Bilyana Borisova
Sofia University
https://doi.org/10.53656/for23.625stih
Abstract. The article offers an insight into the entanglement between the avantgarde modernist principles of image and the Bulgarian aesthetic-ideological idea of the “native” from the 20s of the 20th century, realized by Nikola Furnadzhiev in the collection of poems “Spring Wind” from 1925. The reasoning is based on correspondences between the imagery in the paintings of the period and that in the poetic works from the poetry collection. The artistic suggestion achieved on their basis in “Spring Wind” illustrates an important aspect of Bulgarian avant-garde modernism as an aesthetic phenomenon, in which, although not yet fully described, European avant-garde aesthetic ideas and worldview attitudes are connected with the native ideological and aesthetic tradition. As a result of this relationship, in the entire literary field of the period, specific artistic modernist manifestations are obtained, through which Bulgarian literature in the years between the two world wars fits into the general European artistic process of intense search for an existential perspective before the post-war man and the corresponding aesthetic paths for achievement set through the creative efforts of a new post-war generation of artists. The inclusion of Furnadzhiev‘s poetry collection in this artistic practice has a decisive contribution to the expansion of pictorial experimentation and establishes its literary-aesthetic importance.
Keywords: Nikola Furnadzhiev; “Spring Wind”; avant-garde modernism; native, aesthetics; “Native Art”
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