Heroic retro-utopian world in the work of Russian artist Pavel Ostrovyshev

Van Tszin ORCID: 0009-0000-1960-6297 PhD in Cultural Studies Postgraduate student; Institute of History; St. Petersburg State University Saint Petersburg, Russia, Golovnina Boulevard 10.3 entrance, Apartment 454 st116233@student.spbu.ru

In art, sometimes mastering the canons of academic painting, knowledge and skill of how to portray suppresses the artist's imagination and standardizes his creative personality. It often happens that the original idea of the artist cannot find a worthy embodiment due to technical imperfections, due to insufficient training of the author. An extraordinary artistic statement turns out to be helpless in a pictorial sense. It seems that it is quite difficult to achieve a perfect balance between these two poles. However, Pavel Osvyshev competently combines them; we can say that he is an artist of the "non-classical school" in academic art. Alexandra Balash, a researcher in art theory, noted that nostalgia for the spiritual integrity of man opened the world of Russian portraiture to Pavel Baryshev and his heightened experience of the individuality and mental complexity of each person. Dmitry Severin, another theoretical researcher, believes that Pavel Ostrovyshev relies in his work on historical artistic traditions, drawing his material from an infinite storehouse of expressive elements, images and symbols developed by the culture of bygone eras. At the same time, both researchers claim that Pavel Baryshev's works demonstrate the aesthetic features of the late Middle Ages and the XVIII century. However, they overlook the importance of a key transitional moment, that is, the phase of transition from the late Middle Ages to the early Renaissance, and especially the historical point of awakening of individual consciousness. When analyzing the specific works of Pavel Ostrovyshev "Morning" and "Dream of the Unicorn", it becomes clear that the authors intend to show the historical moment of the birth of humanistic ideas in the early Renaissance, as well as nostalgia for this period. In accordance with this line of research, it becomes clear that the author's work is not a historical retrospective, but an attempt to create an ideal society, a retro-utopian world that exists in the imagination. The construction of this ideal is the result of the boundless imagination and creativity of the artist. "At the same time," notes A.V. Anishenkova, "there are a number of concepts in the history of philosophy that define different approaches to the creative process. Thus, the German philosopher I. Kant in the XVIII century, analyzing the nature and specifics of creative activity, pointed out that the essence of creativity is in productive imagination, which performs the function of a source and means of obtaining new knowledge" ^{[1, p. 79]}.

Pavel Ostrovyshev was born in 1965 in Penza. In 1980-1984, he studied at the Penza Art College named after K.A. Savitsky. In 1987, he entered the St. Petersburg Institute of Painting, Sculpture and Architecture named after I.E. Repin, where he studied in the monumental workshop under the direction of the People's Artist of the Russian Federation, Academician A.A. Mylnikov. After graduating from the Institute in 1994-1996, he completed postgraduate studies at the Department of Painting and Composition of the same Institute. The skills of compositional thinking acquired at the academy, as well as the mastered artistic norms and traditional aesthetic standards laid the foundations for his original work. Various visual elements appearing in his works are analyzed from the point of view of culture and religion in combination with semiotic methods. This approach can further reveal its deep symbolic meaning.

Characteristics of the work

1. Dream and Mystery

The first time you watch Pavel Baryshev's works, you get a feeling of dreaminess and mystery. The characters in them seem to have descended from the idealized Middle Ages or Renaissance and entered modern times. Young girls often appear in artists' paintings, and female characters are often used to symbolize certain ideas or moral values in the context of the Renaissance and the Middle Ages. For example, in the Renaissance, the ancient goddess Venus became a symbol of female beauty and love, whereas in medieval religious art, women represented mercy, purity and salvation. In addition, women are often key figures in many myths and historical narratives, representing mystery and enlightenment. The image of a woman is endowed with symbolic qualities with deep implications. It is not only a manifestation of natural beauty, but also a carrier of such spiritual properties as wisdom and love. Mysterious gardens, intricate castles, and a variety of birds and animals (unicorns) that come from myths or poems further enhance the unreality of the work. "The need for myths," writes N.N. Suvorov, "has always existed in humanity: it was here that it found a coherent description and explanation of the totality of being and its own existence" ^{[2, p. 2]}.

2. Decorative

"An exquisitely executed object can itself perform a decorative function and, accordingly, be built as an ornament in relation to another whole, for example, architecture or the natural environment. In this case, the object becomes decorative through the display of its external relations, which simultaneously relate to its own structural characteristics" ^{[3, p. 97]}. There is also a place for expressive forms of late Gothic in Ostrovyshev's works. The rich color of stained glass windows and the sophistication of book miniatures and trellises, the geometric sophistication of Gothic ornaments, the fantastic world of bestiaries and the naturalism of floral motifs - all this invaluable material of world culture is never quoted directly, but variously recalled and interpreted. Of course, this includes recurring elements; which can be natural forms (plants, flowers, animals, etc.), abstract geometric shapes, or other decorative symbols. Repetition and variations of patterns not only add visual richness, but also bring a sense of rhythm and harmony. To enhance the visual effect and beauty in the image, bright and contrasting colors such as red, gold, blue, etc. are usually used. These colors make the image more attractive and layered due to contrast and complementarity.

3. Segmented narrative

People cannot be in two spaces at the same time, in the past and in the present, but painting can abstractly unite them. The traditional concept of time is usually linear. Combining different periods in one painting highlights the multiplicity and intersection of time. Different historical periods are presented not in chronological order, but in parallel in one picture, reflecting the complexity and multidimensionality of time. Pavel Ostrovyshev combines modern and medieval chivalric subjects, court literature and the ideological liberation of the early Renaissance on one canvas through segmented storytelling, creating a multi-layered and multidimensional artistic space from which we can experience the passage of time, the change of history and the clash of cultures. The scrupulousness of classical painting and the freedom of modern art combine to form an artistic expression that transcends time. This approach not only adds depth and complexity to the work, but also brings to it multiple connections of time, history and culture. As N. N. Suvorov writes: "... temporality is directly related both to the subjective world of man and to the dynamics of culture. Temporality is a characteristic of self-correlation with an event: temporality is understood as the temporal essence of phenomena generated by their own movement. For temporality, not only the level of development of the material world is important, but also the moment of self-movement, qualitative subjective self-reflection and living" ^{[4, p. 35]}. Pavel Ostrovyshev does not just emphasize cultural oppositions, but rather demonstrates the intertwining and coexistence of the past and present, integrating various historical elements. This merger not only reflects the changes of the times, but also demonstrates how traditions and innovations coexist within a common historical framework.

4. Retro Utopia (Late Medieval and Early Renaissance)

"The modern concept of nostalgia," notes R. Abramov, "is used in both senses.: as a personal loss of an idealized past and a craving for it, and as an intellectual and emotional construct that distorts the public version of a certain historical period or a certain social formation of the past" ^{[5, p. 7]}. The author created an abstract space, an ideal space in which memories of the past and things that have disappeared are stored. This space is different from the real world we are used to. There are no conflicting objects, and each character is perfectly positioned in its place, as if all the elements harmoniously coexist. Through striving for antique ideal beauty and reflections on modern society, the artist emphasizes the value of human rationality and individual freedom. By reconstructing classical elements of ancient art, he created an ideal world that not only reflects rationality and aesthetics, but also carries social ideals.

His works are like a kaleidoscope, showing a new picture with every turn, as if fixing this idealized world through constantly changing perspectives. For example, the mystery of medieval religious art is intertwined with the humanistic spirit of the Renaissance, representing a deep fusion of philosophy and emotions. The combination of classical aesthetics and modern art breaks the boundaries of time and space, transporting us to a fabulous world full of mystery, colorfulness and beyond the scope of everyday experience. This world transcends reality and leads us into a utopia full of idealized antiquity. In this space of culture and art form, the past finds new life and is revealed through the prism of the artist's gaze. Every detail in the work expresses an idealism that transcends reality. As A. S. Zagryadskaya writes:"A new "virtual" chronotope is being added to the real chronotopes — the space and time of an artistic work"^{[6, p. 27]}. It not only represents a return to ancient art, but also explores the delicate balance between rationality and freedom, tradition and innovation.

Product analysis

Fig. 1 P.V. Ostrovyshev

Morning. 2021

Oil on canvas. 80 × 80

In terms of composition and color, the main tone of this work is light gray. A characteristic feature of gray is its neutrality. He can achieve harmony with any color, balance the picture and convey a sense of calm. The painting uses a combination of white, red, green, blue and purple colors. Different colors cause different visual and psychological sensations in people. The contrast between the colors creates a harmonious and mysterious picture. There are three spaces in the painting: the first space is the shape of a window in the center of the canvas, depicting a group of birds and bushes; the second space consists of branches sprouting upward from the bottom of the painting; the third space consists of four girls and a unicorn in the lower left corner. The elements of the painting are four women, a unicorn, trees, birds, flowers and dishes in the hands of women. The combination of these elements preliminarily demonstrates the symbiotic state of man and nature.

Analyzing from the point of view of time, it can be indicated that the four girls in the painting are separated by the windows of the first space, forming two groups of standing positions. They, in combination with the name of the work "Morning", imply the alternation of morning and afternoon, representing the alternation of day and night. The four girls can also be seen as the personification of spring, summer, autumn and winter, symbolizing the change of the four seasons. The Renaissance was based on humanism, which emphasized the individuality and rationality of man, defended the unique position of the individual in the world and reflected a return to ancient culture and the affirmation of human potential. The work "Morning" reproduces the ideals of the Renaissance, with its cult of science and art.

Four beautiful girls, outwardly almost indistinguishable from each other, hold in their hands various utensils, a candlestick, a jug and a bowl, which have a special symbolic meaning in Christian culture. In the context of the Renaissance, Christian symbols often have a deep meaning in works of art, conveying a connection between the spiritual and material worlds. The birds in the third space are divided into two groups, each consisting of nine birds, and this arrangement creates an effect of symmetry. The number nine has a special symbolic meaning in many cultures and can be associated with mysticism or religious beliefs, which further enhances the symbolism and mystery of the painting. "In esoteric philosophy, the number "9" is a symbol not only of completion, but also of transformation and perfection" ^{[7, p. 531]}. The three spaces in the painting are connected by branches in the second space, combining spaces at different times and reflecting the changes of time. The whole picture is a symmetrical arrangement. Although this symmetry is difficult to achieve in a person's daily life, it indicates a desire for rationality and order in artistic creation. The appearance of the unicorn in the lower left corner of the painting further enhances this surreal sense of mystery, as the unicorn is usually viewed as a mythical creature symbolizing purity and mystery, suggesting an ideal world beyond reality.

In the painting "Morning", the author conveys to us a feeling of hope and tranquility — the sun rises, everything comes to life, and all things in the world follow their own trajectories, harmoniously and without competition. The tranquility and harmony represented in the painting reflect the reverence and desire for human reason and natural order inherent in the Renaissance. Combined with the historical background of the early Renaissance, the author seems to express through this work his nostalgia and longing for ideological liberation, artistic revival, and the humanistic spirit of that period. During the Renaissance, individual awakening and self-awareness became the core of artistic creation. The girls, utensils and natural elements in the works are the author's memories of this historical moment. It was an era when man and nature, spirit and matter were intertwined, coexisted and flourished together.

Fig. 2 P.V. Ostrovyshev

The Unicorn's Dream. 2014

Oil on canvas. 80 × 80

The unicorn, as a mythical creature, usually symbolizes purity, ideals and fantasy. In this painting, the unicorn is associated with the theme of "dreams", which means that his inner world is filled with fantasy and visions. Sleep, as a kind of surreal existence, not only overcomes the limitations of the real world, but also gives us the opportunity to look at the world from different perspectives. Dreams are often a bridge between the real and the unreal, the rational and the fantastic, through which we see the deepest desires and conflicts of the human heart. As D. A. Kudryavtseva writes: "One of the artistic ways of expressing the discrepancy between ideal and reality, dreams and life, is the opposition of sleep and reality, where the realm of dreams is represented by the sphere of mystical revelations" ^{[8, p. 224]}. These "dreamlike" images, especially in the context of the Middle Ages and the Renaissance, are an example of a fruitful historical and cultural dialogue.

The picture shows two layers of a unicorn's dream. The first layer of the dream is the idealization of medieval chivalric culture.

In the painting, the knights hold bows and arrows in their hands, blow horns and ride warhorses, demonstrating a courageous posture. The front legs of the horse are raised high, as if announcing the approach of victory. Medieval chivalric culture, rooted in the religious and military context of feudal society, emphasized courage, honor, loyalty, service, and absolute devotion to God and the king. The main values that medieval culture conveys are a chivalrous sense of honor and duty, which are still important in modern society. The first unicorn dream is not only a reproduction of this historical background, but also a reflection and inheritance of the chivalrous spirit in modern society. Today, in the face of challenges and dilemmas, we may still need chivalrous determination and courage to stand up for social and personal justice, just as knights firmly defended their beliefs and missions in a chaotic world.

The second layer of dreams: the awakening of personal consciousness in the Renaissance.

The intricate castle in the painting stands on a busy prairie, and the unicorn lowers its head to enjoy the sweetness of the lake. The castle symbolizes the transition from the mystery and closeness of the Middle Ages to the openness and rationality of the Renaissance. This transition is not only a new knowledge of the outside world, but also a new exploration of oneself, the mind, and human creativity. The gesture of a unicorn drinking water with its head bowed seems to be a metaphor for the awakening of freedom and individual consciousness, just as Renaissance thinkers opposed the slavery of religion and sought personal freedom and rational knowledge. The unicorn's dream echoes the ideals of the Renaissance, symbolizing that humanity, having experienced countless historical and cultural conflicts, is finally able to touch its inner truth and freedom.

The unicorn's dream is not only a symbolic fusion of two cultures, but also the artist's deep reflection on two historical eras: Medieval chivalry and Renaissance humanism. The girl in the painting, dressed in red, holds a sleeping unicorn in her arms, demonstrating a gesture of care and protection. This is not only the preservation of the unicorn, but also a symbol of history and spiritual heritage. The emotional connection between her and the unicorn is deep and mysterious, suggesting that she is both the keeper of her dreams and a witness to history and cultural change. In her arms, the unicorn finds peace and satiety, a scene that embodies the ideal and desire for balance and harmony in troubled times. A girl's red dress, on the other hand, can symbolize love and passion, the power of life and the pursuit of ideals. In this work, the religious world of the Middle Ages and the secular ideas of the Renaissance do not confront each other, but are intertwined and mutually reinforce each other through the world of unicorn dreams. The space of dreams is not only a window for studying history, but also a basis for reflection on the cultural heritage of mankind, personal and social responsibility and ideals. At the intersection of dreams, the loyalty and courage of knights, rationality and freedom of the Renaissance eventually coalesce into a cultural ideal, giving us inspiration to search for meaning and action in modern society.

Positioning in the context of time

Dreams, fairy tales, time, mosaics, stained glass windows, girls, unicorns, knights, castles, birds and trees, ladders, boats and paper boats, fish, lanterns, cups, maps, flowers and thorny plants, musical instruments - these elements form the visual language of the artist and move from painting to painting. On his canvases, Baryshev reproduces the myth of the golden age, which remained in the past, during the childhood of mankind. It is no coincidence that his paintings depict either children or boys and girls, whose age refers to the innocent, sinful state of humanity. Children are often depicted in 18th–century costumes, as if hinting at the tradition that the master follows and partly imitates - the work of artists from the "World of Art" who are passionate about the 18th century. Ostrovyshev refuses the deliberate eroticism that permeates the works of art critics. The children in his paintings use objects of adult life, but they are devoid of emotions. Their figures and faces are devoid of sensuality and practically devoid of individuality; it seems that the artist paints the same face on numerous canvases. In his paintings, children do what children should do – they play. This is a world in which there are no conflicts, struggles of passions and desires. The density and flatness of the image, which leaves almost no free space, and the painting techniques used by the artist indicate another possible source of his inspiration – medieval and Renaissance tapestries, which most often depicted historical, mythological or biblical subjects. One of these universal mythological and at the same time biblical images, often found on tapestries, is the garden, a metaphor for earthly paradise. Ostrovyshev offers his retro version of such an emphatically earthly paradise. It is noteworthy that he almost never depicts the sky in his paintings. The characters of his paintings are placed either in the conventional space of a neutral background, or among densely growing and surrounding plants. The architectural elements are also very conventional; the buildings in the paintings are not designed for life, they are akin to floral ornaments, and are often represented only by individual elements, for example, lancet windows. If the characters are trying to inhabit the plane of the canvas, they use furniture as a home, for example, a table, again hinting at the playful element of childhood. Baryshev's paintings do not imply recognition of a place, they are literally topical and not topical. However, they retain what can be called the atmosphere of the place. "The atmosphere of a place," writes V.M. Solovyov, "includes moods, associations, images associated with a specific area, quarter, landmarks, a section of a city, locality, or iconic natural landscape, the special aura of a street, square, adjacent alleys, their unique flavor, the natural charm of the picturesque surroundings, etc."^{[9, p. 189]}. The specificity in the artist's paintings is a historical epoch, not a place; he depicts a cultural and historical time, not a point in space.

The reference to two epochs in the history of culture, the Middle Ages and the Renaissance, also does not look accidental, since, on the one hand, the Renaissance era chronologically coincides with the "autumn of the Middle Ages", as if merging with it to the point of indistinguishability in a number of moments. The Renaissance was in many ways a period of transition; it was generated by the crisis of medieval culture. The culture of the Renaissance and the Middle Ages is characterized by extremely intense symbolism. "A symbol,– clarifies K. Duda is one of those signs that exist in a person's reality, both in daily life and in the sacrum space, giving meaning to his existence"^{[10, p. 71]}. However, Ostrovyshev addresses not the religious, but the chivalrous and gallant aspects of the culture of the late Middle Ages and Renaissance and, accordingly, reproduces the symbolism of these aspects of culture.

Conclusion

Absorbing and reinterpreting the artistic styles of the late Middle Ages and early Renaissance, he represents an art form that transcends epochs, preserving the subtlety and depth of classical art and filling it with a wealth of fantasy and individual emotional expression. His works visually transcend the boundaries between reality and fantasy, ideologically combine reason and sensitivity, tradition and innovation, mystery and humanism. The female figures in his works, as bearers of spiritual symbols, embody the emphasis on individuality and freedom in Renaissance humanist thought. At the same time, he destroys the concept of linear time with the help of complex historical elements and space-time intertwining narratives, forming a utopia full of ideals and retro feelings. With the help of subtle artistic language, the artist turns to history and crosses the boundaries of time, rethinking the values of human culture and thought, reflecting on the relationship between rationality and individual freedom in modern society. His creations simultaneously evoke nostalgia for the mysticism of the Middle Ages and recall the intellectual liberation of the early Renaissance. With his art, he bridges the gap between tradition and modernity, uniquely demonstrating the connection between history and time. He is not only a witness to time, but also an heir and innovator of culture and thought.