2 research outputs found
Image of Siberia in Artist Aleskander Surikovs Works
This article is devoted to research in works of Siberian artist, Aleksandr Surikov (born in Irkutsk,
lives and works in Krasnoyarsk). It contains reference to creative biography of the author: academic
background and key exhibition projects.
The article represents main artistic traditions, which the painter followed: Dadaism, futurism, primitive
paintings, Art Brut, new British Art and some others. The artists creative works are considered in
fusion with poetic, pictorial and graphic pieces of his. Research in the painters creative works resulted
in distinguishing main creative techniques and principles forming the ground for the majority of his
works.
The image of Siberia is not expressly revealed in Aleksandr Surikovs works: you will not see landscapes
(the genre traditionally favoured by Siberian authors) as well as other direct indicators to the
local flavour of his pieces of art. The Siberian finds its way in Surikovs works through a modern
meaning. Thus, the image of a modern Siberia is decoded in the article, while the works themselves
are interpreted from the point how a modern Siberian artist reconsiders the word around him. In
Aleksandr Surikova works, Siberia is not indicative mountains, texture forests or mighty characters,
it is layouts of a Siberian city infrastructure, distinctive city markers, it is global processes holding in
the modern world, where a distinct differentiation between a local and universal flavour is gradually
dissolving, where a Siberian artists can start a dialogue with any modern world artist on the Internet-
Museum.
In the article, researching into the image of Siberia is focused on studying two main series in his
creative works: the New city series devoted to testing the aesthetic potential of a Siberian city
under construction in the beginning of the 21st century, and the Surikov 7 series, which is a modern
interpretation of Vasiliy Ivanovich Surikovs masterpieces (classic of Siberian painting).Π‘ΡΠ°ΡΡΡ ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π° ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠ³ΠΎ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π°
(ΡΠΎΠ΄ΠΈΠ»ΡΡ Π² Π³. ΠΡΠΊΡΡΡΠΊΠ΅, ΠΆΠΈΠ²Π΅Ρ ΠΈ ΡΠ°Π±ΠΎΡΠ°Π΅Ρ Π² Π³. ΠΡΠ°ΡΠ½ΠΎΡΡΡΠΊΠ΅). ΠΡΠΈΠ²Π΅Π΄Π΅Π½Π° ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΡ ΠΎ
ΡΠ²ΠΎΡΡΠ΅ΡΠΊΠΎΠΉ Π±ΠΈΠΎΠ³ΡΠ°ΡΠΈΠΈ Π°Π²ΡΠΎΡΠ°: ΠΎΠ±ΡΠ°Π·ΠΎΠ²Π°Π½ΠΈΠ΅ ΠΈ ΠΊΠ»ΡΡΠ΅Π²ΡΠ΅ Π²ΡΡΡΠ°Π²ΠΎΡΠ½ΡΠ΅ ΠΏΡΠΎΠ΅ΠΊΡΡ.
Π ΡΡΠ°ΡΡΠ΅ ΠΏΡΠΎΠ°Π½Π°Π»ΠΈΠ·ΠΈΡΠΎΠ²Π°Π½Ρ ΠΎΡΠ½ΠΎΠ²Π½ΡΠ΅ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΠ΅ ΡΡΠ°Π΄ΠΈΡΠΈΠΈ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°: Π΄Π°Π΄Π°ΠΈΠ·ΠΌ,
ΡΡΡΡΡΠΈΠ·ΠΌ, ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ ΠΏΡΠΈΠΌΠΈΡΠΈΠ²ΠΈΡΡΠΎΠ², Π°ΡΡ-Π±ΡΡΡ, Π½ΠΎΠ²ΠΎΠ΅ Π±ΡΠΈΡΠ°Π½ΡΠΊΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΈ Π½Π΅ΠΊΠΎΡΠΎΡΡΠ΅
Π΄ΡΡΠ³ΠΈΠ΅. Π’Π²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΡΡΡ Π² ΡΠΈΠ½ΡΠ΅Π·Π΅ ΠΏΠΎΡΡΠΈΡΠ΅ΡΠΊΠΈΡ
, ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠ½ΡΡ
ΠΈ
Π³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ Π°Π²ΡΠΎΡΠ°. ΠΡΠΎΠ³ΠΎΠΌ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π° Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΡ
ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½ΠΈΠ΅ ΠΎΡΠ½ΠΎΠ²Π½ΡΡ
ΡΠ²ΠΎΡΡΠ΅ΡΠΊΠΈΡ
ΠΏΡΠΈΠ΅ΠΌΠΎΠ² ΠΈ ΠΏΡΠΈΠ½ΡΠΈΠΏΠΎΠ², ΠΏΠΎΠ»ΠΎΠΆΠ΅Π½Π½ΡΡ
Π² ΠΎΡΠ½ΠΎΠ²Ρ Π±ΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²Π°
Π΅Π³ΠΎ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ.
ΠΠ±ΡΠ°Π· Π‘ΠΈΠ±ΠΈΡΠΈ Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π° ΠΏΡΠΎΡΠ²Π»Π΅Π½ Π½Π΅ Π±ΡΠΊΠ²Π°Π»ΡΠ½ΠΎ: ΡΡΠ΅Π΄ΠΈ Π΅Π³ΠΎ ΡΠ°Π±ΠΎΡ Π½Π΅
Π²ΡΡΡΠ΅ΡΠΈΡΡ ΠΏΠ΅ΠΉΠ·Π°ΠΆΠ΅ΠΉ - ΠΆΠ°Π½ΡΠ°, Π² ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΠΎ ΡΠΈΠ»ΡΠ½Ρ ΡΠΈΠ±ΠΈΡΡΠΊΠΈΠ΅ Π°Π²ΡΠΎΡΡ, - ΠΈΠ»ΠΈ ΠΈΠ½ΡΡ
Β«ΠΏΡΡΠΌΡΡ
Β» ΡΠΊΠ°Π·Π°ΡΠ΅Π»Π΅ΠΉ Π½Π° Π»ΠΎΠΊΠ°Π»ΡΠ½ΠΎΠ΅. Π‘ΠΈΠ±ΠΈΡΡΠΊΠΎΠ΅ Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ Π°Π²ΡΠΎΡΠ° ΡΠ°ΡΠΊΡΡΠ²Π°Π΅ΡΡΡ ΡΠΎΠ²Π΅ΡΡΠ΅Π½Π½ΠΎ
Π² ΠΈΠ½ΠΎΠΌ - ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ - ΡΠΌΡΡΠ»Π΅. Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Π² ΡΡΠ°ΡΡΠ΅ Π΄Π΅ΡΠΈΡΡΡΠ΅ΡΡΡ ΠΎΠ±ΡΠ°Π· ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ
Π‘ΠΈΠ±ΠΈΡΠΈ, ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ Π°Π²ΡΠΎΡΠ° ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠΈΡΡΡΡΡΡ Ρ ΡΠΎΡΠΊΠΈ Π·ΡΠ΅Π½ΠΈΡ ΡΠΎΠ³ΠΎ, ΠΊΠ°ΠΊ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠΉ ΡΠΈΠ±ΠΈΡΡΠΊΠΈΠΉ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊ ΠΏΠ΅ΡΠ΅ΠΎΡΠΌΡΡΠ»ΠΈΠ²Π°Π΅Ρ ΠΎΠΊΡΡΠΆΠ°ΡΡΠΈΠΉ Π΅Π³ΠΎ ΠΌΠΈΡ. Π‘ΠΈΠ±ΠΈΡΡ Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅
ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π° - ΡΡΠΎ Π½Π΅ Ρ
Π°ΡΠ°ΠΊΡΠ΅ΡΠ½ΡΠ΅ Π³ΠΎΡΡ, ΡΠ°ΠΊΡΡΡΠ½ΡΠ΅ Π»Π΅ΡΠ° ΠΈΠ»ΠΈ ΠΌΠΎΠ³ΡΡΠΈΠ΅ ΠΏΠ΅ΡΡΠΎΠ½Π°ΠΆΠΈ,
Π° ΡΡΠΎ ΡΠ°ΡΠΊΠ»Π°Π΄ΠΊΠΈ ΠΈΠ½ΡΡΠ°ΡΡΡΡΠΊΡΡΡΡ ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠ³ΠΎ Π³ΠΎΡΠΎΠ΄Π°, ΡΠ²ΠΎΠ΅ΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ Π³ΠΎΡΠΎΠ΄ΡΠΊΠΈΠ΅ ΠΌΠ°ΡΠΊΠ΅ΡΡ, ΡΡΠΎ
ΡΠΈΠΊΡΠ°ΡΠΈΡ Π³Π»ΠΎΠ±Π°Π»ΡΠ½ΡΡ
ΠΏΡΠΎΡΠ΅ΡΡΠΎΠ² Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΠΌΠΈΡΠ΅, Π² ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΡΠΈΡΠ°Π΅ΡΡΡ ΡΠ΅ΡΠΊΠ°Ρ Π³ΡΠ°Π½Ρ
ΠΌΠ΅ΠΆΠ΄Ρ ΠΌΠ΅ΡΡΠ½ΡΠΌ ΠΈ ΠΏΠΎΠ²ΡΠ΅ΠΌΠ΅ΡΡΠ½ΡΠΌ, Π² ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΠΈΠ±ΠΈΡΡΠΊΠΈΠΉ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊ Π² ΠΌΡΠ·Π΅Π΅-ΠΈΠ½ΡΠ΅ΡΠ½Π΅ΡΠ΅ ΠΌΠΎΠΆΠ΅Ρ
Π²ΡΡΡΠΏΠ°ΡΡ Π² Π΄ΠΈΠ°Π»ΠΎΠ³ Ρ Π»ΡΠ±ΡΠΌ ΠΌΠΈΡΠΎΠ²ΡΠΌ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠΌ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠΌ.
ΠΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΠ΅ ΠΎΠ±ΡΠ°Π·Π° Π‘ΠΈΠ±ΠΈΡΠΈ Π² ΡΡΠ°ΡΡΠ΅ ΡΠΎΡΡΠ΅Π΄ΠΎΡΠΎΡΠ΅Π½ΠΎ Π½Π° ΠΈΠ·ΡΡΠ΅Π½ΠΈΠΈ Π΄Π²ΡΡ
ΡΠ΅Π½ΡΡΠ°Π»ΡΠ½ΡΡ
ΡΠ΅ΡΠΈΠΉ
Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°: ΡΠ΅ΡΠΈΠΈ Β«ΠΠΎΠ²ΡΠΉ Π³ΠΎΡΠΎΠ΄Β», ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π½ΠΎΠΉ Π°ΠΏΡΠΎΠ±ΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΡΡΡΠΎΡΡΠ΅Π³ΠΎΡΡ Π²
Π½Π°ΡΠ°Π»Π΅ XXI Π²Π΅ΠΊΠ° ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠ³ΠΎ Π³ΠΎΡΠΎΠ΄Π° Π½Π° ΡΡΡΠ΅ΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΏΠΎΡΠ΅Π½ΡΠΈΠ°Π», ΠΈ Β«Π‘ΡΡΠΈΠΊΠΎΠ² 7Β» - ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ
ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΠΈ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ ΠΊΠ»Π°ΡΡΠΈΠΊΠ° ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ ΠΠ°ΡΠΈΠ»ΠΈΡ ΠΠ²Π°Π½ΠΎΠ²ΠΈΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π°
Image of Siberia in Artist Aleskander Surikovs Works
This article is devoted to research in works of Siberian artist, Aleksandr Surikov (born in Irkutsk,
lives and works in Krasnoyarsk). It contains reference to creative biography of the author: academic
background and key exhibition projects.
The article represents main artistic traditions, which the painter followed: Dadaism, futurism, primitive
paintings, Art Brut, new British Art and some others. The artists creative works are considered in
fusion with poetic, pictorial and graphic pieces of his. Research in the painters creative works resulted
in distinguishing main creative techniques and principles forming the ground for the majority of his
works.
The image of Siberia is not expressly revealed in Aleksandr Surikovs works: you will not see landscapes
(the genre traditionally favoured by Siberian authors) as well as other direct indicators to the
local flavour of his pieces of art. The Siberian finds its way in Surikovs works through a modern
meaning. Thus, the image of a modern Siberia is decoded in the article, while the works themselves
are interpreted from the point how a modern Siberian artist reconsiders the word around him. In
Aleksandr Surikova works, Siberia is not indicative mountains, texture forests or mighty characters,
it is layouts of a Siberian city infrastructure, distinctive city markers, it is global processes holding in
the modern world, where a distinct differentiation between a local and universal flavour is gradually
dissolving, where a Siberian artists can start a dialogue with any modern world artist on the Internet-
Museum.
In the article, researching into the image of Siberia is focused on studying two main series in his
creative works: the New city series devoted to testing the aesthetic potential of a Siberian city
under construction in the beginning of the 21st century, and the Surikov 7 series, which is a modern
interpretation of Vasiliy Ivanovich Surikovs masterpieces (classic of Siberian painting).Π‘ΡΠ°ΡΡΡ ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π° ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π° ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠ³ΠΎ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π°
(ΡΠΎΠ΄ΠΈΠ»ΡΡ Π² Π³. ΠΡΠΊΡΡΡΠΊΠ΅, ΠΆΠΈΠ²Π΅Ρ ΠΈ ΡΠ°Π±ΠΎΡΠ°Π΅Ρ Π² Π³. ΠΡΠ°ΡΠ½ΠΎΡΡΡΠΊΠ΅). ΠΡΠΈΠ²Π΅Π΄Π΅Π½Π° ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΡ ΠΎ
ΡΠ²ΠΎΡΡΠ΅ΡΠΊΠΎΠΉ Π±ΠΈΠΎΠ³ΡΠ°ΡΠΈΠΈ Π°Π²ΡΠΎΡΠ°: ΠΎΠ±ΡΠ°Π·ΠΎΠ²Π°Π½ΠΈΠ΅ ΠΈ ΠΊΠ»ΡΡΠ΅Π²ΡΠ΅ Π²ΡΡΡΠ°Π²ΠΎΡΠ½ΡΠ΅ ΠΏΡΠΎΠ΅ΠΊΡΡ.
Π ΡΡΠ°ΡΡΠ΅ ΠΏΡΠΎΠ°Π½Π°Π»ΠΈΠ·ΠΈΡΠΎΠ²Π°Π½Ρ ΠΎΡΠ½ΠΎΠ²Π½ΡΠ΅ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΠ΅ ΡΡΠ°Π΄ΠΈΡΠΈΠΈ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°: Π΄Π°Π΄Π°ΠΈΠ·ΠΌ,
ΡΡΡΡΡΠΈΠ·ΠΌ, ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ ΠΏΡΠΈΠΌΠΈΡΠΈΠ²ΠΈΡΡΠΎΠ², Π°ΡΡ-Π±ΡΡΡ, Π½ΠΎΠ²ΠΎΠ΅ Π±ΡΠΈΡΠ°Π½ΡΠΊΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΈ Π½Π΅ΠΊΠΎΡΠΎΡΡΠ΅
Π΄ΡΡΠ³ΠΈΠ΅. Π’Π²ΠΎΡΡΠ΅ΡΡΠ²ΠΎ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΡΡΡ Π² ΡΠΈΠ½ΡΠ΅Π·Π΅ ΠΏΠΎΡΡΠΈΡΠ΅ΡΠΊΠΈΡ
, ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠ½ΡΡ
ΠΈ
Π³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ Π°Π²ΡΠΎΡΠ°. ΠΡΠΎΠ³ΠΎΠΌ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π° Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΡ
ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½ΠΈΠ΅ ΠΎΡΠ½ΠΎΠ²Π½ΡΡ
ΡΠ²ΠΎΡΡΠ΅ΡΠΊΠΈΡ
ΠΏΡΠΈΠ΅ΠΌΠΎΠ² ΠΈ ΠΏΡΠΈΠ½ΡΠΈΠΏΠΎΠ², ΠΏΠΎΠ»ΠΎΠΆΠ΅Π½Π½ΡΡ
Π² ΠΎΡΠ½ΠΎΠ²Ρ Π±ΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²Π°
Π΅Π³ΠΎ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ.
ΠΠ±ΡΠ°Π· Π‘ΠΈΠ±ΠΈΡΠΈ Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π° ΠΏΡΠΎΡΠ²Π»Π΅Π½ Π½Π΅ Π±ΡΠΊΠ²Π°Π»ΡΠ½ΠΎ: ΡΡΠ΅Π΄ΠΈ Π΅Π³ΠΎ ΡΠ°Π±ΠΎΡ Π½Π΅
Π²ΡΡΡΠ΅ΡΠΈΡΡ ΠΏΠ΅ΠΉΠ·Π°ΠΆΠ΅ΠΉ - ΠΆΠ°Π½ΡΠ°, Π² ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΠΎ ΡΠΈΠ»ΡΠ½Ρ ΡΠΈΠ±ΠΈΡΡΠΊΠΈΠ΅ Π°Π²ΡΠΎΡΡ, - ΠΈΠ»ΠΈ ΠΈΠ½ΡΡ
Β«ΠΏΡΡΠΌΡΡ
Β» ΡΠΊΠ°Π·Π°ΡΠ΅Π»Π΅ΠΉ Π½Π° Π»ΠΎΠΊΠ°Π»ΡΠ½ΠΎΠ΅. Π‘ΠΈΠ±ΠΈΡΡΠΊΠΎΠ΅ Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ Π°Π²ΡΠΎΡΠ° ΡΠ°ΡΠΊΡΡΠ²Π°Π΅ΡΡΡ ΡΠΎΠ²Π΅ΡΡΠ΅Π½Π½ΠΎ
Π² ΠΈΠ½ΠΎΠΌ - ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ - ΡΠΌΡΡΠ»Π΅. Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Π² ΡΡΠ°ΡΡΠ΅ Π΄Π΅ΡΠΈΡΡΡΠ΅ΡΡΡ ΠΎΠ±ΡΠ°Π· ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ
Π‘ΠΈΠ±ΠΈΡΠΈ, ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ Π°Π²ΡΠΎΡΠ° ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠΈΡΡΡΡΡΡ Ρ ΡΠΎΡΠΊΠΈ Π·ΡΠ΅Π½ΠΈΡ ΡΠΎΠ³ΠΎ, ΠΊΠ°ΠΊ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠΉ ΡΠΈΠ±ΠΈΡΡΠΊΠΈΠΉ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊ ΠΏΠ΅ΡΠ΅ΠΎΡΠΌΡΡΠ»ΠΈΠ²Π°Π΅Ρ ΠΎΠΊΡΡΠΆΠ°ΡΡΠΈΠΉ Π΅Π³ΠΎ ΠΌΠΈΡ. Π‘ΠΈΠ±ΠΈΡΡ Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅
ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π° - ΡΡΠΎ Π½Π΅ Ρ
Π°ΡΠ°ΠΊΡΠ΅ΡΠ½ΡΠ΅ Π³ΠΎΡΡ, ΡΠ°ΠΊΡΡΡΠ½ΡΠ΅ Π»Π΅ΡΠ° ΠΈΠ»ΠΈ ΠΌΠΎΠ³ΡΡΠΈΠ΅ ΠΏΠ΅ΡΡΠΎΠ½Π°ΠΆΠΈ,
Π° ΡΡΠΎ ΡΠ°ΡΠΊΠ»Π°Π΄ΠΊΠΈ ΠΈΠ½ΡΡΠ°ΡΡΡΡΠΊΡΡΡΡ ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠ³ΠΎ Π³ΠΎΡΠΎΠ΄Π°, ΡΠ²ΠΎΠ΅ΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ Π³ΠΎΡΠΎΠ΄ΡΠΊΠΈΠ΅ ΠΌΠ°ΡΠΊΠ΅ΡΡ, ΡΡΠΎ
ΡΠΈΠΊΡΠ°ΡΠΈΡ Π³Π»ΠΎΠ±Π°Π»ΡΠ½ΡΡ
ΠΏΡΠΎΡΠ΅ΡΡΠΎΠ² Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ ΠΌΠΈΡΠ΅, Π² ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΡΠΈΡΠ°Π΅ΡΡΡ ΡΠ΅ΡΠΊΠ°Ρ Π³ΡΠ°Π½Ρ
ΠΌΠ΅ΠΆΠ΄Ρ ΠΌΠ΅ΡΡΠ½ΡΠΌ ΠΈ ΠΏΠΎΠ²ΡΠ΅ΠΌΠ΅ΡΡΠ½ΡΠΌ, Π² ΠΊΠΎΡΠΎΡΠΎΠΌ ΡΠΈΠ±ΠΈΡΡΠΊΠΈΠΉ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊ Π² ΠΌΡΠ·Π΅Π΅-ΠΈΠ½ΡΠ΅ΡΠ½Π΅ΡΠ΅ ΠΌΠΎΠΆΠ΅Ρ
Π²ΡΡΡΠΏΠ°ΡΡ Π² Π΄ΠΈΠ°Π»ΠΎΠ³ Ρ Π»ΡΠ±ΡΠΌ ΠΌΠΈΡΠΎΠ²ΡΠΌ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠΌ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠΌ.
ΠΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΠ΅ ΠΎΠ±ΡΠ°Π·Π° Π‘ΠΈΠ±ΠΈΡΠΈ Π² ΡΡΠ°ΡΡΠ΅ ΡΠΎΡΡΠ΅Π΄ΠΎΡΠΎΡΠ΅Π½ΠΎ Π½Π° ΠΈΠ·ΡΡΠ΅Π½ΠΈΠΈ Π΄Π²ΡΡ
ΡΠ΅Π½ΡΡΠ°Π»ΡΠ½ΡΡ
ΡΠ΅ΡΠΈΠΉ
Π² ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ Ρ
ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ°: ΡΠ΅ΡΠΈΠΈ Β«ΠΠΎΠ²ΡΠΉ Π³ΠΎΡΠΎΠ΄Β», ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π½ΠΎΠΉ Π°ΠΏΡΠΎΠ±ΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΡΡΡΠΎΡΡΠ΅Π³ΠΎΡΡ Π²
Π½Π°ΡΠ°Π»Π΅ XXI Π²Π΅ΠΊΠ° ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠ³ΠΎ Π³ΠΎΡΠΎΠ΄Π° Π½Π° ΡΡΡΠ΅ΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΏΠΎΡΠ΅Π½ΡΠΈΠ°Π», ΠΈ Β«Π‘ΡΡΠΈΠΊΠΎΠ² 7Β» - ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ
ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΠΈ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ ΠΊΠ»Π°ΡΡΠΈΠΊΠ° ΡΠΈΠ±ΠΈΡΡΠΊΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ ΠΠ°ΡΠΈΠ»ΠΈΡ ΠΠ²Π°Π½ΠΎΠ²ΠΈΡΠ° Π‘ΡΡΠΈΠΊΠΎΠ²Π°