«ОБРАЗ БЛУЖДАЕТ НА ЧУЖБИНЕ»: СИКСТИНСКАЯ МАДОННА В РУССКОЙ КУЛЬТУРЕ XX В

Abstract

В статье епереыерассматриеается восприятие «Сикстинской Мадонны» Рафаэля (1512-1513) деятелями русской культуры середины XX е., связанное с событиями перемещения и реституции картин Дрезденской галереи в 1945-1955 гг. Выставка картин Дрезденской галереи в ГМИИ им. А. С. Пушкина, проходившая весной летом 1955 г., интерпретируется как одно из первых свидетельств начинающейся либерализации культурной жизни в постсталинскую эпоху. На материале литературного творчества и переписки Л. Волынского, В. Гроссмана, В. Шаламова производится сопоставление опыта восприятия универсальных культурных ценностей поколением, пережившим сталинские репрессии и Вторую мировую войну, и деятелями культуры XIX началаХХ в. ; Exhibition of displaced and returned to Germany paintings of the Dresden Gallery in the Pushkin Museum, which opened on the eve of the Victory decades May 2, 1955, caused an extraordinary resonance among the wider population that demonstrated a significant social need in an address to the universal cultural values in the postwar era. Against this historical background has revived debate about the "Sistine Madonna", which led the Russian intellectuals XIX-early twentieth century, from the V. Zhukovsky, F. Dostoevsky to V. Ro-zanov and S. Bulgakov. In the new conditions of the continuation of steel reflections V. Grossman and V. Shalamova where the tragic experience of war and repression of the twentieth century faced with forms ekphrasis "Sistine Madonna" develop national culture. Direct search party paintings of the Dresden Gallery in May 1945 L. Rabinovich (pen name L. Volynsky) after the exhibition in the Pushkin Museum was able to publicize his story in the novel "Seven Days" (1956). V. Grossman in his essay "The Sistine Madonna" (1955) sees a work within the tradition of Raphael, scheduled F. Dostoevsky, as the experience of sacrifice and suffering, enduring question in the field of ethical issues. Rethink their perception of Raphael and his own military experience, Grossman commensurate with the image of the victims of Nazi concentration camps, as well as victims of Soviet history collectivization and political repressions. V. Shalamov, whose fate was marked by the tragic experience of Stalin's camps, despite the prejudice to the prevailing narrative traditions, and to his own surprise, was deeply shaken by the meeting with the "Sistine Madonna". The visual experience of the writer enters into a dialogue with the perception of the painting by V. Zhukovsky as a unique work of art, the essence of which can not be reproducing, and on the level of its symbolic perception. At the same time the experience of V. Sha-lamov is the answer to the question of T. Adorno about the possible existence of humanitarian action "after Auschwitz".