The Russian Church in Modernity

That dreary class of human beings called American political pundits has already been aflutter for some time wondering about (and in some more appalling cases openly cheerleading for) war with Russia over Ukraine. So expect to hear a lot more about Russia in 2022, and with it the Russian Orthodox Church, whose stance on any further escalation in the war with Ukraine (started, n.b., in 2014 by a unilateral invasion and annexation of Crimea) will bear watching closely. 

The Russian Church's encounter with "modernity," from the end of the Romanovs through Stalin and later dictators, to the Putin era, is not always straightforward. Reputable scholars know to tread carefully. Regina Elsner is one such scholar, and has, at the end of December, given us a brand new book which I learned about when happily perusing the catalogue of Columbia University Press before Christmas. In it I spy The Russian Orthodox Church and Modernity: A Historical and Theological Investigation into Eastern Christianity between Unity and Plurality (Ibidem Press, Dec. 2021), 440pp. 

About this book the publisher tells us this:

The Russian Orthodox Church (ROC) faced various iterations of modernization throughout its history. This conflicted encounter continues in the ROC’s current resistance against―what it perceives as―Western modernity including liberal and secular values. This study examines the historical development of the ROC’s arguments against―and sometimes preferences for―modernization and analyzes which positions ended up influencing the official doctrine. The book’s systematic analysis of dogmatic treatises shows the ROC’s considerable ability of constructive engagement with various aspects of the modern world. Balancing between theological traditions of unity and plurality, the ROC’s today context of operating within an authoritarian state appears to tip the scale in favor of unity.

Russian Modernism and Byzantine Iconography

The more we study the immediate ante-revolutionary period in Russia the more we are coming to see that there was a fascinating fermentation of ideas for serious social reform. Russia was not nearly so monolithic as some have portrayed, nor so reactionary. A new book helps us to see how widespread some of these ideas were, touching many spheres: The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival by Maria Taroutina (Penn State, 2018), 288pp.

About this book the publisher informs us thus:

In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counter-narrative to prevailing notions of Russian modernism.

Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists.

The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.