Ekfrasis in the Literature Oeuvre of A.A. Tarkovsky

The subject of this study is the visual images in the works of Arseniy Tarkovsky, the figures of artists as an object of poetic reflection. Accordingly, the objects of the study will be Tarkovsky's three poems about artists: "Paul Klee" (1957), "Let me be forgiven Vincent Van Gogh ..." (1958) and "Theophanes the Greek" (1975). However, in the field of our consideration there is also the general corpus of Tarkovsky's excrastic texts: the stories "Bouquet of Roses", "Constantinople" (1945), the essay "Roses Bouquet" 1950's, "Portrait" (1937), "Signature to Byron's Portrait" (1950 ), "Angelo Secchi" (1957), "Things" (1957), "Lilacs you, lilacs ..." (1958). The purpose of the work is to give a full commentary on the three "ecstatic" texts of Arseny Tarkovsky on artists and to determine their place in the poet's work defines its tasks: 1. To consider the category of ecphrasis in contemporary literary criticism and the possibility of its application to the work of Arseniy Tarkovsky. 2. To give a detailed factual and visual commentary to the three poems of Arseny Tarkovsky about artists in the general context of the poet's work. The structure of the work: the first chapter is devoted to the category of ecphrasis in contemporary literary criticism, and also significant for the Tarkovsky ecstatic texts of the twentieth century. The semantic center of the second chapter is Tarkovsky's three poems about artists, considered in the context system. As a conclusion, it must be said that in Arseny Tarkovsky's perception poetry was a universal art, an important part of which is ekfrasis, that is, a verbal analogue of visual arts. Perception of the object of art occurs immediately in two semantic vectors: comprehension and image.