[000:00:00;00] that's the music smart girl, what she finds not in the action border will grow where the death

of a cold is music for a place of 1.600. good afternoon, my name is sysoeva love lvovna . i am a leading researcher at the department of ancient belarusian art of the national art museum of the republic of belarus this department, which studies and deals with, uh, the art of belarus of the twelfth and eighteenth. well, let's say the beginning of the xix century at the moment is a collection of ancient belarusian. you painting has 554 items, this includes icons, which were intended for orthodox churches, and catholic altar paintings,

of course. i hope this figure is not final. and that, of course, our fund will be replenished. although of course its replenishment to speak. now it is very, very difficult for us to receive works for this pisyuna. mostly. these are russian icons. this is a russian later icon of belarusian works of those that would have been an interesting museum and those would have represented the belarusian economic school, well, now there is very little to find in my sphere interests lies the belarusian icon to her, i devote all my time to her. i study and at the same time, i am the keeper of the collection of ancient belarusian painting. this is very interesting work. although it requires considerable effort, not only, let's say, mental moral, but also physical. although of course. this e work, it justifies all the costs that,

in general, are invested in it. i am the curator of the exhibition, which is called the land of white conditions in the image of the native cottage cheese of the belarusian mastok of the eighteenth twenty first stage. and today we are present at this exhibition. this exhibition is designed to reflect the image of belarus in the works of artists of the xviii-xxi centuries. moreover, this is not only a work of painting, we also selected works of sculpture and graphics. and, of course, icons, since it is in icon painting that we are for the first time, but we meet the image of a landscape. and this exhibition was intended not only to show. e. hmm, let's say this is the image of the motherland. yes , it was also called upon to trace the development

of the landscape genre. in art. belarus elements. landscapes elements. landscape paintings first appear in icon painting and in book engraving, the museum has created ideal conditions for storing icon paintings. you can visit our permanent exhibition and see that the icons are stored in special icon cases that protect them. the icon of some external influences is the same, we can say in storage facilities where climate control is observed, a constant temperature is maintained. uh, there is a certain lighting, which also plays an important role, that is, in the museum, created ideal conditions, they are being restored. at the exhibition, we showed three works of icon painting, we wanted to show different regions. this is a crack. and the minority, yes, but it is noted with us, in principle, it remains extremely. few monuments brest region. it is presented more

widely, and we also showed these icons, because they most vividly represent the elements of the landscape. here are just some, er, elements of landscape painting that begin to penetrate the belarusian icon in the 17th century. we know that since the seventeenth century, and in the canvas in the traditional genre elements, elements of still life and landscape, and this is the earliest icon, in principle, in our collection, on which a fairly developed landscape background is already found. it comes from a boobie in the brest region and is called kissing. miami annunciation to anna these works are hmm they have been restored for quite a long time. we showed them to our visitors, but one icon of st. nicholas is presented in

our permanent exhibition. that is, it is really of great importance for in order to tell about the development of the genesis of the belarusian icon-painting school of the seventeenth-eighteenth centuries and is called the kissing of akim and anna and the annunciation to anna a, the basis of the image, which has become widespread both in ancient russian and byzantine painting, is the text of the proto gospel of jacob. this text is not included in the canonical texts. well, he is, as it were, a source for some iconographic plots, but he talks about parents. holy mother of god e and apkimi and anna a. the proto gospel of james says that he was jacob quite a wealthy man and lived in nazareth. but anna, she came from

bethlehem. and the married woman, chita, was very pious, and they served the same. well, this is how he writes in proteinvangelia, jacob, alms to the poor and donated to the temple, however, even in old age, and they lived together for about 50 years. they had no children, and at that time in jewish society. well , to put it mildly, they looked at them with braids, it was considered that god was abandoned as a punishment , sins, but iakims and anna they prayed to the lord for mercy, and hmm did not lose hope, otherwise they would have a child. and once such an event happened. hmm, jacob went to the temple in order to make a sacrifice, but the high priest rejected this sacrifice, considering jacob unworthy and to bring it, and , of course, the married couple fell into despair and

despondency. ashamed, they hmm were humiliated. although, of course, they did not depart from the faith and joachim hmm goes into the desert for 40 days, as the source writes, uh, as the texts say, he pitched a tent there, and fasted for 40 days and nights and prayed. anna stayed at home and prayed in her garden. and here is this scene, just the same prayer of anna , and it is shown on the right side of our icon. and here , during a prayer among the branches of a laurel tree. ono saw the nest eaten by fledglings. and she burst into tears, she thought that na was deprived, or rather, of the gift that she gave to all living things, that everyone can have offspring, even this little tiny bird, here and again. she turns to god with prayers and an angel appears to her who announces to her the news that she will have a daughter who will become

the blessing of the people. and it is precisely through this daughter that the salvation of the world will also come, uh, there was a manifestation of jacob in the wilderness. and so they received. this is the gospel from an angel, but they are heading towards each other and, as the texts say , they met. they are at the golden gate of jerusalem and this is the meeting at the golden gate of jerusalem and is presented on the left side of our icon, jokim and anna embraced and that's it this dialogue between them is shown through movement through hands through turns of the head kissed and this kiss marked itself. the conception of the most holy theotokos righteous

iakim john are shown full-length blue chitons of red hematia, red mafori, very beautifully repeat the outlines of the figures, and the architecture itself. here are the figures of saints, they do not dominate the landscape. yes, in the icon they are very appropriate, very uh, let's put it this way. e delicately placed. here in this architectural and spatial background. uh, in the foreground the images of flowers are very well read. their buds are very visible. we have a few more icons, on which flowers, lilies of the valley, very carefully painted like this , are very well read on icons with images of the apostles of the 17th century, then we see groups of trees here. and this landscape background is combined with a gilded carved one. levkas ornamental background of the icon and i want to note in the future. we will talk about the fact that this carved polivkas fund is a feature of

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this weekend on belarus 24 tv channel . the icon itself, as you can see, is framed, which is primarily due to the influence of secular art. and in general, the icon shield in the belarusian icon was designed in a special way. not the way it was, for example, by the byzantium of ancient russia, where the icon surface was very clearly divided into three parts of the middle ones or the ark of the field from braids. husk was called between the fields and the ark, but in the belarusian icon we see a slightly different design, the middle part and the fields are of the same height and are separated from each other . here we see the inscriptions ornament. and as a rule, they contain the name of the icon, but these stones are mm

imitated, precious or semi-precious stones. why is this happening? the fact is that it is clear that not every temple, not every church could afford to decorate the icon with real precious or semi-precious stones, and they were imitated in a tree in this way. we can even meet, at least, even in our permanent exhibition. e icons, where you can see right here, a red color. yes, and like a gold frame. this is a very good read. here is the icon. it is also very good for talking about how icons are painted. she a very good example to tell and show our viewers the technology of icons, we know that icons are written on wood. after all, it is also not accidental that there is nothing on the icon at all, nothing accidental, everything has its own specific symbolic or allegorical meaning. why is a tree a tree. this is the last earthly material that he touched in the body, christ, he was crucified on the cross, so several

points are taken that are knocked into a shield. here. the icon on the board on it is knocked down horizontally, usually, as if vertical from the back side, uh, these uh, boards are fastened with special crossbars called dowels. they do not allow the icon, let's say, to disintegrate, and on these dowels the board can move quite freely there, when the tree narrows and expands under the influence of temperature, then the tree is primed. after all, we can’t simply apply paint to a tree right away, they simply absorb and therefore a special layer is applied, which is called gesso in painting, this layer is called a primer, and it can be colored advantageously for painting. he is always white and that's why gesso and beautiful ornaments are cut , which, as i said, are a feature of the belarusian icon, very often

a fabric is laid between the base tree or in the cash register, which is called papa is a pav. k could be superimposed on the entire icon shield, but most often it was superimposed on the most dangerous places. what kind of junction of boards is this, as i already said, under the influence of temperature, the boards could walk and the paint layer would crumble on them along the junction of the boards . once again, and held this here our colorful layer. well, with what paints the icons are written m, it is clear that the ancient artist did not find them in tubes, yes, but he made them from something, what will give us in nature yellow color red, red clay, yellow clay such stones as malachite lapis lazuli here we crushed them, we got a blue powder, we can’t write green with it, we need a binder that will simply bind all these particles. and now, if you and i add water , we get watercolor paint, we didn’t write watercolor icons. now we only

tint icons with watercolors, when restoration is carried out, if we add oil, we get oil painting, oil paints, but oil was used for icon painting in the belarusian xvii century, and then only for drawing the upper layers. but if we add egg yolk to these particles , we get tempera paint. and it was with tempera paints that icons were painted very often iconography. they are also called tempera paintings. the crucifixion with the forthcoming dates back to the beginning of the 19th century. and of course here we are we can already talk about something intermediate between the traditional icon-painting plot and the altar painting of the renaissance in europe , yes, therefore, of course, it is being decided. she is somewhat different than. we have seen the canonical image of the crucifix. this is the execution of jesus christ on the cross, probably the most

tragic scene in the picture. art, or maybe even one of the most tragic, of course, because we remember others, such as, for example, a plate, mourning. christ's descent from the cross iconography takes shape in byzantine art in the beginning while christianity was not yet an official religion, they depicted a lamb. sacrificial animal. at the cross, the lamb symbolized christ and, er, embodied the image of meekness, patience, humility, and already the image of the crucified christ of a person is gaining distribution somewhere at the end of the seventh century already of our era. all four evangelists are talking about the crucifixion, but now we will remember the gospel of james, because, uh, we remember him standing at the cross, a symbolic image of the crucifixion with

the upcoming ones. uh, what does it say and a christ, accepting death, entrusts the care of his mother to his beloved disciple john the theologian, and they always come to the left and right at the cross, what the artist depicted for us is a large cross, ascending high into the blue sky, the crucified christ features canographic for some reason on purpose, but the artist changed the orientation of the body. christ's head tilt and early are usually placed on the left. and in this way he depicted the location of john the theologian and the most holy theotokos, he changed their places here , several very interesting iconographic moments, for example, a sword that pierces the chest of the mother of god and, of course, this detail sends us to such an event as the candlemas. eh, i remember the plot when

joseph and mary brought the christ child to the temple and the elder meets him in the temple. simeon is also called semyon the god-bearer. we know that this is a symbolic meeting of the old new testament and so on. and here, the elder simeon m-m learns he accepts in babies. christ the messiah redeemer. he takes his baby's hands. christ and says to the mother of god such words and the gun itself will pierce your chest. may they be opened according to the thoughts of many hearts. that is, thereby he predicted to her that, that is, it is symbolic. this sword shows the grief of suffering and pain that the most holy theotokos will have to go through, that is, she will have to go through the death of her only son , another very interesting detail placed below e, under the cross, the skull and bones of adam are usually depicted here, we know that on golgotha adam was buried, and this

blood, flowing down the cross, and falling on skull of adam still, all this is symbolic. christ, by his death on the cross, atones for original human sin. it also depicts an outstretched pelican, whose wings rest against the edges of the augustinian crescent. eh, the crescent symbolizes the old testament, but the pelican itself, as well as in early christian art, was a symbol. christ is the symbol of sacrifice. the fact is that he tears his chest with his beak in order to revive and feed in his blood the chicks that were poisoned by the poisonous breath of the snake, that is, pelican again us, but refers to the image of jesus christ and, of course, uh, we traditionally see the scene of the crucifixion in the background, golgotha, mountains. yes , here is a developed landscape of the urban landscape. unfortunately, we were unable

to identify. what is a city anyway? here something is depicted that reminds me a little, if but if you look, for example , engravings, yes or some of the eighteenth early xix century or some elements in icon painting, then in their outlines, in their contours, in their addresses, of course, it resembles belarusian early 18th city xix century. the fact is that well, there will not be an icon painter who lives somewhere there in russia there or somewhere in poland e he, well, he would have depicted or something that the canon requires. well , or, probably, something that we would not have known with you. and this is quite understandable close. well, let's say something reminiscent, of course, this is not specific, most likely, the landscape is fictional. maybe some kind of collective image. well, it's still an image. i think belarusian e, these are stylistic signs that indicate that this icon was painted at the end of the 18th and beginning of the 19th centuries, staging of figures, techniques, painting and

the use of mixed media on a number of tempered paintings here. oil is also used, and these icons, like the previous ones, are not signed, that is, we do not know the name of the artist, as a rule, icon painting is an anonymous art. icon painters did not sign their icons to me . that is , this is not the creation of their hands, their hand was led by the lord god himself, and therefore the icons were not signed . and let's just say. so only in the new time, and their artists are aware of themselves as masters and begin to sign and date their icons. this icon is dated 1751, it comes from molodechno and we have it in

the museum's collection in a permanent exhibition. there is another icon. from the same temple, which is called the intercession, that is, the intercession and st. nicholas, they are such a single complex, in general, this is always very valuable. it is very interesting when we have icons. well, let's say complex from the one temple. i want to point out that this icon is dated. uh, maybe this was the reason for it to be presented at the exhibition, in addition to the fact that a fairly developed landscape background is presented here. and it is very carefully designed. in the foreground. here are the plants in the foreground, the image of the city in the foreground , a contrasts with the city. eh, the details are on the second. plan and the illusion or feeling of depth is very well created. as in general, on secular works, and they were part of the iconostasis system, then, of course,

golden icons. yes, this gold leaf could use gold leaf. well , no, we won’t tell him here, just the colors. these are real golden backgrounds that are in perfect harmony with the color and create such very bright major works. of course, despite the fact that we have a fairly large staff of restorers. e icons need constant restoration, firstly, even those that have been restored, they undergo constant preventive examination. and of course it's not allowed. there are huge ones. if we see any there small swelling of the paint layer or at the box office , restoration measures are taken immediately. there is simply a chronicle. eh , maybe at one time some technological regime was not observed, some technological conditions they constantly require their well, some kind of participation of restorers.

and besides the fact that some kind of preventive work is constantly being carried out, of course, we also have icons that were brought back from the expedition back in the seventies and eighties, and they are still under professional seals, which were put back then in back in the 70s and 80s. ah, perhaps about, probably, today there are about 80-90 icons that are required, that require restoration. and very serious ones. it's not just some kind of conservation. and this is a real restoration. these are the icons where the paint layer is damaged. these are the icons where it decomposed. a protective varnish, of course, and especially those icons that are under later records. they need to be explored. it is necessary to carry out x-rays must be illuminated in infrared rays. that is, as if to look at what we see here down there, under these later records,

what the restorer will reveal to us after this icon gets on his table. what, for example, our employees and employees of the museum of the academy of sciences saw in the temples in the seventies and eighties and what they passed and saw now this heaven and earth, firstly, many things are simply lost. it is not known where they are, whether they simply crumbled and died, or whether they were stolen. well, it's hard to say. many are simply under the records of unprofessional restored unprofessional. yes, of course, we understand that for a believer. it remains this icon in a prayerful way, but we are also talking about such a phenomenon as a work of art, after all, yes, and after all, a museum can

preserve both a work of art and a prayer image that well, people can come to bow and pray. and this is possible , i think, this is my personal opinion, this is possible. make it only within the walls of the museum and keep the icon as a work of art and as

a prayer image. periskovoy fragrant and tenderness wakes up, old gossip heart, quiet flame. hello, i will say welcome, i know you have been waiting for me for a long time, not my native belarusian land behind