces the viewer almost to physically feel the suffering moved by Christ, so that he (the audience) remembered at least for the film, what a conceptual series is behind the name of Jesus Christ. "Do not pronounce the name of the Lord, your God, in vain," the director is trying to bring such a simple thought to the viewer. But in our time, this commandment is almost more violated than all the others taken together. Thus, Gibson, created the author's work, revealing the essence of the Gospel, but not contrary to him, but developing one of the thoughts laid down in Scripture.
Conclusion
So what is the role of the author in the emission of the Gospel?. The paradox is that every copyright look destroys the foundation, comes into rivalry with the text, at the same time, the illustration reflects only the surface layer of the work. In the text of the Gospel, a powerful conceptual series was laid, which when setting only one - the most accurate disclosure, and not interpretation.
"Cinema is a trick, why make a trick in a square?" Thus said Bresson about the peculiarities of his profession. The gospel is an understanding of the meaning of life, why to present an understanding of understanding. First of all, it is necessary to try to reveal the most completely thoughts embedded in the text itself, avoiding the original interpretation. Otherwise, it turns out a work that has a very mediocre attitude towards the Gospel. And the most successful examples of the shields of the sacred text are found from those directors who subjugated their intention, the intent of the authors of the Gospel.
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