ICONIC IMAGE AS A MODEL FOR BUILDING A NEW REALITY

Abstract

The purpose of the work is to reveal the peculiarities of the sacred origins of the forming validity of the artistic model in the specifics of the iconicity of the forms of its presentation. The methodological basis consists of general scientific methods: analysis, synthesis, comparative, historical-descriptive, intellectual-biographical, deductiveinductive research, and others, as we find in the leading art historians-culturalists of Ukraine – in the persons of O. Markova, A. Sokolova, O. Tarasenko, in the philosophical and cultural generalizations of R. Barta, V. Vernadskyi, in the religious works of E. Durkheim, M. Eliade. The scientific novelty is laid by the selection of the sacred origins of artistic and para-artistic spheres as forms of organizing creative activity aimed at creating iconic models of culture that transform realities, performing the functions of models that generate a new reality. Conclusions. Iconicity directed painting and classical imagery, starting with the images of Renaissance Madonnas, however, moving away as far as possible from the canonical-religious factor concentrated in symbolism. The avant-garde refuses in the visual art sphere from “imitation of life”, relying on the root formation of imagery in the Orthodox icon, which preserved and preserves a symbolic non-life-imitating meaning, which is aimed at the self-discovery of that Perfection in oneself, identified with the merits of the person of the Future and which is evoked by artists’ appeals to church symbols in their works and the conditions of presentation of the latter. Symbolic imagery in the paintings of avant-garde artists, it became a “generative model” for the thinking actions of “awareness”, which marked the existence of our days, and the future for the work of avant-garde artists of the beginning of the last century.