Ataeva Madina Biography

The whole darkness of things descend from the tip of his brush, and the space of his heart is Zhu Jinsyan, the 9th century. The centuries laid between us and the gold of ancient Chinese phrases. Since then, the world has changed its face more than once. And this truth remains unchanged in time, because, like a century ago, the space of pure canvas is neutral. The glow of his whiteness is fraught with a miracle.

The artist Shalva Bedyoev went through all the stages of the formation of a contemporary artist, having graduated from the St. Petersburg Academy of Arts then the Institute named after Repin, the walls of which he left with a virtuoso drawer, brilliantly owning a picturesque technique. Already, according to the work of those years, it was clear that Sh.

Bedev is an artist of a picturesque vision of form and space. Remaining in the framework of a realistic system, the artist showed a keen interest in color. It was occupied by gradations of color in a reflective environment, decorative and plastic possibilities of painting. In addition, a very subtle ironic stylization distinguished the work of Sh. Bedev of the seventies. The works of this period, such as “Autumn”, “Cherry”, “Youth” quickly brought fame to the artist.

Since then, his name has been familiar to the professionals of the entire Russian and post -Soviet space, and honorary titles, bonuses and awards have repeatedly confirmed the high skill of the artist and public recognition of his work. But for all its significance, these events are nothing more than an external reflection of the artist’s internal path.

The movement along this path, the logic of the development of the artistic vision of Bedev led him in the eighties to a new visual concept. The revelation of the mature master is his picturesque suite of GG. It is based on one big topic, Ossetian mythology. Behind it is a whole complex of historical, cultural and artistic problems, without which it is impossible to deeply understand the work of Sh.

Turning to the myth within the framework of the cultural space of Ossetia in itself is quite traditional. The plots of epic legends about sledges, folklore fairy tales and ancient legends were addressed by many masters, driven by the desire to express that “inexpressible”, which is the “spirit” of national culture. That is a special combination of traditions, religious beliefs, spiritual and moral attitudes, which is purely individual for each ethnic group and distinguishes one people from another.

It is known that folklore is the most concentrated expression of the national “spirit”. Turning to this layer of spiritual culture, the artist is forced to interact primarily with the “oral” tradition, that is, with literary mythological texts, legends, ritual and ritual prayers, etc. Archaic of the traditional culture of Ossetia, which converted the relics of the era of mythological thinking until the twentieth century, has its visual sign system that reflects the features of artistic thinking Ethnosa, the modern art of Ossetia is a young, “new” artistic culture, focused on European artistic experience and existing only about a century.

To express the originality of traditional culture through the aesthetics of the modern artistic language is the nerve, the main intrigue of the development of Ossetian art of the entire 20th century. This task is complex, interesting and responsible. To bring a tradition that is rooted in eternity into the space of modern visual experience means to give it a new life, i.e.

Shalva Bedyoev felt the pulsation of these problems. It seems that, largely, thanks to this, his appeal to mythology has become qualitatively different compared to its predecessors. He addresses the myth not as a source of plots and those, but as a complex of archetypes of national thinking. Bedyoev puts on ancient iconographic models, mythopoetic prototypes into a new art form, with his painting they become part of modern space, a new cultural reality.

So, the reason for the creation of the painting “Trinity” was a bronze sculpture - a winged horse with a fish tail of the 9th - 12th century. The ancient symbol, reflecting the idea of ​​the ancestors of Ossetians about the unity of all things, about the integrity of the world. The semantics of this image are read through the data of the myth. A wonderful horse symbolizes the unity of the three elements necessary for a person’s life, three hierarchical and spatial zones represented in its most obvious typological features: air - wings, earth - horse, water - fish tail.

The three principles are united by the image of the horse not by chance, because turning to the myth, the artist seems to enter into a symbolic dialogue over time. He experiences it very subtly and very individual. The mature master, Bedyoev, like no one else realized that the epic and fairy tale are not only an archaic, but also another way of existence in the world and space infinitely remote from us in time, and a completely different way of describing them.

The usual categories of space, time, being, in the myth work in a completely different way than we would like or do not work at all. Because this world is irretical and incomprehensible.And all the plots unfolding in it occur in the legendary era of the “youth of the world”, in the time of the myth. It is not easy to give a visible image of this world, since it is extended in real historical time for the formation of the Nart epic from the era of bronze to the Middle Ages and is uncertain in a real geographical space.

An interesting feature of Ossetian mythology is that there is no description in the texts. Images are revealed through action, allegory, metaphor. Stylization is, as it were, in the nature of the Ossetian myth. A straightforward illustrative solution excludes the “object” of the image itself, this material “resists” to a specific visual certainty. The illusory severity of the material, or excessive visual “reliability” inevitably denote the boundaries of the image, posing it in a specific “historical” time.

The characters of the myth live in a timeless space, in which there are no clear, unambiguous characteristics, where everything is ghostly, conditionally and filled with a game of images, symbols and meanings that gain meaning in relation to transcendental categories. In this world, the thing easily turns into the opposite, not due to magical or fantastic transformations, but because of the unique laws acting in this environment.

So, for example, in one of the epic legends, the hero meets the giant and he tells him about his adventures: “Somehow ... a cloud enveloped us and began to drift. We were looking for an eight with horses where to hide. Смотрим, в одном месте пещера… Вошли в пещеру, расположились в ней. A little later they saw, one shepherd drove the herd past the cave ... The goat turned in our direction and began to rub side by side on the cave.

Our cave was staggered, began to swing like a cradle. The horse skull was our cave. ”Nart. Ossetian heroic epic. In the playing space of Ossetian mythology, the infinitely great becomes small, and the small one - excessively large. Here, the scale is paradoxically combined, and the spaces are multi -layered and endless. The language of the story is concise and stingy, and the metaphors are “sudden” and excite consciousness with their expressiveness.

The eagle vigilance of the ancients gave birth to metaphorism of this kind. So Zerasse is one of the heroines of Ossetian mythology and the favorite character of S. Bedeev’s works,-Virgin-Nemif, the daughter of the master of the sea depths, lives in an underwater castle, where “floor is blue, walls-mother of pearl, ceiling-morning star?! In the image of the dove of Zrasrasses, the fruits from the sacred apple tree of the Narts.

What does this fabulous virgin look like? We do not know, but in the image of a bird it "burns like a candle." The artist, starting from such material, is free in the manifestation of his imagination. The space of creative freedom, which opens the myth, can turn into an abyss for a sliding over the surface, but can become a great acquisition for a capable of comprehending its depth. Shalva Bedyov was looking not for external, but essential.

He created his own method, structurally comprehending the laws of mythsiating. And then the painting itself was its mystical co -author. In full accordance with the spirit of the myth, Bedyoev model the timeless space of his works. The spectrum of the visual techniques using the artist perfectly represents the virtuoso impromptu on this subject “still life with corn” Bedyev fascinates us with the illusion of the indescribable lightness of his letter, as if the amendary severity of corn cobs and the fogged blue grape clusters could appear on the canvas, obeying the rapid movement of the brush.

The same movement of the brush caused the dynamics of the color flow of rushing on the viewer from the canvas. The illusory materiality of the image, as if unable to restrain the energy of this stream, loses its boundaries. The color is, as it were, before our eyes is freed from the power of the form and dissolves it in the unimaginable wealth of its shades.

The boundaries of the picture plane are blocked, still life flows outside the frame. The plane of the canvas is blurred by a crack, and the fact that we were ready to consider the background of the still life is the subject of the image in the landscape - a mountain protruding from the active depth of the blue sky. Like the world of Ossetian myth, the space of still life is saturated with various plans that exclude unequivocal reading.

In this theater of painting there is a wonderful game. And the director of this action can become his viewer. The author, whose self -portrait we see in the right corner of the composition, looks at us from the other side of the watch, and maybe with this, but then all the only reflection of the author - the audience, the background - the object, the plane - the space.

Bedyev constantly varies stresses in the system of these relations. This allows him to achieve subtle nuances in the interpretation of mythological images. The artist conveys the complexity and versatility of the figurative symbolism of the myth through the visual complication of the composition. Painting myth, the artist refuses expanded plot, multi -figure compositions.

And this is a completely new trend in the image of Ossetian mythology.The Method of Bedoyev conveys the poetics of the myth not through the plot, but through the general spatial-artistic system. Let us turn, for example, to the cycle of works dedicated to the heroine of the Nart epic of Zerase. The mythological hypostasis of the Zerssa is truly inexhaustible: the daughter of the sea king, nymph, mermaid, winged maiden, dove, iron -bumping bird, abducting of golden fruits, seductive deceiver, a suffering widow, lover, mother.

Such works of Bedyoev as “Zeers”, “Daughter of Poseidon”, “Apple Narts”, “Zeers with an apple”, “Zerasse on a walk” and others are devoted to her. It is interesting that each of these works, united by a common plot and a complex of visual means, brings with it every time a new nuance in the interpretation of this image. The composition of the compositional constructions of Bedev is always an intrigue, but it is not always obvious and readable.

Becoming the audience of his works, we, without suspecting it, become at the same time the accomplices of a certain action, into which the artist quietly involves us.