The “grave” of the prophetic Oleg is overgrown with weeds. Oleg's meeting with the magician (picture) The role of the Magi in pagan Rus'

The Leninsky District Court in the city of Kirov recognized the painting by the remarkable Russian artist V.M. Vasnetsov “extremist”...

Finally, the “long arms” of the law enforcement system have reached the main thing. The decision of the Leninsky District Court of the city of Kirov on recognizing Viktor Mikhailovich Vasnetsov, Russian, born in 1848, as an extremist artist, has entered into legal force. Posthumously. The basis is the conclusions of the examination of his painting “Oleg’s Meeting with the Magician,” made by a master commissioned by a person unknown to the investigative authorities in Moscow in 1899.
To be fair, it is worth noting that the most famous illustrator of Russian fairy tales again fell into history by accident, finding himself at the wrong time and in the wrong place. The “Wizard” was placed on the cover of his brochure “The Magi” by the writer Alexey Dobrovolsky, aka “Dobroslav”. The creative union of a writer and an artist (i.e., actually a gang), it turns out, was engaged in publicly inciting “national, racial or religious enmity,” humiliating “national dignity,” and also promoting “exclusiveness, superiority or inferiority of citizens based on their attitude to religion, nationality or race" (Article 282 of the Criminal Code Russian Federation).

There is also evidence of the above-mentioned outrages. Not everyone can offend an artist. “Qualified” and “retrained” experts (all of them are employees of the Department of Pedagogy and Psychology of the Kirov Institute for Advanced Training and Retraining of Education Workers) with their conclusions revealed the criminal plans of the “defendant” Viktor Vasnetsov.

We read carefully: “Signs of manipulative psychological influence were found in the brochure “The Magi”; verbal (verbal, speech) and non-verbal (non-speech) means were used. Non-verbal manipulative influences include the design of the cover of “The Magi,” which depicts an old man indicating the direction of action to a squad of warriors. The old man is dressed in simple clothes: long shirt, bast shoes, he just came out of the forest. In the description of the elder one can read the image of a pagan. The indicating gesture of the elder’s hand towards the warriors testifies to his command, the possession of a certain power over them. Based on the premise that the cover of a book expresses its key idea, we can conclude about the author’s desire to command, power over other people, and a focus on struggle.”

The opinion of the experts is confirmed by Alexander Pushkin, who is still a witness (his status may be reclassified). After all, the “elder in the form of a pagan” talked with his prophetic Oleg:

How the prophetic Oleg is getting ready now
Take revenge on the foolish Khazars. (according to the Criminal Code of the Russian Federation - “humiliation on a national basis”)
Their villages and fields for a violent raid
He doomed him to swords and fires. (Article 353: “Planning, preparing, initiating or waging aggressive war”)

And here is how the elder addresses representatives of government authorities:

Magi are not afraid of mighty rulers,
But they don’t need a princely gift;
Their prophetic language is truthful and free
And friendly with the will of heaven.

Here we can clearly see disdain for Prince Oleg (Article 319: “Insulting a representative of the authorities”), which is aggravated by the prediction: “You will receive death from your horse” (Article 320: “Disclosure of information about security measures applied to an official”) .

The old man really “commanded” - he forced the prince to kill his own horse (“Cruelty to animals,” to the heap). Which, however, did not save the “commander-in-chief” from a snake bite (premeditated attempt?).

So the “Leninsko-Kirovsky” district court was right when it listened to “ expert opinion" By the way, all materials recognized by Themis as “extremist” are subject to destruction. And the artist Vasnetsov is no exception here - to hell with him!

It is high time to cleanse Mother Russia of “misanthropic” waste paper with the help of our humane courts. There will be enough food for the “sacred fire”. Here is Dostoevsky, who prophesied extremism: “So it will be if things continue, if the people themselves do not come to their senses; and the intelligentsia will not help him. If he doesn’t come to his senses, then the whole thing, in a very short time, will end up in the hands of all kinds of Jews... The Jews will drink the people’s blood and feed on the depravity and humiliation of the people...” And Gogol, with his main instigator of national and religious enmity - Taras Bulba. And how many artists can be included under Article 282 if you choose the right experts!

Let's finish with the classics and get to the contemporaries. Here is Dmitry Anatolyevich Medvedev in his article “Russia, forward!” wrote about “the centuries-old corruption that has been plaguing Russia since time immemorial.” Doesn't this humiliate the national dignity of an entire people, citizens experts?

Victor Vasnetsov Oleg's meeting with the magician. 1899 Paper, watercolor State Literary Museum, Moscow

“Oleg’s meeting with the magician”- watercolor by Viktor Vasnetsov. Written in 1899 as part of a series of illustrations for “Song of the Prophetic Oleg” by A.S. Pushkin.

In the design of the poem, Vasnetsov borrowed motifs from ancient Russian traditions of book design. In addition to the actual illustrations, Vasnetsov developed initial letters, compositions, and screensavers. The cycle “Song of the Prophetic Oleg” by Vasnetsov had a significant influence on the development of Russian book illustration, in particular to Ivan Bilibin and the artists of the World of Art association.

Press reports about the supposed identification of the illustration as extremist

According to some Russian media reports in March 2010, the painting was used to design the cover of the book “The Magi” by neo-pagan nationalist Alexei Dobrovolsky. On April 27, 2010, by a decision of the Leninsky District Court of the city of Kirov, seven books by Dobrovolsky, including “The Magi,” were recognized as extremist materials. At the same time, some media outlets indicated that the cover of the book was also considered extremist. The text of the examination, allegedly carried out by specialists from Kirov and Vladimir, was given:

Signs of manipulative psychological influence were found in the brochure “The Magi”; verbal (verbal, speech) and non-verbal (non-verbal) means were used. Non-verbal manipulative influences include the design of the cover of “The Magi,” which depicts an old man indicating the direction of action to a squad of warriors. The old man is dressed in simple clothes: a long shirt, bast shoes, he just came out of the forest. In the description of the elder one can read the image of a pagan. The indicating gesture of the elder’s hand towards the warriors testifies to his command, the possession of a certain power over them. Based on the position that the cover of a book expresses its key idea, we can conclude that the author’s desire for command, power over other people, and a focus on fighting

State Literary Museum, Moscow K: Paintings of 1899

“Oleg’s meeting with the magician”- watercolor by Viktor Vasnetsov. Written in 1899 as part of a series of illustrations for “Song of the Prophetic Oleg” by A. S. Pushkin.

In the design of the poem, Vasnetsov borrowed motifs from ancient Russian traditions of book design. In addition to the actual illustrations, Vasnetsov developed initial letters, compositions, and screensavers. Vasnetsov’s “Song of the Prophetic Oleg” cycle had a significant influence on the development of Russian book illustration, in particular on Ivan Bilibin and the artists of the “World of Art” association.

Press reports about the supposed identification of the illustration as extremist

Signs of manipulative psychological influence were found in the brochure “The Magi”; verbal (verbal, speech) and non-verbal (non-verbal) means were used. Non-verbal manipulative influences include the design of the cover of “The Magi,” which depicts an old man indicating the direction of action to a squad of warriors. The old man is dressed in simple clothes: a long shirt, bast shoes, he just came out of the forest. In the description of the elder one can read the image of a pagan. The indicating gesture of the elder’s hand towards the warriors testifies to his command, the possession of a certain power over them. Based on the position that the cover of a book expresses its key idea, we can conclude that the author’s desire for command, power over other people, and a focus on struggle.

The court's verdict does not contain information about recognizing Vasnetsov's painting as extremist material. At the end of April 2011, the Leninsky District Court of Kirov issued refutations recognizing the painting as extremist and the artist as an extremist. According to various sources, psychologists at the Kirov Institute stated that either the image on the cover was not considered extremist, or they did not conduct an examination at the request of the prosecutor's office.

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Notes

Literature

Paston E. Victor Vasnetsov. - M.: White City, 2007.

Links

// Echo of Moscow

An excerpt characterizing Oleg’s meeting with the magician

The Russians could not find a better position; but, on the contrary, in their retreat they passed through many positions that were better than Borodino. They did not settle on any of these positions: both because Kutuzov did not want to accept a position that was not chosen by him, and because the demand for a people’s battle had not yet been expressed strongly enough, and because Miloradovich had not yet approached with the militia, and also because other reasons that are innumerable. The fact is that the previous positions were stronger and that the Borodino position (the one on which the battle was fought) is not only not strong, but for some reason is not at all a position more than any other place in Russian Empire, which, when guessing, would be indicated with a pin on the map.
The Russians not only did not strengthen the position of the Borodino field to the left at right angles to the road (that is, the place where the battle took place), but never before August 25, 1812 did they think that the battle could take place at this place. This is evidenced, firstly, by the fact that not only on the 25th there were no fortifications at this place, but that, begun on the 25th, they were not finished even on the 26th; secondly, the proof is the position of the Shevardinsky redoubt: the Shevardinsky redoubt, ahead of the position at which the battle was decided, does not make any sense. Why was this redoubt fortified stronger than all other points? And why, defending it on the 24th until late at night, all efforts were exhausted and six thousand people were lost? To observe the enemy, a Cossack patrol was enough. Thirdly, proof that the position in which the battle took place was not foreseen and that the Shevardinsky redoubt was not the forward point of this position is the fact that Barclay de Tolly and Bagration until the 25th were convinced that the Shevardinsky redoubt was the left flank of the position and that Kutuzov himself, in his report, written in the heat of the moment after the battle, calls the Shevardinsky redoubt the left flank of the position. Much later, when reports about the Battle of Borodino were being written in the open, it was (probably to justify the mistakes of the commander-in-chief, who had to be infallible) that unfair and strange testimony was invented that the Shevardinsky redoubt served as a forward post (while it was only a fortified point of the left flank) and as if battle of Borodino was accepted by us in a fortified and pre-chosen position, whereas it happened in a completely unexpected and almost unfortified place.
The thing, obviously, was like this: the position was chosen along the Kolocha River, which crosses the main road not at a right angle, but at an acute angle, so that the left flank was in Shevardin, the right near the village of Novy and the center in Borodino, at the confluence of the Kolocha and Vo rivers yn. This position, under the cover of the Kolocha River, for an army whose goal is to stop the enemy moving along the Smolensk road to Moscow, is obvious to anyone who looks at the Borodino field, forgetting how the battle took place.
Napoleon, having gone to Valuev on the 24th, did not see (as they say in the stories) the position of the Russians from Utitsa to Borodin (he could not see this position, because it did not exist) and did not see the forward post of the Russian army, but stumbled upon the Russian rearguard in pursuit to the left flank of the Russian position, to the Shevardinsky redoubt, and, unexpectedly for the Russians, transferred troops through Kolocha. And the Russians, not having had time to engage in a general battle, retreated with their left wing from the position they had intended to occupy, and took up a new position, which was not foreseen and not fortified. Having moved to the left side of Kolocha, to the left of the road, Napoleon moved the entire future battle from right to left (from the Russian side) and transferred it to the field between Utitsa, Semenovsky and Borodin (to this field, which has nothing more advantageous for the position than any another field in Russia), and on this field the entire battle took place on the 26th. In rough form, the plan for the proposed battle and the battle that took place will be as follows:

If Napoleon had not left on the evening of the 24th for Kolocha and had not ordered an attack on the redoubt immediately in the evening, but had launched an attack the next day in the morning, then no one would have doubted that the Shevardinsky redoubt was the left flank of our position; and the battle would take place as we expected. In this case, we would probably defend the Shevardinsky redoubt, our left flank, even more stubbornly; Napoleon would have been attacked in the center or on the right, and on the 24th a general battle would have taken place in the position that was fortified and foreseen. But since the attack on our left flank took place in the evening, following the retreat of our rearguard, that is, immediately after the battle of Gridneva, and since the Russian military leaders did not want or did not have time to start a general battle on the same evening of the 24th, Borodinsky’s first and main action The battle was lost on the 24th and, obviously, led to the loss of the one fought on the 26th.

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(musical accompaniment)

Sirin and Alkonost. Song of Joy and Sorrow

Oleg's farewell to his horse. Illustration for “Song about the prophetic Oleg” by A.S. Pushkin

Vasnetsov Viktor Mikhailovich (Viktor Mikhailovich Vasnetsov, 1848–1926), great Russian artist, one of the founders of Russian Art Nouveau in its national-romantic version.
Born in the village of Lopyal (Vyatka province) on May 3 (15), 1848 in the family of a priest. He studied at the theological seminary in Vyatka (1862–1867), then at the drawing school at the Society for the Encouragement of Arts in St. Petersburg (where Vasnetsov’s mentor was Ivan Nikolaevich Kramskoy) and at the St. Petersburg Academy of Arts (1868–1875).

Vasnetsov is the founder of a special “Russian style” within pan-European symbolism and modernity. The painter Vasnetsov transformed the Russian historical genre, combining medieval motifs with the exciting atmosphere of a poetic legend or fairy tale; however, the fairy tales themselves often become the themes of his large canvases. Among these picturesque epics and fairy tales of Vasnetsov are the paintings “The Knight at the Crossroads” (1878, Russian Museum, St. Petersburg), “After the Battle of Igor Svyatoslavich with the Polovtsians” (based on the legend “The Tale of Igor’s Campaign”, 1880), “Alyonushka” (1881), “Three Heroes” (1898), “Tsar Ivan Vasilyevich the Terrible” (1897; all paintings are in the Tretyakov Gallery). Some of these works ("Three Princesses underground kingdom", 1881, ibid.) represent decorative panel paintings that are already typical of Art Nouveau, transporting the viewer to the world of dreams. For a long time the artist could not find a model for his painting “Alyonushka”. None of the girls, in the artist’s opinion, resembled Ivanushka’s fairy-tale sister, whom he so clearly imagined. But one day the artist realized that his heroine should have the eyes of Verochka Mamontova (the same one with whom Serov wrote his “Girl with Peaches”). And he immediately rewrote the face again, asking the girl to sit motionless in front of him for at least half an hour.

Master decorative painting Vasnetsov showed himself in the panel " Stone Age"(1883-85), written for the Moscow Historical Museum, depicting on it the ancient ancestors of the Slavs. But his biggest achievement in the area monumental art paintings of the Kyiv Vladimir Cathedral appeared (1885-96); trying to update the Byzantine canons as much as possible, the artist introduces religious images the lyrical, personal principle frames them with folklore ornament.

Vasnetsov’s contribution to the history of architecture and design is also original. In the Russian style, he saw not just an excuse to imitate antiquity, but also the basis for reproducing such properties of ancient Russian architecture as organic, “vegetative” integrity and decorative richness of forms. According to his sketches, a church was built in Abramtsevo in the spirit of the medieval Pskov-Novgorod tradition (1881-82) and the humorous fairy-tale “Hut on Chicken Legs” (1883). He also developed the decorative composition of the facade Tretyakov Gallery(1906) with the coat of arms of Moscow (St. George defeating the dragon) in the center.

After 1917 the artist went entirely into fairy tale theme, as eloquently evidenced by the titles of the last large paintings: “The Sleeping Princess”, “The Frog Princess”, “Kashchei the Immortal”, “Princess Nesmeyana”, “Sivka-Burka”, “Baba Yaga”, “Three Princesses of the Underground Kingdom”, “Sirin and Alkonost”... He lived on a pension granted to him as an honored artist, Soviet power, to which he, in turn, was forced to sell the house, which is now a house museum. In the upper room of this house, to this day there is a heroic oak table with an image of a huge Double-Headed Eagle in full width, which clearly illustrates the scale and spirit of Vasnetsov’s monarchism. The importance of Vasnetsov for the development of the creative element of Russian monarchism is difficult to overestimate. It was in his paintings that the generation of future theorists of the Russian autocracy was brought up (I. A. Ilyin, P. A. Florensky). It was Vasnetsov who gave rise to the national school in Russian painting (M. Nesterov, P. Korin, I. Bilibin). Black and white cards with images of Vasnetsov’s paintings, published in millions of copies during the First World War, contributed to the high patriotic upsurge of the Russian spirit. No less great was the influence of the artist on soviet art and culture, namely in Vasnetsov’s budennovkas (or as they were originally called - bogatyrki), developed by the artist for one and only holiday parade tsarist army, due to a special combination of circumstances, became the form of the army that in 1918-1922 restored the unity of the country and repelled foreign intervention.

Vasnetsov died in Moscow in his studio, working on a portrait of the artist M. V. Nesterov.

The younger brother of the famous Viktor Vasnetsov, much less known, Appolinary Vasnetsov was also an artist - he was by no means his timid shadow, but had a completely original talent. An excellent master landscape painter, A. M. Vasnetsov became famous as an expert and inspired poet of old Moscow. It’s rare that someone, once seeing, will not remember his paintings, watercolors, drawings, recreating an excitingly fabulous and at the same time so convincing real image ancient Russian capital.

IN In 1900, Appolinary Vasnetsov became an academician of the St. Petersburg Academy of Arts, then headed the landscape class at the Moscow School of Painting, Sculpture and Architecture, and since 1918 he headed the Commission for the Study of Old Moscow and conducted archaeological research during excavation work in the central part of the city.

The grandson of Viktor Vasnetsov, Andrei Vasnetsov, also became an artist, later the founder of the so-called " harsh style". In 1988-1992, Andrei Vasnetsov was the chairman of the Union of Artists of the USSR, a full member Russian Academy Arts, since 1998 - member of the Presidium. He was the honorary chairman of the Vasnetsov Foundation.