MARRAKESH AS A SYMBOL OF SPATIAL TRANSCENDENCE: SOFIA YABLONSKA VS ZINAIDA SEREBRYAKOVA

The author of the article believes that Sofia Yablonska's travelogue “The Magic Morocco” (1932), in artistic expression which pictorial semiotics is metaphorized, should be studied creative tandem with Zinaida Serebryakova's Moroccan series paintings. Such verbal-visual collaboration has other motivational factors. Born Ukraine, both artists visited Marrakesh, where their African tour began, 1928 and perceived its geographical urban infrastructure, national types, cultural religious traditions through an imagological lens. In whose name translates as “land Gods”, European travelers experience “intoxication” (S. Yablonska) (Z. Serebryakova) from initial “meeting Other” (A. Fіut). Endowed transcendental conductivity, toponymy this city, corresponds to descriptions hierophanies, motivates mental stirrings, shocks surprises modeled travelogue, ecstatic practices pagan, Christian Buddhist traditions. Stunned by exotic colors Marrakech, they capture same locations: a panoramic view city against backdrop Atlas Mountains; central square Jemaa el-Fna, theatergoers, sincerely enthralled staged attraction; reproduce multicultural gallery (Arabs, Berbers, Negroes, “Senegalese”, “Sagarians”); local women are presented special erotic sensuality. meeting oriental archaic Marrakesh (wild, infantile, sexual) becomes her subconscious, actualizes psychoanalytical self-revelation photographer artist.