Centaur’s Rib: The Theme of Kitovras in the Visual Structure of Russian Urban Space
- S. S. Avanesov Yaroslav-the-Wise Novgorod State University https://orcid.org/0000-0002-1081-4871
Abstract
The article provides a semantic analysis of the theme of kitovras (centaur) in Russian medieval fine art. The author argues that in the system of relief decorations of Russian medieval cathedrals in Vladimir, the centaur is associated with the Jerusalemite kings David and Solomon and serves to accentuate the theme of a wise and righteous ruler. The study of kitovras images in Russian medieval art, traces the origins of this character back to apocryphal literature or even further to ancient mythology, Talmudic tradition and biblical narratives, which merged into a ‘Russian centaur’. The earliest kitovras images are found in Novgorod region in the 11th century. The typology of centaur images in Rus’, as well as the study of possible contexts for the use of these images in church decoration and in everyday life, make it possible to systematize the semantic and axiological connotations evoked by this figure of a man-beast. These connotations are associated with the ideas of (1) natural savagery, (2) demonic character, (3) duplicity, (4) wisdom, (5) architectural skills, (6) moral perfection, (7) saving pedagogy, (8) protection from evil and, finally, (9) religiously sanctioned authority. Since all these connotations are associated with the same character, the kitovras should be understood as a polyvalent symbol that reveals to viewers one or another of its aspects depending on a viewer’s semiotic code and on the visual and narrative contexts in which it is integrated. Russian churches open their facades into the surrounding urban environment and thereby saturate it with certain meanings, conveyed both by the outline of the churches and by their exterior decoration. Any figure, any scene and any character represented on external surfaces of the churches directly contributes to the semantics of the urban space, to its ideological and cultural program, and functions as a means of informing both confessional and local identity. Such is also the function of kitovras images in the semantic structure of traditional Russian cities.
Author Biography
DOI: https://doi.org/10.34680/vistheo-2023-5-2-208-264
Sergey S. Avanesov
Yaroslav-the-Wise Novgorod State University,
Veliky Novgorod, Russia
iskiteam@yandex.ru
ORCID: https://orcid.org/0000-0002-1081-4871
Abstract
The article provides a semantic analysis of the theme of kitovras (centaur) in Russian medieval fine art. The author argues that
in the system of relief decorations of Russian medieval cathedrals
in Vladimir, the centaur is associated with the Jerusalemite kings David and Solomon and serves to accentuate the theme of a wise and righteous ruler. The study of kitovras images in Russian medieval art, traces the origins of this character back to apocryphal literature or even further to ancient mythology, Talmudic tradition and biblical narratives, which merged into a ‘Russian centaur’.
The earliest kitovras images are found in Novgorod region in
the 11th century. The typology of centaur images in Rus’, as well as the study of possible contexts for the use of these images in church decoration and in everyday life, make it possible to systematize
the semantic and axiological connotations evoked by this figure
of a man-beast. These connotations are associated with the ideas of (1) natural savagery, (2) demonic character, (3) duplicity, (4) wisdom, (5) architectural skills, (6) moral perfection, (7) saving pedagogy,
(8) protection from evil and, finally, (9) religiously sanctioned authority. Since all these connotations are associated with the same character, the kitovras should be understood as a polyvalent symbol that reveals to viewers one or another of its aspects depending on
a viewer’s semiotic code and on the visual and narrative contexts
in which it is integrated. Russian churches open their facades into the surrounding urban environment and thereby saturate it with certain meanings, conveyed both by the outline of the churches and by their exterior decoration. Any figure, any scene and any character represented on external surfaces of the churches directly contributes to the semantics of the urban space, to its ideological and cultural program, and functions as a means of informing both confessional and local identity. Such is also the function of kitovras images in the semantic structure of traditional Russian cities.
Keywords: Russian city, urban space, visual environment, cultural code, Christian architecture, Christian art, Jerusalem, centaur, apocrypha, symbol
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About author
Sergey S. Avanesov
Dr. Sci. (Philosophy), Professor,
Director of the Research and Educational Centre
for Humanitarian Urbanistics
Yaroslav-the-Wise Novgorod State University
41, Bolshaya Sankt-Peterburgskaya ul., Veliky Novgorod, 173003, Russian Federation
E-mail: iskiteam@yandex.ru
For citation:
Avanesov S. S. Centaur’s rib: The theme of kitovras in the visual structure of Russian urban space. Journal of Visual Theology. 2023. Vol. 5. 2. Pp. 208–264. https://doi.org/10.34680/vistheo-2023-5-2-208-264
