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Sculptured History: Images of Imperial Power in the Literature and Culture of St. Petersburg (From Falconet to Shemiakin)

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Sculptured History: Images of Imperial Power in the Literature and Culture of St. Petersburg (From Falconet to Shemiakin) Sculptured History: Images of Imperial Power in the Literature and Culture of St. Petersburg (From Falconet to Shemiakin) Author(s): Svetlana Evdokimova Source: The Russian Review, Vol. 65, No. 2 (Apr., 2006), pp. 208-229 Published by: Wiley on behalf of The Editors and Board of Trustees of the Russian Review Stable URL: https://www.jstor.org/stable/3664398 Accessed: 15-09-2019 21:28 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/3664398?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Wiley is collaborating with JSTOR to digitize, preserve and extend access to The Russian Review This content downloaded from 142.150.190.39 on Sun, 15 Sep 2019 21:28:32 UTC All use subject to https://about.jstor.org/terms Sculptured History: Images of Imperial Power in the Literature and Culture of St. Petersburg (From Falconet to Shemiakin) SVETLANA EVDOKIMOVA Since its founding in 1703, St. Petersburg has been the site of an intense cultural and historical polemic concerning Russia's national identity. Indeed, St. Petersburg is more than a city; it is a process that reflects a crucial reorientation in Russian cultural and historical development. It may be viewed as a cultural symbol of imperial Russia in and of itself-as a window on the West and a window on Russia-but, in this article, I would like to narrow the focus and to discuss some of the city's cultural sites as "windows" on St. Petersburg itself and, by extension, on modern Russia. As demonstrated by the French historian Pierre Nora, any culture can be accessed through the study of what he calls "places of memory." These places, real or imaginary, generate intense emotions that express themselves in pilgrimages, ideological battles, or commercial investments. A nation infuses such places with highly charged symbolic meanings, and, consequently, they reflect the people's values and collective identities. Memory connected with this kind of site borders on the mythical because it reaches beyond the relevant archival material and into our imagination, fears, projections, and fantasies. This is by no means a static phenomenon but rather a dynamic process, as each generation imbues these "places of memory" with new meanings.' A classic example of this dynamic process can be seen in the history of the reception and symbolic meanings of the Eiffel Tower and its transformation from a threatening symbol of modernization, to one of poetical inspiration, and finally into a commercial symbol of Paris and France sold to eager tourists as an image on key rings or T-shirts.2 An earlier version of this essay was delivered at a Hofstra University conference on "St. Petersburg: 300th Anniversary. The City as a Cradle of Modem Russia" (November 7-8, 2003), and at a Vassar College conference on "300 Hundred Years of St. Petersburg in the Arts" (November 2003). 'For the notion of "places of memory" see Pierre Nora, ed., Realms of Memory, 3 vols. (New York, 1996-98); and Nora's Rethinking France: Les Lieux de Mdmoire, trans. Mary Trouille (Chicago, 2001). 2For an analysis of the cultural role of the Eiffel Tower see Henri Loyrette, "The Eiffel Tower," in Realms of Memory, 3:349-76. The Russian Review 65 (April 2006): 208-29 Copyright 2006 The Russian Review This content downloaded from 142.150.190.39 on Sun, 15 Sep 2019 21:28:32 UTC All use subject to https://about.jstor.org/terms Sculptured History 209 According to Nora, this kind of symbolic history, one that views truth as relative, is better suited to our times than one that values facts and objectivity above all else. Such a history is more subjective, yielding a variety of Frances or Russias of the people's imagination and national visions. I find this model particularly applicable to the study of St. Petersburg and its evolving mythology, which prompts such questions as: How does Peter the Great's legacy evolve in Russian history? What is St. Petersburg's role in Russia's past, present, and future? How does St. Petersburg reflect or determine the course of Russian history? Does St. Petersburg empower or disempower the individual? Some of these questions, I believe, are best answered through the study of the city's "places of memory." This essay will focus in particular on one of St. Petersburg's most important symbolic sites-Etienne Falconet's statue of Peter the Great, known as the Bronze Horseman, and its refigurations in Russian culture.3 An understanding of its history and the various responses that it has generated provides a vivid snapshot of Russian cultural perspective on the role of St. Petersburg and Peter the Great's legacy in Russian history. The myths surrounding this sculptural site speak volumes about modem Russian national identity. For obvious reasons, Peter's role in Russian history has been associated with the role of St. Petersburg, the city that stood as a symbol of his achievements, his policies, and imperial power in Russia. Likewise, almost immediately upon the unveiling of Falconet's monument to Peter the Great in 1782, the sculpture assumed a symbolic status as the cultural emblem of the city. Thus, from the beginning an important connection between Falconet's sculpture and Russia's historical destiny was established: if the Bronze Horseman stands for St. Petersburg and St. Petersburg represents Peter's role in Russian history, then the monument to Peter emerges as a symbol of modem Russian history, as initiated by Peter the Great. Most of the ambiguities, riddles, contradictions, and oppositions that inform St. Petersburg's mythology are indeed captured in Falconet's monument. SEMIOTIC POTENTIALS OF FALCONET'S STATUE OF PETER I The equestrian statue of Peter the Great was intended by Falconet to celebrate Peter's almost superhuman achievement in building a new city on the swamps of northern Russia, and, even more broadly, it was conceived by him as "the symbol of the whole nation he civilized."4 The base of the statue, a fifteen-hundred-ton granite block called "the thunder rock," was crafted into the shape of a breaking wave over which the bronze statue of Peter 3See, for example, N. Antsyferov, who referred to the Bronze Horseman as genius loci in his Dusha Peterburga (Petrograd, 1922), 27. 4Quoted in Bruce W. Lincoln, Sunlight at Midnight: St. Petersburg and the Rise ofModern Russia (New York, 2000), 94. For a detailed history of Falconet's monument see S. O. Androsov, "O statue Petra Velikogo raboty Fal'kone," in Fenomen Peterburga, ed. Iurii Bespiatykh (St. Petersburg, 2000), 209-19. See also A. L. Kaganovich, "Mednyi vsadnik ": Istoriia sozdaniia monumenta (Leningrad, 1975). The most recent fundamental study of the history of Falconet's monument is Alexander M. Schenker, The Bronze Horseman: Falconet 's Monument to Peter the Great (New Haven, 2003). Bernini's image of Louis XIV on a mountaintop has been shown to be the ultimate source of Falconet's Peter I (possibly via Lubrun's work). See Walter Liedtke, The Royal Horse and Rider: Painting, Sculpture, and Horsemanship 1500-1800 (New York, 1989), 78. This content downloaded from 142.150.190.39 on Sun, 15 Sep 2019 21:28:32 UTC All use subject to https://about.jstor.org/terms 210 Svetlana Evdokimova the Great was erected (Figs. I and 2). The horse is trampling a serpent beneath its hooves-a reference to Peter's victory over the forces of Chaos and the underworld.5 The tsar is represented as galloping on the horse with an enigmatic gaze on his puffy face and his right hand in a gesture about which there has been much speculation. To what degree is Peter really in control of his mount? Is he about to fall back, to recover himself, or to soar up into space? Is he urging the steed on or restraining it in the face of some catastrophic hazard? Is his right hand trying to calm the river that threatens to engulf the city? Some of these questions were voiced by the famous French political thinker Joseph de Maistre in St. Petersburg Nights, where a character inquires of the Peter statue: "Does your hand protect or threaten?" .iii~!?; .,;;:;:..]!iiil:ii:!iiiii iii! ?i??: ?? :.::ii b:'ii ? iii........................... QN..i ....: ........: ....................:i i i i?'c : : i i ... !. ' : .i ;!,.::!i!iii!i~i~i~i~ i!i i 'l i iiiii!;i;:'= = ...: ....... ? .:":i:,:::'::: :ii iiii !iiii:::: ? ?:?? ? -;::i::l .: : =:,l : :l : :.!!ii; ii l , ,=i i:!!: ':::Rim' ":~ iii :'iii:i i;Jii l i ... .. ?i. : , i : : ....i.. .. iii..ii :iilii lil :i: ;i ai: ii . .. .. ......: ;..i :.; i)".?:. i? 'i!:?i?. 11=II!'. : i1 i. ):ii:i) = ........." .. ?....... .. .?:! ..::: .. .: .. ??: ??...~; ?? ???: I '=="'="' ........ "% i~ ~ iiii~iiiii~i=::'i')ii1ii;':!iiii;==;=i :iilii~ii. ..........i S .L.... '. ...... o .... .. FIG. 1 Etienne Falconet, The Monument to Peter I (known as The Bronze Horseman). Unveiled in 1782. Photograph taken by the author. Other elements that may be "semiotized" as part of the statue's architectural context also played a role in how it was originally perceived. The immediate architectural surroundings of the statue-the buildings of the Senate, the Holy Synod, St.
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