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Title of the article: |
ICONOGRAPHY AND SEMANTICS OF THE FEMALE IMAGE IN A. TARKOVSKY’S FILMS “NOSTALGIA” AND “SACRIFICE” |
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Author(s): |
Rita E. Tikhonova |
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Information about the author/authors |
Rita E. Tikhonova — PhD in Arts, Associate Professor, Tolyatti State University, Belorusskaia St., 14, 445020 Tolyatti, Russia. E-mail: m.tihonowa@mail.ru |
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Section |
History of Arts |
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Year |
2017 |
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Volume |
Vol. 46 |
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Pages |
Pp. 217-225 |
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Received |
August 14, 2017 |
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Date of publication |
December 15, 2017 |
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Index UDK |
778.5 |
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Index BBK |
85.374.3(2) |
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Abstract |
Artworks perform special artistic functions in the work of A. Tarkovsky. In all his films Director prefers two phenomena of the world of fine arts: painting of the European Renaissance and old Russian icon. These artistic traditions embody two different ideological systems, so their Association inevitably results in dialogue. Paper attempts to reveal the specifics of this sort of conversation as exemplified by the female portrayals, focusing on the films “Nostalgia” and “Sacrifice”. The image of interpreter Eugenie in “Nostalgia” brings to mind images of women by Botticelli, especially Venus. At the end of the film we see the reference to a Church fresco by Piero della Francesca “Madonna del Parto” resembling the heroine. External change is the evidence of internal changes. As indicated in the picture there are two faces of Love: sensual love- delight and maternal love-sacrifice. “Sacrifice” pursues comprehension of the dilemma “Venus — Madonna”. There is a new female character — maid Maria — which embodies the idea of sacrificial love. The author likens its iconography to Orthodox icon. By doing so the Director aims to underline the spiritual status of Love. With every film female images by Tarkovsky reveal a deeper connection with his philosophy of love and finding faith. Analysis of the iconography of female images lets us conclude: philosophy of Love and Beauty of Andrei Tarkovsky gradually developed from the ideals of Renaissance humanism moved towards more Christian world perception. |
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Keywords |
Iconography, cultural archetype, painting of the Renaissance, the ideology of humanism, orthodox iconography, Christian anthropology. |
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References |
1 Andrej Tarkovskij o kinoiskusstve. Interview[Andrei Tarkovsky on cinema. Interview]. Mir i fil'my Andreja Tarkovskogo [The world and films of Andrei Tarkovsky]. Moscow, Iskusstvo Publ., 1991. 398 p. (In Russian) 2 Ljovgren H. Leonardo da Vinchi i “Zhertvoprinoshenie” [Leonardo da Vinci and “The Sacrifice”]. Iskusstvo kino, 1992, no 6, pp. 55–60. (In Russian) 3 Petrochuk O. Sandro Bottichelli [Sandro Botticelli]. Moscow, Iskusstvo Publ., 1984. 221 p. (In Russian) 4 Romadin M. Tarkovskij i hudozhniki [Tarkovsky and artists]. Mir i fil'my Andreja Tarkovskogo [The world and films of Andrei Tarkovsky]. Moscow, Iskusstvo Publ., 1991. 398 p. (In Russian) 5 Tarkovskij A. Dlja celej lichnosti vysokih [For higher purposes of the person]. Media-arhiv “Andrej Tarkovskij”. 2008–2012 [Media archive “Andrei Tarkovsky” 6 Uspenskij L. Bogoslovie ikony Pravoslavnoj Cerkvi [The theology of icons of the Orthodox Church]. Moscow, Palomnik Publ., 2001. 474 p. (In Russian) |
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