The Christian Basis of the Symbolism of War in the National Culture of the First Half of the XX Century
N the Christian global picture, a man is created in God's likeness. In a single human personality, as in a mirror, two worlds are reflected: human and universal, nature and humanity. Overcoming the natural principle in a "natural" person by the power of reason, internal moral law, aesthetic, artistic activity is characteristic of the understanding of culture in European science until the end of the XX century. E. Trubetskoy distinguishes the juxtaposition of natural and cultural, animate and soulless, anthropomorphic and zoomorphic at the heart of the symbolic series of war. A similar view existed among Western European authors. J. Huizinga wrote that modern war had lost its place as an element of culture. Zoomorphic symbols of "strangers" are created by Soviet and folk art. The figurative series turned out to be in demand in the language of international relations. The definitions of war crimes and criminals in the diplomatic documents of the USSR are based on the opposition of the human and animal world. The second option of "dehumanizing" the enemy is its mechanistic representation. A classic example of an enemy - a machine or part of a technical tool was the image of the crusaders by S. Eisenstein. The iconic code of war, based on archetypal ideas, is the basic one for Russian culture and is reflected in Russian public thought, in Soviet state documents and artistic creativity of the early XX century.