Representation of painting by ekphrasis in Chekhov's prose

This article deals with the problem of pictorial image description in Chekhov’s prose. A.P. Chekhov’s skills leaned against technique of ekphrasis (intersemiotic transition) whereby literary text is becoming intermediate phenomenon and synthesizing itself semiotic system of varied art forms especially pictorial art. Representation by ekphrasis of literary text in modern theoretical science is typified in three aspects: as a technique (instrument of organization literary text), as a genre (verbalization of work of art) and such as discourse (organization of visual narrative). The author as exemplified in Chekhov’s prose materials focus on intermediate method of analyzing text. Actual continuity was due to the fact that growing interest of media theory and synthesizing varied art forms as part of one literary work, as also ekphrasis and visual marked zones, so-called visual attractors. In the article analyzed examples of which can be seen that for Chekhov-prosaist featured permanent access to transformation subject matter (pictorial art) into verbal. Ekphrasis as a technique of intermediate poetic became author’s strategy of writing skills and permanent practice. In this paper also try a short systematize and classify varied kinds of Chekhov’s ekphrasis. According to presence or absence of referent there are classification of examples, that describes real (memetic) or fictitious (unmemetic) works of art in Chehkov’s world.