Science, transcendence and art in the light of Florenszkij's works at the turn of the XIXthXXth Centuries

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1 Zaválnij Bogdán: Science, transcendence and art in the light of Florenszkij's works at the turn of the XIXthXXth Centuries Booklet of Theses consultant: Dr. Fehér Márta DSc BME FTT Contents 1 Background of Research 1 2 Goals of Research 2 3 Theses 3 1 st Thesis: Changes in the natural science at the turn of the century 3 2 nd Thesis: Florenszkij geocentric world-structure rd Thesis: The interpretation of the Reverse Perspective th Thesis: The interpretation of Florenskij's Iconostasis on the basis of the idea-theory th Thesis: The natural philosophical and theological synthesis of the three works th Thesis: Florenszkij' cultural and sociological environment References 8 1

2 1 Background of Research This dissertation is about the works of Pavel Florenszkij ( ), a Russian theologian, philosopher and engineer. My basic goal is not just to view through his oeuvre, but to put into its social, cultural and scientic environment, and to explain these relations and the syntheses of these areas. It could have been achieved because Florenskij's works constitute an exceptional synthesis of a wide range of sciences and areas of reection. His researches are even today considered as fundamental in theology or even in plastic engineering [Mikl1996]; many disciplines base themselves on his works. Therefore it is not surprising that Florenskij was compared by his contemporaries to Pascal, Newton or even Leonardo. In my dissertation the emphasis is put on the following elds of his oeuvre: natural philosophy and theology. These are strongly linked to the arts, psychology and most importantly the scientic concepts of his age [Bow1988, Bug1898, Dalr2005, Dem1986, God2005, Gyim2008, Kand1923, Losz1988, Mach1885, Nagy2003, Neth2000, Poin1902, Pol1986, Taná2005, Uszp1930, Zemp2001]. This latter relationship is in the center of my thorough analysis. However the contemporary researches focus on the theological and philosophical aspects of Florenszkij's works [Boneckaja, Cher1988, Hor1999, Rea2007, Trub1998] even in these researches the mathematical and scientical background, is regarded as a prerequisite to a complete interpretation [Dem1995]. Despite of these until today has not been a complex analysis exploring this relationship ether in Russia or in the international academic world. The aim of this dissertation to partially ll this gap. The analysis is based on Florenszkij's three works: Imaginary Numbers in Geometry, Reverse Perspective and the Iconostasis [Flor1922a, Flor1919a, Flor1922b]. Although the relationship between these three works has been already pointed out by several researchers, such as Lena Silard [Szil1988, p ] [Szil1987] and Michael Hagemeister [Hag2006], there has not yet been written a complex analysis which would discus the mathematicalphysical context in details. 2 Goals of Research Two goals have been set writing my dissertation: on the one hand the research focuses on the system of connection linking dierent considerably distant areas of culture, such as science, art and religion. On the other hand I have tried to introduce Florenszkij's position interpreting the world. So expanding the boundaries of the research I attempt to explore the relationship between 2

3 Florenskij's world view and the social knowledge of his age in the light of the scientic changes at the beginning of the 20th Century. A central aim of the dissertation is to understand the scientic method, approach and theories applied by Florenskij. Furthermore, having interpreted his tree works I also would like to highlight and explain such dicult problems that can not be understood without a multi-disciplinary approach combining mathematical and physical knowledge of his age. Since these problems can be linked to Florenskij's theological, art-theoretical and philosophical works it is of real importance to explain them in the depth. The works chosen for the analysis are from completely dierent areas, the problems and scientic approaches in these works are either mathematical, art-theoretical or theological. Despite this fact these works are strongly linked and based on each other. As it is demonstrated in the dissertation they form a coherent conceptual structure. Without understanding this structure it is impossible to interpret understand in its depth Florenskij's probably most important work, the Iconostasis which among Florenksij's works has the most remarkable eect in cultural history. The key idea of this structure is the representation, the iconic image (îáðàç). Florenskij applies his results based on the mathematical theory of representation (projection) and its opportunities for the interpretation of the representational possibilities in art-theory and furthermore the so obtained results for the theological interpretation of the icons. My goal is to oer a detailed explanation the above outlined conceptual structure and furthermore to highlight how this structure is embedded into the scientic and philosophical views of the age. 3 Theses 1 st Thesis: My work is essentially based on some of the key changes at the turn of the 19th-20th centuries, that are clearly reected in Florenszkij's works to be analysed in the dissertation. I give an overview and explain these changes which tough are of primary importance but not exclusive. There had happened some thorough changes in the sciences at the turn of the 19th-20th Centuries. The key changes from the point of view of my dissertation have been chosen to be analysed. Fist, I explain how the changes of the space- and time perception and representation became central issues in the mathematics, in modern physics and in the metaphysical thinking [Boly1832] [Poin1905] [Ein1905a] [Dalr2005]. Second, I also reveal those aspects of Einstein's physics which result from these changes. Third, in the dissertation it is explained how the occult world-view examined by the psy- 3

4 chology, which is only indirectly linked to the physics has been inuenced by the above mentioned way of thinking. [Szék1990] [Kins2002] [Uszp1930] [Flor1915] [Gyim2008]. Furthermore, I discuss the way in which the observer and the interpretation of the observation reach a central role in the contemporary physics and other sciences [Mach1885] [Poin1902] [Flor1925a]. Finally, it is described how mathematics has changed its role in the physics at the turn of the century and how some physicist begun to interpret mathematics in a metaphysical way as it would play an ontological role in the mathematics [Luk1976] [Szék1996] [Szék2003] [Zav2009]. 2 nd Thesis: Florenszkij in his work Imaginary Numbers in Geometry de- nes the description of the world-structure which on the one hand is based on the achievements of the contemporary physics, on the other hand recalls the medieval-ptolemaic geocentric world-description. In this structure of the world Florendkij appoints the place of the Platonic ideas as well as God's place applying mathematical methods. In my analysis the structure of the world described by Florenskij is compared to the world-structure of Lorentz and that of Einstein. The physical background of these structures and their connection to the non-euclidean geometries are revealed, too [Ein1905a] [Min1909] [Jáno1963c] [Szék1990] [Stal1998]. As a consequence of the analysis it is stated that physics can not be regarded as a science in itself, since it describes the empirical observation in mathematical formulas with the help of the selected geometry. H. Poincaré has rst declared that this geometry can be chosen by the scientist and so physics can oer any prediction of the events of the empirical world only after having made this choice and applying the chosen mathematical background. Having considered the above mentioned the question occurs whether mathematics should be regarded as a simple tool without any extra meaning on its own (as the instrumentalist approach states) [Szab2004] or it reects the structure of the world (as the Platonic approach states). On the basis of these questions I examined the dierences between dierent physics, and whether this dierence is real or just formal. Florenskij has his own way in this regard. He looked for such a mathematical-physical structure that is able to embody the empirical religious experiences not taken into account by usual science. 4

5 3 rd Thesis: I analyse Florenszkij's work, the Reverse Perspective, which deals with the perspective representation and the historical background of the old Christian icons. Florenskij in this work contrasts the dierent ways of world-interpretation of the linear perspective of the Renaissance and that of the reverse perspective. In his point of view the essential goal of the artistic representation is to reveal the real world. Furthermore, he states that the essence of the Christian world-view in the middle ages is the double world. He puts an emphasis on the role of the perspective in this question [Anto2005] [Uºa1999]. In the late middle ages the reverse perspective was used on purpose in order to create the reality of the other-world in the person who is watching the picture. This same method is used at the turn of the 19th-20th centuries by the dierent avant-garde movements (like neoprimitivism, furutism, kubism) when the Newtonian space- and time-perception are doubted thanks to the new scientic results [Gomb1974] [Pan1927]. In Florenskij's opinion the goal of the visual arts is to create unity on the picture and also the unity of the geometrical, physical and physiological space [Flor1919a, p. 178.]. Florenskij states that in case of the Icons the reverse perspective makes it possible to achieve the above mentioned goals. So the reverse perspective is able to integrate even the theological space [Rau1980]. 4 th Thesis: The theological and icon-theoretical background of Florenskij's best known work the Iconostasis is analysed and its connection to Platon's idea-theory described. Based on the concept of "boundaries" interpreted in Florenskij's work (dream, face, Platon's cave-analogy, icon) I detailed explain how the philosophical-theological interpretation of the ideas "here" and "there" - here in the world, and there in the otherworld - is constructed. Florenskij applies special relativity's Lorentz contraction's consequences concerning the speed beyond the speed of light in his description of the otherworld. Thus the world of imaginaries is mathematically created [Pan2003]. Furthermore Florenskij in his work explains the background of the icon-interpretation using Plato's cave-analogy [Boneckaja] [Dam2001]. These are the funds on which Florenski's theological icon-interpretation is built [Uszp2003] [Bung1994]. Finally, I demonstrate how to interpret Florenskij's concept stating that the icon must be regarded as the theological testimony of God's exictence [Bung1994]. The icon is able to achieve a real, realistic representation of the exicente in the otherword and doing so testify God's exictence: Among all the philosophical testimonies the most convincing is the following: [... ] : since exists the icon of the Trinity by Andrei Rublev; therefore, God exists. [Flor1922b, p. 225.] 5

6 5 th Thesis: The dissertation demonstrated how the three works of Florenskij create a single, common structure and furthermore how the common interpretation contributes to the complex understanding of these works, and especially of the Ikonostasis. Despite the fact that Florenskij's three works that have been chosen for an analysis are from dierent disciplines, in fact they create a complex contextual structure on a specic level of interpretation. Since in these works The Platonic-Christian idea and Christ's hypostatic union are explained from natural philosophical, art-theoretical, art-historical and theological point of view that create the common basis for the interpretation of the icons [Boneckaja] [Bung1994] [Dam2001]. It has been emphasized that in Florenskij work Imaginary Numbers in Geometry the theory explaining the concept of imaginary becomes a question of psychology, art and world-interpretation on the basis of mathematical and cosmological theories. Florenskij interprets here the triple structure of the orthodox temple's space (the space of the believers, the line of the iconostasis, and the sacred place behind it) which is still manifested as a unity for a religious person. [Flor1922a, pp ]. And this interpretation must be identied as the link between the three works [Zav2006] [Zav2006] [Zav2007] [Zav2008]. Florenskij often recalls the Platonic theory of idea in his oeuvre and interprets the phenomena of the world as symbols. In all these cases the world interpretation is directly linked to the spatial structure where the idea oers the interpretation of an extra spatial dimension. This thought has rst appeared in his early work in 1904 [Flor1904d], than became fully explained in his work About the meaning of idealism in In this later work the 4th dimension became set parallel with the idea. In the analysed three works from the 1920's the conceptual structure is shaped which identies the 4th dimension as "image", "imagery function" and the "philosophical interpretation of representation". The reminder function of the Platonic theory of idea, and the Christian explanations based on it are the basis of the space full of meaning where representation becomes the reproduction of a direct physical experience in Florenskij's thoughts. After the results above Florenszkij, in 1922, prepared a release of his summarising works At the Watershed of Thought in which he planned to include the Reverse Perspective, but the volume could not be published in his life. The subtitle of the volume would be the Baselines of a Concrete Metaphysics ( åðòû êîíêðåòíîé ìåòàôèçèêè ), which shows exactly Florenszkij's attitude to describe the nature and the metaphysics on the same levels, using the specic results of scientic thought and empirical perception alongside, and using this approach to constitute a structure that describes the entire world. This approach is metaphysical, because it describes the world not on 6

7 pure scientic, but on a wider level, including theological and natural philosophical ways. And in the same time it is concrete, because following the Mach's approach he includes only empirical data (whether scientic, of art's or theological), and deals with it on the basis of science and mathematics. The late Edmund Husserl draws attention to the fact that the philosophy can not be the based on scepticism, but only taking into account the person itself can be a living, real science.[huss1998, p. 32.]. Florenszkij follows this way, and includes the icon painting, and the world described by the icon painting. Thus the icons are not merely relics of the old art, and not only religious devotional articles [... ] icons are the metaphysics of being - not abstract but concrete metaphysics. [Flor1922b, p. 268.] 6 th Thesis:The cultural and sociological environment in which Florenszkij lived and worked is described. The inuence of his oeuvre is also discussed. Furthermore, it is demonstrated how deeply Florenskij's thoughts are embedded into this socio-cultural environment. The strong connection between the mathematical, psychic, philosophical and artistic world-view in Moscow at the turn of the century is described [Bung1994] [Dem1986] [God2005] [Ivan1973] [Kand1923] [Pol1986] [Uszp1930] [Zav2004]. Analysing this relationship the link which connects Florenskij's works to the described environment becomes also presented. Explaining the eects of Florenskij's works the role they play in various scientic disciplines and arts is also emphasized [Abr1990] [Szil1988] [Szil1987] [Zav2002]. Works of A. Loszev, the Tartu school or A. Tarkovsky's are mentioned among others [Losz1988] [Lot1995] [Szal2002] [Zav2003] [Zav2004]. 7

8 References Works of Pavel Florenszkij: [Flor1922a] Ôëîðåíñêèé, Ïàâåë. Ìíèìîñòè â ãåîìåòðèè (Ðàñøèðåíèå îáëàñòè äâóõìåðíûõ îáðàçîâ ãåîìåòðèè / Îïûò íîâîãî èñòîëêîâàíèÿ ìíèìîñòåé). Ìîñêâà (1903., ) 1 [Flor1919a] Ôëîðåíñêèé, Ïàâåë. ½Îáðàòíàÿ ïåðñïåêòèâà. In Ñîáðàíèå ñî èíåíèé I. (Ñòàòüè ïî èñêóññòâó). Paris, pp (1919.) [Flor1922b] Ôëîðåíñêèé, Ïàâåë. ½Èêîíîñòàñ. In Ñîáðàíèå ñî èíåíèé I. (Ñòàòüè ïî èñêóññòâó). Paris, pp (1912, ) [Flor1904d] Ôëîðåíñêèé, [Flor1915] Ïàâåë. ½Ýìïèðåÿ è Ýìïèðèÿ. In Ïàâåë Ôëîðåíñêèé (Õðèñòèàíñòâî è êóëüòóðà). Ìîñêâà (1904) Ôëîðåíñêèé, Ïàâåë. Ñìûñëú èäåàëèçìà. Ñåðãiåâú Ïîñàä, [Flor1925a] Ôëîðåíñêèé, Ïàâåë. ½Àíàëèç Ïðîñòðàíñòâåííîñòè (è âðåìåíè) â õóäîæåñòâåííî-èçîáðàçèòåëüíûõ ïðîèçâåäåíèÿõ. In Ñîáðàíèå ñî èíåíèé (ñòàòüè è èññëåäîâàíèÿ ïî èñòîðèè è ôèëîñîôèè èñêóññòâà è àðõåîëîãèè). Ìîñêâà ( ) References: [Abr1990] [Anto2005] Àáðàãàì, Ïàâåë. ½Ïàâåë Ôëîðåíñêèé è Ìèõàèë Áóëãàêîâ. Ôèëîñîôñêèå íàóêè. 7, pp Antonova, Clemena and Kemp, Martin. Reverse Perspective: Hisorical Fallacies and an Alternative View. In The Visual Mind II, ed. Emmer, M. MIT Press, pp Munk ank t ort enelemtudom anyi jellege miatt z ar ojelben jelezz uk egy adott m u eredeti kiad asi vagy keletkez esi d atum at, es ezen d atummal hivatkozunk r a a t orzssz ovegben is. 8

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12 [Szal2002] Ñàëûíñêèé, Äìèòðèé. ½Êàíîí Òàðêîâñêîãî. Êèíîâåä åñêèå çàïèñêè. 56, kinozapiski.ru/article/502/ [Szék1990] [Szék1996] [Szék2003] [Stal1998] [Szil1988] [Szil1987] [Taná2005] Székely László. Einstein Kozmoszától a Fölfúvódó Világegyetemig. Budapest, Székely László. A világ keletkezésének eszméje az archaikus kultúrákban és a modern tudományban. In A teremtés. Áron, Székely László. A relativitáselmélet az európai gondolkodásés kultúratörténet kontextusában. In Tudomány megért módban (Hermeneutika és tudománylozóa. L'Harmattan, Staley, Richard. On the Histories of Relativity: The Propagation and Elaboration of Relativity Theory in Participant Histories in Germany, Isis. Vol. 89, No. 2 (Jun., 1998), pp Ñèëàðä, Ëåíà. ½Æàíðîâûå ïðîáëåìû ñèìâîëèñòè åñêîé ïðîçû (Ðîìàí è ìàòåìàòèêà). Hungaro-Slavica. Akad emiai kiad o, 1988., pp Ñèëàðä, Ëåíà. ½Àíäðåé Áåëûé è Ï. Ôëîðåíñçêèé (Ìíèìàÿ ãåîìåòðèÿ êàê âñòðå à íîâûõ êîíöåïöèé ïðîñòðàíñòâà ñ èñêóññòâîì). Studia Slavica Hungaricae. Vol. 33/1-4, pp Tanács János. Ami hiányzik Bolyai János Appendixéb l és ami nem. PhD értekezés, BMGE, [Trub1998] Òðóáà åâ, Àíäðîíèê. Òåîäèöåÿ è àíòðîïîäèöåÿ (â òâîð åñòâå ñâÿùåííèêà Ïàâëà Ôëîðåíñêîãî). Òîìñê, [Uszp1930] Óñïåíñêèé, Ïåòð. ½ åòâiðòîå èçìåðåíèå. In Íîâàÿ ìîäåëü âñåëåííîé. Ñàíêò-Ïåòåðáóðã ( books/uspen02/index.htm) (1929.) [Uszp2003] Uszpenszkij, Leonyid. Az ikon teológiája (az ortodox egyházban). Budapest, [U za1999] U zarevi c, Josip. ½Îáðàòíàÿ ïåðñïåêòèâà. Russian Literature. XLV (1999) pp

13 [Zemp2001] Zemplén Gábor Áron. An Eye for Optical Theory?. PhD dissertation, BMGE,

14 Publications on the Topics of the Theses: [Zav2002] Zaválnij Bogdán. Szövegköziségr l, nyelvr l, matematikáról és egyebekr l... (kísérlet Zamjatyin Mi cím regényének többszempontú elemzésére). OTDK, 2003 [Zav2003] Zaválnij Bogdán. A lm perspektívája (Tarkovszkij és az ikonfestészet). OTDK, 2003 [Zav2004] Zav alnij Bogd an. ½Òðàíñôîðìàöèè æàíðà íàó íîé ôàíòàñòèêè â êèíîêàðòèíå Ñòàëêåð Òàðêîâñêîãî ïðè ýêðàíèçàöèè ïîâåñòåé Ñòðóãàöêèõ. Stidia Russica. XXI. (Budapest, 2004.) pp [Zav2004] Zaválnij Bogdán. Florenszkij és a redukcionizmus. Makog (a Magyar Kognitív Társaság konferenciája) [Zav2006] Çàâàëüíûé, Áîãäàí. ½Ïðèíöèï îáðàòíîé ïåðñïåêòèâû â òåîðèè Ï. Ôëîðåíñêîãî è åå îòíîøåíèå ê íàó íîé êàðòèíå ìèðà åãî âðåìåíè. Studia Slavica Hungaricae. Vol. 51/3-4, pp [Zav2006] Zaválnij Bogdán. A fenomenológia orosz vonatkozásai: Pável Florenszkij ikonelmélete. a Magyar Fenomenológiai Egyesület konferenciája [Zav2007] Zaválnij Bogdán. A platóni ideák, ikonok és Einstein relativitáselmélete. Makog (a Magyar Kognitív Társaság konferenciája) [Zav2008] Zaválnij Bogdán. Pável Florenszkij teológiai, ikonelméleti és m vészettörténeti munkássága természettudományos és matematikai munkái tükrében. A magyar vallástudomány története (a Magyar Vallástudományi Társaság konferenciája) [Zav2009] Zaválnij Bogdán. The Ontology of Mathematics in the New Era of Physics. PIRT. Mathematics, Physics and Philosophy in the Interpretations of Relativity Theory II. Budapest 4-6 September

15 Other Publications: [Zav1997] Zaválnij Bogdán. A szláv és az angolszász irodalomtudományi megközelítés összehasonlítása az Annabel Leigh történet alapján (Nabokov: Lolita tipológiai megközelítés). OTDK [Zav2001] Zaválnij Bogdán. A gondolkodás (r)evoluciója. Makog (a Magyar Kognitív Társaság konferenciája) [Zav2001] Zaválnij Bogdán. A Sztalker morfológiája. OTDK [Zav2003] Zaválnij Bogdán. Tarkovszkij lmjeinek formanyelvér l. Semiosis: In memoriam Jurij Lotman. Emlékülés [Zav2008] [Han65] Béres Csaba Zoltán and Zaválnij Bogdán. Spatial Informatics Based Usage of Data Mining in egovernence. In International Conference of Territorial Intelligence Pécs (Hungary) May 29th 31st 2008 (Papers on Information, indicators and tool), ed. Zoltan Wilhelm and Csilla Filó. Pecs, pp Emlékkötet Han Anna 65. születésnapjára. ed. Egeres Katalin, Gyimesi Zsuzsanna, Iván Ildikó, Kutyina Olga, Trombitás Judit and Zaválnij Bogdán. under publication. Translations: [Flor1922a] [Flor1922b] [Gin2003] Florenszkij, Pável. Égi jelek (Gondolatok a színek szimbolikájáról). In Az orosz szimbolizmus és avangarde m vészete (m vészetkritikai szöveggy jtemény), ed. Han Anna. transl.: Zaválnij Bogdán. under publication. (1922.) Florenszkij, Pável. Az istentiszteletr l, mint a m vészetek szintézisér l. In Az orosz szimbolizmus és avangarde m vészete (m vészetkritikai szöveggy jtemény), ed. Han Anna. transl.: Zaválnij Bogdán. under publication. (1922.) Gingyinkin, Szemon. Történetek zikusokról és matematikusokról. transl.: Zaválnij Bogdán (2 chapters). TypoTEX,