Optical Modes of Exposure of Monuments of Christian Culture
The topic of the article touches on the actual problem of the perception of icons in the museum space. The comparison of an exhibition with a temple in the history of exhibiting a cult object is the most frequent and seems to be the most correct. The secular chronology of the presentation of the cult artifact is not limited to the demonstration of the icon, it covers a wider range of displays of magical objects in order to come to an understanding of historical, archaeological, collectible, custodial, artistic-stylistic and other connotations of the creation and existence of the antiquity of different eras and societies. And yet, for the Russian viewer, the question of the history of the demonstration of Christian art objects has been and remains one of the unresolved and acutely discussed in connection with the dynamics of the state system itself for centuries. One of the main discoveries of the twentieth century in the field of icon display is the receptive model of actualization of artistic experience. Based on this idea, the focus of receptive museum practice. The problem of the icon's existence as a result of communication between the artist and the viewer was raised in practice. An iconographer or a master of a cult work creates and reveals the depth of reading of the work created by him not in a plot perspective, but through the interpretation of the pictorial scene by figurative and plastic means, working with iconic reality, "speaks" to the viewer with images in the language of a symbol and a parable. The perception space is interpreted as a "meeting" of the image and the recipient, in the interaction of which a living work of art arises and is realized. Correctly and skillfully selected optical modes, ordering and regulation of the viewer's emotional and sensory sphere, light-constructive environment, museum design are good for the success of such a meeting.