on the introduction of scientific developments and so on. i was introduced to the rector and eventually was in demand precisely for the implementation of some kind of technical know-how . i quickly entered their team, i can say this. uh, in uh, a very short period - it's months. and hmm, i headed this firm. she was the first at that time were a technical institute. i headed this firm and already somewhere in a month three-four. we started melting instrumental stalin at our belarusian metallurgical plant, although before that scientists fought about this topic. that is, and the implementation of almost more than 10 years, you know?

that is, this is how my basic science helped in the implementation of scientific and technical developments related to compositions, when i was already entering the world of business , the world of business, well, there was no opportunity, but the construction of my own individual house for that period. this is 90 years old. it was very relevant and fashionable in every house there should have been a stone. i am a very mobile person in terms of uh, some of his own inventions. for me it's interesting fireplaces. we didn't see it at the time. naturally , we did not have stones, as such, neither marble nor granite, that is, we did not know this. imagine that the nineties were also brick. and so my first production began with a fireplace, but for our individual ones, exactly. well, those from the brick, and i

invented them when i developed them. these were open fireplaces. many then laughed at this question. in particular, they laughed the most. ah, two french firms, that is representatives of these firms already me philip as i remember now igodin. ah, i mean, they heard about some weirdo starting a brick fireplace business, ah, but uh, it's an open open fireplace. it was, of course, uh, kind of. e, well, i amazed e with my art, but there were already some elements of some of my findings and so on. well, at that time we did not pose a threat to these french firms. but, when after 2 years we opened our own salon. ah, it was clear to the french that they would soon come

the end, and indeed it came in less than six months. we have already mastered marble granite and escaped. uh, to the open spaces of processing stones. for us. it was all new. we searched. we were looking for equipment. we created, and we ourselves bought many magazines from this production, that is, we were hungry for everything that was a discovery for us, and in this case, all of ours. that's purposeful. we worked on the creation, namely portals, a fireplace of new portals of fireplaces, which belarusians, at that time, had not seen initially. we went down the subway shaft our metropolitan and looked at what kind of processing machines were present to me. they were small. how water is supplied, how stone is cut, that is, we acquired the first skills in cutting directly

the material and granite and brick. here from our domestic production, which was so simple enough, but it was already present in our subway and then hmm. and my sons went to italy, uh, looked at the equipment there. there were studies and so on, and they returned here with new skills. i spent at the enterprise, almost a day from morning to evening, and at some point he was left alone. here. eh, this circumstance prompted me hmm to comprehend that life lived, and which was already behind. i very deeply experienced this period in addition, not a single year, but my table has changed , my approach has changed. uh to life. well,

banal things, as it were, look like this, uh, the table changes and the audience that sits at the table changes. that is, i became a vegetarian became a vegetarian. i stopped uh any libations. you understand here. uh, it's already completely sober lifestyle sober lifestyle. it's even more. it turns out you have free time to think about how to live on, because old habits are leaving and new habits are being acquired. you see, it's very difficult. and why? because there is a certain internal contradiction, and between his consciousness and subconsciousness, through the subconsciousness , the lord says what to do, they are different when i saw the fucking icon and realized that i

could do it. this is the harmony between my inner world, and between my subconscious and acquired consciousness. and here is the icon. eh, this harmony, that i found a new one, because the old business no longer fascinated me. life, personal did not work out and there was no development , you know, but here i saw something new that shocked me when we made this icon under the guidance of water, the brought lich monastery, and we were met by thousands of pilgrims. parishioners, maybe from this monastery , they brought in this icon, it was all solemn. this worked for me. such a strong impression, and i realized that i would continue to dedicate your work. only these icons.

i didn’t stop making icons until, in 1918, i heard purely on the radio that patriarch kirill was coming to us, and when i heard that kirill himself was coming, i made a decision for myself that i should definitely give our zhirovichi icon to the patriarch. i was sure that our icon would impress him, of course. well, it so happened that she that moment i was unknown to anyone. e nobody. it was the eighteenth year of november. but it was a call from above, that i need to present our already created icons to people. we are first and foremost the hierarch of the church. i came home. i took the phone of the zhirovichi monastery secretary and asked me to present my work to the guria , through the website on the internet, grief - this is the archimandrite

rector of the zhirovichi monastery, that is, well, a serious figure, so that he pays attention if my icons and our work. e can be a subject for conversation. i asked him for divergence. an hour later , a call came back to me where vladyka guriy said through his secretary, come. tomorrow you vladyka is waiting for exactly the same lightning speed, and the entry and the bishops, and i gave paul our icon at one window and asked the bishops from paul to speak out, therefore, about the letter. i explained what our icon represents. and how do they do it? how are they different from traditional icons, what can they do? in general, in the end, and already as a scientist in my science, i came to the conclusion that, in general, the heroic icon of the mother of god is a spiritual symbol of the belarusian

people, and it, as the integrity of this reality, and its sovereignty. and therefore, this is a kind of banner, moreover, all our neighbors and belarusians have this banner. it seems to be present, but uh it is in such a state, and as if it is still in motion, well , the poles of the chistokhov cavalry have the lithuanian of the starbramskaya icon, so, uh, our russian neighbors, it means that there are five whole icons - this is vladimirskaya the central icon, smolensk , which is directly in contact with belarus tikhvin and in the north of the kaza. the icon of the east guards its maphors of russia and the south of the territory of south russia is guarded by the iberian

the icon is all. hmm, it is very symbolic and at the same time significant in history, because where the zak- icons ended and ended the orthodox world. we can say that the icon is an outpost of the orthodox world, and at the same time , our zhirovichi icon is very relevant today. she will allow, if u give her the appropriate support like this, she will let us hold out. a certain energy brain to the whole world, so that it understands our blue-eyed belarus, the people of the topic, orthodoxy was and came to me. here is a bright representative jewish diaspora. e, who also asked to do something similar, indicating, e, the roles of the place, which means, e. here is the jewish diaspora in the life of the belarusian nation, its formation, and

here my work began, and a really very interesting collection of works dedicated to the cold synagogue was created. and minsk - this is the first stone building in minsk , this is the medieval defense synagogue, which stood in minsk for 450 years this year is its anniversary. it was made with me from jerusalem travertine. well, there i already worked in volume window. they are so long and they are made by sonics . it is all luminous, it spins, it is an exact copy of that synagogue - this is a module on a scale of 1:10, which used to stand on the nemiga river for 450 years. and then, in general, i myself, e, somewhere turned to the knowledge of judaism. uh, hmm, and other sacred

values ​​that were supposed to be overflowing, belarus was, in fact, walking by their friend, a fashion model. these are contemporary artists. moreover, olympus through which i could bring closer. these are the sacred values ​​of judaism to our contemporaries. and i seem to have succeeded. you and i are in one of the exhibition pavilions of our enterprise, where one of our collections and , or rather, part of it, is located, this is an icon made of stone - this is the largest collection of icons made of stone in the world . icons are presented in various techniques . first of all, these are voluminous rooms, heavy temple rooms. this

combined icons are all icons made from natural stones. it's basically marble it's travertine. this is onyx, this is quartzite. these various icons were illuminated by metropolitan pavel and he we have enough. i have already said that there is no such collection of about a thousand icons. the central place in our collection is undoubtedly occupied by our beloved miraculous zhirovichi icon of the mother of god with great love. we have come to its implementation. we received a blessing from metropolitan pavel, i must say, a real metropolitan. vladyka veniamin was at our enterprise not once, when he was still under bishop marina gorsky borisovsky. he also illuminated the factory and took an active part in creating uh, ikoa. basically. i can say that metropolitan veniamin is

the godfather of the icon we created, he is the first icon that was in the lachera icon of the mother of god. i created it with direct supervision. i found myself in certain circumstances, i had to fill this void. ah, they say that they don’t go to church and to god out of joy; they all go out of some certain sadness from grief, and so on. here is such a moment of mental illness. he was also present with me. and this circumstance uh, led me directly to the sermon on the mount bible. i worked on the text of the sermon on the mount for a long time, and i thought, somehow by chance. pay attention to the open book. i saw the acher icon of the mother of god , it is a three-dimensional icon for me, the handler is extremely important volume, and the e plane does not

attract. e masters of my level. why because it's all simple, and when i saw the volume, i realized what an icon we can do. and here is the most difficult icon that could only be started making, we started it it is from her that the icons inscribed in the lachersk icon of the mother of god are inscribed. there are quite strong color schemes. with us, the nature of the stone allowed us to present the icon in all its diversity. just imagine one econographic image of the human icon of the mother of god presented in various color schemes. the beauty of the icons, like a meadow, appears before you and delights. i would say it is a delight for the eyes and opens the soul to the glory of the lord well, the center of our a-and mine, or rather thoughts and in general the biggest icon in the world. first of all, this is

zhirovich, and which would glorify our blue beloved belarus, the icons at the same time were such a prologue for our subsequent work. we are in one of the museums of the history of minsk, this city museum is located on rakovskaya 17. there is a fairly large exhibition of works here. this is a painting of the stones of amage by a fairly legendary artist dedicated. they are amazhi pimping and our another compatriot shaman brand walked. these are based on my phantasmagoric stories about.

uh, in the life of these great masters of the artistic olympus, and mash itself, there is one of the versions, this is partly plagiarism, who is well acquainted with the essence of us , of course, recognizes the work of a bitch in our ohms. he recognizes the modillas. he recognizes undeniably a chagall, but the obvious fact is that our am is fundamentally different from the work of these legendary authors. speaking of essence, no he is an artist not narrative in his portraiture. she is lonely enough. you can say that it is impossible to confuse it with anything. it's a vibrating canvas. this pen is a brush, but hmm , the indistinct outlines of the hands, big eyes, ears, but and so on. this is what attracts. in our

cars, we see a completely different story. this is story work. this return of the essence to belarus, he returns with his all, and the characters, which hmm, in principle, are his portrait heroes in belarus, he receives a letter from his mother. who wants to say goodbye to him and we see smilovichi. we see minsk, we see paris, that is, we see the whole history in which the artist lived here. we see our belarus in particular, something that this artist never depicted. if we are talking about the mothers of the essence, well, and modelling, then there you can see the work of two artists in one work, that is, the essence and modeling, as one could imagine these two artists in one work, but if you

look they are very harmonious, because what art critics wrote about it, and who studied these two artists. they said they have a kind of soul mate written about these artists. plenty enough but nobody ever tried to make amazhu is not the essence, not the model. yana, this was an idea that i got sick of overnight. waking up in the morning, i have already seen almost 12 works , the remaining six. i already kind of thought out and finished drawing at home. uh, in the head the fact is that our work is timeless. this is a fact, obvious let's say a successful me or an unsuccessful master. i can say that this is a very criterion, maybe we will say a lot. here he was not successful in modeling during his lifetime, but today, and his paintings are only slightly inferior to him. there pablo picassoli leonardo da vinci but i want to say

the next thing is these works that we have done about these artists. they will remain for centuries with people 100-200-300.000 years will pass. and these works will testify in the same way to their mastery, just as today, on this day, their painting is, in general , immortalized in our museums. all the last years that i clearly remember, they were dedicated. everything else seemed to these creatures to these collections. eh, abandoned by me. i didn't give it any attention. i can give many specific examples, starting from a house to an apartment, but not to mention such

more sacred things, like grandchildren and relatives and so on. but this art requires sacrifice. i had very little time to leave such a mark. we have created a whole metadology. ah, the technique. how can you show any uh artist of any musician ah through a work of art in stone, you just need to create a new phantasmagoric story that is born here and now, and everything is exactly the same, if time allows me.