" The Wind of changes " - the
second part of the exhibition - trilogy, finished one of these days in the National art
museum, covers the period of 60-70 years in the fine arts of Yakutia.
At this period there is still an ideological orientation, but not so
rectilinear, with elements of creative interpretation. In art so-called "severe"
style prevails. It is reflected in struggle of a person against elements, conquest of the
nature (remember slogan " To take from the nature - our task! ").
 "
Fishermen of Indigirka " (M.V.Lukin) - an embodiment of this idea. The cold
background of mountains on this cloth sharply contrasts with the "human" plan
represented in warm tones, and horizontal lines of clouds and cracks on ice visually
dissect a picture, strengthening resistance. The strong-willed beginning dominates also in
female portraits. The hair strapped with a bunch on a nape - the psychological detail
testifying to tendency and force, readiness for heroic work.
 In
"Portrait of the worker" (I.D.Koryakin) alongside with a face the most
expressively hands of the worker are written out. Heavy and more significant, they
contrast with a pile of the books, represented poorly and conditionally. Frameworks of the
picture do not contain a figure of the worker, and it creates effect of the close up
focusing the essence of an image. Even the landscape in this period becomes industrial,
its basic plot are the river and panoramas of dredging of rocks. In this period graphic
art actively develops.
   Its strong large lines form a type of a Soviet person. It is
"Dumas of the Yakut" (A.P.Munkhalov), "Music" (V.Vasiliev), "
Destruction of a comrade " (E.S.Sivtsev). Black-and-white features of portraits and a
manner of the image are so absolutized and universal, that author's individuality
practically is not felt. Images are not detailed and have no internal psychological
contents, the general denominator of this period becomes epoch of typification of art.
"Sardana" V.Vasiliev
In this connection V.Vasiliev's "Sardana" depicting process of
awakening in a person of interest to himself and to his origin is different a little.
  And already in 70th years the fine arts
cardinally change the direction. Romanticism of 60th years has affected firm
bases of social realism. The sight of an artist from the remote prospects of the light
future has moved inside of a person, including the depths of an artist himself. There is a
genre of self-portraits (M.Rakhleeva's Self-portrait). Sometimes an author deduces the
portrait as an independent lyrical image.
 In N.A.Pavlov's picture " Into the collective farm "
the central place is occupied by a little boy with a favourite toy in hands. He is as much
as possible approached to edge of a cloth, as if that it was easier to the author to
glance in eyes of his childhood. The soft muffled tonality of a picture creates
association of easy memoirs. Gradually internal human measurement in art becomes more and
more multivariate. The theme of love, lyrical experiences, casual moods starts to sound.
The graphic in this period becomes softer, strokes become shallow, there are semitones,
shades. It gravitates to a figure more. In it appears an emotional expressiveness
 V.D.Ivanov's lithograph
"Song" is subordinated to one musical idea. This is a song - meditation, a song
- question. The high sky is expressively and actively worked by strokes. Its frameworks
have been moved apart till the sizes of the universe, giving open space for sounding of a
theme, and in the same time it covers all real, giving answers to all questions by only
the fact of the existence.
 Unique destiny and
applicability has a lithograph of Valerian Vasiliev " My daughter ". Still
recently he was limited to frameworks of " severe style ", but in 70th his
creativity gets new quality, it becomes many-sided and refined. Probably, a plot of an
engraving is evoked by Mark Shagal's creativity, the composition is similar to canons of
theatrical scenery and also includes traditional symbolics, but thus the picture has
deeply personal contents. Year, when the author has created this product, becomes the last
in his life, and in two years leaves life his daughter. This process and this connection
of the father and the daughter by a shaman omen were engraved by the author.
Leaving mentality of collectivism, and having addressed the individual area, artists to
the touch have found out and have isolated one more form of individualism - national
originality. This many-sided phenomenon was embodied in images of Yu.I.Votyakov's shamans
and faces - masks ("Shaman", "Udagan woman").
 The national theme has received powerful development in A.I.Osipov's
picture where the deserved writers of Yakutia are collected, conscience and soul of the
sakha people. A wide panorama and mighty, as a Life-tree, larch define epic scope of a
picture. The organizing centre of a picture is Kyunnyuk Urastyrov. He is represented in
the pose of a story-teller that creates effect of silent conversation of friends. Nikolay
Mordinov is like a romantic optimist. S.R.Kulachikov-Ellyay's red shirt symbolizes
adherence of the writer to communistic ideals. Image of Suorun Omollon contains features
of the drama hero, that, probably, is caused by his theatrical creativity. Psychological
portraits of heroes are as much as possible sharped, they reflect four vital positions,
four sights incorporated by one common idea of destiny of Yakutia.
Svetlana Vasilieva
Press-service of the Internet-Centre of YSU
12 april 2002ã. |
