Образность Боттичелли в поэзии Василия Филиппова

Problem statement. In Vasily Filippov's poetry, not only images of art, but also various types of art are used as metaphors of existential states. Particular attention in his poetry is given to the painting of the Renaissance as exemplarily representative and most “iconic”, which allows you to combine posture and confessionary approach. Moreover, the ecphrases of the works of Renaissance art in Filippov's poetry is often enigmatic, and therefore, in order to decipher them, it is necessary to reconstruct the system of conversation about art in his poems. Research results. In the article it is proved that in Filippov's poetry works of art are inseparable from the environment, ekfrasis serves as a description of the existence of the works environment, and not only of their plot. The kind of art and the material predetermine the duration of the situation described and its stability, and the details mentioned acquire not just iconological but philosophical and theological meaning. Сonclusion. To explain this meaning, one should also take into account Vasily Filippov's hidden polemic with the most popular interpretations of the history of art, for example, with the opposition of the sacred icon to the picture or the notion of representative art as an instrument for the formation of personality. Bending to a new surreal and impersonal poetics, Filippov gives his own concept of personal perception of a pictorial message. Reconstruction of the contents of its ecphrases proceeding from this concept is productive both for understanding the reception of fine art in the newest Russian poetry, and for the development of hermeneutics of poetry, which refuses to place a personal utterance in the center of speech.