Canonical Conventions in Art History: "Metamorpheme" and Its Modalities

Abstract

This text continues the previous article [3, 4, 5], which deals with the issue of typology of art and characterizes the circumstances of the canonical conventions of the Middle Ages in the form of a metamorpheme, the New Age — an anthropomorpheme, a number of phenomena of the twentieth century — the subject of the canon. Morph and morpheme, as previous models of the Image of the World, turn either into a folklore tradition, or become subordinate taxonomic elements of new artistic and figurative systems. The metamorpheme is established from the period of the Abrahamic idea of monotheism, also monism and the Image of the World, which is recognized as the One not in authentic numerous and independent models, but as a common foundation of being that unites all peoples. In monotheism and monism, the idea of a plurality of mythological worlds is abolished, and the image of the referent changes accordingly — in one case it becomes the Personality of the Creator, and in the other, it becomes an extra-personal, extra-spatial and timeless "substance", defined in Buddhism by the category "nirvana". The former canonical structures do not disappear, but they are subordinated to the new laws of the objective and subject content of the Image of the World. The definition of the metamorpheme of the Middle Ages since the New Age corresponds to the modality — "anthropomorpheme" as the scientic center of the World View - a predicate in which a person is recognized as its intellectual center. In the future, this figurative line in the 20th century forms the basis of another modality — the "subject-canon", as a result of a daring attempt at the subconscious construction of the Image of the World, which now corresponds to the paradigmatic model of its presentation. Today, all canonical forms are present in the world artistic culture.

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