P. P. Kamensky. The tomb of PI Tchaikovsky. Fragment, 1900s. Bronze, granite. Necropolis of masters of arts. St. Petersburg. Cemetery sculpture allegory and pathos
Cemetery sculpture allegory and pathos
From a city monument or from an ordinary memorial plaque, which has historical and documentary significance, the grave monument differs above all in a certain emotional mood. The artistic tombstone “enters into communication” with the person approaching it and requires from him a certain concentration. The intonation of the perception of the monument is usually individual and, as a rule, lyrical, intimate. This gives the monument a special force of influence, and creates around it an atmosphere of a peculiar mood that cleanses the soul. Noteworthy, talking about the departed, the monument always refers to the living.
In sculpture and memorial relief, there are often two indispensable allegorical images: Genius, the messenger of death, and the mourner. In the era of classicism, these figures were of importance to the all-European memorial symbol. They are replete with both Russian and Western ancient cemeteries. There are many variations of the image of the mourner, including the Russian, however, characterized by a peculiar characteristic. In the Moscow interpretation, it is usually far from the ancient images and, rather, reminds Russian girls of the early nineteenth century, slightly provincial, but very poetic.
In addition to the well-known arsenal of ancient allegories, both in Russian and in Western symbols formed their allegorical forms and images.
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