Creativity Art
Yanka Kupala and Yakub Kolas in children’s creative works
convince, shock or truly interest us. Their dialogue may be loaded with emotion but we only perceive their words as shallow slogans. Meanwhile, the covers of bestsellers usually feature leggy blondes and muscular heroes, with little reference to reality. Where are the powerful protagonists of the past? Not long ago, Yanka Kupala’s museum in Minsk celebrated its 60th anniversary, opening a new exhibition which includes several unique items. The interior of the Hotel Moscow has been recreated — where Yanka Kupala’s dead body was found under mysterious circumstances in 1942: the door of room #414; part of the stairs; and the low stone parapet from which he fell. Many stories have sprung up but his death remains an unsolved mystery, exciting the imagination of literary critics and artists such as Yury Krupnenkov, with his Yanka Kupala. July 28th, 1942. The theme is novel in itself, while being challenging to depict. A man dies, but his works remain, revealing his story. Our ancestors tried to take these things with them to their mounds... Some monuments to Yanka Kupala look like mounds, with his figure placed on top — as described in the poem Barrow. Architect Georgy Zaborsky suggested a
similar monument to the poet as early as 1942, while sculptor Alexey Glebov later designed a monument dedicated to the poet’s 80th birthday with the same inspiration. Sadly, it was never implemented. Zair Azgur is the foremost sculptor of Kupala and Kolas in Belarusian art. In 1924, he created the first sculptural portraits of Pesnyary, for Vitebsk museum. He describes his acquaintance with Yakub Kolas in his memoirs: ‘It was the first time I had seen a real poet, looking upon him as if upon a miracle.’ At their first meeting, Yakub Kolas read Zair Azgur his New Land. The sculptor stared attentively into his face, later writing: ‘It’s easy to chat with him. The poet reminds me a little of a peasant who has worked hard to gain everything he has. Accordingly, he is sullen and reflective, withdrawn into himself ’. Unfortunately, those first sculptures have not survived; we lack even sketches. Only photos of portraits created in 1939 by Azgur remain — prepared for the Decade of Belarusian Literature and Art in Moscow. However, even these radiate life. Azgur wrote: ‘I wanted to convey the movements of the poet’s soul, which I observed and which delighted me. This is exactly what is very difficult to show
The Belarusian Pesnyary have inspired many portraits over the years, including pictures of their homes. Most preferred Vyazynka, where by the 70th anniversary of Yanka Kupala’s birth was opened a museum in a sculpture. Kupala’s calm nature hides a very sensitive soul, which reacts to everything. Those who know the poet can confirm this’. Of Yakub Kolas he wrote: ‘He posed for me with pleasure in 1928 and 1939’. Of course, time has brought change to the artistic style of Zair Azgur; the impetuosity of his early works has become more rounded — as seen by the monument which stands in Yakub Kolas Square in Minsk. The severity and simplicity of the central figure is like that of a huge boulder, softened slightly by decorative sculptural groups on each side. Interestingly, he has placed it in the middle of water. The bronze plaque reads: ‘This lake, with saplings and birch trees planted around the monument, should speak of Belarus’ countryside — as I read of in Yakub Kolas’ works’. The figures would look even more organic were it not for the busy crossroads nearby. The Belarusian Pesnyary have inspired many portraits over the years, including pictures of their homes. Most preferred Vyazynka, where by the 70th anniversary of Yanka Kupala’s birth was opened a museum. Artists even painted the friends and colleagues, with illustrated books being reprinted in various
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