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Pavel Florensky

Павел Александрович Флоренский

1882 – 1937Persona storicamente documentata

Sacerdote ortodosso, teologo, filosofo, matematico e ingegnere russo (1882-1937), spesso chiamato «il Leonardo russo». La sua «La colonna e il fondamento della verità» (1914) rinnovò la teologia ortodossa con una sofiologia e una teoria dell'antinomia; «L'iconostasi» e «La prospettiva rovesciata» fondarono una filosofia dell'icona. Lavorò in tonaca all'elettrificazione sovietica, fu deportato nel Gulag nel 1933, scrisse ai figli dalle Solovki e fu fucilato dall'NKVD l'8 dicembre 1937.

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«Filósofos»: Florenski y Bulgákov, por Mijaíl Nésterov

«Filósofos»: Florenski y Bulgákov, por Mijaíl Nésterov · Public domain

Con le sue parole

«Living religious experience as the sole legitimate way of knowing dogmas.»

«Столп и утверждение истины» (1914), «К читателю», primera frase: así resume el autor la intención de todo el libro.

La sua idea centrale

Antinomy: For Florensky religious truth is antinomic: it can be stated only through pairs of contradictory propositions, equally true, which discursive reason cannot reconcile.

Biografia

5 min di lettura

Traduzione assistita dall'originale spagnolo, in attesa di revisione da parte di un traduttore madrelingua.

Un bambino del Caucaso

Pavel Aleksandrovič Florenskij nacque il 21 gennaio 1882 (il 9 secondo il calendario giuliano) a Evlach, nell'odierno Azerbaigian, dove il padre, Aleksandr Ivanovič, ingegnere di famiglia ecclesiastica ma lontano dalla Chiesa, lavorava alla costruzione della ferrovia transcaucasica. La madre, Ol'ga (Salomè) Pavlovna Saparova, proveniva da un'antica famiglia armena del Karabakh. Primo di sette figli, crebbe tra Tiflis e Batumi, in una casa colta e religiosamente indifferente. Lui stesso avrebbe raccontato in «Ai miei figli» che da bambino viveva in un «eden» di fenomeni naturali — il mare, le pietre, le piante — e che Goethe fu il suo nutrimento intellettuale prima di qualsiasi filosofo.

Matematico a Mosca

Nel 1900 terminò il ginnasio al Secondo Ginnasio di Tiflis ed entrò alla Facoltà di fisica e matematica dell'Università di Mosca. Lì si formò con Nikolaj Bugaev, strinse amicizia con Andrej Belyj e, tramite lui, con Brjusov, Bal'mont, i Merežkovskij e Blok, e pubblicò su «Novyj put'» e «Vesy» saggi come «Sui simboli dell'infinito» (1904), dedicato alla teoria degli insiemi di Cantor. In quegli anni fu attratto da Vladimir Solov'ëv e dall'archimandrita Serapion (Maškin). Nel 1904 si laureò con il massimo dei voti ma, invece di intraprendere una carriera scientifica, entrò con la benedizione del vescovo Antonij (Florensov) nell'Accademia teologica di Mosca, a Sergiev Posad.

L'Accademia teologica

Nel marzo 1906, ancora studente, pronunciò nella chiesa dell'Accademia un sermone contro la pena di morte, «Il grido del sangue», che fu stampato senza passare per la censura; venne arrestato e trascorse un breve periodo in carcere. Terminò gli studi nel 1908 e rimase all'Accademia come docente di storia della filosofia. Nel 1910 sposò Anna Michajlovna Giacintova, da cui ebbe cinque figli — Vasilij, Kirill, Ol'ga, Michail e Marija —, e nel 1911 fu ordinato sacerdote. Dal 1912 al 1917 diresse la rivista dell'Accademia, «Bogoslovskij vestnik», e prestò servizio come cappellano nella chiesa dell'ospizio della Croce Rossa di Sergiev Posad.

La colonna e il fondamento della verità

Nel 1914 pubblicò, ampliata, l'opera iniziata da studente: «La colonna e il fondamento della verità. Saggio di teodicea ortodossa in dodici lettere». Scritta in forma di carteggio con un amico, mescola teologia, matematica, filologia, storia dell'arte ed esperienza mistica. Sostiene che la verità non si dimostra ma si vive nella Chiesa, che il dogma è antinomico — può essere enunciato soltanto in tesi contrarie che la ragione non riconcilia — e che la Sapienza divina, Sofia, è la radice della creazione. Il libro, premiato dall'Accademia, affascinò gli uni e scandalizzò gli altri: Berdjaev lo definì «ortodossia stilizzata».

Un'ombra: il caso Bejlis

In quegli stessi anni Florenskij lasciò scritti che i suoi ammiratori preferiscono dimenticare. Durante il processo del 1913 contro Menachem Bejlis, un ebreo di Kiev falsamente accusato di omicidio rituale, inviò a Vasilij Rozanov due articoli anonimi in cui dava per vera l'accusa; Rozanov li pubblicò in appendice al suo libro sul rapporto degli ebrei con il sangue. La critica vi ha visto il passaggio da un antigiudaismo cristiano a un antisemitismo di tipo razziale.

Rivoluzione, icone e prospettiva

Accolse la rivoluzione come un'apocalisse e inclinò verso una monarchia teocratica, ma non emigrò. Dal 1918 al 1920 fu segretario scientifico della Commissione per la tutela dei monumenti della Lavra della Trinità di San Sergio, ne catalogò le icone e si batté perché il monastero non diventasse un «museo morto». Scrisse allora i suoi testi sul culto e sull'arte: «La prospettiva rovesciata» (1919), dove spiega la prospettiva dell'icona come un altro modo di rappresentare uno spazio spirituale, e «L'iconostasi» (1922), secondo cui l'icona è una finestra e l'iconostasi il confine tra il mondo visibile e quello invisibile.

Il sacerdote ingegnere

Dal 1919 lavorò come scienziato al servizio dello Stato sovietico, senza mai togliersi la tonaca: nella fabbrica di materie plastiche Karbolit, nel dipartimento di scienza dei materiali del Glavenergo e nel piano di elettrificazione GOELRO. Scrisse una monografia sui dielettrici (1924), brevettò invenzioni, insegnò dal 1921 al 1927 nei laboratori d'arte VChUTEMAS e fu tra i redattori dell'«Enciclopedia tecnica», per la quale scrisse circa centocinquanta voci. Nel 1922 pubblicò «Gli immaginari in geometria», che, appoggiandosi a Dante e alla relatività, difendeva una cosmologia geocentrica e fu attaccato come oscurantista.

La Siberia e le Solovki

Nel 1928 fu confinato a Nižnij Novgorod; grazie a Ekaterina Peškova poté tornare e gli fu offerto di emigrare a Praga, ma preferì restare. Il 26 febbraio 1933 fu arrestato nell'ambito di un'inchiesta montata contro una presunta organizzazione controrivoluzionaria e, il 26 luglio, condannato a dieci anni di campo di lavoro. Passò per il lager di Svobodnyj, nell'Estremo Oriente, e per la stazione sperimentale del permafrost di Skovorodino, e nell'autunno del 1934 fu trasferito alle isole Solovki, dove studiò l'estrazione dello iodio e dell'agar-agar dalle alghe. Da lì scrisse alla moglie, alla madre e ai figli più di un centinaio di lettere colme di scienza, poesia e tenerezza.

L'8 dicembre 1937

Il 25 novembre 1937, durante il Grande Terrore, una trojka dell'NKVD della regione di Leningrado lo condannò a morte. L'8 dicembre fu fucilato insieme ad altri detenuti trasferiti dalle Solovki; il luogo dell'esecuzione e della fossa non è stato stabilito, e si ipotizzano Levašovo e altri poligoni nei dintorni di Leningrado. Per anni alla famiglia fu comunicata una falsa data di morte, il 15 dicembre 1943. I documenti del fascicolo, conservati negli archivi degli organi di sicurezza e aperti dopo la perestrojka, accertarono la sentenza e la data dell'esecuzione. Fu riabilitato nel 1958 e nel 1959.

Eredità

Florenskij fu riscoperto negli anni Sessanta e Settanta, quando la rivista del Patriarcato di Mosca cominciò a pubblicarne gli inediti, e la sua opera completa è stata pubblicata in Russia a partire dal 1994. La sua teoria della prospettiva rovesciata e la sua filosofia dell'icona hanno influito sulla storia dell'arte e sulla semiotica, e la sua sintesi di scienza e fede ne ha fatto un simbolo dell'intelligencija religiosa distrutta dal regime sovietico. Il nipote, l'igumeno Andronik (Trubačëv), ne ha curato le opere e ha fondato il museo a lui intitolato a Sergiev Posad.

Fonti: Pyman, Avril. Pavel Florensky: A Quiet Genius. The Tragic and Extraordinary Life of Russia's Unknown da Vinci. Nueva York y Londres: Continuum, 2010. · Florenski, P. A. Столп и утверждение истины. Опыт православной феодицеи в двенадцати письмах [La columna y el fundamento de la verdad]. Moscú: Put, 1914. Texto en Azbuka. · Florenski, P. A. Иконостас [El iconostasio] (1922). Богословские труды, n.º 9 (1972), pp. 83–148. Texto en Azbuka. · Florenski, P. A. Письма с Соловков [Cartas desde las Solovkí], en Сочинения в 4 томах, t. 4: Письма с Дальнего Востока и Соловков, ed. igumeno Andronik (Trubachov) et al. Moscú: Mysl, 1998, pp. 139–781. Texto en Azbuka. · Florenski, P. A. Детям моим. Воспоминания прошлых дней [A mis hijos. Recuerdos de días pasados] (1916–1926). Moscú: Moskovski rabochi, 1992. Texto en Azbuka.

Cronologia

La vita, anno per anno

Ogni punto è un evento documentato. Fai clic per leggerlo, con la sua fonte e il suo grado di certezza.

  1. 21 gennaio 1882 · 0 anni

    Birth

    Born (9 January Old Style), the first of seven children of the railway engineer Alexander Florensky and Olga Saparova.

    Documentato

  2. 1900 · 18 anni

    Moscow University

    Finishes at the Second Tiflis Gymnasium and enters Physics and Mathematics at Moscow University.

    Documentato

  3. 1904 · 22 anni

    From mathematics to theology

    Graduates with a first-class diploma and, with Bishop Antony (Florensov)'s blessing, enters the Moscow Theological Academy. Publishes 'On the Symbols of Infinity'.

    Documentato

  4. marzo 1906 · 24 anni

    'The Cry of Blood'

    His sermon against the death penalty, printed without censorship, leads to his arrest and a short spell in prison.

    Probabile

  5. 1908 · 26 anni

    Academy lecturer

    Completes his studies and begins teaching the history of philosophy at the Theological Academy.

    Documentato

  6. 1910 · 28 anni

    Marriage

    Marries Anna Mikhailovna Giatsintova (1889–1973); they will have five children.

    Documentato

  7. 1911 · 29 anni

    Ordination

    He is ordained priest; from 1912 to 1917 he edits Bogoslovsky vestnik.

    Documentato

  8. 1913 · 31 anni

    The Beilis articles

    Sends Rozanov two anonymous articles that treat as true the ritual-murder accusation against Menahem Beilis.

    Documentato

  9. 1914 · 32 anni

    The Pillar and Ground of the Truth

    The Put publishing house issues his major work, an enlargement of his master's thesis.

    Documentato

  10. 1918 – 1920 · 36 anni

    The Lavra Commission

    Scientific secretary of the Commission for the Protection of the Monuments of the Trinity–St Sergius Lavra (1918–1920).

    Documentato

  11. 1919 · 37 anni

    Reverse Perspective and scientific work

    Writes 'Reverse Perspective' and begins working as a scientist at the Karbolit plant and then at Glavenergo.

    Documentato

  12. 1921 – 1927 · 39 anni

    Professor at VKhUTEMAS

    At Vladimir Favorsky's recommendation he teaches at the VKhUTEMAS art workshops until 1927.

    Documentato

  13. 1922 · 40 anni

    Iconostasis and Imaginaries in Geometry

    Writes Iconostasis (published 1972) and publishes Imaginaries in Geometry at his own expense.

    Documentato

  14. 1924 · 42 anni

    Dielectrics

    Publishes Dielectrics and Their Technical Application.

    Documentato

  15. 1927 · 45 anni

    Technical Encyclopedia

    Joins the editorial board of the Technical Encyclopedia, for which he writes some 150 articles.

    Documentato

  16. 1928 · 46 anni

    Exile and refusal to emigrate

    Exiled to Nizhny Novgorod; thanks to Ekaterina Peshkova he returns and is offered emigration to Prague, but decides to stay.

    Documentato

  17. 26 febbraio 1933 · 51 anni

    Arrest

    Arrested by the OGPU; on 26 July he is sentenced to ten years in a labour camp.

    Documentato

  18. 1 dicembre 1933 · 51 anni

    Svobodny camp

    Arrives at the BAMLAG camp at Svobodny; in February 1934 he moves to the experimental permafrost station at Skovorodino.

    Documentato

  19. 15 novembre 1934 · 52 anni

    Solovki

    Begins work at the iodine factory of the Solovki camp, to which he had been moved in the autumn.

    Documentato

  20. 18 giugno 1937 · 55 anni

    Last surviving letter

    Date of letter no. 103 to his wife, the last of those published in his Letters from Solovki.

    Probabile

  21. 25 novembre 1937 · 55 anni

    Death sentence

    A special NKVD troika of the Leningrad region sentences him to death.

    Documentato

  22. 8 dicembre 1937 · 55 anni

    Execution

    Shot by the NKVD; the site of the grave remains unestablished. The family was given a false date (15 December 1943).

    Documentato

  23. 5 maggio 1958

    Rehabilitation

    Rehabilitated for the 1933 conviction; on 5 March 1959, for that of 1937.

    Documentato

  24. 1972

    Iconostasis published

    Bogoslovskie trudy, a journal of the Moscow Patriarchate, publishes Iconostasis, fifty years after it was written.

    Documentato

Opere

Opere essenziali

Le opere senza le quali non si comprende la sua eredità.

The Pillar and Ground of the Truth: An Essay in Orthodox Theodicy in Twelve Letters — Pavel Florensky

Opera scritta · 1914

The Pillar and Ground of the Truth: An Essay in Orthodox Theodicy in Twelve Letters

Столп и утверждение истины. Опыт православной феодицеи в двенадцати письмах

His capital work, published by Put in 1914. Twelve letters to a friend — doubt, the Trinity, the light of truth, the Comforter, contradiction, sin, Gehenna, the creature, Sophia, friendship and jealousy — with extensive mathematical, philological and iconographic appendices. It holds that truth is reached by living religious experience rather than deduction; that dogma is antinomic; that the Trinity is the foundation of all truth; that Sophia is the root of creation; and that friendship, the 'we' of two, is the cell of the Church. It influenced Bulgakov and Losev and was criticised by Berdyaev and Florovsky.

Non disponibile Vedi il libro

8 edizioni

Iconostasis — Pavel Florensky

Opera postuma · 1922

Iconostasis

Иконостас

Written in 1922 and published in 1972 in Bogoslovskie trudy. Starting from the experience of dreams, which separate and join two worlds, it defines the icon as a window onto the invisible and the iconostasis as the boundary between the visible and invisible worlds, formed by the saints themselves. It defends the technique of the icon — egg tempera, gold, construction in layers of light — as the expression of an ontology of light, against the oil painting and perspective of Western art.

Non disponibile Vedi il libro

5 edizioni

Opera scritta · 1922

Imaginaries in Geometry

Мнимости в геометрии. Расширение области двухмерных образов геометрии (Опыт нового истолкования мнимостей)

A short treatise published at the author's expense in 1922. It proposes interpreting imaginary numbers as the reverse side of a surface, and applies this to relativity: beyond the speed of light an 'imaginary' space, the invisible world, would begin. Drawing on Dante's Paradiso, it defends a geocentric cosmology and places the boundary between Earth and Heaven between the orbits of Uranus and Neptune. Its cover was designed by Vladimir Favorsky.

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3 edizioni

Letters from the Far East and Solovki — Pavel Florensky

Corrispondenza · 1998

Letters from the Far East and Solovki

Письма с Дальнего Востока и Соловков

Letters written between 1933 and 1937 from the camps of Svobodny, Skovorodino and Solovki to his wife, his mother and his five children, to whom he gave lessons in physics, chemistry, botany, poetry and music. Published in part from the 1980s and complete in 1998 (vol. 4 of his Works). They are one of the great spiritual testimonies of the Gulag.

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6 edizioni

Tutta la sua opera (43)

Vedi le sue 43 opere nella biblioteca

Citazioni

Citazioni localizzate in un'opera precisa. Ciascuna porta con sé la sua provenienza e il suo grado di affidabilità.

Living religious experience as the sole legitimate way of knowing dogmas.

Живой религиозный опыт, как единственный законный способ познания догматов.

Verificata«Столп и утверждение истины» (1914), «К читателю», primera frase: así resume el autor la intención de todo el libro.

1 / 6

Ultime parole

Non esistono testimonianze verificabili delle sue ultime parole.

His last words are not known. He was shot by the NKVD on 8 December 1937, together with other prisoners transferred from Solovki, at an unestablished place outside Leningrad; there were no witnesses who left an account. His last known letter to his family, no. 103 in the 1998 edition, is dated 18 June 1937: it speaks of the lack of work in the Solovki Kremlin, of his corner with a view of the sea in the monastery museum and of how much he would regret leaving the sea.

Fonte: Florenski, P. A. Письма с Соловков [Cartas desde las Solovkí], en Сочинения в 4 томах, t. 4: Письма с Дальнего Востока и Соловков, ed. igumeno Andronik (Trubachov) et al. Moscú: Mysl, 1998, pp. 139–781. Texto en Azbuka.

Chiedi

Ciò a cui risponde la sua opera

Dodici grandi domande dell'umanità e ciò che i suoi testi permettono di rispondere, con riferimenti. Non gli mettiamo mai parole in bocca.

  • Che cos'è l'Assoluto? Dio esiste?

    The truth that proves itself is the Trinity, and the icon bears witness to it

    Un Dio personaleLo dice espressamente

    Florensky starts, in The Pillar and Ground of the Truth, from living religious experience as the only legitimate way of knowing dogmas. In the letter on doubt he follows scepticism to its end and concludes that only a truth that is at once subject and relation, an I that gives itself to a Thou and recognises itself in a He, can stand: the Trinity. His God is personal and tri-personal, and his inner life is self-giving love. To this speculative path he adds an aesthetic one: in Iconostasis he asserts that, since Rublev's Trinity exists, God exists, and presents this as the most convincing proof, one the textbooks never mention. For him the icon does not illustrate an idea: it is a window through which the invisible lets itself be seen.

    Confronta questa domanda con altri maestri
  • Chi sono io? Esiste un vero sé?

    The self finds itself only in love and in friendship

    Un sé coltivato nella relazioneLo dice espressamente

    Florensky criticises the identity of the self conceived as the logical law A is A. In The Pillar and Ground of the Truth, such closed self-affirmation is the very form of sin and death: a self that only repeats itself becomes empty. True personal identity is reached by going out of oneself, when the self gives itself to another and receives itself from him; its model is Trinitarian life, in which each person is what it is through its relation to the others. That is why he devotes an entire letter to friendship, which he understands from the tradition of spiritual brotherhood in the early Church, as the experience in which two persons become consubstantial without being confused. The self is real and immortal, but it is found only in communion.

    Confronta questa domanda con altri maestri
  • Perché soffriamo?

    Sin is self-assertion that disintegrates; the true gift is paid for in pain

    La separazione da DioLo dice espressamente

    In The Pillar and Ground of the Truth, Florensky defines sin as the self-assertion of an I that shuts itself into its empty identity and breaks communion; its consequence is inner disintegration, the loss of the person's integrity, and its end is gehenna, the loneliness of one who can no longer go out of himself. Suffering is the fruit of that separation, but love also includes it: in the letter on Sophia he writes that love eternally takes away in order eternally to give, and puts to death in order to bring to life. His own life confirmed it: from Solovki, shortly before he was shot, he wrote to his wife that the more selfless the gift, the harsher the persecution and the more severe the suffering, and called this the law of life.

    Confronta questa domanda con altri maestri
  • Che cosa accade dopo la morte?

    Before gehenna, an antinomy: salvation of all and eternal damnation at once

    Vita eterna e resurrezioneLo dice espressamente

    Florensky addresses what happens after death in the letter on gehenna in The Pillar and Ground of the Truth, and he does so with his method of antinomy. On one hand, God's love demands that all be saved; on the other, the creature's freedom makes eternal damnation possible. Neither thesis can be eliminated without betraying faith, and reason must accept holding them together. His solution points to a distinction within the person: what in it is the image of God is saved, while what sin has built, its caricature, burns and is separated. Beyond speculation, his faith in the resurrection is that of the Orthodox Church, which he lived until his execution in 1937, as his letters from Solovki show.

    Confronta questa domanda con altri maestri
  • Come si raggiunge la liberazione o la salvezza?

    Salvation is lived in the Church: ascesis, sacrament and transfiguring love

    Attraverso la grazia e l'amoreLo dice espressamente

    Florensky presents salvation as incorporation into the life of truth, reached not by reasoning but by experience: the living religious experience he defines at the start of The Pillar and Ground of the Truth as the only legitimate path to the dogmas. That experience is given in the Church, through ascesis, which restores the integrity of the person broken up by sin, through the sacraments and through brotherly love. Its fruit is transfiguration: in the letter on the light of truth he reproduces the passage where Motovilov sees Seraphim illumined, as an example of what grace does in the flesh. In The Philosophy of Cult he adds that liturgical worship is the place where the human and the divine meet and where the whole of reality is sanctified.

    Confronta questa domanda con altri maestri
  • Serve un maestro?

    Truth is received in the Church and in the spiritual fatherhood of an elder

    Comunità e tradizioneLo dice espressamente

    Florensky came to faith as an adult, from science, and his path was marked by concrete figures: Bishop Antony Florensov, whom he regarded as his spiritual father, and the elder Isidore of Gethsemane, to whom he devoted The Salt of the Earth, a portrait of an elder's simple holiness. His theology holds that truth is not passed on as information, but by incorporation into the living experience of the Church, its sacraments, its worship and its saints. In The Pillar and Ground of the Truth, written as letters to a friend, the genre itself expresses this conviction: truth is sought in dialogue and friendship, not in self-sufficient solitude. The teacher is necessary, but within a community of faith that precedes and sustains him.

    Confronta questa domanda con altri maestri
  • Il mondo è reale?

    The creature is rooted in God through Sophia; the visible borders the invisible

    Una creazione buona e realeLo dice espressamente

    Florensky, theologian and scientist at once, does not doubt the reality of the created world, but thinks of it as open from above. In The Pillar and Ground of the Truth he devotes one letter to the creature and another to Sophia, which he defines as the great root of all creation, through which the creature enters Trinitarian life and receives eternal life. The world is good because it is rooted in God. In Iconostasis he describes the boundary between the visible and the invisible world, which dreams, art and liturgy allow one to cross, and the icon as its witness. In Imaginaries in Geometry he went so far as to propose, on the basis of relativity, a model of the cosmos in which the visible world borders a space of another nature.

    Confronta questa domanda con altri maestri
  • Che cos'è l'amore?

    Love is consubstantiality: it takes in order to give and makes two one unconfused

    Amore di Dio e del prossimoLo dice espressamente

    In The Pillar and Ground of the Truth, love is the key to Trinitarian life and therefore to truth itself: God is love because each divine person gives itself to the others. Florensky describes it with paradoxical formulas: love eternally takes away in order eternally to give, eternally puts to death in order eternally to give life. In the letter on friendship and the letter on jealousy he studies it in its most concrete human form, friendship between two persons, which the early Church blessed with a rite of brother-making of its own, and which makes two one without confusing them, in the image of the Trinity's consubstantiality. Jealousy, in this sense, can be the face of love defending its unique object. Love of neighbour in general is first learned in love for one concrete friend.

    Confronta questa domanda con altri maestri
  • Siamo liberi o è tutto determinato?

    Freedom and grace form an antinomy that reason does not solve but accepts

    Un libero arbitrio realeSi deduce dalla sua dottrina

    Florensky does not treat freedom as an isolated problem, but as one of the cases of antinomy he considers proper to all religious truth. In the letter on contradiction in The Pillar and Ground of the Truth he holds that truth, seen from finite reason, appears as a pair of opposed affirmations that must be held together: providence that disposes all things and freedom that responds, grace that saves and human effort. In the letter on gehenna he applies the same scheme: God's love wills the salvation of all, but the creature's freedom can refuse it, and both theses are true. Human freedom is therefore real, and the human being answers for his acts, though his relation to providence cannot be reduced to a formula.

    Confronta questa domanda con altri maestri
  • Perché meditare o pregare?

    Worship is the root of culture and the place where reality is sanctified

    Rito e coltivazione di séLo dice espressamente

    Florensky, a priest as well as a scientist, thought of prayer above all from liturgical worship. In the lectures gathered as The Philosophy of Cult he maintains that worship is the centre from which all culture springs, as the word itself indicates, and that in it material reality, water, bread, oil, word and gesture, is sanctified and opened to the divine. In Church Ritual as a Synthesis of the Arts and in Iconostasis he describes the liturgy as a total work of art involving architecture, candlelight, incense smoke, chant and the icon, and the icon as a window onto the invisible world. His interest in the divine name, in the context of the name-glorifying controversy, shows that personal prayer is not separated from rite.

    Confronta questa domanda con altri maestri
  • Può la ragione conoscere l'ultimo?

    Religious truth is antinomic: reason touches it only as contradiction

    L'ultimo è al di là della menteLo dice espressamente

    Florensky was a mathematician by training and never despised reason: he studied Cantor's set theory, wrote on the infinite and worked as an engineer. Precisely for that reason he knew its limits. In The Pillar and Ground of the Truth he holds that reason, governed by the law of identity, cannot by itself find a truth that proves itself: it leads to scepticism. And when it approaches the mysteries of faith, it meets them as antinomies, pairs of contradictory affirmations equally true, such as God's unity and trinity or freedom and grace. The letter on contradiction makes antinomy the seal of religious truth. Knowledge of the ultimate is possible only through living religious experience, in which reason is transfigured without being abolished.

    Confronta questa domanda con altri maestri
  • Ritirarsi dal mondo o trasformarlo?

    A priest in a cassock at the technical office: serving through science without leaving faith

    Contemplazione nell'azioneSi deduce dalla sua dottrina

    Florensky embodied a singular way of living in the world. After the revolution, when the Theological Academy closed, he neither emigrated nor withdrew: he worked on the commission for the protection of the monuments of the Lavra of Saint Sergius and later on the country's electrification plan, where he attended meetings in cassock and pectoral cross. He published studies on dielectrics and wrote articles for the technical encyclopaedia. Deported to Solovki, he researched the extraction of iodine and agar from seaweed. In his letters to his children from the camp he teaches them to observe nature attentively and to work well, as a form of service. Science, art and liturgy were for him expressions of one and the same vision of the world, and none required renouncing the others.

    Confronta questa domanda con altri maestri

Aneddoti e racconti

Aneddoti e racconti

Documentatomarzo de 1906

The cry of blood

In March 1906 Russia was still living through the repression that followed the 1905 revolution: courts martial, hangings, summary shootings. Florensky, then a twenty-four-year-old student at the Theological Academy of Sergiev Posad, mounted the pulpit of the Academy church and preached a sermon calling on the people not to follow the path of bloodshed and fratricide and denouncing the death penalty as a godless deed. The text, under the title 'The Cry of Blood', was printed without passing the ecclesiastical censor. The authorities treated it as an illegal political act: the student was prosecuted and sentenced to a prison term that only his superiors' intercession spared him. Thirty-one years later the same man would fall under another machine of death, that of the NKVD.

Origine del racconto: The sermon and the prosecution are recorded in his biographies; the detail of the sentence imposed and its remission comes from the Ekzeget.ru biography. That the sermon responded specifically to the execution of Lieutenant Pyotr Schmidt (March 1906) is held by several biographers but has not been verified here.

Fonte: «Павел Флоренский, священник». Ekzeget.ru (biografía: el sermón de 1906, la detención de 1933, las Solovkí).

Tradizione orale1919–1946

The head of St Sergius

In April 1919 the Soviet authorities ordered the public opening of the relics of St Sergius of Radonezh at the Trinity Lavra, as part of the campaign against 'false relics'. According to a Florensky family tradition, shortly before, the members of the Commission for the Protection of the Monuments of the Lavra — Florensky, Count Yury Olsufyev and probably Vladimir Komarovsky, Sergei Mansurov and Mikhail Shik — entered the Trinity cathedral by night, prayed at the tomb, opened the shrine and replaced the saint's head with that of a Prince Trubetskoy buried in the Lavra. St Sergius's head was supposedly hidden in the sacristy and, after Florensky's arrest, moved secretly from house to house, until at Easter 1946, when the Lavra reopened, it returned to its place. All were said to have sworn silence. A note survives, in Olsufyev's hand and undated, with 'questions of the priest P. Florensky concerning the relics of St Sergius'.

Origine del racconto: It comes from late memories transmitted in the Florensky family and by Ekaterina Vasilchikova, Olsufyev's niece, and by Archbishop Sergei (Golubtsov); it was published in the 1990s. The opening of the relics on 11 April 1919 is documented; the substitution of the head has no independent documentary confirmation. A later legend even attributes Florensky's death sentence to his refusal to reveal the hiding place, without any evidence.

Fonte: «Флоренский, Павел Александрович». Wikipedia en ruso (biografía, «Столп», caso Beilis, arresto y fusilamiento, publicaciones).

Documentato1928

Staying

In 1928 Florensky was arrested and exiled to Nizhny Novgorod, where he worked at the radio laboratory. Ekaterina Peshkova, Maxim Gorky's first wife and head of the Political Red Cross, the last organisation able to intercede for prisoners, obtained permission for him to return to Moscow and the offer of emigration to Prague, as Berdyaev, Bulgakov and so many others had earlier left, expelled. Florensky declined and decided to stay in the Soviet Union, with his family, his scientific work and his cassock. Five years later, in February 1933, he was arrested again; this time there would be no way out.

Origine del racconto: Recorded in the Russian Wikipedia biography and in A. Pyman's biography, on the basis of the Political Red Cross and family documentation.

Fonte: «Флоренский, Павел Александрович». Wikipedia en ruso (biografía, «Столп», caso Beilis, arresto y fusilamiento, publicaciones).

Documentato1934–1937

Chemistry lessons from Solovki

From the Solovki islands, where he worked at the camp's iodine factory, Florensky wrote his family numbered, censored letters in which he almost never complained. What he did was teach. He wrote to each child according to age and interests: to one about mineralogy and crystals, to another about music, to another about poetry and painting. In one of them he proposes a home experiment to a child: boil a little starch in water, add a drop of tincture of iodine and watch the paste turn blue; heat it and watch it lose its colour; let it cool and watch the blue return. He described the birds, the seaweed, the frozen lakes, the light of the Arctic summer, and in February 1937, writing about the centenary of Pushkin's death, he left one of his most quoted sentences: that giving to the world is possible only at the price of suffering and persecution.

Origine del racconto: The letters themselves, published in full in vol. 4 of his Works (Mysl, 1998).

Fonte: Florenski, P. A. Письма с Соловков [Cartas desde las Solovkí], en Сочинения в 4 томах, t. 4: Письма с Дальнего Востока и Соловков, ed. igumeno Andronik (Trubachov) et al. Moscú: Mysl, 1998, pp. 139–781. Texto en Azbuka.

Documentato1937–1989

An invented date of death

For years Florensky's family did not know what had become of him. The letters stopped arriving in the summer of 1937. When, after the war, Anna Mikhailovna and the children asked for information, the authorities told them he had died on 15 December 1943, without saying where or of what. It was a lie, as in so many other cases of the Great Terror, in which deaths 'from illness' were invented at later dates to conceal the mass executions of 1937–1938. The truth came to light only with the opening of the security-service archives: on 25 November 1937 a special NKVD troika of the Leningrad region had sentenced him to death, and on 8 December he was shot with other prisoners transferred from Solovki. Where his grave lies is not known for certain.

Origine del racconto: The sentence, the date of execution and the falsity of the date given to the family are recorded in the case-file documents published after perestroika; the research on the burial site is that of Anatoly Razumov (Leningradsky martirolog).

Fonte: Razumov, Anatoli Ya. (entrevista). «Соловецкие этапы. Где расстрелян священник Павел Флоренский?». Radio Grad Petrov, 2017 (archivada en Internet Archive). Razumov es el compilador del «Ленинградский мартиролог» de la Biblioteca Nacional de Rusia.

Insegnamenti

Insegnamenti

Le nozioni che articolano il suo pensiero, spiegate nel loro contesto.

Antinomyantinomia
For Florensky religious truth is antinomic: it can be stated only through pairs of contradictory propositions, equally true, which discursive reason cannot reconcile. The Trinity is one God and three persons; Christ is fully God and fully man; man is free and everything depends on grace. This is not a flaw in dogma but the sign that truth comes from another plane: 'truth is antinomy', he writes in The Pillar and Ground of the Truth. Reason, which demands identity and non-contradiction, is compelled to a 'feat of faith' that raises it without destroying it. Florensky grounds this thesis in his mathematical training — the antinomies of set theory, imaginaries, discontinuity — and in a reading of Kant's antinomies as revelation of the structure of being. The idea, much debated, influenced Bulgakov and Losev.

Sixth letter ('Contradiction') of The Pillar and Ground of the Truth; antecedents in The Cosmological Antinomies of Kant (1909).

Fonte: Florenski, P. A. Столп и утверждение истины. Опыт православной феодицеи в двенадцати письмах [La columna y el fundamento de la verdad]. Moscú: Put, 1914. Texto en Azbuka.

Sophia and sophiologysofia
In the tenth letter of The Pillar and Ground of the Truth Florensky takes up Solovyov's doctrine of divine Wisdom and reformulates it from Russian liturgy, iconography and piety. Sophia is 'the Great Root of the whole of creation', the ideal creature in God, through which the created participates in the Trinitarian life; she is at once the Guardian Angel of creation, the Church as the body of Christ, the Virgin Mary and virginity as the purity of the person. Florensky draws on the icons and churches of Holy Wisdom in Novgorod and Kiev and on the liturgical offices to show that Russian religious consciousness has always venerated Sophia as something distinct from Christ the Logos. His sophiology, later developed by Bulgakov, was criticised by theologians such as Florovsky and Lossky for blurring the boundary between God and creation; Berdyaev judged it aestheticising.

Heir to Solovyov; in critical dialogue with Böhme's sophiology, which Berdyaev compared with the Russian one in 1930.

Fonte: Florenski, P. A. Столп и утверждение истины. Опыт православной феодицеи в двенадцати письмах [La columna y el fundamento de la verdad]. Moscú: Put, 1914. Texto en Azbuka.

Reverse perspectiveperspectiva-invertida
In 'Reverse Perspective' (1919) Florensky analyses a feature of icons that academic criticism regarded as clumsiness: lines that should converge towards the background diverge, objects are seen from several points at once, the side faces of buildings open out towards the viewer. He holds that this is not a mistake but another conception of space. Renaissance linear perspective, codified as though the world were seen from a single motionless eye, expresses the individualism and naturalism of modernity and turns the picture into theatrical illusion; that of the icon organises space from the spiritual world towards the one who looks, and makes the icon a presence rather than a deceptive window. Florensky examines the history of art — Greek stage design, Giotto, Dürer, Leonardo — to show that epochs oscillate between the two types of representation according to their 'feeling for life'. The essay, published in 1967 in Tartu, became a classic text of art theory and semiotics.

Later developed in the VKhUTEMAS course on spatiality (1924–1925).

Fonte: «Флоренский, Павел Александрович». Wikipedia en ruso (biografía, «Столп», caso Beilis, arresto y fusilamiento, publicaciones).

The icon and the iconostasisicono
Iconostasis (1922) starts from a phenomenology of dreams: in dreams the soul passes from the visible to the invisible world and returns with images that are symbols of it. True art does the same: the icon is the image of a spiritual vision fixed in matter, a window through which one sees — or from which looks out — heavenly reality. The iconostasis, the wall of icons separating the altar from the nave, is not an obstacle but the visible boundary between the two worlds, 'formed by the saints themselves', who bear witness to what lies on the other side. Florensky defends the traditional technique of the icon — the gold ground, the light that builds figures in layers, egg tempera — as the expression of a metaphysics of light, against the oil painting, carnality and perspective of post-Tridentine Western art. Hence his famous 'proof' of God's existence: 'There is Rublev's Trinity; therefore there is God'.

Written in 1922, at the height of the Soviet campaign against the Church; published in 1972.

Fonte: Florenski, P. A. Иконостас [El iconostasio] (1922). Богословские труды, n.º 9 (1972), pp. 83–148. Texto en Azbuka.

Imaginaries and the space beyondimaginarios
In Imaginaries in Geometry (1922) Florensky proposes interpreting imaginary numbers not as abstractions but as the 'reverse side' of a geometric surface: imaginary points would lie on the other side of the plane. He applies the idea to the theory of relativity: when a body exceeds the speed of light its magnitudes become imaginary, and a space of another nature, the invisible world, begins. Drawing on the cosmology of Dante's Paradiso — which the traveller crosses without turning round to emerge 'on the other side' — he defends a geocentric cosmology and places the boundary between Earth and Heaven between the orbits of Uranus and Neptune. The little book, admired for its daring and its design (the cover is by Favorsky), was attacked by the Soviet press as obscurantism and is still debated by historians of science, who read it as metaphysical speculation rather than physics.

It joins his mathematical training with his theology of the icon and of the boundary between worlds.

Fonte: «Флоренский, Павел Александрович». Wikipedia en ruso (biografía, «Столп», caso Beilis, arresto y fusilamiento, publicaciones).

The name and the magic of the wordnombre
In the essays of At the Watersheds of Thought — 'The Magic of the Word', 'The Structure of the Word', 'Onomatodoxy as a Philosophical Premise', 'Names' — Florensky develops a realist philosophy of language: the word is not a conventional sign but the energy of the reality named, a bridge between subject and object in which both meet. That is why he defended the Athonite monks who held that 'the Name of God is God himself' (imyaslavie), condemned by the Synod in 1913, and why he wrote an essay on proper names as spiritual forms or 'types' of the person. His disciple Alexei Losev carried this line on in The Philosophy of the Name (1927).

Part of his 'concrete metaphysics' of the 1920s.

Fonte: «Флоренский, Павел Александрович». Wikipedia en ruso (biografía, «Столп», caso Beilis, arresto y fusilamiento, publicaciones).

Video

Video

Registrazioni, interviste e documentari. I video vengono riprodotti da YouTube; non sono ospitati qui.

  • «Почаще смотрите на звёзды»

    Documentario· RU

    ТК ТОНУС

  • Жизнь замечательных семей. Флоренский

    Documentario· RU

    Радость мояCanale ufficiale

  • о. Павел Флоренский

    Documentario· RU

    Игорь ШтернбергCanale ufficiale

  • Павел Флоренский. От геометрии мнимостей к топологии духа (часть 1)

    Conferenza· RU· 2018

    Калининградская областная научная библиотекаCanale ufficiale

  • Обратная перспектива в эстетике и космологии отца Павла Флоренского. Лекция Оксаны Седых

    Conferenza· RU· 2020

    nffedorov

  • Reverse Perspective, the Politics of Space, and Contemporary Art Practice

    Conferenza· EN

    IWMVienna (Institut für die Wissenschaften vom Menschen)Canale ufficiale

  • Philosophy of Love in the Context of Russian Philosophy. V. Solovyov and P. Florensky

    Conferenza· EN

    Studium Europy Wschodniej (Universidad de Varsovia)Canale ufficiale

  • Ciclo de Charlas — Pavel Florenski: filósofo, historiador del arte, matemático y sacerdote ruso

    Conferenza· ES

    cursosoficialesderusoCanale ufficiale

  • Vita e pensiero di Pavel Florenskij — Prof.ssa A. Marcuccini

    Conferenza· IT

    Filippo Tassi

  • Nulla va perduto. L'esperienza di Pavel Florenskij

    Conferenza· IT· 2013

    Filosofia Tor VergataCanale ufficiale

  • Il respiro della vita. Pavel A. Florenskij testimone della verità (con Massimo Cacciari)

    Conferenza· IT

    icaroplay

  • La testimonianza di Pavel Florenskij

    Documentario· IT

    12PorteCanale ufficiale

  • Benedetto XVI cita Florenskij: «Quando avrete un peso nell'animo, guardate le stelle…»

    Registrazione di terzi· IT

    raffaellablogpapa1

Galleria

Galleria

Immagini con licenza verificata. Ciascuna conserva la sua paternità e la sua attribuzione.

Relazioni

Relazioni

Influenze, discepolati e affinità. Si distingue la relazione documentata dalla somiglianza individuata per analisi.

  • Ricevette l'influenza di

    Vladimir Solovyov

    In his university years he was drawn to Solovyov's teaching, and his sophiology, in the tenth letter of The Pillar and Ground of the Truth, starts from Solovyov's, which he corrects with Russian liturgy and iconography. He belongs to the generation that made Solovyov its starting point.

    Relazione documentata

  • Dissentì da

    Nikolai Berdyaev

    Berdyaev reviewed The Pillar and Ground of the Truth harshly in 'Stylised Orthodoxy' (1914) and argued against 'Around Khomyakov' (1916); in Self-Knowledge he would call him 'alien and hostile', a 'refined reactionary' indifferent to ethics. For him Florensky represented the aesthetic and magical Orthodoxy that freedom had to overcome.

    Relazione documentata

  • Ricevette l'influenza di

    Seraphim of Sarov

    In The Pillar and Ground of the Truth he quotes, in the fourth letter, 'The Light of Truth', Seraphim's conversation with Motovilov on the acquisition of the Holy Spirit, and in the tenth, 'Sophia', he recalls that the saint called the icon of Tenderness, the only one in his cell, 'Joy of all joys'.

    Relazione documentata

  • Ricevette l'influenza di

    Plato

    He devoted to Plato his lectures 'The Universal Human Roots of Idealism' (1909) and 'The Meaning of Idealism' (1914), in which he interprets the doctrine of ideas as the philosophical elaboration of a universal religious and magical experience. In To My Children he describes his youthful search for Goethe's 'primal phenomenon' in an ontological density 'after Plato'.

    Relazione documentata

  • Contemporaneo di

    Leo Tolstoy

    In To My Children he recalls that as an adolescent he read Tolstoy's philosophical writings and found them 'mostly tedious', though he was interested in Carpenter's article on science translated by Tolstoy; Merezhkovsky's study of Tolstoy and Dostoevsky marked him more.

    Relazione documentata

  • Idee affini a

    Fyodor Dostoevsky

    No detailed influence is recorded, but Florensky draws on Dostoevsky in Iconostasis — Stavrogin's 'mask' as a face petrified by passion — and shares with him the vision of the elder and of Russian holiness as the centre of spiritual life.

    Somiglianza individuata per analisi

  • Idee affini a

    Jakob Böhme

    Berdyaev, in 'The Doctrine of Sophia and the Androgyne in J. Böhme and the Russian Sophiological Currents' (1930), compared Böhme's Sophia with that of Russian sophiology, from Solovyov to Florensky and Bulgakov, and noted their differences: in Böhme Sophia is virginity and freedom; in the Russians, a more cosmic and Platonic idea.

    Relazione documentata

Fonti

Fonti

Bibliografia e cataloghi consultati per questa scheda.

  1. Wikidata, Q336769: Pavel Florensky (1882–1937). P31=Q5; 47 enlaces entre wikis.
  2. «Флоренский, Павел Александрович». Wikipedia en ruso (biografía, «Столп», caso Beilis, arresto y fusilamiento, publicaciones).
  3. Pyman, Avril. Pavel Florensky: A Quiet Genius. The Tragic and Extraordinary Life of Russia's Unknown da Vinci. Nueva York y Londres: Continuum, 2010.
  4. Florenski, P. A. Столп и утверждение истины. Опыт православной феодицеи в двенадцати письмах [La columna y el fundamento de la verdad]. Moscú: Put, 1914. Texto en Azbuka.
  5. Florenski, P. A. Иконостас [El iconostasio] (1922). Богословские труды, n.º 9 (1972), pp. 83–148. Texto en Azbuka.
  6. Florenski, P. A. Письма с Соловков [Cartas desde las Solovkí], en Сочинения в 4 томах, t. 4: Письма с Дальнего Востока и Соловков, ed. igumeno Andronik (Trubachov) et al. Moscú: Mysl, 1998, pp. 139–781. Texto en Azbuka.
  7. Florenski, P. A. Детям моим. Воспоминания прошлых дней [A mis hijos. Recuerdos de días pasados] (1916–1926). Moscú: Moskovski rabochi, 1992. Texto en Azbuka.
  8. Open Library, autor OL54367A: Pavel Florensky (1882–1937), obras y ediciones.
  9. Berdiáyev, N. A. «Стилизованное православие (о. Павел Флоренский)». Русская мысль, 1914, n.º 1. Texto en la Biblioteca «Vejí».
  10. Razumov, Anatoli Ya. (entrevista). «Соловецкие этапы. Где расстрелян священник Павел Флоренский?». Radio Grad Petrov, 2017 (archivada en Internet Archive). Razumov es el compilador del «Ленинградский мартиролог» de la Biblioteca Nacional de Rusia.
  11. «Павел Флоренский, священник». Ekzeget.ru (biografía: el sermón de 1906, la detención de 1933, las Solovkí).
  12. Berdiáyev, N. A. «Из этюдов о Я. Беме. Этюд II: Учение о Софии и андрогине Я. Беме и русские софиологические течения». Путь, 1930, n.º 21, pp. 34–62.
  13. «Pavel Florensky». Wikipedia en inglés (traslado desde las Solovkí y ejecución, con referencias a A. Maccioni, eSamizdat, 2007).
Titolare dei diritti
Florenski murió en 1937: sus obras publicadas en vida son de dominio público en EE. UU. (anteriores a 1930), en la UE (desde 2008) y en España (desde 2018). Las obras póstumas publicadas desde 1967 pueden estar protegidas en EE. UU.; en Rusia, por su rehabilitación póstuma, el plazo se cuenta desde 1958. Las traducciones pertenecen a sus traductores y editoriales.

In attesa di conferma

Ciò che questa scheda non ha ancora potuto chiarire. Preferiamo dirlo piuttosto che riempirlo.

  • Edición española de «Los imaginarios en geometría» y de «Los nombres»: no localizadas.
  • Confirmar la vinculación del sermón «El clamor de la sangre» (marzo de 1906) con la ejecución del teniente Piotr Schmidt, y la pena exacta impuesta.
  • Confirmar fechas y revistas de «El sentido del idealismo» (1914), «Razón y dialéctica» (1914), «Signos celestes» y «La acción del templo» (en «Makovets», 1922).
  • Registrar uno por uno sus artículos de la «Enciclopedia técnica» (unos 150), sus escritos teológicos publicados en «Bogoslovskie trudy» (1972–2007) y sus poemas; hoy figuran agrupados o sólo los principales.
  • Lugar de la ejecución y de la fosa: no establecido (Levashovo, polígono de Rzhevka/Koirangakangas o una fosa del campo de Lodéinoye Pole, según las hipótesis de A. Razumov y A. Maccioni).
  • Contenido exacto de «Early Religious Writings, 1903–1909» (Eerdmans, 2017): no se ha asignado a obras concretas.
  • Verificar en el texto de su «Testamento» la frase sobre mirar las estrellas que citó Benedicto XVI (no se ha podido cotejar).
  • Duración y año de la mayoría de los vídeos: oEmbed no los proporciona.

Ricerca effettuata il 2026-10-25