Over the past couple of weeks, fate has given me a series of fantastic meetings and acquaintances. At the very end of November, I was lucky enough to meet an amazing, most interesting person, a Togliatti resident - Ivan Trofimovich Dusharin.
Ivan Dusharin is a legendary climber, conqueror of the highest peaks, including Everest(three times), and K2 (Chogori). A man of incredible courage, determination, and generosity. In addition, he is a great storyteller. Even a person who has never been to the mountains can listen to his stories about ascensions and mountains.
Mountains are his everything! He lives by them! And they forged his character, sifted his values and principles through a fine sieve, and determined his views on many aspects of life. In his world of mountains there are completely different relationships among people. They value truth, sincerity, mutual assistance, reliability, and mutual understanding. Some will say that all this is valued in any environment. Valued, but so often forgotten and ignored. And in the mountains this is the basis of survival.
Listening to Ivan Dusharin, you begin to realize how funny we, greenhouse residents of megacities, can look from the outside when we measure our “coolness” by means of prestigious brands of cars, etc. Enter into combat with the forces of nature, overcome yourself, overcome mortal fear and dangers and achieve your goal, proving that a person is capable of winning even in the death zone (it is believed that mountains over 8000 meters belong more to space than to Earth, and therefore to life) and this, in my opinion, is really cool! In Dusharin’s world, tears are not a manifestation of weakness, but on the contrary, they are a manifestation of strength, generosity, and humanity.
Among other things, Ivan Trofimovich writes books and, of course, their theme is mountains. Books are not replete with lyrics. Perhaps they will seem a bit dry to some, but they are imbued with a love for the mountains, their beauty, greatness, and reveal other facets of human communication. His latest book "Stalkers of the Highlands" talks about climbing Everest, K2 and other peaks. I don’t know how accessible Dusharin’s books are on sale, but I’m sure reading them will definitely not be useless. Personally, what impressed me in “Stalkers of the Highlands” was the dry summary of events and the intertwining of relationships in the expedition.
Ivan Trofimovich Dusharin, Russian climber, MSMC in mountaineering, three-time Everest climber, K2 climber (up to 8000 m), Nanga Parbat, Cho Oyu. Made twenty-seven ascents of seven-thousand-meter peaks. Author of the books “Everyone Has Their Own Everest”, “On a String Through the Abyss”.
NO ONE LIKES MAKING DECISIONS. AND THE MOUNTAINS TEACH YOU TO DO THIS VERY WELL. In conditions of limited resources (qualifications, time, weather, strength, food) you must make the only right decision. Often not only for himself, but also for the team. This skill is worth a lot in everyday life.
HEIGHT IS A SPECIAL ENVIRONMENT. Even water and air are softer and easier for humans than mountains. The mountains are very aggressive and changeable. And here everything depends only on you. Yes, there are commercial expeditions where railings are attached, Sherpas carry cargo and oxygen, but you move your legs yourself. And no one will do it for you.
HERE IT’S IMMEDIATELY NOTICED WHAT YOU CAN DO. Altitude requires automatic execution of skills learned below. There will be neither time nor, most importantly, strength to do something bad, to do it incorrectly, to do it somehow. You work like a robot, executing the programmed program.
The one who dies is the one who has not completed basic training, who does not have the skill to assess the situation and make a forecast.
MOUNTAIN CLIMBING IS IN GENERAL A VERY INTELLECTUAL ACTIVITY. I always remember the first Soviet expedition to Everest. Who was its leader? - Academician Tamm. Who was her head coach? Doctor of Technical Sciences Ovchinnikov. There were twelve candidates of science on the team!
THE MOUNTAINS IMMEDIATELY SHOW "WHO IS WHO". They “polish” you as a person. You are in a group for a long time without the opportunity to stop communicating or leave. At the same time, you depend on these people, and they depend on you. Willy-nilly, you learn patience and understanding.
I met my wife at the training camp. She herself is an athlete, a mountaineering instructor, who, fortunately, switched to raising children in time. So, she did not, like many wives, “pull” me out of my business.
A MAN SHOULD HAVE A MAN'S BUSINESS. Sitting with a fishing rod on the river, pumping iron, walking in the mountains. If you deprive him of this, after some time you will not recognize the person you once loved. Let him go to the mountains if he likes it.
When passing cornices (overhangs), at some point you need to step into the abyss and use a rope to separate yourself from the wall, hang and continue climbing with a jumar. When we were at Changa Bang, where there were many such cornices, I realized that WITH AGE, THE DESIRE TO LIVE INCREASES. And only because you have to do work, you step into this emptiness.
Once, while climbing Changa Bang, I had to sit still for a long time while waiting for the team at the top to set up the platform. There was a hitch, I had to wait a long time, I started to freeze.
I REALIZED THEN HOW SCARY IT IS WHEN YOU ARE SLOWLY DYING. At some point I wanted to cut the rope and end everything.
It is because of this incident that I always say that SELF-CONTROL IS THE MOST IMPORTANT QUALITY, which develops mountaineering. You need to be able to control yourself.
Have you ever been scared? One day a small avalanche came down on K2 and dragged me along with it until I managed to stop. When you fight for life, you don’t feel fear.
BECAUSE STRUGGLE IS LIFE. Fear comes later, along with the realization of what happened.
DO YOU WANT TO CLIMB EVEREST? Take your time, climb at least two seven-thousanders. Your attitude towards heights will change greatly.
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The village of Seredka is the birthplace of the storyteller Ivan Trofimovich Ryabinin. This village, like Garnitsy, is located on Bolshoi Klimenets Island. The second representative of the Ryabinin epic tradition, Ivan Trofimovich Ryabinin (1844-1908), was born and spent his youth here. Until 1878, I. T. Ryabinin lived in the village of Seredka in his father’s house; After his marriage, he moved to the village of Garnitsy in the Sennogubsky churchyard.
I. T. Ryabinin became widely known through numerous performances singing epics in Russia and abroad.
The storyteller's first trip to familiarize his compatriots with the monuments of ancient Russian literature took place in January 1893. In St. Petersburg, the listeners of the Zaonezh singer were members of the Russian Geographical Society, teachers and students of the university and secondary educational institutions.
I. E. Repin, who was present at one of the narrator’s performances, captured I. T. Ryabinin at the moment of singing the epic.
A year later, Muscovites also became acquainted with the performing skills of Ryabinin Jr. “...His soulful, somewhat suppressed, but soft and high tenor voice resounded in the hall, immediately enchanting the listeners with the originality and beauty of the melody,” one of his contemporaries wrote in those days, “The ugly, motionless features of his emaciated face acquired a new expression - of extraordinary importance, almost severity... At the end of each epic there was no end to delight and applause, but Ryabinin treated them, outwardly at least, rather indifferently.”
The public's lively response to the performances was reflected in the press. “Living Antiquity”, “Strannik”, “Russian Thought”, “Russian Review” and other magazines wrote about the peasant from Kizhi.
“In the performance itself,” noted the Russian Review magazine, “Ivan Trofimovich, despite the completely natural rawness, is very musical. He remarkably faithfully maintains the rhythm and tone once taken, and no matter how long the piece he performs, he will not sin against either one or the other. Ivan Trofimovich sings the first half of each epic, but “tells” the second... Ryabinin’s language is very correct, purely Russian.”
In the same 1894, composer A. S. Arensky recorded the melodies of I. T. Ryabinin’s epics and subsequently created on their basis the piano concert “Fantasies on the themes of Ryabinin’s epics.”
By decision of the Society of Lovers of Natural History, Anthropology and Ethnography, Ivan Trofimovich Ryabinin “as the best storyteller of our time” was awarded a bronze medal to be worn on his chest.
The range of folklore works by I. T. Ryabinin was somewhat smaller than his father’s repertoire and was limited to seventeen subjects, however, this material also allowed and allows us to see in the person of Ivan Trofimovich one of the best guardians of Russian epic poetry of the late 19th - early 20th centuries.
Having learned about the significant folk repertoire and masterful manner of performance of Ivan Trofimovich, L. N. Tolstoy noted that “a singer like Ryabinin can safely be called a phenomenon not only for Russia, but for all of Europe.” The writer's words became prophetic.
In 1902, after successful performances in St. Petersburg, Kyiv and Odessa, I. T. Ryabinin went abroad. Constant success accompanied him in Constantinople and Philippolis, in Sofia and Nis, Belgrade and Vienna, Prague and Warsaw. In Sofia, up to seven hundred people gathered in the audiences where the narrator sang, in Nis - up to a thousand, and he attracted “a huge number of listeners” in Warsaw. From Warsaw I. T. Ryabinin headed to St. Petersburg, and from there, passing Petrozavodsk, to Garnitsy.
Ivan Trofimovich died in the village of Garnitsy and was buried in the old cemetery in the village of Sennaya Guba.
After Ivan Trofimovich, the family epic tradition was supported first by his stepson, Ivan Gerasimovich Ryabinin-Andreev, and then, in the fourth generation, by Ivan Gerasimovich’s son, Pyotr Ivanovich.
In the native village of I. T. Ryabinin, the house in which he was born and lived has long been gone. And yet, the very place where he spent his childhood and youth, where the craving for oral poetry was inherited from his father, where respect for the best creations of past centuries was born to illuminate his whole life, this place, without a doubt, deserves attention and veneration.
...The house of the peasant Elizarov, transported to Kizhi from here, from the village of Seredka, now reminds us of what the Ryabinins’ house could have looked like.
"He is a very handsome man"
Ivan III is one of the most outstanding rulers in Russian history. It seems paradoxical that his image in works of art is rare. In this respect, the prince is many times inferior to such monarchs as Vladimir the Holy or Ivan the Terrible
Both the lifetime verbal portrait of the Grand Duke of Moscow Ivan III and his lifetime image have survived to this day. They are, however, extremely conventional, but, interestingly, they relate to different ages of our hero.
In a three-part crown
Description of Ivan III left by a Venetian diplomat and traveler Ambrogio Contarini. On behalf of the Most Serene Republic, he traveled with an embassy to Persia and on the way back spent four months (late 1476 - early 1477) in Moscow, where he was received by the Grand Duke and his wife Sophia Paleologus. Subsequently, Contarini published an essay about his journey, in which, in particular, we find words dedicated to Ivan III: “The mentioned sovereign is 35 years old; he is tall but thin; In general he is a very handsome person.” It is noteworthy that the diplomat almost accurately indicates the age of the ruler, although it is clear that from this description we can imagine the appearance of the Grand Duke only in the most general terms. There is an assumption that Ivan III was noticeably stooped, since in some sources he is mentioned with the nickname Humpbacked, but the reliability of this information can be doubted.
Veil of Elena Voloshanka. Late 15th century
The lifetime image of Ivan III dates back to the very end of the 15th century. We are talking about the famous embroidered shroud, apparently created in the workshop of the daughter-in-law of the Grand Duke Elena Voloshanka (the shroud is kept in the State Historical Museum in Moscow). According to researchers, it represents a solemn ceremony on Palm Sunday on April 8, 1498 with the removal of the icon of Our Lady Hodegetria. Among those present, it is believed that the entire grand-ducal family is depicted, including Dmitry Vnuk (he is shown with a halo, as if crowned for a great reign), the future Vasily III (only in a crown, without a halo) and Sophia Paleologus. In the middle row on the left, the procession is led by a man wearing a three-part crown and also with a halo above his head - obviously, this is Ivan III himself, an old man with gray hair and a long forked gray beard. In 1498, the Moscow ruler turned 58 years old, but it is quite possible that he looked exactly as depicted on the shroud. In any case, the images of other men of the grand ducal family are also very individual here.
Portraits in profile and full face
The icon “Our Lady of Bogolyubskaya, with those present” from the collection of the Moscow Kremlin Museums dates back to the first third of the 16th century. It shows Prince Vasily the Dark and his son Ivan, a relatively young man with a light brown beard, in the first row after Metropolitan Jonah. Of course, this image is purely conventional. The images of Ivan III in the numerous miniatures of the Front Chronicle of the 16th century are equally conventional. There, Ivan Vasilyevich appears at different ages - both as a very young beardless youth and as a husband wise in years: the movement of time symbolizes the appearance and increase in the size of the beard.
Portrait of Ivan III. Title book. 1672
Very striking and most often reproduced when it comes to Ivan III is his profile portrait from the book of the French traveler Andre Theve “General Cosmography”, published in Paris in 1575. This is certainly the most artistic of all the early depictions of the Grand Duke, although its historical accuracy is questionable. Ivan III is shown here as a bearded, middle-aged man with rather large features and a large nose (also noted in engraved portraits of his son Vasily III and classical portraits of Ivan the Terrible), dressed in some kind of fur jacket. On the ruler’s head is a crowned hat with ermine fur, and in his hand is a saber with a hilt in the shape of an eagle’s head. The portrait is made very realistically, which is why it makes such a convincing impression.
Ivan III distributes estates. Facial chronicle vault of the 16th century
The images of Ivan Vasilyevich, dating back to the 17th century, are characterized by a standard approach. The prince’s facial features on the fresco of the Archangel Cathedral of the Moscow Kremlin (the paintings were made in 1652–1666), located above the place of his burial, are poorly distinguishable, but a small forked beard and slightly curly hair are noticeable - the same we see on many of the princes depicted here. A very similar portrait of Ivan III is placed in the Titular Book of 1672. Only here the hair is curly and the beard is gray. One can note the elongated nose and relatively thin facial features of the ruler. This is a kind of classic, almost ideal type of appearance - similar to the almost ideal image of grand ducal rule. When designating the gray hair of Ivan III, the artists of the Titular Book were clearly guided by the prince’s known life expectancy.
Between Dmitry and Peter
The next stage in the iconography of the first sovereign of all Rus' is associated with historical painting and sculpture of the second half of the 19th - early 20th centuries. However, this iconography is more than modest.
In monumental sculpture, the image of Ivan III was depicted twice on one monument. This famous monument (the author of the project is Mikhail Mikeshin) was inaugurated on the occasion of the millennium of Russia in Veliky Novgorod in 1862. Despite the fact that for Novgorod the activities of Ivan III had rather a tragic connotation, it was decided to pay tribute to the Grand Duke as the creator of a unified Russian state. His sculptural image took a place among the large figures of the most significant rulers of Russia (the middle tier of the bell monument), symbolizing several of the most important stages of Russian history (Rurik, Vladimir the Saint, Dmitry Donskoy and Peter the Great are represented here). The composition “Foundation of the Autocratic Kingdom of Russia,” in the center of which rises the figure of Ivan III, is located just between the sculptural groups of Dmitry Donskoy and Peter the Great.
The image of Ivan III is depicted twice on the “Millennium of Russia” monument, opened in Novgorod in 1862
Here Ivan III Vasilyevich is the sovereign of all Rus', the founder of Russia - a new, independent power. His royal vestments, crown-hat on his head, scepter and orb in his hands are symbolic. The last two regalia, as is known, appeared in Russian ceremonial only at the end of the 16th century, so their pairing with the figure of the Grand Duke (like the royal vestments) is a clear anachronism. Nevertheless, it was important for the creators of the monument to emphasize the new status of the united power, which dates back precisely to the era of the first Ivan Vasilyevich. It is noteworthy that the scepter is crowned with a double-headed eagle of the Byzantine type, indicating both the origins of the formation of state heraldry and the continuity from Byzantium.
It is also significant that in this composition a Tatar bows before the Grand Duke, down on one knee (which symbolizes not just liberation from Horde dependence, but also the beginning of the subordination of the Tatar states to Moscow), and on the other hand of the sovereign are the figures of the defeated Lithuanian and Livonian knights (which means victories in the wars with Lithuania and the struggle for access to the Baltic Sea). Ivan III himself, with a thick forked beard and large mustache, appears decisive, even stern, his stern gaze directed forward into the future. The image is extremely realistic and textured.
For the second time, the figure of the prince is placed in the frieze that forms the gallery of many of the most prominent figures in Russian history. Here Ivan III (robes, scepter, look - everything is the same as in the upper part of the monument) is shown sitting on a throne, which is again crowned with a double-headed eagle. Finally, near the throne we also see a shield with the image of a double-headed eagle - exactly copied from a miniature of the Gospel that belonged to Dmitry Paleologus. Below is the date: 6980, that is, 1472, the year of the marriage of Ivan III to Sophia Paleologus. Thus, the continuity of Russia from Byzantium was again unambiguously affirmed, reflected, among other things, in heraldry. In fairness, it must be said that Marfa Posadnitsa also took her place among the outstanding figures of Russian history on this frieze.
Khan's charter
One of the central events of the reign of Ivan III was the overthrow of the Horde yoke. And domestic historical painters, of course, could not ignore the famous legend about how the Moscow Grand Duke tore up the Khan’s charter.
The most famous (and best from an artistic point of view) work on this subject was the painting by Nikolai Shustov (1834–1868) "John III tears up the Khan's letter". It was completed in the same year when the monument “Millennium of Russia” was erected in Novgorod, and its content corresponded to the increased interest in Russian history that arose at that time. For this competition work, the author, at that time a student at the Academy of Arts, was awarded a small gold medal. The painting itself is now kept in the Sumy Art Museum, and the preparatory sketch, approved by the Academy Council, is in the Tretyakov Gallery.
John III tears up the Khan's letter. Hood. N.S. Shustov. 1862
Ivan III is shown on it at the moment of making a decisive gesture-deed. Before us is a tall man with a thick dark beard, a long mustache, a hooked nose and an aquiline gaze, dressed in a royal golden dress with barms, an ermine robe hanging from his shoulders (another obvious anachronism), and the head of the prince is crowned with the cap of Monomakh. His whole figure expresses anger and determination. Having torn the letter, he throws its fragments down towards the raging and almost defeated Horde ambassadors, who are firmly held by Russian soldiers. Of course, the interior against which the action unfolds, and even the attire of the characters, do not correspond to the era of Ivan III, although the artist studied historical materials when creating the picture, trying to achieve greater authenticity. Shustov no longer participated in the competition for the big gold medal, announced the following year: among fourteen students of the Academy of Arts, he left its walls, joining the St. Petersburg Artel of Artists, which was the prototype of the Association of Itinerants. Unfortunately, a few years later the talented painter died at a relatively young age.
It’s probably worth finishing this review with a story about the only image of Ivan III in Soviet cinema. In 1958, a wonderful two-part feature film “Walking across Three Seas” was released on the screens of our country, filmed together with Indian filmmakers. Young Ivan Vasilyevich appears in it, played by actor Leonid Topchiev. Ambassador Vasily Papin, accompanied by Afanasy Nikitin and other merchants, goes to an audience with the prince just when angry Tatar ambassadors are leaving the sovereign’s court, and Ivan III himself, like a young Peter the Great, with his impulse and indomitable energy, seems to symbolize a new Russia, opening paths to unknown countries and to our own free future.
Evgeniy PCHELOV, Candidate of Historical Sciences
