Bogomolovа Yuliana Yu.

The article is devoted to establishing and depicting the development of the scheme in the iconography of the Christian Saint Mary Magdalene, where she is depicted as a separate figure with her main attribute — an alabaster vessel. With the development of iconographic creativity in Christian art and the spread of the cult of this holy form, the plot composition is affected and independence is gained in cult art.

Particular attention is paid to the process of secularization in cult art, as a result of which the detached and "non-local" prayer images begin to form in realistic transformations that reveal a portrait resemblance to patterns. As a result, there is a change in artistic means, and with them the nature of the image, and its semantics. In this regard, the portraits of the masters of the Northern and Italian images of the Renaissance are studied, in which Mary Magdalene finally acquires a secular character and turns into an allegorical portrait, typologically comprehensive in such a close portrait genre as the "portrait of a beauty".

Through the analysis of the comparative composition, the composition between substances, types of images in accordance with their purpose, the manufacturer as a book miniature, an altar polyptych and an easel painting.

Research on the history of the medieval theater has been quite intensive in recent years, as evidenced by a number of recent monographs. Spectacle culture, both ecclesiastical and secular, is of interest in relation to the origins of European professional theater and the study of the social life of that time.

The active participation in such productions of the character of Mary Magdalene, the interest in which also does not decrease, especially in European studies, makes it possible to understand many of the processes characteristic of the areal spectacle by the example of the embodiment of her stage image. The surviving comments on the scenarios of urban mysteries and liturgical dramas, as well as the features of such actions reflected in the works of fine art, shed light on the specifics of the medieval worldview.

The article establishes the relationship and mutual influence of the staging of a religious drama and the compositional organization of the altar image on the example of the character of Mary Magdalene.

Among the gospel stories, the episode with the appearance of the resurrected Christ to Mary Magdalene took a special place, first in the liturgy, and then, in a logical manner, in the complex of accompanying artistic phenomena, which could be groupped under the concept of "the Bible for the illiterate". This exciting scene is found in narrative cycles in the temple scenery, staged in productions of liturgical dramas and urban mysteries, and with the development of easel painting it stands out as a separate plot, which received the Latin name "Noli me tangere" (Don't touch me!).

In Northern Renaissance painting, the iconography of the subject was enriched by a number of features that were consolidated and developed in the art of the 16th–17th centuries. In some works these features were expressed in unexpected forms.

This article presents the characteristic features of the visual interpretation of the plot "Noli me tangere", in particular the interpretation, of the images of Mary Magdalene and Jesus Christ in Netherlandish painting of the 15th–17th centuries, based on the regional traditions of Germany and the Netherlands.