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TARKOVSKY AND CHRISTIANITY // ΠΡΑΞΗMΑ. Journal of Visual Semiotics. 2017. Issue 4 (14). P. 124-145

The article by Mikhail Semenovich Uvarov (1955–2013), offered to the attention of the reader, was previously published in the periodical “Solov’ev Studies” 2012. 3 (35). P. 16–28. We reproduce this text because of its significance for the visual semiotics of the cinema and for the continuation of the discussion about the art work of the famous Russian film director in our journal, and also as a sign of respect for the scientist and philosopher who recently left us. The article deals with the Christian aspects of Andrei Tarkovsky’s creative activity. The author considers the problems associated with interpretation of the ideas of the Christian and Orthodox theology in Tarkovsky’s films. The author outlines the challenges the Russian philosophy of art faces with in the context of the Tarkovsky’s creation activity. In the article the author revealed the specificity of the «Russian philosophy of art» conception. The questions about the religious motivation of Tarkovsky’s artistic method are discussed. The author analyzes the specific religious content of Tarkovsky’s films and controversial issues of his work. The aspects of Tarkovsky interpretation of “popular Christianity” in Russia are discussed. It is shown how religious motives in Tarkovsky’s films influenced to the contemporary Russian cinema. It is concluded that the films of Andrei Tarkovsky affect delicate strings of human soul that can awaken religious faith and great art. According to the author, Tarkovsky attained higher synthesis of human and Divine spheres, and it is Tarkovsky’s main contribution to the world art. A short essay on the life and philosophy of Professor M. S. Uvarov precedes his article.

Keywords: works of Andrei Tarkovsky, philosophy of art, religious art, religious philosophy, Divine, human, faith, Christianity, Orthodoxy, Catholicism, “Russian Golgotha”.