| Summary: | <p>This article discusses the tools verbalization European Baroque painting techniques and Old icons in the Gogol's story "Taras Bulba". Narrative functions of implicit ecphrasis investigated in connection problem relatedness Catholicism and Orthodoxy in the minds of Gogol at the beginning of the 1840s.</p><p><strong>The purpose</strong> of the article analyzes the ways of verbalization and features of non-attributed implicit ecphrasis in the second edition of Gogol's "Taras Bulba" reproducing Caravaggio painting style and Old icons.</p><p><strong>Method or the methodology of work</strong>: Among research material are Gogol's "Taras Bulba" in two editions, the European Baroque paintings and ancient Russian icons. Were applied structural-typological, structural, intertextual, hermeneutical methods.</p><p><strong>Results:</strong> We describe the correlation of ecphrasis in Gogol with referents: the paintings of Caravaggio and Honthorst , and Old Russian iconography . Found that ecphrasis descriptions that appear only in the edition of 1842 are not local segments of the text and form the entire text layers, actively organizing narrative, operating plot and composition. Hidden emplisit ecphrasis is the artistic code, extending the semantic space of the text , the text translation tool of religious and philosophical ideas of the author. Valuable contraposition of baroque and iconic ecphrasis in the story reflects not only the author's reflection on the problem of beauty , inner and outer, but also a reflection of their own style.</p><p><strong>Application area:</strong> The results of our study can be used for lectures on the history of Russian literature of the XIX century, the history of Russian and European culture, cultural studies, specialized courses and electives in the problem of interaction between different kinds of art, as well as material for interdisciplinary humanities research, including in school practice teaching literature and art history.</p>
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