Сучасная беларуская скульптура. XXI стагоддзе
Выдавец: Беларуская Энцыклапедыя імя Петруся Броўкі
Памер: 360с.
Мінск 2011
Town and garden sculpture in Belarus has old traditions. The «Boy and swan» in public garden Alyaksandrauski in Minsk was placed more than 130 years ago. In the 197080ies a lot of objects of monumental and decorative character appeared in the capital, which brought definite scale and rhythm, revived pedestrian zone by vivid figurative forms, helping people to feel themself commensurate to modern architecture made of glass and concrete.
Today there are all possibilities to include naturally different traditional or abstractformal town and garden sculpture into the environment of Minsk. At the same time the classical correlation of vertical and horizontal, traditionally forming the view of every European city, is preserved. The verticals of highrise buildings of the central part concentrate the suspense of spaces. Microdistricts indeed are developing mainly horizontal and have more rarefied environment. The assiduously restored historical part of the city naturally coexists with new commercial and residential districts, parks, green zones. The space of the capital is structured quite exactly, rationally estimated and is perceived as a unity. This perception is supported also by sculpture, proportionate to its surroundings, that aims to carry to spectator intended imagery in its maximal possible fullness, where achievement of plastic and decorative quality of the material plays an important role.
During the last decade small objects of plastic art often appear in regional cities and district centers. Among the realized projects there are «Vitsebsk melody on the French violin» in Vitsebsk (Valeryi Maguchy), «Astrologer» (Uladzimir Zhbanau), «The tree of life» (Andrei Verabyou) both are in Magiliou, «Duke Mikalai Radzivil (the Orphan)» in Nyasvizh (Leu Gumileuski), «Kryvichy» in Polatsk (Alyaksandr Shaternik), «Fly and Vets» in Pruzhany (Alyaksei Pauluchuk), «Raman Shatsila» in Svetlagorsk (Eduard Astafjeu), fountain «Blue lakes» in Kruglae (Uladzimir Papsueu), «Dedication to Usyaslau Charadzei» in Orsha (Uladzimir Pipin), «Wolf» in Vaukavysk (Uladzimir Pantsyaleeu), etc.
The opening of new sculptures within the celebration of National Day of Writing System became a good tradition. Anually it is held in a different town of the country.
Town and garden sculpture can be divided into several thematic groups. One of them is connected with the allegory, which is clear and close to the audience. It is interesting to look at this sculpture from all the sides, enter into detail and nuance. Town personages, whom a sculptor has “stopped" in the material, can be added to the genre sculpture. They are good to look at both in the park and in the street. Primarily these works are connected thematically and functionally with the environment. Such icons, with elements of irony, try neither to modify the surrounding environment nor to pretend to an active role. Abstract plastic arrangements are addressed to the prepared and sophisticated audience. Their essence is declared through the inside logic, relationship among their parts, dynamics of decorative lines. The authors diverge from the individual and common emphasis of a thing, seek for the archetype in ordinary context of existence. They determine the logic of the material, motions is revealed in the structure and texture.
Sculpture plainairs could take the function of cultural education and saturation of urban space with the help of monumental and decorative objects in prospect. Belarusian sculptors conceive and interpret modern plastic language easily, starting out from the basics of classic school of figurative art. It is different because
of professional development of the theme, but at the same time because of its free characterization, formed incompleteness, lightness of a draft, game with audience, with irony, emphasis and bright expressiveness of icons.
Sculpture plainairs have been held in Minsk, Magiliou, Orsha, Svetlagorsk and other Belarusian towns since 1990. In 2006 under the auspices of Minsk city executive committee, the department of culture of Minsk city executive committee, the Belarusian union of artists the city garden sculpture plainair «Minsk2006» took place. The unique gallery of images, the one the participants of the plainair created, which was impersonated with the use of longlife materials such as granite and metal, stand out for its significance, visualization, expression. The plainair has shown that line emphasis, dynamism and laconic smooth expression became basics of formalgraphical language for some works by young sculptors.
The works of the participants of sculpture plainair testify to serious professional training of Belarusian sculptures, to the existing Belarusian school of plastics. Artists have achieved a high level of generalization and symbolism. Audience got an opportunity to seek for its own interpretation of these works. Thus, to create a new version of the town area in their imagination.
The recent decades became a blossom for easel sculpture in Belarus. It develops through determination of the connection between content and forms, differs by formal and experimental character and indicates the search of new sources of inspiration in cultural heritage of people.
Today exhibition space demands special attitude to choosing the material for its work. There appeared works made of polymers, glass and ceramics together with traditional wood, bronze, silumin, and marble. Also the techniques of creating the work became wider at the moment: braced, brutal surface engineering and light, almost impressionistic modeling, chasing, machine insertion, etc.
Easel sculpture becomes more decorative. Realistic portrait appears more and more seldom. Mostly it is preserved as plastic of academic trend. Literary characterization of images became a rarity. The new time sets more difficult tasks. Sculptors aspire to gripe the sense and essence of processes, to change the tonality from narrative to philosophic, associative. Sculpture volume, which determines inner impulses and logic of an object, claims for new visual thinking active plastic form, which breaks a shell of habitual canons. Sculptors experiment with the idea of moves, architectonic, constructive plastics. However, the basics of forms of creation, which were elaborated by our predecessors, are the same as hundreds years ago.
Modern young sculptors frequently are inclined to the conceptual mindset. To create a new graphic sense bearing ply, to create new art process and to give new sense, to prove the value of contrasting polar mentality are among the aims of each generation of artists. Sculptors use all the opportunities of art work: shape, color, rhythmic structure, pattern. The change of aesthetic module is evident. Young sculptors actively present sculpture projects, which are on the edge with other types of art design, installation, theater. They hold art events conjunct by the integrity of purpose, where they try to define an individual system of the relationship with art.
Such trends are brightly expressed in European cultural area. This proves that Belarusian sculpture fits in the context of the European world outlook more than any other types of art.
Natalia Sharangovich
art historian, laureate of the Special Prize
of the President of the Republic of Belarus in support of representative of culture and art
ІйЖзН
Манумент Перамогі
(Мінск, 1954)
Скульптары: 3. Азгур, А. Бембель, А. Глебаў,
С. Селіханаў
Монумент Победы
(Ммнск, 1954)
Скульпторы: 3. Азгур, А. Бембель, А. Глебов,
С. Селнханов
Monument of the Victory
(Minsk, 1954)
Sculptors: Z. Azgur, A, Bembel, A. Glebau, S. Selikhanau
—O
12
Плошча Незалежнасці (Мінск) Плошадь Незавмснмостн (Мннск)
Independence Square (Minsk)
Скульптура «Архангел Міхаіл» (1996)
Скульптар I. Голубеў
Скульптура «Архангел Мнхамл» (1996)
Скульптор Н. Голубев
Sculpture «Archangel Michael» (1996)
Sculptor I. Golubeu
Скульптура «Дойлід» (2007)
Скульптар У. Жбанаў
Скульптура «Зодчнй» (2007)
Скульптор В. Жбанов
Sculpture «Architect» (2007)
Sculptor U. Zhbanau
nun
MW
О
Мемар. комплекс «Брэсцкая крэпасцьгерой»
(Брэст, 1971)
Скульптары: А. Кібальнікаў, У. Бабыль, А. Бембель
Мемор. комплекс «Брестская крепостьгерой»
(Брест, 1971)
Скульпторы: А. Кнбальннков, В. Бобыль, А. Бембель
Memorial complex «Brest Hero Fortress»
(Brest, 1971) Sculptors: A. Kibalnikau, U. Babyl, A. Bembel
О
Архітэктурнаскульптурны комплекс «Мінск горадгерой»
(Мінск, 1985)
Скульптар В. Занковіч
Архнтектурноскульптурный комплекс «Мннск городгерой»
(Ммнск, 1985)
Скульптор В. Занковнч
Architectural and sculptural complex «Minsk Hero City»
(Minsk, 1985)
Sculptor V. Zankovich
Мемар. комплекс «Курган Славы Савецкай Арміі вызваліцельніцы Беларусі»
(Мінская вобл., Смалявіцкі рн, 1969)
Скульптары: А. Бембель, А. Арцімовіч
Мемор. комплекс «Курган Славы Советской Армнн освободмтельнмцы Беларусн»
(Мннская обл., Смолевнчскмй рн, 1969)
Скульпторы: А. Бембель, А. Артнмовнч
Memorial complex «Mount of Glory of the Soviet Army the Liberator of Belarus»
(Smalyavichy dt, Minsk reg., 1969)
Sculptors: A. Bembel, A. Artsimovich
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Мемар. комплекс «Хатынь»
(Мінская вобл., Лагойскі рн, 1969)
Скульптар С. Селіханаў
Мемор. комплекс «Хатынь»
(Мннская обл., Логойскмй рн, 1969)
Скульптор С. Селпханов
Memorial complex «Khatyn»
(Lagoisk dt, Minsk reg., 1969)
Sculptor S. Selikhanau
о
Мемар. комплекс «Чырвоны Бераг»
(Гомельская вобл., Жлобінскі рн, 2008)
Скульптар А. Фінскі
Мемор. комплекс «Красный Берег»
(Гомельская обл., Жлобннскмй рн, 2008)
Скульптор А. Фннскнй
Memorial complex «Chyrvony Berag»
(Zhlobin dt, Gomel reg., 2008)
Sculptor A. Finski
о——
Помнік «Сынам Айчыны, якія загінулі за яе межамі»
(Мінск, 1996)
Скульптар Ю. Паўлаў
Памятннк «Сыновьям Отечества, которые погнблн за его пределамм»
КНІГІ ОНЛАЙН
