Natasha's Dance (132 page)
reproduced by the Joffrey Ballet for its revival of the original ballet in 1987 (above).
reproduced by the Joffrey Ballet for its revival of the original ballet in 1987 (above).
reproduced by the Joffrey Ballet for its revival of the original ballet in 1987 (above).
The rhythm of the music and the choreography emphasized the dancers’ weight and
The rhythm of the music and the choreography emphasized the dancers’ weight and
The rhythm of the music and the choreography emphasized the dancers’ weight and
The rhythm of the music and the choreography emphasized the dancers’ weight and
immobility, a sense conveyed by Roerich in his many paintings of Scythian Russia.
immobility, a sense conveyed by Roerich in his many paintings of Scythian Russia.
immobility, a sense conveyed by Roerich in his many paintings of Scythian Russia.
immobility, a sense conveyed by Roerich in his many paintings of Scythian Russia.
Below: Roerich: The Idols (1901).
Below: Roerich: The Idols (1901).
Below: Roerich: The Idols (1901).
Roerich:
(1901).
Roerich: costume designs for The Snow Maiden (Chicago, 1921). A disciple
Roerich: costume designs for The Snow Maiden (Chicago, 1921). A disciple
Roerich: costume designs for The Snow Maiden (Chicago, 1921). A disciple
of Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
of Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
of Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
of
Stasov, Roerich believed in the Asiatic origins of Russian folk culture, as
suggested hereby the heavy jewellery and the Tatar-like headgear.
suggested hereby the heavy jewellery and the Tatar-like headgear.
suggested hereby the heavy jewellery and the Tatar-like headgear.
suggested hereby the heavy jewellery and the Tatar-like headgear.
PAGAN RUSSIA. Vastly Kandinsky: Motley Life (1907). Ostensibly a Russian-Christian scene,
PAGAN RUSSIA. Vastly Kandinsky: Motley Life (1907). Ostensibly a Russian-Christian scene,
PAGAN RUSSIA. Vastly Kandinsky: Motley Life (1907). Ostensibly a Russian-Christian scene,
Vastly Kandinsky:
(1907). Ostensibly a Russian-Christian scene, the painting is filled with pagan symbols f
Kandinsky:
(1911) tells the story of the confrontation between St Stephan and the Komi shaman Pam. Li
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
Pam (seen escaping persecution in a boat) the two saints (standing on the rock) wear sor
pagan traditions.
pagan traditions.
pagan traditions.
pagan traditions.
THE ARTIST
THE ARTIST
THE ARTIST
THE ARTIST
THE ARTIST
AS SHAMAN. Left: Kandinsky: Oval No. 2 (1925). The oval shapes and hieroglyphia of Kandinsky’s
AS SHAMAN. Left: Kandinsky: Oval No. 2 (1925). The oval shapes and hieroglyphia of Kandinsky’s
AS SHAMAN. Left: Kandinsky: Oval No. 2 (1925). The oval shapes and hieroglyphia of Kandinsky’s
Kandinsky:
(1925). The oval shapes and hieroglyphia of Kandinsky’s abstract paintings were largely co
RUSSIA AND THE ASIATIC STEPPE. Isaak Levitan:
RUSSIA AND THE ASIATIC STEPPE. Isaak Levitan:
RUSSIA AND THE ASIATIC STEPPE. Isaak Levitan:
Isaak Levitan
Vladimirka (1892). This was the road on which Russia’s convicts travelled
Vladimirka (1892). This was the road on which Russia’s convicts travelled
Vladimirka (1892). This was the road on which Russia’s convicts travelled
(1892). This was the road on which Russia’s convicts travelled
to their penal exile in Siberia. Below: Vasily Vereshchagin: Surprise Attack
to their penal exile in Siberia. Below: Vasily Vereshchagin: Surprise Attack
to their penal exile in Siberia. Below: Vasily Vereshchagin: Surprise Attack
to their penal exile in Siberia.
Vasily Vereshchagin:
(1871). An official war artist with Russia’s army on the Turkestan
(1871). An official war artist with Russia’s army on the Turkestan
(1871). An official war artist with Russia’s army on the Turkestan
(1871). An official war artist with Russia’s army on the Turkestan
campaign, Vereshchagin’s canvases were perceived as an attack on the
campaign, Vereshchagin’s canvases were perceived as an attack on the
campaign, Vereshchagin’s canvases were perceived as an attack on the
campaign, Vereshchagin’s canvases were perceived as an attack on the
savage Russian violence against the Asian tribes.
savage Russian violence against the Asian tribes.
savage Russian violence against the Asian tribes.
savage Russian violence against the Asian tribes.
HORSES AND APOCALYPSE. Prom Pushkin’s Bronze Horseman, the
HORSES AND APOCALYPSE. Prom Pushkin’s Bronze Horseman, the
HORSES AND APOCALYPSE. Prom Pushkin’s Bronze Horseman, the
Prom Pushkin’s
the
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
horse became the great poetic metaphor of Russia’s destiny and a symbol of apocalypse, Kuz
(1912), a work strongly influenced by the Russian icon tradition.
Kazimir Malevich:
(1930).
Nathan Altman: Portrait of Anna Akhmatova (1914).
Nathan Altman: Portrait of Anna Akhmatova (1914).
Nathan Altman: Portrait of Anna Akhmatova (1914).
Nathan Altman:
(1914).
Trans-Siberian Railway in the 1890s, Prince Ukhtomsky, the press baron and adviser to the yo
Trans-Siberian Railway in the 1890s, Prince Ukhtomsky, the press baron and adviser to the yo
Trans-Siberian Railway in the 1890s, Prince Ukhtomsky, the press baron and adviser to the yo
142
Writer’s Diary:
Russia is not only in Europe but in Asia as well… We must cast aside our servile fear that Euro
Russia is not only in Europe but in Asia as well… We must cast aside our servile fear that Euro
Russia is not only in Europe but in Asia as well… We must cast aside our servile fear that Euro
143
This quotation is a perfect illustration of the Russians’ tendency to define their re
This quotation is a perfect illustration of the Russians’ tendency to define their re
This quotation is a perfect illustration of the Russians’ tendency to define their re
sided with the Ottomans against Russia to defend their own imperial interests. In the onl
sided with the Ottomans against Russia to defend their own imperial interests. In the onl
sided with the Ottomans against Russia to defend their own imperial interests. In the onl
Unclear to you is her [Russia’s] predestination!
Unclear to you is her [Russia’s] predestination!
Unclear to you is her [Russia’s] predestination!
The East - is hers! To her a million generations
The East - is hers! To her a million generations
The East - is hers! To her a million generations
Untiringly stretch out their hands…
Untiringly stretch out their hands…
Untiringly stretch out their hands…
And the resurrection of the ancient East
And the resurrection of the ancient East
And the resurrection of the ancient East
By Russia (so God had commanded) is drawing near.144
By Russia (so God had commanded) is drawing near.144
By Russia (so God had commanded) is drawing near.144
144
A resentful contempt for Western values was a common Russian response to the feeling of
A resentful contempt for Western values was a common Russian response to the feeling of
A resentful contempt for Western values was a common Russian response to the feeling of
Now temperance is not appropriate I want to drink like a savage Scythian.145
Now temperance is not appropriate I want to drink like a savage Scythian.145
Now temperance is not appropriate I want to drink like a savage Scythian.145
145
And it was the sense in which Herzen wrote to Proudhon in 1849:
And it was the sense in which Herzen wrote to Proudhon in 1849:
And it was the sense in which Herzen wrote to Proudhon in 1849:
But do you know, Monsieur, that you have signed a contract [with Herzen to co-finance a new
But do you know, Monsieur, that you have signed a contract [with Herzen to co-finance a new
But do you know, Monsieur, that you have signed a contract [with Herzen to co-finance a new
146
The ‘Scythian poets’ - as that loose group of writers which included Blok and Bely and the cr
The ‘Scythian poets’ - as that loose group of writers which included Blok and Bely and the cr
The ‘Scythian poets’ - as that loose group of writers which included Blok and Bely and the cr
took their name from the ancient Scyths, the nomadic Iranian-speaking tribes that had left
took their name from the ancient Scyths, the nomadic Iranian-speaking tribes that had left
took their name from the ancient Scyths, the nomadic Iranian-speaking tribes that had left
kurgans,
The Rite of Spring,
kurgan
147
As a student of archaeology, Roerich had been deeply influenced by the ideas of Stasov o
As a student of archaeology, Roerich had been deeply influenced by the ideas of Stasov o
As a student of archaeology, Roerich had been deeply influenced by the ideas of Stasov o
The Messenger: Tribe Has Risen against Tribe
148
149
This imaginary quality was also to be found in Roerich’s paintings
This imaginary quality was also to be found in Roerich’s paintings
This imaginary quality was also to be found in Roerich’s paintings
of the Stone Age in Russia. Roerich idealized the prehistoric world of
of the Stone Age in Russia. Roerich idealized the prehistoric world of
of the Stone Age in Russia. Roerich idealized the prehistoric world of
this Scythia cum-Rus’ as a perfect realm of spiritual beauty where man
this Scythia cum-Rus’ as a perfect realm of spiritual beauty where man
this Scythia cum-Rus’ as a perfect realm of spiritual beauty where man
and nature lived in harmony, and life and art were one. In his essay
and nature lived in harmony, and life and art were one. In his essay
and nature lived in harmony, and life and art were one. In his essay
’Joy in Art’ (1909), in which he describes the ancient Slav spring ritual
’Joy in Art’ (1909), in which he describes the ancient Slav spring ritual
’Joy in Art’ (1909), in which he describes the ancient Slav spring ritual
of human sacrifice upon which The Rite of Spring was based, Roerich argues that this prehi
of human sacrifice upon which The Rite of Spring was based, Roerich argues that this prehi
of human sacrifice upon which The Rite of Spring was based, Roerich argues that this prehi
The Rite of Spring
The Idols
The Rite of Spring
The Snow Maiden
The Rite of Spring,
150
The Scythian poets were fascinated by this prehistoric realm. In their imaginations t
The Scythian poets were fascinated by this prehistoric realm. In their imaginations t
The Scythian poets were fascinated by this prehistoric realm. In their imaginations t
stikhiia’)
The Scythians
You are millions, we are multitudes And multitudes and multitudes. Come fight! Yes, we a
You are millions, we are multitudes And multitudes and multitudes. Come fight! Yes, we a
You are millions, we are multitudes And multitudes and multitudes. Come fight! Yes, we a
It was not so much an ideological rejection of the West as a threatening embrace, an app
It was not so much an ideological rejection of the West as a threatening embrace, an app
It was not so much an ideological rejection of the West as a threatening embrace, an app
centuries, argued Blok, Russia had protected a thankless Europe from the Asiatic tribes:
centuries, argued Blok, Russia had protected a thankless Europe from the Asiatic tribes:
centuries, argued Blok, Russia had protected a thankless Europe from the Asiatic tribes:
Like slaves, obeying and abhorred, We were the shield between the breeds Of Europe and the
Like slaves, obeying and abhorred, We were the shield between the breeds Of Europe and the
Like slaves, obeying and abhorred, We were the shield between the breeds Of Europe and the
But now the time had come for the ‘old world’ of Europe to ‘halt before the Sphinx’:
But now the time had come for the ‘old world’ of Europe to ‘halt before the Sphinx’:
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