it costs, uh, in a simple example , not even like the tenth iphone, but we can already say, and not even like the thirteenth iphone, and it is unlikely to cost like the fourteenth iphone , a good workman's bow can cost more than the cello itself. it often happens that its famous masters acquire bows that are more expensive than the instrument itself, because it is very important what you have in your hand, because this is the voice of your old instrument, for example, the 17th century of the 18th century. present violin and cello work, including gollan chellen work, they stand millions. and few people can afford to buy them, including these instruments are often purchased by banks and patrons who keep them in their collections and lend them to cellists or other instrumental violinists. for example, for temporary use for especially talented people. had a look inside the instruments in the efu.

there is such a sticker on which is written the year of the release of the instrument and the name of the surname of the master to be a philanthropist, an expensive story, because you always need to buy an additional second place for the cello next to you on the plane, often on the bus, so you pay twice, or the organizers pay. i really like minsk was born here. here is my family. here are my roots and at the stage of the moment when i stayed here, nothing prevented me from doing here what i want in the creative creative field, and also traveling

to perform abroad. in belarus , in order to be successful, you need to work, and most importantly, in addition, you need to work so that you enjoy it. because if you get really real pleasure and you inspire and get inspired by what you do, so that the public cannot but feel it. i enjoy this is what i do, looking for some new ones. goals and did not stop for me this is life. it's just happiness. if i just answer there, i feel quite happy.

the cultural treasury of belarus , one of the largest collections of eastern europe is stored here; today it is a modern and very educational center, as well as an art platform for many artists of the national art museum of the republic belarus, where we witnessed the golden age

of belarusian icon painting, we will find out what is its originality, and why exactly the 17th century is called the golden age with you. alina is not a war. and this is a fashion project for culture. the belarusian icon-painting school was formed over several centuries and this happened under the influence of many factors, for example, the trends of the renaissance , which relied on the traditions of byzantine and old russian art, influenced the formation and historically, the prevailing field, confessionality, the interaction of several religions and religious movements, an exposition presented at the national art museum. the process of development and formation of the belarusian icon painting as accurately as possible is demonstrated by more than 120 icons presented to the exhibition by four belarusian museums, the national

art museum of the republic of belarus , the museum of ancient belarusian culture, the center for research of belarusian culture and the language of literature of the national academy of sciences of belarus, the national historical museum of the republic of belarus and the mogilev regional local history museum. named after romanov artistic heritage of the 17th century, ranging from famous masterpieces of ancient belarusian art to icons previously unknown to the mass audience. in addition, the exhibition presents works of restoration that have not been completed, as well as fragments of monuments that will help to better trace the development of the original style of belarusian icon painting in the 17th century why the 17th century is called the golden age of belarusian icon painting, we will learn from the head of the department of ancient belarusian art of the national art museum of the republic of belarus elena karpenko elena vladimirovna good

afternoon. hello tell us what is the main idea of ​​the exhibition, and who owns it ? yuri alexandrovich piskun, who suggested to us, the creation of such a unique exhibition project within which you can show the iconography of belarus of one century of the seventeenth, which is extremely important for the whole history of the development of belarusian iconography of this time. first, it is sacred painting, because in the previous centuries at the end of the 16th century this was the realm of sacred art. just formed. she only selected those features of the national features of the features that subsequently developed and determined her recognition among the numerous

monuments of ancient russian icon painting. e, the byzantine and balkan countries since that time, the icon really acquires its own special sound, its features. the belarusian local exhibition is dedicated to the memory of a unique person. so, both in the history of belarus and in the history of the entire orthodox church, exar-kha metropolitan of slutsk and minsk philaret. here. tell us what contribution he made to the development of icon painting in belarus, metropolitan filaret, honorary patriarchal zarsia of belarus, made a huge contribution to the development of modern icon painting in belarus by founding many new dioceses during his ministry and almost every diocese formed icon-painting workshops . they were very big. uh, because in connection with such a very active struggle against religion, on our lands. ah, in

the sixties and seventies. many temples were closed, but with the arrival of metropolitan philaret. they began their renaissance and made a huge contribution to the formation of our museum collection. he contributed by blessing our program in 2009. and nine works of the zhirovichi iconostasis , the museum exposition is located in four halls. here's what guests can see. in each of them in these four halls. the work is presented primarily by a funeral component, we begin the display with icons from the late 16th early seventeenth century. ancient orthodox artistic culture to quizantine samples. eh, there were such strongholds of orthodoxy here, such as the mogilev region of the slutsk principality, and in the halls of our exposition we tried to divide these regions and show separately the work of the slutsk

mogilev brest. we have collected them by stylistic features. they proved that they were created in this only region, brest mogilev slutsk and this is also navatorsky. eh, the idea of ​​this exposition is to put together once again. and give emphasis give emphasis precisely for geo-referencing. find the icon painting schools that just formed and flourished during the first half of the middle of the seventeenth century. what do you think of icon painting? it is clear to everyone or all the same. uh, people need to have some kind of special knowledge skills when attending this kind of exhibition special knowledge and special training. eh, just needed. uh, because hmm, an icon of belarus and in general , an icon first of all. she is symbolic. it is addressed to the high spiritual. it shows

events and stories that you need to know in texts. first of all, in order to understand what is happening, a person who wants to understand the icon, know the icon, admire it and pray, must have certain knowledge even now. i must say that our audience went much more prepared. what it was, let's say, 15 or 20 years ago, well, returning to your question, preparation is really needed, and many people come for it, both to the church and to the museum. why do you think people experience? here is some special thrill, being in front of the icon. i think it's before of everything, because the icon illustrates the world of the heavenly world, the sublime world. inaccessible, not always accessible to human consciousness , much here is accepted, so to speak, a priori without interpretation. we only see what

the icon painter depicts and accept. this is when we worship this given, we pray to the sacred image and expect support from him, we place hopes on him, and we are left with only our right. leading life with your behavior, your humility to deserve this support. above and all. this one is cloaked precisely in a prayerful way in a different way. whoever has it, the belarusian karani of the belarusian land had quite a lot of such partisan formations, and one of the largest houses is the whole prokansky zone. this is the so-called, polotsk-kolepel partisan zone in

this matseynaya. eh, repulsion. i am given a sculptor and architects to realize the full measure of the molds it was possible to conceive on pedestrians more the heroism of our ancestors and what memorials and memorials are immortalized on my cobweb medallions in java soldiers. this is the uniform worn by the forty-first they had. the stone from simonov's miniature also described gt fadeya, which glorified the feat and baron sumy mogilev , e.g., it's like not the defense itself. this is the memory of the defense. this is already a memorialization project, the memory of my land, pack it. we are aware of our memory of our e, the genealogists of our history, both tragic and heroic, in order to be kind, we

will be masters on earth, colleagues will forget there will be no ukraine or people. well, look at us on the belarus 204 tv channel. belarusian icon painting is one of the unique components of world artistic culture precisely in belarusian icons for the first time showed such pictorial genres as a still life and even a portrait of a gentry. they demonstrate a variety of styles and trends from monuments that follow the ancient byzantine canon to the baroque classical style, so on the icons of the 17th century, the clothes and hands of the mother of god can be depicted strictly according to the canon, but the face

is written out as realistically as possible, belarusian painters freely combine catholic colors , clothes and other details with cyrillic inscriptions and vice versa, with regard to our days, modern canonists still use egg emulsion to prepare paints and write holy faces on wooden boards. the national art museum employs 20 specialists in the field of restoration, four of which are exclusively engaged in the restoration of icons in the restoration workshop, as in the office of a laboratory chemist, various jars and vessels with solutions, you can even see surgical instruments and only brushes with paints evoke the thought that that a man of art works here. so every day returns to the life of the icon artist restorer olga mikhailova we are in a scientific

restoration workshop where real masterpieces are created. please tell us more about how the restoration takes place and what is needed for this process to take place competent keepers of things. that's exactly the ancient belarusian art. they have a plan for the restoration of things that are the first things that need restoration, those things that are in serious condition in the first place. uh, they get into physico-chemical research an x-ray ultraviolet is performed and to, and already with these studies, things get to the restoration council. and when everything was already approved. hmm, everything was approved, everything was signed , the restorer is already starting to work. and when the work is already done, the tinting is completed and covered with a finishing layer. laka, she's giving up too.

a restoration passport is written to the restoration council, which indicates all the activities that the restorer performed and all the materials, taking into account what you, as an artist, need for a restorer to work with us. uh, hmm there are different instruments right up to electric spatulas with different nozzles. this is used to strengthen various irons, cast iron hmm that weigh from a kilogram and up to two to three. well, that is, they are heavy, then we have medical instruments. this is a scalpel or various probes. uh, fluoroplastic spatulas are various films that are acceptable. that's when you reinforce what, let's say, thermal films. they don't well, as if lets uh, perform sittin' burn. well, that is , it protects the restoration, too, he must follow, uh, strict rules and in general, when you come to the exhibition and look

icons or oil paintings, you shouldn't feel like anything at all happened to this thing. although, there could be a lot of different processes going on there, but the viewer should not even know this and not feel it at the exhibition, but your works that have been restored. here tell us more about it, there are four works. hmm , and almost all of these works were received for planned restoration. that is, for strengthening , it was simply necessary to strengthen and give the storage. well, as it turned out, very often happens when we strengthen. a new discovery is taking place on the colorful layer, that is, things are under the recording layer, that is, they are, uh, someone has been tinkering, or someone has been restoring them in this way. uh, let's say a planned restoration. a quick restoration turns into a

longer process with the opening. e to the original. through the efforts of all belarusian art centers of cities and towns of orthodox iunian monasteries of church brotherhoods, as well as the efforts of belarusian writers, theologians and talented canonists , spiritual richness and artistic perfection belarusian icons. this gives grounds to consider them one of the important acquisitions of the national artistic heritage, the exceptional contribution of belarusians to the treasury of world artistic culture, the exhibition has already ended and has found its audience, the further fate of the icons is known. mostly. they will return to the storage of four museums in our country, and some will remain within the walls of the art museum, so that the skillful hands of the masters will give them a new life. today we

came into contact with the cultural and spiritual the shrines of belarus have learned all the subtleties of working with icons, and most importantly, they have found the answer to the question. why the seventeenth century is rightfully considered a golden age not only for belarusian icon painting, but for the entire belarusian spirituality in general, be spiritual and never lose. faith in yourself with you was alina no war and remember to be cultured. it's fashionable see you exactly one week before the new cultural meetings.