A CHROMATIC INTERPRETATION OF ICONIC CODES IN THE PAINTINGS OF TATYANA APRAKSINA

Abstract

The authors have made an attempt, relevant for the phenomenon of the “iconic turn,” to present and substantiate the linguistic possibilities of interpreting iconic thought, using the paintings of Tatyana Apraksina as an example. The correlation between the conscious and unconscious predicates of fine art leads to an analysis of the concept of image. It is shown that consciousness is necessarily selective and partial, while the images of the unconsciousness include a wealth of unconscious information from the external environment and can be materialized, by sublimation, in the color medium of paintings.

Chromatic analysis of color semantics by gender (psychological gender) shows significant differences for feminine and masculine intelligence, with even more pronounced differentiation for the normal and extreme conditions of a woman artist. In creativity, the normative aspect of her femininity, due to a "transcendental transition" to an extreme state, proves less significant than the sublimating function of the unconsciousness.

This is consistent with a universally recognized characteristic of artistic genius, which requires a constant carrying of ideal-plan images in the artist's feminine plan of consciousness, only after which true ideas are born; accordingly, namely masculine women, along with feminine men, have managed to reach transcendent heights of true creativity.

Chromatic analysis of the artist’s paintings shows a harmonious combination of predicates of both sexes in images, whose icons change depending on boundary conditions, so that the artist's whole intellectual embodiment and experience of the spirit of her time emerges as a predicate and ideal in a sublimated combination of matter and spirit. This particular ordering of priorities may contribute to fruitful developments for art.

Key-words: Tatyana Apraksina, painting, color, icon, chromatism, consciousness and unconsciousness.