Полярная энтропия светоизображения в живописи белорусских художников рубежа ХХ–ХХI веков

Abstract

Light depicting techniques add to the «higher essence» of artistic works. In the case of «positive entropy» «higher essence» is aimed at the destruction of traditional values, «negative entropy» stores these values by transforming them according to the historical type of the current era. Тhe becoming of paradigm of light depicting techniques in pictorial art of Belarus during the 20-21st centuries led to the change in priorities. Whilst during the 20th century artists were mainly interested in light-and-shade plasticity and the problem of shape within the framework of realistic method; then, at the turn of the twenty-first century to the fore came the experiments in techniques and technologies, the aspects of light in pictorial art related to content and «higher essence». The depiction of light becomes a conscious purpose for many artists (I. Kosobuko, A. Zadorin, S. Rimashevskij, the group of «svetism (radiance)» artists G. Ivanov, G. Nesterov, V. Kostyuchenko et al.).