Старый 24.05.2010, 15:44 Язык оригинала: Русский       #51
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I wonder how this "contemporary art" will be called so in 10-20 years? If anyone remembers this.
Contemporary Art and 50 years ago it was. Something in this recall, and somehow it is now called. Some of the things the Soviet period of Russian art called socialist realism, some-non-conformism.



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Старый 24.05.2010, 18:08 Язык оригинала: Русский       #52
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Today - Day of Slavonic culture.

I advise to look:

http://rutube.ru/tracks/1890782.html...84cf73ed52c7f5
Ivan Ilyin - About Bolshevism and the intractability of the Russian spirit

http://online-video.su/video/9769
Russia, which we lost

I advise you to listen:
http://www.staroeradio.ru/collection.php?l=%D0%A8
Ivan Shmelev - Kulikovo




Последний раз редактировалось tchaika; 24.05.2010 в 18:29.
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Старый 24.05.2010, 19:56 Язык оригинала: Русский       #53
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And you, Cyril, Ivan Shmelev read?



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Старый 24.05.2010, 19:58 Язык оригинала: Русский       #54
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Added after 58 minutes
Цитата:
«... Most think: was this episode in our lives - and passed, and we - once again Great Russia, Holy Russia again. But in fact Russia Bolshevism - no more, no less - wiped off the face of the earth.
On the one hand yes, on the other side. .. On the Russian icons in the world knew it was a period of Bolshevism. Icons XIV-XV centuries .. became known only after the revolution. They were dragged into the daylight of the churches, lifted the salaries, painting opened, it became evident. The whole world saw it and gasped. Wild French. They still have not heard about it. Since these icons appeared price.



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Старый 24.05.2010, 20:01 Язык оригинала: Русский       #55
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And you, Cyril, Ivan Shmelev read?
Here, you are now advised, I will read.


Added after 10 minutes
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Icons XIV-XV centuries .. became known only after the revolution. They were dragged into the daylight of the churches, lifted the salaries, painting opened, it became evident. The whole world saw it and gasped.
It is not.
Even in the XIX century. began collecting ancient iconography.
There was a lot of collectors and have been decrees on the establishment of museums.
 
Start collection of ancient art at the Tretyakov Gallery was laid by PM Tretyakov: in 1890 they were acquired from the collection of icons, IL Silin, displayed in the halls of the Historical Museum at the time of VIII Archaeological Congress in Moscow. In the future were made and other acquisitions from other private collections, including the collection of N. Postnikov, SA Egorova, antiquary, P. Ivanov. It consisted of the icons of the Novgorod and Moscow schools; icons strogonovskih letters (ie, created in workshops owned by rich people Stroganoff). Among these acquisitions were such masterpieces as the icon "King King" ("Queen of Repre») XV century, "Good fruit doctrine" early XVII century, written by Nicephorus Savin, "Alexei Metropolitan» XVII century.




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Старый 24.05.2010, 20:31 Язык оригинала: Русский       #56
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Here, you are now advised, I will read.


Posted 10 minutes

It is not.
Even in the XIX century. began collecting ancient iconography.
There was a lot of collectors and have been decrees on the establishment of museums.
 
Start collection of ancient art at the Tretyakov Gallery was laid by PM Tretyakov: in 1890 they were acquired from the collection of icons, IL Silin, displayed in the halls of the Historical Museum at the time of VIII Archaeological Congress in Moscow. In the future were made and other acquisitions from other private collections, including the collection of N. Postnikov, SA Egorova, antiquary, P. Ivanov. It consisted of the icons of the Novgorod and Moscow schools; icons strogonovskih letters (ie, created in workshops owned by rich people Stroganoff). Among these acquisitions were such masterpieces as the icon "King King" ("Queen of Repre») XV century, "Good fruit doctrine" early XVII century, written by Nicephorus Savin, "Alexei Metropolitan» XVII century.
Read: Lazarev VN "Russian icon painting from its origins to the beginning of XVI century,
where the first chapter is called: Chapter I Opening of Russian icons and its study.
I see no contradiction. When the 19 th century, some collector was acquired 1-2 icons 15 th century, it is not about opening this layer iconographic art. It is absolutely natural that when they started to close the church, here's the got to these ancient icons. I can also add to your passage.
Even in "History of the Russian State" Karamzin mentions the ancient artists, provides details about their products. They have become the subject of study for historians, but the real discovery of the iconic treasures happened later. The fact is that people are nineteenth century, ancient Russian icon painting is really easy not seen. Dark, covered with dust and soot that remained in the ancient temples of frescoes and mosaics, and literally became invisible icon - the main, the largest part of the ancient heritage. After all, frescoes and mosaics, in particular, were decorated in ancient times, not every church, and the icons were required not only in every church, and in every home. The reason for this invisibility icons - in the particular painting technique in which they sozdavalis.Doska, which must be written by an icon or covered with gesso primed fabric - velvet, and the image itself was applied but the soil tempera, ie mineral paints. A top image was covered with a layer of varnish. Drying oil well showing color and, more importantly perfectly protects the icon of the damage. However, linseed oil has the property over time, darken, and for 70-100 years, it was the dark so much so that almost completely concealed, under her paintings. So in 1840 the historian Ivanchin-Pisarev, sow the Trinity-Sergius Lavra, was able to see in stored there silnopotemnevshey "Trinity" by Andrei Rublev, the most valuable works of art.
Until the middle of XIX century the general view remained that "making art put back in our homeland Peter I".
Further more interesting. At the beginning of XX century, even before the 1917 revolution in Russia began to organize exhibition of old Russian icons, whereby short-term Russian icon has been recognized as one of the highest achievements of world culture. The famous French painter Henri Matisse (1869-1954), visited the exhibition of ancient icons of 1911, said: "Russian is not suspect what artistic treasures they possess. Italy in this field gives less ".
In 60-ies of XX century for many fans of the national culture discovery of ancient icons is done by writing talent, VA Soloukhin (1924-1997), who has devoted an icon many pages of his works, "Letters from the Russian Museum" and "black".



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Старый 24.05.2010, 20:44 Язык оригинала: Русский       #57
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I do not see the contradiction.
And I can see.

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If the 19 th century some was purchased by a collector 1-2 icons 15 th century, it does not mean the opening of this reservoir iconographic art.
If you are not in the topic, do not expose themselves to ridicule.
"1-2 icons ... '
A Collection of Shchukin, Ostroukhov, Count Uvarov, SP Ryabushinsky, AP Bakhrushin Bobrinsky, AA Brokar, Guchkov, Giraud, Sollogub, Kharitonenko, P . VP Shibanova, Shirinsky-Shikhmatov, O. and LL Zubalovo EE Egorova, NM Postnikov, SK and G. K. Rakhmanov, AV Morozov?



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Старый 24.05.2010, 20:56 Язык оригинала: Русский       #58
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In a private collection Shchukin was an enormous amount (more than 1000?) Exhibits related to the art of ancient Russia. But how many of them were icons of 15 th century? One embroidered front surface of the icon (Moscow, 1389) and two are the same sheet (Moscow, late 15 th century). I course. And you have not even named, but just moaning about nothing.
I think it s perfectly understand what I said. But something (the unconscious?) Forces you to be rude. And do not lead a normal dialogue.



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Старый 24.05.2010, 21:03 Язык оригинала: Русский       #59
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I think it s perfectly understand what I said. But something (the unconscious?) Forces you to be rude.
No, I do not understand what you said. And I do not grublyu, and speak frankly.
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Wild Frenchmen.
This is understood. You can even repeat after satirist Zadornov: "Stupid, these Americans are stupid-e-e!"

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They still have not heard about it.
Who? What?
Can not answer: I read about the darkened varnish is not very interesting, as you mentioned Soloukhin books I read in the 72 th year.



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Старый 24.05.2010, 22:09 Язык оригинала: Русский       #60
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On the Russian icons in the world knew it was the period of Bolshevism. Icons XIV-XV centuries .. became known only after the revolution. They were dragged into the daylight of the churches, lifted the salaries, painting opened, it became evident.
"... Yes, well, devouring began immediately. For thousands of years Russia had amassed fabulous wealth, the treasure. They were part of the museums, but mostly in monasteries, churches, gentry and merchants' houses and even in the homes of so-called petty bourgeoisie, that is, ordinary urban residents, and even in homes of the peasants. Of course, incomparably rich in houses, but in every house there was the icon, and among them may be old, could be a silver frame, and it already agree , value.'ll see consistently, as has been done.
The main museums of the country, such as the Hermitage, the Tretyakov Gallery, the Historical Museum, they at the very early stages did not touch, at least, explicitly. Funds may be, and stirred, but history is silent about this.
But where it was worse, and the museum took the old days. We had to travel around the city, to explore, ask questions. In one typical case, I came across. In Ivanovo-Voznesensk lived a rich merchant Burylin. The merchants at the end of the nineteenth century, too, has deteriorated to the highest cultural layer. You know, with Mamontov's private opera, Morozov, Ryabushinsky with its unique collection of Old Believer icons. National consciousness among the Russian merchant class was developed by this time very much. From the merchant class years through twenty or thirty would have gone to scientists, writers and statesmen. In short, this class has already been done to ensure that nourish the brain of the nation. Yes, and fed already. Ostrowski, Tretyakov, Mikhail Vasilyevich Nesterov - all of the merchants.
Читать дальше... 

So Burylin. Correspondence with Tolstoy. I sent him to manufacture cars. All of Tolstoy's estate was dressed in burylinsky chintz. That something Burylin decided to create for the city of Ivanovo-Voznesensk his museum. He had the rare exhibits. Systems, of course, was not. Something like Kunstkammer where, together with Russian icons - Egyptian mummy (but true), and with Kholmogory bone carving - Japanese netsukes or, say, a chair of ivory, the Caliph of Baghdad. Russian Icons as were all of gold and silver frame decorated with precious stones.
The meeting was worth many millions of rubles. This museum Burylin gave the city of Ivanovo-Voznesensk by constructing a specially big beautiful house.
But great changes. In Ivanovo the order came to ship all the exhibits in Moscow to demonstrate the working capital. Upload. Since then they disappeared. I was interested in then: maybe in the funds of the Historical Museum preserved something? Never mind. Where are all gone?
     - And there, in Ivanovo?
     - What's in Ivanovo? There, the museum in the same house and even mentions that it has organized Burylin. But instead of values, instead of the treasures exhibited diplomas, yes pennants socialist competition, but photos of strikes and the first revolutionary workers. Well, even stuffed birds and animals on the theme "Nature of native land." Burylinskie same treasure disappeared without a trace. I do not think it was an isolated case. It can not be tickled to no funds at all provincial museums, removing from them gold, silver, antiques, giving them display crimson cloth with photocopies.

Or take another case. In the Belfry of Ivan the Great in the Kremlin kept the so-called "Patriarch's vestry, that is, all the treasures that have been accumulated Patriarch of All Russia: gifts to them, the patriarchs, for many centuries, and the other States and the Russian tsars, monasteries, churches. We must assume that Russian Patriarch held in its treasury not Chinese thermos flasks. There was artistic embroidery, and old icons, but mainly gold and precious stones in the form of iconic salaries, Reese, Panagia, Metropolitan, chalices, crosses. In today would be considered difficult to imagine now, how much cost in terms of money, not to mention the artistic, historical and scientific value, the sacristy. So what do you think? One day, appeared in the newspaper a little soobschenitse, though at night the whole vestry stolen. They came, de, unknown assailants in a truck and everything was taken away. Who's that in 1918 the Kremlin in the capital, guarded by Latvians and special cadets, could come in a truck and quietly to take the Patriarch's vestry? Where are watching "Iron Felix" with its Cheka? And why do so and all vanished, like the water, without attempting to catch up, find, solve the crime?
     - But they were in power. Is it logical to steal from ourselves?
     - Logically. Full confidence that last very long, they did not have. Why was ahead the entire Civil War. We had to hurry. A formula is simple, even noble: "If we do not stay in power, then to further the revolutionary work on the implementation of the world revolution will be needed money." Do not you? Then it should be, while in power, as much as possible of these funds to stock up. And they went to Russian treasures in Swiss banks and foreign caches.

In order to rob the monasteries, was found a noble excuse: famine relief. But, first, the hunger at the time was inspired by them that all the grain from the villages were taken by force. Secondly, in the Trinity-Sergius Lavra focused treasures, which would be enough to buy their grain abroad for three years to feed the whole of Russia. Tubs pearls, rubies barrels. Scraped everything clean sweep. Why did not end hunger? If
missing one's laurels, to feed Russia, where it went to the treasures of the hundreds of other monasteries? Recently I was told that a St George's Monastery in Novgorod was removed, among other treasures of the icon of the Sign of the Mother of God, carved on a huge emerald. Where is it, I'd like to know? It's not a needle, should she be anywhere - in the Armory, in the Historical Museum, generally in public funds? Its nowhere and disappeared without a trace.
I think, a little poorer than the Trinity-Sergius Lavra were the same Solovki, Valaam Monastery, Kiev-Pechersk Lavra, Optin deserts Pochaevskaya laurel, the Alexander Nevsky Monastery, the numerous monasteries in Moscow.
Plundered monasteries were hundreds and robbed tens of thousands of churches. The same pretext: the fight against hunger. What sort of priest, bishop, Metropolitan will object to the fight against hunger? Please, they said, is money, there is gold, please. But come in leather jackets, stripped of the icons of gold and silver robe, dumped them in a pile, crumpled up and carried away. Taken away, or rather, because it was heavy and cumbersome.

There is a secret letter of Lenin's Politburo , extracts of which is to write.
So, this is not about how to feed the starving population, but about how to take inspired hunger and rob churches and monasteries, give the wealth accumulated by Russia for many centuries.
"It is now and only now, when starving people are eating places and on roads littered with hundreds if not thousands of corpses, we can (and should) be the removal of church valuables with the most frenzied and ruthless energy, not stopping at the suppression of the resistance ... We are pleased by all means necessary to carry out the confiscation of Church property in the strongest and quickest way than we can provide a fund of several hundred million gold rubles (one must remember the enormous wealth of some monasteries and laurel) ... to take over the fund of several hundred million gold rubles (and perhaps a few billion), we must at all costs. And to do so successfully can only now. All considerations indicate that plan to do this we will not, because no other time, besides the desperate hunger, does not give us the mood of the broad peasant masses, who have either provided us with sympathy of the masses, or at least would provide us neytralizovanie of these masses in the sense that that victory in the fight against the removal of property will be unconditionally and completely is on our side ... So I come to an unconditional withdrawal that we have right now to give the most decisive and merciless battle Hundred clergy and suppress their resistance with such brutality that they will not forget this several decades.
The most the campaign for the plan I represent the following:
Officially make whatever arrangements it should only comrade. Kalinin, - never and under no circumstances nedolzhen speak either in print or otherwise before the public, Comrade. Trotsky.
Already sent a telegram on behalf of the Political Bureau of the temporary suspension of seizures should not be annulled. It is to our advantage, because the enemy will sow the idea that we hesitate, if he managed to intimidate us (about this secret telegram, just because it is secret, the enemy, of course, will soon learn).
In Shuya (in the small town of Shuya believers resisted the confiscation of Church property) to send one of the most energetic, smart and administrative members of the Central Executive Committee or other members of the central government (a better one than a few), and give his verbal instructions through a member of the Politburo. This instruction should be to ensure that he Shuya arrested as much as possible, no less than several dozen members of the local clergy, the local middle class and the local bourgeoisie, on suspicion of direct or indirect involvement in the violent resistance to the decree of the Central Executive Committee of the seizure of church property. .. Politburo will give a detailed directive to the judicial authorities, also an oral process to rebel against Shuisky was conducted with maximum speed and did not end otherwise than to shoot a very large number of the most influential and dangerous reactionaries, the Shuey, and if possible the same way, and not only this city, and Moscow and several other spiritual centers ... The greater the number of representatives of the reactionary bourgeoisie and reactionary clergy we succeed on this occasion to shoot, the better. It must be taught a lesson that it is now public, so that for several decades about any resistance, they did not dare to think ..."

Soloukhin from the book "The last stage", 1976.
http://books.prometey.org/read/l4/page74/1840.html




Последний раз редактировалось tchaika; 25.05.2010 в 15:15.
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