| Annotation |
The relevance of the research is due to the problematic nature of the “marker” characteristics of a modern work of art as secular or sacred. Modern theoretical concepts emphasize the notions of meaning, truth in beauty, absolute image, prophecy as a source of inspiration, etc. The well-known Christian theologian Hans Küng offers the most general guidelines to find the sacred where the “question of meaning” is raised. Horst Schwebel, using the terminology of Rudolf Otto, expands the range of sacred art, which includes, by definition, common religious meanings. Philippe Sers in the evaluation of works of art uses the method of “spiritual discernment” and sees in the very roots of modernism a call for the search for “inner necessity”. As a result, the approaches of these researchers unite the subject of the study and the belief that the search for the sacred in art continues even during the crisis periods of its history. In parallel, there is an increase in the artistic circles of an explicit religious explanation often going beyond the “canonical” or “confessional” understanding of religion. This situation is close to the search for the “internal” in the early avant-garde and the description of their works by the artists in “secular” terms does not exclude the implicit religious component. Modernization of religious artistic images shows that in modern art, religion does not lock itself away and is not a means of achieving this or that artistic goal, but occupies the position of a necessary link for expressing universal meanings in the language of aesthetically meaningful images. |
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