the masses will have a lot of information and they will read this book through the page, nevertheless , here it is, i think, will answer many questions about the biography of st. seraphim of sarov, when i wrote this book, i consulted with priests, well, there are many questions it was, so you write to father anthony, who he is, that’s why we would like, that’s why i have so many footnotes, and i think that the footnotes are... “well, probably, they’re kind of important here,

necessary and necessary, footnotes can be studied on a second reading of the book, since the book requires treatment of none. father anthony, what would you advise? i strongly recommend the book, respected valentin aleksandrovich, the chapter dedicated to matavilov, a myth-maker, sometimes painful, a man who, perhaps, isaiah wanted to embellish, highlight, make more vivid the feat of holiness of the venerable seraphim, seems very valuable, but still failed in this sense of defeat, gave the life of st. seraphim some kind of painful reflection of spiritual charm, it seems to me so, and if we talk about some practical things, then, for example, in relation to the so-called prayer rule. a short prayer

rule, but people often believe that the rule taught by seraphim is limited to a short set of prayers in the morning and evening, but the monk seraphim said that before lunch you need to do certain things, doing certain things, pray short before lunch the jesus prayer, after lunch , pray to our lady, also briefly reading the virgin mary, thus reading this rule in fact in practical in a sense more difficult than what is familiar to us, but at the same time it allows us to tune in in some correct spiritual way during the day and not lose the memory of god. in this sense, the instruction of the venerable seraphim is, of course, very valuable. i know, i would like to share with you here with...

if someone has the opportunity to end up in deveeva, or there in sorovye, which is more difficult, then it would be good to do it. i sincerely thank you for our conversation. this and other episodes of the podcast are collected with thoughts, you can watch on the official pages podcast lap project. hello! dear friends, this is the podcast life of the remarkable, i am with you, its host, writer alexey varlamov, and we have two wonderful guests in our studio today, the director and founder, which is very important, of the moscow design museum, alexandra sankova and

the architect, artist, yuri avakumov . we have gathered here to talk, truly, about a super wonderful, super wonderful woman, vera. mukhina, about her life, about her work, and let's start with those items that standing here on the table, here are three faceted glasses, there is a version that it was vera mukhina, whom most of us, of course, remember and know from the majestic sculpture as a working collective farmer, nevertheless, it was she who came up with this glass and thus the range of her creativity from a glass to this wonderful sculpture, tell me, is it true or not true that this is the invention of vera mukhina? well, i don't think that's true. that is, it is categorically untrue. you know, there are different versions of what actually vera mukhina did exactly that, but i want to say that i understand why this legend

stuck to her, yes, because she was a great sculptor, a great artist, really very talented, she led a lot, she was the artistic director of the leningrad plant. glass, of course, from under her signature, after the artistic councils a lot of things went into production, well, because the art director, as always, even now in the modern world also signs everything for production or production, so there were probably glasses, and glasses for there is plenty of water for wine stories about how she tested everything herself, even if at the local council, for example, they were making a glass for wine, she said: “let’s pour some water out of the decanter, let’s pour some water, let’s try how convenient it is to sculpt from this, by the way, you can see, yes?". but specifically about the faceted glass, it seems to me that it was some kind of journalistic canard, when there was a celebration of some anniversary of the creation of the production of faceted glass, there were millions, so they took such a famous design object, a famous person, and, as it were, it's all combined into this

a beautiful legend, this is what i think, because i have never seen documents that directly confirm vermukhina’s authorship, specifically related to the faceted glass, but in fact, here i am... the legend with the glass, she is so charming, what do you think , yuri, about this? well, it’s a legend, if someone likes it, you know, let them like it, well, the song is good, the glasses are hot, but in general, let’s go back to vera mukhina, i must say that i love our podcasts for this reason, because i discover some for myself completely unexpected people, for example, when i looked at this

brief information about the fate of this woman, it really amazed me and captivated me, because imagine that in 1889, by the way, the same year anna akhmatova was born in... in the family a very rich industrialist, philanthropist, a girl was born who, it would seem, was promised a wonderful, happy life, there were loving parents, a family, but then the parents died, died, or rather, yes, first the father, then the mother, or vice versa, first the mother, then father, yes, she moves to feodosia, then such a dramatic event happens to her, when she was a young beautiful girl, she was sledding somewhere in the smolensk region, she very unsuccessfully slid down the mountain, a twig hurt her nose so... severely that in fact, here she is she was left without a nose and had to undergo eight plastic surgeries to restore her face, and of course, here are her dreams as a girl, about a happy life, about balls, dancing, she loved all this, it all collapsed somewhere, and as i understand it , that was some kind of push when

she turned to art, well, that’s how it was in the form of life, she had already said goodbye to her feminine happiness, but no, in the first world war, where she was a nurse, but that’s where... she went, she meets a wonderful man, a military surgeon , who was born into a peasant family and became a colonel in the tsarist army, alexei andreevich zamkov or zamkov, i don’t know how to put the emphasis correctly... and these two people, who, it would seem, should have gone to paris during the revolution, but with their past, with their attitude towards everything, they remain in their homeland, they remain here in the soviet union, she becomes such a cult figure in soviet architecture, sculpture, culture, he becomes one of the largest medical scientists, and despite the fact that everything is complicated for them there, there were moments threats of arrest, but there was some idea after all. leave the country at the end of the twenties, but still they remain here and even paris has not left her, because

, as we know, yes, she came to paris with this statue, that is some absolutely amazing fate, that’s what’s interesting, yes, for some reason we have two guests in the studio today, that on the one hand there are working collective farmers, yes, firstly, working collective farmers, very good, you said, yes, you will be a worker, you will be a collective farmer, well, that means faith... ignatievna is known, yes, as a monumental sculptor, if you call it correctly, yes, and as a clothing designer, that is, this woman had such talent, such energy, so much was enough, well, probably, alexander, you tell me more, probably better, about the fact that women may be more interested in everything that is connected specifically with design, but it is interesting that in the twenties the situation in general was already very difficult, that is, there is literally nothing to eat, there are no materials at all, it is impossible there were some very... the story is not about dressing well, but about the fact that

such an offer was received to present new models of soviet clothing at the 1925 exhibition in paris, it was an exhibition of decorative arts, and there were various aspects of what was in the soviet union presented, it was architecture and graphic design and fashion, well, in general , we absolutely wanted to show everything... everyone was completely amazed by our constructivism and melnikov built a pavilion, and there they actually showed all aspects of constructivism, when the whole world celebrated, they even called the style in general art deco style of 1925, because everyone either built in the national style or some kind of historicism, or ardeco, here we suddenly have a beast completely unknown to science, we surprised everyone with constructivism, and of course it was necessary to show different...

they wanted to decorate hats, they went to the field, collected spikelets, collected peas,

made decorations from straw, and it was so simple that there was nothing, they had to make something out of nothing to represent the country, it’s amazingly simple, they from the bread they sculpted buttons from the black bread, they squeezed out such a relief from the bread, that is, it came to this, this is of course an amazing thing, but you know what’s interesting to me, it means that the year 1925 will pass. this is more of a question for you - in general, what kind of exhibitions were these, who was invited there, invited, what was it? yes, everyone was invited, everyone who could afford to buy a pavilion , or rather land for a pavilion, everyone was invited, but how often did these exhibitions take place? well, i haven’t studied the special history of these exhibitions, i think that, let’s say, in 1937 there was an exhibition in paris,

in new york there was one in what, in 1939? yes, they took place quite often, they happened quite often, again they have a tradition... now it continues, in my opinion it has generally been going on since the middle of the 19th century, so for example, this so-called crystal palace, it was also there in 1861 or something, yes, it was also a huge expo, in fact, orientalism was discovered there in paris, when japanese art appeared at one of these exhibitions, everything suddenly they became fascinated with it and... indeed they were scattered all over the world, in america, in europe, and somehow this apparently alternated, but again, i didn’t specifically study history, but it’s easy to find out, of course, but nevertheless less likely is that in 1925 the soviet a country where the civil war ended not so long ago, which was in a difficult situation, nevertheless finds the means to buy this

land, build a pavilion, by the way, these women you spoke about are wonderful, they then... exposition of the soviet union, and i know that melnikov went, and his wife with great difficulty broke out to him, because they didn’t want to let her out, that is , not everyone went there, because as i understand it, it was also an expensive large delegation from us send, so only those who left who exactly... would be necessary, necessary , okay, alexander, but if we still return to the topic of design in mukhina’s work, and what else did she do besides these wonderful costumes and this exhibition, she had very broad interests, in general she was very fascinated by the synthesis of arts, she was one of the first to make sculptures from glass, for example, she was interested in this material in plastic, she also said that there is no need to go against the properties of the material, that is, you need

to adapt to it, then there will be natural forms, that is, it turns out on its own in fact, that she was not... a sculptor in the literal sense of the word, like an artist, as we imagine, she was like a figure who, like people of the renaissance, was like a person who could work in any direction, i i think that if they were probably asked to do architecture, she would also make a rather solid and some kind of confident object, because in principle she also made dishes, if you look at what they are showing us now, yes, these are her works, yes you you know, i’ve never seen this exact item, but it looks like yes, but another vase, she made flower vases, asters, tulips, that is , designs are not necessarily clothes, designs are anything, it could be, it could be dishes, for example, her first projects, which were not realized, she made sketches, she made watches, for example, she made writing utensils, and some objects for the table and writing sets, she supplemented them with small figures, that is, she was still thinking as a sculptor, she was already

starting to make some then the objects, in fact, are from the earliest period of their creativity, like would be a creative path. then even when she was a member of the art commissions of the council and lfz of leningradsky, and lfz - what do we have? leningrad plant, she was in the management there too, but in general she lived in leningrad or in moscow, in general, as far as i understand, she lived in moscow in leningrad, but in leningrad she had two very serious positions, this is the artistic director of the leningrad plant artistic... and accordingly, this is also her work, yes, yes, this is her work, she was on the artistic council of the leningrad plant porcelain, she is also interested in these works of hers, which she did at krasnolfz, because very carefully, she chose clothes for her sculptures, and when there were reliefs and three-dimensional sculptures, she

looked at how they would be, so that it would be in the first place logical yes for the character, secondly, so that... what would be harmonious with the character itself, so that the clothes seem to be considered that they complement, complete the image, she researched a lot, that is, all her works, they were based on - pre-design research, for example, before making glass, she studied the archives of the russian museum, everything that was related to glass and the hermitage, that is, in fact, now in the modern world designers work exactly like this. before doing any project, well, any project, not just a designer, an architect, yes, all design people who are involved in activities, they first of all look, follow everything in this direction, that is, she did not have a purely creative interest,

in honor of the anniversary of the baptism of russia, the opening ceremony of the new chersonese complex. everything you have in mind, everything happened. on sunday on the first. dear friends, we continue our conversation about vera mukhina, my guest is the founder of the moscow one. design museum and director of this museum alexandra sankova and architect, artist yuri avakumov, well, what happens is that this woman, yes, who

did these cute things that are so necessary in everyday life and which would seem so far from any ideology in general , yes, this is exactly this woman, probably already coming to you then, but yuri, let’s move on, she is creating this absolutely amazing project, which has become a general symbol, some kind of pinnacle, as it seems to me, a competition was announced in a difficult area, and even it seems more than one competition, but in general , architects like the same milnikov or the

same shchyusev took part in a custom competition, and he beat them, he beat them, he really had, even if you look at it with today’s eyes, he really had a better project, better even than melnikov and shchusev, better, better, better, shchusev in general did a rather banal thing, melnikov did it, and melnikov did it, as it were, too, as fair . in this pavilion in particular, this kind of knocking down, step knocking down all the time, and the form stretches, as if it was filmed in slow motion, it’s all

stratified like that, and at the same time it’s the style of airships, in these corrugated suitcases, in clothes it manifested itself in all sorts of corrugated plisets and so on, this is the style of this, well, i don’t know, aerodynamics is also aerodynamics , right? art deco is literally translated from french, art and decorative, and deco, decorative, uh-huh, i see, uh-huh, that’s the area it was difficult, really, because we got it, although we bought a large plot, it was above the highway, so the only thing that could be done was to make it very long, firstly, that is , it was 160 something meters, very narrow, literally 20 m wide, it turned into such a suite of exhibition spaces, that is, people...

centuries, so if you compare it in its genre, in the genre of monumental sculpture, compare it, roughly speaking, with the statue of liberty , then in general she certainly wins, that is, this is our statue of liberty, only better.

about architecture, he had a connection between the proportions of a person and the proportions of architecture, which means this has been going on for a long time, this connection, and this connection, in fact, it is expressed in the fact that we began, we believed for a long time before the eighteenth year in russia, and we counted in regrets, yes, we counted in spans, we counted in inches, there and so on, this is all, parts of a person, this is all, as it were

, human, such artists as therefore, we lost a lot of mukhin, they kept it, even though what surely the diameter was already calculated there in millimeters, but they still retained the connection between the manual and the classical proportions

with all this, because all this... remained, that is, on the one hand, she drew there these classic examples of a worker and a collective farmer, with on the other side and kept in mind where the center of the figure is, how the length of the arms is laid out, how it fits, how many times the palm fits in the foot, and well, and so on, these interconnected human modules, through them we moved on to design. where is how rightly sasha speaks of ergonomics, this is this connection between the huge and the simple, for me, at least, it is all read through the connection with ancient proportions, well, on the one hand we are talking about ergonomics, yes, which is directly related with design, on the other hand, about materials, because this sculpture was made of steel, and this was very unusual for that time, that is, they had not done it before, they had not done it. i think

she appeared, why? because even then this regime was adopted wide discussion, yes, we were invited, we are participating in the expo, yes, that means, as is usually done, we are participating in the expo, a government meeting, directors of large, so to speak, enterprises there are invited to it, everyone is asked the question: so, what will we to exhibit, and some say: oh, but we can have two planes there, and indeed chkalov baidukov ferried planes there for an exhibition in paris in 1937, someone says: and we will be there, i don’t know, to show in pictures, yes c, someone else says: oh, we can offer you chromium-nickel steel, and what do you mean by it, and here we are, that’s what you have there, a sculpture, well, i’m naturally exaggerating, i didn’t sit at this meeting, but this is roughly

how it happens, there was such a proposal, uh, it was naturally defended by representatives of this metalworking some advanced enterprise, it suddenly turned out that this steel, while there , is half a millimeter thick, it is quite plastic, plus it is not assembled with rivets, welding, etc., etc., that is, it has some, plus it brilliantly literally reflects sunlight. and she just glows, yes, yes, she glows, all these qualities, it really was some kind of purely technological breakthrough, well, that is , it really wasn’t vera mukhina’s choice, it was a proposal, they said it needed steel to do, that is, it was as if they had already come to her with this material, i wonder what she was doing when, for example, the sculpture expired about the synthesis of arts and about how she generally thought outside the box, in the fifties there was an exhibition in the russian museum, where she

showed. or in the garden, where there is greenery all around, and it’s as if this sculpture, it collected moisture from the plants around it, it was formed from dew, from rain, that’s what she wanted, that is , as if she, when she even thought about the sculptures, how they would be to exhibit, she had this figurative conceptual thinking, it was as if she was still and not just such a straight applied artist, and in order to do something to order, she thought very globally behind.

well, yes, well, thank god, because this scarf was added there, and that is, it went, well, it’s like i would say, ordinary creative work, here of course it’s not good when people from outside interfere, but sometimes they can be useful, this

was also not the first version, there are other search models that are located in the new tretyakov building on krymsky val, you can come look at vera mukhina’s actual thought process, and how much time they had to do all this. yes, it’s extremely, you know that i myself participated here in 2015 in one of these expos, it’s monstrously small, it’s simple and even i don’t understand, a gigantic experience of participation, they still begin to get together and decide something in a few months, all this in a few months, of course in spasms, in convulsions , absolutely all this happens, so it’s completely impossible to understand why this is done, there is no logic. always always and then this was done, that is, they worked there for 18 hours a day in the cold, assembled and knocked out this sculpture, because it had to be taken to be mounted by may, and it was first assembled here, and then assembled here,

then looked at her, looked at everything there that they could have checked, although the work was almost by chance, because well, as is customary, the sculptor works on a model, makes a model and then you can look at it, yes... they enlarge it eight times, here the model itself was a meter long or there 95 cm small, but it was necessary to increase it simply by more than 20 times, and it’s kind of incomprehensible, you’re a mistake , a millimeter mistake here, it can grow, it was such a process, well, that’s why i said luck, luck was with them, they’re all they did it very well , everything came together and so on,

released for dismantling, strangers came and built it, but no one came back with installation, absolutely with sculpture with

technology there and so on, sawed into 44 pieces, here in 65 neat ones, and here just like that, this is in paris, yes in in paris they roughly sawed it into 44 pieces. and there they somehow sent it all from us, already assembled it there , changed the metal from thin to thick, violated the proportions and, in general, put it on... this stump in quotes and so on, in general, it was already, i think that it was for her extremely traumatic, but still the game was worth the candle, as i understand it, this statue created a sensation in paris, that everyone was completely delighted, of course, but of course a mass film did even more to perpetuate it, and well , naturally, because since 1945 year, from forty-five in my opinion, yes, it is the screensaver of all massfilm films, including torkovsky, shukshin, bondarchuk, all of them. and the surrounding area learned about this sculpture

simply because it became simply a symbol, of course, such a symbol of the soviet union with since then, and then yes, then like it or not, even if you draw a political caricature there, it’s still impossible to get around it, it’s wonderful, well, after all, it’s clear that vera ignatievna is best known for this sculpture, well, and a cut glass, about which the quarrels will always continue, after all, what else is there... in an amazing pose , she’s sitting all quietly, everyone passes by him in the very center of the city, well, or there’s not even that noticeable, but in general, gorky is at the belarusian station, and gorky is also hers, yes well, gorky is also a famous one, well, your brother is a writer, and ours, but how many were not implemented, it’s simple. and what, for example, was not realized, these are some interesting

plans that failed and she had some kind of very dramatic story with the sculpture icarus, which she dedicated to chkalov, which means that this is really the fall of the punishment wing in the unfolded and there one sculpture was stolen from exhibitions, the second sculpture, the second sculpture was somehow stolen from the third section, i don’t even understand how this is possible, in general there is only one left. her model, she wanted to turn it into a monument, but that didn’t happen either, well, in general , of course, a lot of such stories happened at that time, yes, in fact, a lot in general from mukhina’s life, we don’t know who, it’s widely unknown, so , for example, the same art glass factory in leningrad, which she essentially managed and was the artistic director, but she was also the initiator of my creation, when back in the forties... there was no such factory,

she suggested making an experimental workshop, on the basis of a mirror factory, just a glass factory, that is, no one talked about art glass there, but here it is, yes, yes, and in fact, after that, of course, during the great patriotic war the work of this art department was interrupted , but already from 1945 work was in full swing and new craftsmen were being trained, and what was very interesting was that... that not only, for example, she made a project and then sent it to production, she stood at the forge and watched how everything was cast, she always communicated with technologists and, together with them, found an adequate solution and forms, among other things, because it was important, yes, how to go together with the technology and the material, that is, as if she was constantly searching, and there was no final solution, that this is good, and this is bad, she was always looking for, this mobility, it is also, in principle, very... when a person studies all the time, is always looking for something, this also, as a rule,

accompanies great talent when a person is like a child all the time, discovering something for himself, that is, she does not rest on her laurels rested, she was such a hard worker all the time, and it was interesting not only in art in such a pure high, but in production directly, right in the workshop, right in the thick of it with the workers, working with the workers, that was interesting to her, here were the students of her school damn, there’s no need to talk about it. that is, she remained like this, like this, some kind of unique unprecedented phenomenon, well, thank god, but in fact being an artistic director and being on artistic councils is also very important, because firstly, they not only send something to production and sign it, they give recommendations on when to do what needs to be done, what needs to be changed there from a technological point of view, that is, it’s like it’s actually some kind of teacher, well, in fact, you come, and they tell you this is the project, you show your presentation finally, and they tell you: so let’s think about it, maybe you can do this knowing the technology, knowing already...

because it was necessary to make good samples so that the artists would do it, and then it was assumed that these projects will buy glass factories all over the country, that is, how they make art glass.

everything she did, for what she was, for her appearance, for her personality, well, dear guests, i must say thank you very much for this conversation, i personally learned a lot of new things for myself, and that’s it with you we say goodbye, our dear viewers, so, we talked about vera ignatyevna mukhina, in our

studio there were alexandra sankova, director and founder of the moscow design museum and yuri avakomov, architect. artist, curator. thank you very much, dear friends. hello, my name is dmitry bak. today we have another episode of a literary podcast, let them not talk, let them read. and today we are talking about - a person who. born on may 21, 1924, that is, 100 years ago, this is boris lvovich vasiliev, a wonderful russian writer, author of many books about the war, based on one of his stories the great film “azurazdi elements” was made, and the great film “officers” was made based on the play tankmen ,

today we will talk about boris vasiliev and his story, about the film... deservedly artist of the russian federation, hello irina, it’s very nice to see you here and talk to you, and my other interlocutor is a critic, journalist, writer, author of many books about tolstoy and not only pavel basinsky, hello pavel, let’s talk about boris vasilyevich. the war is moving further away from us, yes, the eightieth anniversary of the victory is almost here, and even more years separate us from the beginning of the great patriotic war, and how the memory of the war lives on, well, in your families, there were some stories, stories, how it was in your childhood, or maybe

now, irina borisovna, let’s start with you, i don’t know, i was born after the war, but naturally, my family... my relatives were touched by the war and this was passed on, because my father was a military sailor, he went through the defense of sevastopol, then served in the northern fleet after the war, and my grandfather, pavel petrovich bacharov, was generally a partisan hero, in some years, i remember, i was in a museum, i think in kamenets- podolsk, and they showed me my grandfather’s documents, i even something... all his documents are in the museum, yes yes of course, well, i knew my grandfather, that is, well, he was like three of us girls, my dad and mom raised us, of course, with this memory, and this memory is still alive, it’s clear, well, here you didn’t have to go far if.