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Эммануэль Вигеланн EMANUEL VIGELAND and the “Tomba Emmanuelle”

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Эммануэль Вигеланн EMANUEL VIGELAND and the “Tomba Emmanuelle” эмМануэль вигеланн EMANUEL VIGELAND and the “Tomba Emmanuelle” ЭММАНУЭЛЬ ВИГЕЛАНН (1875–1948) – ИЗВЕСТНЫЙ НОРВЕЖСКИЙ ХУ- EMANUEL VIGELAND (1875-1948) WAS A RENOWNED NORWEGIAN ARTIST, ДОЖНИК, ПРОСЛАВИВШИЙСЯ СВОИМИ ВИТРАЖАМИ И ФРЕСКАМИ. МНО- ESPECIALLY FAMOUS FOR HIS STAINED GLASS WORKS AND FRESCO ГОГРАННОСТЬ ЕГО ТАЛАНТА ПРОЯВЛЯЛАСЬ, ПОМИМО ВСЕГО ПРОЧЕГО, В PAINTINGS. THE VERSATILITY OF HIS TALENT WAS MANIFESTED IN THE VARIETY РАЗНООБРАЗИИ МАТЕРИАЛОВ, ПОСЛУЖИВШИХ ОСНОВОЙ ДЛЯ СОЗДА- OF MATERIALS HE WORKED WITH TO CREATE AN EXTENSIVE COLLECTION OF НИЯ ВНУШИТЕЛЬНОГО СПИСКА ПРОИЗВЕДЕНИЙ. ОДНАКО ЭММАНУЭЛЯ ARTWORK. HOWEVER, EMANUEL IS OFTEN OVERSHADOWED BY HIS BETTER ЧАСТО ЗАСЛОНЯЮТ ЕГО БОЛЕЕ ЗНАМЕНИТЫЙ БРАТ ГУСТАВ ВИГЕЛАНН KNOWN BROTHER GUSTAV VIGELAND AND BY EDVARD MUNCH, ANOTHER ИЛИ ЕЩЕ ОДИН ВЕЛИКИЙ ХУДОЖНИК ТОГО ЖЕ ВРЕМЕНИ, ЭДВАРД МУНК. GREAT ARTIST OF THE SAME PERIOD. В ДЕТСТВЕ ЭММАНУЭЛЬ ВИГЕЛАНН БЫЛ ОЧЕНЬ ПРИВЯЗАН К СВОЕМУ DURING HIS CHILDHOOD, EMANUEL ENJOYED A CLOSE RELATIONSHIP СТАРШЕМУ БРАТУ, КОТОРЫЙ ПОБУДИЛ ЕГО НАЧАТЬ РИСОВАТЬ. ПОСТУПИВ WITH HIS BROTHER WHO ENCOURAGED HIM TO START DRAWING. HE В 1894 ГОДУ В КОРОЛЕВСКУЮ АКАДЕМИЮ ХУДОЖЕСТВ В ОСЛО, ВИГЕЛАНН ENTERED THE ROYAL ART ACADEMY IN OSLO IN 1894, HIS FIRST STEP СДЕЛАЛ ПЕРВЫЙ ШАГ К ПРОФЕССИИ ХУДОЖНИКА. В ПОСЛЕДУЮЩИЕ TOWARDS BECOMING AN ARTIST. IN THE FOLLOWING YEARS, VIGELAND ГОДЫ ОН ПРОДОЛЖИЛ УЧЕБУ В КОПЕНГАГЕНЕ И ПАРИЖЕ. В 1900–1902 CONTINUED HIS STUDIES IN COPENHAGEN AND PARIS, AND BETWEEN ГОДАХ ЭММАНУЭЛЬ ПУТЕШЕСТВУЕТ ПО ИТАЛИИ, ИСПАНИИ И АНГЛИИ. 1900 AND 1902 TRAVELLED TO ITALY, SPAIN AND ENGLAND. THIS BROUGHT ЗНАКОМСТВО С ЕВРОПЕЙСКИМ СИМВОЛИЗМОМ ОКАЗАЛО БОЛЬШОЕ HIM UNDER THE INFLUENCE OF EUROPEAN SYMBOLISM AND INSPIRED HIM ВЛИЯНИЕ НА ЕГО ТВОРЧЕСТВО, В КОТОРОМ ПОЯВЛЯЮТСЯ ХАРАКТЕРНЫЕ TO DEVELOP FIGURE PAINTING WITH SOMBRE AND DRAMATIC SHADES. НОРВЕГИЯ - РОССИЯ: НА ПЕРЕКРЕСТКАХ КУЛЬТУР 54 ВИТРАЖ НАД АЛТАРЕМ ЦЕРКВИ ОСКАРА (OSCARSKYRKAN) В СТОКГОЛЬМЕ. ФОТОГРАФИЯ STAINED GLASS ABOVE THE ALTAR IN OSCARSKYRKAN IN STOCKHOLM © EMANUEL VIGELAND/BONO. PHOTO NORWAY - RUSSIA: ON THE CROSSROADS OF CULTURES 55 НАДПИСЬ НАД ВХОДНОЙ ДВЕРЬЮ «ВСЕ СОТВОРЕННОЕ ГОСПОДОМ ЧИСТО». ФОТОГРАФИЯ INSCRIPTION ABOVE THE DOOR, “QUICQUID DEUS CREAVIT PURUM EST ”- EVERYTHING CREATED BY GOD IS PURE © EMANUEL VIGELAND/BONO. PHOTO ДЛЯ НЕГО РЕЗКО ОЧЕРЧЕННЫЕ ИЗОБРАЖЕНИЯ ФИГУР. ТЕМЫ РОЖДЕНИЯ VIGELAND WAS DEEPLY INTERESTED IN THE HUMAN LIFE CYCLE, AND HIS И СМЕРТИ, ЖИЗНЕННЫЙ ЦИКЛ ЧЕЛОВЕКА – ЦЕНТРАЛЬНЫЕ В ТВОРЧЕСТВЕ WORKS FOCUSED ESPECIALLY ON THE SUBJECTS OF BIRTH AND DEATH. Э. ВИГЕЛАННА. ОНИ ВОПЛОТИЛИСЬ В ГРАНДИОЗНОЙ ПО ЗАМЫСЛУ И THIS REMAINED THE THEME OF HIS ARTWORK THROUGHOUT HIS LIFE, AND МАСШТАБУ ФРЕСКЕ «VITA» В МАВЗОЛЕЕ TOMBA EMMANUELLE В ОСЛО. WAS FINALLY REALIZED ON A GRAND SCALE IN THE FRESCO “VITA” IN HIS MAUSOLEUM “TOMBA EMMANUELLE” IN OSLO. ЭТОТ МАВЗОЛЕЙ ЯВЛЯЕТСЯ ПОИСТИНЕ УНИКАЛЬНЫМ, В НЕМ ОБЪЕДИ- НЕНЫ АВТОРСКАЯ АРХИТЕКТУРА, СКУЛЬПТУРА И ЖИВОПИСЬ. В 1926 ГОДУ THE MAUSOLEUM IS A UNIQUE AND COMPLEX WORK OF ART IN TERMS ВИГЕЛАНН ПРИСТУПИЛ К ПОСТРОЙКЕ МАВЗОЛЕЯ, КОТОРЫЙ БЫЛ ЗАМЫС- OF ARCHITECTURE, PAINTING AND SCULPTURE. VIGELAND STARTED ITS ЛЕН КАК РАБОЧАЯ МАСТЕРСКАЯ, ОДНАКО С ПЕРСПЕКТИВОЙ ТРАНСФОР- CONSTRUCTION IN 1926, ORIGINALLY INTENDING IT AS HIS STUDIO, TO BE МАЦИИ В МУЗЕЙ ПОСЛЕ СМЕРТИ АВТОРА. СТРОИТЕЛЬСТВО ЗДАНИЯ БЫЛО TURNED INTO A MUSEUM FOR HIS ARTWORK AFTER HIS DEATH. ALTHOUGH ЗАВЕРШЕНО В 1927 ГОДУ, А НАД ФРЕСКАМИ ВНУТРИ БУДУЩЕГО МАВЗОЛЕЯ THE BUILDING’S EXTERIOR WAS COMPLETED IN 1927, VIGELAND WOULD ВИГЕЛАНН РАБОТАЛ В ТЕЧЕНИЕ ПОСЛЕДУЮЩИХ 20 ЛЕТ, ДО САМОЙ СМЕР- WORK ON THE DECORATIONS OF THE INTERIOR FOR THE NEXT 20 YEARS ТИ. ПОСЛЕ КРЕМАЦИИ УРНА С ЕГО ПРАХОМ БЫЛА ВМОНТИРОВАНА В СТЕ- RIGHT UP TO HIS DEATH. THE ENTRY TO THE MAUSOLEUM IS VERY LOW НУ НАД НИЗКОЙ ВХОДНОЙ ДВЕРЬЮ: ТЕПЕРЬ КАЖДЫЙ ВХОДЯЩИЙ КАК БЫ WITH THE URN WITH THE ARTIST’S ASHES EMBEDDED IN A NICHE ABOVE THE ПРЕКЛОНЯЕТ ГОЛОВУ ПЕРЕД АВТОРОМ ОДНОГО ИЗ САМЫХ ЗНАЧИТЕЛЬ- ENTRY, SO THAT VISITORS HAVE TO BOW TO ENTER. НЫХ В МИРЕ ХУДОЖЕСТВЕННЫХ ПРОИЗВЕДЕНИЙ. INSIDE THE MAUSOLEUM THE WALLS AND VAULTED CEILINGS ARE ФРЕСКА ВНУТРИ МАВЗОЛЕЯ (СВЫШЕ 800 M2) ИЗОБРАЖАЕТ БОЛЬШИЕ DECORATED WITH FRESCOES DEPICTING LARGE GROUPS OF NUDE WOMEN, ГРУППЫ ОБНАЖЕННЫХ ЖЕНЩИН, МУЖЧИН И ДЕТЕЙ. ИХ СПЛЕТЕННЫЕ MEN AND CHILDREN. THEY ARE ENTWINED TOGETHER IN CONTINUOUS ТЕЛА РИТМИЧЕСКИ ПОДЧИНЕНЫ ВНУТРЕННЕМУ ВОЛНООБРАЗНОМУ ДВИ- WAVES WHICH ARE SPREAD AROUND THE HIGH WALLS BY THE MASTER’S ЖЕНИЮ, КАК БЫ ВЫТАЛКИВАЮЩЕМУ ИХ ИЗ ТЕМНОТЫ И С НЕЗЕМНОЙ СИ- POWERFUL IMAGERY AND ENERGY. THE HUGE-SCALED FRESCO, COVERING ЛОЙ РАСПЛЕСКИВАЮЩЕМУ ИХ ПО СТЕНАМ, А АКУСТИЧЕСКИЕ ЭФФЕКТЫ OVER 800 SQUARE METRES, CREATES AN UNCANNY ATMOSPHERE UNDER DIM ДОБАВЛЯЮТ ТАИНСТВЕННОСТИ. В ИТОГЕ ПОСЕЩЕНИЕ МАВЗОЛЕЯ СТА- ILLUMINATION, AND THE SPECIAL ACOUSTIC EFFECT IN THE MAUSOLEUM НОВИТСЯ ДЛЯ КАЖДОГО ПОСЕТИТЕЛЯ НЕЗАБЫВАЕМЫМ СОБЫТИЕМ. CREATES FOR VISITORS A MYSTERIOUS AND UNFORGETTABLE EXPERIENCE. СЫН ХЭ Ю SEUNG HAE YU НОРВЕГИЯ - РОССИЯ: НА ПЕРЕКРЕСТКАХ КУЛЬТУР 56.
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