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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">observatoria</journal-id><journal-title-group><journal-title xml:lang="ru">Обсерватория культуры</journal-title><trans-title-group xml:lang="en"><trans-title>Observatory of Culture</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2072-3156</issn><issn pub-type="epub">2588-0047</issn><publisher><publisher-name>Russian State Library</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.25281/2072-3156-2015-0-1-66-69</article-id><article-id custom-type="elpub" pub-id-type="custom">observatoria-134</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>ИМЕНА. ПОРТРЕТЫ</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>NAMES. PORTRAITS</subject></subj-group></article-categories><title-group><article-title>К вопросу о философии визуального: путь, пройденный до конца (эссе)</article-title><trans-title-group xml:lang="en"><trans-title>To the Philosophy of Visual: A Path Passed to the End</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Бабич</surname><given-names>Ирина Анатольевна</given-names></name><name name-style="western" xml:lang="en"><surname>Babich</surname><given-names>Irina A.</given-names></name></name-alternatives><email xlink:type="simple">babichia@rambler.ru</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff xml:lang="ru" id="aff-1"><institution>Казанский федеральный университет</institution><country>Russian Federation</country></aff><pub-date pub-type="collection"><year>2015</year></pub-date><pub-date pub-type="epub"><day>28</day><month>02</month><year>2015</year></pub-date><volume>0</volume><issue>1</issue><fpage>66</fpage><lpage>69</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Бабич И.А., 2015</copyright-statement><copyright-year>2015</copyright-year><copyright-holder xml:lang="ru">Бабич И.А.</copyright-holder><copyright-holder xml:lang="en">Babich I.A.</copyright-holder><license xml:lang="ru"><license-p>© 2026 ФГБУ "Российская государственная библиотека". Все права защищены. Воспроизведение без письменного разрешения запрещено.</license-p></license><license xml:lang="en"><license-p>© 2026 Russian State Library. All rights reserved. Reproduction without written permission is prohibited.</license-p></license></permissions><self-uri xlink:href="https://observatoria.rsl.ru/jour/article/view/134">https://observatoria.rsl.ru/jour/article/view/134</self-uri><abstract><p>В тексте эссе предложены два варианта герменевтической работы с визуальным текстом картины Д. Гирландайо «Портрет старика с внуком». Один пример основан на создании новой условно­художественной реальности и содержит целостный подход понимания как реконструкции­переживания. Другой пример выполнен в категориях собственно герменевтического анализа. Который из них более глубокий и содержательный? Судить читателю.</p></abstract><trans-abstract xml:lang="en"><p>Is an essay on the two approaches to hermeneutic analyses of a visual text. The author addresses the “Old man with his grandson” by Domenico Ghirlandaio as a visual text that needs understanding and interpretation. The first approach is based on the creation of a new, quasi­artistic reality in the form of a dialogue in the classroom; it provides the holistic approach to understanding as a reconstruction­experience. The second one implements the proper hermeneutical analysis and involves tackling the interrelation of the basic hermeneutic concepts of “text” and “context”. Interpretations that apply this strictly logical method resemble the process of “preparation” and lose much in terms of the holistic humanistic approach. The author puts a question: which of the two approaches is deeper and more meaningful? A reader is to make a judgement.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>Доменико Гирландайо «Портрет старика с внуком»</kwd><kwd>визуальная культура</kwd><kwd>герменевтический анализ</kwd><kwd>восприятие</kwd><kwd>понимание</kwd><kwd>новая условно­-художественная реальность</kwd></kwd-group><kwd-group xml:lang="en"><kwd>«текст­-контекст»</kwd><kwd>Domenico Ghirlandaio</kwd><kwd>visual culture</kwd><kwd>hermeneutical analysis</kwd><kwd>perception</kwd><kwd>understanding</kwd><kwd>"text and context"</kwd><kwd>new quasi­-artistic reality</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title></ref-list><fn-group><fn fn-type="conflict"><p>The authors declare that there are no conflicts of interest present.</p></fn></fn-group></back></article>
