среда, 29 декабря 2010 г.

Gallery of the old russian new year tree toys

Women from Russian village (krest'yanki) in traditional winter dress.

Russian paratroopers, different tipes of them


Ded Moroz ded moroz. and Snegurochka snegurochka.

суббота, 25 декабря 2010 г.

Velikiy Ustyug Silver Patination

Velikiy Ustyug Silver Patination is the national Russian art and craft that developed in the 17th century in Velikiy Ustyug, nowadays a district centre in the Vologda Region. It is decoration with patina designs of various silver items, such as, for example, cigar cases, glass holders, and tableware sets.

The technology of patination is as follows:
1. Little cuts are engraved, chased or etched on the surface of a silver item.
2. Alloy of silver, copper, lead and sulfur is fused into the pattern.

There are different variations of preparing the alloy, imposing and fusing it. According to certain data, Ustyug masters use the most ancient technologies known today.

Ustyug silver patination always has had appreciable distinctions from that of Moscow and Petersburg masters: much emphasis is given to subject engraving; drawing is quite saturated, with much denser coloring. The background performed with strokes forms a kind of a grid. The image is often supplemented with carved or chased details. In most of the cases general contour of an object is depicted, without detailed elaboration.


The art and craft of silver patination appeared in Russia in the 10th century, but got widespread development only in the 17th century. Since the second half of the 17th century Velikiy Ustyug has taken the lead in this handicraft in Russia. The art of patination in Ustyug reached its blossom in the 18th century, and the mid of the century was the time of its first record in official papers: Ustyug dweller Michael Klimshin was summoned to the Russian capital “for training Muscovites from merchant class in this skill”.

Manufactories of Popov Brothers were opened in Velikiy Ustyug in 1762.

From the mid 18th century Ustyug works started to bear the impact of the baroque style popular in Europe at that time. Complicated subject compositions typical of Ustyug masters acquired lush setting. Hunting and pastoral plots gained popularity.

However, starting from the 1780s predominant were subjects, characteristic of strict classicism, according to the canons of which the setting also became much more austere. Masters often used practically documentary pictures of cities and even geographical maps as subjects. In the mid 19th century leading masters often applied floral ornament entirely covering the surface of an item, with use of sharp contrasts.

However, by the late 19th century private handicraftsmen of Velikiy Ustyug could not compete with large capital factories, the fact marking the decline of Ustyug silver patination.

In 1933 M.P.Chirkov established the artel “Northern Patina” in Velikiy Ustyug. Originally it manufactured some plain mass-produced items, such as glass holders, spoons, etc., decorated with simple flower ornaments. However, E. P.Shilnikovsky, who headed the artel from 1936, managed to restore forgotten traditions, and also introduced a number of innovations. One of the novelties was creation of “literary” silver collections based on works by Pushkin, Gogol, and Krylov.

Thus, Ustyug silver patination was revived and reached unknown success — in 1937 at the World's Fair in Paris it was awarded the Big Silver Medal and the diploma (for a series of items based on Pushkin’s works of literature). In 1961 the artel was transformed into a factory. For ornamentation of works large floral patterns with insertions of birds and fantastic and mythological creatures were used.

Thanks to its international glory the “Northern Patina” factory in Soviet period constantly got governmental orders, most of which were performed on the basis of Shilnikovsky’s drawings. The enterprise issued items dedicated to nearly all considerable events, such as Moscow anniversary, Soviet space exploration, etc.


воскресенье, 19 декабря 2010 г.

четверг, 16 декабря 2010 г.

Corruption - real reason for Moscow nationalist riots

Mass riots that started in the center of Moscow on Saturday must be blamed on corrupt police rather than nationalist sentiment in society, Russian observers and experts agreed.

Saturday’s rally was organized by members of the Fratria group – supporters of Spartak Moscow FC – who are true football fans, known for their passion for sport, not fights, and have no political agenda. One of their leaders, Egor Sviridov, was shot dead, allegedly by a man from the Southern Russian republic of Kabardino-Balkaria, just over one week ago. The suspected attacker and others believed to have been involved in the fight were detained, but police released them after numerous members of the North Caucasus diaspora arrived at the police station. The suspects immediately fled and had to be put on a wanted list.

The actions of the police outraged the friends and relatives of the victim. A peaceful mourning march was held on Moscow’s Leningradsky Prospect the day after the killing. Riot police were dispatched to the site after the demonstrators blocked traffic, but no clashes took place. The police commander persuaded the crowd to disperse.

Another meeting was called after Sviridov’s burial. The majority of Fratria members gathered for a peaceful meeting in the north of the city where the murder took place, but several thousand people rallied in the city center, heading to Manezhnaya Square, right near the Kremlin.

Many more people attended Saturday’s rally, because it was at the weekend, because the supporters’ community negotiated the gathering with the authorities and simply because lots of people knew about it. The message had been spreading on the internet for several days.

Saturday’s gathering was not only attended by football fans, but also by members of other communities – from bikers to radical nationalists, though few in number. However, even a few radicals were enough to provoke rage in the crowd – someone attacked some passers-by, whose appearance they deemed ‘not Slavic enough’, the police intervened to save the victims and soon demonstrators started throwing bottles, pieces of ice and burning flares. Officers responded with truncheons and tear gas, clearing the square. A few fights broke out in the subway, but they were also quickly suppressed. Police reported that only a few officers were injured in the clashes – all of them with light bruises to the hands. Law enforcers also showed relative tolerance toward those detained during the riots – all of them were released the same day after some words of warning.

nterior Minister Rashid Nurgaliyev was quick to blame the outburst of violence on leftist extremists. However, this version was neither proved nor repeated later and was probably just said in a hurry. President Dmitry Medvedev said that those responsible for the rioting would be found and punished, but the president did not point the finger at any person or movement.

Nationalist organizations on Monday issued a news release offering condolences to all those who suffered at the hands of the rioters and also with a clear statement and a list of demands. The first of these demands was to bring to justice those police officers who released the three suspects in the death of Egor Sviridov. The statement also said that the authorities should pay attention to corruption in law enforcement and the ties between ethnic criminal groups and the police.

There was also a demand that the authorities should stop viewing Russian nationalists as extremists and their organizations should be given broader political powers.

nterestingly, most journalists and popular bloggers who commented on the event expressed very similar opinions. Everyone agreed that Russian society is tired not of newcomers, but of the arbitrariness of corrupt policemen. The widely quoted article by columnist Dmitry Sokolov-Mitrich called for a “zero tolerance” policy towards representatives of North Caucasus peoples, but it was clear that this was only to mend the current situation in which ethnic criminal clans have police on their payroll.

Even members of national diasporas, including people from the Caucasus, said that most of the blame for Saturday’s riots lies on corruption in police ranks. Tigran Tvadian, the chief editor of the Yerkramas newspaper that publishes news for the Armenian diaspora told the Russian news agency RIA Novosti that the responsibility for the events in Moscow must lie on the law enforcement system that still cannot ensure the citizens’ trust in itself. “The fact that the incident turned into an action with nationalist subtext should be blamed on law enforcement bodies that cannot show society that they can be trusted,” the journalist said.

At the same time, some political analysts noted that such development was still dangerous. Political adviser Marat Gelman told Vedomosti daily that Saturday’s events showed that the danger was in the very fact that street violence had become possible. “Organized groups of people appear who think that they have the right to enforce justice. In essence, after getting a license for this from a weak state,” Gelman said.

On Monday, more calls for rallies appeared on the internet, urging action on December 15. However, both football fans and Russian nationalists distanced from these calls, saying that Saturday’s rallies were enough and they hoped that the authorities would pay attention to their demands. In part at least, they were right – according to news reports, all three suspects in the killing of Egor Sviridov were back in custody on Sunday.


среда, 15 декабря 2010 г.


Once upon a time there was a tsar named Berendey, who had three sons. The tsar's palace was surrounded by a beautiful orchard, and among the trees in the orchard was a wonderful apple-tree which bore golden apples. One day the tsar discovered that someone was getting into the orchard and stealing his golden apples. He was furious, and sent his guards to catch the thief. But though they watched all night they were quite unsuccessful.
The tsar was so upset at the loss of his golden apples that he lost his appetite too. His sons tried to comfort him, and the eldest told him: "I will go and guard the orchard against the thief tonight, father."
And he went off to the orchard. But although he arrived there quite early in the evening and walked about for some time, he saw no one. So he lay down on a grassy bank and soon fell asleep. Next morning his father asked him:
"Well, have you good news for me? Did you see the thief?"
"No, father," his son answered. "I did not sleep a wink all night, I did not even close my eyes. But I saw no one."
The following night the tsar's second son went to guard the orchard. But he, too, slept all night, and next morning he told his father he, too, had seen no sign of a thief, although he had not closed his eyes.
Now it was the turn of the youngest brother, Prince Ivan, to guard the orchard. And he was so anxious not to miss the thief that he was afraid even to sit down, let alone to lie down. When he felt he was getting drowsy he washed his face with dew, and this made him wide-awake again. About halfway through the night he thought he saw a light in the orchard. It grew brighter and brighter, until all the trees were lit up. Then he saw that the light was coming from a Firebird, which was sitting on the apple-tree and pecking at the golden apples.
So he crept up very quietly to the tree and caught hold of the bird by the tail. But the Firebird spread its wings and flew away, leaving only one tail feather in Prince Ivan's hand.

A.Glazunov "Firebird"
Box. 1929 Palekh

Next morning, when he went to report to his father, the tsar asked him:
"Well, Ivan, did you see the thief?"
"Dear father," Ivan answered, "I cannot say I caught him, but I have found out who is eating our apples. And I have brought you a tail feather in proof. It is the Firebird."
The tsar took the feather and looked at it, and no longer felt sorrowful; but he thought a great deal about the Firebird, and one day he sent for his sons and told them:
"My dear children, I want you to saddle good horses and ride forth into the world to see whether you can find and bring back the Firebird."
The young men bowed to their father, saddled good horses, and set out on their travels: the eldest in one direction, the second son in another, and Prince Ivan in a third direction.
He rode near and far, high and low, along by-paths and by-ways - for speedily a tale is spun, but with less speed a deed is done - until he came to a wide, open field, a green meadow. And there in the field stood a pillar, and on the pillar these words were written: "Whosoever goes from this pillar on the road straight before him will be cold and hungry. "Whosoever goes to the right side will be safe and sound, but his horse will be killed. And whosoever goes to the left side will be killed himself, but his horse will be safe and sound." Prince Ivan read this inscription and went to the right, thinking that although his horse might be killed, he himself would remain alive and would in time get another horse.
He rode one day, then a second day, then a third. Suddenly an enormous gray wolf came toward him and said: "Ah, so it's you, young lad, Prince Ivan! You saw the inscription on the pillar that said that your horse would be killed if you came this way. Why then have you come hither?" When he had said these words, he tore Prince Ivan's horse in twain and ran off to one side.
Prince Ivan was sorely grieved for his horse; he shed bitter tears and then continued on foot. He walked a whole day and was utterly exhausted. He was about to sit down and rest for a while when all at once the gray wolf caught up with him and said: "I am sorry for you, Prince Ivan, because you are exhausted from walking; I am also sorry that I ate your good horse. Tell me why you have travelled so far, and where you are going"
"My father has sent me to ride through the world until I find the Firebird."
"Why, you could have ridden even on your good horse for three years and never found the Firebird for only I know where it lives. I ate your horse, so now I will serve you faithfully and well. Get on my back and hold on tight."

A.Lopatine "Prince Ivan and the Grey Wolf"
Box. 1999. Palekh

Prince Ivan seated himself astride the grey wolf, and it loped away, past the green forests, and the azure lakes. At last they came to a very high fortress. There the grey wolf told Ivan:
"Listen to me, and remember what I say. Climb over the wall and do not be afraid; all the guards are asleep. In the attic you will see a small window; in the window hangs a golden cage, and in that cage is the Firebird. Take the bird and hide it under your coat; but be sure not to touch the cage."
Prince Ivan climbed over the wall and saw the attic. And, just as the wolf had said, in the attic window a golden cage was hanging, and the Firebird was in the cage. He took out the bird and put it under his coat. But as he looked at the golden cage he could not help coveting it. It was made of precious gold; how could he leave it behind? He completely forgot what the wolf had told him. But as soon as he touched the cage the alarm was sounded all through the fortress; drums rolled and trumpets blared, the guards woke up, captured Prince Ivan and took him to Tsar Afron. The tsar was furious at this attempt to steal the Firebird and the cage, and asked the prince:
"Who are you, and where are you from?"
"I am Prince Ivan, the son of Tsar Berendey," Ivan replied.
"How shameful! The son of a tsar coming here to steal!" the tsar exclaimed.
"That is as may be," the prince retorted. "But your bird flew to our orchard and stole the golden apples."
In that case you should have come to me and asked me for the Firebird and I would have given it to you out of respect for your father. But now I shall see to it that all the world knows of your behavior! And in order to earn my forgiveness you will have to enter my service. A certain Tsar Kusman has a horse with a golden mane. Bring that horse to me, and I will give you the Firebird and the cage."
Prince Ivan was downcast at the thought of having to undertake such a task, and he went to tell the grey wolf what had happened. But the wolf said to him:
"I told you not to touch the cage. Why did you disobey me?"
"I know I did wrong; but forgive me, grey wolf."
"It is easy enough to ask forgiveness," the wolf answered. "All right, get on my back again. We will not turn back now."
Once more the grey wolf loped off with Prince Ivan on its back. And at last they came to the fortress where the horse with the golden mane was stabled. Then the wolf told Ivan:
"Climb over the wall; do not be afraid, the guards are asleep. Go to the stable and bring out the horse. But be sure not to touch the bridle you will see hanging there."
The prince climbed over the wall into the fortress, and saw that the guards were asleep. He went straight to the stable and found the horse with the golden mane. But his eyes fell on a bridle hanging up; it was of gold and studded with precious stones: the only bridle fit for a horse with a golden mane. And he put out his hand to take it. But at once the alarm was sounded all through the fortress; drums rolled and trumpets blared, the guards woke up, took the prince a prisoner and led him before Tsar Kusman.
"Who are you, and where are you from ?" the tsar asked Ivan.
"I am Prince Ivan."
"To attempt to steal a horse shows little wisdom! Even a peasant would not try to do that. But I will let you off, Prince Ivan, if you agree to enter my service. A certain tsar named Dalmat has a daughter, the beautiful Helen. Carry her off and bring her to me, and then I will give you the golden-maned horse and the golden bridle."
At this verdict Prince Ivan was even more downcast than before. Again he went to see the grey wolf. But the wolf said:
"I told you not to touch the bridle. You did not obey my orders."
"Nevertheless, forgive me, forgive me, grey wolf," the prince pleaded.
"It is all very well, saying “forgive”. All right, get on my back."
Once more the grey wolf raced off with Prince Ivan on his back, until they came to Tsar Dalmat's fortress. But this time the grey wolf said to the prince:
"I am not going to ser am going myself. You set of back to Tsar Afron; I will soon catch up."
Prince Ivan obediently started to go back, while the grey wolf sprang over the fortress wall and into the garden. In the garden the beautiful Helen was walking with her attendants. The wolf sat behind a bush and watched them, and the moment the princess fell a little way behind her attendants the wolf seized her, flung her over his back, and scampered away. Ivan had gone some distance when the grey wolf caught up with him, bringing the beautiful Helen sitting on its back. The prince was delighted, but the wolf said:
"Quick, get on my back, in case we are followed."
The prince sat on the wolf's back behind the princess, and the wolf rushed away with them, past the green forests and the azure rivers and lakes. At last they arrived at Tsar Kusman's fortress. But the prince seemed very sad, so the wolf asked:
"Why are you silent, Prince Ivan? Are you sad?"
"Have I not good reason to be, grey wolf? How can I part with this beautiful princess? How can I exchange her for a horse?"
"I will see to it that you are not parted from her," the wolf promised. "We will hide her somewhere, then I will turn myself into the beautiful Princess Helen, and you can lead me to the tsar."
So they hid the princess in a forest hut. Then the grey wolf uttered a magic spell and at once became her living image. Prince Ivan took her to Tsar Kusman. The tsar was delighted and said:
"Thank you, Prince Ivan, for getting me such a beautiful woman for my wife. Take the golden-maned horse and the bridle."
The prince bridled the horse, mounted it, and rode off to the hut where the true Helen was hidden. He seated her behind him on the horse, and they rode away.

S.Kamanin. "Russian Fairy Tales"
Casket. 1999. Palekh

Meanwhile, Tsar Kusman made arrangements for his wedding, feasted all day and half the night, and, when it was time for bed, he led the mock-princess into his bedroom. But when he lay down beside her on the bed he found he was lying not with a beautiful young wife, but with a grey wolf. He was terrified and fled, and the wolf slipped away and out of the fortress. When the wolf caught up with Prince Ivan it noticed that he was looking sad again, so it asked:
"Why are you so thoughtful, prince?"
"I have good reason to be. I am sad to think I have to give up the golden-maned horse in exchange for the Firebird."
"Do not be downhearted; I will help you," said the wolf. When they arrived at Tsar Afron's fortress the wolf said:
"You go and hide the horse and the princess. Then I will turn myself into the golden-maned horse and you can take me to Tsar Afron."
So they hid Helen and the horse in the forest. The grey wolf uttered a magic spell and became a golden-maned horse, and Ivan led the horse to the tsar. Tsar Afron was delighted, and gave him the Firebird and the golden cage as well. The prince carried the cage with the bird into the forest, seated the princess on the golden-maned horse, and rode off on his journey back to his native country.
Meanwhile, Tsar Kusman gave the order for the golden-maned horse to be brought to him. But when he tried to mount it the horse turned into a grey wolf. The tsar was so frightened that he fell to the ground, while the grey wolf made good its escape and soon overtook Prince Ivan.
"Now I must say goodbye; I cannot come any farther," it told the prince.
So Ivan dismounted from his horse and bowed very low three times, thanking the grey wolf respectfully. But the wolf said:
"Do not bid goodbye forever to me. I shall yet be of service to you."
"How can you be of any further service to me?" Ivan thought. "All my wishes have come true."
He mounted the golden-maned horse and rode away with beautiful Helen and the Firebird. He arrived in his own country, but as he still had some way to go to reach home he decided to have a rest at midday. So they ate some food, drank water from a spring, and lay down to rest. No sooner had the prince fallen asleep than his brothers happened to ride past, and saw him. They had travelled far and wide in search of the Firebird, but of course they had not found it. When thev saw their brother lying asleep and noticed that he had the Firebird, the horse with its bridle, and even a beautiful girl, they plotted to kill their brother and take everything for themselves.
So they killed Prince Ivan, seated themselves on the golden-maned horse, put beautiful Helen on another, and threatened her:
"You must not say a word to anyone when we get home."
Then they rode oft, with the horse, the princess, and the Firebird, to their father.
They left Prince Ivan lying dead, with the crows already gathering above him. But suddenly the grey wolf ran up and caught one crow with its young chick.
"Crow, you must fly away and bring back to me some sparkling water and some still water," the wolf told the crow. "If you bring back the two sorts of water I will let your young one go."
The crow agreed, and flew off, while the wolf watched over the chick. In due time the crow flew back with both the sparkling and the still water. Then the wolf sprinkled Ivan's wounds with the still water, and the wounds healed; it sprinkled him with the sparkling water, and the prince revived.
"I have had such a deep sleep," he yawned.
"Yes, you were sleeping very soundly," the grey wolf said. "But for me you would never have awakened. Your own brothers killed you and carried off all you had gained. Now get on my back, quick!"
The wolf raced off in pursuit of the two elder brothers, and soon caught up with them. It tore them to pieces and scattered them over the field. Prince Ivan bowed and thanked the grey wolf once more, and said goodbye to it forever. He mounted the golden-maned horse, and rode home with the princess. He had obtained the Firebird for his father, and beautiful Helen as a wife for himself.
Tsar Berendey was delighted to see him with the Firebird, and asked him to tell of all his adventures. Prince Ivan told his father how the grey wolf had helped him to win the Firebird, the horse, and the beautiful Helen, how his brothers had killed him while he was asleep, and how the wolf had restored him to life and then torn them to pieces.
The tsar mourned the loss of his two sons, but he was soon comforted, by the wedding of Prince Ivan and the beautiful Princess Helen, and they lived happily ever after.


The Firebird of Russian Folklore

Ivan Bilibin "The firebird"

In Russia, as in many countries, folklore is a part of the people’s tradition and culture. Tales of grandeur and fallen heroes, as well as stories to promote good morals, have been passed down through generations. These tales are often used to teach the younger generation valuable lessons, creating heartwarming family moments around the table as the older family members share the folklores of Russia with their appreciative younger listeners. One mythic character that is found in the country’s folklore, and various versions are found across the world, is the Firebird, or Zhar-Ptitsa.

The Firebird is known to many as the Phoenix. It is a mythical bird that lives in five hundred year cycles, which is able to regenerate from injury and is therefore, immortal. With plumage of red and gold that illuminates its flight, the Phoenix is as much a symbol of divinity as it is of fire and many legendary tales have evolved around its existence. Its most spoken about quality, that has inspired stories of encouragement or been compared to adversities that have been overcome, is that the Phoenix, nearing the end of its life cycle, builds a nest where he sets himself and the nest on fire. From the ashes left behind, a young Phoenix rises, to take the place of the older.

Victor Vasnetsov

In Russian folklore, the Firebird can symbolize many things. Some see the Firebird as a creature of blessing, while others believe that the Firebird will bring doom to anyone who captures it. In some tales the Firebird is a symbol of wealth and of power, and in many stories it is an object that the hero of the tale has been ordered to capture. One such a story tells of a tsar that sends his sons to capture the Firebird, as it would fly across his orchard and eat his golden apples. One son succeeds in grabbing hold of the Firebirds’ tail, but it escapes his grasp and leaves behind one of his feathers. The glow from the Firebird’s feather was powerful enough to light up an entire room. It is also believed to bring hope and relief to the suffering and in need, and one story in particular tells of pearls falling from the Firebird’s beak to the peasants below, for them to trade for food.

Over the ages, the Phoenix, or Firebird, has inspired many artists, such as Igor Stravinsky, who in 1910 immortalized the legend of the Firebird, in his ballet score of the same name. From being a symbol of doom to hope, the Firebird’s rise from its ashes has given many the inspirations to rebuild their lives and to believe that there is light in even their darkest moments. The Firebird holds a sacred place in the folklore of Russia, as a creature that is in itself as much of a mystery as the legendary tales.

Igor Stravinsky


вторник, 7 декабря 2010 г.

Dedicated to the memory of Bella Akhmadulina

Bella Akhmadulina is the Russian poet, short story writer and translator.

Known in Russia as "the voice of the epoch," Bella Akhmadulina is one of the century's foremost poets who came to prominence during the Soviet era.

She is a member of the Russian New Wave literary movement, a group of writers who embraced Western ideology during the 1960s.

During this period her colleagues Yevgeny Yevtushenko and Andrey Voznesensky experimented with innovative poetic styles focusing on current issues of the day. Akhmadulina relied on traditional language to capture the mood and sentiments of the time.

I went out to the garden - but in garden,
the word, lies lush luxuriance.
As gorgeous as a full blown rose,
it enriches sound and scent and glance.
The word is wider than what surrounds me:
inside it all is well and free;
its rich black soil makes sons and daughters
of orphaned and transplanted seeds.
Seeding of dark innovations,
O garden, word, you are gardener,
who to the clipper's gleam and clutter
increase and spread the fruits you bear…

The poet Joseph Brodsky considered Akhmadulina an heiress to the Lermontov-Pasternak line in Russian poetry and referred to her as the “treasure” of Russian poetry. Akhmadulina has been cited by him as the best living Russian language poet.

The main themes of Akhmadulina's works are friendship, love, and human relations.

Smiling nervously but brightly,
conscious of her youth and fame,
she set the way that she was asked to
indifferently - or playing games.
Under heaven's dome's eternal childhood
April nineteen hundred twelve
has promised her in Ospedaletti
only prosperity and sun
She looks out from a lacy nimbus,
her hands folded in her lap.
The shadow of her future torments
lies locked inside her photo's trap….


How do you make this, o my college-comrades?
Having waked up, while dark’s moving to light,
you take your pen and open your notes,
and write – and is this quite enough to write?

No, in my case, all’s worse and all’s another:
I’d spend a candle, look through a window’s pane
like a bad student, that hasn’t solved his puzzle…
and find that light’s moving to dark again.

First comes the night of vigilance and woe,
Then (will it come?) the undistinguished hum…
We’re to begin that when we’re born – not grown –
and today I have neither mood nor time.

Akhmadulina avoids writing poems on politics although she did take part in political events in her youth, supporting the movement of so-called ''dissidents''.

Image from www.gorod.tomsk.ru Image from www.gorod.tomsk.ru

She gained great popularity in the early 1960s in public recitals of poetry before vast audiences at the Luzhniki Stadium, Moscow State University, the Polytechnic Museum and other venues. Akhmadulina appeared alongside Andrey Voznesensky, Yevgeny Yevtushenko, Bulat Okudzhava and Robert Rozhdestvensky – all poets, worshipped by millions, who played an important role in the liberation of the collective consciousness after decades of repressions.

Bella Akhmadulina was a mild, peaceful and at times ingratiating figure in opposition to the Soviet establishment, of which these people were a necessary complement. She was thus among the “podpisanty” (“signers”), people who signed letters to the authorities in support of individuals who showed themselves to be more open and aggressive opponents of the communist regime, like Andrey Sakharov, Lev Kopelev, Georgy Vladimov, or Vladimir Voinovich. Her statements were published in The New York Times and broadcast on Radio Liberty and Voice of America.

Akhmadulina was sometimes compared with Anna Akhmatova for her sincere feminine style. But later, after Nikita Khrushchev was dismissed by Leonid Brezhnev, the "thaw" ended and her style was misjudged by Soviet critics as eroticism. Akhmadulina was barred from the Writer's Union and banned from publication at the same time as Aleksander Solzhenitsyn and other Soviet dissidents. Her book of poetry "Oznob" (“Fever,” 1968) was published in Frankfurt, Germany, and in the US under the title "Fever and Other Poems" (1969).

When she was banned from the Soviet press and media, Akhmadulina delivered her statements through the foreign press and radio. Her poetry has been translated into English, Japanese, Italian, Arabic, French, German, Polish, Czech, Danish, Armenian, Georgian, Latvian, Kurdish, Romanian and many other languages worldwide.

Akhmadulina also devoted herself to writing numerous essays about Russian poets and translated poetry from France, Italy, Chechnya, Poland, Hungary, Bulgaria, Georgia, Armenia, among other countries, into Russian. In 1984 Bella was honored with the Order of "Friendship of Peoples".

Bella was born in Moscow. Her father, Akhat Valeevich Akhmadulin, and mother, Nadezhda Makarovna Lazareva, had a mixed Tatar, Russian, Georgian, and Italian heritage.

The family was well positioned in the Soviet hierarchy; her father was a highly placed customs official and her mother a major in the KGB.

Akhmadulina attended the A. M. Gorky Institute of World Literature in the mid-1950s. During her studies at the institute she published poems and articles in different newspapers, both official and handwritten. Her first poems were published in 1955 in the official Soviet magazine "October".

She married poet Yevgeny Yevtushenko in 1954. In 1960, she completed her education at the Gorky Institute, preceding an expulsion due to her overly apolitical verse. That same year, she divorced Yevtushenko and married short story writer Yury Navigin. In 1962 her first book of poems, “Struna” (“The String”) was published to resounding success. She divorced Navigin in 1968 and, in 1974, married artist Boris Messerer. She has served as secretary to the Soviet Union of Writers and is an honorary member of the American Academy of Arts and Letters.

Image from www.gallery.vavilon.ru Image from www.gallery.vavilon.ru

Akhmadulina currently lives in Moscow with her husband Boris Messerer and her two daughters, Elizaveta and Anna.

Her first two collections, “Struna” and “Uroki muzyki” (1969; translated as “Music Lessons”), contain what many critics regard as her finest poems. A selection of these early works was translated into English in “Fever and Other New Poems” (1969). Two of Akhmadulina's best-known poems are “Oznob” (“Fever”) and “Skazka o dozhde” (“Fairytale about the Rain”).

There is again a change in Nature,
the green is very rough in sight,
and rises – in a lofty fashion –
the figure of the mushroom, white.

And this old garden itself shows
all living woods and skies above,
and choices of my grace are posed
just on three faces that I love.

The body of the moth, so sightless,
dies in the lamp’s indifferent light,
marks fingers with its golden brightness,
and gives hand the non-pleasance, slight.

Oh, Lord, how in this best of summers,
my soul’s peace is long and great –
thus in a rainbow its colors
forbid one more to be inset.

Like this, a circle, fully ended,
inside it handles itself all,
and uselessness of each touch, added,
seem as unenvied and droll.
Image from www.bvi.rusf.ru Image from www.bvi.rusf.ru

“Struna” was criticized by the then-Soviet government for being too personal and emotional and caused Akhmadulina problems in publishing later poems. Critics have compared Akhmadulina's poetry to that of Acmeist poets Anna Akhmatova and Tsvetaeva, and have noted her acknowledged literary debt to her predecessors Pushkin and Mikhail Lermontov.

Although relatively little has been written in English or Russian about her work, critics are in general agreement in their high regard for Akhmadulina's stylistic and thematic variety. Scholars have praised Akhmadulina's distinctive poetic voice, lively style, and original use of themes.

They also commend her witty use of metaphor to comment on society and the natural world, and her ability to create and sustain her personal perspective in her poems.


(from "A cruel romance")


And I shall tell you at the end:
farewell, don’t pledge self to love, helpless.
I go mad, or just ascend
to the high echelon of madness.

How had you loved? – You’d put aside
even the Death. But ‘tis not matter.
How had you loved? You’d done that right,
but you had had to do that better.

Hell of a blunder! I shall not
Forgive you else. It lives – my body –
it roams, sees the real world,
but just with emptiness it’s loaded.

My mind yet makes its scanty work,
But arms had helplessly felled down,
and, likewise a small airy flock,
vanish aslant all smells and sounds.

Translated by Yevgeny Bonver, January 12, 2005

суббота, 27 ноября 2010 г.

Buddhism in Russia:

Datsan (Russian: Дацан) is the term used for Buddhist university monasteries in the Tibetan tradition of Gelukpa located throughout Russia, but concentrated in Eastern Siberia. As a rule, in a datsan there are two departments - philosophical and medical. Sometimes to them is added the department of the tantric practices where the monks studied only after the finishing education of the philosophical department. In pre-20th century Russia, datsans traditionally existed only in Buryatia and Transbaikalia.

Datsans were officially acknowledged in the Imperial Russia in 1734. By statute of 1853 were recognized 34 datsans: two in the Irkutsk governorate and others in the Zabaykalsky governorate. The first datsan in Europe was Gunzechoyney datsan. It was built in St Petersburg between 1903 and 1913 and started to operate on 21 February 1913.

Between 1927 and 1938 all 47 datsans, existed in Buryatia and Transbaikalia were closed or destroyed. In 1938-1945 no one datsan not worked. In 1945 was opened Ivolginsky datsan, several years later resumed his work Aginsky datsan.Only in 1991
were opened next 10 datsans.


Ivolginsky datsan

Иволгинский Дацан
«Иволгинский Дацан» на Яндекс.Фотках

Иволгинский дацан
«Иволгинский дацан» на Яндекс.Фотках

Aginsky datsan

«DSC02099w.jpg» на Яндекс.Фотках

суббота, 20 ноября 2010 г.

The Bear In Russian Culture

The Bear — a significant factor of Russian culture - appears in many Russian literary works, folk tales, epics, proverbs and sayings, not infrequently acting as a protagonist. The Bear was the emblem of the XXII Olympic Games held in Moscow in 1980.

Russian Bear

It is needless to say that in Europe, America, and probably all over the world the bear is strongly associated with Russia and the Russian statehood. Therefore the bear in Russia is more than just a bear. Initially the bear as the symbol of Russian state appeared in Europe as personification of slowness, laziness, barbarity and aggression, which evokes in Europeans the feeling of their own superiority to the non-civilized "neighbour" and also the feeling of fear and, consequently, the desire to chain it. Certainly, Russia repeatedly gave its neighbours some grounds for fear, however, if Russian bear did not exist, one should have made it up. The thing is that the bear is the image helping politicians of the West to convince the citizens of Russia’s aggression and thus expand the influence of NATO on the east. For more than 300 years already the bear has invariably been a character of political feuilletons and caricatures.

In Russian culture the bear traditionally appears as the image of a good-natured and a somewhat dumb animal, undoubtedly possessing certain charisma. In folklore the Bear is usually named affectionately and respectfully as a man: Mishka, Mihailo Potapych, Toptygin, etc. So it is evident that the Bear is more likely a kind neigbour, or a guard, never a tyrant. Emblems of Russian cities say about the same thing.

Bears as City Emblems

Among the land emblems of Russia before Peter the First, there were three emblems with the images of bears. Two emblem bears appeared during the rule of Ivan the Terrible and were present at the stamps of his reign - first of all the well-known Big State Stamp made at the late 1570th (not later than in August 1578), during the Livonian war. However, all the three emblems with bears took their final shape only in 1672, when they were enlisted in the Title Book among other land emblems.

Bears there are not simply represented in their natural state: every one of them has its special attributes, which make researchers look for suitable interpretations. It is interesting that all the three bears are interfaced to concrete territories of the north and northeast of Russia, and those that were once perceived as marginal and somewhat peripheral lands, such as Novgorod, Yaroslavl and even farther Perm.

The Novgorod bear had the state and political meaning of the guard, whereas Yaroslavl and Perm bears reflected essential cultural models. The first one stands for the single combat and the victory over the bear of the prince, also interpreted as the victory of Christianity over paganism, and the second one symbolizes Christianization in its religious and educational aspect. If the Yaroslavl emblem has an element of violence, the "quieter" Perm emblem conveys rather peaceful introduction into the new belief.

In XVIII-XIX centuries some more bears appeared in the Russian territorial and city heraldry. Partly they originated from Yaroslavl (the arms of Maloyaroslavets), and partly boasted more original appearance: a bear in its den in the emblem of Ust-Sysolsk, or a bear climbing a pine to get honey in the emblem of Sosnitsy – those depicted local natural peculiarities of the land.

The Russian bear was and remains a part of everyday life, and even gaining weight in recent years. It is sufficient to have a look at the titles of articles recently published in world press ('Russian bear comes back', 'Awakening of Russian bear', and ‘Russian bear plays muscles') to realize the meaning of this symbol in politics and culture. The bear became an emblem of the political movement 'Edinstvo' (Unity), and following that of the party 'Edinaya Rossia’ (United Russia). Now, when the President of Russia has the 'the bear’s surname’ the symbol has gained refreshed popularity.


вторник, 16 ноября 2010 г.

The Diamond Fund

The Moscow Kremlin is the site of several world-famous museums attracting numerous visitors. One of them is the Diamond Fund exhibition, a unique collection of precious stones and masterpieces of jewelers’ art. It was founded by Tsar Peter the Great as the storage of state insignia and ceremonial jewelry of the Tsar’s family. Tsar Peter’s decree of 1719 declared them Russian national treasures. Peter the Great also founded the Diamond Mill in Peterhof, a St.Petersburg suburb, to polish precious stones.

The development of the Russian mining industry in the Urals in the 18th century was accompanied by a growing interest in Russian gems. Diamonds and other precious stones were mounted in the coronation regalia, that is, crowns, scepters, and orbs. They adorned The Big Imperial CrownRussian state awards and valuable weapons.

When preparing for coronation in 1762, Catherine the Great ordered a Big Imperial Crown. The gold-and-silver crown made by a court jeweler Jeremiah Posier is decorated with almost five thousand diamonds – large and small – and 75 perfectly round, even-shaped large pearls. Posier achieved a harmonious combination of magnificent diamonds and white-pink pearls enhancing the stateliness and majesty of the crown’s design. A huge ruby-red spinel crowned with a diamond cross was placed on its top. The Russian Imperial Crown, weighing almost 400 carats – the most expensive in the world — is one of the seven historic gems of the Diamond Fund exhibition.

On display in the Diamond Fund is the world-famous Orlov diamond, the best known in Russia in the 18th century. This bluish-greenish crystal of the first-class clarity is cut in the shape of a rose with a great number of small facets arranged in layers. The Orlov diamond is believed to have been found in India where, according to a legend, it had served as the eye of an idol in a Brahman temple until the beginning of the 18th century, when it was stolen. In 1774, it was bought by Count Grigory Orlov who presented it to Empress Catherine the Great. Since that time the Orlov diamond has adorned the gold scepter of Russian Emperors.

Another historic gem of the Diamond Fund exhibition is the Shah, another Indian diamond found in the 16th century. Its perfect shape was created by nature, and only some of its facets were slightly polished. This is a transparent gem with a slight yellow tint. Engraved on three of its facets are the names of the three rulers who, in turn, possessed it. In the 17th century, the diamond adorned the throne of the TiaraMughal Empire as a talisman. When Shah Nadir conquered Delhi in 1739, he took the stone away with him to Persia. Ninety years later, the diamond was presented to Russian Emperor Nicholas I by the Shah of Persia “in atonement” for the assassination of Russian Ambassador in Tehran, a noted diplomat and poet Alexander Griboyedov.

In 1922, the Diamond Fund was set apart from the state repository later to become a separate exposition. The Kremlin’s Diamond Fund exhibition was opened to the public in 1967 to mark the 50th anniversary of the Soviet state. Initially, the collection was to be on display for a year. However, considering immense interest in it and a vast number of visitors, it was decided to make the exhibition permanent.

Today the Diamond Fund exposition is housed on the ground floor of the Kremlin’s Armory Chamber. On display in the first of its two halls are Russian diamonds, a rare collection of gold and platinum nuggets, and also Russian-made jewelry. The largest diamonds found in this country include some remarkable specimens named after notable events or personalities, such as the Star of Yakutia, the Great Beginning, and the Yuri Gagarin diamonds.

The Camel gold nuggetA large showcase demonstrates a collection of platinum and gold nuggets of rare weight, quality and shape, among them the Big Triangle nugget, the largest in the world, weighing over 36 kilos, and some fantastically-shaped ones, like, for example, “Hare’s Ears”, “Horse’s Head”, and “Camel”. On display at the Diamond Fund are also famous Russian semi-precious stones – a rare and very colorful collection of magnificent emeralds, sapphires, amethysts, and topazes.

The earliest jewelry on display dates back to the middle of the 18th century and includes exquisite posy-pins, flower-shaped ear-rings, and a diadem fashioned as a garland. The Diamond Fund also displays pre-revolutionary Russian and foreign orders, the most famous being the Order of St.Andrew the First Called richly adorned with diamonds.

Source:The Voice of Russia

вторник, 2 ноября 2010 г.

russian animation -"My love"

Ivan Smelyov

My Love (Russian: Моя любовь, Moya lyubov) is a 2006 paint-on-glass-animated short film directed by Aleksandr Petrov, based on A Love Story (1927) by Ivan Shmelyov. Work on the film took place in Yaroslavl, Russia over a period of three years at the studio DAGO Co. It was funded by Russia's Channel One and Dentsu Tec in Japan.

First part

Second part

Part 3

четверг, 14 октября 2010 г.



Protection is the translation of the Russian word Pokrov. In this icon, the Mother of God is seen as the protector and intercessor of all mankind.

The iconography of the Pokrov icon dates back to a tenth century miracle that occurred in Constantinople. Every Friday there was a ceremony of the rite of lifting of the veil covering the image of the Mother of God. At one of these services, St. Andrew observed Mary offering a prayer and spreading her cloak over the congregation as a symbol of protection of the people and city from enemy attack.

The full length figure of the Mother of God is always central in this icon with the Virgin holding the veil sheltering all suffering mankind.

For many centuries, Russians have believed that if they had the Pokrov icon in their homes they would have protection from earthquakes, plagues, fire, and other calamities.

A sixteenth century Pokrov church on the Nerl River in Vladimir is used as the logo of the Museum of Russian Icons.

Церковь Покрова на Нерли.
«Церковь Покрова на Нерли.» на Яндекс.Фотках

Vladimir was the former capital city of Russia during medieval times.


среда, 22 сентября 2010 г.

Russian North-pomor land

The Arkhangelsk Region belongs to the largest administrative entities in Russia; situated in latitude between the 60.5 and 70 degrees North it is part of the Northern economic area.

From north to south the Region crosses three climatic zones – arctic, sub-arctic and moderate, the coastal line of 3000 km is washed by the White, Barents and Kara Arctic Seas.

Characteristic for the Region is a very dense and full-flowing network of rivers and numerous lakes, there are many mineral water deposits of medicinal value, picturesque and variable landscapes of the northern nature which has survived in its primordial state.

In the west the Region borders with the Karelia Republic, in the south – with the Vologda and Kirov Regions, in the east - with the Komi Republic and the Tyumen Region.

The Region area is 587 thousand square km. The population was 1.3 million people. The national structure of the Arkhangelsk Region population is comparatively homogeneous (Russians make 92 % of the population).

The population density is 2.5 per 1 square km. 75 % of people live in towns and cities, 26 % - in the country. The average age is 36 years old. The population capable of working makes 59 % of the whole number of people.

Territorially the Region comprises the Nenets Autonomous District, 20 administrative districts, 14 towns, 38 working settlements, about 4 thousand villages, as well as the islands of Novaya Zemlya and Franz Joseph Land.

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The administrative centre of the Region is the city of Arkhangelsk, which was founded on the Tsar Ivan the Terrible’s order of March 5, 1584, in the mouth of the Northern Dvina River. The largest cities in the Region are Severodvinsk, Kotlas, Novodvinsk, Koryazhma.


Three climatic zones are observed in the territory of the Arkhangelsk Region – the arctic (the northern island of the Novaya Zemlya and Franz Joseph Land), sub-arctic (the Nenets Autonomous District, the Kolguyev and Vaigach Islands) and moderate ( the rest of the Arkhangelsk Region territory). Characteristic for the Region are moderately cold and long winter with much snow, cloudless spring, moderately warm summer, cloudy and rainy autumn. Annual precipitation increases from north to south: in average 27 % of precipitation is snow, 55 % is rain, and 12% is snow and rain.

White Nights Land

It is no mere chance that the Arkhangelsk Region is called the White Nights Land. From the middle of May and almost to the end of July to the north of Polar Circle the sun never disappears behind the horizon; to the south of Polar Circle days are much longer than nights, the latter resembling dawns. In winter the situation is vice versa - the territory to the north of Polar Circle sinks into darkness of a Polar night, in the south the sun rises but very low, and day lasts only 5 hours.

There are good grounds to believe that the first settlers in the North, primordial hunters and fishermen, came here 14 thousand years ago. The evidence of the fact is more than 800 archeological finds from Paleolithic to Middle Ages, material evidence of the settlements of legendary and mysterious Chud and Lope tribes along the Vaga, Pinega, Mezen rivers and on the Lake Lache.

In the 8th century the first groups of Slavs from Rostov-Suzdal and Novgorod areas came to the North. They brought land-cultivating, written language, Christianity with them. From here the Slavs-farmers went to sea and found sea routes to Scandinavia and Siberia; here an original culture of the Pomors formed and it was here that the Russian fleet was destined to be born and the famous ‘three-coloured’ flag to be hoisted.

Quite a special place in developing the area belongs to Russian Orthodox escetics and monasteries. In the 12th-15th centuries there already appeared first cloisters, by the 17th century there had been about 60 monasteries which had become cultural centres and safeguards of the northern borders of the Russian State. The monasteries actively used the latest achievements in engineering, promoted ancient Russian arts. Hundreds of talented icon painters, golden-stitch embroiderers, scribes, jewelers, smiths worked in the monastery workshops.

In the 18th century when the centre of external economic activities in Russia moved to the Baltic region the tempo of social and economic development of the Arkhangelsk North reduced; in the process of becoming a Russian province, nevertheless, the region preserved its original colour, traditions and unique historical and cultural heritage of the Russian northerners.

«ВИД С КОЛОКОЛЬНИ» на Яндекс.Фотках

The Pomors are a distinctive self-name (ethnonym) of the native ethnicity in the European North of Russia (Pomorye). The ethnonym ‘pomor’ (derived from the words ‘po moryu’ by the sea ) appeared not later than in the 12th century on the southwest (Pomorsky) coast of the White Sea, and in the 14th - 16th centuries it spread far to the south and east from the place of its origin. Ethnogenesis of the Pomors was a result of two cultures merging: of the proto-Pomor, mainly Finno-Ugric tribes (of Chud people) living on the coast of the White Sea and of the first Russian colonists actively populating the areas in Zavolochye.

In the 12th - 15th centuries the Pomorye area was a colony of the Great Novgorod. In the 15th - 17th centuries the Pomorye was a geographic name for a large economic and administrative territory along the coast of the White Sea, of the Onega Lake and along the Onega, the Northern Dvina, The Mezen, the Pinega, the Pechora, the Kama, the Vyatka rivers and up to the Urals. By the beginning of the 16th century Pomorye was annexed by Moscow. In the 18th century the 22 ‘uyezds’ of Pomorye were mainly populated by free ‘black wooden plough’ peasants. In the 19th century Pomorye was called the Russian North, the European North of Russia, etc. Later the term ‘Pomorye’ was ‘eroding’, the general term ‘severyane’ (the Northeners) supplanted the ethnonym ‘Pomors’; in spite of the active processes of assimilation of the Pomors by the Great Russian ethnos (ethnonym ‘Great Russian’ appeared in the 19th century) they have preserved their ethnic (national) identity to this day. The evidence of the fact is the result of the All-Russia Census of 2002 – many people defined their nationality as that of the Pomor (Census Register Code № 208 - «nationality - Pomor»).

The evidence of the ethnic entity of the Pomors is their ethnic (national) identity and a self-name (ethnonym ) ‘Pomors’, common historical territory (Pomorye), common culture and common language (the Pomor ‘govorya’- from the word ‘govorit’ – to speak), ethnic (national ) character, ethnic religious ideology (the Pomorskaya Ancient Russian orthodox Church), common traditional economy and other factors.


вторник, 21 сентября 2010 г.

Iron casts from Kasli

«Одиночество...» на Яндекс.Фотках
Forests and lakes near Kasli

Касли 1910 г.
«Касли 1910 г.» на Яндекс.Фотках
Kasli.Photo by Sergey Prokudin-Gorsky (1864-1944)

Kasli, one of the oldest towns of the South Ural, is famous world over thanks to its iron cast sculptures and works of applied art. Ural casting is the leader of artistic and architectural casting of iron and bronze of the 18-20th centuries, known among both art collectors and general public. The heritage of Ural casting art was greatly contributed by sculptors M.D. Kanayev, N.R. Bakh, P.K. Klodt, and E.A. Lanceray. The traditions of Kasli iron casting (graphic-like accuracy of the silhouette, combination of elaborate details and generalized planes with energetic play of highlights) took shape in the 19th century Russia-ic.com reports.

In 1747 merchant Yakov Korobkov from Tula founded the Kasli Iron-Smelting Plant in the South Ural. He had bought spacious plots from the Bashkirs for a song. The land proved to be extremely rich in pine woods, lakes, and iron ore, deposited almost on the surface. In 1752 the Kasli Plant was purchased by Nikita Demidov, a famous owner of numerous plants in the Ural and Siberia. By that time the plant had been smelting cast iron, turned over into ploughshare, flat and bulk iron. Cannons and cannonballs were sent to the centre of Russia from the Ural . Demidov's iron had its own trademark - two rampant sabers. It was of the highest quality in the world!

In the 18th century the plant was famed for its excellent iron, and later, in the 19th century, it became renowned for its artistic iron casting. It was favoured by the fact that Kasli harboured great reserves of quality mould sands, and timber to produce coal.

The first casts of Kasli iron appeared in the 1850s. Those were big articles, such as flagstones, railings, garden benches, and tombstone bas-reliefs. In the 1860-1890s the art and craft of iron casting reached its peak. In those years the Kasli Iron-Casting Plant took numerous prizes and medals at exhibitions in Petersburg, Vienne, Philadelphia, Stockholm, etc.

The greatest glory and fame was gained at the Paris World Exhibition in 1900, where a unique work - a cast iron pavilion was displayed.

Kasli masters had cast a huge iron Byzantine style palace, which amazed the foreign countries with its fantastic idea and daring implementation. N. Laveretsky's sculpture "Russia" depicting a warrior-woman, with confidence and dignity defending the world, decorated the entrance to the pavilion and was its major element.

The wonder-pavilion was recognized the masterpiece of casting art and took the Grand Prize of the exhibition. Nowadays the pavilion is permanently exhibited in the Yekaterinburg Picture Gallery, whereas an enlarged copy of the sculpture "Russia" is kept in the Moscow Kremlin.

Thus, the Kasli craftsmen glorified the art of Ural masters that had turned the unyielding grim cast iron into wonderful material for refined sculptures and other works of art.

Kasli artistic iron casting presents an entire realm of various themes and plots: from a peasant ploughman to the Venus of Milo, from massive solemn gravestones to a finest fob chain, from monumental sculpture figures to miniature statuettes of gentle ballerinas, from gratings for grand constructions to refined garden furniture, from plain household dishes to openwork plates, vases, caskets, candlesticks, and ashtrays. The Kasli plant also produced a wide range of architectural casting, including railings for parks and palaces of Saint Petersburg, and for bridges of Moscow.

The Kasli iron casts enjoy extraordinary popularity. They are so widely spread that have become innumerable, just like wild flowers in the spaciousness of Russian expanse.

Saturated with picturesque Russian nature and having insight into its beauties, the masters of Kasli managed to embody them in enlivened iron, otherwise quite a grim and hard material. The works of Kasli artistic iron casting amaze with the feeling of longevity, strength and solidity, not to say eternity, despite all the visual fragility and delicacy of some openwork casts.


четверг, 2 сентября 2010 г.

The Third Kremlin Clock Tower

On July 19, 1425, the Italian architect Anton Fryazin (Antonio Gislardi) laid the first stone of the Tainitskaya Tower on the south wall of the Moscow Kremlin.

Tainitskaya Tower from the Moscow River

Aesthetically, the tower is quite effective. It is the oldest of the towers standing today, and its creation marked the beginning of the transformation of the Kremlin from the white-wall fortress of Dmitry Donskoy to the one we see today, similar to a the Castello Sforzesco in Milan. And there is strange in this similarity, as practically all of the architects invited to Moscow by Ivan III were Italians. And an Italian at that time in Russian were called Fryazin, which is why Anton(io) is referred to as such in Russian history books.

It is difficult to believe that at that time the Tainitskaya Tower was one of the most important in the Kremlin. It guarded, together with a second tower, the lowest point in the fortress walls. And it faces the river, the most dangerous of sides, as potential enemies were expected primarily from the south. The tower incorporated well reinforced gates surrounded by an archery perch. The tower was also one of the first to be capped with a roof similar to the ones typical of the Kremlin today.

Tainitskaya Tower in the XIX Century

Today few are aware of the fact that the Tainitskaya Tower, along with Spasskaya and Troitskaya towers, included chiming clock, albeit a small one. The chore of minding the clocks was not considering a prestigious one back in those days, and the archives contain a multitude of complaints from the clock winders. The complaints are familiar ones: years go by without getting paid, no money is allocated to repair the clock mechanisms, the roof is in disrepair… The clock was later dismantled, along with the archery perch, and never restored.

Seven decades after it completion, the Tainitskaya Tower was completely dismantled to make room for the planned Kremlin palace. However, the government couldn’t find enough money to implement that project and the tower was rebuilt in it former form. However, the rebuilt tower was destroyed by the French when they occupied Moscow in 1812. The tower we see today is the third version, rebuilt during the reconstruction of the city after the war.

In 1860, once again according to the designs of an Italian architect, the archery perch was restored. But this time cannon artillery was installed, and they for many years (as in St. Petersburg) were fired every day at noon.

In the early 1930s the cannons were removed as was the archery perch, and to this day the Tainitsky Garden near the tower remains off limits to the general public…

Geogry Osipov


понедельник, 30 августа 2010 г.

Barynya is a fast Russian folk dance and music. The word barynya (Russian: Барыня, landlady) was used by simple folk as a form of addressing to a woman of higher class, a feminine form for the word "barin", landlord.

A number of Russian folkloric dance ensembles bear the name Barynya.

The Barynya dance is an alternation of chastushkas and frenetic dancing.

The Barynya chastuskas used to have the refrain, kind of "Барыня, барыня, сударыня-барыня", "Barynya, barynya, sudarynya-barynya", or "Барыня ты моя, сударыня ты моя". The content was often humoristic, even lewd.

The dancing was without special choreography and consisted mainly of fancy stomping and traditional Russian squatwork – knee bending ("вприсядку", vprisyadku).

There are a number of scenic, more refined versions of the dance.



среда, 18 августа 2010 г.

Russian-Fires.ru, the First Ushahidi Experience

There's been a lot of criticism of the official response to the fires, which were sparked by a heat wave and later blanketed the Russian capital and many other cities in poisonous smog.

Screenshot of “Help Map”, source: russian-fires.ru

Continuing wildfires in central Russia [EN] have shown that the Russian blogosphere is capable of fast mobilization, cooperation and solidarity when it comes to natural disasters. The RuNet Echo team not only observed the blogosphere’s reaction to the wildfires, but became one of the few centers of coordination of volunteers and victims of the disaster [EN].

Following several weeks of unusual heat, Russian forests started to burn. Almost simultaneously, wildfires started in different places. Sudden and deadly (over 50 people have died so far, thousands have been left homeless [RUS]), they have wiped out a number of villages, leaving nothing behind. While regional city forums have been coordinating firefighting efforts since late July, Moscow’s blogosphere reacted only with copy-pasting of pictures of the disaster. On July 29, however, it became obvious that the disaster was nationwide, and it was then that the coordination of help started. LJ community pozar_ru [RUS] was launched, where volunteers began to publish reports of fires approaching villages, calls for help and offers of aid. Several bloggers, especially o_liska [RUS], i_chersky [RUS] and doctor_liza [RUS], took initiative of coordinating volunteers.

On July 31, RuNet Echo’s co-editor Gregory Asmolov wrote on his blog [RUS] that in times like these the “Ushahidi system” could become helpful in bridging volunteers and victims of the wildfires. On the same day, Marina Litvinovich asked [RUS] if there were any volunteers to implement Ushahidi. Gregory wrote to me, asking if we could do it. My initial reaction was, “No, it would take us at least a month to start it.” Then, on Sunday afternoon, after realizing that Ushahidi was easily installable, I wrote to Gregory: “Why not? Let’s try.”

It took me one day to register a domain “russian-fires.ru,” install the Ushahidi package and get things running. On Monday, I published a post at Habrahabr [RUS], a Russian IT-community website, inviting administrators, designers, moderators and everyone who could help to join in. Right after the announcement, I received dozens of offers of help – both with the moderation and with technical support (about a hundred help offers so far). The post itself received 84 comments. Bloggers were reposting and asking others to repost [RUS] the link to the site.

Teafortwo wrote [RUS]:

"Проснитесь! Людям нужна помощь. Россия горит и только всем миром можно потушить пожар. Не спите! Кому-то именно в эту секунду нужна Ваша помошь!"

"Wake up! People need help. Russia is burning and only together we can extinguish this fire. Don’t sleep. Someone needs your help this very second!"

Users were invited to upload reports (the form is here) and to map fires, smoke, calls for help, offers of help, and to report aid centers (37 categories were created). The reports were made in different forms. For example, Vladimir from Stockholm wrote:

"Я сам москвич, но давно не живу в России – есть желание помочь соотечественникам деньгами – ибо прочие способы недоступны.
Предоставьте, пожалуйста, валютные реквизиты для перечислений."

"I’m a Muscovite, but for a long time I don’t live in Russia – I’m willing to help my compatriots with money – because all other means of help are unavailable. Please provide me with details for a bank transfer."

And here is a report from the village of Borkovka, which had burned down:

"Люди спасались бегством налегке, взяв с собой только документы. Не было не одного автобуса, кому посчастливилось впрыгивали в автомобили, кому нет, бежали пешком. Положение сейчас самое тяжелое у бабушек и малограмотных людей, они в основном приютились у несгоревших соседей. Регистрация на помощь организована в Лазурном, до которого надо добраться. Люди не понимают, что им надо ехать и где-то регистрироваться на помощь. Молодежи легче, они понимают, как действовать, а бабушки просто беспомощны. Есть категории людей, которые нуждаются в поддержке, есть семьи с маленькими грудничками, которым помощь в 10 тыс руб от государства сейчас мало поможет.
В общем у людей не осталось ничего , кроме паспорта"

"People were fleeing with little luggage, only with documents. There was not a single bus, the lucky ones were jumping into cars, others had to run by foot. Currently, the worst situation is with the elderly women and people with little education, most of them are hosted by their neighbours whose houses didn’t burn down. Registration for help is organized in Lazurny, a village to which one should get first somehow. People don’t understand that they have to go somewhere and to register in order to get help. Young people understand what to do, but elderly women are helpless. There are categories of people who need support, there are families with little babies, and the government’s help – 10,000 roubles [about $300] won’t help a lot. People have nothing left except for their IDs."

With support also came popularity: within a week, the site has received about 101,000 unique visitors and about 262,000 page views. At the same time, the site has received about 614 reports so far, with about 50 reports being added each day.

With support also came popularity: within a week, the site has received about 101,000 unique visitors and about 262,000 page views. At the same time, the site has received about 614 reports so far, with about 50 reports being added each day.

Due to the overload of the platform we had to find better hosting. This was the first lesson: people who want to install Ushahidi should seriously consider finding a powerful server to host the platform. In times of crisis, when there’s an overload of information combined with the lack of truly helpful information, Ushahidi systems will be in great demand. Hence, overloads are quite possible.

As Anna Vrazhina, a RuNet observer at Lenta.ru, noted [RUS]:
"Историю проекта “Карта помощи“, запущенного 2 августа, вообще стоило бы внести в учебники по Веб 2.0, если бы таковые существовали в природе."

"The story of the “Help Map” project, which was launched on August 2, should be included in Web 2.0 textbooks, if any [such textbooks] existed."

By the end of the first day, “Help Map” team [RUS] (the title proposed by one of the commenters instead of the “Russian Fires,” the initial name) grew from two persons (Gregory Asmolov and myself) to nearly 20 (and a lot more now), some of whom were journalists, while others were web administrators, web programmers and moderators from various places in Russia. I didn’t have time for security or background checks – I was giving access to our admin panel and FTP access to everyone who asked for it. And it worked – none of the people who offered help did any wrong to the website. Another conclusion to be made: trust is crucial when starting an Ushahidi-based system (or any crowdsourcing project) from scratch.

Although the initial installation was pretty easy, technical problems did arise later. Most of them had to do with internationalization and localization. Ushahidi is a great platform, but non-Latin implementations of it still need a lot of work. Part of the text had been encoded by Gregory Asmolov for the Kyrgyzstan election project [RUS]. Another unfortunate problem was Ushahidi’s poor documentation and community support [EN]. Another lesson: for now, those who implement Ushahidi should be prepared to rely on themselves only.

Technical help is a weak point in the platform. It can be solved easily, however, but joint effort is needed. Everyone can help by simply supporting the community forum, granting organizations – by funding plugin design and hosting, mobile and Internet providers – by offering Ushahidi-ready hosting plans.

As an active participant of the events, I witnessed a genuine citizen and media interest in our project. Various newspapers wrote pieces about Russian-fires.ru, while Yandex, Russia’s most popular search engine, added markers from our map to their pozhar.yandex.ru portal, bringing more publicity to our project. A Russian hosting company offered us powerful hosting, and an SMS-portal provided us with their free service.

As the team of “virtual firefighters” grew bigger, Gregory Asmolov came up with an idea of creating a coordination center, arguing that it would give a new impulse to the site and to the whole mission of coordinating volunteer efforts. Anastasiya Severina, Gregory’s friend, took the responsibility of setting up the “Help Map” headquarters in her own flat. Responsibilities of the Ushahidi moderators include not only moderation work of approving messages, but also the validation of messages. In order to validate messages efficiently, one needs to contact people who leave reports at the site. Conclusion: the online part of Ushahidi is only a tip of the iceberg, a lot of work has to be done offline.

To draw a bottom line, the secret of such fast online popularity is that the project has filled the coordination gap and satisfied the demand for information. A lot of people expected such a project to come from the government. Bablopobeditzlo wrote [RUS]:
" А в МЧС такой проект […] никто не догадался создать?"

"And why didn’t the Ministry of the Emergencies come up with such a project?"

Gregory Asmolov, also commented on his blog [RUS] on the role of Ushahidi as a civil society tool, revealing the society’s potential for solidarity and self-help:

"Пожары в России показывают что в Российском обществе заложен большой потенциал взаимопомощи. Как мне кажется, это потенциал обострен еще тем, что многие россияне осознают что власть не дееспособна, и в этой ситуации, единственное решение это брать ситуацию в свои руки. Однако, потенциал взаимопомощи – это здорово, но чтобы взаимопомощь была эффективной нужны механизмы, которые позволят ей таковой быть. И именно в этом стратегическая роль Ушахиди. По сути , Ушахиди, выступает в данном контексте как институт гражданского общества. Это первые шаги к реальности в которой общество формирует альтернативные власти механизмы и институты, чтобы заполнять вакуум на месте государственных структур."

"Wildfires in Russia show that there’s a great potential for mutual aid in the Russian society. It seems to me that this potential is even stronger because many Russians realize that the government is incapable of functioning, and the only option in this situation is to act independently. However, while the potential for mutual aid is great, to make this mutual aid effective, mechanisms are needed in order to make it function. And that’s the strategic role of Ushahidi. As a matter of a fact, Ushahidi becomes in this context a civil society institution. These are the first steps to the reality in which the public forms alternative mechanisms and institutions, in order to fill the vacuum of government structures."

“Help Map” is the first implementation of “Ushahidi” in Russia. And, hopefully, not the last one. We hope that following the success (and, speaking of statistics, it is a success) of the “Help Map” project, the system would be used by other volunteers in Russia. In the country this huge, map-based coordination is of great importance.

Syndicated from: http://GlobalVoicesOnline.org: Russia: Russian-Fires.ru, the First Ushahidi Experience