the publication in the russian empire of the kobzar of the first collection of poems by taras grigorievich shevchenkoing the life of the poet in 1840 to the sixty-first years. three editions of the kobzar were published in russia, the last after shevchenko's return and printed in exile thanks to the intercession of the then tsarist minister of education , kavalevsky, before the censorship committee. after shevchenko's death, the kobzars were published in russia more than 10 times over the course of 30 years, some circulations reached 60.000 copies. the current poet, that russians and ukrainians never dreamed of such a thing. this is how the classics of ukrainian literature were oppressed in russia during the empire more in the plot of olga mokhova, this is how taras shevchenko saw the russian artist mikhail mikeshin, the author of the monuments to catherine ii in st. year to publish only three volumes, the texts in them are printed in a column, on the left ukrainian, on the right russian collection of zhekabzare with drawing from shevchenko's pommel according to the imperial academy of arts. vasily s

the publication in the russian empire of the kobzar of the first collection of poems by taras grigorievich shevchenkotime of the poet in 1840 to the sixty- first years in three editions of the kobzar came out in russia, the last after shevchenko's return and the links were printed thanks to the intercession of the then tsarist minister of education kovalevsky before the censorship committee after shevchenko's death kobzar published in russia more than 10 times over 30 years. some circulations reached 60,000 copies today, therefore, russians and ukrainians never dreamed of such a thing. this is how the classics of ukrainian literature were oppressed in russia during the empire . more details in the story of olga mokhova this is how the russian artist mikhail mikeshin saw taras shevchenko, the author of the monuments to catherine ii in st. publish only three volumes, the texts in them are printed in a column, on the left ukrainian, on the right russian collection of zhekabzar with a drawing by shevchenko's classmate at the imperial academy of arts. vasily shterberg opened the poet's expressive folk hom

taras igorievich? shevchenko that is, e directly, e trans grigorievich himself is my direct.ect ancestor. my grandfather was born in berdyansk, of course, this is for me, not a foreign land. and when they say to me, get out of here, we are a sovereign state, you never stood here. this is not funny to me, of course, because there is nothing funny at all. it's not even sad. this is a terrible tragedy. well, of course, it's my land that does what it has to, what it will, and from this follows, uh, two simple principles or mottos, uh, by which we are guided hmm, i don't know, like a family, maybe, like a creative workshop the first is resistance through creation, because to resist is perhaps only the creation of something really existing, because people always feel, i have already talked about the meanings of true art people. feels really existing things, understand this and the second - i already spoke about it is patriotism through professionalism through professionalism. here we are trying to be professionals and create such tectonic changes have taken place. and that everythi

taras igorievich. shevchenko that's it, there is e directly e trans grigorievich himself is my direct.parents are my direct ancestors. my grandfather was born in berdyansk, of course, this is for me, not a foreign land. and when they tell me, get out of here, we are a sovereign state, you never stood here - this is for me. it's not funny, of course, because there's nothing funny about it at all. it's not even sad. this is a terrible tragedy. well, of course, it's my land that does what it has to, what it will, uh, from it follows from this, uh, two simple principles or mottos, uh, that we are guided by. hmm, how i don't know, like a family, maybe, like a creative workshop. the first is resistance through creation, because to resist. perhaps only by creating something really existing, because people always feel, i have already spoken about the meanings of true art. feel real things. understand, this is the second thing - i already spoke about this patriotism through professionalism through professionalism. here we are we try to be professionals and create so tectonic changes have taken

taras igorievich? shevchenko that's it, there is, uh, directly, the trans grigorievich himself is mine, well, more preciselyct ancestor my grandfather was born in berdyansk, of course, this is for me, not a foreign land. and when they say to me, get out of here, we are a sovereign state, you never stood here. it's not funny to me, of course, because there's nothing funny about it at all . and it's not even sad. this is a terrible tragedy. well, of course, it's my land that does what it has to, what it will, and because of this follows, uh, two simple principles or mottos, uh, by which we are guided hmm, i don’t know, like a family, maybe like a creative workshop the first is resistance through creation, because it is possible to resist only by creating something really exists, because people always feel, i have already talked about meanings about true art. feel real things. understand, this is the second thing - i already spoke about this patriotism through professionalism through professionalism. here we are trying to be professionals and create such tectonic changes have taken place. e that everything is

revealing story of the publication in the russian empire of the first collection of poems by taras grigorievich shevchenkoing the life of the poet in 1840 to the sixty-first years, three editions of the kobzar were published in russia, the last after shevchenko's return and the references were printed thanks to the intercession of the then tsarist minister of education kovalevsky before the censorship committee after the death of shevchenko kobzar is published in russia more than 10 times over 30 years. some editions. reached 60.000 copies. the current poet, that russians and ukrainians never dreamed of such a thing. this is how the classics of ukrainian literature were oppressed in russia during the empire. more details in the story of olga mokhova this is how the russian artist mikhail mikeshin saw taras shevchenko, the author of the monuments to catherine ii in st. publish only three volumes, the texts in them are printed in a column, on the left, ukrainian on the right, russian collection zhekabzar with a drawing of shevchenko's classmate at the imperial academy of arts. vasily sternberg. opened to th