my name is boris andreevich lazuka. i have been working here in this museum at the center for research of the belarusian culture of language and literature of the national academy of sciences of belarus in this position and in the museum i have been in charge of it for 20 years, by the way, in a few months this definitely anniversary will be celebrated, but this is how my fate turned out and, probably, this report can be introduced from school, from childhood, from my growing up, because in the family these are the concepts of spirituality, the concepts of the beauty of art. they were always my parents teachers, father

philologist, russianist, he is the author of very interesting , amazing and subtle stories that were published in the regional newspaper. my father, being a comm in secret , still remained a believer and i, uh, from year to year. as far as my childhood memory retained this information, i knew that on a great day on easter , the auntie who ran the household would dye eggs in onion peel, and then these easter eggs would be on the table and my mother and father, and i and sister and brother, and grandparents will sit at this table and think about something, something might be to speak, but then came the sad episode. auntie collected. these dyed peelings

of easter eggs went to the garden and buried in the ground. here it is, anyway, a phenomenon that existed in soviet times , militant atheism had a downside, we sometimes, using some physical comparisons, we talk about a spring , you can’t compress this spring. e extinguish what is sincerely inherent, but to any person. first of all, this is faith, the loss of faith is the loss of self-consciousness, the feeling of oneself as a person, and it worked. well, until a certain time came in the eighties and nineties , the time came when we gained independence, and not an independent state, and

the state policy towards christianity categorically changed sharply, as well. those two orthodox catholic denominations that were huddled in hiding, they gained the right to life and now it was not necessary to bury easter eggs, now it is possible and even necessary. i'm talking about it. and here is the other side. she worked. and, probably, in some way it affected me and i always strove for art and culture, and apart from the wanderers, except for the parisian school of painting and the versailles court. i was also interested. and what is the belarusian icon, but here it was not so, i just did not understand it. i didn’t understand her, i didn’t understand these images and i didn’t understand

these people, these faces that were written there, and only penno for several years came to me, awareness of the value of the importance of exclusivity. this phenomenon has been my interest since my student days. it was art history. and i did scientific work. he wrote, helped, uh, the manager department semyon kharitonovich dolmatov at the vitebsk pedagogical institute. i'm, uh, ph.d. in art history , a phd in my, uh, professional interests. this is belarusian culture speaking about sacred culture and art. now we have scientific positions and said the sacred has always arisen and the question arises about the attitude of the society of the state of state structures to this faith to

what was included and is included in the real life of almost all citizens i was born in the soviet era and brought up in the soviet time. and we uh. now. i say that i was born in the era of militant atheism. not only was there an atheistic concept of denying it all. eh, disbelief. e, not reverence, which is the most terrible, but there was also a destructive component , which had a graduate student here at the institute of art studies, then to doctors, there i witnessed how the first expeditions to form hmm took place and it was published and was called a set of monuments, and immovable monuments

of the expedition of scientists belarusians of the belarusian e hmm academy e, sciences went to the regions gorodka shtetl examined those monuments that were still located from settlements and settlements , fortification of some to places of veneration of preservation. e, the dead fellow villagers during the great patriotic war. all this was taken into account. it was fixed described and so on. this six-volume book is still a reference book for historians and art historians. and that's when we first a my colleagues. and i was a young graduate student faced with situations that were, well, just outrageous. yes, in their ugliness. hmm rooms working rooms of the art institute

were in the current large building with columns. which stands on hmm avenue and there is a separate room, the working room was set aside for uh, those materials that were brought, as they were brought. you understand what’s the matter, when my colleagues came to us, when we came to the village and the christian community that survived here opened the church for us, if it was closed, even sometimes it was just wide open, come in and do whatever you want. there one could see a terrible attitude towards these treasures. i'm not afraid of this word and use it is one thing, when all church utensils were collected in churches, churches, and where exactly they were placed in the attics, and another thing, when it was all thrown out into the street and burned,

it was immediately burned. how many monuments were there? irrevocably lost is what uh was still we asked to give us and the local population, finding itself in this situation of this militant atheism of destruction. we will destroy this world to the ground, and then and then. it is not known what could be the loss of spirituality could lead to catastrophic according to the consequences and according to the acts according to the documents, these things, icons, first of all, sculpture, church utensils, were brought here to the academy of sciences, but the academy of sciences is a complex structure. these are people who took a certain position and carried out certain social political orders. and now imagine. well, just an incidental event, when employees

of the e-sector he then named the monuments, with which they were doing exactly this. they came to work on monday, opened a room where they had these treasures. she was empty, uh, mystery at night, the icons were taken to the art gallery in the art museum, because uh to save here, the hand did not rise, probably to destroy it all, but something else worked soviet belarusian scientists cannot study iconography. so let this be the lot of a professional museum. on the one side. this is true, but on the other hand. this prompted the creation of a museum group, specially allocated premises, which housed the position and funds for storing things, and then

arose. here is the museum here, uh, in the museum of ancient. cultures, and of course, there are a lot of questions and problems, because the museum is a complex organism in which both science research and popularization and economic activity are intertwined. we are now going through a very difficult stage, but, uh, the stage that we went and hoped for, and it is nearing completion is the stage of construction, because the museum exposition in which we are of our center and belarusian culture, and then the institute of art history. it was formed more than 40 years ago and during this time, serious, uh, interference structure exposure to the policy of presenting exhibits did not occur.

but time is an idiot and museum business, museum practice is rapidly developing, the possibilities of the national academy of sciences are very large. we can rely here on e, techniques that allow us to attribute more precisely, for example, and the time of creation of a particular work, if we are talking about icon painting, but sculpture e, a significant part of these works they are written on boards, that is, on a tree, and a tree is once or the same board. this once was a tree that was cut down, and we all know perfectly well that on the cut and on the boards , including the annual rings and it turns out, we can use the annual rings , scientists specially from the relevant institutes of our academy, further we can determine the time when this tree was cut down, up to a year to five years, when the formation of these rings stopped.

so we can follow up there. well, literally a decade. and to say that this icon was painted approximately in the interval between and between imagine that until now we have used chemical methods physical methods that allow us to examine the ground base, paint canvas and so on, but the base is the boards - this tree allows us to clarify the attribution. not just to clarify, but to produce , well, in fact, a revolution, when we said the 18th century, the second half of the 18th century, the beginning of the 19th century, now we say that this icon was made no earlier than 1750. you can imagine how we can now refine the attribution of the dating of hundreds of thousands

of works of art that are stored. and at us and in the museums of our republic, our museums store the largest collection of icons in the republic. these are more than a thousand original works, which are partly kept in storerooms and partly after restoration. they have already been exhibited and will be exhibited in our exposition. it's impossible to know everything, but these guys are ready to prove otherwise. is it true that the giant planets of the solar system have a solid surface. i remember being in fifth grade. we studied this topic and it was said that all the planets, uh, gas giants of the solar system, any adults would envy them erudition of their charisma.

is it true that arina is not only a female name, but also an image of the sea. here is the name, marina, it means marine. and what are the names of the artists who paint seascapes. well done, she sure feels like an intellectually entertaining show. i know if it's true that this is the egyptian pharaoh, the great conqueror of antiquity, thutmose the third mary, do you recognize us here from the third no, i answered at random, but he recognizes you. there is only one method, because you need to work to work. so how an athlete gives his best, how an athlete will give himself up in training, that is, this will be the result, coming to work in civil aviation, you become attached to your soul and body. she

becomes part of her life. our task is to make your trip comfortable and safe. representatives of various fields of activity will tell you about the features of their profession, coaching, the most important thing. well, find some common language so that the athlete understands you, why does he come to training? why is he doing anything at all? you have learned it. this is explained from here. when power outage. no, but it will continue to work in regular traffic. watch the project one day on our tv channel. belarusian territories iconography, which developed here. it developed in the context of two confessions - orthodoxy and catholicism - the traditions of catholicism - this is western europe and comparing those traditions

that are in french. ah, for example, the fine sacred art of german czech english. yes, and much more, all of western europe, we can see, and how gradually these features of originality western european came to be mastered here, but it was not an easy borrowing. it was a very skillful work. adaptation, acral, culture. and christian culture, orthodox catholic - it has become, first of all, a canon, it is especially clearly observed and felt in the field of orthodox art canonicity, but it is present in how to depict in accordance with the rules, and this or that character of this or that e, hmm this or that phenomenon, this or that holiday, one of the examples, orthodox

russian icon painting used the so-called cuts for a very long time. these are original tracing papers, which were used in order to accurately copy the iconographic scheme of the drawing and transfer from one image to the surface of another, which will be painted by belarusians, practically never used tracing papers. that is , that memory and that intuitiveness that led to peculiar improvisations dominated. even the most important thing is part of our history, and we can look at the icons. really to be convinced once again how original and interesting our cultural aspirations have always been, and they exist and in the icon they are embodied with dashing. they flourish there, because hmm, it's one thing when an icon

was ordered from a professional painter who studied, who had some kind of specific diploma, another thing when a small church, a goat in a small village . i couldn’t afford to order such a truly unique work, and then they turned to self-taught folk craftsmen who could by nature approved. with such a special talent to do something like that, sometimes they were based on purely observation, except for the canon. these were also observations about what kind of icon, what one would like to have here, how to decorate a temple under construction in their native place, and then this unknown master painted these icons, as

he wrote, if we evaluate them from a professional point of view. we will find hundreds of errors there and the proportions are wrong and the colors of the colors are not the same and the hand. uh, the hands were written wrong and the head was wrong and the interpretation of facial features we can find all this there, but let's we will always look at creativity, and any person from a position. how did he do it? how sincerely he wrote this, and then we will see in the image of st. nicholas who always. now he is revered as a patron, and hmm well, all good deeds, undertakings of any person of any belarusian. we ask for help from nicholas to start the business, and we also thank

saint nicholas for the fact that we did it well, so this image of saint nicholas for some reason resembles the image of a simple peasant, from whom his grandfather uncle is another relative who has this artist unknown to us could write. maria, this image has always been the main thing, as the patroness of our belarusian lands. hmm maria, in the interpretation of folk artists, also acquires purely earthly real features. and now to see this a little different side. the canonical a-a work of a christian icon, this is the most important thing, and then we, probably, can slightly open up that mentality of the belarusians, that is not the vision of our

ancestors and the living people who make us us as citizens of the republic belarus and for me this is the main thesis, an important thesis cannot be a good doctor, engineer , builder, carpenter, if you do not know our roots, our history, our traditional folk culture, our professional culture. here in the museum of ancient belarusian culture are stored. uh, we have a lot of collections in uh different ways, if we count here , it is assumed that we have 11 years. because if we take a collection of works of arts and crafts, then we can divide it into a suit for a, dishes for uh, some other thing objects. and we

, of course, cannot compete in terms of the number of objects with such an e-column as the national historical museum. probably it is not necessary to do this, we are talking about what is inside the museum and even if the regional museum shows its expositions. uh, a couple of hundred items - that's good too. and this is also important is another matter, how we tried to show them, and the history of the development of the culture of civilization in the belarusian lands from ancient times from the stone age through the middle ages to the present is a whole hall practically dedicated to folk arts and crafts. by the way, we have museums here, the world's largest collection of belarusian traditional costumes. moreover, these are all originals collected

during the expedition. with which we are still holding and collecting all this, and then we begin to talk about a very complex issue. this sacred art has a whole hall dedicated to it, work has begun in it and we have made only one recreation, where we show the culture and art of the orthodox denomination, a huge sphere of sacred art. it is not just uh, it is complex, it is very complex, starting from the first images of frescoes on the walls of the st. sophia cathedral of the transfiguration church in polotsk and up to the present, and to say that belarusian sacred art, like all christian culture. uh, sacred culture, something frozen that doesn't develop. it won't just be wrong it will. archi is ignorant, despite

the fact that we are, in general, by some world standards a small state. we occupy a small area, obviously some certain, and the so-called areas of the place of the school, we are talking about understanding and interpreting and understanding as a general school of belarusian icon painting, but there are also very peculiar local phenomena. like, for example, the western field school. this is a crack. this is gomel. they are slightly different. this is the grodin region, where the influence of western european catholic art is felt, free interpretation of canonical christian subjects within the framework of the canon, it led to the amazing phenomenon of the belarusian icon, unlike some other phenomena of other schools has. probably in a greater degree

of spirituality, the sincerity of naivety, even, which is very uh, it is important to notice. eh, we have and compare with other art schools. as you can see, i say, cautiously enough, because any hint of better or worse in the faith is fraught with certain consequences, and i am by no means a supporter of saying that russian orthodoxy is like this, but belarusian orthodoxy is not like that, by no means, no, not in this is the essence, and the essence is that the icon, like any creation of the people of the people, it absorbed and transmitted those primordial most important features of us belarusian people who lived here with us and live here for centuries. and here is an icon. everything

contains icons; they can be here and there , in the church, in the church, and in the museum exhibition. who forbids you all to come to the museum and stand in front of the icon and think about it. yes, maybe there we won’t hear any steps of church smells, but here in the museum it’s a little different, but try to get out of the worldly vanity and find it. here is something else. m-m, you know, if you ask me a question, who am i a believer or non-believer schoolchildren asked such a question, i said. yes, i am a believer. i believe in you. i believe that you will be good people. you can't do something. not believing in it, not appreciating it so that

i am a believer, but tell me who i am catholic or orthodox or old believer by father. i won't answer this. i'm a christian. this is the most important thing, and very often in a whirlwind of some problems i have an incredibly persistent desire. i open in the evening. hall. i come from the working entrance and i am here for a few minutes of silence and trust me, if you are the same you will do the same and in a painful difficult moment you will come to the church and just stand there looking at the faces at the icons at the sculptures. in a catholic church, your soul will feel better. this is worth living for.

welcome

places not yet, so i can offer you a job with a round-the-clock loading for several days. what is a high paying job? i'll explain everything to you later question. it will be necessary to be my husband or a crime. if it becomes known that mukhin has fled, these are consolidated risks of bankruptcy, not a person who looks like. you you feel, watch the series me or not me this weekend on belarus 24 tv channel.