Bryullov divination of Svetlana. Bryullov Karl Pavlovich

Returning to Russia as a renowned master, the author of Pompeii, Bryullov continued to paint portraits, but he never painted them from Moscow officials or merchants. When refusing, he always said the same phrase: "You have your own excellent artist - Tropinin."
He became close friends with Tropinin when he arrived in Moscow and spent several months there. Even in Italy, I heard a lot about this artist from the serfs. In Moscow, acquaintance grew into friendship. Karl Pavlovich highly appreciated both the talent and professionalism, and the personal qualities of Vasily Andreevich Tropinin. Under the charm of his ingenuous portraits of courtyard girls, as well as under the charm of V. A. Zhukovsky’s popular ballad “Svetlana” in Russia, Bryullov wrote “Fortune-telling Svetlana”. This is also a portrait of a courtyard girl who, on Epiphany night, tells fortunes at the mirror about her betrothed.

Christmas divination existed throughout Rus'. The girls threw a felt boot over the gate: in which direction the sock points, from there they will wait for the groom; melted wax was poured into the water, fantasizing on the cooled figures; they fed grains to a chicken, making a wish for a specific number of grains ... There were many ways of divination. All of them were accompanied by mystical stories, which, in turn, gave rise to mummers, first in the form of evil spirits, and then whoever decides to dress up as whom.
Zhukovsky gave his heroine an unusual name - Svetlana - which was best suited to "Christmas", "light", holiness ... He borrowed the name from Vostokov's romance - in real life such a name did not exist. (Only after the October Revolution, "Svetlana" became widespread as a personal name). Appeal to the theme of Epiphany divination became Zhukovsky's most valuable literary find, making the ballad truly Russian. Lines from it became epigraphs, the ballad was included in the "Educational book on Russian literature", around it even a noble model of celebrating Christmas time was formed. The work of Zhukovsky occupied in the noble families the niche that the peasants occupied with "terrible" Christmas stories.

propped up on the elbow,
Svetlana breathes a little...
Here ... lightly lock
Someone knocked, hears;
Shyly looks in the mirror:
Behind her shoulders
Someone seemed to shine
Bright eyes...

Criticism awarded Vasily Andreevich Zhukovsky the title of singer Svetlana. Bryullov became the second singer, creating an amazingly romantic canvas. Night, a dim candle, a young girl in a kokoshnik and a sundress sits by the mirror, peering hopefully into its mysterious depths...

The year has flown by - there is no news;
He does not write to me;
Oh! and they only have a red light,
They only breathe in the heart ...

Creating a picture inspired by Zhukovsky's ballad, the artist did not limit himself to the tasks of simple illustration. He revived the fortune-telling scene with a poetic feeling. As a true innovator, he considered it possible to invade the spiritual world of a girl who is all focused on the thought of her fiancé and is ready to sit in front of a mirror even all night. In Zhukovsky's ballad, a girl falls asleep in front of a mirror, has a terrible dream, but in the morning everything is different:

Snow glitters in the sun
Steam reddens thin...
Chu! .. in the distance an empty rumbles
ringing bell;
Snow dust on the road;
Rushing, as if on wings,
Sledge: zealous horses;
Closer; right at the gate;
A stately guest goes to the porch ...
Who?.. Svetlana's fiancé.

And although "Fortune-telling Svetlana" did not have a significant impact on Russian painting, the psychological trend of the picture can be traced in all the great masters: from Kramskoy and Perov to Serov and Vrubel.
Bryullov was engaged in portrait painting all his life, recklessly overstepping the boundaries of established traditions, trying to bring art closer to reality. He wanted to recreate the immediacy and concreteness of the living connections of a person with the environment, which in his time was the task of only a genre painter. He wrote with feeling, admiring the beauty and picturesqueness of the world. Bryullov's portraits are large ceremonial, imposing, "story" portraits of secular beauties - a unique phenomenon of its kind and no longer repeated in Russian art.

Colossal physical and spiritual stress soon undermined the health of Karl Pavlovich. “My life can be likened to a candle that was burned at both ends and held in the middle with red-hot tongs ...” - the Great Karl, the genius of Russian painting, an infinitely tired and disappointed person, will say. How many plans remained unfulfilled! They did not allow painting the Pulkovo Observatory, built according to the project of brother Alexander, according to ready-made sketches, they did not entrust the interior design of the Winter Palace after the fire. For four years, Karl Pavlovich worked on the murals of St. Isaac's Cathedral, but due to illness, another artist finished his work on his cardboards.
A member of the Milan and Parma academies, the Academy of St. Luke in Rome, a professor at the St. Petersburg and Florence academies of arts, an honorary free accomplice of the Paris Academy of Arts, Karl Pavlovich Bryullov lived only 53 years.

ITALIAN NOON

Karl Bryullov was born in St. Petersburg, and his ability to draw showed up early. At first he was brought up at home under the strict guidance of his father, a master of artistic carving, who received the title of academician, then he entered the Academy of Arts, where he quickly achieved outstanding success. Already one of his first independent drawings was awarded a silver medal and was in the classroom as an original for students to copy.

After graduating from the Academy, Bryullov received the Big Gold Medal for the competitive work “The Appearance of Three Angels to Abraham” and the right to travel to Italy. Since the time of Peter I, who sent the painter Ivan Nikitin abroad to improve in the arts, this has become a tradition.

Once in Italy, which Bryullov knew from classical works, he was terribly disappointed: the general cosmopolitan hustle and bustle! Painting is not in fashion - a new, living movement has not yet occurred in it, and the old, all turned to the ancient world, is tired. The ancient world was now being revived by sculptors and enjoyed success and recognition.

In addition, a completely alien nature, which did not say anything to the artist.

“... Far from the Motherland, from friends, from everything that made me happy for 23 years. No pines, no willows. Although laurels grow here and grapes instead of hops - everything is sweet, charming! - but without words, they are silent, and everything around seems to be dying, ”he wrote from Rome.

Karl Pavlovich began to converge with foreign artists, but this did not give him anything, they were soldiers of the same army, of the same Italian discipline, like him, trained by her at the St. Petersburg Academy of Arts. But Bryullov possessed an amazing power of imagination, combined with the subtlety of natural observations, his artistic temperament demanded an outlet. There was an idea to paint the painting "Italian morning". It turned out to be not only successful, but also a happy discovery of the artist.

A young, topless girl, with the proportions of a Greek goddess, washes her face under the jets of a fountain. Bryullov penetrated it with the rays of the sun, and it, airy and light, turned out to be the personification of the very morning of human life. “I lit the model in the sun, assuming backlighting, so that the face and chest are in shadow and reflected from the fountain lit by the sun, which makes all the shadows much more pleasant compared to simple window lighting,” he informed the Society for the Encouragement of Artists, sending the finished canvas for an exhibition in St. Petersburg.

"Italian Morning" delighted St. Petersburg connoisseurs of painting. The city was filled with rumors about the magnificent picture of Bryullov, everyone was in a hurry to see her. Even Alexander I visited the exhibition and expressed his pleasure. The painting was given to him.

In 1826, the new Emperor of Russia, Nicholas I, commissioned Bryullov to paint a painting "Italian Morning". This is how the "Italian Noon" was born, which became the highest achievement of Bryullov in a group of works that develop the theme of the interaction between man and nature. The model for "Half a day" was a short, dense woman, far from classical proportions, who had already outlived her youth, but conquered the artist with her vitality. As Gogol said about her: "This is a passionate woman, blazing with all the luxury of passion, all the power of beauty."

Karl Pavlovich depicted her under a vineyard in sunny midday light. The mature beauty of the heroine is matched by tight bunches of grapes - the zenith of the day, the zenith of the life of nature, the time of fruit ripening - the zenith of human life. In the outline of the head, shoulders, arms, in the blush of the cheeks, in the brilliance of moistened eyes, there is beauty and charm. The sun's rays penetrate the foliage, glide over the woman; it gives the impression of a living moment, peeped by the artist.

The picture turned out natural and graceful, but when it was exhibited in St. Petersburg, there was a commotion! Bryullov's patrons (the Academy and especially the Society for the Encouragement of Artists) expected the ancient goddess, but they saw just a happy, healthy woman. Accusations of the author of the wrong choice of nature followed: "The goal of art should be the chosen nature in the most elegant form, and graceful proportions are not the lot of people of a certain class." Bryullov replied that he decided to look for diversity in those forms of nature that are more common in everyday life: they are more attractive, "than the strict beauty of statues."

In retaliation for his insolence, the Society for the Encouragement of Artists deprived Bryullov of his scholarship. Fortunately, his skill by that time had become so strong that he calmly went his own way, earning a living by commissioned portraits. He painted portraits of the Italian nobility, his compatriots, and accumulated artistic experience.

Meanwhile, the painting “Italian Noon” was acquired by Nicholas I and, together with “Italian Morning”, decorated the empress’s private quarters in the Winter Palace. Anyone who wanted to could see them. In the "Diary" of the artist A.N. Mokritsky dated October 14, 1835, there is a record in which he reports that, together with the artist Venetsianov, he visited the boudoir of the Empress and got acquainted with these masterpieces of painting.

THE LAST DAY OF POMPEII

In 1827 Karl Pavlovich visited Pompeii. Walking through the streets and examining houses preserved under volcanic ash with all the furniture and utensils, seeing the prints of bodies caught in death in amazingly lively poses, led the artist to paint a picture of the death of Pompeii. He carefully studied the letters of Pliny the Younger and learned that in 79 AD in the Campania region, located in southern Italy, tremors suddenly began. A very strange phenomenon was discovered: in the city of Pompeii, water stopped flowing in the fountains and somehow the wells immediately became empty. On August 20, the underground rumble became more audible, the tremors intensified. On the morning of August 24, there was a push of unprecedented power and a deafening roar that followed it! The top of the Vesuvius volcano split into two parts, and a column of fire rose from the resulting vent. This was the beginning of a disaster!

“It seemed that everything was not only moving, but also overturning,” wrote the eyewitness Pliny the Younger. - Pieces of pumice stone and black, burnt, fire-cracked stones fell. Meanwhile, flames spread widely across Vesuvius in many places, and the fire from the fires rose high. We have seen how the sea is drawn into itself; the earth, shaking, seemed to push it away from itself; the shore, no doubt, moved forward; many marine animals stuck on dry sand. On the other hand, fiery zigzags flared up in a black terrible thundercloud, and they split into long strips of flame, similar to lightning, but much larger. Ashes began to fall, still rare; looking back, I saw how thick darkness was approaching us, which, like a stream, spilled after us over the earth. Darkness has come. But not the same as on a moonless or cloudless night, but what happens indoors when the fire is extinguished. Women's cries, children's squeaks and men's cries were heard; some called parents, others children, others wives and husbands, trying to recognize them by their voices. Some prayed in fear of death. But the majority shouted that there were no gods, and that the last night had come for the world. Thanks to the records of Pliny the Younger, who managed to escape on a ship, people eighteen centuries later were able to vividly imagine what happened to Pompey. Traces of it were discovered during the construction of a water pipeline in these places. Over the course of two and a half centuries, Pompeii was gradually freed from a seven-meter layer of ash, turned by hot rain into a single, dense volcanic mass.

Pompeii has become a museum city, where there are forums and amphitheaters, baths and workshops, shops and houses with utensils, but not a single living soul. On the site of the lost city, people never again settled. But those who once inhabited it loved to live comfortably and beautifully. The decoration of each dwelling, if it did not belong to a slave or a poor artisan, looked rich and varied. Many houses were decorated with wall paintings, frescoes, mosaic floors, paintings. Pompey worshiped the Greeks and their art. The religion was also Greek - the Olympian gods, which were gradually supplanted by Christianity. The fresco painting of Pompeii was special. The colors of the wall paintings remained in all their brilliance and brightness, despite the enormous temperature of the volcanic mass, under which the city was buried on the night of the catastrophe. This was the secret of Campanian painting, the technique of which remained unknown. A fresco portrait of a young girl, thinking about something, has been preserved, with a notebook made of thin boards in her hand, with a writing stick. The portrait is made in the form of a medallion. If the Roman sculptural portraits of the first century AD have been preserved in many museums of the world, then the picturesque portrait was not known before the discovery of Pompeii.

For two years, Bryullov nurtured the idea of ​​the painting "The Last Day of Pompeii." Financing of the "project" was undertaken by Demidov, the largest Russian breeder. Based on a real event, Karl Pavlovich tried to convey on canvas the spirit and atmosphere of that terrible night. Lightnings opened up the skies, fire-breathing lava rushes down the slope of the volcano in a boiling stream. Frightened horses rush about and neigh. Statues of gods and emperors fall from a height. Bryullov managed to come up with a common spectacular grouping, and he easily coped with the colossal task. He copied one model after another directly onto the canvas, and built a strictly archaeological landscape perfectly in perspective.

Petersburg knew about Bryullov's painting. Those who have been to Rome, who happened to see the artist at work, said that he almost does not leave the canvas, it happens that he is exhausted, he is carried out in his arms from the workshop.

After eleven months of uninterrupted work, not counting two years of preparation, the picture was finished, the workshop was opened to the public, and the public poured in. "Pompeii" amazed with its plot, impressed with the scenery and choral masses, lighting and the sad fate of the characters. After Rome, the picture was shown in Paris. She arrived in Petersburg in 1834. Karl Pavlovich himself went to the East to travel.

You brought peaceful trophies
With you in the paternal shadow,
And became "The Last Day of Pompeii" -
For the Russian brush the first day!

It was August. At the entrance of the Imperial Academy of Arts was crowded. Thirsty people hardly made their way to the Antique Hall, where “Pompeii” hung - a huge canvas of thirty square meters. The lattice separated the painting from the public. Of course, the audience imagined that they would see something colossal, but what they saw exceeded all possible expectations.

Everyone felt like one of a crowd of terrified Pompeians. It seemed that a deafening thunder was heard, that the earth was trembling underfoot, the sky was falling.

The longer the audience peered into the canvas, the deeper they comprehended the soul of its creator, his involvement in what is happening. No wonder Bryullov, among the panic-stricken crowd of Pompeians, depicted himself with a box of paints and brushes on his head. And the fact that he placed on the canvas a disgusting miser, collecting gold scattered on the ground even at the time of the catastrophe, emphasized even more strongly the high human qualities of the artist.

When Bryullov arrived in Russia, he was proclaimed the first painter. The Academy of Arts awarded him the title of junior professor (the master, famous throughout Europe, “did not reach the senior one”).

The nobles vied with each other in a hurry to get Bryullov to them, but he did not like ceremonial dinner parties, he said: “It’s better to have a pot of cabbage and porridge, but at home, among friends.” However, taking advantage of the disposition of high-ranking people towards him, he secured a free one - liberation from serfdom for two students of the Academy. Bryullov's fame in Russia grew at an incredible rate. The painting "The Last Day of Pompeii" in many copies and reproductions dispersed throughout the country. There were even funny things. So one day, while walking with friends, the artist saw a booth with a sign: "Panorama of the Last Day of Pompeii." Went in and laughed.

- "Pompeii" is no good!

Sorry, the artist Bryullov himself was with me when the panorama was in Paris!

Bryullov's significance was immense for his contemporaries. Venerable painters, spurred on by his instant world fame, were eager to race to create a second Pompeii, this became their hot dream. Moderate youths also decided that if they did not reach Bryullov himself, then at least get into his retinue. But Bryullov's work was the end of Russian classicism, the further path in this direction led to fruitless imitation. "Pompeia" in the name of classicism said everything, completed classicism with brilliance, and this is its enduring value. And Karl Pavlovich himself, not so much consciously as guessing, showed in the picture the crushing of idols - statues of gods and Caesars, compared a pagan priest and a Christian priest, a living baby and a dead mother. Everything had to inspire the idea of ​​the inevitability of the death of the old world and the equally inevitable new life on its ruins.

RIDER

Even before working on Pompeii, Bryullov met the first beauty of St. Petersburg, Countess Samoilova, who moved to live in Italy. Yulia Pavlovna, a rich heiress of two ancient families, was of independent behavior, gathered free-thinking people in her Petersburg, and Nicholas I, dissatisfied with her, forced Samoilova to leave Russia. Bryullov became her ardent admirer from the first meeting. And no wonder if Pushkin himself dedicated poems to Yulia Pavlovna, praising her many virtues:

Everything in it is harmony, everything is wonderful,
All above the world and passions...

Samoilova and Bryullov traveled a lot around Italy, rested on Lake Como in the luxurious villa of Yulia Pavlovna, wandered among the ruins of Pompeii, where Bryullov had the idea to paint a picture about the death of the city. (In The Last Day of Pompeii, Samoilova's face is recognizable in several female images at once: a beauty prostrate on the ground; a frightened girl; a young mother covering a baby; a woman hugging her daughters).

Yulia Pavlovna had adopted daughters, Jovanina and Amazilia. At her request, Bryullov painted their portrait. At full gallop, Jovanina stops the horse. Amacilia, grabbing the balcony railing, looks at her admiringly. Bryullov portrayed Giovanin in the way that before him it was customary to portray only titled persons. The equestrian portrait has always been ceremonial and inevitably contained a hidden meaning: a rider who subjugated a hot horse is a man in power. But at Bryullov's, an ordinary girl returned from an ordinary walk. Karl Pavlovich was the first painter to combine a ceremonial portrait and an everyday scene, creating an inspired canvas that glorifies the joy of life.

In 1832, the "Horsewoman" was exhibited in Rome and caused genuine delight among the Italians. Written in full size, rich colors, smooth and free brush, she forced Italian critics to compare Bryullov with Van Dyck and Rubens. The praises of the Italians were not exaggerated, this picture really was an outstanding work of not only European, but also world art.

In 1896 Pavel Mikhailovich Tretyakov bought the Horsewoman.

Bryullov was engaged in portrait painting all his life, recklessly overstepping the boundaries of established traditions, trying to bring art closer to reality. He wanted to recreate the immediacy and concreteness of the living connections of a person with the environment, which in his time was the task of only a genre painter. He wrote with feeling, admiring the beauty and picturesqueness of the world. Bryullov's portraits - large ceremonial, imposing, "plot" portraits of secular beauties - are the only phenomenon of its kind and no longer repeated in Russian art.

FORTUNE SVETLANA

In 1835, Karl Pavlovich met Vasily Andreevich Tropinin, whose ingenuous portraits of yard girls pleased him so much that under their charm, as well as under the charm of V. A. Zhukovsky’s popular ballad “Svetlana” in Russia, Bryullov wrote “Fortune-telling Svetlana”. This is also a portrait of a yard girl, fortune-telling on Epiphany night for her betrothed.

Christmas divination was widespread in Rus'. The girls threw a felt boot over the gate: in which direction the sock points, from there they will wait for the groom; melted wax was poured into the water, fantasizing on the cooled figures; fed grains to a chicken, making a wish for a specific number of grains. There were many ways of divination; all of them were accompanied by mystical stories, which, in turn, gave rise to mummers - first in the form of evil spirits, and then whoever decides to dress up as whom. Zhukovsky gave the heroine of his ballad an unusual name - Svetlana - which was best suited to "Christmas" and "holiness". He borrowed the name from Vostokov's romance - in real life, such a name did not exist. (Only after the October Revolution, "Svetlana" became widespread as a personal name). Appeal to the topic of baptismal divination became the most valuable literary find of Zhukovsky, making the ballad truly Russian. Lines from it became epigraphs, the ballad was included in the "Educational Book on Russian Literature". A noble model of celebrating Christmas time was formed: Zhukovsky's work occupied in the noble families the niche that "terrible" Christmas stories occupied among the peasants.

propped up on the elbow,
Svetlana breathes a little...
Here ... lightly lock
Someone knocked, hears;

Shyly looks in the mirror:
Behind her shoulders
Someone seemed to shine
Bright eyes...

Criticism awarded V. A. Zhukovsky the title of singer Svetlana. Bryullov became the second singer, creating an amazingly romantic canvas. Night, a dim candle, a young girl in a kokoshnik and a sundress sits by the mirror, peering hopefully into its mysterious depths.

The year has flown by - there is no news;
He does not write to me;
Oh! and they only have a red light,
They only breathe in the heart ...

Creating a picture inspired by Zhukovsky's ballad, the artist did not limit himself to the tasks of simple illustration. He revived the fortune-telling scene with a poetic feeling. As a true innovator, he considered it possible to invade the spiritual world of a girl who is all focused on the thought of her fiancé and is ready to sit in front of a mirror even all night. In Zhukovsky's ballad, a girl falls asleep in front of a mirror, has a terrible dream, but in the morning everything is different:

Snow glitters in the sun
Steam reddens thin...
Chu! .. in the distance an empty rumbles
ringing bell;

Snow dust on the road;
Rushing, as if on wings,
Sledge: zealous horses;
Closer; right at the gate;
A stately guest goes to the porch ...
Who?.. Svetlana's fiancé.

In the portrait "Guessing Svetlana" Karl Pavlovich continued the tradition of Russian artists with their heightened attention to the spiritual life of a person. And although the portrait did not have a significant impact on Russian painting, its psychological tendency can be traced in all the great masters: from Kramskoy and Perov to Serov and Vrubel.

Karl Bryullov. "Guessing Svetlana". 1836. Photo: Nizhny Novgorod Art Museum

Karl Bryullov. "Guessing Svetlana". 1836

This canvas immediately offers an example of the most dangerous divination. It is more effective to look out for a betrothed where evil spirits can live: in basements, attics, in pantries, and after that a fortune-telling mirror cannot be stored in the house. The artist painted this picture when he was visiting the family of Alexei Perovsky, an Arzamas citizen, the author of the fairy tale "The Black Hen, or Underground Inhabitants." Arriving from Italy just in time for Christmas, Bryullov recalls the plot of the romantic ballad Svetlana by Vasily Zhukovsky, which describes dozens of ways to look out for a betrothed, up to verbatim reproduction of conspiracies and folk songs. Another artist of the 19th century, Alexander Novoskoltsev (Svetlana, 1889), also succumbed to the desire to illustrate the same plot, but his heroine looks too fearless, resembling an experienced fortune teller. Hence a much more dangerous way of divination - not with one, but with two mirrors.

Konstantin Makovsky. "Holy Divination". 1890s Photo: State Museum of the History of Religion

Konstantin Makovsky. "Holy Divination". 1890s

The itinerant artist Konstantin Makovsky depicted peasants often and with love. Often his gaze turned to pretty girls, even those who would never find a betrothed - the heroines of his 1879 painting were girls who died before the wedding and therefore, according to Slavic mythology, became mermaids. Although he usually preferred more cheerful subjects - for example, half a dozen young people surrounded the Christmas rooster. The principle of divination on chickens is as follows: you need to trust the bird, which will decide for itself whether to approach the grain, the bowl of water, the mirror, or another chicken. This, according to popular belief, will determine a rich, drinking, handsome or fickle betrothed. If there are not enough accessories, you can simply count how many grains the rooster ate: if the number is even, the year will be good.

Nikolai Pimonenko. "Holy divination". 1888. Photo: Krasnoyarsk Art Museum named after V.I. Surikov

Nikolai Pimonenko. "Holy divination". 1888

The son of the owner of the icon-painting workshop, another Wanderer, Nikolai Pimonenko, depicts two peasant women at Christmas time, reminding the viewer that it is best not to guess alone. This is not so scary, besides, a friend can help with deciphering the signs, especially when it comes to such complex fortune-telling as wax casting. The girls lit a candle and dripped wax into a cup of water. So that the wax, as in the case of Pushkin's Tatyana Larina, would not just "say something wonderful with a wonderfully poured pattern," the fortune tellers examined the shadow from the frozen wax blot, projecting it with a candle onto the wall. Without practice and a good imagination, the profile of a loved one is unlikely to be seen, but if circles or something in the shape of an egg are visible in the wax, then, according to Slavic beliefs, it is worth waiting for marriage in the coming year. It is interesting that, unlike Pimonenko, who depicted unmarried, simple-haired girls, another artist of the 19th century, Yegor Solntsev (“Fortune-telling”, 1844), in the same plot, paints girls in “magpie” hats decorated with pearls and ribbons. This most expensive element of the folk costume was the most richly decorated and included up to 20 elements. In wealthy peasant families, young girls were allowed to wear such a headdress only on the biggest holidays, for example, on the eve of Christmas.

Alexey Venetsianov. "Card reading". 1842. Photo: State Russian Museum

Alexey Venetsianov. "Card reading". 1842

To avoid awkward situations with throwing shoes out of the window or calling passers-by (the name of the first person you meet will be the name of the betrothed) will help another, the most familiar way of fortune telling - on the cards. The carefully written details in the painting suggest that the girls are using a "13 card" layout that shows the past, present and future. The girl holds the ace of spades in her hands with the point up, which can mean an imminent fun feast or holiday. In the paintings of our contemporary, the artist of the realistic school, the ethnographer Yuri Sergeev (“Fortune telling on the cards”, 1990s), young heroines are taught to guess by their grandmothers, who are also festively dressed up for the occasion.

In the end, any method of divination can be chosen. The main thing is to come true.