Dashi Namdakov - an amazing sculptor and our contemporary

Total 54 photos

What was it worth, at one time, at least, the exhibition, which simply “blew my brain”) and released a lot of unconscious and deep archetypal experiences and emotions from contact with the exquisite masterpieces of Thracian jewelry art. So it is here - it seems like an exhibition is an exhibition, but when I accidentally saw its announcement, something unconscious instantly formed into a firm conviction that I had to go immediately. I usually listen to such spontaneous messages from my unconscious, because I already know well that if I catch such a message right away and follow it without thinking, I will definitely receive something important for myself and my reverent knowledge of this World. This is what happened at this exhibition...

The only thing that should be said is that the Exhibition “Nomad. Between Heaven and Earth" is a bizarre mixture of two exhibitions - it displays exhibits from the Historical Museum, covering the theme of the ancient cultures of the Eurasian steppes and dedicated to the 100th anniversary of the museum’s department of archaeological monuments and intertwined with it is the personal exhibition of Dasha Namdakov, who presented at this, without exaggeration , a high-status and substantial exhibition platform, will have its own personal exhibition of sculpture, graphics and jewelry.

It should immediately be noted that, although logical, it is still a strange way of displaying the exhibition as a whole. The sculpture of Dashi Namdakov is exhibited both at the exhibition itself and is partially scattered in five halls of the Historical Museum of the Archeology Department on the first floor. “Nomad” is held in a separate new exhibition hall with an entrance through an isolated entrance and in order to see all the sculptures of Dasha Namdakov you will have to take another ticket to visit the main exhibition of the museum. A rather discouraging decision, but then I realized what the matter was - the exhibition of exhibits from the Historical Museum itself is compact and not large, and against the backdrop of Dasha’s wonderful and large-scale works it would look a bit small...
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When you enter the hall of the exhibition “Nomad. Between Heaven and Earth” - you see mainly only sculptures by Dasha Namdakov and you may be slightly surprised by this external image of the exhibition, especially if you came to view only ancient artifacts from the museum’s collection. However, I will dedicate, and therefore let’s now touch on the work of this amazing and, as it turned out, artist close to me in spirit.

The Asian theme in contemporary art is not new, but not in relation to Dasha Namdakov. Summarizing the photo material after the exhibition, I could not figure out for myself how I could write about this amazing sculpture and this artist, who do not fit into any of the usual accepted styles. At first, I hastily classified Dashi as a surrealist, labeling him the Buryat Dali, but everything turned out to be not so simple. Remembering my impressions of each of his works and looking again and again at the photographs taken from the exhibition, I could not get rid of the feeling that all the characters who basically underwent bizarre transformations and transmutations in the imagination and creative process of this artist exist and live, at least somewhere and in other dimensions and worlds, but in reality. This unusual discovery prompted me to try to get to know this man better and delve into his biography, and then a lot of things became clear to me.

It turned out that he was from an ancient family of darkhans - a caste of blacksmiths-jewelers, craftsmen working with fire - the divine element, a symbol of chosenness. The Darkhans possessed the highest knowledge, which was passed on from generation to generation. They were responsible for the world in which they or. Dasha's father revealed to him this fantastic and subtle world of the Steppe, the Sayan Mountains, the amazing and mysterious Baikal, the versatility of his craft, which is completely filled with the world of spirits, feelings and the immediate joy of creativity.

Dasha’s creations come from the visible embodiment of his special worldview, preserving the deep infinity of existence, archaic Scythian images, where cultures and events of the past do not disappear without a trace, but continue to simultaneously interact with us and retain their significance and messages. The spirit of his land, the power of nature in which he grew up, lives in his sculptures. They contain a deep secret that not everyone can unravel, but it is impossible not to feel their energy and beauty.

I was even at a loss where to start examining the exhibits - from “The Nomad” or from Dasha’s works, but then everything somehow settled down by itself, and with an unusual feeling of excitement and sincere curiosity I looked at both the ancient steppe artifacts and the artist’s graphics and sculptures .

Having gotten used to it, at a certain moment, I began to feel the descending, enchanting haze of the Steppe. It became calm, measured, the Steppe inexorably penetrated into all particles of my soul. For some time I just stood and enjoyed the almost real feeling of being among these endless expanses... The photo of panels of the Buryat steppes, thick crimson sunsets, peacefully grazing horses and nomads on their mighty horses rearing up also contributes to entering the context. These are stills from the film "Mongol", where Dashi acted as the main production designer, including, of course, the costumes. And large semicircular panoramic photo panels are built like a stylized nomad’s yurt. Discreet audio accompaniment adds to the overall background disturbing and at the same time harmonious musical sounds and the characteristic throaty sacred singing of shamans and the rhythmic sounds of their tambourines... The steppe was approaching, and I dissolved in it...

I will note in advance one significant and slightly sad fact - the lighting at the exhibition, as always, is, to put it mildly, restrained, the sculptures and jewelry are in soft darkness, everything is mysterious, in general - between heaven and earth...) But to take a high-quality photo in such conditions, yes Even without a flash and a tripod it is extremely difficult, and therefore do not blame me for some graininess of the shooting objects and distorted broken light of the background, especially for small jewelry.

The overall composition of the exhibition is well designed. At first I thought that there was quite a lot of free space here, but then I understood the intention of the author of the exhibition - it was necessary to show these steppe expanses and give a feeling of immersion in their wonderful, bewitching context.

The central place in this sculptural composition is occupied by the amazing stylized figure of a naked nomadic maiden with her hands folded on her chest like the steppe Polovtsian women, who were once abundantly placed by the ancestors of the nomads across the expanses of the Eurasian steppes. She touchingly holds a small bird in her hands and looks at it with love.

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The unusual reddish-ochre patinated color of bronze evokes a slightly mesmerizing feeling from the sculpture. It's called "Madonna with a Bird". 2011. The image of a Buryat nomad - a careful keeper embodying fragile beauty eternal life and the piercing essence of the impulses of the steppe soul of its people.
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At the very entrance to the exhibition there is a sculpture “Amazon” made of blackened bronze. 2010 Before us is a bust-length portrait of a beautiful woman, on whose head is a helmet in the shape of the head of a grinning panther. This is an exalted image of Queen Tomiris, the leader of the warlike nomadic Sakas who lived in the 4th-5th centuries in the Kazakh and Ural steppes, under whose leadership the scattered nomadic tribes first united into a single state.
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She became famous for her military exploits and cunning strategy, which allowed her to defeat the powerful Persian king Cyrus. Surely greek myths about the Amazons have their roots in eyewitness accounts of their battles with the warriors of this beautiful and spiritual queen.

Minotaur. 2010 An unusual, mysterious, exciting sculpture of a bull with a third eye in its forehead. The mythological image of the Minotaur echoes Dasha Namdakov’s bull-progenitor from Buryat legends, which carries the power of the first ancestors and a powerful epic sound.
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By ancient legend, the image of a bull is associated with the theme of the arrival of spring and fertility. The spring ceremony to honor him is similar to the procession of the Apis bull in ancient Egypt, which expressed hope for a good harvest. In addition, according to the beliefs of many peoples, this powerful sacred animal drives out any evil spirits.
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The bull-totem is an archetypal motif for human culture as a whole, and its image is based on a compositional allusion to Paleolithic images from the Altamira cave - the oldest monument visual arts.
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The mythical bull Bukha-Noyon, the totemic ancestor of the Buryat tribes Bulagats and Ekhirits, in ancient legends appears as the personification of the strength of the good Western Tengris, embodied in the gray bull, fighting with the motley bull, the product of the evil forces of the Eastern Tengris.
Tengri - the cult of Heaven of the Turkic tribes.
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In the works of Dasha Namdakov there are many zoomorphic motifs of a mythical nature. “Tsarina” 2001 is also associated with the art of the Ancient East. A panther or lioness, with an elongated, elastic body, full of power and feline grace, with prominent muscles under smooth skin, is the embodiment of regal greatness.

The animal’s head turned to the front is reminiscent of zoomorphic images of ancient Iran or paintings of oriental antique ceramics of the 7th century. BC. The majestic calm of the entire figure and the frozen moment of expression of her muzzle come into unexpected contrast with the position of the tail, which, like a whip whistling in the air, soars above the powerful body, thereby introducing into the image a hint of formidable and swift strength.
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It is in this place that it is also appropriate to talk about the famous “Keeper” (2003), which was donated to the Historical Museum by Dashi Namdakov and will precede (guard) the halls of the ancient history of the museum. This image is certainly inspired by mythological fantasy images of the culture of the Ancient East and the European Middle Ages, personifying terrifying protection. The first thing that comes to mind for some reason is that this is the warlike and slightly demonic hypostasis of the she-wolf who suckled Remus and Romulus, who founded Rome.
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The sculpture of the “Keeper” is placed in the corner next to the arch in front of the Sarmatian hall and is a little lost in this place, but the power, the archetypal strength of this creature guarding its home is large-scale and irresistible. The sculpture exudes an unbridled, frantic animal force that pierces space and time. You definitely need to see it in person!...
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“Mode’s Horse” (2004) by Dashi is associated with a beautiful legend about the favorite war horse of Khan Mode (234-179), the founder of the Xiongnu empire, for whom the horse was a dear friend and comrade-in-arms. This horse fell as a sacrifice in the khan’s achievement of power and as an example of the unquestioning submission of his warriors: Mode shot his first arrow at his beloved horse. Those warriors who did not follow his example, considering it unreasonable to destroy such a magnificent animal, were immediately executed by the khan. Mode aimed his second arrow at his beloved wife. And the warriors who did not dare to repeat his actions were also executed. When, during a hunt, the khan aimed his shot at his father, with whom Mode was fighting for power, all the warriors without hesitation fired their arrows at the old khan. This concept of unquestioning obedience to the will of the military leader was the basis of the ideology of all warlike Eurasian nomads and therefore also applied to the history of the era of Genghis Khan.

The master deliberately emphasizes in this exhibit the antiquity of the image of the legendary horse, imitating greenish traces of copper oxidation and highlighting his broken limbs... Even with a torn bridle and broken legs, he is nevertheless beautiful, majestic and full of meaning, like an authentic object of admiration, surprise and careful preservation.
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The theme of the rider and his horse can rightfully be called the leitmotif of Dasha Namdakov’s work. The most striking decisions and professional achievements of the artist are associated with it.

"Element". 1999 This early sculpture by Dasha Namdakov is made in a conventionally realistic manner and reveals the image of the air element as one of the cosmogonic elements. In the author’s mind, she is associated with the figure of a horse flying at a rapid gallop.

The composition of the work fully corresponds to the chosen topic. The animal is spread out in a horizontal plane, the head is stretched forward as much as possible, the ears are pressed back, the mane is thrown to the side by the oncoming wind. The muscles are tense to the limit and with their relief they create the main plastic pattern of the body.

This sculpture, according to some information, is in the personal collection of Russian President Vladimir Putin.

"Centaur with a stone." year 2009. The image of Centaur Dasha retains violent primitive energy, but is endowed with vivid feelings and original fantastic attributes. Before us is a new world created by the artist’s imagination. His Centaur with a stone is a rebel whose main weapons are righteous rage, the power of resistance to attacks on his independence and self-esteem.
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It is unusual to see this dynamic mythological sculpture separated from the main composition of the exhibition, especially against the backdrop of ). However, this and many other sculptures of Dasha are of considerable size and definitely beg to be placed in large spacious halls, which is exactly what the authors of the exhibition did.
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"General." 2010 Character ancient history nomadic tribes, this warrior is dressed in a stylized National Costume, endowed with weapons and attributes of power. He is real, but lives in our world like an alien from the past.
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Squat figures, mask-like ascetic faces, emitting powerful energy of transformation - these are the representatives of the extensive gallery of warriors of Dashi Namdakov. At the same time, the artist makes the viewer feel the connection between this hero and Don Quixote, creating the necessary associations with a few masterfully executed strokes.
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"Rider". year 2000. The favorite motif of battle or hunting an animal, when the rider sees the target and is ready to hit it, allows the sculptor in this work to demonstrate the most striking features of his plastic talent.
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Dasha Namdakov’s author’s style is marked by the desire to accurately convey the characteristic “ethnic” nuances of the character’s plasticity.
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"The Rich Bride", 1998. The plot of the sculptural composition “The Rich Bride” is borrowed from the traditional life of nomads. The young steppe woman, turning her head, clearly pleased with her dowry, looks at her chest, attached to the croup of a small stocky horse in anticipation of her groom. Feeling the mood of the mistress, the horse dances as it goes, raising its head to the sky.
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The emotional unity of man and nature is in perfect harmony and anticipation of a new happy life.
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"Warrior with a Falcon" 2010 This brutal character also guards the Sarmatian hall in the general exhibition of the museum. The falcon, used in traditional Mongolian hunting and combat, poised on its owner's hand in tense anticipation of its swift and deadly flight.

Historians believe that at least sixty thousand people took part in Mongol falconry. This bright ceremony served as a demonstration of the combat readiness and strength of the army.

Here in the next room sits the “Great Champion”. year 2001.
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Some more from the main exhibition.

"Steppe Nefertiti" year 2001. Ancient civilizations left us the richest cultural heritage. The Egyptian queen Nefertiti still remains the generally accepted ideal of female beauty. The exquisite stylization of this image, skillfully executed by the artist, gives birth to a new beautiful standard of Mongolian femininity, grace and tenderness. The bronze sculptural portrait seems to be the embodiment of harmony, in which female plasticity is combined with the charming angularity of youth, the geometry of ovals and smooth lines - with the cone shape of a long neck and a triangle of the face.

The stamp of reflection and hidden feeling hidden in the closed eyes of the elongated cut gives this image the character of mystery and reveals the magic of oriental beauty.

"Scull". 2005 year. Silver. The skull occupies a special place in the culture of nomads, and especially in shamanism as a belief in the spirits of ancestors - it is in the skull that the seat of their spirit is located. This stylized skull harmoniously coexists in the same display case with the skull of a bear, which was used by shamans during sacred rituals.
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"Horseman with an axe." From the series "Warriors".

"Warrior with a Saber" 2002 From the series "Warriors".
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Using the example of these graphic works, one can imagine how the characters of Dasha Namdakov were gradually born and how they found their embodiment in bronze.
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Dashi Namdakov also works with jewelry. There are not many of them at the exhibition - only one stand, which is located next to a stand with similar ancient jewelry. Let's take a closer look at his work, inspired by archaeological finds of ancient nomadic jewelry.
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"Arsalan". 2004 Gold, casting, chasing, stones. Arsalan - “Lion” in Buryat.
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Well, what can I say!? The exhibition was amazing! And this is probably not the right word to try to convey my multifaceted feelings. It was as if I had penetrated the dimensions of space, time, looking into inner world this wonderful artist, sculptor, graphic artist, jeweler, and, undoubtedly, initiate and magician.

The whirlpool of images of Dasha Namdakov captured me, so much so that to this day his characters, his heroes, his shadows, his warriors, his ancestors, his symbolic and mythological characters, clothed with fantastic reality and delightful, appear in front of me in an orderly succession. living plastic. I can only wish you to be at this exhibition and “live” to experience this wonderful phenomenon and the abyss of the archetypal and phantasmagoric worlds of the Master.

In conclusion, there is some information and links about Dashi Namdakov himself, which did not fit into the fabric of my story in LiveJournal. It must be said that in fact the Master has a lot of works and it’s still worth delving into the Internet to better imagine his work:

Official website of Dasha Namdakov. A good and quality resource. Very worthy photographs and rich rich art text accompanying as the main introductory article about Dashi Namdakov and his fantastic works.

Cast sculptures from Dasha Namdakov. A wonderful detailed essay about the artist, his childhood, formation, studies, teacher, successes and the Path of the Master. There are also many photos of his sculptural works collected here.

Dashi Namdakov - a man who created himself - About Dashi Namdakov, and here is a list of the artist’s personal exhibitions. By the way, the exhibition “Nomad. Between Heaven and Earth” in the State Historical Museum is the 50th in a row, which is also a kind of anniversary of Dasha and a significant and significant gift for him.

Dashi Namdakov - Sculptor with the soul of a nomad. A wonderful selection of works on LiveInternet based on materials from his official website, but nevertheless, the author did everything very richly and successfully.

Sculptor Dashi Namdakov

Dashi Namdakov - Buryat artist and sculptor . Photo from 2004. Despite the pronounced National character works of the Buryat sculptor Dashi Namdakov, he is perceived as a representative of universal human culture. He is received wonderfully everywhere. “Dashi, everything is fine. It's just a pity that you're not Chinese! And still you are ours! - say the Chinese.

Dashi Namdakovor Dashinim Balzhanovich Namdakov, was born in the Buryat village of Ukurik, in the Chita region, in 1967. He was the sixth child in a large family. Dashi’s skill came with genes, since the entire family of this artist and sculptor was engaged in blacksmithing and jewelry. This sculptor's father carved Buddhist symbols and various deities from wood.

Having absorbed centuries-old experience and traditions of the Buryat people with his mother's milk, brought up on myths, legends, uligers (epic tales), and fairy tales, Dasha did not speak Russian until he was 7 years old, but lived in the world of his ancestors.
“I had a full-fledged rich world, simply gigantic, which was saturated with all kinds of spirits, animals, creatures. And when I went to school, they told me: “The whole world fits on this sheet, throw everything else out of your head. This is your sick imagination.” And the world shrank into this leaf. I am 44 years old and all my life I have been struggling, how can I get rid of this leaf that limits me - shares Dashi Namdakov - everything that I can do, I owe to my parents, my homeland.
The Namdakov family belongs to the Darkhate caste of blacksmiths-Darkhans, revered in Buryatia. The blacksmith craft among the Buryats was considered a gift from God: “By order of the Western Tengris, the blacksmith Bozhintoy sent his children to the land to teach people the blacksmith’s craft, this art began to be inherited by descendants” (lines from Buryat legend). Dasha Namdakov’s father is a jack of all trades: he made furniture, weaved carpets, painted, carved wooden sculptures of Buddhist deities and tangkas (Buddhist icons). Raised in such an environment, Dashi absorbed all the best.

He studied at the Krasnoyarsk State Art Institute, after which he moved to Ulan-Ude.

Below is an interview with Dashi Namdakov, conducted by Elena Preobrazhenskaya. (Source: Preobrazhenskaya E. Plasticity of the Buddha./ Elena Preobrazhenskaya.// Peasant Woman. - 2004. - No. 1 - p. 68-71)

Dashi Namdakov. Archer. 2000

The sculptor Dashi NAMDAKOV is unusual in everything. The exotic name, which sounds entirely like Dashi-Nima and translated means “lucky sun,” was given to him by his parents on the advice of Buddhist lamas. His story includes a serious illness, a curse lifted, as he believes, followed by recovery and success - the kind that one sometimes waits for a lifetime. But the most important and truly magical thing is his work.

Shamans, warriors, princes, animals, birds, nature spirits, trees are his usual heroes. Bronze is my favorite material. Today Dashi Namdakov is more than popular and in demand. The sculptor’s exhibitions are always a success. He was invited to cooperate with the largest galleries in the world. It was his works that won prizes at the International Ecological Film Festival and a number of competitions. The State Hermitage acquired Dasha's sculptures for its exhibition, not to mention collectors in Europe, Japan, Germany and the USA. Three sculptures by Dasha Namdakov are in Vladimir Putin’s personal collection.

- What kind of situation was this?

I grew up in a world that is simply unfamiliar to the average person. Born in the village of Ukurik, in the Chita region, near Buryatia. Our land is full of myths, tales, and legends. Even today they believe in spirits, shamans, and witchcraft. Although they believe - this is not even quite the right word. As residents Ancient Greece and did not think to doubt the existence of gods, their will, spirits, dragons, all kinds of evil spirits, existing quite comfortably in such a system of the world, this is approximately how the Buryats live. But it is difficult for a person who grew up and lives outside the Buryat land to perceive all this.

- And you really should have become a shaman, and not a sculptor?

I have strong shamanic roots. But since childhood I have strived for something else: to be an artist, to realize myself in the fine arts. In general, we were brought up like this: we were never scolded, never beaten, never advised anything. For example, I was seriously involved in boxing and saw very well that my parents disapproved of it. Not a single word was said to me, but I felt their extreme dissatisfaction.

- But you ignored it?

The point is that I was forced to play sports, I had to fight well in order to survive. At the age of seven I ended up in a boarding school, the rules of which were quite comparable to those in the army. This cruel world became a contrast to the world of my early childhood, filled with beauty, fairy tales, and communication with nature. I think that the illness that haunted me until adolescence and which many attributed to the category of PR techniques was not least caused by this dissonance. And shamans, curses, the methods of treatment they prescribed - all this was also present and was completely logically superimposed on the life situation. I am a very sensitive person, and it was extremely difficult for me to exist among rudeness and cruelty. I had to learn to defend myself.

- How was artistic education carried out within the family?

My parents are peasants, but my father is a Buddhist artist. Not an artist by profession, he always painted and carved wood for Buddhist temples. Only a believer can be such an artist. The entire upbringing in the family oriented the children - and there are eight of us - towards artistic creativity. We all sculpted, carved wood, painted, wove wool, minted metal. They sat in a circle and wove, for example, a carpet. The father gave a specific theme, and everyone wove their part of the overall design in their own way. They painted in exactly the same way: everyone, to the best of his ability, completed that fragment of the overall picture that he could handle. So I always dreamed of being an artist.

Dashi Namdakov. Ritual. 2001

- A Buddhist artist?

You see, this concept - Buddhist art - has its own specifics. Everything that a Buddhist artist does is subordinated to one goal: to express the attitude of a sincere believer to religion. A small child is God, everything he does is absolutely devoid of sin. And from this point of view, everything that I did then, as a child, was much closer to Buddhist art. But you need to understand: what I do today, what is presented at my exhibitions and in catalogs, is absolutely secular creativity. There are a huge number of nuances that, in fact, make a sculpture religious or secular. In order to seriously engage in Buddhist art, I still need to study a lot in more detail and deeply - traditions, history... The slightest mistake entails punishment - this is the view of the work of a Buddhist. Religious things are meant to strictly conform to the canon. Today I don't feel ready, mature enough for this kind of work. I left this for later, the time will come when I will do truly Buddhist plastic surgery. Probably, for a person far from the Buddhist environment, any exotic thing - Mongolian, Tibetan, Buryat - is Buddhist. I was born in this cultural tradition, grew up in it, and, apparently, everything I do will carry a somewhat exotic, and for an amateur, a Buddhist echo. Even if I really want to, it’s impossible to get rid of it.

In Buryatia, I lived in a completely enclosed space; I had never been to America or Europe; I was in Moscow a couple of times and not for long. I didn’t see the world’s museums and didn’t have a particularly clear idea of ​​contemporary art. But, you know, sometimes it seems to me that if I had been in a more open environment since childhood, I would not have become who I am. My work would be mediocre and impersonal, it would be difficult to capture my individuality in it. Of course, information is necessary, it is impossible, and indeed impossible, to artificially protect yourself from it. But some isolation allowed me to fully absorb, experience and feel the culture and history of Buryatia, my native people.

Dashi Namdakov. PEARL. Bronze, 2OO1. Female images in the sculptures of Dasha Namdakov are chaste, gentle and lyrical.

— But at the same time, you received a classical art education?

— Yes, I graduated from the sculpture department of the Krasnoyarsk Art Institute. But, as you can see, academic education did not in any way correct my own opinion as an author, did not make my works more European, did not deprive them of what is called “ethnic flavor.” It is quite possible that if I had graduated from one of the more authoritarian schools of painting - say, the Surikov Institute in Moscow or the Repin Academy of Arts in St. Petersburg - everything would have been somewhat different. There, at least until recently, they taught quite harshly. It is difficult to free yourself from the influence of a certain school in painting: we know a lot of examples when a whole stream of students paints like their teacher - and nothing can be done about it.

In this case, does an artist need to study at all? Isn't this a threat to his identity?

To do anything, you must have a certain base. At the institute I acquired purely academic skills: depicting light, shadow, proportions, plastic techniques. Mastering all this at the technical level gives freedom in expressing ideas. But studying did not affect my perception of the world in any way. I was very lucky with my teachers. Among them were, for example, people such as Eduard Pakhomov and Azat Bayarlin, they themselves had recently graduated from Repinka and did not at all strive to somehow influence their students from a position of authority, did not present themselves as mentors. Influencing and educating in art is an extremely responsible matter, and, fortunately, they understood this. We developed more of a friendly relationship than a student-mentor relationship. But after college I had to do a variety of things, including those that had nothing to do with fine art. I graduated from the institute in 1992, remember what a time it was - crisis, uncertainty. Moreover, it was in Ulan-Ude, and not in Moscow. If wealthy foreigners interested in painting appeared here, then everything was much more difficult there. In any case, it was not possible to make a living from any art. But I had to support my family. And I, for example, was engaged in business - selling tea. Anything happened. I was very lucky: my wife always supported me. She is an accountant, she worked in a banking structure at that time and did not nag me, did not force me to go and earn money at any cost. My wife told me: “Wait, maybe not now, but later your time will come.”

Dashi Namdakov. Queen. 2001. The graceful movements of a naturally flexible cat are energetic. Developed muscles and extended claws do not allow one to doubt for a minute that the black panther’s maternal instinct is strong, and it is dangerous to those who may pose a threat to its offspring.

- If business brought major successes, could you give up painting in favor of trade or entrepreneurship?

This is still not my calling. I saw then guys who were truly brilliant in this field; business is also a calling, just like painting or singing. I don't think I could give up my dream of becoming a sculptor. Now, when my wife and I come to relax at the camp site, it’s just agony for me to sit idle on the bank of the river. I think about my future work and at the same time I draw, I see what I want to do in its entirety. After all, sculpture, in my opinion, is more difficult than painting. There the artist deals with a plane, he can hide something from the viewer, conceal it, play with light and shadow. Everything a sculptor does is visible.

In general, I am fascinated by many things. After college, I worked in the jewelry business for five years. On the one hand, this was interesting for me, on the other hand, it gave me the opportunity to earn something: I made my first sculpture exhibition with the money I earned from jewelry making.

Now I am somewhat tired of sculpture, I want to return to jewelry making. Perhaps these will be some utilitarian, wearable things, perhaps figurines made of precious metals. I can’t say for sure yet. I am also attracted to book graphics; I really want to illustrate the heroic Buryat epics. Having developed over the centuries, they have become too complex for the average person to perceive, unless he is an ethnographer or a historian, so high-quality literary processing is very important here. If this is presented by one of the writers, I would be happy to work on the illustrations. There is also an idea to do animation, to develop drawings for a large cartoon, again based on Buryat mythology. I’m interested in everything, I’m ready to try myself in many ways.

- What books do you read?

Now I have begun to read, by the way, much more than in my youth. Of course, I re-read Tolstoy and Dostoevsky, this is a must. I am beginning to truly understand many of the ideas and thoughts of these authors only now. I read fashionable authors - I think this is also necessary, at least in order to get an idea of ​​the books that are popular today. So I have read Haruki Murakami and Paolo Coelho. By the way, I really liked “The Alchemist” by Coelho, at times I even felt that this book was about me: there are so many parallels with my life, with my thoughts. It was interesting to me.

- You know, they say that Coelho, being a student of a magician, enchanted the circulation of his books, which is why they sell out so quickly. They say about you that you energetically charge your sculptures in a special way and a person, once under this charge, cannot calmly pass by.

Yes, I read something similar from one of the art critics. Naturally, having a very strong predisposition to shamanic practice, I simply cannot help but impart some potential to my things. One shaman who came to my exhibition simply flew out of the hall like a bullet: it became impossible for him to be near my sculptures. These are very subtle things. But specifically in order for my figurines to be sold, I, of course, do not perform rituals over them.

How are your relationships with critics?

To be honest, I haven’t noticed any serious negative criticism so far. Apparently, seasoned art critics haven’t gotten to me yet. When they get there, I’ll watch carefully to see if there’s any rational grain in their comments?

- Who do you like among your modern colleagues?

— My interests and priorities are constantly changing. If we talk about contemporaries, I am interested in Giacomo Manzu, Henry Moore, Brancusi. Not long ago I discovered the Italian sculptor Marino Marini. Until I saw his works live, I found them primitive.

Previously, the main reference points in art for me were those that were imposed and promoted by the school: Greece, Rome, the Italian Renaissance. But when I myself began to take a detailed interest in world culture, I realized that there were no less interesting and significant elements of it. For example, in the sculpture of Africa there are outwardly absolutely primitive things, but they are no less perfect than in Michelangelo’s David. Arriving at the museum, the first thing I do is go to the hall of primitive culture. The art of this period is not hidden under the husk of civilization. Everything is close to me from Egypt, Assyria, Babylon, Phenicia, towards India, China and Japan. But I don’t like everything that was done further south—let’s say, Indonesia: it’s too sweet, in my opinion. But in principle, if modern art reached the level of primitive art, it would simply be an aesthetic breakthrough. If you set a goal and travel around Russia, you can find a dozen very, very interesting sculptors. In Yakutsk and the Urals there are guys head and shoulders above the masters promoted today. They just sit in the outback, and no one knows about them. All parties and PR events take place in Moscow, this is where the artist becomes famous. After all, in order for a museum or collector to buy the work of a particular artist, it must be demonstrated.

- IN modern Russia is there an institute for patronage?

It should be in everyone cultural society, in ours, fortunately, is being revived. I was lucky, I met Konstantin Khankhalaev on my way, he literally dragged me to Moscow by the ears. Someone must help artists; without this, the development of art is impossible. I didn’t know whether what I was doing would be accepted and in demand outside of my land, but I didn’t think about it, I was just looking for something that fascinated me. I understood that this search is a thin blade, a step to the left, a step to the right - and you stumbled, you simply did not find your face. This is the main danger, because in this case you are not interesting either to yourself or to the viewer. But judging by the fact that my exhibitions are interesting in Europe, America, and Russia, I dare to hope that I have managed and will be able in the future to stay on this fine line.

http://www.dashi-art.com/ru/about.php website, dedicated to art Dashi Namdakov, articles about his work and biography, his works.

Malakshinova Darima

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Ministry of Education and Science of the Republic of Belarus

Dzhidinsky district

MBOU

"Tsagatui secondary school

Named after N.S. Sosorov"

XIV Republican scientific-practical

student conference

in humanities "Siberian Spring"

Nomination: Cultural Studies

Subject: “Buryat sculptor Gennady Vasiliev and his images on the Dzhida land”

Performed : Darima Malakshinova, 8th grade student

Phone:89085914415

Supervisor : Baldanova Bayarma Dashievna,

teacher Buryat language and literature.

Home address. Tsagatuy, st. Molodezhnaya, 20

Phone: 89024506965

2012-2013 academic year

Introduction

1. Famous Buryat sculptor Gennady Vasiliev
2. Works by Gennady Vasiliev on Dzhida land

• A monument to the first scientist was erected in Buryatia.
• Image of Burin Khan.
• Original imageBuddha Shakyamuni.
• Good realist

Conclusion

References

Applications

Introduction

Every nation is rightly proud of its famous people, prominent scientists, public figures. 190 years ago, in the Buryat ulus of Ichetuy, on the banks of the fast-water Dzhida, which flows into the blue Selenga, a mischievous dark-faced boy named Dorzhi was born. Neither the peers with whom he played, nor the neighbors in whose eyes he grew up, nor his father and mother could know that in the future he would become the first Buryat scientist, a talented orientalist. We, the people of Dzhida, last year, celebrating the anniversary of Dorzhi Banzarov, were rightfully proud of our fellow countryman, who, under tsarism, was able to make his way into the scientific world and become a famous scientist.

The anniversary “Banzarov Readings” were held under the mottoand we decided to hold research work about Gennady Vasiliev, the author of the monument to Dorzhi Banzarov, installed on his small homeland, also about other sculptures created on the initiative of Matvey Rabdanovich that decorate our area.

Goal of the work: find out the history of the creation of sculptural compositions by Gennady Vasilyev in our region.

Tasks:

1. Find materials on the Internet about Gennady Vasiliev and his works;
2. Analysis and processing of materials;
3. Design and formulation of conclusions;
4. Compiling a guide

I read on the Internet that “in the Dzhidinsky district over the past 5 years there has been a positive trend in increasing the volume of tourist services. For domestic tourism, the annual increase in the flow of tourists is on average 10%, and for inbound tourism - 4%. Due to the low incomes of the population, domestic tourism is increasingly developing.” And therefore, the presence of our guide to memorable places created by the sculptor Gennady Vasiliev will be of great interest to tourists; it will provide an opportunity to develop internal and external tourism. In thatthe relevance of our work.

Object of study:“Memorable places of the Dzhida Valley”,

Subject of study:Sculptures by Gennady Vasiliev

The following were used to carry out the work: methods:

Theoretical method:collecting materials about the author of the sculptures and his works, studying and processing the collected materials on the topic. (Internet, school and rural libraries.)Practical method:Compiling a guide to memorable places,created by sculptor Gennady Vasiliev and about its author.

Practical significance of the work:The guidebook compiled during the work is important for the future development of educational tourism in the Dzhidinsky district.

About the famous Buryat sculptor Gennady Vasiliev.

Before, I knew literally nothing about this great man of our republic, although I had seen his cultural works many times in magazines, books, etc. Having studied materials about him from the Internet, I learned a lot.

The work of the Honored Artist of Russia, corresponding member of the Russian Academy of Arts, sculptor Gennady Vasiliev has occupied a leading place in the fine arts of the republic for three decades. Many of the sculptor’s sculptures are dedicated to the eternal and fertile theme of childhood for the artist, which runs like a red thread through his creative biography. In the work “Boy with a Bird” we observe a “magic moment” - a state of surprise and concentration of a child carefully holding a hand kah tiny feathered creature. The composition “Children of the Taiga” shows a touching meeting of young representatives of the world of people and animals: a boy and a fawn trustingly reach out to each other, experiencing mutual curiosity and friendliness. “Training to ride,” depicting the everyday scene of the transfer of primordial skills to a child, contains the idea of ​​​​a relay race of generations, the continuity of traditions and experience from father to son.These and many other stories, according to the author, he absorbed during his own childhood, which passed in the village of Khandagai, Golumets district, Irkutsk region. Then he witnessed scenes, supposedly n formed the basis of his futuresculptures “Two Stubborn Men”,when a boy and a goat do not want to give way to each other, and “Who is stronger?”, where young wrestlers sort out a prestigious male question among themselves.

The first secrets of the hand-made craft were revealed to the boy in those distant years by his grandfather, a hereditary blacksmith. And interest in artistic creativity was instilled by a maternal relative - the painter Roman Sidorovich Merdygeev, who at one time stood at the origins of Buryat professional art along with such classics national culture, like Ts. Sampilov, G. Pavlov, A. Khangalov, I. Daduev.

After graduating from the Lomonosov School of Bone Carving in the Arkhangelsk Region in 1962, G. Vasiliev worked for several years as a restorer in the museum collections of Buryatia. In everyday communication with the relics of Buddhism, works of Buryat folk art the young sculptor was deeply imbued with the culture of the East, knowledge of national mythology and aesthetics, and acquired valuable experience in the artistic processing of traditional ornamental materials. On this basis, G. Vasiliev formed his own system of views on the art of sculpture, an incomparable creative style. Having firmly taken the position of traditionalism, he remains faithful to this direction for three decades in a row.

His works decorate the interiors of public buildings and natural landscapes, marking memorial sites in our city and rural villages of the republic. These are decorative masks based on folk epic“Geser” in the State Buryat Academic Drama Theater named after Kh.N. Namsaraev, a carved wooden panel “Nature of Buryatia” in the dining room of the Council of Ministers, an animalistic sculptural composition “Deer” at the entrance to the Selenginsky Bridge near the village of Vakhmistrovo, a monument to A.U.Modogoev in the center of the capital of the republic and many others.

“Each era should have its own face,” the sculptor convinced. - "Absence
a unified urban planning program significantly impoverishes the urban environment. IN
in a modern civilized city, and in the resort area in particular, it is necessary
creation of garden and park sculptures in tune with the current spirit of the times,
cultural traditions of the region. Epic, folklore, ecology of Buryatia provide
wide possibilities in choosing animalistic and genre motifs
Images. A comprehensive solution to this problem will make the appearance of our city more attractive and colorful, and will aesthetically ennoble the places of mass recreation and resort areas of the republic.”

The skillful hands of the sculptor were able to control various materials - metal, marble, concrete. However, Gennady Georgievich especially singled out wood for himself, and above all, our Siberian cedar. “This is a soft, pliable material with a unique texture and plasticity,” explained the sculptor. Gennady Vasiliev was a regular participant in art openings held in the republic, in the country and abroad. Three of his works - “Patron of Animals”, “Mother”, “Arcanist” are in the State Tretyakov Gallery, about two dozen - in the Republican Art Museum named after Ts. Sampilov, as well as in other cities of the country and foreign collections. Awarded the State Prize of the Republic of Belarus for creative services, the sculptor actively worked in his chosen role, each time surprising viewers with the freshness and originality of the ethnic images of his heroes.

To the question: “What principles guide you in your personal creativity?” Gennady Georgievich answered: “I try to make the sculpture whole, expressive, imaginative. So that it can be immediately readable as a Buryat sculpture and at the same time be recognizable by the author.” “Does your work require that special state that is commonly called inspiration?” “Yes, definitely,” he said. “It’s very important to be able to set a goal and emotionally get into character. Already from the very beginning you need to see sculpture, movement in the material, in a piece of wood. If you do it coldly and sluggishly, the result will be the same. It is always necessary to approach work with desire, with a spark.”

The professional authority of the Buryat sculptor is emphasized by the fact that he was a permanent member of the zonal exhibition committee for about two decades. Being a corresponding member of the Russian Academy of Arts, G. Vasiliev conducted regular traveling activities during his lifetime. He took part in “elite” academic exhibitions organized against the backdrop of visiting sessions of the Academy of Arts in Moscow, St. Petersburg, Krasnoyarsk. Being a recognized master of the republic's sculptural genre, he passed on his knowledge and experience to VSGAKI students. One of his first students, Dashi Namdakov, as we know, has already grown into an independent “star” of plastic art, whose exhibitions are successfully held all over the world.

Matvey Choibonov brings the Dzhida steppes to life with sculptures of heroes and gods.

Lama, poet and Cossack general Matvey Choibonov enlivens the Dzhida steppes with sculptures of heroes and gods. Bator, a huge hero, sitting on a pitch-black horse near the sacred Mount Burinkhan, appears before the traveler like a fairy-tale character. This is the most memorable and majestic sculpture of all the monuments erected by Matvey Choybonov. Its author, as well as the rest of the monuments, is sculptor, academician Gennady Vasiliev.

“Burinkhan protects our people and the purity of the Dzhida steppe,” says Matvey Choibonov. - During the war, he saved his sons. They saw a vision of a rider on a pitch-black horse and heard a loud voice: “Get out of here!” And as soon as the fighters left this place, heavy fire immediately fell on this place!» Not far from Burinkhan, near the village of Borgoi, the lama, the poet, installed sculptures of five fallow deer running towards the sacred mountain. In addition, Matvey Rabdanovich, at his own expense and with the support of sponsors, erected a sculpture of Buddha Shakyamuni on the ridge separating the Dzhidinsky and Selenginsky districts. And in the village of Verkhniy Torey he installed busts of Dugarzhap Dashiev, People’s Artist of the USSR Naidan Gendunova (Stepanova) and Sodnom Budazhapov, folk artists Russia.And that is not all. Matvey Rabdanovich is directly related to the construction of 34 stupas in the southern regions of the republic and 5 stupas in the Republic of Tyva. Obviously, the famous lama and chairman of the Union of Writers of the Republic developed a love for monumental art a long time ago. While still the abbot of the Sartul-Gegetui datsan in the Dzhidinsky district, on his initiative this monastery was rebuilt, and its courtyard was decorated with various sculptures from Buddhist mythology. The friendship of two great people Matvey Rabdanovich and Gennady Georgievich gave us Dzhida people such beautiful creations that will delight our eyes for centuries, but most importantly, protect us.

A monument to the first scientist of the republic was erected in Buryatia.

Almost two years ago, a sculpture depicting Dorji Banzarov appeared in the Dzhidinsky district of Buryatia. On June 10-11, 2010, the Dzhidinsky district of the Republic of Buryatia celebrated the 75th anniversary of its birth. As part of the anniversary, on June 11, the grand opening of the monument to the first Buryat scientist Dorzhi Banzarov took place. “The opening of the monument became possible thanks to people’s help,” General of the Cossack troops Matvey Choibonov told Inform Policy online. - Funds were collected from the whole world. Entrepreneurs from Buryatia, the Irkutsk region, and the Trans-Baikal Territory helped, and residents of the region brought money. We collected more than 500 thousand rubles.” “The sculpture, 2.5 m high, was made of artificial stone in the workshop of the Union of Artists in Ulan-Ude,” said the author of the monument, the famous Buryat sculptor Gennady Vasiliev. - The pedestal, 3.15 m high, was built by residents of the village of Nizhny Ichetui under the leadership of the head of the settlement, Sergei Tsybikov. The work lasted 21 days.” According to the sculptor, the monument is made in a classical style. On the monument, Dorji Banzarov is depicted in the Irkutsk period of his life, the scientist holds a pen in his right hand, and an open book in his left. On the marble slab of the pedestal there is an inscription carved in gold letters: “To the outstanding son of the Buryat people, the first Buryat scientist Dorzhi Banzarov, 1822-1855, from grateful fellow countrymen.” A monument was erected in his homeland, in the Dzhida steppe, approximately 3 km from the village of Nizhny Ichetui, a few hundred meters from the Ulan-Ude - Zakamensk highway, near Mount Sarbaduy-Khutul. The sculpture looks towards Mount Burin Khan.

The opening ceremony of the monument was attended by representatives of the People's Khural of Buryatia, the head of the presidential administration and government of Buryatia Pyotr Noskov, the head of the Dzhidinsky district Vitaly Batodorzhiev, the director of the Institute of Mongolian Studies, Buddhist Studies and Tibetology of the SB RAS Boris Bazarov, high-ranking officials, public figures, scientists, and businessmen. There were also guests from Mongolia, Taiwan, Moscow, Irkutsk, Chita and other regions of Russia. After the opening of the monument, a scientific and practical conference was held dedicated to the life and work of the first Buryat scientist.

Image of Burin Khan

Mount Burin Khan is one of the five greatest shrinesAsialocated in the Borgoy steppe, near the villageInzagatuyDzhidinsky districtBuryatia, on the river watershedJida and Temnik.

Burin Khan translated fromBuryat languagemeans “perfect, actual khan”, the king of all not only the surrounding mountains, but also the mountains of everythingTransbaikalia. It stands out among them not only in its height and grandeur, but also in its beauty and the richness of its flora and fauna.

The mountain consists of three related peaks: southern, northern and middle. The highest and most reveredBuryats - southern, it is actually called Burin Khan. Second in importance -northernthe peak is called Hansha. And between them there is a peak whose name is the Son.

On the south-eastern side of the mountain, on a small terrace, at an altitude of 1600 meters above sea level there islake, where there are 12 smallabout, located in a circle, and one large one. Each obo is revered by a separate clan.

This mountain is worshiped by the Buryat clans living in the Borgoy and Selenga valleys. Worship and sacrifice take place on the second day of the last summer month.lunar calendar. On both sides of Burin Khan (on the western side - Inzagatui, Borga, Ichetui and eastern - Iro, Udunga, Tashir, Selendum) men rise every year, thank the owner of the mountain for life, ask for blessings for their children and the entire region.

Gennady Vasiliev created a sculpture of Burin Khan at the foot of the holy mountain of the same name. The initiator of the creation, as mentioned above, of the sculpture was Matvey Rabdanovich Choibonov. The sculpture was completed and unveiled on August 16, 2009. Today, near the mountain stands a sculpture of a huge hero sitting on a pitch-black horse, 5.5 m high, made of concrete and artificial stone. She personifies the image of a sacred mountain.A 5-meter giant, a folk hero on a huge black horse, suddenly appears in front of the stunned travelers. Now one of the most impressive sculptures, “Burin Khan,” stands in the middle of the steppe and protects everyone from evil spirits, protecting our calm, happy life.

Original imageBuddha Shakyamuni.

Awarded the State Prize of the Republic of Buryatia for creative services, the sculptor actively worked in his chosen role, each time surprising viewers with the freshness and originality of the ethnic images of his heroes. His work, created in October 2008, is evidence of this. ThisStatue of Buddha Shakyamuni.It is located on a ridge separating two regions of the Republic of Buryatia. There is an impressively sized monument to Buddha Shakyamuni on the pass, protecting the peace of all travelers.

In 1973, Vasiliev, as part of a delegation of Soviet artists, went to Czechoslovakia. We stopped in the so-called park area, fully provided by the host party. But for two months of free accommodation, guests had to pay with their works. Vasiliev went with a suitcase full of tools - a hatchet, chisels, knives and other things. And a Hungarian sculptor came with them. Soon he tells Vasiliev: “I made an excellent sculpture! Let's go - rate it! The work consisted of two painted boxes made from boards and placed on top of each other. Vasilyev looked at his work and just shook his head: “Sorry, Istvan, but I’m not good at abstraction!” And the Hungarian received a fee for the work and drove off to Holland. And Vasiliev spent another two months carving his sculptures from wood. But they turned out very successful. This means that Gennady Georgievich always performed his work from the heart, from the bottom of his heart. That's why he became an academician.

Good realist

Driving past the village of Borgoi, at the turn to the village of Inzagatuy, the attention of every person is attracted by the galloping roe deer. The beautiful 5 fallow deer galloping towards Mount Burin Khan harmoniously fit into the surrounding steppe, merge with nature, as if they lived and ran here from ancient times, which, according to legend, the Great Genghis Khan saw. Vasiliev is a realist, and achieving resemblance to nature is not a problem for him. Not everyone probably knows that the legendary “Deer” over the Selenga are the work of Vasiliev and that he was almost killed for it. And the composition was staged in the 70s of the last century. Then a new bridge was built across the Selenga, and the high rock above it successfully served as a pedestal. At the moment when the installation of the composition was completed, a shot was heard. The bullet struck the rock and ricocheted towards the river. The author and the workers lay down. It turned out that it was a driver passing by who pulled out the hard drive. Seeing the sculptures in the rays rising sun, he mistook them for live deer!

These sculptures are monumental, internally stable, and solid. They stand firmly on the ground, as if they grew out of it. This earthly attachment of sculptural images - characteristic creativity of Vasiliev. It manifests itself even in such temperamental subjects as running deer, like running horses - the master is especially attached to them.

The work of the Honored Artist of Russia, corresponding member of the Russian Academy of Arts for more than three decades, indeed, deservedly occupies a leading place in the fine arts of the republic. As art critic Margarita Khabarova says: “The range of his creativity is wide and varied. The works created by Vasiliev are modern, independent and original. He does not blindly imitate old models, does not borrow from antiquity either forms, manners, or style, and at the same time, in his sculptures there is no formal admiration of plastic volumes.”

His works are near us. They decorate our natural landscapes and mark memorial sites in the Dzhidinsky district.

Conclusion

After completing the work, I came to this conclusion. Undoubtedly, Dorji Banzarov is one of the outstanding figures in Russian Mongolian studies of the first half of the 19th century century, whose name the Buryat people should always be proud of. But we should also be proud of those people who invested all their strength, all their talent for us, for the future generation, leaving behind great creations. We must in all centuries highly honor the memory of our first scientist Dorzhi Banzarov, as well as the memory of the great man, master of the sculptural genre of the republic Gennady Vasilyev, look up to them, widely study and promote their life and creative heritage.

References

1. Bogomolova I.I. "Exhibition dedicated to the 70th anniversary of the birth of the Buryat sculptor G. Vasiliev.”Material from the Internet
2. Konchin E. “Legends of the wise Budamshuu.” Material from the Internet
3. Materials from the Internet

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On the Dzhida land Guidebook Works by Gennady Georgievich Vasiliev

Sculptor Gennady Vasiliev is a famous figure in art world. Born on February 2, 1940 in the village of Khandagai, Golumetsky district, Irkutsk region. Lived and worked in Ulan-Ude. In 1962 he graduated from the Lomonosov school of artistic bone carving (Arkhangelsk region). Republican Prize of the Buryat Autonomous Soviet Socialist Republic in 1981 for the sculptural works “Children of the Taiga”, “ZMMK Workers”, “Meeting” and “Storyteller”. Prize of Buryatia in 1975 for the sculptures "Taming the Fire", "Head of a Buryat". Certificate of Honor from the Presidium of the Supreme Council of the Buryat Autonomous Soviet Socialist Republic in 1982 for the design of the interiors of the Buryat academic theater dramas named after X. Namsaraeva. Among the main works are also sculptural compositions: “Motherhood” (1978), “Mother” (1987), “Arcanist” (1990), “Chabanka” (1990), “Who will win?” (1990), "Dancing Horses" (1996). Corresponding Member of the USSR Academy of Arts (1988), Department "Urals, Siberia, Far East". Honored Artist of the RSFSR (1986). People's Artist Buryat ASSR (1979). Chairman of the Board of the Union of Artists since 1991.

The sculptor among his works

Statue of Buddha Shakyamuni Description: Statue of Buddha on the border with the Selenga region. Author of the sculpture: Gennady Georgievich Vasiliev Time of creation: October 2008 Author of the photo: Arkady Zarubin

Description: Fallow deer running towards the Burin-Khan mountain Author of the sculpture: Gennady Vasiliev Time of creation: August 2009 Author of the photo: Arkady Zarubin “Inzaganuud”

Description: Monument to the first Buryat scientist Dorji Banzarov Author of the sculpture: Gennady Georgievich Vasiliev Time of creation: June 11, 2010 Author of the photo: Arkady Zarubin Monument to the first scientist

The work was completed by: Darima Malakshinova, a 7th grade student at the Tsagatui Secondary School of the Dzhidinsky District of the Republic of Belarus.

presents his work "Keeper of Baikal". This is an ancient tree, with a withered trunk, wearing a crown made of the horns of a sacred animal. Now it is frozen, but will wake up at the moment when the lake is in danger. The purpose of the sculpture is to draw the world's attention to ecological problems Lake Baikal to help maintain the cleanliness and pristine appearance of the lake. Dashi plans to install a similar sculpture, only 7.5 m high, on the shore of Lake Baikal, on the very high point– Cape Khoboy, where beautiful panoramic views of the lake open up. And these views are available to exhibition visitors, only in virtual reality. You will be transported to that place: you will approach the edge of the cape, go into the hollow of a tree and see it from the inside... Impressive!

For Dasha Namdakov, the connection between man and nature is very important: “We must not break away from our roots, from the forces of nature. Earth, water, air... You cannot teach love for the elements. You need to feel them and draw strength from them.” . But the artist also did not come to this realization immediately. He was prompted by one event - a little surprising, mystical: as a teenager, Dashi became very ill. Medicine was powerless against his illness. Only a shaman was able to heal the artist after performing a complex ritual. She later explained to him that illness was the price to pay for breaking ties with nature. It is from this moment that it begins new stage in the life and work of the artist. By the way, the name Dashi Namdakov translated from Tibetan means “lucky sun.”

In the works of Dasha Namdakov, images are clearly visible ancient world. The artist seems to “breathe in” new life into forgotten subjects and forms of previous eras, transferring them to modern world, filling with strength and energy. By religion, Dashi is a Buddhist. At one time, his father carved Buddhist symbols, figurines of deities and lamas from wood. Traditional images of Dasha Namdakov’s works are nomads, horsemen, warriors, sacred figures, totem animals, mythological creatures. His characters tend to have curved, elongated, disproportionate body parts, and almost all of them have Asian features. According to Dasha, he often sees his future creation in his dreams.

Sculptures by Dasha Namdakov are in private collections of V.V. Putin, M.Sh. Shaimiev, Yu.M. Luzhkov, R.A. Abramovich, as well as in private collections in Germany, France, Belgium, Switzerland, Finland, Japan, USA , Taiwan. And his Jewelry worn by many stars, including Hollywood actress Uma Thurman.

What is the secret of the success of the Buryat sculptor? Some viewers who have looked at Dasha’s works claim that his works have an unusual strong energy, which attracts. There is something “mystical”, “witchcraft”, “shamanic” about them.

ABOUT 7th Moscow Biennale contemporary art written

The phenomenon of Dasha Namdakov as an artist is that he preserved national traditions, but presented them in a completely new, avant-garde style.

« Dashi, I think this is such an Asian Dali, because this is a challenge, this is crazy energy, a huge knowledge of his own ethnic roots, but processing in modern Western values. He is a unique artist..."(Irina Khakamada, politician)

His handwriting cannot be repeated: the sense of form, plasticity, movement, sense of proportion and harmony are academic, but filled with original character and meaning.

Reunion of the classical, traditional East with the familiar European civilization gives Dasha's works a unique individuality, style, and originality.

Dashi Art Studio, CC BY-SA 3.0

Biography

Dashi Namdakov was born in the Buryat village of Ukurik, in Transbaikalia. Full name- Dashinima (“Dashi Nima”) - “Lucky Sun”. He was the sixth child in the large family of Balzhan and Buda-Khanda Namdakov, who had eight children.

The sculptor’s family belongs to the ancient family of darkhan blacksmiths “Darkhate”, which produced the best jewelers, craftsmen and artists. Only they were allowed to work with fire, a sacred symbol of chosenness.

Dashi Art Studio, CC BY-SA 3.0

By religion, Namdakov is a Buddhist. The artist’s father carved Buddhist symbols, figurines of lamas and deities from wood.

Buddhism is deeply reflected in Dasha's work. When asked what role Buddhism plays in his works, he replied that, as a Buddhist, it’s even strange for him to hear such a question.

On the wall of the datsan in St. Petersburg there is a marble bas-relief plaque in memory of the first rector of the temple, made by the artist.

Nika Dolidovich, CC BY-SA 3.0

The traditional images of his works are immediately visible - these are nomads, warriors and horsemen, sacred figures, magical women, tribal patrons of the Buryats: totem animals and mythological creatures.

The viewer is presented with deformed, curved, elongated characters with disproportionate body parts, for example, elongated necks and elongated limbs. Almost all of them have Asian facial features.

Dashi Art Studio, CC BY-SA 3.0

Until the age of seven, Namdakov did not speak Russian; he lived in the house of his ancestors. In this regard, he later noted:

“I had a full-fledged rich world, simply gigantic, which was saturated with all kinds of spirits, animals, creatures. And when I went to school, they told me: “The whole world fits on this sheet, throw everything else out of your head. This is your sick imagination." And the world shrank into this leaf. I’m 44 years old and all my life I’ve been struggling, how can I get rid of this leaf that limits me, I owe everything I can to my parents, my homeland.”

Dashi Namdakov began working in the workshop of the Buryat sculptor G. G. Vasiliev in the city of Ulan-Ude.

Dashi Art Studio, CC BY-SA 3.0

In 1988, he entered the Krasnoyarsk State Art Institute, studied with artists and sculptors L. N. Golovnitsky (who came to Siberia from Leningrad to teach), Yu. P. Ishkhanov, A. Kh. Boyarlin, E. I. Pakhomov.

After graduating from the institute in 1992, Dashi returned to Ulan-Ude, where he continued to work.

In the 1990s, Dashi Namdakov opened a small jewelry workshop in Ulan-Ude. “We spent this money and part of the salary of my wife, who then worked at Sberbank,” he later recalled, “on bronze. But casting from this material is a whole technology. It is impossible to do this alone - we need people who need to be paid. In general, I think that we would have many more sculptors if it were possible to organize this process more easily.”

In 2000, Dasha Namdakov’s first personal exhibition took place in Irkutsk.

Dashi Art Studio, CC BY-SA 3.0

According to Dasha, the results of this exhibition came as a big surprise to him. Before her, he believed that his art was interesting only to the Buryats and Mongols, residents of the Irkutsk and Chita regions, but nothing more. And it was after this vernissage that Dasha’s creative destiny took a sharp turn: he moved to Moscow, his exhibitions are regularly held in Europe and Asia, and in America.

Creation

The works of D. B. Namdakov were made using artistic casting, forging and mixed techniques. The works are made of bronze, silver, gold, copper, precious stones, as well as bone (mammoth ivory), horsehair and wood.

The mighty Rhino will soon be cast in bronze, but for now - a plasticine model Dashi Art Studio, CC BY-SA 3.0

Sculpture, jewelry, graphics and tapestries have a distinct unique author's style, which is based on elements of national culture, traditions of Central Asia, and Buddhist motifs.

Dasha Namdakov’s works are kept in the collections of the State Hermitage, the Russian Ethnographic Museum in St. Petersburg, the Museum of Oriental Art, the Museum of Modern Art in Moscow, in museums in many countries around the world, including the Tibet House (New York) and "Museum of Art" (Guangzhou, China). The sculptures are in the private collections of V. V. Putin (“Element”), M. Sh. Shaimiev (“Horseman”), Yu. M. Luzhkov, R. A. Abramovich (“Evening”, “Old Warrior”), others representatives of the elite of Russian politics and business, as well as in private collections in Germany, France, Belgium, Switzerland, Finland, Japan, USA, Taiwan.

Dashi Art Studio, CC BY-SA 3.0

The works of D. B. Namdakov are famous and influential people of such different characters as Gerhard Schroeder, country music star Willie Nelson, and actress Uma Thurman. Installed in London on April 14, 2012 monumental sculpture Genghis Khan by Dashi Namdakov.

Sculptures by D. B. Namdakov “Masks” and “Actor” were prizes All-Russian festival modern dramaturgy named after. Vampilov (Irkutsk, 2002, 2003), and the sculpture “Boss” - International festival documentary cinema in Irkutsk (2002). In 2003 he was awarded a silver medal of the Russian Academy of Arts.

Since 2004, D. B. Namdakov has lived and worked in Moscow, and since 2014 in London.

Opening of the Guardian sculpture in London Dashi Art Studio, CC BY-SA 3.0

In 2007, he provided artistic design for the film Mongol. In March 2008, D. B. Namdakov received “for better job artist" in this film, the "Nika-2008" award, as well as the "White Elephant" award.

On July 30, 2008, the sculptor’s workshop was robbed (and not only the jewelry was taken away, but also the molds for making it). “Everything that we had accumulated over five years,” claimed D. B. Namdakov, “was taken away in one night.

Some people, of course, have become very rich - God bless them. At first we panicked, but then we calmed down. After all, this was not only my work, but also that of my colleagues - jewelers and stone craftsmen. But we set the task and completed the collection again on time.”

Dashi Namdakov, exhibition in New York

Confession

Dashi Namdakov was elected honorary academician of the Florence Academy of Drawing Arts in 2015.

Exhibitions

2015

Ordos Sculpture Museum
Ordos, China. Personal exhibition

Soul of Asia
V. Bronshtein Gallery
Irkutsk, Russia. Group exhibition

Transformation
Academy of Fine Arts
Florence, Italy. Personal exhibition

Journey to a mystical land: memories of Dasha Namdakov about Asia
Gallery Shchukin

The art of creating
Halcyon Gallery, London, UK. Group exhibition.

Nomad. Works by Russian sculptor Dasha Namdakov
Henan Provincial Museum
China. Personal exhibition

2014

Nomad. Works by Russian sculptor Dasha Namdakov
Beijing World Art Museum
Beijing, China. Personal exhibition

Dashi Namdakov. Between heaven and earth
Halcyon Gallery, London, UK. Personal exhibition.

"Avatar"
Halcyon Gallery, London. Group exhibition

Nostalgia for the origins. Universe of nomads by Dasha Namdakov
Krasnoyarsk Art Museum named after V.I. Surikov

Nomad. Between heaven and earth
State Historical Museum, Moscow

2013

Magical visions: jewelry and sculpture by Dasha Namdakov
Gilbert Albert Gallery, New York, USA.
Personal exhibition.

Mystery
Buryat Republican Artistic
museum named after Ts. S. Sampilova.
Group exhibition

Nomad: memories of the future
National Society of the Arts, New York, USA.
Personal exhibition.

"World of Myths"
Tampere Art Museum, Finland. Personal exhibition

2012

"Transfiguration"
State Center for Science and Culture. Prague, Czech Republic. Personal exhibition

"Nomad Universe"
Halcyon Gallery, London. Personal exhibition.

Hiko Mitsuno Jewelry College
Tokyo, Japan. Exhibition of jewelry and graphics “25”
Irkutsk Regional Art Museum and the Union of Artists. Irkutsk Group exhibition.

2011

“Bronze Asia of Dasha Namdakov”
Irkutsk Regional Art Museum named after. V.P. Sukacheva. Personal exhibition, participation in the Baikal Economic Forum program

“The Universe of the Nomad Dasha Namdakov”
State Museum of Fine Arts of the Republic of Tatarstan, Khazine Gallery, Kazan Kremlin. Personal exhibition

2010

“Nostalgia for the origins: the universe of nomads by Dasha Namdakov”
St. Petersburg, State Hermitage Museum. Personal exhibition

Russian National Exhibition in Paris
Grand Palais - Palais. Participation.

“Transfiguration: sculpture and graphics by Dasha Namdakov”
Villa Versiliana, Pietrasanta, Italy. Exhibition project

2009

Buryat Republican Art Museum named after. Ts. S. Sampilova. Personal exhibition

“Element” by Dasha Namdakov
Omsk Regional Art Museum named after. M. Vrubel. Personal exhibition

“Element” by Dasha Namdakov: sculpture, graphics, jewelry collection"

Moscow State Exhibition Hall "New Manege". Personal exhibition

2008

"Bronze Asia Dasha"
Museum of Dalian, China. Personal exhibition

“Transfiguration: sculpture, graphics and jewelry collection of Dasha Namdakov”
,

“Transfiguration: sculpture, graphics and jewelry collection of Dasha Namdakov”
Gallery "Nashchokin's House", Moscow. Personal exhibition

2007

State Tretyakov Gallery
Moscow. Personal exhibition

"Bronze Asia Dasha"
Museum of Zhongshan City, China. Personal exhibition

"Bronze Asia Dasha"
Museum of Fine Arts, Guangzhou, China. Personal exhibition

"Bronze Asia Dasha"
Exhibition Center in Dongguan, China. Personal exhibition

"Expression of the Spirit"
State Central Museum modern history Russia together with the gallery “Nashchokin’s House”, Moscow. Group exhibition

2006

"Horseman under the firmament"
Arts Center, Taichung, Taiwan. Personal exhibition.

"Nomad Universe"
Beijing Museum of World Art (Millennium Museum "Chinese Altar")

Beijing, China
Exhibition project jointly with the Museum of the History of the Republic of Buryatia and the Irkutsk Regional Museum of Local Lore

China International gallery exposition
Beijing, China. Participation

"Open Russia"
National Museum of Fine Arts

Participation in a group exhibition of Russian artists
Beijing, China. International project.

2005

"Horseman under the firmament"
National History Museum, Taipei, Taiwan. Personal exhibition

Art Taipei
Taipei, Taiwan. Participation

"Horseman under the firmament"
History Museum, Kaohsiung, Taiwan. Exhibition project.
Together with A. Ivashchenko, collector of Buddhist thangka icons

Songjing Gallery
Singapore. Solo exhibition (jewelry art, sculpture)

Gallery "Khanart"
Hong Kong. Solo exhibition (jewelry art, sculpture)

Jeff Hsu Art Gallery
Taipei, Taiwan. Personal exhibition

Singapore Jewelry Exhibition
Singapore. Participation

Moscow International Salon of Fine Arts
Central Exhibition Hall "Manege", Moscow. Participation

Los Angeles International Antique
Fine Art and Jewelry Fair, Los Angeles, USA. Participation

Chicago Contemporary and Classic
Chicago, USA. Participation

Art Miami, Miami Beach
USA. Participation

Pal, Beach Connaisseurs
West Palm Beach, USA. Participation

2004

International Exhibition Center
Hong Kong. Closed screening as part of the RBC international conference

Gertsev Gallery
Atlanta. Personal exhibition

"Nomad Universe"
State Museum of Oriental Art, Moscow.
Exhibition project in collaboration with the collections of the Buryat Research Center and Siberian collectors

Tibet House US
New York, USA. Personal exhibition

Russian Week, Palace hotel GSTAAD
Switzerland: Group exhibition

Central House of Artists
Moscow. Group exhibition

2003

Art Museum
Ekaterinburg. Personal exhibition

Russian Ethnographic Museum
Saint Petersburg. Personal exhibition

State Museum of Oriental Art
Moscow. Personal exhibition

Irkutsk Regional Art Museum named after. V.P. Sukacheva
Irkutsk Personal exhibition

Krasnoyarsk cultural and historical museum complex
Museum Biennale. Personal exhibition.

2002

Art Gallery of Zurab Tseretelli
Moscow. Personal exhibition

Central House of Artists
Moscow. Group exhibition

2001

Gallery "Classics"
Irkutsk Personal exhibition

Museum of the History of the Republic of Buryatia
Ulan-Ude. Personal exhibition

Gallery of the Union of Artists in Mongolia
Ulaanbaatar

2000

Irkutsk Regional Art Museum named after. V.P. Sukacheva
Irkutsk Personal exhibition