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Abstract <p>The article is devoted to the controversy around the painting by Hans Holbein the Younger, “Dead Christ in the tomb”, and the novel “The Idiot” by Fyodor Dostoevsky, where this picture is the central ekphrasis. The study aims to analyze the current trends in the interpretation of Holbein’s painting and Dostoevsky’s novel, in their relationship with Christian dogmatics, canonical requirements for depicting the image of Christ, the biblical context, and to establish existing and possible interpretive models, their boundaries and perspectives. The article discusses the controversy about the painting by Holbein before Dostoevsky (Karamzin, Zhukovsky, Gruner, Spatzier, Lavater, Zschokke, and Hegner) and its development in the novel “The Idiot” and the disputes around it, presented by modern researchers of Holbein’s and Dostoevsky’s works. Particular attention is paid to the issues of kenosis, corruption, and destruction, the significance of biblical allusions for understanding the meaning of the picture in “The Idiot”. The central argument of the article is that Holbein’s painting actualizes the biblical context, carrying a provocative meaning that the crucified Christ himself had in the eyes of the world: “a stumbling block to Jews and foolishness to Gentiles” (1 Cor. 1:23).</p>

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Dispute about Holbein as a Dispute about Faith: Discussion around Fyodor Dostoevsky’s Novel The Idiot

  • 期刊论文

  • 发表日期：

    2025年2月1日

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  • A. I. Vaskinevich

摘要

Abstract

The article is devoted to the controversy around the painting by Hans Holbein the Younger, “Dead Christ in the tomb”, and the novel “The Idiot” by Fyodor Dostoevsky, where this picture is the central ekphrasis. The study aims to analyze the current trends in the interpretation of Holbein’s painting and Dostoevsky’s novel, in their relationship with Christian dogmatics, canonical requirements for depicting the image of Christ, the biblical context, and to establish existing and possible interpretive models, their boundaries and perspectives. The article discusses the controversy about the painting by Holbein before Dostoevsky (Karamzin, Zhukovsky, Gruner, Spatzier, Lavater, Zschokke, and Hegner) and its development in the novel “The Idiot” and the disputes around it, presented by modern researchers of Holbein’s and Dostoevsky’s works. Particular attention is paid to the issues of kenosis, corruption, and destruction, the significance of biblical allusions for understanding the meaning of the picture in “The Idiot”. The central argument of the article is that Holbein’s painting actualizes the biblical context, carrying a provocative meaning that the crucified Christ himself had in the eyes of the world: “a stumbling block to Jews and foolishness to Gentiles” (1 Cor. 1:23).