The theme of the homeland in Yesenin’s works. “...But most of all, love for my native land tormented, tormented and burned me...”

Composition

The beautiful, bright, sonorous and multi-colored lyrics of Sergei Yesenin are filled with high patriotism. Whatever the poet writes about, it’s all about Russia. She appears to the author either as a tender birch girl, or as a blue girl who fell into the river, sometimes as meek and serene, sometimes as restless and proud, but always infinitely loved.

Swamps and swamps,

Blue board of heaven.

Coniferous gilding

Weighs the forest.

Yesenin is akin to the vast expanses of Russia; he thinks on a cosmic scale, including earth and sky in his poems. It takes your breath away from the images with which the poet thinks, from the epithets with which he bestows on everything that exists. The author's favorite technique is personification. He refers to trees and grasses, rivers and lakes, steppes and fields as close friends, including them in his confidential conversation. Hence the poet’s special kinship with the world around him, complete fusion with nature, which the author constantly strives for. If this harmony does not exist, the poet experiences melancholy, sadness, and discomfort. His friend nature reacts sensitively to the author’s state, or vice versa. Yesenin perfectly sees the mood of the world around him and knows how to sensitively convey it in colors.

Black, then smelly howl! How can I not caress you, not love you? I’ll go out onto the lake into the blue road, Evening grace clings to my heart. The huts stand like gray ropes, the squelching reeds are silently lulled. The red fire bled the tagans, The white eyelids of the moon are in the brushwood.

Contrasting colors create internal tension in the narrative; psychologism is present in every couplet. The poet surprisingly accurately and dramatically conveys the melancholy that sounds in Russian folk songs, its lyrical beauty.

Green and blue are the traditional colors of Russia in Yesenin’s poetic world. The author often combines them, giving them as shades of each other. Raised in an Orthodox family since childhood, Yesenin could not help but know that blue is the patronage of the Virgin Mary, the intercessor of Rus', and the color of innocence and purity. This is how he sees his homeland, sublime and beautiful. Behind the dark strand of copse trees, In the unshakable blue, The curly moon lamb Walks in the blue grass.

Later, gray will appear, instead of golden lemon yellow. This is how the author imagines a soulless city, with buildings of skeletons, streets of stone caves. There is no harmony in the surrounding world, and dissonance can be heard in the poetics: the horns squeal, the cow roars in the shadows...

The poet sees something completely different in his native lands; he feels joy traveling around his father's land.

The dug-up road sleeps. Today she dreamed that there was very, very little time left to wait for the gray winter. Oh, and I myself, in the ringing thicket, saw yesterday in the fog: The red moon as a foal Harnessed to our sleigh.

Yesenin's poetic spirit is directly related to the poet's mood and the general state of the world around him. He associates purple-red and golden-orange tones with maturity and wisdom.

The golden grove dissuaded me with a cheerful birch tongue, and the cranes, flying sadly, no longer regret anyone. The rowan brushes will not stain, The yellowness will not make the grass disappear, Just as a tree silently drops its leaves, So I drop sad words.

Yesenin’s surprisingly tender, melodious and colorful poetry leaves an indelible mark on the reader’s soul, teaching him to be a devoted, selfless and faithful son of the great and long-suffering country of Russia.

A poetic hour dedicated to the life and work of Sergei Yesenin gathered young readers in the Thieves Library on an October day. High school students came to the library that day prepared: they read poems, told interesting facts from the poet’s life, discussed his fate, his attitude to the revolution, Russia, women and mothers. Yesenin's lyrics are melodic and heartfelt. Poems fit easily to music. The younger generation was presented with songs based on the poems of Sergei Yesenin in an unusual treatment and arrangement. This reading of poetry brought the poet closer to readers of the 21st century, revealing a “new” Yesenin - understandable and modern, sensual and painfully relatable. The exhibition-recommendation and photo exhibition of the same name were presented to the attention of connoisseurs of the work of the “poet of the country of birch chintz”, and at the end of the poetry hour, booklets with poems, bright sayings and a recommended list of books that can be read in our library were presented.

“I know about my talent, I know a lot.

Poems are not very difficult things,

But most of all, love for the native land

I was tormented, tormented and burned..."

April 1 marks the 95th anniversary of the birth of the talented painter, Honored Artist of the Yakut Autonomous Soviet Socialist Republic, member of the Union of Artists of the USSR Lev Gabyshev.

Lev Mikhailovich was born on April 1, 1923 in Yakutsk in the family of a famous Olekma philanthropist, “Yakut Tretyakov” in the field of fine arts, Doctor of Economics, professor Mikhail Fedorovich Gabyshev. He studied at the Moscow Art School in memory of 1905, the painting department of the Moscow State Art Institute named after V.I. Surikov.

The creative biography of L.M. Gabyshev began during the Great Patriotic War. His satirical posters, drawings, cartoons, propaganda posters on the pages of the newspapers “Kyym” and “Socialist Yakutia” were a weapon of the young artist’s struggle against fascism. In 1944, the first personal exhibition of Lev Gabyshev’s works took place, where his fellow countrymen recognized him as the author of landscape painting.

Gradually, his painting studies began to combine with art history interests. From 1952 to 1975 becomes director of the Yakut Republican Museum of Fine Arts, is an active organizer of the artistic life of the republic. With his assistance, in 1962, a gratuitous gift was received into the museum’s collection - the collection of his father, Professor M.F. Gabyshev. This collection, which included more than 250 works of Western European art of the 16th-19th centuries, served as the basis for the opening of the Museum of Western European Art in the capital of the republic.

Lev Mikhailovich was a promoter of fine arts, speaking in print, on radio and television. He owns a study about little-known Yakut bone carvers of the 19th and early 20th centuries; Together with employees of the central art restoration workshops, he established the authorship of several works, thanks to which the emergence of painting in Yakutia was pushed back a whole century.

Today the National Art Museum is an invaluable national treasury of the Republic of Sakha (Yakutia), where there are masterpieces of world and domestic art. This is the great merit of Lev Gabyshev, a wonderful artist and devotee of museum work.

Among the famous works of Lev Mikhailovich you could see “Lena Distances”, “Old Village on the Bank of the Lena”, “Autumn in Yunkur” and others. The collections of the Olekminsky Museum carefully preserve the paintings “Taiga Beauty”, “Yakut Horseman”, “Portrait of a Man”, in which he conveyed his love for his native land and the beauty of the Yakut nature.

Soon, the works of Lev Mikhailovich and the works of other Yakut artists will take their rightful place and will be presented to visitors in the new building of the Olekminsky Museum of the History of Agriculture.

Yulia ERKO,

curator of the Olekminsky Museum of the History of Agriculture.

In the photo: L.M. Gabyshev; in the family; artist's works: portrait of a man; Taiga beauty: Yakut horseman.

- Boris Karpov was the first, it was then we, his followers, appeared, - said Nikolay Burlyaev. - And it was he, the first of the Russian documentary directors, who was awarded the S.F. Gold Medal at the “Golden Knight”. Bondarchuk. He was the first to make a film about the Russian Orthodox Church, even before Andrei Rublev. Tarkovsky, when it was not customary to talk about Orthodoxy, he was the first to talk about the secret forces that destroy the life of the planet, and the first, together with his wife Tatiana, held an Orthodox festival in Radonezh in 1990. I remember an amazing prize Klykova- a gilded sculpture of Sergius of Radonezh, which was presented at this festival Boris Leonidovich for the film “Under the Blessed Veil”.

Tatyana Mikhailovna said that the epigraph to the life and work of her husband was Yesenin’s line, which sounds in the film “Sergei Yesenin”: “But most of all, love for my native land tormented, tormented and burned me.” And this really explains the whole life of the patriotic artist, whose heart was full of pain for the Russian people; like Mussorgsky, he understood the people “as a great personality, animated by a single idea,” and constantly fought against the haters of the people and Russia itself. Tatyana Karpova spoke about the film “A Tale of a Russian Mother,” dedicated to Epistimia Fedorovna Stepanova, a 90-year-old Kuban Cossack woman who lost nine sons in different wars.

Mentioned other films - about the academician Kurchatov, aircraft designer Ilyushin, artist Shilov, director Sergei Bondarchuk, about the keeper of Pushkin's places Semyon Stepanovich Geichenko… Karpov I was a regular at second-hand bookstores, looking for books on the history of Russia and the Russian Orthodox Church. “A craving for the church,” says T. Karpova, - was always in his mind. In the film about the Russian mother, there was a shot when Epistimia Feodorovna comes out of the church and makes the sign of the cross. They demanded that Boris “throw it away,” but he refused. Everything remained that way, and the film received the Golden Nymph in Monte Carlo. In 1968, by order of His Holiness Patriarch Alexy I Boris Karpov is making the film “The Russian Orthodox Church Today” for foreign countries.

“It was a milestone on his path, the film became the seed from which many things sprouted,” says Tatyana Mikhailovna. - For me it is like an artistic encyclopedia, it is not surprising that the film has become so popular. 5 screenings a day in the cinema, queues on the street. People discovered the world of the Church and Russian history, and it was so joyful.” Companions performed at the evening Boris Karpov- former director of the Fatherland studio Dmitry Zotov, directors Irina Ulyanova, Victor Shkurko, Valery Demin. Zotov, who worked with Karpov at the TsSDF studio, told how they created the Fatherland studio.

Around Boris Karpov A team of like-minded people immediately formed; director Nikolai Ryapolov came to the studio with the theme of man on Earth. Several non-state orders appeared in Karpov’s portfolio. And if during the first year only 4 films were made, then the next year there was a breakthrough - 44 films. “The studio has worked successfully all these years,” says Dmitry Zotov, - and, despite the fact that now for the second year our applications have not been submitted to the Ministry of Culture, the creative backbone of the studio - Boris Liznev, Boris Krinitsyn, Victor Shkurko, Anton Vasiliev, Tatiana Karpova, Irina Ulyanova, Nadezhda Fedenistova- active. And we can say with a pure heart that Boris Leonidovich’s “cause” lives on, we are not giving up.” The evening ended with a screening of the film “Sergei Yesenin”, based on close-ups of Yesenin’s photographs, a combination of his poems, soulfully read Alexey Konsovsky, with disturbing music Alexandra Kholminova. The audience gets the feeling of communicating with a living poet. The first shots where the living Yesenin appears in the chronicle are unforgettable. He looks into the hall, straight at us, past us, into eternity. And the image Boris Karpov remains in our imagination forever associated with the rebellious poet.

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1. At the beginning of 1988, a reorganization took place at the Central Documentary Film Studio (CSDF) - five creative and production associations (TPAs) were formed:"Youth" (art director), "Risk" (artistic director: , ), "Man and Time" (artistic director: ), "Contemporary" (artistic director A. Pavlov), "Memory" - renamed "Nerve" in 1989 ( artistic director) and "Patriot" - renamed to "Fatherland" in 1990 (artistic director: ). The purpose of the next restructuring was to optimize creative and production processes, to increase the ideological and artistic level of the film products being created after the so-called years of “stagnation”.

In 1991, five creative and production associations of the TsSDF - "Youth", "Risk", "Man and Time", "Sovremennik" and "Fatherland" received the status of state enterprises.
Since September 1991, Boris Karpov has been the artistic director of the film studio "Fatherland" (State Enterprise Film Video Studio "Fatherland"; the Film Video Studio was liquidated on September 13, 2006; Assignee: FSUE "Film Fund of the M. Gorky Film Studio").
In July 2003, Dmitry Konstantinovich Zotov and Andrey Dmitrievich Zotov organized the non-profit partnership "Fatherland Film Video Studio", which continued the traditions of the film studio created in 1991 by Boris Karpov.

Related materials

1. Catalog of the film studio Fatherland (Archive of LLC "NET-FILM")