Svyatogor -Slavic hero, God supporting the vault of heaven. Describe his like a giant taller than a standing forest. Svyatogor lives in the mountains and never comes down from there. All the time he is busy guarding the pillars that support the sky, and in other Slavic myths, Svyatogor himself supports the vault of heaven.
Sometimes Svyatogor is mentioned not as God, but as a Slavic hero who lived simultaneously with Ilya Muromets. But in the Russian North, legends about Svyatogor as a Slavic God have been preserved.
Svyatogor was created by Rod, the Creator of all things. He is the brother of Svarog, the Heavenly Father, and his sons Svarozhich are Svyatogor's nephews. Because Svyatogor is one of the oldest Slavic Gods, it is a mistake to consider him a young God or even a man.
Svyatogor is married to Queen Film, daughter of the sea king. They had many daughters Plenkin. We know such names of the daughters of Svyatogor: Lina, Merya, Maya, Alya, Taya, Elya, Asya.
Legends and myths about God Svyatogor
The Slavic God Svyatogor rarely takes part in the battles and adventures of other Gods, because he is always busy with his work - guarding the vault of heaven. But several myths about Svyatogor survived. The most famous legend is about the marriage of Svyatogor to Plenka Pomorskaya, the daughter of the sea king.
Svyatogor turned to the Goddess Makosh to find out his fate. Makosh predicted that the hero Svyatogor would marry an overseas monster. Such news saddened Svyatogor, but nevertheless he went overseas to seek his fate. So he ended up on a deserted island with a deserted city. In the ruined temple, he met a snake and realized that this was his bride. In horror, Svyatogor struck the snake with a sword, but after that he was ashamed of this: he left a golden altyn on the temple and sailed back to the mountains to guard the vault of heaven. The snake turned into Plenka, the daughter of the sea king, who was bewitched by the Black Sea serpent. The spell was broken by the blow of the sword. The film took the golden altyn and started trading again in the abandoned city. When the city again became populous and rich, Queen Plenka went to look for Svyatogor, because Makosh predicted this meeting to her too.
Another myth about Svyatogor tells how he married his daughter Merya to a simple village guy. Ivan accidentally ended up in Irey, where he met Mary and fell in love with her. Svyatogor agreed to give his daughter in marriage if Ivan could solve his riddles and come up with one himself that Svyatogor could not solve before sunset. Ivan won the dispute and married Mera.
Amulet - a symbol of Svyatogor
Svyatogor is dedicated to one of the Slavic amulets - Bogovnik. This is a swastika symbol with four intricately curved rays. This symbol is most often depicted on the headpieces or on the upper part of the clothing - closer to the head. The Goddess is a sign of wisdom. The amulet of Svyatogor helps to balance thoughts, gain confidence, pushes a person to develop, find his own way, saves from an idle life.
God Svyatogor in the northern tradition of divination and magic
The Bogovnik sign is depicted on the Slavic Reza, associated with the power of God Svyatogor.
Reza number – 12.
Reza God Svyatogorappears in the alignment when the questioner is too carried away by the material side of life, cares only about physical strength and prosperity, forgetting about the importance of developing the spirit. Reza Svyatogora reminds that a happy life requires constant development: even if everything is fine now, you need to move forward in order to preserve the joy of life.
Read more about the meaning of the Reza of God Svyatogor in divination in the article "
To the pillars that supported the sky, circling them on his horse.
By the way, Svyatogor’s yin is higher than any forest, and with a helmet he touches clouds-clouds. The strength of Svyatogor is such that the earth cannot withstand it. That's why he rides in high mountains. When is Svyatogor driving?
... Mother earth is swaying,
Dark forests stagger,
Rivers flow from steep banks...
The power of Svyatogor is so great that it cannot find practical application. Yes, and the earth is already hard to wear it. Svyatogor picked up his bag with all the earth's thrust, and he himself went into the ground.
His father is called "dark", that is, blind, erroneously: Rod is primordial, omnipresent, all-seeing. Svyatogor was born in order to guard the world of Reveal and not let dark monsters from Navi come here. The entrance was at the foot of the pillar on which the sky rested. The pillar itself (or the World Tree) was located in the holy mountains, from where the name of the giant comes. This is not an easy task - to stand on the border of Light and Darkness. Other giants, Gorynychi - Gorynya, Dubynya and Usynya - were born by the dark, blind lord Viy out of envy and in opposition to Svyatogor. Viy, partly familiar to us from Gogol's story, put his three sons to guard the exit from Navi, so that the souls of the dead could not escape from there. So, standing on the other side of the border, they were enemies of Svyatogor.
The enormous weight of Svyatogor prevented him from leaving his post and moving to other places. Yet one day, according to the prediction of Makosh, he was forced to leave the Holy Mountains. The goddess predicted to the giant that he would marry the serpent. The giant was upset, but decided to find his betrothed - maybe she’s not so scary? Went to distant seas, moved from one island to another. And finally I saw a snake. Svyatogor decided that it would be better to die a bachelor than to marry such a monster. He turned away and stabbed her with his sword. Then he threw a golden altyn in atonement for his deed and, bursting into burning tears, wandered away.
Meanwhile, the blow of Svyatogor had a magical effect on the snake: she freed herself from the spell cast on her and became, as before, the beautiful girl Plenka. The beauty raised the golden altyn. He turned out to be inexchangeable, and she gave him to the townspeople. They put the coin into circulation and soon became unspeakably rich. They did not forget their benefactor either - they generously endowed Plenka, and she equipped a caravan with the money received and went in search of a savior. How long, how short she wandered, but she found Svyatogor and told him her story. The giant did not immediately believe that this beauty of the girl is the very snake that he hacked to death. Then he waved his hand: you never know what miracles happen in the world! He married Plenka, as Mokosh predicted, and soon their daughters were born - Plenkini.
God did not scold him for arbitrariness, praised him for his work and said that he would fulfill any desire of the giant. Svyatogor asked for unmeasured strength and more wisdom than any of the gods. Oh, if I knew that any desire also has a downside, so, probably, I would beware of asking for intelligence and strength. “You will be stronger than the Svarozhichs, but the stone will overpower you yourself,” the Most High answered him. “You will become wiser than the gods, and a man will deceive you!” Only the giant grinned in response, did not believe what was said. Is he, who built a stairway to heaven out of rocks, afraid of some kind of pebble! Well, what about the small human race, what are the bugs under their feet, what can they do to him?
And everything happened according to the word of the Almighty. And the stone coffin, in which Svyatogor jokingly lay down, became his last refuge, and the hero Ilya Muromets outwitted the giant. Or maybe it's for the best: the time of the giants has passed, the era of people has come. Yes, and Svyatogor was tired of eternal life, it was time for him to rest. He managed only with his last breath to transfer part of his strength to his hero.
It is known about Ilya that he accomplished many feats for the glory of Holy Rus', and in his old age he came to the Kiev-Pechersk Monastery and became a monk there. He spent days and nights in his cell, atoning for his sins, voluntary and involuntary. Therefore, he did not notice how the killer crept up to him and inflicted a treacherous stab in the back. However, there is not a word about this in the epics. Anthropologists who studied the remains of Ilya Muromets learned about this. They also determined that since childhood, the hero’s left leg was shorter than his right one - that’s why he lay “thirty years and three years” on the stove, until the wandering sorcerers breathed mighty power into him.
Having depicted Ilya Muromets in the heroic image of the savior of the Fatherland, and cruelly ridiculing the cowardice of Prince Vladimir, the Narrator could no longer build relationships between these characters according to the previous scheme: the prince rules, the knight faithfully serves him.
Ilya's service with Vladimir came to an end. And it was time to finish the whole "The Tale of Ilya Muromets", although the Storyteller was sorry to say goodbye to the hero he loved.
A fictionalized biography of a valiant knight, according to the traditions of this genre, established in medieval poetics, could end with the death of the hero, during the accomplishment of his last feat, or with the acquisition of all the awards, including a beautiful, faithful wife, with the prospect of living happily ever after, in honor and contentment. .
None of these endings suited the Storyteller. He could not allow the death of his hero, because this would destroy the myth of the invincibility of Ilya Muromets, which reflects the author's ideas about the irresistible power of the Russian people. Also, the Narrator could not imagine his stern knight in the role of a happy veteran on a well-deserved rest.
In the days of classical paganism, Elijah's earthly life could have naturally continued in the community of immortal gods and demigods. So it happened with his Hellenic counterpart - Hercules.
The author of "The Tale of Ilya Muromets" directed his hero to immortality in a special way, without going beyond what was allowed by the ideological principles of Christian monotheism. On this path, Ilya had another exciting adventure - a meeting with Svyatogor.
Even in those years when the Storyteller lived in prosperous Chernigov, he reliably put into his memory an ancient epic, the opening lines of which have come down to us (in a slightly modified form):
“On those high mountains, on that, on the Holy Mountain, there was a wonderful hero, perhaps for the whole world he was marvelous, for the whole world he was marvelous - he did not go to Holy Rus', his mother did not wear cheese-earth” (52 ).
The Holy Mountains is the poetic name of the common Slavic ancestral home, located in the Carpathian Mountains and in their foothills. It was there, under the protection of mountain firmaments, that Slavic speech sounded for the first time. In that speech, at the earliest stage of its development, the name of the Carpathians (Karby, Khurby) had a simple meaning - Mountains (for the ancestors of the Slavs did not yet know other mountains).
Evil enemies could not defeat the Proto-Slavic tribe, for it was defended by a divine leader (according to some ideas, an ancestor), an invincible giant: “above a standing forest, with his head walking under the clouds.” They called him Highlander, or Mountain. So this name would sound in modern Russian; traces of it are preserved in the names of some characters of West Slavic mythology: Kark, Krakus, Krkonosh, Krabat.
When the distant ancestors of the Russian people left the Holy Mountains to the banks of the Dnieper and began to settle on the plains of their new homeland, the gigantic defender could not accompany them: under his weight, the loose earthly flesh of Dnieper Rus collapsed. The Eastern Slavs - the Russians had to rely on their own strength, but their spirit was strengthened by the memory of the Wonderful (Holy) Highlander, who continued to be revered as a patron and progenitor.
In the Chernihiv land, Svyatogor was especially popular. Local songwriters usually imagined him as a giant horseman who can take with one hand and put in his pocket an ordinary knight, along with a horse.
At the same time, the creative looseness inherent in the era of dual faith prompted singer-storytellers to remake ancient epics in their own way, combining heroic content in them with free and even frivolous episodes. The plot about the unfaithful wife of Svyatogor, who fearlessly twisted love tricks almost in front of her husband, who did not notice anything, gained considerable popularity - was it because of her greatness, which did not allow to distinguish everyday trifles?
Ilya Muromets met Svyatogora, of course, in the Holy Mountains - the Carpathians, where the knight ended up, going around the western borders of the Russian land. They didn't fight, instead they fraternized. At the same time, Ilya recognized himself as the younger brother of Svyatogor. The named brothers set off to travel through the Holy Mountains.
“They traveled for a long time, they traveled, but they had fun, they found here a wonderful miracle, they found a wonderful miracle” (53). The find was a huge coffin. For Ilya Muromets, this coffin turned out to be too big, and when Svyatogor lay down in it for testing, it turned out just right. And the giant was no longer able to get out of the coffin, even with the help of Ilya. Svyatogor transferred part of his strength to the named brother, but this did not help either. The younger brother was unable to cut the coffin lid that covered the older brother.
The death of Svyatogor, who decided to try on the coffin on his own strange whim, is not accidental - it is predetermined by the will of some divine authorities (the Narrator did not specify who exactly sentenced the ancient giant to death). By the same divine will, Ilya inherited the sword of Svyatogor. With this symbolic act, he assumed the duties of a wonderful defender of the Russian land.
The horizons of everyday reality expanded around Ilya Muromets, opening up for the valiant knight the space of a special, supernatural being, not subject to the ordinary laws of short-term human life.
Thus ended the "Legend of Ilya Muromets."
Having performed it before the first listeners, the Narrator granted his creation the right to independent existence. His brothers in the craft, who fully appreciated the artistic merits of the Tale, quickly spread the glory of the knight Ilya throughout Russian cities and villages. Continuation
!!! Chapter 21 Notes see
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In the north of Moscow there is a small forest area - Lianozovsky forest park. On Cherepovetskaya Street, an old pale pink mansion built in the early 20th century catches your eye from behind the trees. In 1998, through the efforts of enthusiasts, a Museum of Art of Konstantin Vasiliev, later converted to .
* Tour organizer:
The former dacha of Lianozov, now the Museum of Slavic Culture named after Konstantin Vasiliev
The talented artist Konstantin Alekseevich Vasiliev lived a short life - only 34 years, but extremely creative life. He left behind about 400 works, which are now kept in museum collections in Moscow, Kolomna, Kazan and in private collections. Glory came to him after his death, and during his lifetime, many accused him of both lack of talent and Russian fascism. Until now, the mystery of his death has not been revealed - either he was hit by a train, or he was deliberately killed. The latter assumption is more likely.
Vasiliev's paintings are full of various symbols, references to historical and mythological subjects. Therefore, an experienced guide is indispensable here. For us, it was the director of the museum Doronin Anatoly Ivanovich.
Museum director Anatoly Ivanovich Doronin
Konstantin Vasiliev was born on September 3, 1942 in Maykop. After the war, the family moved to the small village of Vasilyevo near Kazan. The boy has been drawing since childhood, preferring pencils to toys. At the age of 11, he entered the Moscow Art Boarding School at the Moscow State Art Institute named after V.I. Surikov. Then, due to the death of his father, he was forced to return to his native land, where he continued his studies at the Kazan Art School.
After graduation, Vasiliev returned to his native village. Outwardly, life was very modest: work as a teacher of drawing and drawing in a secondary school, then as a graphic designer at a factory. During that period of his life, Vasiliev tried himself in different genres and techniques. But at some point there was a creative crisis. For six months the artist did not take up the brush. Until one, at first glance, insignificant episode occurred.
One of his friends, walking in the forest, came across an eagle sitting on a branch and cleaning feathers. The man wanted to get closer to him, but the bird started up and looked so menacingly that he hurried away. Vasiliev, having heard this story, unexpectedly promised to paint a picture.
Konstantin Alekseevich had such a custom: on the appointed day, before presenting the work, his friends had to read poetry or tell stories on the subject of the picture. So it was this time. After that, Vasiliev pulled off the covers, and the guests froze in amazement.
That is how Vasiliev called this work. We will not see the eagle itself here. Only a middle-aged man with unnaturally bright eyes, peering warily at the viewer. Maybe he is an eagle? A stern inhabitant of the North in the middle of a taiga snow-covered forest. Then we will see this face more than once on the canvases of the artist. The absolute embodiment of strength and masculinity. Here, in the upper right corner, a new pseudonym of the master is deduced in Slavic script: "Konstantin the Great Russian".
Signature "Konstantin the Great Russian", a fragment of the picture
With this work, a new creative cycle begins, which will be interrupted by a tragic death. Sometimes it seems that the artist seemed to have a premonition of his imminent end.
Two poles - male and female, these are the two beginnings of being. In Vasiliev's paintings, we will constantly see this symbolism: the cross, ice and flame, cold and passion. The embodiment of femininity in Vasilyev is the image of a girl with amazing eyes in the picture.
When this work was completed, the artist's mother, Claudia Parmenovna, was taken aback, recognizing herself in her youth. At the end of August 1942, the Nazis occupied Maykop. Her husband left to partisan. And she, pregnant, was summoned to the Gestapo. Then they let him go, but they settled two Germans at home: they hoped that the father would find a way to contact his wife to find out who was born. And his mother stood at the window with a candle at night, thus warning of danger. In some unknown way, the artist caught that situation and embodied it on canvas.
And here is the picture. At first glance - a young couple, beloved. But it is worth taking a closer look, understanding the entire system of symbols, as you understand the whole tragedy of this plot.
A young man holding a pitchfork, a symbol of masculinity. Moreover, the forks here are unusual - with three teeth, and not four, as usual. In front of him is a girl with a yoke, personifying the feminine. The pitchfork and yoke form a cross - a combination of the feminine and the masculine. The man kisses the girl, but she turns her face away from him.
The passion of a man is conveyed by the scarlet color of the shirt under the sheepskin coat and hooked fingers resembling the claws of an eagle. And the girl seems to be sliding along the yoke away from the man. We will see other unfavorable signs. You can barely see someone's evil eye in the window. And the platbands are decorated with ravens - a symbol of misfortune and evil. These two will never be together.
The artist has another similar picture - "Unexpected meeting". But even there we will see unfavorable signs. Maybe Vasiliev's failures in his personal life were reflected in this image?
Another work with no less tragic overtones, although at first glance it seems very pacifying, although some anxiety is felt in it:.
In the past, on the first day of the harvest, the whole family went out into the field as if for a holiday. But only one sheaf was allowed to be removed. And here we see a girl alone. The tip of the sickle is directed towards her heart. On the head is a wreath of cornflowers, which, according to some beliefs, symbolizes a connection with the afterlife. The fact that the cornflower here has a negative connotation is indicated by another sign - a wounded birch trunk. And the birch itself is a symbol of loneliness.
Sad picture.
The girl is sitting near a forest lake, next to her is a birch tree - a symbol of loneliness. There are very few colors here, the main colors are green, gray and brown. The painting is dedicated to the artist’s younger sister, Lyudmila, who, without suspecting it, swam in a lake contaminated with radiation and “burned out” in a few months…
Another cycle of works is devoted to the ancient Slavic, Germanic and Scandinavian deities. On them we will find signs and symbols, for the use of which Konstantin Vasiliev was ranked among the Nazis and was summoned several times for interrogation by the KGB. However, both the swastika and the falcon with an eagle are ancient Indo-European symbols that the Nazis only borrowed, putting a new, terrible meaning into them.
Or "Holy"- the god of war and victory among the Western Slavs, the main god of the inhabitants of the island of Rugen and adjacent lands, his statue stood in the sanctuary of the city of Arkona. The choice of colors is unusual - a play on the contrast of various shades of gray and red.
It seems that, according to the original plan, it was not at all a square with an oblique cross that should have been depicted on a helmet and chain mail. And the falcon on the shield resembles the one we found on the expedition in Staraya Ladoga.
Sventovit, fragment of a painting
Sventovit, fragment of a painting
And here "Valkyrie over a slain warrior" that takes his soul. A characteristic wave of the hand, a detached look ... A huge canvas, bought with hard-earned money, is almost completely occupied by the image of gray clouds. Vasilyev wrote this work to the music of Richard Wagner's Flight of the Valikiri: Wagner was one of the artist's favorite composers.
"Wotan", or "One"- the supreme deity of German-Scandinavian mythology, the god of war and victory, the sorcerer and shaman, the rune expert, the leader of the Valkyries.
Wotan - the supreme god of the ancient Scandinavians
Interesting work "Prince Igor" And . According to the original plan, it was supposed to be a triptych, but as a result, only two paintings were painted.
"Prince Igor" and "Yaroslavna's Lament", diptych
In the painting "Prince Igor" we see ancient Slavic symbols, which today, alas, have become the personification of the separation of two fraternal peoples.
In the painting “Lament of Yaroslavna”, the princess’s robes resemble snakes that strangle her. You may not even remember the plot.
Next to them hangs another picture with a tragic plot -.
Princess Evpraksia of Ryazan was famous for her beauty. Batu Khan wanted to take possession of the beauty, he killed her husband, Prince Fyodor Yuryevich Ryazansky. The princess, having learned about this, rushed off the wall with her son. In her eyes - determination, willingness to accept their fate to the end. Her forehead is adorned with a necklace - a charm and a sign of wisdom. The fluttering cloak resembles wings.
But not all Vasiliev's works are so tragic. Among them we will find many pictures of nature. Although even there we will see some tension, scrapped.
Another large cycle of Vasiliev's paintings is dedicated to Russian epics and legends. Most of the paintings are made in tempera.
Special mention should be made of the last work of Vasiliev, which the artist completed shortly before his death. It is called .
Below, the fire devours a scroll with the Slavic script "Konstantin the Great Russian, 1976". Interestingly, the shape of the scroll resembles Siberia. Vasiliev believed that it was from there that the revival of Russia would begin.
A man with an owl, a fragment - the inscription "Konstantin the Great Russian, 1976"
Whether it was a self-fulfilling prophecy, or just this figure should be understood as the year the picture was painted - everyone interprets it in their own way. October 29, 1976 the artist and his friend died under unclear circumstances. Konstantin Vasilyev was buried in the village of Vasilyevo, in his favorite birch grove.
“If my paintings are not needed by the Fatherland, then all my work should be recognized as a failure” - Vasiliev
Unfortunately, not all of the artist's works are exhibited in the Museum. So, here we will not see his famous paintings dedicated to the Great Patriotic War - “Parade of the 41st”, “Invasion”, “Farewell of a Slav”, “Portrait of Marshal of the Soviet Union G.K. Zhukov” and others. There are also no early works in the style of surrealism and abstractionism.
The building, which now houses the Museum of Slavic Culture named after Konstantin Vasilyev, was built at the beginning of the 20th century by one of the largest Russian industrialists, oil magnate and philanthropist Stepan Georgievich Lianozov (Lianosyan, 1872-1949) as a summer residence for his beloved. A large park was laid out around the house, which was decorated with statues. According to another version, this house, which was called the “white dacha” for the color of the portico, was occupied by the manager of the Altufyevo estate or the head of the Savelovskaya railway. At that time, this area was a dacha suburb of Moscow.
The building of the Museum of Slavic Culture named after Konstantin Vasiliev
After the October Revolution, the dacha was occupied by the district administration of the Cheka, then the apartments of the military were located. In 1986, the building, which by that time required major repairs, was transferred to the canteen trust of the Timiryazevsky district of Moscow to organize a restaurant. However, Gorbachev's infamous anti-alcohol campaign broke out, and the building turned out to be ownerless. Two years later, it turned into almost ruins: everything that could be taken apart, carried away or broken was dismantled, taken out and broken. The authorities decided to demolish the dilapidated building and clear the area for a park.
While "Club of art lovers Konstantin Vasiliev" under the guidance of a military journalist and admirer of the artist's talent Anatoly Ivanovich Doronin actively looking for space for the gallery. Initially, it was supposed to organize a museum in Kolomna, premises have already been allocated in the house-museum of the writer Ivan Lazhechnikov. The artist's mother and sister bought an apartment in this city. However, there were opponents of such a decision. As a result, this option had to be abandoned. However, some of Vasiliev's works are now exhibited in Kolomna.
"Northern Eagle" and director of the museum Doronin Anatoly Ivanovich
And then Lianozova's dacha in Moscow turned up very successfully. The building and the territory adjacent to it were transferred to the balance of a public organization, and restoration work began. In 1998, the renovated building received its first visitors. A log house in the Old Russian style was erected nearby, intended for the Center for the Arts.
Initially, all 5 halls were occupied by an exposition of paintings by Konstantin Vasiliev. However, in the 2000s, several attempts were made to raid the building. In 2009, the house was even set on fire, but the fire was extinguished, the paintings were not damaged. Litigation began and, at the same time, the slow restoration of the museum.
For security reasons, it was decided to exhibit only part of the artist's works, replacing some of them with copies. Now Vasiliev's works are exhibited in two halls, the other three are occupied by exhibitions of works by contemporary artists developing the Slavic theme. The museum received a new name - "Museum of Slavic Culture named after Konstantin Vasiliev".
Rus' pre-Christian
It is possible to relate differently to the pre-Christian period of our history. Someone believes in the existence of Vedic Rus' and Hyperborea. Others almost completely deny that period as dark, devoid of the light of Truth. I adhere to a strict scientific approach in this matter, based on the data of history and archeology.
That long historical stage, despite its little study, played a huge role in our history. It has influenced our entire culture and our mentality. We guess it in fairy tales and epics, ornaments of peasant clothes and household utensils. According to Carl Gustav Jung's theory of the collective unconscious, it erupts into our consciousness in the form of archetypes. We feel the ancient layers in various symbols and signs. Alas, many of them are now associated exclusively with the ideology of fascism. That era stirs souls, plunging us into the archaic levels of our psyche.
And that is why the work of Konstantin Vasiliev and other masters working in the genre of reconstruction and creative understanding of ancient cultures, peoples that once inhabited the territory of our country is so catchy. Now in the museum you can see the work of a wonderful artist Vsevolod Ivanov, creating majestic images of Ancient Rus', Vladimir Semochkin with his unique style, his father's very light works - Valeria (Radomira) Semochkina, work in stone and wood Viktor Goncharov and others.
