LEXICAL AND IMAGE STRUCTURE OF INSCRIPTIONS TO WATERCOLORS BY M. A. VOLOSHIN AS A REFLECTION OF HIS POETIC PICTURE OF THE WORLD

Introduction. At the turn of the 19th and 20th centuries, the synthesis of arts in culture becomes one of the dominant ideas. This orientation fully contributes to the disclosure of the many talents of such a brilliant representative of the Silver Age as M. A.Voloshin. The purpose of this article is to analyze the linguistic and artistic features of the text material accompanying M. Voloshin’s watercolors. Material and methods. The article presents the data of the analysis of lyrical sketches of different years, serving as an accompaniment to M. Voloshin’s watercolors. Attention to this genre is due to its undoubted importance for determining the characteristics of the creative manner of the poet and artist, understanding his worldview. The article uses the methods of semantic-stylistic, contextological, motivational analysis, allowing to reveal the specifics of the author’s poetic picture of the world, reflected in the inscriptions on the watercolors of M. A. Voloshin. Results and discussion. Cimmeria occupies a special place in the work of M. Voloshin – a poet, artist, translator, art critic, thinker. The congeniality of M. Voloshin as a master of brush and word is reflected in his inscriptions for watercolors. These lyrical miniatures are a separate genre dating back to antiquity, which makes the poet’s work related to the art of the East. The figurative structure of M. Voloshin’s poetic miniatures, organizing their semantic space, includes earthly (stone, water) and heavenly (clouds, moon, sun) realities and reveals, when examined in detail, the syncretism of “earthly” and “heavenly”. The color picture of the world, represented by a variety of color images, in combination with sound design, conveys the synesthesia of the author’s perception of the world. The linguistic and figurative structure of M. Voloshin’s poetic sketches is rich and diverse: the author uses numerous comparisons, metaphors, epithets, oxymoric combinations, deviations from grammatical norms, which make it possible to convey the peculiarities of the creative manner of the master-creator. Conclusion. Consideration of the linguistic and artistic features of M. Voloshin’s lyrical miniatures made it possible to identify their main features: metaphoricity, syncretism and synestheticism in creating images, emotive and pragmatic potential of color symbolism – and to draw a conclusion about the originality of the author’s poetic picture of the world.

M. A. Voloshin, Cimmeria, inscriptions on watercolors, lyrical subject, syncretism of perception, picture of the world