Do not be friends with the sky or the wind, but hold on to mother earth Vladimir Taburin (1870-1954)

The artwork presents a scene steeped in wartime anxieties and nationalistic sentiment. Here we observe a young soldier, centrally positioned and rendered with considerable detail, seemingly overwhelmed by his surroundings. He is clad in military attire – a uniform of blue-green hues accented by red – and wears a peaked cap that obscures part of his face, contributing to an air of vulnerability and introspection. His posture suggests bewilderment; he raises one hand to his forehead as if shielding himself from the chaos unfolding around him.
The immediate environment is dominated by a crashed biplane, its wings fractured and twisted in a dramatic display of destruction. The aircraft’s presence signifies technological advancement intertwined with fragility and potential disaster. Scattered across the ground are rifles and other military paraphernalia, further emphasizing the violent context. Several figures, presumably also soldiers, are visible in the background, though their actions remain ambiguous – some appear to be tending to the wreckage while others seem to observe the scene with a mixture of concern and resignation.
The color palette is notable for its vibrancy, employing rich reds, greens, and yellows that contrast sharply with the somber subject matter. This heightened coloration might serve to amplify the emotional intensity of the moment or perhaps reflect a propagandistic intent aimed at bolstering morale despite the evident devastation. The background landscape, though somewhat indistinct, suggests a rural setting – fields and trees receding into a hazy distance.
Subtexts within the painting revolve around themes of disillusionment and the psychological toll of war. The young soldier’s expression conveys not heroic bravery but rather a sense of disorientation and perhaps even despair. The crashed plane symbolizes the limitations of technology in the face of human suffering, while the scattered weaponry underscores the futility of conflict.
The inscription at the bottom – rendered in an unfamiliar script – appears to offer a guiding principle: Do not be friends with the sky or the wind, but hold on to mother earth. This phrase reinforces the idea that solace and stability can only be found in connection to one’s homeland and its traditional values. The artwork, therefore, functions as more than just a depiction of wartime events; it is a visual expression of national identity, psychological trauma, and a yearning for grounding amidst upheaval.