The embodiment of the image of the People's Artist of the USSR Anegina Ilyina in Yakut fine arts and literature

Pavlova-Borisova Tat'yana Vladimirovna PhD in Art History Associate Professor, Department of Culturology, Ammosov North-Eastern Federal University 677000, Russia, Republic of Sakha (Yakutia), Yakutsk, Kulakovsky str., 42 pavlovaborisova@mail.ru Other publications by this author

Borisova Aitalina Andrianovna Student, Department of Painting and Graphics, Arctic State Institute of Culture and Arts 677000, Russia, Republic of Sakha (Yakutia), Yakutsk, Ordzhonikidze str., 4 borisova.aitalina@mail.ru

   Honored Artist of the Russian Academy of Sciences (1971), laureate of the State Prize of the Russian Academy of Sciences named after P.A. Oyunsky (1972), laureate of the State Prize of the RSFSR named after M.I. Glinka (1977), Honored Artist of the RSFSR (1977), People's Artist of the RSFSR (1982), People's Artist of the RS (Ya) (2013) A.E. Ilyina is an outstanding Yakut opera singer (mezzo-soprano), a graduate of the Tchaikovsky Moscow State Conservatory, who for many years was the leading soloist of the State Opera and Ballet Theater of the Republic of Sakha (Yakutia).

Winner of the International Vocal Competition in Moscow In Prague (1967), winner of the International Vocal Competition in Munich (1971) – she brought the Yakut professional musical art to the international level for the first time. A.E. Ilyina – the only one among the masters of the Yakut opera scene and the entire Far East – was awarded the high title of People's Artist of the Soviet Union (1988).

There were gifted singers in Yakutia before Anegina Ilyina, but in terms of talent and achieved professional results, she was for many years the leader of the vocal performing arts of the republic.

Fig.1. Anegina Ilyina

In the modern artistic process of Yakutia, it is difficult to name a famous person who would become as popular and of great interest as an object for creativity. Currently, there is a shortage of such heroines, whose image would stimulate the creativity of national figures of culture and art. The characters of modern works of art are markedly different from their predecessors who lived in the last century. Globalization, industrialization, and the rapid pace of development of public life have given rise to pragmatic thinking. Beauty, talent acquires a utilitarian and practical character. At the same time, the ancestral ideas of the Yakut people about beauty, harmony, and the important role of the feminine principle in the life of the ethnic group are an enduring value, very relevant at the turn of the twentieth and twenty-first centuries.

The relevance of the research is due to the great fame of the Yakut singer and the importance of the contribution she made to the development of culture and art of the republic.

The purpose of the research undertaken in this article is to study the representation of the image of the People's Artist of the USSR Anegina Ilyina in fine arts and literatureYakutia through the identification of artistic features and means of expression.

The subject of the study is the representation of the image of the People's Artist of the USSR Anegina Ilyina in fine arts and literatureYakutia.

The object of the study was the work of Yakut graphic artists, painters, writers, poets of the second half of the XX century.

The empirical base of the study was made up of works of fine art by L. Neofitov, V. Vasilyev, A. Osipov, L. Sleptsova and literature by S. Danilova, E. Neimokhova, I. Gogoleva, L. Popova, A. Mikhailova, P. Kharitonova, M. Timofeeva, P. Dmitrieva, V. Potapova, etc.

For the first time, the article examines a previously unexplored aspect of their artistic activity - the embodiment of the image of an outstanding Yakut woman on the example of the creative individuality of the People's Artist of the USSR Anegina Ilyina. As shown by the appeal to the works of leading Yakut art critics and literary critics ^{[6; 7; 9; 10; 12; 13; 15; 18]} Women's themes in national art have previously been covered with varying degrees of completeness, but the study of iconography is so important for their outstanding creative personalitieslike Anegina Ilyina, it's just beginning. This article is the first experience of studying the stated problems and makes a scientific contribution to understanding the nature of this phenomenon.

 In the process of researching the stated topic, the authors applied general scientific methods of analysis and synthesis, systematic, descriptive, socio-cultural, historical-biographical, iconographic methods, as well as art criticism analysis.

The years of Anegina Ilyina's youth fell on the 1950s, when a new economic and cultural upsurge began in the country. The difficult period of post-war reconstruction was behind us. New prospects were opening up, including for the cultural growth of the population. Women, especially in the remote national autonomies of the USSR, were increasingly actively involved in the processes of cultural construction, since the system of government gave representatives of talented youth great opportunities for "social mobility".

It should be noted that Anegina Ilyina's ascent to the heights of professional musical art was due to the coordinated activities of the Soviet state in the field of culture and art, its well-conducted cultural policy and a built-up system of training and selection of personnel.

As a student of the secondary school of the village of Dullukyu in the Verkhneviluysky district of the YASSR from a large family, she would not have had the opportunity to break through to the heights of world musical art if she had not been a participant in school amateur performances, which was the "base" for the selection of promising young people in vocational education institutions. After enrolling in the Yakut Pedagogical College, Anegina got into the class of the famous Soviet musician A.F. Kostin, who came to the northern republic in the 1940s and for many years linked his life with the Yakut musical art. Andrey Filippovich Kostin is widely known as the author of the popular songs "Ah, Samara is a town!", the song "Skiers", which became a military march of Yakut soldiers, etc. According to the memoirs of his student Rosa Baglanova, a popular singer of the song "Ah, Samara Gorodok!", her teacher A.F. Kostin was the author of the arrangement of the famous Volga chorus.

Subjects of the theoretical cycle of A.Ilyina were taught by the Soviet composer, graduate of the Kazan Conservatory N.I. Bazhov and choirmaster, Honored Artist of the Yakut ASSR (1962), Honored Artist of the MASSR (1963), Honored Artist of the RSFSR (1970), graduate of the Moscow Conservatory G.F. Tanygin, sent in those years to work as an artistic director Yakut radio and television.

 Thus, in the Soviet years, the strengthening of the teaching staff of educational institutions in the regions by the Ministry of Culture of the RSFSR and the Ministry of Education of the RSFSR by highly professional specialists was a fairly common phenomenon. The invited specialists in the field were provided with the necessary conditions for work and further adaptation, and they met such proposals halfway.

A.F. Kostin advised A.Ilyina to take part in the Republican Youth Competition, which was attended by representatives of the Tchaikovsky Moscow State Conservatory, including Vice-rector M.N. Anastasiev, who recommended the student to come to Moscow for entrance exams. So, she ended up at the music school at the Tchaikovsky Moscow State Conservatory. Following the results of the state exams, Honored Artist of the RSFSR, professor and dean of the Vocal Faculty of the Moscow Conservatory G.I. Tic gave a recommendation to A.E. Ilyina for admission to the conservatory, where she was subsequently assigned to the class of an outstanding vocal teacher, People's Artist of the USSR, Professor N.L. Dorliak. In her senior year at the Anegin Conservatory, Ilyina successfully passed the All-Union selection round for the Prague Spring International competition, where she took the honorable second place. The convincing victory of the young singer was perceived not only as an achievement of the Yakut musical culture, but also the success of the Soviet vocal school at the international level.

 It was during that historical period of time that the Yakut society was acutely aware of the shortage of musical intelligentsia personnel. The republic had a fairly developed infrastructure of musical art – the YAASSR Musical Theater functioned, a system of professional musical education was being formed – a network of music schools, DSHI, Yakut Music College, Yakut radio and television. In this regard, the appearance of a young, titled opera singer, who has received recognition at the All-Union and international levels, has become a unique event of Yakut culture.

A brilliant performing career within the walls of the Yakut Musical Drama Theater (now the D.K. Sivtsev State Opera and Ballet Theater - Suorun Omolloon) formed the status of Anegina Ilyina as the leader of the Yakut opera art. The classical repertoire from the role of Olga in P.I. Tchaikovsky's Eugene Onegin to Carmen from J. Bizet's Carmen, numerous tours of the republic and beyond, created in Yakut culture the phenomenon of Anegina Ilyina, a representative of high art.

The forms of representation of her image in the Yakut culture developed in two directions:

1) in the field of fine arts, where iconography has developed in the process of its development as a set of paintings and portraits dedicated to Anegina Ilyina,

2) in the field of literature.

1. In the visual arts

 Such well-known Yakut artists of the second half of the twentieth century as L. Neofitov, V.A. Ilyina addressed the image of A.E. Ilyina in different periods of their work. Vasiliev, A. Osipov, L. Sleptsova.

As modern art historians note, there was a time when artists still admired the beauty of a woman in the traditional sense of the word, unlike modern art, where masculine and feminine cultures prevail ^[8].

Lavrenty Neofitov (1931-1964) was one of the first in the Yakut fine art to embody the image of Anegina Ilyina in the color linocut "Riding on Ysyakh" from the series "Yakut traditional holiday of Ysyakh" (1962).

Fig.2. L.M. Neofitov "Riding the ysyakh"

This work captures the gatherings of residents of the Yakut village heading to the Yakut national summer holiday ysyakh. There is no mention of Anegina Ilyina-Dmitrieva in the title of the linocut, there is no dedication to her by the author, but there is a strong opinion in the artistic environment that a young black-haired girl with two braids sitting in the foreground on a cart with people embodies the image of a young Yakut singer. This is evidenced by the heroine herself, who acted as a model.

In this lively sketch, the traditional Yakut world, embodied in the images of the older generation, as well as young people dressed in ordinary "urban clothes" came together. The characters depicted in this painting were painted from real prototypes – Yakut students of Moscow educational institutions of creative orientation. So, the old woman lighting a pipe was written with Alexandra Argunova-Quaregay, who was then a student of GITIS and began her theatrical activity and artistic creativity in the homeland of her husband, the Icelandic director and screenwriter Magnus Jonsson. The prototype of a woman in a headscarf riding a beautifully decorated horse, briskly galloping at an amble, was the future People's Artist of the RS (Ya), a leading actress Sakha Academic Theater named after P.A. Oyunsky Zoya Bagynanova. The prototype of a young man on a bicycle, holding tightly to the handlebars of a bicycle with both hands and dynamically pedaling, was later a famous people's artist of Yakutia  Vyacheslav Kandinsky, the first director of the Yakut Art College named after P.P. Romanov.

Of all the characters represented in the picture, only the main character is facing the viewer, full-face. In her gaze, we see a hidden expectation, timidity, dreams of the future, slight excitement, but at the same time, a persistent character and determination are guessed in the fragile girlish figure – with her right hand she confidently rests against the edge of a cart with traditional birch bark utensils, covered with a national horsehair rug. The artist masterfully drew all the details, embodying the symbolic beginning of a young girl's journey into an unexplored world that opens up great opportunities.

 The main character of the linocut "Music" from the cycle "New and Old" by the original graphic artist Valerian Vasiliev, whose work is a bright page of Yakut fine art of the 1960s, also has a portrait resemblance to A.E. Ilyina.

Fig. 3. Valerian Vasiliev "Music"

The time of creation of this work, now stored in the collection of the National Art Museum of the Republic of Sakha (Yakutia), dates back to 1966. During this period, the republican and metropolitan press wrote a lot about Anegina Ilyina. She became a symbol and personification of the Yakut professional musical art. And although the painting depicts a young woman with gathered dark hair, small bangs, high cheekbones, playing the cello, the features of the Yakut opera singer are definitely discernible in her. The expressive, elongated fingers of the performer holding the neck of the instrument attract attention. If in L. Neofitov's painting the heroine's gaze was dreamily directed into the distance, then in this work we see the cellist's complete immersion in the performing process. She plays music with a detached gaze turned inside her soul.

Famous portraits of Anegina Ilyina, transferred to the Academy of Arts of the USSR, were created by the Honored Artist of the RS (Ya) Lyudmila Sleptsova (born 1942).

The painting "Portrait of A. Ilyina" (1979) presents a poetic image of a young woman in a light blue dress with airy folds in the form of ruffles, who sits slightly sideways with her hands folded in her lap. There is a feeling of dynamism of the heroine's pose due to her somewhat asymmetrical landing, as if the heroine had just sat down for a minute and was ready to quickly get up and do more familiar things. Anegina's face radiates calmness, openness, and peace.

In the painting by the same author "Anegina Ilyina Sings" (1979), the singer is depicted in her professional setting while performing at a concert. The background of the painting is dark, the strict vertical folds of the curtain drapery create a clear rhythm, intersecting at right angles with the image of the piano, at which the famous Yakut pianist Lyudmila Okoemova is sitting, accompanying the soloist. The figure of Anegina Ilyina forms the center of the composition and stands out due to light tones. The singer is depicted in a long Yakut snow-white dress with national decorations. Her image is sublime, her face is slightly raised, her gaze is directed upwards, her hands are folded in front of her. The soloist is captured at the moment of immersion in the creative process of creating an artistic image, ready to begin performing her part ^[19].

Fig. 4. Sleptsova L. D. Sings Anegina Ilyina.

    The classic of the genre is the ceremonial portrait of A.E. Ilyina, belonging to the brush of the national artist of Yakutia Afanasy Osipova (1987).

Fig. 5. A.N. Osipov. Portrait of Anegina Ilyina

The viewer sees in front of him no longer a young girl or a young woman at the time of creative pursuits, but a mature master who is in his professional laboratory. The figure of the singer is depicted in full growth and occupies most of the composition. The heroine's calm, focused gaze is directed at the viewer. She is sitting at the piano, one hand resting on her lap, the other touching the sheet music on the music stand – the artist captured a working rehearsal moment by looking into the singer's creative workshop.

The grandeur of this image is achieved due to the predominance of straight lines that balance the composition. A significant role is played by the color scheme of the portrait, consisting of warm, dark, saturated browns, ochre shades. The objects present in the painting – a piano, sheet music, a book – are designed to visualize the heroine's belonging to the profession of a musician, an opera singer. A birch bark curtain in the background on the left side balances the composition, brings a national flavor to the picture and emphasizes the folk origin of the prima donna of the Yakut opera, which came from the depths of the Yakut people.

2. In literature.

If we turn to the consideration of the literary works of Yakut writers dedicated to A. Ilyina, then we should name the works With it. Danilova, E. Neimokhova, I. Gogoleva, L. Popova, A. Mikhailova, P. Kharitonova, M. Timofeeva, P. Dmitrieva, V. Potapova, etc.

 In 1986, the Yakut book publishing house published Yegor Neimokhov's novel "Takeoff", which he dedicated to Anegina Ilyina in an epigraph. The writer focuses on the creative path of a talented Yakut singer, named Antonida Dolgunova, in whose image biographical features from the life of Anegina Ilyina are guessed. The story also contains the image of her teacher Ninel Alexandrovna, in whose features parallels can be drawn with the real teacher A.E. Ilyina – NinaLvovn ohDorliak – this is indicated by the similarity of the names. In search of herself, her professional path of resistance to the outdated and anachronistic, the formation of a young singer is shown (Neimokhov E. Takeoff: a novel. Yakutsk, 1986, pp.135-142).

 Especially a lot of poems were devoted to Anegina Egorovna, since it was verbal and poetic creativity that developed especially successfully in the republic in those years and had genetic links with the soil Yakut culture.

 Over the years, Yakut poets dedicated their poems to A. Ilyina.

The most popular are the poems of Leonid Popov:

"People, be quiet, birds, be quiet,

Hush, hush. Silence!

I hear your voice again,

Anegina Ilyina!

And my dreams are attracted

Again for the song, for you,

Our Yakut lark,

On the blue road..." (Literary translation by I. Fonyakov)

and Alexey Mikhailov:

"And again Anegina's voice

It sounds disturbing and inviting,

And again with a crane click

My soul is filled.

...

Yes, this voice is part of pyrrhoda

And, like her, takes it in full

And the wise kindness of the people,

And he is marked by his homeland."

Russian Russian translation Some of them, like A. Mikhailov's poem, are written in Russian or have a literary translation into Russian, like L. Mikhailov's poem.Popova, but the overwhelming majority does not. The semantic translation of the poems analyzed below was specially prepared for this article by T.V. Pavlova-Borisova.

  Anegina Ilyina is often called "the beautiful Yakut Tuyaaryma Kuo from the country of Olonkho", whose image she so successfully embodied on the Yakut opera stage and herself became his living personification. The poet Ivan Gogolev resorted to this metaphor: "And Tuyaaryma, the heroine of the ancient olonkho, gives me cherished wings for long–distance flights with her magical, beautiful song." Leonid Popov wrote: "You pass, Anegina, like the goddess Ayysyt" (Gogolev I. From the epic "Er sogotokh". People's Artist of the USSR A.E. Ilyina: poems // Kyym. 1988. July 28 (in Yakut. yaz.); Popov L. Anegine Ilyina: poems // The Councils of Yakutia. 1992. January 11).

 Poets, characterizing Anegina Ilyina, often compare her with images of divine ayyas and mythological beauties, which in the minds of Yakuts are symbols of beauty, purity, the embodiment not only of an ethnic aesthetic ideal, but also a receptacle of spiritual perfection and virtue.

 Colorful epithets are used by poets to describe the singer's voice. "Magical, with an iridescent kylysakh" – that's how he wrote about it  Ivan Gogolev. Leonid Popov calls him "divine" and the fact that he "promises joy" "crumbles with a gentle tinkle of silver."

 The famous Yakut poetess Varvara Potapova compares it "with the radiance of the sun, with the hum of the dense taiga, with the roll of the waves of Lena the great, with the mystery of the smile of bright ayyy" (Potapova V. I glorify singers (A.E. Ilyina) // Eder communist. 1988. September 28 (in Yakut. yaz.). Mikhail Timofeev hears "the sound of a song flying through the air, like an arrow, to his homeland in the northern regions" ^[5].

Semyon Danilov characterized the sound of Anegina's voice with the following epithets: "The wonderful color of a silver fox, sometimes soaring high, falls to the ground – like a sturgeon with a broken wing. Sometimes your voice flies with the swift flight of a wonderful bird, sometimes it spreads like a thin lace of falling snow, warming a white birch tree. Sometimes it shimmers with golden light, sometimes it sparkles with a ray of a solar disk, sometimes thunder peals explode powerfully in it, throwing fiery lightning into the sky" – resorting to listing such different and sometimes contrasting comparisons, the poet embodied the richness of the timbre colors of the singer's voice, the difference in dynamic shades with which it sounds, the power of the emotional peaks achieved and musical climaxes and those huge expressive possibilities that are inherent in him by nature and nurtured by the pedagogical, performing talent of N.L. Dorliak (Danilov Family. Art: a poem // Sakha shire. 2003. February 5).

Savva Borisov compared Anegina's singing to "the breath of a summer day, hot sultry air", with the trills of a lark – this is one of the most frequently mentioned figurative comparisons of Yakut poets used in describing the singer's voice ^[5].

Evdokia Gavrilyeva, as well as Savva Borisov, calls her "the lark of the Yakut land", and her voice is like "the breath of midday summer" (Gavrilyeva E. Poem by Anegine // Communism of sardangat. 1978. May 6 (in Yakut. yaz.).

The Yakuts associate summer time with warmth and prosperity, when after a harsh, hard, frosty winter you can warm up in the rays of a warm, hot sun – this is a great boon for the bearer of the traditional consciousness and culture of the Yakuts. Summer is the time of the Ysyakh holiday, the center of the festive culture of the Yakuts, which contains a range of ritual rituals designed to streamline the relationship of the Sakha people with the great Mother Nature, spirits and deities of Ayyy. That is why, in a number of poems, Anegina sings in front of her countrymen precisely on the ysyakh holiday, standing in the middle of the alas, in the midday summer heat, under a clear, clear sky – this is how the picture of the ethnic ideal - the best and most favorable, happy time of the year develops: "in songs I hear the noise of the foliage of a birch grove, the exciting triumph of the majestic ysyakh", – Evdokia Gavrilyeva writes further.

The singing of Anegina is accompanied by the noise of green, emerald foliage, the flowering of summer vegetation, "the murmur of a stream rushing through native Alas, festive splashes of diamonds sparkle under the sunlight," the same author writes further.

3. On the mythological factors of the popularity of the image of A. Ilyina.

In the 1960s and 1970s . The processes of development of Yakut professional art were actively underway ^{[9; 10; 11; 12; 13; 15; 16; 17; 18; 20]}, in many ways, they relied on original folk art. If an attempt is made to consider the mythological factors of the popularity of the image of A Ilyina in her native region, then certain analogies can be drawn with the worship of Yakut female mythological characters.

 In the traditional consciousness of the Yakut people, the surrounding world was the result of the creation of the bright deities of ayyy. According to their traditional views, the life ideals, ideas and achievements of the Yakuts were patronized by certain spirits (deities). The mythological representations of the Yakuts were characterized by the worship of the natural elements, personified in the form of the spirits of ayyy in a male hypostasis, for example, such as the creator of the universe Yuryung Ayyy Toyon (Yuryung Aar Toyon), the deity of horse cattle  Kyurye Jesegey Ayyy – chants were dedicated to them-toyuki, algys. Their names were famous at the national Yakut festivals of ysyakh.

Ieyehsit and Ayyysyt are the patrons of women in labor, and Ieyehsit is also the patroness of selected people, Aan Alakhchyn Khotun is the spirit–mistress of the earth, etc. ^{[1; 4; 5; 14, pp.25-26]} defined the life of all things and man. In developed mythological traditions, for example, in the ancient one, there is an early "specialization" of the pantheon of deities by type of activity. Yakut myths do not yet endow certain spirits with any "professions", this process has only just begun. In the representative pantheon of the Yakut celestials, there are no deities "responsible" for the creative sphere of human activity, as is the case on ancient Olympus or in some other religious and mythological systems of the peoples of the world in different periods of the development of the world history of culture and art. In Yakut mythology, in the process of historical development, the image of deities or a spirit patronizing music was not formed, like the Greek muses, the patron saint of the arts Apollo or the legendary singer of ancient Greek myths Orpheus. The Yakuts did not have a deity in male or female personification, patronizing art and music in the Yakut pantheon of mythological characters, since these types of artistic activities had not yet been isolated from the syncretic unity of national folk art. Perhaps Kudai Bakhsy, the mythical patron of the blacksmiths as carriers of creativity in the traditional representations of the Yakuts, can be partly attributed to these.

The image of Anegina Ilyina is hypothetically comparable to the image of the Yakut mythological blacksmith Kudai Bakhsa, who owns the sacrament of blacksmithing, beyond the control of ordinary mortals, and therefore by the power of skill Kudai Bakhsa is in some ways equal to the gods and can enter into partnership, contractual relations with them. Therefore, the "muse", patronizing singing, music, and art in the poetic perception of Yakut creative figures of the late Soviet period, in many ways, became the image of Anegina Ilyina – a guide from the world of people to the world of divine ayyy and the mysteries of nature.

In the Yakut heroic epic olonkho, recognized in 2004 as a masterpiece of the intangible cultural heritage of mankind, certain aesthetic ideals were formed in the process of long-term historical development. The main leitmotif of the Yakut epic is the struggle of good and evil principles for the survival and prosperity of the Ayyy people. The heroic campaign of the hero ayyy in the name of rescuing the bride kidnapped by the evil demon abaasa is the culmination of an epic work. In order to emphasize the importance of the moral and ethical message of the struggle of the good beginning, the Olonkhosut storytellers glorified the virtues and beauty of the bride of the hero ayyy. The most popular plot of olonkho was the heroic tale "Nyurgun Bootur the Swift", where the main character is Tuyaaryma Kuo, the betrothed bride of the hero ayyy ^[14].

Understanding the image of AneginaIlyina in Yakut art is decided in the traditional way – she has the talent sent down by her higher deities of ayyy, entering the bright world of beauty, and she is subject to the natural elements – wind, water, streams, drops, melting snow, cranes, whose click she can sing (Mikhailov A. "... And again the voice of Anegina" // Mikhailov A. The White Miracle. Yakutsk, 1990. pp.18-19), larks, whose trills she uses.

  Yakut writers and poets in their works interpreted her image as the daughter of the great Mother Nature, who gave her a unique voice capable of performing miracles - immersing in the world of ancestors, giving a sense of peace and happiness, pacification and even healing, harmonizing a person with the forces of nature, bringing back to life, transferring from harsh everyday reality to the world beautiful sublime art.

In conclusion, we present the main conclusions of this article:

1. for the Yakut society, patriarchal in the past, by the middle of the XX century. the appearance of bright gifted creative personalities, who were also successful in their professional activities, aroused great interest among representatives of the artistic intelligentsia, who turned their eyes to the embodiment of the image of the famous Yakut singer;

2. Yakut artists embodied the image of Anegina Ilyina in their work in quite a multidimensional way – he went through a certain evolutionary development from a young girl entering the big world through the active essence of a creative personality to her embodiment as a person who has reached great heights in professional art;

3. among Yakut artists, the image of Anegina Ilyina corresponds to the features of a predominantly representative portrait, in which the dignity and best qualities of the heroine's character as an outstanding creative personality of Yakutia of the late Soviet period are enhanced;

4. a certain historical distance from a specific period of the late Soviet period, when portraits of Anegina Ilyina were created, allow us to comprehend the personality of the heroine and highlight such significant aspects in the captured images as:

- determination;

- the desire to search for new, unknown things;

- commitment to achieving professional heights;

- the creative component;

- a rich spiritual world;

- self-absorption, concentration;

- majesty, significance.

5. Yakut writers and poets of the second half of the XX century. they came from the depths of the Yakut people and in their worldview preserved the traditional perception of the world, so they used in their work the appropriate metaphors and epithets characteristic of national consciousness, comparing in their work the image of Anegina Ilyina with the images of Yakut female mythological characters, who in the traditional consciousness represented one of the important values;

6. Endowing the artistic image of Anegina Ilyina in the works of Yakut poets with certain features characteristic of Ieyehsit and Ayyysyt, Aan Alakhchyn Khotun, etc., does not mean the fact of introducing the image of Anegina Ilyina in the public consciousness of the Yakut people into the pantheon of Yakut deities – this requires a long historical time of selection of value constants. Rather, it indicates the influence of the mythological representations of the Yakuts on the artistic processes of national culture and its originality.

7. The Soviet era gave birth to the emergence of new images. Although they contained a certain element of traditional thinking, they primarily developed a socialist aesthetic that corresponded to the aspirations of society for social progress through the modernization of the traditional way of life, the poetization of labor, the establishment of social and political equality between the sexes, etc.  

8. In this series, the image of Anegina Ilyina is a product of the culture of the late Soviet period, very much in demand in the singer's small homeland and relevant to the national artistic process.