“Territory of Margarita Chebysheva’s love.
Fashion tips
Well, it’s even somehow difficult to evaluate, such antiquity. Of course this is a wonderful miracle. Such safety in such a climate. The monastery looks great. Very correct organization of material delivery. First, watch and tell where and what to watch, then the story itself
A small, almost pocket monastery, snow-white. In winter there are practically no people. We came specifically to see the frescoes. For a 500-year-old work, it is in very good condition. It’s good that before personal acquaintance with the frescoes, an educational program is carried out with the help of a film.
(22-06-2017)
Konstantin ★★★★★
We often came here to admire it, but we haven’t been to the museum for a long time. This time we decided to go all the way. The exhibition consists of 4 parts, tickets are sold separately. In the amount of about 500 rubles per adult (including 250 rubles for the actual frescoes), pensioners get a 20 percent discount. You can pay by card. They are allowed to visit the frescoes in groups according to a schedule, before which there is a showing documentary film
. We also visited the church. Martiniana and the top and bottom of the refectory (church art and folk items). Ferapontovo, about 130 km, the road is good. There is no point in coming up with delightful epithets for this place. If you have not taken part in the fresco paintings of Dionysius in the Cathedral of the Nativity of the Virgin Mary, you most likely happy man – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
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The monastery is small, but very good. It looks beautiful. The frescoes are quite interesting from a historical point of view, when they were painted, but of course not really. But it's certainly worth watching once. Museums and exhibitions seemed weak. And of course it shouldn’t cost as much money as they charge for tickets.
Alexander ★☆☆☆☆
(15-01-2016)
What is surprising is, first of all, the rudeness and “bully talk” as a standard way of communicating with visitors and the sullenness of the locals. Everyone is rude - the seller in the store, the driver of the minibus (not a regular one, but a custom one, who received 6,000 rubles for a 3-hour route), the owner of the house, which was not rented for a pittance for the whole company. They are rude and rude for no reason, in response to smiles and politeness.
They raise prices on the fly, despite previous agreements.
The places are wonderful, it’s strange that very nearby, for example in Kargopol, the people are extremely responsive and friendly.
...– You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
The monastery itself is beautiful, both the architecture and the atmosphere.
A very small, “pocket” monastery. What's interesting is that it is included in the list of objects World Heritage UNESCO not only because of its frescoes, but also as an example of Russian monastic construction of that time.
The Church of the Nativity of the Virgin Mary is architecturally very simple and modest. The frescoes are amazing, wonderful. It's like they're "singing." Wouldn't year-round access hurt them?!
There is an active Church of the Epiphany, the inside is very good and blissful, although the space is small and dark (the darkness in this church adds a sense of mystery). ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
In the church there is a miraculous icon of the Mother of God “Quick to Hear” - according to the candle maker, it has a special grace to help with infertility.
I’ll say right away that people come to Ferapontovo for practically the only purpose: to see the frescoes of the great icon painter of the Russian Middle Ages, Dionysius (they are preserved only here). Therefore, if you are not particularly interested in this type of art, you may be disappointed. For a person who is interested in icon painting, the issue of money and other things is not in the first place. To each his own. And the frescoes were restored really perfectly, Rublev in the Assumption Cathedral of Vladimir or Velikiy Novgorod they don't even come close. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
Advice: come during the non-tourist season (for example, we were in April), then you can look at the creations of Dionysius as much as you like.
I have known about the Dionysius Fresco Museum for a very long time, so as soon as the opportunity arose, I went there with my wife. The impressions are twofold: on the one hand, unique paintings famous master in excellent condition; on the other hand, the expectation of something more. In general, I experienced ambivalent sensations from everything in Ferapontovo. The “front” (south) side of the monastery displays a dilapidated fence, ridiculous vegetable gardens and dilapidated sheds that spoil the view; but on the north side there is a beautiful lake, a clean shore and pine trees. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
The monastery courtyard is clean, but small. Apart from the frescoes of Dionysius, there is nothing special to see. For the ticket price (250 rubles), it becomes especially offensive when the caretakers try to force you to pay separately for photography.
Because of the Renaissance masters mentioned in the video (Leonardo, Raphael, etc.) - contemporaries of Dionysius, the comparison for a non-professional is not in favor of the Russian master (tested on other visitors). Perhaps you need to know well why you are going to Ferapontovo in order to avoid disappointment.
If you find yourself in Kirillov, you should definitely stop by Ferapontovo. A nice place, beautiful frescoes, but it’s not worth 250 rubles. for a ticket!!! To visit other attractions on the territory of the monastery you must also pay 200 rubles. from the nose. We stopped only at the frescoes + the ticket price includes watching a film for 10 minutes. Everything is clear on time: we entered at 16.15 - watched a film about the frescoes - left - entered the temple at 16.30 - watched for 10 minutes - left because... The next group is hot on their heels. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
It’s just a museum and nothing else, but it’s quite possible to visit once.
The monastery is small but very pleasant. Located in a picturesque place on the shore of the lake (more precisely, between Borodaevsky and Paskoe lakes). The Cathedral of the Nativity of the Virgin Mary works as a museum of frescoes - the murals of Dionysius have been preserved since 1502 (some work was carried out to preserve the paint layer, but not restoration, which implies restoration). In the church of St. Martiniana is a shrine with the relics of St. Martiniana (the only wooden carved shrine from ancient Rus' that has been completely preserved). In the Refectory Chamber there is an exhibition of ancient monastery icons, as well as paintings. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
The current Temple in honor of the Epiphany of the Lord (gate church).
It was during the New Year holidays. A separate ticket is purchased for the frescoes, the price is 250 rubles. I didn’t go to the museum itself because... It was a long-time dream to see the frescoes. I was afraid that there would be a lot of people. But I watched the film in splendid isolation; there were 4 people in the church itself. + caretaker. So organizationally everything is fine.
As for the frescoes themselves.... For me, the standard in this form of art is the painting of the Church of the Prophet Elijah in Yaroslavl. Those who have seen will understand. Here the palette is different, pastel (blue, ocher, brown) and style. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
And, of course, the question is that the frescoes of Dionysius were not renewed, and 500 years is still a period! I tried to imagine what it looked like freshly drawn - it must be great!
To sum it up: it's definitely worth watching once.
Beautiful nature, monastery, silence, few people. If I were an artist, I would sit and paint landscapes. I agree that the prices for the frescoes of Dionysius are too high, it was saved by the pension) But you should definitely see them!!! They are not allowed to take photos, but they give you a sheet with photos and the location of the murals.
What a great place! Wonderful lands - silence, smooth water, incredible landscapes! As a museum - it’s pathetic, and also expensive! Tickets to the Hermitage are cheaper. For viewing the frescoes - 250 rubles, for the rest of the museum - 210 rubles, which is a museum of peasant life, an exhibition local artists(we ended up in paintings depicting sunny Italy...) and a wooden c. Elijah the Prophet in the village of Tsypino is perhaps the most interesting of this. In addition, in order to see different exhibitions we had to look for caretakers to open them for us. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
But despite everything, come, the architecture and nature are worth it!
We visited the monastery yesterday. We booked an excursion to the cathedral to inspect the frescoes (1500 up to 5 people). We listened with pleasure, really liked it, worth the money spent. What is the advantage of visiting such places out of season, walk and look calmly. Unfortunately, a terrible cold wind was blowing, we realized that we were in the north, so we were not able to attend another tour of the monastery, but the impressions were already magnificent. By the way, Monday is a day off at the museum. But there was nowhere to eat: the hotel was open, and the restaurant... continuation src="/jpg/plus.gif">
Somehow this place is not conducive to conversation - more to
reflections! Especially when the sun breaks through the narrow windows and snatches a fragment of the PAST, which is like the present!
Warm floors now allow people in even in winter
to these masterpieces. In such a wilderness (with such roads!) and
such a ringing beauty!
Museum! As a museum, it is weak and almost unorganized. All attention to the frescoes, which were initially destroyed for almost 70 years, have now been restored. By the way, in churches where services are held - the mold and mildew that restorers fight while performing a feat - do not live at all... And where the service has recently been restored, the paintings themselves are often cleaned.
Something apparently prevents mold from living where they serve...
The area is poorly maintained. Such a monument! And such practically neglect... There is no devastation, but there is no loving care either. Which is not surprising. Nobody will give money to the museum. They will give money to the temple but not to the museum....
...– You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
I have seen many temples with similar paintings. But apparently with such old paintings there are no more.
The place itself is amazingly beautiful. And the lake and the pine trees and the monastery on the hill
Museum of Peasant Life - a warehouse of spinning wheels and looms. No more. Very interesting gallery paintings by local artists. Very bright, joyful work.
There is a tiny gate church... nothing caught my eye in it.
But a must visit. I actually then went to Vologda.
Road from Vologda. Excellent in places, patch on patch in others.
Elena ★★★★★
(27-07-2012)
We visited at the end of March 2012 after the Kirillo-Belozersky Monastery (which we didn’t really like). We booked a tour and were absolutely delighted. We also have something to be proud of. Stunning frescoes of Dionysius, a well-organized modern system for their preservation. In the Mirozhsky Monastery in Pskov, the frescoes are older, but their author is not known, so museum workers preserve them using improvised means. The government has invested money here (thanks to the dedication of the local director) and this is great. The silence around is not real. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
I was surprised to learn that Ferapont, after this monastery, founded the Luzhetsky Monastery in Mozhaisk (there is even a font there, but not on the territory of the monastery, but in the nearest village). We have a dacha nearby, we’ve been to the monastery a hundred times, but they didn’t know this. The gap has already been filled!!! You should definitely book a tour: it’s much more informative and educational.
The road from Vologda is very decent, I don’t even know why people here write that it’s bad. Entrance to the territory is free. On the walls there is an exhibition of old photographs and paintings by local artists. Services are currently being held in the gate church. I confess, we didn’t go to look at the frescoes - they were expensive. All around, beauty - the lake, in the distance. Overall it’s good, although not as extensive as Kirillov, but definitely worth a visit.
Svetlana ★★★★★
(12-06-2012)
on a single ticket for 200 rubles. There's practically nothing to see. well, very expensive. frescoes are not included in this price
Andrey Klochkov ★★★★☆
(11-05-2012)
Unfortunately, the museum closes at 17:00, and people are not allowed into it until half past five.
But there are beautiful views all around!!!
Elena ★★★★★
(4-05-2012)
We were there on May 2. We were the only visitors. From the outside, there seemed to be nothing special, but when we entered the temple, there was a feeling of some kind of miracle! I liked the image of St. Nicholas the Wonderworker the most, he is simply extraordinary! I didn't want to leave!!!
It is amazing that in such a wilderness (120 km from Vologda along a terribly broken road, in a village “with 2 houses”) ALL the paintings of the temple from 1502 have been preserved. in PRIMARY form! It (as the guide explained to us) was not restored, everything restoration work were aimed only at preserving and cleaning from brick dust and fungus. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
And 250 rub. not a big fee at all, considering how much it costs to maintain all the systems (and there is an air purification system, and maintaining the set temperature and humidity, and God knows what else) and the salary for the staff who are there and work, even for single tourists which we turned out to be...
vorchun ★★★★★
(12-03-2012)
I visited for the third time. The first two frescoes were inaccessible. Now, thanks to warm floors and equipment,
a miracle became possible (even in winter). The sun only contributed, and the rays inside the temple worked miracles!
I didn’t want to leave! Special thanks to the guide and the diagram of the frescoes, from which you can understand everything!
And everything is forgotten and bad road and long distances.
You need to visit and IMPACT!
Uralochka ★★★★★
(11-01-2012)
Unfortunately, the monastery and museum are not even open every day! We were unable to get there on January 9, apparently due to Monday and the New Year holidays.
Mariyka ★★★★★
(3-10-2011)
Definitely worth a visit, but only once for those in ancient Russian painting understands nothing - that will be enough. The places are incredibly beautiful and amazing. There were 09/24/2011, 250 rubles. For viewing frescoes in such a wilderness, in my opinion, it is expensive. People in other museums didn’t go to other museums (also for money). I recommend going up to the gate church, it is active (right above the entrance gate) - this is antiquity and holiness!
We were here on July 14, 2011. We watched the film and the frescoes. They don't let you look at it for a long time, but it's wrong - temperature conditions and all that. In general, of course, it’s a little expensive for 10 minutes of viewing without a live tour. I rate the frescoes and the work of the restorers; I would rate the museum less.
tata ★★★☆☆
(7-07-2011)
We visited the monastery on June 19. The place is wonderful and the frescoes are good, but instead of a tour there is a 10-minute lecture on TV with terrible sound quality. If you remember anything, go look at the frescoes. All this for 250 rubles. per person. The general disappointment was corrected by communication with an employee of the Tsypinskaya Church museum. The church is part of the Ferapontov Monastery Museum and is located 2 km from it. I give "Tsypin" 5 points.
Elena ★★★☆☆
(30-05-2011)
I want to warn all travelers coming to the monastery. The frescoes of Dionysius can only be seen with a separate ticket costing 250 demolition rubles. Single ticket does not give such an opportunity! And it is impossible to return it. And we got caught in this. We had to buy both tickets, although we were only going to see the frescoes (unfortunately, we were running out of time). The museum workers don’t really explain anything. No one was going to give a tour. I will never go here again, because this attitude towards tourists will leave a bad feeling for a long time. ... – You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
And the place is very beautiful. Worth a look.
I visited Ferapontovo for the second time in January 2011. We arrived at sunset, and the monastery was illuminated pink by the setting sun. Magnificent views, nature. It makes me want to come there again and again. Once again I admired the frescoes of Dionysius. Now before the inspection they show a film about the frescoes, and then a tour with a guide. Cost for January 2011 - 250 rubles.
And also, if you’re there in winter, don’t forget to take a sled or ice skate with you and slide down the mountain straight to the lake with the local kids))
Natalia ★★★★★
(22-11-2010)
The place is amazing! What I like most is that there is no city around, so the monastery is located in a marvelous corner of nature on the shore of a beautiful lake. The monks knew how to choose a place. I like the antiquity, the lack of gloss. The tour of the museum also seemed interesting. And one more thing. Such blue sky, as above the Ferapontov Monastery, I have not seen anywhere in the central and northern Russia. Maybe we were just lucky with the weather.
Maryam ★★★★★
(28-10-2010)
We visited with a group from Moscow State University in May 2001 (after visiting the Kirillo-Belozersky Monastery, where in the evening in the rays of sunset - which still left an unforgettable impression of Nature in the soul) this majestic, powerful monastery rose, and then in the morning, having just arrived by bus, we climbed to the Ferapontov Monastery against the backdrop of a lake bathing in the rays of the sun, this graceful monastery glows in memory - everything is holy here, and when soon in Moscow in Tretyakov Gallery there was an exhibition of frescoes by Dionysius (we are already ready... continuation src="/jpg/plus.gif">
were interested in the information about Dionysius) How I want to return here to this ring - Kirillo-Belozersky - Ferapontov - Goritsy (what is the state of the latter now - they were just beginning to restore it)
The monastery was not impressive, nor was the museum housed in it. I don’t like monastery-museums with Soviet grandmothers-museum workers. These are not living monasteries that have lost grace and holiness. In monasteries you need to pray, and not stare at the exhibitions. It’s good that at least the gate church was given to the parishioners - there is a place to pray and light a candle...
Yes, the monastery is good. In the active part, scarves for women hang on the railings. But the current church is very small. And to see the frescoes is really quite expensive - 200 rubles. In general, you can stop by. The lake is very clean, and the view of the monastery from the lake will not be repeated...
Anna ★★★★★
(13-03-2010)
We were in Kirillov and Ferapontov in October 2009, it was magical Golden autumn. The most beautiful places, lakes, forests, villages... And when, from behind a hillock, they saw a monastery shining with white walls above the lake, they stood on the side of the road in admiration for about ten minutes, just silently admiring it, it took their breath away. There are plenty of attractions, don’t be lazy to move off the main road.
We will definitely return to those parts!
Yes, the place is unique. Some of the frescoes have been restored, restoration work continues. There is not much to see in the museum of everyday life and the exhibition of local artists. The gate church is active. Although tickets, I agree with Maria, are a little expensive. It could be cheaper for our compatriots.
We were very lucky with the guide; a live girl told us how she sang :). A completely different vision of history, different legends.
The frescoes of Dionysius are not allowed to be photographed, not because they will be damaged by the flash, but in order to stop “personal enrichment.”
The monastery itself looks much more beautiful from below, from the square.
Mikhail G. ★★★☆☆
(25-09-2008)
We visited the monastery in June 2008. The impressions are sharply negative. Achieving commercial results nullifies the entire spiritual perception of what is seen. 10 years ago I was delighted with this place, although at that time it was less well-groomed and “civilized”. The monastery makes a much greater impression from the water at sunset, if you take a boat from the local population and float on the lake. This will at least remind you a little of the former spirituality of this place.
Maria ★★☆☆☆
(24-09-2008)
The monastery is located on the shore of a picturesque lake. Beautiful! Fits well into the surrounding landscape. Commerce inside! Tickets to the museum are expensive (to see the frescoes of Dionysius - 160 rubles per person). The ticket takers and museum keepers are stern, like overseers.
The frescoes of Dionysius did not impress me; they do not touch my soul.
Rucheva ★★★★★
(25-08-2008)
The main thing, of course, is the frescoes, their quantity and remarkable state of preservation. Been here twice. For the first time in 1983, in the winter. There was no knowledge then about frescoes and ancient Russian painting. We arrived, everything around was dilapidated and neglected, someone opened the church door for us, and we saw a miracle. Among winter, dirt and desolation there is another world, the blue of the frescoes, and for many years a feeling of wondrous vision and wonder how it could have survived for 500 years. Not stone, not powerful fortress walls, but fine drawing on a layer of plaster.
...– You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she is a researcher at the reserve with 30 years of experience, her knowledge is not limited to the same domes. ... continuation
The second time was in 2007. Landscaping, control of the number of visitors. Everything is quite understandable - the museum is unique, but the feeling of miracle is no longer there. There is an understanding that you are in a museum, however, in a unique museum. You can look at the frescoes as much as you want, just ask to leave if a group comes and there are more than 10 people in the temple.
I really liked the exhibition with household items, precisely because there were so many of them. It was interesting both at the book exhibition and at the exposition, dedicated to history monastery For a place so far from the capitals, the museum as a whole (there is no question of the frescoes, they are unique, that says it all) cannot but delight, it is very worthy.
According to church tradition, this ancient monastery was founded after the miraculous appearance of the Mother of God to the monk Kirill of the Simonov Monastery. He shared the revelation with the tonsured Ferapont, who came from the boyar family of the Poskochins. Together they decided to go to the shores of White Lake. Here the monks found a hill surrounded on three sides by lakes. Kirill recognized the place shown to him in a vision and said: “Behold my peace forever and ever; I will settle here, as the Most Pure One willed.”
The travelers were already 60 years old at that time. Ferapont did not live long on White Lake, continuing his search for prayerful solitude. In 1398, in a picturesque place, on a hill, between two lakes, he dug his first dugout. Soon a small community gathered around her. The elder abbot not only spiritually instructed the brethren, but also performed the most difficult obediences: chopping wood, carrying water. The Monk Ferapont did not have to rest in the monastery he founded. At the request of Prince Andrei Mikhailovich, he went to the outskirts of Mozhaisk to found the Luzhetsky Monastery. His relics have been buried there since 1426.
Ferapont's students waited a long time for a new spiritual mentor. He became Martinian, a student of Kirill Belozersky. A deeply educated, talented copyist, Martinian collected in the monastery, which he headed for a quarter of a century, an extensive library for that time. He is also known for supporting the dethroned and blinded Prince Vasily the Dark. Having regained the Moscow principality, he, in gratitude, offered Martinian the abbess in the Trinity-Sergius Lavra.
Under Martinian, the wooden Church of the Nativity was rebuilt Holy Mother of God, erected in 1409. And it became stone under his disciple Joasaph, Archbishop of Rostov. According to legend, the young Prince Obolensky heard at his wedding feast from the holy fool, who handed him flower wreath: “Here’s your bishop’s hat, Ivanushka.” Soon the young princess died in childbirth, and her saddened husband took monastic vows in Ferapontovo under the name Joasafa. He donated considerable funds to the main temple of the monastery - the stone Nativity Cathedral, the construction of which was completed in 1490. And 12 years later, the Moscow icon painter Dionysius and his sons Vladimir and Theodosius painted the temple. Dionysius is the largest artist of Ancient Rus' after Andrei Rublev. His brushes belonged to the frescoes in the Pafnutievo Borovsky, Joseph-Volokolamsky, Pavlovo-Obnorsky monasteries, but today they have been preserved unchanged only in Ferapontovo.
The painting of the Nativity Cathedral is dedicated both to the earthly life of the Mother of God and to the theological interpretation of Her image. For example, in the upper tier of the temple there are allegorical scenes from the Akathist to the Mother of God. Among the images of ecumenical saints there also appear the images of Sergius of Radonezh and Cyril of Belozersky, canonized shortly before the painting of the frescoes.
The colors of the frescoes are delicate, the coloring is dominated by pale green, light yellow and white tones; instead of the red master, they used pink color. A soft, calm composition should put the congregation in a prayerful mood.
Like other northern monasteries, Ferapontovo also served as a prison for the disobedient. The reformer Nikon spent ten years here in exile, deprived of his patriarchal rank. Former " Great Sovereign All Rus'" he built himself a cell. When the regime was softened a little for the disgraced patriarch, he, wanting to leave his descendants with the memory of his grievances, poured large stones onto the bottom of the lake with his own hands. On the resulting small island he installed a cross with the inscription: “This Life-giving Cross The humble Nikon, the Patriarch by the grace of God, installed Christ, while he was imprisoned for the Word of God and for the Holy Church on Beloozero in the Ferapontov Monastery.”
Spiteful critics accused the disgraced hierarch, who loved to spend time on the island, of communicating with the devil. Allegedly, he appeared to the patriarch in the form of a serpent and reported everything that was said about Nikon among the people. The authorities also resisted treatment local residents who, having heard about his gift as a healer, flocked to the monastery in crowds. According to the Gospel tradition, Nikon read prayers over them and anointed them with blessed oil. Responding to the accusations, he testified that “this medicine of his brought God’s mercy and healing to many people, but he had never heard of anyone dying from his medicine.” However, the investigative authorities sent by the Council of 1676 were ordered to “burn all Nikon’s medicines, roots, herbs, vodka, ointments on fire and throw them into the river so that nothing remains of him.”
In the next one, XVIII century the monastery gradually fell into decay, and in the end it was completely closed by decision of the Synod, but in December 1903 it was decided to resume monastic life in the monastery. This time a convent opened here. With the blessing of the abbess of the Leushinsky monastery, Taisia, several sisters moved there. Before the nuns had time to restore the monastery, troubled revolutionary times began. In 1918, the abbess of Ferapontov, Abbess Seraphima, was shot, but the monastery was finally closed only in 1924.
Fresco Museum
The modern museum of frescoes of Dionysius appeared on the territory of the monastery in 1975; formally it is a branch of the Kirillo-Belozersky Historical, Architectural and Art Museum-Reserve. Today, research and educational work is carried out here. At the same time, since the summer of 1990, services have resumed in the small gate church of the Epiphany, which was once reserved for prayers to Patriarch Nikon.
The stone church of the Nativity of the Blessed Virgin Mary (1490) is primarily famous for the paintings of Dionysius.
The Church of the Annunciation of the Blessed Virgin Mary (1534) was built with donations from Tsar Vasily III in honor of the birth of his heir, the future Tsar Ivan the Terrible. Under this temple there is a large room that once housed the monastery kitchen and refectory.
Martinian's Church (1640) was erected over the tomb of the former abbot and consecrated in his honor.
The churches above the Holy Gates - one in honor of the Epiphany of the Lord (1649), the other in the name of St. Ferapont - are the last large stone buildings in the monastery.
The State Chamber (XVI century) is a massive two-story building with a gable roof, located to the right of the Holy Gate.
The tented bell tower of the Ferapontov Monastery does not have exact date buildings, but architectural forms it can rather be dated back to the 17th century.
The Master's Secret
Specialists are of great interest in the amazing preservation of the color of Dionysius' frescoes. According to one of the legends, the master collected multi-colored pebbles for their production on the shore of the monastery lake.
This legend found a continuation: supposedly, when the restoration of the Assumption Cathedral of the Moscow Kremlin began in 1946, the Office of the Kremlin Commandant sent an expedition to collect coloring stones “for a better restoration of the palette of the artist Dionysius.” Secret expedition collected more than a ton of stones and clay in Ferapontovo and delivered it to Moscow, also under conditions of increased secrecy.
Shrines of Ferapontovo
Relics of St. Martinian of Belozersky. They rest in secret in the church of the same name.
- The relics of St. Galaktion of Belozersky. They rest in secret under the bell tower to the right of the entrance.
- The relics of Archbishop Joasaph. They rest at the feet of the Monk Martinian. The tombstone is located on the left on the sole in the Martinian Church.
- The revered icon of the Mother of God “Quick to Hear.” Written on Mount Athos at the beginning of the last century for the renewed monastery.
- The sacristan of the Monk Martinian.
- Felony, in which the holy righteous John of Kronstadt served in the Ferapontov Monastery.
Shelemeteva Diana Denisovna
Shikhova Olga Alexandrovna
Scientific director
Kuzminykh Natalia
Ivanovna, teacher of Russian language, literature, art
1.Biographical information.
2. A brief overview of the material about the poetess’s work.
3. Main motives and images in the lyrics of nature by M.P. Chebysheva.
4.Use of artistic means, their frequency.
Margarita Petrovna Chebysheva is a Vyatka poetess. Her poems are known to most of our fellow countrymen. She has published eleven poetry collections and Lately became close to many readers as a wise creator, deeply feeling and understanding of the world and people, an expert human heart, subtle psychologist and philosopher.
Born on October 6, 1932 in the village of Lebyazhye Kirov region. Later, the family moved to the Urzhum district, living with their parents in the villages of Shurma, Russky Turek, Buyskoye. In Buysky she graduated from school and began writing poetry. In 1954 she graduated from the Faculty of Russian Language and Literature of the Kirov Pedagogical Institute. She worked as a literature teacher in the village of Loino, Verkhnekamsk region, at the Kirov boarding school, at the school for working youth, and secondary schools No. 14,2,54.
For eight years she worked on television as an editor for feature programs on Kirov Television and as the head of the Molodost literary club.
The first publication of her poems appeared in the regional newspaper “Komsomolskoe Plemya” (1964), then a selection of poems in the poetry collection “Youth”, which consisted of works by members of the literary club of the same name.
The beginning creative biography can be considered 1967. Margarita Chebysheva released her first poetry collection exactly this year, it was called “Severyanka” and earned a flattering assessment from the famous literary critic Evgenia Osetrova. Then there were numerous publications in newspapers, magazines “Smena”, “Rabotnitsa”, “Volga”, and collective collections published in Kirov, Perm, Moscow, Gorky.
Margarita Chebysheva became the author of many poetry books. In the preface to her “Moscow” collection “Green Star” (1974), which was published by the Sovremennik publishing house in the “First Book in the Capital” series, V. Kochetkov wrote that “the harsh region left a peculiar imprint on her book, gave a working restraint of words, directness and conviction of poetic thought.” In 1974 she received her diploma
Kostroma Department of Culture for a cycle of poems about Kostroma
Later, Margarita Chebysheva was published in collective collections, in the magazines “Our Contemporary”, “Volga”, “Nizhny Novgorod”.
For eight years, Margarita Petrovna worked on television as an editor of feature programs. Journalistic meetings provided material for thinking about the fate of the Russian land, the village, the Russian woman and, of course, about love - these became the main themes of her poems.
Awarded the badge of the Ministry of Culture of the RSFSR “Excellence”
cultural patronage over the village" (1980). Winner of the N. Zabolotsky prize (All-Russian and Urzhum region), front-line poet O. Lyubovikov, Kirov Regional Press Committee.
A total of 11 books were published:
1. “Severyanka” - 1967, Kirov, Volgo-Vyatka book publishing house;
2. “Green Star” - 1974, Moscow, Sovremennik publishing house;
3. “Slavyana” - 1975, Kirov, Volgo-Vyatka book publishing house;
4. “Stretching out hands to September” - 1979, Kirov, Volgo-Vyatka book publishing house;
book publishing;
6. “Astafiev’s winds” - 1987, Kirov, Volgo-Vyatka book publishing house;
7. “Province” - 1993, Kirov, Kirov regional printing house;
8. “Russian plot” - 1998, Kirov, publishing house “Triad”;
9. “I live with an echo, I sing with an echo” - 2000, Kirov, Kirov regional printing house;
10. “My Village Vyatka” - 2003, Kirov, Triad Publishing House.
11. “Territory of Love” - 2007, Kirov, GIPP “Vyatka”.
Many people wrote about M. Chebysheva. Repeated reviews by Perestoronin N.V., Igoshina V., Ishutinova L., Sirneva S. about the work of the poetess can be found in the newspapers “Kirovskaya Pravda” and “Vyatka Krai” for the 60-80s of the 20th century. Literary scholars G.A. Okhotina, V. Chernykh, S.I. Beresneva tried to evaluate the lyrical “I” and highlight the main themes and motives. Quite recently, an article by Dr. philological sciences Pozdeeva V.A. “And just as the eternal female path is not simple...” However, there is not a single article devoted to the analysis of artistic means, despite the fact that Pozdeev V.A. notes in Chebysheva’s poems “a tendency towards an associative form of thinking with a predominance of expressive and retrospective imagery”, “her metaphor is not an ornament, but the basis for the figurative construction of a poem.”
Therefore, we would like to dwell specifically on the topic “ artistic media expressiveness”, analyze which means of language are most loved by Margarita Petrovna, what is their unusualness and bewitching appeal. This will be one of the tasks of our work.
Analyzing the literature devoted to a review of the work of M. Chebysheva, we came to the conclusion that most researchers agree with each other in identifying several topics:
- the theme of thoughts about poetry, about the poet’s heart, about his fate;
- the theme of the poet’s unity with the Motherland;
- understanding the Russian national female character;
- the theme of mother, woman, her role on earth;
- theme of historical memory;
- theme of love, poetry of feelings;
- crown Vyatka nature, the region, its past and present;
Most of all we were attracted by the poems dedicated to the Vyatka region and the beauty of its nature. Therefore, the second task of our work was to try to find favorite motifs and images in poems dedicated to nature.
In a conversation with journalist N. Perestoronin (the interview was published in the newspaper “Vyatka Krai” in 1996), Margarita Petrovna reports that although she has lived in the city for a long time, she feels like a country person, so the poetess skillfully reveals the richness and beauty of the nature of her native land .
When we worked with literary texts, we found out that in almost every second or third poem, a discussion on any topic begins with a description of a simple Vyatka landscape. What is the Vyatka landscape like? The city of Kirov (and in the past Vyatka) is located in central Russia. Nature rarely spoils us with its attention. Summers are often rainy, and autumn begins sometime in August. Long winter and long cold spring. And how does Margarita Petrovna Chebysheva see our nature?
In the forest - like in a high cathedral
Silence sounds like a chorale.
Happiness and sorrow are sharper here,
A hundred times heavier than wine...
(“In the forest – like in a high cathedral...”)
...The gate in the old fence creaks.
A neighbor coughs sleepily behind the wall.
And the ray of the moon is like an arrow on a device,
Indicates time for conversation...
(Before dawn)
...Very simple: river and grass,
Yes, a drizzle of dew, and glare of light.
This will greet you wherever you are.
Why is the memory of the homeland alive?
(Nostalgia)
...Autumn drops leaves on the graves,
And the grasses of those graves whisper: live...
(“About the oldest and the ever-new…”)
...The desperate hut was grieving,
There is a bitter rowan tree at the fence...
The old pipe is lopsided,
And the nettle looks like a princess.
The bathhouse collapsed. Under the window
The burdock grew higher than the roof.
The path was covered with trampling.
Even mice don’t live in the barn...
...The curly willows closed in
Balloon over the river. Blue dragonflies.
The fry tickle my feet.
Air flows above the streams of water...
(“The curly willows have closed in…”)
We see different time year and day. The writer's eye captures the smallest details that depict to us the inconspicuous, discreet, but very sweet beauty of our nature. Very often Margarita Petrovna turns to the image of the mountain ash.
...The rain puts out fires in the forests,
And the gloomy sky gets heavier...
And flashes of powerless beauty
Rowan trees are burning by the road...
...And lit up through oblivion
Drops of bitter rowan berries
Her cold palm...
Inconspicuous in summer, but what a bright mountain ash in winter!
...But only in the snow-covered thicket,
Where every branch is white,
There, flashing tassels screamingly,
Rowan called me.
And fell freely on the path,
Confusing that frosty day,
Among the blue and cold
Her pinkish shadow.
An alarming flame without smoke,
Burning even in a snowstorm, -
So fiercely, indestructibly
Rowan blazes in the snow.
...The rowan berry brushes are heavy,
The leaves are lightly yellowed.
I show off my rowan wrist
Before the one who looks out of the water...
(“The rowan brushes are heavy…”)
...Rowan sweet land!
I missed you while we were apart!
(Rowan sweet land...")
...I burn my lips with rowan berries
And I cool the pain with snow...
...How quickly the mountain ash turns red!
Let summer not pass yet.
The aspen trees whisper helplessly,
About the fact that the heat is leaving...
(“How quickly the mountain ash turns red…”)
This image of a thin mountain ash, ready for all trials, is familiar to us all. Its berries may be bitter in summer, but very sweet in winter, after frost. This is probably what the Vyatka man is like – unprepossessing, but enduring, generous in times of trouble, and hardworking.
Turning to the poetess’s poems dedicated to the lyricism of nature, other recurring images are revealed: autumn, night, rain, wind. As a rule, they do not exist on their own, but are included in miniatures in which images of the outside world serve as an expression state of mind lyrical heroine. Lyrical hero, as is known, is not identical to the image of the author, although in most cases it reflects his personal experiences. The lyrical heroine does not remain constant throughout the poet’s work, she changes, just as “the attitude towards the world changes, and the world towards you”, and appears in endless variety women's destinies. Here flashed before us not just a woman-autumn, but a heroine who suffered, who lost everything, who received only ashes:
Autumn walks barefoot through the stubble
And by the cold fires
Warms cold feet...
(“Autumn is coming...”)
...Some kind of mystery in the autumn season,
Thoughtful, quiet, crystal...
And all that remains is to watch and watch
Light, grateful, sad...
(Astafiev's winds)
... Autumn rains are wandering across the earth.
They lick the glass pleadingly and pitifully
And they whisper in the dark that everything is already wet, -
Autumn rains are asking for warmth...
(Autumn rains)
Throughout his work in different collections we see autumn paintings nature. Autumn is one of the annual cycles, “favorite time of year.” This is the time when it is cold outside, when in human relationships there is a cold between people, when you are sad for some reason, sad and say goodbye to something close and dear to yourself. “The leaves are falling, falling, falling, yellow rain between you and me...” Perhaps this is where the word “autumn” has become a poetic synonym for separation, parting. These are the feelings that M. Chebysheva’s poem “Draw leaf fall for me in September…” awakens in us.
Draw leaf fall for me in September
And rain in the forest.
I’ll collect a heap of colored leaves at dawn
And I’ll bring it into the house.
Fading subtle charm and sadness
Let them shine for me.
Let the rain curtain sway
September in the window.
Draw me a cold heavy wave
Pearl light.
Draw me autumn forest silence
Ringing trail.
Draw... To make your chest feel cold
I understood and believed: everything is behind me,
Winter is coming.
Yes, there are days in autumn when it seems that everything is over. Day after day passes, and nothing changes in life. Peaceful, calm, quiet. And suddenly you want change, you want something more, your soul reaches for something higher. And again you begin to feel the greatness of the world around you.
Autumn soft chill,
And the very first yellow leaf...
And suddenly the house becomes hateful,
And the whistle will disturb the soul
The strengthened wings of bird flocks.
I walk barefoot through the stubble.
Anxious moment, don't fly away
Stay with me forever.
And the distance is wide open to the stars,
And in the copses the silence grows cold,
And the wind tangled a strand of hair
And mixed up all the paths.
And the heart breaks after the birds,
Cursing wingless fate...
I don't want to believe that no
I have elastic wings!
(Autumn)
Autumn is thrifty, rich, and it gives all its wealth with purely Russian generosity, when they give everything to the last thread, without demanding anything in return: no attention, no participation, no praise...
...Homeless on frozen roads
Autumn wanders in a wet cloak,
She probably needs a little -
She is used to leaving with nothing.
If only you could dry your wet dress
And warm your chilled hands,
So as not to cry anymore with rain
And don’t burn fires in the forests...
Autumn appears in different images, but most often it is the image of a woman. Here she is a beautiful villager, and here she is fleeting phenomenon a young city dweller in a raincoat and a light chiffon scarf, easily stepping between the glass display cases:
Autumn is celebrated generously and flashily.
So that I can admire myself,
Flashed at all intersections
Mirrors, mirrors, mirrors.
Still carefree, unruly,
In the colorful silk of sunset stripes,
And decorated with a brush of rowan
Strands of copper flying hair.
But the fogs will fall heavy,
Will shine through oblivion
Drops of bitter rowan berries
On her cold palm...
(“The stars have become larger and closer...”)
Even if there are no signs disturbing the soul, like “the chimney was wheezing from autumn colds...”, “the trees are dozing, having thrown off all worries, shrouded in gentle silence...” , “...the cries of the cranes are freezing in the sky...”, “and the gloomy sky is getting heavier...” and a sunny, perky image appears, then it’s still autumn:
... Like a fox among the red pines
Autumn flashed and disappeared...
(“Behind the ghostly haze of the forest...”)
...For us, autumn probably saves
Skies shining with light.
Only here and there the aspen trees are set on fire
Still very green forests...
(“We are going to Kokshaga in Indian summer...”)
...A bouquet of nasturtiums on the window is burning...
The stars became bigger and closer,
The flowers smell like autumn.
August again, cheerful and red,
Behind the bridge he sets fire to bridges...
(“The stars have become larger and closer...”)
Flocks of birds and flocks of leaves
Flying, ahead of each other.
The yellow birch trees are melting away,
Approaching incorporeality...
Indicated by lightness of lines
Their transparent silhouettes.
And through them - snowfalls and showers,
A scattering of stars and streams of light...
(“Flocks of birds and flocks of leaves…”)
The poetess’s heart is responsive to everything she sees, the nature of her creativity is generous. All this is because poetry is nourished by life itself. You read it and the poems, and immediately Levitan’s landscapes appear before your eyes:
...The sun turned red
In the palm of my hand
Goldfish leaves
Floating in the window.
...Weaves groves and fields with a web.
Levitanov's painting
Outside the windows there is earth...
(Autumn sketch)
The face of the earth is scarred by rains,
She doesn't see the sun for many days.
And the groves are torn after the cranes,
And the clouds are getting denser and darker...
(“The face of the earth is carved by rains...”)
The lyrical heroine of M. Chebysheva is endowed with great experience and wisdom of life, acutely aware of the contradictory complexity of existence. Her philosophy regarding the world around us can be called “everything in everything” or “I am in everything.” “A remarkable feature of Margarita Chebysheva’s lyrical self is to absorb the pain and joy of the world, to experience a sense of belonging to it,” notes researcher of the poet’s work G.A. Okhotina. Therefore, you find the next autumn lines and believe the poetess, think about each line, learn how to reconcile your rebellious self:
It's getting colder. Autumn is coming to an end.
The water shines like gray pearls again.
Brings in the remains of dry leaves
Tired paths and years...
The trees are dozing, having thrown off all worries,
Shrouded in gentle silence.
And autumn breathes peace on me,
To reconcile me with you again...
(“It’s getting colder. Autumn is coming to an end...”)
No less interesting is the image of the night, which is repeated throughout many collections. Most often, Margarita Petrovna uses metaphor to create an image. In the 112 cards we collected and analyzed, this trope occurs 58 times.
The stars are pecked from the sky
Cloud- black bird…
And one fell into the dark forest -
Better to crash! ...
Today the night is sad and tender,
She walks sadly, weightlessly...
(“The stars are pecked from the sky...”)
In this miniature we see the approaching night, dark clouds, and heavenly lights gradually disappearing into the haze. But the picture seems more fantastic to Margarita Petrovna, it looks like a fairy tale: “a cloud is a black bird.” And here is a gradual transition to internal state the hero and the story of what is in his soul. So most often the world human feelings conveyed through pictures of nature.
… The rain crossed out the lanterns
Drops are thrown into the glass until dawn...
(“Autumn rain hung over the city...”)
… All past the glass into the window frames
The dawn pokes like a blind kitten...
…The chimney wheezed from autumn colds,
And the leaves fell, fell,
As if an artist, having finished a sketch,
He slowly shook them off his brush...
(Astafiev's winds)
We see a completely different image of the night sky in the poem “Lilac Night”.
…Silver night.
On every branch
By blue needle-shaped star...
The epithet “silver” immediately gives us before our eyes a picture of a night completely flooded with moonlight: glitter lies on the roofs of houses, on the grass, on the tips of tree branches. The branches are so silvered that each branch seems to be decorated with a shiny light. This image is created for us by the epithet “blue needle star”. The epithet appears in the description of nature more than 44 times. This suggests that the poetess carefully works on the word, choosing the most necessary for a given poem.
Above ashy haze of dawn
Moon cold glass...
(“Above the ashen haze of dawn…”)
All night long shouting corncrakes,
AND pulls dampness at dawn...
(“The corncrakes are screaming all night…”)
…As if nothing had happened
The moon was descending into the garden.
Light shadow from the branches
There is a pattern on the wallpaper.
Soft clanged in the wind
The gate is locked.
Became silver-blue
Binding on the window.
Wet the smell of jasmine
It makes my head spin...
(“Didn’t let me sleep for a long time...”)
And the fog will float...
A silver shimmer trace –
An easy night deception...
(August Tale)
I hold the evening in the palm of my hand,
Light, cool, linen.
My young happiness
How do you feel next to me?
(“I hold the evening in the palm of my hand...”)
IN silver radiance framed
Evening poplars near the house...
(River of Youth)
Soft darkness of August nights,
The darkest of the year...
The stream hides in the low bushes,
To catch a star.
Will shine dimly water between the branches,
Like the palm of the moon
And the star will sway quietly
On the crest of a wave.
And the stream will be filled with jubilation
Tight shores.
Rings of gentle, murmuring speeches
It will cover the meadows.
The night will quietly fall from your shoulder
Scarlet scarf of dawn...
And the dawn will flow along the wave,
And the fog will float...
(“Soft darkness of August nights...”)
Along with metaphor, Margarita Petrovna actively uses personification. In terms of frequency in our card index, it is in 3rd place. 24 examples were found. It is often difficult to draw the line between these two paths. As, for example, in this passage:
…And the leaves, coldly yearning for the earth,
They fly to her last warmth.
And the rain strokes with a sad pencil
Landscape stuck to wet glass...
(“The face of the earth is carved by rains...)
The author does not just paint a picture outside the window, but, as it were, brings it closer to the viewer, trying to fix our attention on every detail. It is not we who observe the landscape in the rain, but the rain on the glass that paints a sad picture for us. Personifications help the poetess with this.
...The chilled wind hides in the leaves,
It rustles, trying to hide from the rain.
The drooping maple, trembling, knocks on the window,
Losing wet leaves in the grass.
(“Autumn rain hung over the city...”)
Swans fly away in a snow-white flock,
They fly away to warmer climes.
And my native land is melting in a yellow haze,
Sweet, desirable, one of our own...
...And the groves are torn after the cranes...
But the lines again remind one of something completely fairytale picture or a frame from a cartoon. All this helps us to see personification again.
...The wind settled between the pipes resentfully,
The poplar stood sadly by the road...
(Autumn rains)
Working with Margarita Petrovna’s texts is easy and interesting. Every time new landscape It makes you think carefully and, at the same time, delights you with its skill.
So, we analyzed the poems about the Vyatka region. Most often, M.P. Chebysheva paints a simple Vyatka landscape, where we see grey sky, spruce paws. Of all the trees, the poetess most distinguishes the rowan; this is the next poetic image, which the writer does not part with almost throughout her entire work. Favorite time year - autumn, it is presented to us in different colors. We can also see all the shades of night, rain, wind in her poems.
In terms of the frequency of use of figurative and expressive means of the Russian language, the first place in the lyrics of nature is occupied by metaphor (58 examples); Chebysheva’s speech, one might say, is “saturated with metaphors.” Second place in our study was taken by epithet (44 examples), third place by personification (24 examples). Next, in descending order, are the following means: comparisons (12 examples), evaluative vocabulary (8 examples), expressive colloquial vocabulary (5 examples).
List of used literature
1. Beresneva S.I. “I’m just a person” (Lyrical heroine of M. Chebysheva) // Vyatka land in the past and present. Materials of the Republican 4th scientific and practical conference.-Kirov, 1999.- P.160-163
4. Ishutinova L. “Confession is a measure of craft.” - // Komsomol tribe. - 1979, - No. 116. - September 29. – p.3
5.Calendar significant dates, 2009 .- Kirov publishing house;
6. Kolchanova E. To meet a kindred spirit.- //Kirovskaya Pravda.-1998.-December 24 (No. 2).-P.3
7. “We had a very good time...” - //Kirov Spark. Urzhumsky district.-1973 - No. 92. – p. 4
9. Okhotina G.A. “It's time for maturity. Collection of poems by M. Chebysheva “I extend my hands to September.” - // Kirovskaya Pravda, 1979 . - No. 202. - September 1. –p.3
10. Okhotina G.A. Literary portraits. Lyrics by M. Chebysheva // Meetings. Works of Kirov writers / Comp. V. Zabolotsky - Kirov, 1978.- P.234-240
12. Perestoronin N. Two women singing love.-//Vyatka region.-2003.-August 20.-(No. 154).-P.7
13. Perestoronin N. With both tenderness and pain: [About the new poetry book M. Chebysheva - “Russian plot”] // Vyatka region.-1992. - February 12.-(No. 29) P. 6
14. Perestoronin N. Margarita Chebysheva: prose of life, poetry of fate. - //Vyatka region.- 1996.- September 14.-P.4
16. Perestoronin N.V. Margarita Chebysheva: prose of life, poetry of fate. - //Vyatka region, 1996 – September 14.-No. 170.- p.4
17. Plastinin V. And virtual, and earthly, and cathedral. - //Kirovskaya Pravda.-2001.-October 19. (No. 135).-P.9
18. Pozdeev V.A. “And how the eternal female path is not simple...” (About the poetry of Margarita Chebysheva) // Anthology of Vyatka literature. -T.7 – P.6-10
19. Ponomarev V. With pain in my heart. Notes on the new poetry collection by M. Chebysheva.-//Kirovskaya Pravda.- 1998.- December 11 (No. 229).- P.2
21. Chebysheva M.P. “I feel like I’m from a generation of dying mammoths”: [Conversation with the poetess Chebysheva/ zap. O. Zhuravleva] - // Our version. - 1993. - No. 10. - March 6. - C4,7
22. Chebysheva M.P. “I live with an echo, I sing with an echo” - 2000, Kirov, Kirov regional printing house;
Chebysheva M.P. Scarlet Sails and a sundress. [Conversation with a Kirov poetess about life and literature].- //Vyatka-Aif.-1997. - No. 46.-P.7.
24. Chernykh N.V. Literary local history lessons in 5th grade. - Kirov, 1997
25. “I am a white sheet. And loneliness...": method. recom. To the 70th birthday of the poetess M.P. Chebysheva. - Kirov, 2002, p.4
2015 has been declared the Year of Literature in Russia. And the first event of this year was an evening in the literary and musical lounge of the Central Library named after N. A. Yakhlakov. It was dedicated to the work of the most famous Vyatka poetess Margarita Petrovna Chebysheva.
Why is the event named this way? Firstly, this is the name of the book that was supposed to be published in the “Anthology of Vyatka Poetry” for the 80th anniversary of the poetess.
Secondly, Margarita Petrovna is a lyricist by the nature of her talent. Moreover, she develops the most lyrical theme- the theme of love. But in this traditional theme she has her own intonation. First of all, this is the intonation of masculinity. Young people often write about love in a tearful and sentimental tone, with excessive prettiness. Chebysheva gives a subtle and restrained portrait of feelings connected to high voltage modern world.
“I’m a sinner – I don’t believe in conventional morality.
I’m a sinner – I honor love alone as a shrine...” –
These are lines from “Monologue of a 20th Century Woman.”
How are people deprived musical ear, this is how people who lack the ability to love meet. They mistake something else for love: passion, habit, sympathy. That's why Margarita Petrovna calls love a rare bird.
Rare bird of love.
But if it flew off
from the highest heights,
bestows without measure and count.
Only love
Indivisible into soul and body,
Only she
Dies, having lost his flight.
Only love
into cleansing given to man,
no initially on it
no sin, no guilt.
Only love,
Homeless Cinderella of the century,
not for sale - it has no price.
Margarita Petrovna was born on October 6, 1932 in the village of Lebyazhye, Kirov Region. Graduated from the Faculty of Russian Language and Literature of Kirovsky pedagogical institute. She taught Russian language and literature at a school for working youth and secondary schools. She worked on television for eight years as an editor of feature programs. She led the literary club “Molodost”.
In 1967, the first book of poems, “Severyanka,” was published. In total, Chebysheva published 12 books: “Green Star” in the Moscow publishing house “Sovremennik”, “Slavyana”, “Province”, “Astafiev’s Winds”, “I Extend My Hands to September”, “Two Voices, Two Echoes, Two Stars”, “ I live with an echo, I sing with an echo”, “Russian plot”, “My village Vyatka”, as well as “Territory of Love” and “House on the Sand”.
Honored worker of culture of the Russian Federation. Member of the Russian Writers' Union. Laureate of the All-Russian Prize named after. Nikolai Zabolotsky, regional prize named after the front-line poet O. M. Lyubovikov.
Her poems contain images of beautiful, strong, faithful and long-suffering Russian women, just like she herself was. These images organically merge into single image Rus' - from ancient to modern Mother Russia.
And women are like that in Rus',
that, Lord, have mercy and save
from these obsessions strange eyes:
they look thoughtfully through you
and they see Something that cannot be explained.
And a thread already connects you
The desire to understand, to find an answer;
Who is this woman? No answer.
She can be a sinner and a saint,
He executes with cruelty and kindness,
In a glance gray eyes now it's hot, now it's cold,
And on the lips - raspberry and wormwood.
She will kill you, but will not betray you,
He will take his soul and give his own.
However, what is a drop at the bottom,
A riddle in an inaccessible depth -
Will stay.
And don't look for an answer
Who is this woman. No answer.
The Vyatka village with its unpretentious beauty, the people who live here appear before us in poetry as if they were alive.
She wrote about herself, feeling a blood connection with generations of women who walked the Earth before her, identifying herself with the heroines of her poems: time and destinies, past, present and future are intertwined in them
Russia... Chebysheva returns to this topic again and again, because her soul hurts about the fate of her homeland, sometimes affectionate, like a mother, and sometimes harsh, like a stepmother. But still the only one, because Russian people are not given another.
What did Margarita Chebysheva believe in? In people. And also - by virtue of the word. Although many believe that today poetry, which once elevated the souls of people, is fading into the background, poets do not gather huge halls, and newspapers practically do not publish lyrics... But, nevertheless, there are still poets in Russia who are capable of “burning with a verb.” people's hearts...
I know that walls cannot be made from words.
And don't be shackled.
But everything that broke the shackles,
Born from words.
Depends on many things, but not on the word
The strength of any foundation.
But everything that shook the foundations,
Born from words.
A century can be quiet, a century can be loud -
There are no ambassadors to the future.
But everything we leave to our descendants
Born from words.
She lived quietly and did not like to be seen. But my civil position expressed herself firmly and clearly in poetry.
Margarita Petrovna Chebysheva passed away in November 2014. In the memory of everyone who knew her personally and her poems, she will remain a bright person, a stately Russian beauty with a braid on her shoulder, in a colorful shawl - the very Slavic Vyatka poetry that she was and will remain in her work.
The territory of her love is truly vast. This is not only Vyatka land, Vyatka nature, Vyatka people - this is all of Russia. The poetess divides this territory into three main themes: Time, Motherland, Love. They are as unchangeable and eternal as life is unchangeable and eternal.
The poet's living voice sounded at the evening. The disc “My whole life will sprout in poetry” was recorded in regional library for the blind in 2014. In the author's performance, those gathered heard a story about her and the poems “I grew up on green land,” “Ancestors,” and “I walk the earth barefoot.” Irina Babkina read several poems.
Songs based on poems by M. P. Chebysheva were performed by Vladimir Veske, Elena Dmitrenkova - Amsterdam (recorded); Oksana Trubina (live sound).
The program was prepared and conducted by librarians Tatyana Inkova and Tatyana Tungusova.
Songs based on poems by Margarita Chebysheva, performed by Oksana Trubina:
Night
I live in echoes
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