Cultural-philosophic basements of temple art of Egypt

Cultural-philosophic and essential basements of Coptic (Egyptian) temple creation and historical suppositions of Egypt spiritual-artistic language are reviewed. The peculiarities of Monophysitism as of spiritual-artistic concept in the development of Coptic art are explained. The artistic peculiarities of Monophysitism confessions, Coptic, Ethiopian and Armenian churches are revealed. These peculiarities are in simplicity and archaic representation, and also in transformation of saints’ figures according to the principle of their perfection. The special symbolism of Coptic artistic and icon creation is presented, these are authentic portrayal of Christ, the Virgin Mary, Saints and Angels. The peculiarities of artistic-expressive language of Coptic icon-painting are analyzed, which are defined by dark background, laconic brevity and the simplicity of folds on clothes and the enlarged eyes form and decreased mouth form among saint people. The basic compositional peculiarities of Coptic icon-painting, which were formed before the present day are revealed. The basic positions of Coptic art are illustrated by modern reproductions of icons and pictures. The ancient Egyptian sources of plastic language of Coptic icon-painting are defined. The attention is paid to artistic monuments of Christian monastery of Anthony the Great. Christian relics of the most ancient Orthodox monastery of Saint Katherine in Mount Sinai are considered. The basic conclusions and reviews are made.

Coptic art, First Christian art, Transfiguration of Jesus, basilica temple building, Middle-Byzantine period in fine art, six-winged seraphs, Eastern-Christian churches, Monophysitism churches, Egyptian studies, sculptural portrayal, plane portrayal, silhouette, architectonics, icon composition, icon-painted canon, artistic expression, icon-painted symbol, iconic image