Abstract

Viacheslav Ivanov sought a religious account of art and being that would avoid the dangers of pantheism and agnostic immanentism. Ivanov's efforts to meet this challenge can be viewed as an "overcoming of Romanticism" insofar as his initial position resembles that of the German and English Romantics. Our analyses of Ivanov's artistic and theoretical texts elucidate his Romantic dilemma and its resolution. ;Between 1903 and 1919 Ivanov's thought presents three phases. First, Ivanov promoted an ecstatic creativity rooted in the "non-acceptance" of the world of forms. This "theomachy" was followed by a "theurgical" aesthetics that, while affirming a transcendent world of forms, either negated the immanent world or else conflated the two in pantheism. Finally, by placing man as a palpable and autotelic reality at the center of his worldview, Ivanov achieved a positive vision of finitude without encroaching on the integrity of the infinite. ;In Ivanov's poetry this final stage is represented by the image of the "tender mystery." This image is also key to understanding Ivanov's longer artistic works. Prometheus expresses the tension between ecstatic creativity and the need for continuity in spiritual labors. Infancy relates Ivanov's sense of ancestral culpability. The Tale of Svetomir-Tsarevich reinterprets and redirects Russian culture by reprising the past and elucidating its moral imperative. The Roman Diary surveys all of the major themes of Ivanov's oeuvre in a many-layered historical chronology. In his longer works Ivanov reads his own life in the universal spiritual-historical continuum, turning autobiography into an epic narrative. ;Ivanov's anthropological vision is personalist, existentialist, and hermeneutic. Reconceiving Ivanov's aesthetics as a hermeneutic illuminates Ivanov's "overcoming" of Romanticism and also Ivanov's relevance. First, Ivanov's hermeneutic, distinguished by a religious-tragic understanding of all cultural events, points to particular similarities and differences between modern intellectual trends in Russia and the West. Second, Ivanov creates a new field---Russian cultural hermeneutics, which articulates the moral imperative of living tradition, understood as a mediated representation of transcendent reality. Third, his hermeneutic theory provides a creative solution for the problems engendered by theomachic and theurgical aesthetics in Orthodox theology