[000:00:00;00] they will be with you only forward to the heroes, luck is the reward, heroes, victory is the covenant, a new day is ahead, boldly go to it, and take the first step, without a doubt, this is our finest hour, time has chosen us, do not miss it, our time, friends , next to you, wings behind my back, and just in front of me, you are great, you are

a hero, a hero! they are already next to you and just ahead for the heroes, luck is the reward, heroes, victory in the garden, heroes, they are already next to you, only forward to the heroes, luck is the reward, heroes, victory is the covenant,

belarus belarus. the chosen ones became heroes, they found themselves and have discovered new boundaries of your capabilities,

welcome to the world where everything is real. the belarusian eco-painting school was formed over several centuries and this happened under the influence of many factors, for example, the spirit of the renaissance, which were based on traditions... antique and ancient russian art influenced the formation and historically established polyconfessionalism, the interaction of several religions and religious movements: artistic heritage xvi century, starting from the famous masterpieces of ancient belarusian art, ending with icons previously unknown to the mass audience. in addition, the exhibition presents works

whose restoration has not been completed. as well as fragments of monuments that will help to better trace the development of the original style of belarusian iconography in the 16th century. why is the 16th century called the golden age of belarusian icon painting? let's find out from the head of the department of ancient belarusian art, national art museum of the republic of belarus, elena korpenko. elena vladilenovna, good afternoon. hello, the exhibition is dedicated to memory unique. man, both in the history of belarus and in the history of the entire orthodox church, exarch metropolitan of slutsk and minsk, filoret, tell us what contribution he made to the development of iconography in belarus? metropolitan philoret, honorary patriarchal exarch of all belarus, made a huge contribution to the development of modern iconography in belarus by the fact that he founded many new dioceses during

his ministry. and in almost every diocese, icon-painting workshops were formed; the need for them was very great, because in connection with such a very active struggle against religion in our lands, in the sixties and seventies, many churches were closed, with the arrival of metropolitan philoret they began their revival, he made a huge contribution to the formation of our museum collection by blessing the transfer of nine works to our museum in 2009 zhurovichi iconostasis. do you think iconography is understandable to everyone, or should people have some special... skills and knowledge when visiting this kind of exhibition? special knowledge special training just necessary, because the icon of belarus and the icon in general, first of all, it is symbolic

, it is addressed to the high, spiritual, it shows events with plots that need to be known in the texts, first of all, in order to understand what is happening, a person who wants to understand the icon, icon, admire it, stand before it, pray, must have certain knowledge, and now it must be said that our public went much more prepared than it was, say, 15 or 20 years ago, but returning to your question, preparation is really needed, and many people come to look for it both in church and in museums. why do you think people feel a special kind of awe when they are in front of an icon? i think this is primarily because the icon illustrates the heavenly world, the sublime world, the inaccessible world, 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, we take it for granted , we worship this, we pray to the sacred image and expect support from it, we pin our hopes on it, we can only only by your righteous life, by your behavior, by your humility, can you earn this support from above, all this is embodied precisely in the prayerful, icon image. belarusian icon painting is one of the unique components of the world art. culture, it was in belarusian icons that such pictorial genres as still life and even noble portraits first appeared; they demonstrate a variety of styles, from monuments that maximally follow the ancient byzantine

canon to works of the baroque classical style, as on icons of the 16th century the mother of god's clothes and hands can be depicted strictly according to the canon, but her face is depicted as realistically as possible. belarusian painters freely combine catholic colors of clothes and other details with cyrillic inscriptions in reverse. as for our days, modern painters still use egg emulsion to prepare paints and paint holy faces on wooden boards. the national art museum employs 20 specialists in the field of restoration, four of whom are exclusively engaged in the restoration of icons in restoration workshop, as in the laboratory assistant’s office, various jars and vessels with solutions, you can even see surgical instruments, only brushes with paints instill

the idea that a man of art is working here, so every day the artist-restorer olga mikhailova brings icons back to life, we we are in a scientific restoration workshop, where real masterpieces are created, please tell us in more detail about how restoration takes place and what is necessary for this process to take place competently, the guardians of things, here namely ancient belarusian art, they have a restoration plan, things that are in the first place, things that need restoration, those things that are in serious condition, first of all, they go into physics and chemical research, x-rays, ultraviolet and infrared are performed , already with these studies, things go to the restoration council, and when everything has already been approved, recorded, everything has been signed,

the restorer already begins work, and when the work is already done, tinting is done, covered with a final layer of varnish, it is also handed over to the restoration council, a restoration passport is written, which... indicates all the activities that the restorer performed , all materials, taking into account what you, as an artist restorer, need for your work, we... have tools, up to electric spatulas with different attachments, this is used for strengthening, various irons, cast iron, which weigh from a kilogram and up to two and up to three, well, that is, they are heavy, then we have medical instruments, these are scalpels, various, various probes, fluoroplastic spatulas, various films, which, for example, when you strengthen, then let’s say thermal films,

they don’t, well, they don’t allow you to perform burns, well, that is, they protect the restorer, he must follow strict rules, and in general, when you come to an exhibition and look at icons or oil paintings, you should not feel that anything happened to this thing at all, although there could be a lot of different processes going on there. but the viewer should not even know this and not to feel when we strengthen the paint layer, a new discovery occurs, that is, things are under a layer of recording, that is, someone renewed them, or someone restored them, in such, say, a planned restoration, a quick restoration turns into a longer process, with opening to the changer. of all belarusian artistic centers, cities and

towns, orthodox juniad monasteries, church brotherhoods, as well as through the efforts of belarusian writers, theologians and talented canopists, spiritual richness and artistic perfection were formed belarusian icons, this gives reason to consider them one of the important acquisitions of the national artistic heritage, an exceptional contribution to the belarusian world artistic culture. what about icons made of natural italian stone? oleg vitalievich popelsky has been manufacturing unique and one- of-a-kind stone products for more than 30 years. real works of art are born in his own factory. how did icons appear in the master’s life, why did he choose stone out of all natural materials,

we'll find out right now. at first glance it may seem that the icons are similar, but this is not so, and each icon has its own distinctive features, tell us more about this, our icons are very different, they have serious fundamental differences from paintings, icon paintings, what is their difference , first of all, that it is a stone, this is the nature of the stone, it is... unique, in this regard, if you look closely at each icon and try to compare, you will look and find that not a single icon is similar to each other , they each in its own way, each in its own way radiates its energy, its heat, this is how internal energy works, and the nature of the stone, there is a fundamental difference in this: they say this, gather all the icon painters together, they will not

repeat what we do, within the framework of our professional activities, working on the creation of one icon, the essence here is that mm, nature itself , it is unique in stone, this material, therefore , each time starting a new work, we have, in fact, a new material that has ...your own drawing, your own color scheme, some kind, so we end up with what you found on our icons, the icons are made of natural italian marble stone, why did you choose italian marble, because it is considered one of the most expensive materials? well, let's say, preference is given to marble here, because

it is a traditional material in stone processing of small architectural forms, it is a very plastic material that can be easily processed, but i would like to say the following, there is not only marble, you can see there onyx, you can see there, trovertine, and how these works of art are born , because this is a very painstaking, difficult work, we have different directions of sacred... themes, and these are orthodox, catholic icons, we have done a lot in understanding the sacred values ​​of judaism, muslims, that is - such was the significant idea of ​​​​creating a museum of sacred values ​​in stone in multi-religious belarus. your creative piggy bank is not only the image of the faces of saints, but you are also the author of such a trend as homages made of stone. here

tell us more about this. while deeply exploring the topic of sacred art, it began to occur to me that... some things need to be popularized in a slightly different way, in particular, when representatives of our jewish, belarusian diaspora approached me, they asked me to do something within the framework of perpetuation judaism on belarusian soil, here i began to research literature, of course, and so on and so forth, and the idea came to me to modernize... the values ​​of judaism, which, well, is almost 6,000 years old, this idea it gave me the idea to turn to our famous compatriots , immigrants from belarus, this is chagall and sutina, when i was working on the first sacred shrine

of judaism in belarus, it is directly related to minsk, this is the first building made of... stones in belarus, or rather in minsk, a large cold synagogue, it stood on nemiga, in the sixty-fifth year it was demolished, and its age, today, is 450 years, when we were working on this sacred shrine of judaism, the idea came to modernize it not to show only the role of the place of the jews on the belarusian land, but also how to introduce all our compatriots to what this diaspora on the belarusian land was, it was one of the most significant in eastern europe, over a million people lived here, we do not copy these works, everything our works of our great masters, they represent amazh, that is, we

admire our masters, but present them to our interpretation as a phantasmogorical story, to return them to our native belarus. carved in relief, flat engraved icons in a combination of several stones. by the way, this is the largest collection of these sacred images made in stone in belarus, which has no analogues in the world. each work conveys a canonical version with its own distinctive artistic features, which emphasizes the integrity and... uniqueness of the collection. italian marble in combination with semi-precious onyx has become a real find in the great variety of natural materials. onyx was loved and revered in ancient times, people knew even then about its magical power to heal many diseases, as well as the magical properties of the mineral.

the unusual and varied range of shades attracts craftsmen and jewelers all over the world. today in belarus many orthodox churches are named. in honor of the icon, among them the church of the kazan icon of the mother of god in mogilev, the church of the kazan icon in the gomel region,

the kazan church in vitebsk. live news, elizaveta lokotko is with you, hello, in this issue there is a personal and general contribution to the glorious traditions of our ancestors, the start of construction. global partnership and a high level of trust in our country , the belarusian resolution on combating human trafficking was adopted by the un. the patriotic motor rally and industrial tourism, a rich