Surikov Vasily - Boyarynya Morozov
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The famous historical painting Boyarina Morozova took Vasily Surikov four long years to complete. In 1887, this truly masterful work was purchased for 25,000 rubles and placed in the Tretyakov Gallery, where it remains to this day, captivating viewers with its immense size, tragic subject matter, and masterful execution.
The painting miraculously transports admirers of Surikovs work back several centuries, to a frosty Moscow day on November 17, 1671. The central figure, dressed in black, the exiled Boyarina Morozova, immediately draws the viewers attention. She is ready to endure any hardship for her old faith and has entered into an open conflict with Tsar Alexei Mikhailovich.
Her fanatically burning eyes on her emaciated face and her raised right hand displaying the two-fingered sign indicate that this noble dissenter will go to any lengths. The sleds are moving through a snow-covered Moscow street, surrounded by a sea of people, but their attitude towards the former brilliant boyarina, now chained, is ambiguous. A fool sitting on the snow in a simple canvas shirt supports the rebel with his two-fingered sign, many women cry and empathize, while some onlookers laugh and gloat.
Just recently, Theodosia Morozova traveled in a luxurious carriage drawn by six or twelve horses, surrounded by hundreds of servants, and she felt at home in the royal palaces.
Surikov had to search for a long time to find a model for Morozova, because it was not reliably known what a woman from aristocratic circles who opposed the Nikon reforms and supported protopope Avvakum, who was later burned at the stake, actually looked like.
Before starting work on the painting, the artist thoroughly studied the era in which the schism occurred. He read a great many books, visited many museums with exhibits of antiques, and spoke with descendants of Old Believers.
To make it appear that the sleds were moving, Surikov had to depict a boy running alongside them. On the other side of the sleigh is Princess Evdokia Urusova, who later shared the tragic fate of her native sister. She died in an earthen prison on September 11, 1675, while Theodosia survived her by only 52 days.
The painting evokes deep sorrow and provides a glimpse into society at the end of the 17th century.
Сделал НАУЧНОЕ ОТКРЫТИЕ (!!!)
искусствоведа-любителя!!!
Стою пред "Боярыней Морозовой"
и вдруг встречаюсь глазами с пристальным взглядом из середины/верхней трети полотна!!!
Бааа!!!
Да это Василий Иванович Суриков
в образе "очевидца событий" внимательно смотрит на меня!!!
Около этого шедевра успел прослушать двух экскурсоводов, аудиогида –
об автопортрете В. И. Сурикова в "Боярыне Морозовой" -
Ни слова!!!
Тихонько спрашиваю охранника около картины:
"- экскурсоводы что-нибудь говорят об этом?"
Отвечает:
"-от вас первый раз об этом слышу... "
Через пол-часа прохожу мимо – другой охранник – тот же вопрос – отвечает:
"- говорят, но очень немногие и очень редко... "
Эээх! Не я первый!
Сорвалось открытие!!!
😂
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Surrounding Morozova is a throng of people, a stark contrast of reactions and emotions. Some in the crowd seem to mock her or express disdain, their faces twisted in cruel smiles or scowls. Others appear sympathetic, their expressions conveying sorrow or awe. A notable figure is the beggar seated in the snow at the lower right, extending his hand, possibly for alms but also as a silent witness to the unfolding drama. The architectural elements of the cityscape, with onion-domed churches, suggest the religious and cultural context of the event, emphasizing the schism within the Russian Orthodox Church.
The subtext of the painting is powerful and multilayered. It represents Vasily Surikovs deep engagement with Russian history and the dramatic moments that shaped its identity. The painting is a visual testament to the Raskol, the schism within the Russian Orthodox Church, and the persecution of those who refused to conform to the new liturgical reforms. Boyarynya Morozova was a fervent Old Believer and a wealthy noblewoman who fiercely opposed the reforms, leading to her eventual arrest and exile, where she died.
The painting also explores themes of faith, conviction, and martyrdom versus conformity and persecution. Morozovas unwavering stance in the face of suffering symbolizes the strength of conviction and the sacrifice made for ones beliefs. The crowds varied reactions symbolize the divided society, caught between tradition and imposed change, and the complex human response to intolerance and unwavering faith. Surikov masterfully captures this societal division and the personal tragedy of an individual standing against immense pressure, creating a poignant and enduring image of spiritual and historical conflict.