DOSTOEVSKY AND THE WORLD LITERATURE IN THE ART OF VITALY LINITZKY-PAINTER
The article deals with phenomenon of V. Lynitzky - his field is graphic arts and painting; he declared himself in the USSR as a religious painter. His series of illustrations to “Poor Folk”, “White Nights”, “The Humiliated and Insulted”, “The Dream of a Ridiculous Man”, “The Brothers Karamazov” by Dostoevsky did not find the printing embodiment. Although they had been created several decades earlier and tested by time they are published recently in the separate edition (“Lynitzky-painter as illustrator of Dostoevsky”. Album. Moscow: Russkiy mir, 2017. The author-compiler Ponomareva G.B.). The article deals with on the whole complex research of works by Lynitzky as an illustrator. The range of his appeals to the well-known works of the world literature is very wide: Russia, The West, The East. The purpose of the article is an analysis of the works by Lynitzky, who solves a religious problem of art on the whole in the conditions of its complete secularization, broken connection with the religious cult, his spiritual works direct to the highest reality, open Divine presence and report about it in symbols and metaimages, especially in the connection with the conceptual pictorial interpretation of Dante and Dostoevsky, the painter grew up under the spiritual influence of the great writer. V. Lynitzky finds the pictorial equivalent for metaphysics of Dostoevsky: the invisible is given as visible. The author put emphasis on the ontology of the black and the white: they couldn't be simply colors, but they come into collision in spiritual and valuable depths, which could be discovered through the Bible (the Light and the darkness; John 8: 35, 12, 23). In the article is investigated how other phenomena of the world literature - N. Gogol, L. Andreyev, S. Zweig, Akutagawa - have addressed the painter to the depths of human life, when in the world, in Europe especially, in XX century there was the ideological and philosophical basement, given by Nietzsche: “The God is dead”. The images of the painter-illustrator were solved in the collision between the life and the death. In the article the new material is generalized, the author put it into scientific circulation for the first - the pictorial world of Lynitzky is not really understood. This work takes place on the boarding line - between science of literature and science of arts. The approach of the author may have interest for specialists in these two fields as minimum.