Pavel Dmitrievich Korin (1892-1967) - Russian soviet artist, portrait painter, muralist. Originally from the city of Palekh, Vladimir Region. He studied at the School of Painting, Sculpture and Architecture.
A one-story old Moscow mansion between Bolshaya and Malaya Pirogovskaya - the house of Pavel Korin. Now here is the memorial museum-workshop of Pavel Dmitrievich Korin, a branch of the Tretyakov Gallery. The works of Pavel Korin got into the gallery in 1927. Now in Lavrushinsky Lane there are many of his paintings and drawings. He forever entered the Tretyakov Gallery, and she herself entered his house.
And although Korin's workshop has become a museum, everything in the house is alive, non-museum. The hearth of home comfort does not go out here. On the walls in the living room are watercolors painted by Pavel Korin in Italy, in Palekh, his native village. Above the antique sofa is a portrait of young Korin by his teacher Mikhail Vasilyevich Nesterov. In a black shirt, with a palette in his hand, he looks somewhere to the side - all captured by creativity. His eyes are burning feverishly, the colors on the palette are burning with fire. "Inspiration" - that's how I want to call this portrait.
In the living room, at a large round table, in cozy armchairs upholstered in green prominent people: writer Alexei Nikolaevich Tolstoy, artist Vasily Ivanovich Kachalov, architect Alexei Viktorovich Shchusev, artists, Diego Rivera,. .. Many considered it an honor to visit Korin. The library is the most impressive. Hundreds of volumes bound in gold-embossed leather, books that any bibliophile would be proud of.
Everything in the house of Pavel Dmitrievich Korin breathes art. In each item - the taste of the master, his artistic flair, his subtle understanding of the beauty and nobility of things. This world is consonant creative pursuits Korina. A person who lived here could say: “My art must be spiritual-titanic. At the height of the spirit!
S. Razgonov
The art world is not stingy with paradoxes. The musical avant-garde presented the sophisticated listener with works without a single sound. The artistic avant-garde has taught us to admire the gaping emptiness of a frame hanging on the wall. However, here and there a certain Meaning was always assumed, which means that there were those who claimed to comprehend it, arranging applause for the creators of unknown masterpieces.
Much more often, unfortunately, an unhewn block of marble or an untouched stack of sheets music paper- only evidence of the uncreated, a monument of Creative Failure. During the life of Pavel Dmitrievich Korin in front of a huge, eight by seven meters, whole piece canvas, neatly stretched and carefully primed, there was no praise and applause. Years passed, and the canvas remained untouched, becoming little by little a kind of symbol of the artist's fate.
... The boy from Palekh was hardworking. It was zeal that did not allow him at first to get lost among other hereditary and gifted peers of the same age, who received icon painting as their main legacy. And now he is already in Moscow, in the icon-painting workshops, and after a while - as a student of Mikhail Vasilyevich himself
Korin's diary reflected the painful internal processes of those years. How stunning was the “discovery” of the fact that “besides artistic craft, there is art in the world”! What was to be done? “Skinning my skin, I crawled out of the icon painting.”
Nature rewarded him with the gift of apprenticeship. Korin himself measured the deadlines for himself, he chose the standards himself. Years on the anatomical theater, on copies from favorite masters, on unparalleled trips to the old Russian cities, where Theophanes the Greek was. Half-starved existence, odd jobs, later - the hard bread of the restorer. The first independent works appear when the artist is thirty-three. The "eternal" disciple is immediately recognized as a mature master; his paintings were acquired by the Tretyakov Gallery.
Further - recognition and again work. It was then, according to the artist's wife, that Korin's idea for the painting was born. In the midst of the reckless construction of a bright future, he plans to write the Requiem. At the funeral of Patriarch Tikhon (1925) from all over the former Russia, “passing kaliks, wanderers” gathered, “mossy hermits crawled out of all the cracks.” With the sharp intuition of an artist, Korin prophesies: “Write all this, don’t let it go! This is a requiem…”
Requiem. Sketch of the overall composition. 1935-1939 years.
And the sketches begin. He collects models for the Painting literally on the street. Some have to guard, so as not to run away, others - to cover with rags with gasoline because of excessive lice. A hundred year old man. Dirty legless beggar. Father and son are carpenters… The sketches came out in such a way that soon all Moscow art lovers started talking about them.
A wave of rumors reached M. Gorky. The writer personally visited Korin's workshop and, after viewing the paintings, called his art "real, healthy and condo". Praise was not limited. Acquaintance with Alexei Maksimovich turned into a long-desired trip to Italy for the artist. The contract with the All-Artist provided the means and the opportunity to focus on the Painting. Gorky, approving the idea, subtly advised to change the name to "Outgoing Rus'". By his efforts, the necessary canvas was also ordered. He also suggested that Korin paint his portrait in order to "justify" the artist's stay abroad. The portrait was a success, and after Pavel Dmitrievich had a chance to paint Kachalov and Nesterov, A. Tolstoy and Zhukov.
Portrait of the artist M. S. Saryan. 1956
Portrait of the sculptor S. T. Konenkova. 1947
Portrait of the artist M. V. Nesterov. 1930
Portrait of A. N. Tolstoy. 1940
Portrait of the artist L. M. Leonidov. 1939
Portrait of an Italian artist 1961.
Portrait of pianist K. N. Igumnov. 1941-1943 years.
And what about the Picture? With the death of Gorky, it had to be postponed. He barely managed to defend the sketches, which he had to buy (!) from Vsekokhudozhnik, which refused to finance further work and demanded that everything that had already been done be handed over. It was open bullying. For twenty years, the artist took on any orders, gave lessons in order to pay for his own sketches, without which the Picture could not have been painted. Among other things, the Korins were almost evicted from the wing ...
The first personal exhibition of Pavel Dmitrievich took place on the occasion of his seventieth birthday. The success was huge, there were a lot of visitors, there were queues. A old painter, enjoying the fame that came so late, he still believed that he would start his Picture, that if he didn’t complete it to the end, then at least he would master the drawing, “the canvas would be dirty.” A few years later he was gone.
Alexander Nevskiy. Mosaic ceiling of the Komsomolskaya metro station.
He left us magnificent monumental portraits, a house-museum with a collection of furniture, icons and paintings, mosaics of the Komsomolskaya-Koltsevaya metro station and stained-glass windows of Novoslobodskaya. And a spacious mysterious canvas, a companion of almost all creative life, the mystical counterpart of his painted paintings.
“Everything is given a double honor:
to be that - and that. The subject happens
that he really is,
and what it reminds of.
in the Moscow memorial museum Korin (now a branch of the State Tretyakov Gallery), these images arouse genuine and ever-growing interest, both of the artist's compatriots and foreign visitors to the museum. Perhaps this interest is explained not so much by the pictorial skill, although it is obvious, but by the nature of the images of the Korin epic itself. The modern viewer, so experienced and sophisticated, is shocked by the highest psychologism of the characters and the amazing concentration of spirituality. And now, having comprehended the vain wisdom of the 20th century, often misguided, our contemporary freezes at the canvases and, spellbound, perhaps for the first time so acutely feeling the diversity human being, seeks to absorb a particle of that deep spiritual power and moral strength that these images are filled with.
High professionalism and a realistic manner of painting make the heroes of Korin's "Rus" amazingly alive. These are people of amazing genuineness and openness, their fortitude does not suppress, rather the opposite: being a silent example of real human dignity, they encourage the viewer to straighten up and call for spiritual composure and courage. It is no coincidence that in the sad 1930s for Russia, N.I. Bukharin, who again visited Pavel Korin, already doomed, would say: “Pavel Dmitrievich, excuse me, but I felt the need to visit you again, look at your Rus once more ... to gain strength for a possible future…”
... Under most of the canvases are the dates of those terrible years for Russia: 1930, 1931, 1933, 1935 and, finally, 1937! And when a modern museum visitor notices this, his amazement grows even more. The same questions arise: who are these people, where did Korin see them, how the cycle was created?
Korin saw them in the spring of 1925 at the funeral of Patriarch Tikhon. The patriarch died in his Moscow residence, at that time the Donskoy Monastery. This event - the death of the First Hierarch of the Russian Church - caused a mass pilgrimage to the bed of the deceased. On all roads to Moscow, to the walls of the Donskoy Monastery, full-flowing human rivers flowed. Tragic guise, silently, day and night, this Rus' went on and on. Writers, composers, and artists have been there - all those who could understand the significance of what is happening. Among the artists was a sincere singer of this spiritual, or, as he himself called it, "Holy" Rus' - Mikhail Vasilyevich Nesterov. And with him a constant companion and by that time the closest friend - Pavel Korin. Both - both the student and the mentor - looked at this procession through the eyes of philosophers, realizing that they were present at the last, so unexpected and massive phenomenon, it would seem, long gone and suddenly reappeared from the darkness of centuries, Rus' of pilgrims, kaliks of passers-by, schemniks and monks.
Schimnitsa from the Ascension Monastery.
Young nun. Fragment.
Schimnitsa from the Ivanovo Monastery.
Schiegumenya (mother Fomar).
This Rus', which by the will of fate has existed on earth for a millennium and for this millennium has not changed a single feature of its spiritual face, in new historical conditions was doomed. And she left, knowing that she was leaving forever, but preferring to leave, to disappear than to change her essence. Korin sees how this very Rus', for the most part miserable in Everyday life, in these last, tragic for her, but at the same time stellar moments, shows all the strength of character. She, this Rus, left in Russian style, showing by her very departure a sign of eternity.
Is it any wonder that an artist with such a philosophical mindset that Pavel Korin was endowed with had an acute desire to capture such a majestic and tragic outcome, to preserve the images and characters of these people for future generations. One must imagine the situation in Russia of those days in order to understand the difficulties of the artist who set himself such a goal. But the biggest problem turned out to be the problem of posing. How to persuade a pilgrim or a monk to stand in front of an easel in Moscow in the 1930s?! For advice and help, Korin comes to his friend and mentor Mikhail Vasilyevich Nesterov. Mikhail Vasilyevich is ready to help and recommends Korin to his acquaintance, one of the hierarchs of the Russian Church who was then living in Moscow, already retired, Metropolitan Tryphon. Metropolitan Trifon, in the world Prince Boris Alexandrovich Turkestanov (or Turkishvili), belonged to an ancient Georgian princely family, and by his mother - to the Naryshkin family. A man who received a brilliant secular education, great piety, an unsurpassed preacher, he gained immense popularity and love among believers. All the then Orthodox Russia respected and honored him. Metropolitan Tryphon receives Pavel Korin and agrees to pose. True, referring to poor health, sore legs and old age, for only four sessions. In very difficult, tense conditions, for the four sessions allotted to him, the master painted only the head of the hierarch. Everything else - perfectly found for psychological characteristics Metropolitan - a fiery Easter vestment with all the attributes - Korin will write and prescribe already from the mannequin. This is where some disproportion in the image of the model comes from. But the main thing has been achieved. The image of Metropolitan Tryphon was captured and quite successful.
Metropolitan Tryphon.
Village priest (Fr. Alexy).
Perhaps it is precisely because of these harsh conditions, the lack of time to work from nature, that the Requiem's gallery of portraits is growing very rapidly.
At the same time, the rumor about the artist Pavel Korin is spreading. Many people aspire to get into his workshop. In the summer of 1930, not in Moscow, not even in Russia, but far away in Italy, in Sorrento, Alexei Maksimovich Gorky would hear the name of Pavel Korin. And then he would make a firm decision: he would certainly return to Moscow and visit the artist's studio. This day is coming. September 3, 1931 Gorky came to Korin. Having already seen numerous images of the “Requiem”, shocked, leaving Korin’s painting workshop, he said: “Listen, Korin, you are a real, great artist, and you have something to say. You are on the eve of creating a great epic. It is felt. Look, Korin, be sure to write! ... "
From that moment on, Alexei Maksimovich took the painter under his protection. Soon, on the advice of Gorky, Korin will change the name of the epic: instead of "Requiem" - "Leaving Rus'". Thus, the writer manages to somehow legalize the grandiose work of the artist. Gorky's understanding and care allow Korin to work on the theme of "Requiem" for five years - until the death of the writer himself. With the death of Alexei Maksimovich, the situation of the painter becomes more complicated, the conditions necessary for the continuation and completion of work on the epic quickly disappear. The last image of the "Departing Rus'" is marked in 1937. This is a huge, full-length portrait of Metropolitan Sergius, the then locum tenens of the patriarchal throne.
Metropolitan Sergius.
It is worth dwelling on this majestic image of the most famous hierarch, not only because it adequately completes the grandiose gallery of images of the “Departing Rus'” (in size, this is one of the two largest studies that the artist himself called “basses-profundo”), but and for the sake of reminding our contemporaries of the full significance of Sergius in the history of Russian Orthodoxy and in the history of our Fatherland.
This hierarch headed the Russian Church immediately after the death of Patriarch Tikhon and remained at its head until 1944. This fact alone speaks of his wisdom and remarkable diplomatic abilities. Now, probably, there are no more people left who could testify that this was a person from whom, literally in the first hours of the war, Stalin received moral encouragement.
At the same time, the metropolitan wrote his famous “Appeal to the Orthodox flock of Russia”, in which he called on the “faithful children” of the Russian church to help the Russian army in overcoming the terrible enemy. By the way, the well-known paragraph from this appeal, together with the “brothers and sisters”, will be read by Stalin in his memorable speech of 1941. And in fact, from the hands of this hierarch, the Soviet command received tank brigades named after Russian heroes: “Ilya Muromets”, “Dobrynya Nikitich”, “Alyosha Popovich”, fully equipped with funds raised by believers.
The image of Metropolitan Sergius is one of the few in which we have the opportunity to recognize a specific historical person, which served as a kind for the artist. In most cases, we do not know the people who posed for Korina. The artist himself answered this usual (and most frequent) question evasively and in monosyllables: "Living people when I painted them." Moreover, such, in general, natural curiosity caused him usually slight annoyance, because such concretization of images deprived them of philosophical meaningfulness: it was not for nothing that Korin himself called his studies types: “Young Hieromonk”, “Blind”, “Father and Son” , "Beggar" and so on. The portrait of Metropolitan Sergius is one of the few personalized works of the master, and at the same time the last in the cycle of images of "Outgoing Rus'".
Two. Hieromonk Mitrofan. Fragment.
The only thing Korin allowed himself to think and work on, returning to the theme of "Rus" again and again, was the development of a sketch of the overall composition. Under the sketch are the dates: 1935-1959 - evidence that we have before us the fruit of reflection throughout the life of the artist. The seriousness and grandeur of the composition is also evidenced by the fact that it is being built for the interior of the once main temple of Russia - the Assumption Cathedral of the Moscow Kremlin.
Attentive spectator studying overall composition, the protodeacon's uplifted huge hand will undoubtedly puzzle. After all, this is a gesture that does not end the liturgical action, it is preceded by it. And at the same time the artist restores original name epics: "Requiem", that is, the outcome, the last procession. How to combine and compare it - "End" and "Beginning", outcome and anticipation? Perplexity seizes us, but not them, coming to us on the canvas. After all, these people see the beginning in the end, in the end of the temporal - the beginning of the eternal.
Another mystery of the picture is the triumvirate of the Patriarchs. historic moment there can be only one such figure, but there are three of them on the canvas. And the image of each is carefully spelled out, and we recognize in the center Patriarch Tikhon, who died in 1925, to the right of him - Patriarch Sergius, who died in 1944, and to the left - Sergius's successor - Patriarch Alexy, who died in 1970. Before us, as it were living history Russian Orthodoxy of the 20th century. But the most amazing thing is that Pavel Korin in 1935, in the form of an ordinary 25-year-old hieromnach Pimen (Izvekov), saw the fourth and put him in the foreground! This is the figure of the modern patriarch Pimen. Let us note that already on the corresponding study, the figure of the bishop is, as it were, a picturesque background for this hieromonk, judging by the panagia on his chest.
And the last. This is the figure of Metropolitan Tryphon. He was actually small in stature. On the etude, it is even lower. And so, by transferring this character into the composition, Pavel Korin not only retains that bodily understatement, he exacerbates it, bringing it to the grotesque. Placing the metropolitan next to the giant protodeacon, he accentuates his small figure with color, retaining the Easter fiery vestment] Highlighting the metropolitan in tone and position, the master makes him the core of a colossal human wall. After all, if you try to extinguish this torch, then the huge human wall will inevitably go out and collapse. It is unthinkable without the figure of Tikhon. Here, perhaps, is the allegorical key with which one should approach the disclosure of the painter's intention. According to Pavel Korin, a person is always a victory of the strength of the spirit over the flesh.
Archbishop Vladimir.
Recently, another powerful image appeared in the museum's exposition. Obvious pictorial merits distinguish him even among the most significant images of "Rus". In the gloomy interior of a temple or chapel, slightly bowing its head, stands a figure in bishop's vestments and a mitre. Out of nowhere, a ray of light from above revealed details of the vestment: miter stones, a figured hilt and a precious staff. Above the shoulder of the hierarch and behind his figure, in the unsteady light of numerous candles and multi-colored lamps, one can guess the strict image of the Headed Savior. The lowered right hand of the hierarch depicts a censer with smoldering coals of incense. When you peer into this image, associations involuntarily arise with the paintings of the brilliant Dutchman Rembrandt van Rijn: the same beating, almost mystical ray of light from nowhere snatches out of the twilight and makes jewels, robes play, mysteriously enlivens the human face, so that in a strange half-light-half-darkness it reveals all the complexity of human nature - "victims of demons, but constantly striving for perfection ..."
According to the artist's wife P.T.Korina, Korin himself showed this study to almost no one, saying that the thing was not finished, the face of the hierarch was not written, although today the real reasons for the master's alleged neglect of his creation are becoming clear. Firstly, this face, and in front of us it is the face, and not the face, does not need to be drawn - it already exists. Secondly, we have before us not just an image, a portrait of some clergyman, but a portrait of spirituality as such, and, moreover, of such concentration and strength that analogies can only be found in the icon. That is probably why the name of the picture - "Departing Rus'" - became forced in those difficult times when, in order to glorify the spirit of a truly Russian character, it was necessary to at least formally recognize these features as leaving.
Those who knew Korin also knew that he did not believe in the departure, the disappearance of spirituality. Everyone remembers his passionate statement: “Rus was, is and will be. All the false and distorting its true face can be, albeit a protracted, albeit tragic, episode in the history of this great people. That is why now, when the time of insights and results has come, the images of his epic, perhaps, are needed by people more than ever.
Vadim Narcissov. Magazine "NN".
Korin Pavel Dmitrievich Korin Pavel Dmitrievich
(1892-1967), painter, folk artist. USSR (1962), full member of the Academy of Arts of the USSR (1958). Thematic paintings (triptych "Alexander Nevsky", 1942-43) and portraits ("M. S. Saryan", 1956, "R. Guttuso", 1961) are characterized by spirituality and strong-willed composure of images, monumental rigor of composition and drawing. He also worked as a muralist (mosaics at the Komsomolskaya-Koltsevaya metro station in Moscow, 1951) and as an art restorer. State Prize USSR (1952), Lenin Prize (1963).
KORIN Pavel DmitrievichKORIN Pavel Dmitrievich (1892-1967), Russian painter, People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). Thematic paintings (triptych "Alexander Nevsky", 1942-43) and portraits ("M. S. Saryan", 1956, "R. Guttuso", 1961) are characterized by spirituality and strong-willed composure of images, monumental rigor of composition and drawing. Restorer. Lenin Prize (1963), State Prize of the USSR (1952).
* * *
KORIN Pavel Dmitrievich, Russian artist. He combined the classical themes of Russian art with the tradition of Art Nouveau (cm. MODERN), becoming the largest representative national-romantic direction in the domestic fine arts of the mid-20th century.
Path to Requiem
The son of a peasant icon painter, he personally learned the skills of icon painting, which he later applied as a restorer. Studied at the Moscow School of Painting, Sculpture and Architecture (1912-16) under K. A. Korovin (cm. KOROVIN Konstantin Alekseevich) and S. V. Malyutin (cm. MALYUTIN Sergey Vasilievich); however, the legacy of A. A. Ivanov had a fundamental impact on the young artist (cm. IVANOV Alexander Andreevich), as well as religious themes by M. V. Nesterov (cm. NESTEROV Mikhail Vasilievich) with their monumental lyricism. He lived and worked in Moscow, often visiting his native Palekh (which he lovingly captured in the panoramic landscapes of the 1920s).
In the post-revolutionary years, he made several large copies of fragments of Ivanovo's "The Appearance of Christ to the People", thereby striving to find the way to his own picture, which, as he dreamed, would symbolically sum up Russian history. Korin's ambitious plan finally took shape on the day when he was present at the Donskoy Monastery at the funeral of Patriarch Tikhon (cm. TIKHON)(1925). In the crowd of thousands of believers, the artist saw, as it were, “all of Russia”, Nesterov’s “holy Rus'”, which came to say goodbye not only to its shepherd, but also to its historical past, ruthlessly rejected by the revolution. Here he makes the first sketches, finds the first types for the figures of the future picture action.
Initially, it was assumed that the environment of the "Requiem" (as Korin wanted to call his painting) would be an open landscape, a kind of valley of Jehoshaphat, where, according to biblical tradition, the peoples of the Earth would have to gather for the Last Judgment. Later, another scene is chosen: the interior of the Kremlin's Assumption Cathedral (cm. ASSUMPTION CATHEDRAL (in Moscow)) where the solemn service is taking place; all those present at it are united by a common sorrow for the catastrophe that has taken place, apocalyptic in its scale. Korin paints wonderful portraits of members of this pictorial cathedral unity: laity ("Father and Son", 1930; "The Beggar", 1933), priests, monks and nuns ("Schemnitsa", 1931; "Abbess", 1935; and others; almost everything is in the house-museum of Korin), including portraits of the future patriarchs Sergius and Pimen. These images, combining detached self-deepening with tragic heroism, are solved monumentally and powerfully, and Korin's brush turns out to be much sharper, harsher and more dramatic than Nesterov's brush.
Gorky and new "heroic portraits"
Of great importance in the fate of Korin was acquaintance with Gorky (cm. GORKY Maxim)(since 1931). The writer takes him under guardianship, giving him the opportunity to freely write “Rus' Leaving” (as Gorky suggested calling the picture), without fear of suspicion of “counter-revolutionary sentiments”, invites him to his villa in Sorrento, thereby giving the opportunity to visit Italy, get to know her classical art, which makes a tremendous impression on the artist. In Sorrento, Korin paints a portrait of Gorky (1932), adjoining the Requiem with its gloomy tragedy.
After the death of the writer, Korin is summoned to the NKVD, practically forbidding him to continue working on the main picture of life. Restoration work serves as a creative outlet for him (later, in particular, he supervises the restoration of paintings in the Dresden Gallery (cm. DRESDEN ART GALLERY)), as well as portraiture, now entirely secular. In 1939-43, commissioned by the Committee for the Arts, he painted a number of portraits famous figures Soviet culture (“M. V. Nesterov”, 1939; “A. N. Tolstoy”, 1940; “V. I. Kachalov”, 1940; all in the Tretyakov Gallery; etc.) - sharp expression, the power of color and compositional rhythms are sometimes combined here (as, for example, in the portrait of Tolstoy) with frank idealization.
From that time on, he also received monumental orders, however, works of this kind (sketches of the frieze "March to the Future" for the Palace of Soviets (cm. PALACE OF SOVIETS), 1941-47, Korin House Museum; mosaic and stained-glass windows at the Novoslobodskaya metro station, 1951; etc.) do not stand out above the average level of the official decorative arts those years. An exception is the mosaics at the Komsomolskaya metro station.
Military and post-war periods
Mosaics at the Komsomolskaya-Koltsevaya metro station (1953), dedicated to military history Russia, as well as other historical canvases of the 1940-60s (triptychs "Alexander Nevsky", 1942-43, Tretyakov Gallery; "Flashes", 1966, not finished, Korin House-Museum), constitute a special chapter in the master's work. The features of Art Nouveau, the specific “Northern Art Nouveau”, the radiance of sonorous color tones, the bewitching monumental rhythm are combined here into cycles of impressive national-romantic spectacles, expressing the best, the highest quality in terms of artistic performance, the properties of the “triumph style” with its pathos of military exploits.
After the war, Korin resumes work on the Requiem (having completed the compositional sketch of the canvas in 1959), still fruitfully acts as a portrait painter (S. T. Konenkov, 1947; M. S. Saryan, 1956; both in the Tretyakov Gallery ; and etc.). Already during his lifetime, a whole house-museum was formed in his workshop, including, in addition to his own works, a wonderful collection of icons and other works of Russian church art, which he collected throughout his life (the Korin House Museum was officially opened in 1971).
encyclopedic Dictionary. 2009 .
See what "Korin Pavel Dmitrievich" is in other dictionaries:
Pavel Korin P.D. Korin, 1933 Birth name: Pavel Dmitrievich Korin Date of birth: (June 25 (July 7) 1892 Place of birth ... Wikipedia
Soviet painter, People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). The son of a peasant icon painter. He studied at the Moscow School of Painting, Sculpture and Architecture (1912-16) under K. A. Korovin ... Great Soviet Encyclopedia
- (1892 1967), Soviet painter. People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). He studied at MUZhVZ (1912 16) under K. A. Korovin and S. V. Malyutin, was influenced by M. V. Nesterov. Led the restoration workshop of the Pushkin Museum ... ... Art Encyclopedia
- (1892 1967) Russian painter, People's Artist of the USSR (1962), full member of the USSR Academy of Arts (1958). Thematic paintings (triptych Alexander Nevsky, 1942 43) and portraits (M. S. Saryan, 1956, R. Guttuso, 1961) are characterized by spirituality and ... ... Big Encyclopedic Dictionary
Genus. 1892, mind. 1967. Russian painter. Graduate of the Moscow School of Painting, Sculpture and Architecture (1916). Student of K. A. Korovin. Works: "Father and Son" (1930), "Portrait of M. Gorky" (1932), "Beggar" (1933), ... ... Big biographical encyclopedia
Wikipedia has articles about other people with this last name, see Korin. Pavel Korin Birth name: Pavel Dmitrievich Korin Date of birth: June 25 (July 7) 1892 (1892 07 07) ... Wikipedia
Korin, Pavel Dmitrievich- P.D. Korin. Alexander Nevskiy. The central part of the triptych. 1942 43. Tretyakov Gallery. KORIN Pavel Dmitrievich (1892-1967), Russian painter. Thematic paintings (Rus' is leaving, or Requiem, 1920-30s, not finished, ... ... Illustrated Encyclopedic Dictionary
- (1892, Palekh 1967, Moscow), painter, People's Artist of the USSR (1962), full member (1958). From a family of hereditary Palekh icon painters; Brother. In 190811 he worked in the icon-painting chamber at Moscow. In 1911, an assistant at the murals ... ... Moscow (encyclopedia)
Maxim TYCHKOV, Member of the Union of Artists of Russia, lecturer at the St. Petersburg State Art Academy
Culture plays an exceptional role in the life of Russia. Some works of art determined the image and direction of thoughts of entire generations. Others were the justification of the eras in which they were created.
There lived in recent times an artist whose name can be put next to the name of Alexander Ivanov - in terms of boldness and majesty of tasks, in terms of skill, and whose service to art is worthy of being called a feat.
Pavel Dmitrievich Korin was an artist not only by vocation, but also by birth. His arrival in great art prepared more than one generation of peasant icon painters from the famous village of Palekh. In 1909, the sixteen-year-old master icon painter Pavel Korin went to Moscow to continue his art education. His heart was in realistic painting, he was delighted looking at reproductions from paintings by the great masters of the High Renaissance. From the time of the first acquaintance with these samples and for the rest of his life, his ideals in art were unshakable: only lofty, tragic, spiritual, heroic should be the content of his work. He understood that lofty thoughts should be expressed with powerful plasticity.
Having settled in Moscow, Korin met M.V. Nesterov. The young Paleshian found in the person of the venerable artist a friend, like-minded person and a wise mentor, who directed him on the path of a systematic art education.
After graduating from the Institute of Painting, Sculpture and Architecture, Korin continued to improve his artistic craft. Until the age of 30, he did not dare to take on own creativity considered himself a student. In his own words, he “corroded the 17th century out of himself”, consistently developing his already powerful gift as a draftsman. Personal deep faith, rooted in folk traditions, remarkable talent and exceptional ability to work Korin prepared a bright and thoughtful artist for Russian culture.
In difficult times, a young, full of strength Pavel Korin entered the artistic life. By the beginning of the 20th century, in Russian painting, after its long wanderings in cold Western academism, politicized wandering, marginal decadence, a national "Russian style" had developed and began to develop. In 1916, M.V. Nesterov painted the painting “The Soul of the People ..”, which summed up the return of Russian art to the original Christian soil. In this large Nesterov picture - the Tsar and the holy fool, elders and youths, soldiers and nuns, peasants and great Russian writers - praying, Easter Russia. But there is some anxiety in her ...
Ten years later, the teaching of history will be abolished in Russia, it will be replaced by “political literacy”. The time will come, about which the poet prophetically said: "And many Pontian Pilates, and many crafty Judas crucify their Fatherland, sell their Christ." The people-prayer, sung by Nesterov, two years after the creation of this picture, will begin to renounce their faith or pay for its confession with blood.
The revolution, like a gigantic flood, will flood the Russian shores, lift all the dirt and dregs from the bottom and bring them to the surface, change the sovereign channel of Russian life beyond recognition. A lot of time will pass before the river calms down, the silt settles, the reflection appears again. Other generations of Russian people will come and again see the Sky in reflection, but the shores will already be different ... Korin had the role of a witness to the Russian catastrophe. left by him creative legacy helps to give a little idea of the outlines of the lost great Russian Empire and to see the path that Russian art could take.
Pavel Korin was a follower of the tradition dating back to the time of A. Ivanov, when “historical” painting was considered the pinnacle of painting. A "historical painter" should paint real heroes, express great, and not momentary thoughts with his work. He has a great responsibility for choosing a theme and its implementation. Under Alexander Ivanov, Russian society was looking for truth at two poles: "Westernism" and "Slavophilism." Being in Italian solitude, observing this division from afar, Ivanov, with the boldness of his creativity, contemplated the heights of the superworld and soared to that height, to which such divisions do not reach.
Korin lived in other times, when the division affected the foundations of being. Everyone was faced with questions: “Who are you?” and “who are you with?”. The historical painter Korin could not pass by this tragedy. He prepared himself for big picture I was looking for my topic.
Korin could not choose a different theme for the main picture of his life than division of the Russian people . With all his spiritual, artistic, civil dispensation, he was prepared to perceive the true pathos of the events taking place and, bypassing class political, class prejudices, to see the true heroes of his time.
In 1925, in the Donskoy Monastery, at the funeral of Patriarch Tikhon, Korin found the plot of his future picture. All estates and ranks of the former Russia, people of all ages and professions have gathered here to give the last kiss to the Patriarch-Confessor and testify to their loyalty to the persecuted Church. Standing in this endless stream of people, the artist visibly saw how beautiful and invincible Good is. Evil, dropping all masks and masks, openly destroyed the best representatives people, paralyzing the rest of it with fear. The people who came to the funeral of the Patriarch have made their choice. Then they will leave one by one, but now they are the salt of the Russian land, they have gathered together for the last time. Here the artist had the whole idea of the future canvas. An image of lofty tragedy and greatness arose before him. The last parade of thousand-year Orthodox Russia. It won't easter theme, which Nesterov told, and the theme of Good Friday. The last classic of Russian painting, Korin called the conceived painting "Requiem".
Having started work on a sketch of the future canvas, he started looking for his “heroes” - people who externally and internally resemble those whom he saw at the tomb of Patriarch Tikhon. In his walks around the monasteries and churches of Moscow, Korin often met bright types and characters, but every time he was refused an offer to pose. Already at that time, the Russian people were losing one of their main qualities - gullibility, and for many the “whim” of an artist who started some kind of picture in such a dashing time was incomprehensible.
Through Nesterov, Korin decided to turn to Bishop Trifon Turkestanov. The legendary figure was Metropolitan Tryphon.
In his youth, having received a brilliant education, after meeting with Rev. Ambrose of Optina chose the monastic path. He carried out his obedience both in the transit prison and in the trenches of the First World War, from which he returned with the St. George Cross, a golden panagia with the inscription: "For courage" and with an eye blind from a wound. The Metropolitan enjoyed the love of the whole people; intellectuals and cooks considered him “their Lord”. For the latter, before the revolution, he served night liturgies, so that they could fast and take communion without leaving daytime affairs. Among the spiritual children of Vladyka were actress M.N. Ermolova, singer A.V. Nezhdanova, conductor N.S. Golovanov, artist M.V. Nesterov. At the end of the 30s, Metropolitan Tryphon lived in retirement. An associate of Patriarch Tikhon, he inspired a large flock to stand firm in the faith.
Pavel Korin turned to this bishop. And he warmly supported and blessed his plan, agreed to pose for several sessions. The blessing of Metropolitan Tryphon and the portrait painted from him opened the hearts of people to Korin, to whom the artist now turned with the same request for posing. Having learned that "Vladyka Tryphon himself stood before him," these people agreed to an unusual occupation.
For Korin, a period of intense and inspired work began, which lasted from 1929 to 1937, when he created the entire gallery of sketches for the Requiem. 32 images were captured by the artist on monumental canvases. It was the time of the highest flowering of his talent.
Like his heroes, he was placed on the other side of the line that the new government assigned to “superfluous” people with his whole life, convictions, and faith. No wonder M. Nesterov wrote about the Korin brothers: “... this breed of people is now dying out and, perhaps, doomed to complete destruction. And, however, as long as they exist, I will not get tired of admiring them. The portrait of the young Pavel Korin, made by Nesterov in 1925, shows a person of the same spiritual warehouse as those people whom Korin himself wrote for his Requiem.
In 1930, Korin wrote "Skhimnitsa from the Ivanovo Monastery." Arriving to pose "out of obedience", she did not notice the atmosphere of the workshop, did not delve into the artist's intention, but immediately indulged in her usual business - prayer. Throughout the session, she stood motionless with a copper cross and a lit candle in her hands. When the candle burned out, they offered to take a break. The artist's wife wanted to take the cross from the nun, but, crying out, she dropped it: it became unbearably hot from the flame of the candle. To the question of how she held it all the time, the schema girl simply answered: “So I prayed ...”
Korin wrote to a priest from his native village of Palekh, Fr. Alexia. A simple Russian priest, he survived the suicide of his son, the branded “guilt” of the parent, the betrayal of his flock, the desecration of his temple ...
A striking portrait of "Father and Son" - Sergei Mikhailovich and Stepan Sergeevich Churakov. Two generations from a large family of self-taught carpenters and sculptors, with all their appearance confessing quality in work, patriarchy in everyday life. Korin has preserved for us the appearance of representatives of a traditional Russian family with unshakable moral principles and a hierarchy of relationships between generations.
The 1932 painting “Young Novice” depicts the future Russian New Martyr Fr. Theodore Bogoyavlensky. Then he, a recent graduate of the medical faculty, was just preparing for the tonsure, he lived with the last monks of the Zosima Hermitage. In the midst of the godless five-year plan, he was about to renounce the world. And the world was preparing to respond to him with "class hatred." On the stretcher of the portrait, Korin wrote: "The monk was late, late ..."
Among the studies was "Portrait of a Blind Man". Korin saw this hero of his in the Dorogomilovsky Cathedral, where he served as regent of one of the kliros. Later A.M. Gorky, who came to see Korin's studies for the first time, will be struck by the blind man's fingers, with which he, as it were, "sees" the space in front of him. But he was given to see something else. When he posed, he sensitively caught the sounds of the street coming from the 6th floor, he said: “But Babylon is making noise!” ... The cathedral, in which this Korin hero regent, was demolished in the late 40s.
... There was a second "godless" five-year plan. The destruction of the peasantry began. Newspapers burned with hatred for the "former" - the clergy, professors, nobles. In production, open voting was held for death penalty"enemies of the people", the children renounced their own parents. In 1930, "war on the temples" was declared.
Korin lived in his studio on the Arbat, an uncomfortable attic filled with huge casts of classical Greek sculptures, picked up by him from the street, where they were thrown out by supporters of Suprematism. Together with his brother Alexander and his faithful wife and assistant Praskovya Tikhonovna, they lived from hand to mouth, writing banners for demonstrations and teaching. There were legends about Pavel Korin and his painting in Moscow. Few people saw his sketches, but the news that an artist lives in the midst of terrible reality, who paints the pillars of persecuted Orthodoxy and thinks of dedicating a large picture to them, seemed incredible, inspired courage in many. The artist himself, who encroached on such an odious topic, walked on the edge of a knife. He, far from the artistic trends of his time, was deprived of permanent orders. He had no material opportunity to carry out his large-scale plan, and no change in the situation was foreseen.
And in 1931 M. Gorky visited the attic on the Arbat. From that moment on, the proletarian writer took the artist under his protection. In the same year, he arranged a trip for the Korin brothers to Europe and Italy to get acquainted with the original masterpieces of world art. He contributed to the device of Pavel Dmitrievich in the restoration workshops Pushkin Museum so that he has permanent income. But, most importantly, Gorky created all the conditions for the implementation of the large-scale plan of "Requiem". In 1932, he set up a spacious workshop for the artist in a separate wing on Malaya Pirogovskaya, ordered a huge woven canvas in Leningrad for a future painting, and, in addition, ensured Korin's immunity from attacks and persecution.
The history of Russian culture has known friendship between a brilliant writer and a brilliant artist, where the writer undertook by his authority to solve the material difficulties of the artist. So, in 1847 N.V. Gogol wrote an article history painter Ivanov”, where he explained to the Russian public the grandiosity, complexity and grandeur of the canvas conceived by Alexander Ivanov, called for support and help to realize the artist’s painting on the “world plot”. Of course, Gogol's role in communicating with Ivanov was not limited to mediating between the "Italian recluse" and Russian society. He provided the artist with spiritual and moral support. It was a communication of like-minded people, enriching each other's creativity and enriching Russian culture.
Gorky's participation in the fate of Korin is an undoubted fact, but one can hardly speak of their unanimity or mutual influence Each other. Both subtle, purely Russian intellectuals, they belonged to different poles of the broad Russian element. Gorky, in his youth inspired by revolutionary ideas, loudly sang violence, was noticed by Lenin himself. After the revolution, he belatedly saw the light, seeing that this Russian rebellion was not only “cruel and senseless”, but also disastrous for the people. He tried to stand up for individual representatives of the intelligentsia, for which he was hardly tolerated in the Land of Soviets. Perhaps in the support of Korin Gorky found consolation and justification for the collapse of his life. In addition, he recognized the outstanding artist of his time in the former Palekh icon painter. He was struck by the mastery, deep psychologism, artistic truthfulness, artistry of the etudes for the Requiem. He also approved the general idea, interpreting it in his own way. Gorky himself sought heroism in everything, linking his aspirations to the revolution. In the picture conceived by Korin, he saw, first of all, “nationality”, epicness, corresponding to the tectonic shift of the earth's layers that took place in post-revolutionary Russia. He offered his name to the painting: “Russia is leaving”. Under this name, Korinsky's sketch and idea entered the history of art.
On the sketch of "Requiem" in the interior of the Assumption Cathedral of the Moscow Kremlin, the wings of a colossal human wall opened in two directions. The huge hand of the archdeacon seems to give a sound to a huge bell, and this sound, like a smooth wave, passes through the silent human system and goes beyond the picture.
Next to the bogatyr-archdeacon is a small figure of Metropolitan Tryphon in scarlet Easter vestments, which burns like a bright torch in the center of the composition, illuminating the entire space of the picture. The scarlet color prevailing in the picture is the color of Christian martyrdom.
Turning the whole host of those who are coming with their backs to the altar, mixing the attributes and gestures of different services, the artist consciously shows the symbolism, generalization and exclusivity of the depicted event.
Korin depicted three patriarchs at once in the center on the pulpit: His Holiness Tikhon, Patriarch Sergius and Patriarch Alexy 1. Patriarch Pimen of Russia is also present in the picture, he is depicted in the right corner of the picture as a 25-year-old hieromonk, as the artist saw him in 1935.
This is the amazing prophecy of Korin, who simultaneously depicted in his picture four primates of the Russian Church, embracing the entire period of Soviet power from the beginning to its end with their reign.
The presence in the picture of many hermits, whose vocation is prayer for the whole world, testifies that this standing is significant not only for Russian, but also for world history.
Extinguished chandelier candles, scaffolding beams that outlined the living space of the temple on the right - as a symbol of the trampling of Truth in Russia, the destruction of unshakable traditions, violence against the inviolable.
When you look after the gallery of etudes-portraits at a detailed small sketch of the “Requiem”, the first impression is that the artist mechanically combined natural etudes, simply masterfully observing the laws of rhythm and balance. And that there is some compositional timidity in the fact that he retained all the poses that his models took while posing. This is probably due to the fact that portraits-etudes saturated with vital truth and artistic energy press on a chamber and dryish sketch with their monumental power.
This sketch is the fruit of many years (from 1935 to 1959) of the artist’s work and reflections, and it requires the viewer to “stand” in front of him in response – then only the compositional layering, symbolic fullness and fidelity of one thought are revealed. And the remarks about the natural dependence of the author disappear by themselves.
An artist-thinker who studied the heritage of the old masters all his life, Korin managed to solve the most difficult compositional problem. In music, the Requiem is a polyphonic cyclic choral work of a mourning nature. Korin managed to express the epic of universal scale and drama in the language of plasticity and color, revealing all the components of the musical genre.
Since 1936, a black period began in the life of the artist. After Gorky's death, a stream of accusations fell upon Korin that he "broke away from reality, did not participate in the development of proletarian art, went into depicting the reactionary environment" and that everything he had created so far was a mistake. A lot of zealous in the persecution of Korin's "brothers" in the shop. It was later, already in the last decades of his life, that he would be recognized as the greatest artist of our time, the patriarch of “socialist realism”, he would receive the title of People’s Artist of the USSR, his series of portraits of military leaders and artists would enter the treasury of world portrait art. ... And in the late 40s, Korin was repeatedly tried to be evicted from the workshop. The Tretyakov Gallery removed from the permanent exhibition all the paintings of Pavel Korin, who was declared a “formalist”. When the artist turned to the directorate of the museum with a request to give him for a while some of the etudes for the Requiem, located in the Tretyakov Gallery, which he needed to work on the picture, he received an answer that he could redeem their. Korin moved all his paintings, which became unnecessary to the new Tretyakov Gallery, to the workshop and then paid off the debt for more than 20 years for your work.
During the period of the highest flowering of his talent, at the moment of burning with his plan, the artist was forcibly removed from work. Then Korin fell seriously ill.
For many years, work on the Requiem was obscured by the project of colossal mosaic friezes for the Palace of the Soviets, which Korin undertook to prove his artistic reliability and loyalty to the authorities.
Truly Korin's talent was in demand during the Great Patriotic War. This unprecedented misfortune forced the authorities to recall the thousand-year history of Russia, caused a surge of creative and spiritual strength in our country, which began to lose historical memory people. Korin put all his knowledge of the spiritual beauty and core qualities of the Russian person, learned from the sketches for the Requiem, into the triptych Alexander Nevsky, written by him in 1942. This work, along with the anthem "Get up, huge country" appeared in
that period something big, than a mere piece of art.
Pavel Korin did not write his Requiem. From 1932 until the artist's death, there was a gigantic canvas in his studio, primed with gray paint, which the master's hand never touched. He is like a dumb reproach. But not to the artist, but to the era in which he happened to live. A huge canvas is like the scope of our vast Motherland, and its untouchedness is a symbol of the mighty creative potential not realized by our people. The ingenious sketches of Korin, as well as the outstanding feats with which the Russian people adorned themselves, having exhausted their last strength, were not created in Name, A despite to his time.
Those who knew Pavel Korin at the end of his life testify that he had the eyes of a suffering man. He often bitterly repeated that he had not fulfilled his destiny.
There were purely external reasons due to which Korin was never able to start his picture. Time always does not work for the artist who conceived the work large form. Over the course of life, while the artist hatches his idea and works on it, the world around him changes, he himself changes. “What at the beginning of the journey was worth a light glance, now it’s a terrible job,” A. Ivanov admitted at one time. Ivanov himself managed to keep his plan intact and bring it to completion after many years only because he lived as a recluse.
in Italy, away from the thick of public Russian events. Korin could not live outside his time, although he was also known as a recluse. How many "former" people who have become isolated from Soviet reality have been crushed by the Moloch of repressions or the struggle for existence has forced them to abandon lofty ideals! Thanks to Gorky, Korin survived and was free to engage in his work. But to work on the picture, it was necessary to renounce everything, fall out of life, rise above reality. How could he be distracted from the pictures of the destruction of what was the basis and value of his life, from the suffering and death of people close to him? Having received through Gorky access to the "powerful of this world", he constantly interceded for friends, acquaintances of priests, someone's relatives, who were imprisoned, expelled, deprived of voting rights. His heart did not know peace even in later “prosperous” times, when he tried by the power of his authority to save architectural monuments and artistic values from destruction and destruction. All my long life
Korin was deprived of the main condition for working on his epic - the peace of the external and internal. But he did not leave the thought to start and do main picture own life. Shortly before his death, he said: “This winter I will nevertheless stain my large canvas ...” At the same time, mechanical scaffolding was ordered by Korin to facilitate work on a gigantic canvas ...
The significance that his painting could have for Russian culture and history was recognized by many of Korin's contemporaries. Vladyka Tryphon blessed him for this work, Gorky asked him to paint a picture, helped him in every possible way and on a large scale. Nesterov also bequeathed to complete the work he had begun, even, jokingly, threatened that he would come from the next world and force him to finish the picture ...
Now all the sketches and the sketch for the "Requiem", collected together, are exhibited in the memorial workshop of P.D. Korina in Moscow on Malaya Pirogovskaya. The sensitive heart of the viewer, aching with the pain of his homeland, will unite the disparate fragments of Korin's epic and compose them in his imagination into a single picture. And confidence will be born that Korin's "Requiem" exists.
Russian painting has gone from St. Andrei Rublev, who depicted the inconceivable - the Pre-eternal Council, the Most Holy Trinity, through the genius of A. Ivanov, who attempted to express the mystery of the Incarnation in paints, to Pavel Korin, who testified in his work the loyalty of the Russian people to Christ.
120 years ago, in the famous village of Palekh, Pavel Dmitrievich Korin, one of the largest, most complex and tragic figures in Russian art of the 20th century, was born into a family of hereditary icon painters.
House of the Korins in Palekh
After graduation rural school at the age of 16 he was admitted to the icon-painting chamber of the Donskoy Monastery. Helped Nesterov to paint churches. The meeting with Nesterov, who understood art as a spiritual feat, as well as another "meeting" - with the work of A. A. Ivanov, admiration for his ascetic life strengthened in Korina the dream of devoting his whole life to serving art, reaching the heights of mastery, becoming the successor of the great traditions of Russian painting .
Korin has achieved and achieved a lot. But the most important work in his life, in which he put a lot of effort and his soul, remained unfinished...
In 1916, Korin graduated from the MUZhVZ, but, dissatisfied with his first independent work, he realized how far the cherished ideal was, how difficult the path to the intended goal was. In 1918-25, in the midst of turmoil in the country and in art, Korin seemed to carry out voluntary obedience: he draws a lot, copies, studies anatomy. He is convinced that the new and latest artistic currents they do not expand, but sharply narrow the possibilities of the artist, do not give him sufficient plastic means in his hands, that this movement is not up, but down.
In 1925, Korin, like A. A. Ivanov once, acquires his own theme. In April of this year, Patriarch Tikhon dies. All Orthodox Russia gathers in Moscow for his funeral. Shaken by what he saw, Nesterov's disciple, an Orthodox Russian, Pavel Korin realizes himself as an artist of this Russia, seemingly doomed, but continuing to live, confident in his spiritual rightness. He plans to depict a procession during the funeral of the patriarch.
On April 12, 1925, all of Moscow, if not all of Russia, seemed to have gathered for the funeral of St. Tikhon in the Donskoy Monastery. A 17th century painting came to life. And when - after seven years of persecution of Orthodoxy! It was a kind of last Cathedral of Holy Rus'.
Among the many people in the crowd were two artists - Pavel Dmitrievich Korin and Mikhail Vasilyevich Nesterov. Shocked by what he saw, Korin exclaimed:
It's a painting from Dante! This " Last Judgment» Michelangelo! Write it all down, don't let go. It's a requiem!
It was then that he had the intention to paint a large historical picture, which would be the image of all Holy Rus'.
Korin spent all 12 days of parting of the faithful with his Patriarch in the Donskoy Monastery. Here he made his first sketches. Then, already in the studio, he begins to paint portraits - sketches for a future masterpiece.
The funeral of the Patriarch was the occasion for writing a large historical picture, the composition of which was determined far from immediately. But her idea remained unchanged for decades - to write the procession of all Rus' to the Last Judgment.
Korin entered one of the first compositional sketches into the landscape of the Jehoshaphat Valley near Jerusalem. Then he decided to set the scene in Rome in Italy. But all these projects were defeated by the idea to move the scene to main cathedral Third Rome, which for the last five hundred years has been essentially the center of Eastern Christianity. The idea of the Third Rome is also connected with the Last Judgment, because "the fourth Rome will not happen." It is the Third Rome that must reach the Last Judgment and meet the Second Coming of Christ. So, following the logic of the 15th-century Pskov elder Philotheus, Korin's heroes find themselves in the main stronghold of the Third Rome - the Moscow Kremlin, near its walls. spiritual center- Assumption Cathedral.
In the autumn of 1932, Korin was first allowed into the Kremlin, which was then closed to the public. Over the next year, the artist makes sketches of the Assumption Cathedral and Cathedral Square, placing his heroes either on Cathedral Square or on the porch of the Assumption Cathedral. The artist began working on the last compositional sketch in 1935, and finished it only by 1959.
In the Assumption Cathedral of the Moscow Kremlin, in the center, on a special episcopal platform, stand Protodeacon Mikhail Kholmogorov and Metropolitan Trifon (Turkestanov), behind them are the three Patriarchs of Moscow and All Russia - Alexy (Simansky), Tikhon (Belavin) and Sergius (Stragorodsky), behind them a host of bishops, of whom only Metropolitan Anthony (Stadnitsky), Metropolitan Peter (Polyansky), and Metropolitan Anthony (Khrapovitsky) are recognizable.
On the sides of the central axis of the temple are many priests, monks and laity. In the foreground, a beggar is sitting in the center, a little to the right is a schema woman with a candle, behind her is a father and son. Behind them are seen standing on the dais Sheigumen Mitrofan and Archimandrite Nikita. To the right of the four people of the foreground, at a short distance from them, stands a group of monastics. From this group, Hieromonk Pimen (Izvekov) and Bishop Anthony come to the fore, a little to the left and further from the foreground, Archdeacon Kholmogorov, even further - a young monk, behind him stands a young nun, and only the head of the schema woman from the Ascension Monastery is visible, even further - deceit Tamar. On the left side of the wide carpet path, which marks the central axis of the cathedral, three people stand closest to the viewer. In the background, to the left of the bishop's dais, on which Protodeacon Kholmogorov with a censer stands near the edge, stand Shegigumen Agathon, the blind man and Hieromonk Alexy, further on - the old man, Father Alexy from Palekh and Archpriest Mitrofan Srebryansky (Archimandrite Alexy is a monk). Some of them have recently been glorified as saints.
All of them stand with their backs to the iconostasis and the altar, the Royal Doors are closed. It can be assumed that the liturgy in the Assumption Cathedral has just ended. It is possible that the last sketch of the composition of "Rus' Leaving" represents the moment of the end of the last divine service in the Assumption Cathedral, held on Easter 1918, the liturgy, which was led by Bishop Trifon (Turkestanov) of Dmitrov, vicar of the Moscow diocese.
In the picture, all the bishops who had served the Liturgy left the altar, the Royal Doors closed behind them, and everyone prepared for the procession, like a procession, only this “procession” should be directed to Christ at the Last Judgment. Therefore, Metropolitan Tryphon stands next to the protodeacon and looks in the same direction in which the hand with the censer is directed. And it is directed not to the east, as is customary, and not to the serving bishop, that is, Metropolitan Tryphon, but to the west.
Obviously, in this case, this gesture and the proclamation are addressed directly to God. Of course, the archdeacon at every church service addresses the Invisible God, because at the service, according to the teaching Orthodox Church Christ is present invisibly to us. But in this case, the question arises: why does Metropolitan Tryphon look in the same direction, to the west, where the gesture of the archdeacon is directed? It is obvious that Metropolitan Tryphon, like almost everyone else present in the Assumption Cathedral, is looking at the Last Judgment fresco, which is located on the western wall. If we mentally stand in the place of Metropolitan Tryphon and look in the same direction as he, then we will be convinced that he is looking at the image of the Savior on the fresco and the gesture of the protodeacon is addressed to Him.
It seems that Metropolitan Tryphon in the picture sees the Real, Living, Incarnate God. Through this, the artist not only compares what happened at the funeral of the Patriarch with the Last Judgment, but directly brings into his picture the idea of the reality of the imminent coming of the Last Judgment.
It is important to note that the picture depicts the fullness of the earthly Church. Real living members of the Church: bishops, priests, monks and laity; wanderer and beggar, young and old, men and women, simple artisans and former princes and princesses, people full of ardent faith and doubting, in a state of internal spiritual struggle and exhausted, lowered their hands; righteous, prayer books, martyrs and confessors, but also sinners, with their passions, and a traitor, who, like Judas, is also necessary for completeness, for “one of you will betray Me,” the three Patriarchs of Moscow (each at one time was the head of the Russian Orthodox Church) and the head of the Synod Abroad of the Russian Orthodox Church, Metropolitan Anthony (Khrapovitsky), who left the Eucharistic communion with the Locum Tenens of the Patriarchal Throne Sergius, who, in turn, banned him from serving. The Patriarchs who have already died are depicted, because only a few moments remain before the Last Judgment, and the dead, and first of all the faithful, must rise to the judgment, which will begin with them.
Korin's painting completes the search for a historical theme, which Alexander Ivanov began as early as. If Ivanov found his theme in the most important event in the history of mankind - the appearance of the incarnated God into the world, then Korin covered the second most important world theme - the Second Coming of Christ.
So, Korin's image of Russian history is as follows. Two historical perspectives depart from a certain time point of reference. One - to the past, which personifies the Assumption Cathedral of the Moscow Kremlin with its miraculous icons, Orthodox shrines, burial places of metropolitans and Patriarchs of Moscow, starting with their ancestor St. Peter, the cathedral of the Moscow principality and the Moscow kingdom, the main cathedral Russian Empire, in which Russian tsars were crowned in the kingdom, starting with Ivan the Terrible and ending with Nicholas II.
The second historical perspective is the future, this is the Second Coming of Christ, which is personified by the Last Judgment fresco on the western wall of the cathedral. The viewer does not see Him, but seems to see His reflection in the deesis of the iconostasis. But how far away is the Second Coming from us? Looking at the extremely agitated state of Metropolitan Tryphon, it seems that just a moment - and the Last Judgment will already begin. But how long will this moment last, how many more people and events can arise in this perspective? ..
In the center of the picture are three Patriarchs, two already dead, one then living, and this is the situation not in 1935, but in 1959. In 1935 there was not a single Patriarch alive, and Sergius (Stragorodsky) was only the Locum Tenens. We already know who became the next Patriarch after Alexy I, but Korin never found out. He did not even survive Alexy (Simansky), who, already at the time of his election as Locum Tenens after the death of Patriarch Sergius, was the most senior in consecration among the bishops. However, from the front right side young hieromonk Pimen, who became Patriarch and died in 1990, looks at us point-blank with a piercing gaze. So how many years have actually passed in one instant. How many more will there be? “But no one knows about that day and hour, neither the angels in heaven, but only My Father alone” (Matthew 24:36). Looking at Korin's canvas, only one thing can be said with certainty: this day and hour will be not only formidable, but also beautiful...
Soon work began on preparatory sketches for the painting, which Korin called "Requiem". At the same time, the artist creates the first major work - a panoramic landscape "My Motherland" (1928). This is a view of Palekh from afar. Korin seems to be touching his native land, gaining strength to implement a grandiose plan. He again seems to swear allegiance to the great national tradition, to his constant teachers - A. A. Ivanov and M. V. Nesterov.
Work on sketches for a large picture took ten years. The last portrait - of Metropolitan Sergius, the future patriarch - was painted in 1937. Executed with a rare art of the 20th century. plastic power sketches together make up a unique series of portraits. Orthodox Rus'- from the beggar to the highest church hierarchs - appears before the viewer. Characters merged general condition, are full of inner spiritual fire, but at the same time each has an individual character.
In 1931 M. Gorky unexpectedly visited Korin's workshop. From him, the picture received a new name - "Rus' leaving", which distorted the original idea, but also "covered" the artist from possible attacks. Gorky took an active part in his fate. I secured a trip to Italy for training from the Soviet government. Thanks to Gorky, the brothers Pavel and Alexander Korin go to Italy. There they study the works of old masters, Pavel Dmitrievich paints landscapes and famous portrait Gorky (1932). At this time, it finally takes shape painterly style Korina: powerful plastic modeling, chased and generalized form, restrained and at the same time saturated colors with the introduction of individual color accents, dense, multi-layered painting, using glazing (Korin is a brilliant connoisseur of painting technique).
After Gorky's death in 1936, the circumstances of the artist's life changed dramatically, he was actually forced to stop working on the painting. The already prepared huge canvas remained untouched.
The sketch (1935-37) shows that "Rus' leaving" could become the most significant work of Russian painting after 1917, full of power and symbolic meaning. This is the Church going into battle. In the center are three patriarchs, Tikhon, Sergius and Alexy, whose contemporary was Korin. In front of them is the Metropolitan in red Easter vestments (Easter is the feast of the Resurrection and eternal life). The huge archdeacon, with an exorbitantly (and intentionally) long arm, raises the censer with a gesture that marks the beginning of the Liturgy: "Bless the censer, Vladyka!" - but does not address the patriarchs, as the rite requires, but, as it were, directly to God. This is the Church "leaving" for eternity....
During the Great Patriotic War, the artist turned to the historical theme, which he continued to work on until his death. Images of warriors - defenders are not just native land, but the spiritual ideals of Russia - attract Korina. Such is Alexander Nevsky - the central figure of the famous triptych of the same name (1942) - in which the features of both saints from ancient Russian icons and mighty heroes of the Italian Renaissance live.
The most famous works: the triptych "Alexander Nevsky", portraits of G.K. Zhukov and M. Gorky. Thematic paintings and portraits performed by the master are characterized by spirituality and strong-willed composure of images, monumental rigor of composition and drawing.
Among the monumental works of the artist are mosaic plafonds at the Komsomolskaya station of the circle metro line, stained-glass windows of the Novoslobodskaya station, and mosaics of the Smolenskaya station.
After the war, Korin led the restoration of paintings in the Dresden Gallery. Supervised the restoration workshop of the Pushkin Museum of Fine Arts. In the Vladimir Cathedral in Kyiv, he restored frescoes and personally restored the painting by V. Vasnetsov and Nesterov.
The extensive collection of icons collected by Korin is one of the most famous and best studied in Russia.
In 1966, he signed a letter from 25 cultural and scientific figures to the General Secretary of the Central Committee of the CPSU, L. I. Brezhnev, against the rehabilitation of Stalin.
He died on November 22, 1967 in Moscow, was buried at the Novodevichy Cemetery (plot No. 1).
The central, but never finished, painting by Pavel Korin is considered to be “Requiem” (“Departing Rus'”).
Korin fought all his life. Like an artist. As a collector of works of ancient Russian art doomed to perish. As an outstanding restorer, to whom mankind owes the salvation of many great works, including the masterpieces of the Dresden Gallery. As a public figure - advocate cultural monuments Russia. But to win the main victory - to complete the work to which he realized he was called - Korin failed.
Exactly 100 years ago, Russia found a Patriarch. Artist Pavel Korin saw in the new Russian Church a sign of the approach of the Kingdom of Heaven
Once in 1931, the writer Maxim Gorky sat down with the artist Pavel Korin and said:
- You know what, write a portrait of me.
The artist replied that he had never painted a portrait, so he was afraid of wasting time. But in the end he agreed. This was the beginning of an amazing collaboration and friendship between the venerable writer and the then little-known artist, who would soon become famous as best portrait painter Soviet Union. The portrait of Prince Alexander Nevsky, familiar to everyone from school textbooks, the portrait of the “demon of war” Marshal Zhukov, portraits of artists Mikhail Nesterov and Kukryniksy, writer Alexei Tolstoy, academician Zelinsky, Sergei Konenkov and Vasily Kachalov - this is all Korin. But it all started with Gorky. However, this is not about that.
Pavel Korin
So, once Maxim Gorky, after another posing session, saw sketches piled up in a corner of the workshop - sketches of some grandiose canvas: a solemn religious procession of priests under the gloomy bulk of the Assumption Cathedral of the Moscow Kremlin - the domes sparkled furiously in the sun, and below the radiance from the embroidered gold of archbishop's robes.
- What is this? the writer asked.
“Requiem,” the artist answered not very confidently.
- No, my friend, the title should determine the content, but in this title I do not see this ...
The writer once again carefully looked at the sketches, thoughtfully shook his head: no, you can’t be so careless during the years of the Second Godless Five-Year Plan.
Pavel Korin. Fragment of a portrait of A.M. Gorky
“You see, it’s all gone from our lives. Departing nature - leaving people ... By the way, remember, Sergei Yesenin has such a wonderful poem "Rus' is Departing"?
And then he began to recite:
“I don’t blame those who leave in sadness,
Well, where are the old people
Chasing young men?
They are uncompressed rye in the vine
Left to rot and crumble…”
“Yes,” the writer summed up his reflections sharply. - I would call it: "Rus' is leaving."
- Thank you, Alexey Maksimovich, - Korin exclaimed with fervor, - I will certainly take your advice.
The support and patronage of the almighty "engineer of human souls" was then very necessary for him.
Pavel Korin in the studio next to the painting "Portrait of the artists Kukryniksy" (1958)
Each artist has his main canvas - his business card, his soul, crucified on a stretcher, his dream come true. For Korin, an imaginary picture became such a main canvas - the conceived “Requiem”, or “Leaving Rus'”, was never written, despite the fact that Pavel Dmitrievich worked on the composition of the picture for several decades, painted, made sketches of the interiors of the Assumption Cathedral of the Moscow Kremlin. According to his plan, it was supposed to be an epic canvas - 40 square meters, almost as many as the "Appearance of Christ to the People" by Alexander Ivanov.
Pavel Korin. Rus' leaving
But when the picture suddenly appeared before his mind's eye in all its details, when he suddenly understood with all clarity what exactly he wanted to draw, or rather, WHAT seemed to have appeared by itself from hundreds of sketches and drawings, his hands seemed paralyzed with fear.
And he never touched the huge primed canvas, which was made especially for Korin. For many years this gigantic canvas stood silently reproachfully in his studio.
But in art, many things do not depend at all on the will of the creator, or rather, those people whom the Creator instructs to create something for His needs. Since the Creator needs something, it will appear in any case, you don't even have to worry. And so Korin's unpainted canvas somehow still came to light - albeit in the form of sketches and many scattered sketches.
The Creator needed to send the Sign to His children.
Pavel Korin from early childhood promised to serve God, because he was born in July 1892 in the world-famous village of Palekh, Vladimir province, into a family of hereditary Russian icon painters. At the age of ten, Pavel, like his older brothers, was admitted to the icon-painting school of Palekh, then he and his brother Alexander went to work in Moscow, went to study at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ).
At the same time, he and his brother contracted to work in the artel of "bogomazov" K.P. Stepanov at the Donskoy Monastery, where Palekhians were willingly taken. So the Korin brothers got to the construction of churches for the Martha and Mary Convent in Moscow, which was created at the expense of Grand Duchess Elizabeth Feodorovna, sister of Empress Alexandra Feodorovna. The best church painters of that time worked in the Marfo-Mariinsky Convent then: Viktor Vasnetsov, Vasily Polenov, Mikhail Nesterov. It was Mikhail who became Pavel Korin's friend and mentor for many years. Together with Nesterov, they painted the main dome of the Church of the Intercession of the Mother of God of the Marfo-Mariinsky Convent, and then Pavel Korin alone designed the under-dome space of the temple, the vaults of windows and doors.
Fresco by Mikhail Vasilievich Nesterov "Christ in the house of Martha and Mary" of the Intercession Church of the Marfo-Mariinsky Convent
By the way, in the monastery Pavel Korin found his future wife- a pupil of the monastery Praskovya Tikhonovna.
Then came the difficult and hungry revolutionary years. The Marfo-Mariinsky Convent was closed, Princess Elizaveta Feodorovna was arrested and executed. In order to somehow feed his family, Pavel Korin had to get a job in the anatomist of the 1st Moscow University: he sketched various organs of corpses, he also taught drawing techniques at the MUZhVZ (or rather, after the revolution, the school changed its name to the 2nd State Art Workshops).
Princess Elisveta Feodorovna
But, despite all the persecution, the artist remained faithful to Orthodoxy and deeply sympathized with all the events of the Russian Church of this period. Korin also deeply experienced the arrest of Patriarch Tikhon in May 1922 and the trial of the primate of the church. Like many hundreds of Muscovites, he considered it his duty to take the transfer to the patriarch, imprisoned in the former treasury chambers of the Donskoy Monastery. Korin also went to Donskoy, handed over a parcel with food and warm clothes sewn by former nuns of the Marfo-Mariinsky Convent, and in gratitude he received a photograph of the patriarch and an answer on a piece of paper: “I received it and thank you. Patr. Tikhon. Pavel Dmitrievich always kept this note, pasted to the back of the photograph, as a blessing.
Patriarch Tikhon
An even greater shock to the artist was made by the death of the patriarch in April 1925. Despite the unspoken prohibitions, crowds of people went to say goodbye to the patriarch at the Donskoy Monastery, where the coffin stood for several days. Korin was there all those days, and the mass standing of the people at the tomb of the patriarch he saw produced an extraordinary strong impression. I also remember the words of the sermon of Metropolitan Tryphon (Turkestanov):
– We must bear the cross, and I noticed that, as if in a reminder of this, sorrows befall us, sometimes expected, sometimes mostly catastrophic, as now ...
In his diary, Pavel Korin wrote: “Donskoy Monastery. Funeral service for Patriarch Tikhon. There were a great many people. It was the evening before dusk, quiet and clear. The people stood with lit candles, crying, singing for the dead. An old scammer passed by. Rows of beggars stood around the fence. To one side sat a blind man and with him a boy of about thirteen, they sang some old verse. I remember the words: "We will raise our hearts to spears." It's a picture from Dante! This is the Last Judgment by Michelangelo, Signorelli! Write it all down, don't let go. This is a requiem!”
The artist associated his idea with Berlioz's Requiem: “Remember the Day of Wrath, what greatness! This is how you would paint a picture. "The day of wrath, the day of judgment, which will turn the whole world to ashes." What music! This pathos and groan should be in my picture. Thunder, copper pipes and bass. This handwriting must be!”.
Thus arose the idea of a picture perpetuating the images of the Russian clergy and believers, who, it seemed, would soon completely disappear in the new godless Russia.
Korin began to go with a notebook to services in Moscow churches, sketching the faces that especially interested him.
Soon he also met Metropolitan Tryphon, a former nobleman and former rector of the Moscow Epiphany Monastery, who voluntarily went as a regimental priest to the First World War, earning several battle wounds. In Moscow, he led a completely beggarly life. Agreeing to pose for a future picture, Vladyka Tryphon gave Korina letter of recommendation, in which he asked other bishops to help the artist. Moreover, many prominent priests agreed to pose for the painter only because Bishop Tryphon himself had posed for him before! Thanks to Vladyka's help, Korin was able to get acquainted with the secret monks from the dispersed Smolensk Zosima Hermitage of the Vladimir diocese, and with the nuns of the closed Ascension Monastery in the Moscow Kremlin, who were hiding from persecution.
Pavel Korin. Trifon (Turkestanov). (Fragment of the picture)
Maxim Gorky, who, on the advice of Mikhail Nesterov, ordered a huge portrait from a poor artist, two human heights, became an instrument of God's plan. He contributed to the fact that Pavel Dmitrievich was hired in the restoration workshops of the Pushkin Museum, he also arranged a trip for the Korin brothers to Europe and Italy to get acquainted with the masterpieces of world art.
But, most importantly, Gorky created all the conditions for the implementation of the large-scale plan of "Requiem".
First of all, he agreed that Korin could freely draw sketches in the Assumption Cathedral of the Moscow Kremlin, because in those years all the Kremlin churches were closed to the public.
Pavel Korin. Drawing in the Assumption Cathedral of the Kremlin
He also knocked out for the artist a new spacious workshop on Malaya Pirogovskaya Street, where a huge canvas for a painting could fit (the canvas itself was made by special order in Leningrad at Gorky's personal request).
But in 1936 Gorky died, and dark days came for Korin. A stream of accusations literally fell upon him that he "broke away from reality, did not participate in the development of proletarian art, went into depicting the reactionary environment."
Yesterday's friends denounced him to the NKVD: “P. Korin's preparation for the main picture is expressed in hundreds of sketches, the models for which are terry fanatics preserved in Moscow, fragments of the clergy, aristocratic families, former merchants, etc. He claims, but very uncertainly that this whole collection of obscurantists was collected by him in order to show their doom. Meanwhile, judging by the sketches, he does not create any impression of doom. Masterfully drawn out fanatics and dark personalities clearly turn into heroes, Christian martyrs, persecuted but not surrendering champions of religion.
In the newspaper Izvestia in April 1937, two accusatory articles were published, where Korin was called a "reactionary": "in his workshop, the Trotskyist-fascist evil spirits created a laboratory of obscurantism."
It would seem that after such denunciations the fate of the artist was a foregone conclusion, but the Lord kept Korin. As a result, all the repressions were limited only to the fact that the Tretyakov Gallery removed from the permanent exhibition all of his paintings, which were declared “formalist daubs”.
He had to almost completely hide his inner world from others. Lighting a lamp at home in front of the icons he collected with great love and understanding of their spiritual and artistic value, acquaintances who knew that he was a believer, an Orthodox, church person, he said: “Light it up, sit opposite, and somehow it will become pleasant and easy on the soul. The light will sparkle with a kind of firefly, quietly and beautifully ... "
The attitude towards the artist changed only during the war, when in 1942 Pavel Dmitrievich, commissioned by the Committee for Arts of the USSR, created the triptych "Alexander Nevsky", where the holy Russian prince, chained from head to toe in steel armor, stood against the background of a banner with the face of Christ . Stalin was delighted - it was such an iron Russian giant without any "Vasnetsov" caftans and morocco boots that could break the back of the fascist beast.
Pavel Korin. Triptych "Alexander Nevsky"
Korin also led the restoration of paintings in the Dresden Gallery. In the destroyed Vladimir Cathedral in Kyiv, he restored the frescoes of Viktor Vasnetsov and Mikhail Nesterov, for which he was awarded the title of People's Artist of the USSR, he became a laureate of the Lenin and Stalin Prizes.
At the same time, he continued to work on his main idea. In 1948, he told about his plan to Patriarch Alexy (Simansky), who readily agreed to pose for the artist. Several sessions were held, but the patriarch was constantly distracted by vain business: someone called on the phone, it was necessary to solve some of the most urgent and urgent matters that had an important political connotation.
In the end, he and Alexy agreed that Korin and his wife would come to Odessa, where the patriarch would rest, and there it would be possible to continue work, combining it with a vacation at sea. But a sudden heart attack prevented Korin from carrying out his plan.
Alexy Simansky
IN last years neither recognition nor solo exhibitions pleased Pavel Dmitrievich: his relatives have repeatedly noted that Korin often bitterly repeated that he had not fulfilled his destiny, had not completed his most important painting.
But the unexpected happened: the picture began to exist on its own. And not at all what the artist himself intended it to be.
Look closely at the sketch.
Pavel Korin. Rus' leaving
The red color of the liturgical vestments of Metropolitan Tryphon and the patriarchs standing behind him clearly tells us that this is a festive Easter service. You can even set the date with accuracy: it is May 5, 1918. It was on this day that Bishop Trifon Turkestanov of Dmitrov, vicar of the Moscow diocese, led the last Easter service in the Assumption Cathedral, which turned out to be the last service in the cathedral in general - after that, the Bolsheviks closed access to the temple for believers.
But the date here is very conditional. This Easter service is already taking place in a mystical and metaphysical space, because both living and resurrected patriarchs have gathered to glorify the risen Christ: St. Tikhon (Bellavin) and Sergius (Stragorodsky), metropolitans and bishops, priests and monks, who perished in the millstones of Stalin's Moloch.
Dormition Cathedral of the Kremlin
“Do not marvel at this: for the time is coming in which all who are in the tombs will hear the voice of the Son of God, and those who have done good will come out to the resurrection of life, and those who have done evil to the resurrection of judgment.”
It seems that people standing with their backs to the altar of the Assumption Cathedral are only waiting for the sign of the deacon to leave the church forever after the service is over. Huge chandeliers have been extinguished, scaffolding has already been installed in the cathedral, the Royal Doors have already been closed ...
But in fact, the artist depicted the very beginning of the Easter service - incense. Right now, Archdeacon Father Michael, having lifted right hand with a censer, bow low and proclaim in a thick bass:
- Bless, lord, censer!
But at the same time, he does not address Metropolitan Tryphon, and his hand is extended not to the east, as usual, not to the altar and not to the serving Metropolitan Tryphon, but to the west.
Metropolitan Tryphon himself is also looking there, his only sighted eye wide open in surprise, and all the patriarchs, and all those standing in the temple. And it is impossible not to wonder, what did the metropolitan see SUCH?
If you imagine yourself in the place of Metropolitan Tryphon and look in the same direction, then it is obvious that his gaze is turned to the image of the Savior on the fresco "The Last Judgment", which, according to tradition, is always placed on the western wall of every Orthodox church.
But there is no longer a fresco: both the walls of the temple and the Heavens themselves opened up in anticipation of the Second Coming.
It is from the Risen and Coming Christ that the protodeacon asks for blessings to judge the living and the dead, it is the Savior - the Living and Incarnate God - who is now the primate at this liturgy, anticipating the onset of the Last Judgment.
No, the Russian Church is not going anywhere. It is gathered here by Christ himself in anticipation of the imminent judgment, which he is preparing to accept calmly and with love for the Lord.
“And he said to me, These are they who came out of the great tribulation; they washed their clothes and made their clothes white with the blood of the Lamb. For this they are now before the throne of God and serve Him day and night in His temple, and He who sits on the throne will dwell in them ”(Revelation of St. John the Theologian).
The Last Judgment has already begun.
