Алегоричен образ в светските стенописи и мозайки в България.
The Allegorical Image in the Secular Murals and Mosaics in Bulgaria

Summary/Abstract: The signs-allegories I classify in two groups: mythological and party-ideological. The first group of the mythological signs-allegories I divide into: traditional, authors’ and new authors’. The traditional mythological signs-allegories are dependent on typological schemes and are based on different mythologies. They are characterized my sketchiness, dryness and stiffness of the image, while the authors’ ones brake the clichés and are more modern and full-bloodied. The traditional ones are used as remarks from ancient times with their concrete parameters or are used as basis on which to develop the authors’ mythological signs-allegories. The allegories of the authors build over the traditional ones by sustaining some or all characteristic attributes of the relevant image and through a change of the artistic treatment of the image. The new mythological signs-allegories are transformed traditional mythological images by interweaving in them of elements connected with the national, cultural and everyday traditions with the aim of expressing the national identity. This can be achieved thanks to the replacement of some of the attributes characteristic of the traditional mythological signs-allegories with similar as far as function is concerned. The second group signs-allegories are the party-ideological ones. They are tied with the ideals of the party doctrine characteristic of the ideology of the ruling class during the time of totalitarianism. Such party ideological signs-allegories are: the allegory of progress, of industry, of progress and advancement, of party heroism, of zeal, of bright future, of enlightenment and knowledge. We divide those into traditional ones and authors’.

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