Funeral noble Virus Henryk Semiradsky (1843-1902)
Henryk Semiradsky – Funeral noble Virus
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Painter: Henryk Semiradsky
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Download full size: 1970×1399 px (0,5 Mb)
Painter: Henryk Semiradsky
COMMENTS: 12 Ответы
классно!
Nonsense!
Шикарно!!
отличная картина
Theres some confusion here. Where did the Rus people come from in the city of Bulgar in the 10th century? And yes, the painting is really excellent.
This is Bulgaria on the Volga River, not Bulgaria on the Black Sea. The descriptions of such funerals were recorded in the notes of a 10th-century Arab traveler, Ibn Fadlan. No other sources have survived, so he painted this picture purely from his imagination.
I know that this is about the Volga River. Thats why Im surprised. I dont think an Arab traveler could have confused the Rus with the Bulgarians or Finno-Ugrians, so its more likely that the artist relied on a politically informed translation of the Arab travelers recollections. Since the 18th century, it has become fashionable to call all territories within reach of Moscow originally Russian lands.
The synthesis of Ibn Fadlans narrative and the results of excavations at the princely burial mound Black Grave by D. Ya. Samokvasov is reflected in Semiradskys painting Funeral of a Noble Rus.
From B. A. Rybakovs book, Paganism of Ancient Russia.
Where is the description?
да картина хоть и красивая но бредовааааяяя.
Why is it a mirror image of the original that hangs in the State Historical Museum (GIM)?
Да, вы правы, правильное положение ладьи справа.
You cannot comment Why?
In the foreground, a man with a long white beard plays a lyre, his gaze directed downwards or away from the viewer, adding a melancholic atmosphere. Nearby, several bodies lie on the ground, some appearing lifeless, draped in simple garments. A significant detail is a naked man being led towards a fire on the left of the painting, likely a sacrificial victim to accompany the deceased.
Above, on the ship, several individuals are visible. The central figures appear to be women, one in rich attire, suggesting their social standing and possibly their role in the ritual. One woman, clutching something to her chest, looks distressed. Other men are also present on the ship, some seemingly overlooking the proceedings. In the background, a landscape of rolling hills and sparse trees under a muted sky sets a somber tone.
The painting is rich with symbolism. The dragon-headed longship signifies power, status, and the journey to the afterlife. The pyre represents the destructive and transformative element of fire, preparing the soul for its final voyage. The presence of both warriors and mourners highlights the warrior culture of the Vikings and the solemnity of their rituals. The lyre music evokes a sense of lament and remembrance, while the sacrificial victim underscores the harshness and devoutness of their beliefs concerning the afterlife. The overall composition and subdued color palette contribute to the paintings powerful evocation of ancient rites, a blend of martial grandeur and tragic finality.