A sculpture that makes reference to the Tatar poet Gabdulla Tukay
Pavel Ignatiev
(Saint Petersburg, Russia)
The role that has oil
played as an artist's
material in this work
32 Lenin Street
MAP
RU
EN
TAT
In a wonderful forest…
Bu kap-kara urmanda…
In a wonderful forest…
Чем для татарской культуры является традиционное пожелание счастья «Котлы булсын!»
Как это пожелание стало произведением современного искусства
Роман Kreemos (Подольск, Россия)
Белоглазова, 46
Bu kap-kara urmanda…
Context
This sculpture depicts the Tatar poet Gabdulla Tukay, who carries in a bicycle basket one of the heroes of his text — the forest spirit Shurale. A bicycle, like Shurale, is an image from Tukay's poetry. In the poem "The Coming of Spring" bicycles and the ringing of their spokes are signs of the new season.
Gabdulla Tukay (1886-1913): poet, translator, public figure
One of the most important authors in Tatar literature. Despite a very short life (he died at the age of 26), Tukay became the founder of a national poetry, managed to publish the first school textbook on reading and became a pioneer of Tatar folklore. He not only engaged in its
systematic collection and analysis, but also transferred the genre of literary fairy tales to the soil of the Tatar. "Shurale" is one such fairy tale, a quote from which the title of the work "In a wonderful forest ..." is borrowed.

The poem "Shurale" was written in 1907. In this fairy tale, a young dzhigit (skilled horseman) from the village of Kirlay goes one evening to the forest for firewood where he meets a forest creature who wants to tickle him to death. But a lumberjack outwitted the shurale and returned home unscathed.
III

And of course, that dense thick forest as we see it nearby
Is a home to wolves and foxes — every beast of pray alive.
Here a bear is sure to meet you, if you hunt him in a brake,
These are common things to hunter — seeing hare, facing elk.
But they say, black forest's homeland for the evil spirit crew:
Devils, werewolves and goblins, shuralehs are frequent, too.
Why not? Endless forest shows miracles, as do the skies —
Many miracles in heaven, never seen and never tried!


IV

That's a nice start to my story — small narration that I tell:
It was summer full-moon evening, when Dzhigit left home, he dwelt,
Making horse-way to the forest — needs some firewood to get.
Stars were twinkling in the sky, horse was mettlesome, indeed —
In a blink the dense drew nearer, and Dzhigit was inside it.
Fascinating silence seized him, when he looked around, amazed.
Dzhigit took to work at once, cutting firewood with ax.
Oh, indeed, Dzhigit was master of his job, and quick at work,
Night was flying by, invisible, as his ax was cutting log.
Taken breath was light and free, and cool air braced Dzhigit,
Ax in hand, — and there was nothing to retard him in his deed.
Suddenly, the tranquil air has been broken by a cry,
And the woodcutter has shuddered, as if bitten by a fly.
Then he stood alert, all ear, to see Something on the path —
Was it spirit or a human, or a werewolf's black mouth?
Who was that disgusting monster, smiling such an awful smile?
Ugly nose of the being touched his chin, as long as knife.
Long thin hair of a beard, knotty all from top to toe,
Deep black eyes without eyelids were sparkling as a coal.
He was somewhat like a human, thin and lean, — if not a horn,
Black horn, finger-size was leaning, middle forehead sticking on.
Neither daylight, nor in night-time could you stand his look — God save!
Though his crooked arms had the fingers, straight and long as are the
nails.


V

So they stared at each other for a long time, and Dzhigit
Bravely asked the ugly being: «Who are you and what's your wish?»
«Don't be scared, you, the human, I am not an outlaw.
Nor as innocent as baby, -1 am used to cheat you all.
When I see the lone person in the forest — tickle guy,
Now I see that you are single, and I dance for joy and cry!
Show me your fingers quickly, let me closer to 'see,
You'll play titi-titi-titi — titillating game with me!»


English translation by Lalja Gilmanova
Illustration by Faizrakhmana Aminova from the publication "Shurale" (Soviet Russia, Moscow, 1975)
1911. Wikimedia Commons
Process
Art form: sculpture
Material: bronze and polyester resin
This project is a surreal composition created based on the works of the Tatar poet Gabdulla Tukay. We wanted to create a sculpture that conveys a feeling of childhood using a beloved fairy tale, interpreting it with soft humor carefully relating it to modernity. The connection of the past and present, history and innovation can be traced in the material covering the sculpture. Along with traditional bronze, Paul used a modern petrochemical product — polyester resin, which is distinguished by brightness, specularity, transparency, as well as great strength. Gold metal and black polymer correspond to the single color concept of the entire public art program "Tales of Golden Apples".

The image of the poet is recreated from photographs and documentary descriptions. Tukay was a short, fragile person and often wore ill-fitting clothes. The use of contrasting materials in sculpture emphasizes the connection between the real and the fabulous, historical and poetic.
Work on the sculpture in Pavel Ignatiev's workshop. 2018.
Polina Yozh
Project lead, curator, founder of the Institute for Research on Street Art
Artist
Pavel Ignatiev
(Saint Petersburg, Russia)
Sculpture
The purpose of the entire work is to show that even the simple and familiar can bring joy. We appeal to many people at once, but we want to touch each one individually. This process requires fine tuning.

The Almetyevsk observer is unique, existing in a bilingual environment where Russian and Tatar languages are familiar and understandable on a subconscious level. Even without being a philologist, a person intuitively feels the meaning of words, plays with them, jokes or tells stories, freely moving between two such different languages. The barely noticeable difference in the meaning of the words in the translation creates a ripple, a slight backlash, which gives the effect of movement to even a frozen image.

The sculptural image becomes ambiguous, and everyone can see what they want. A dialogue may arise — a discussion between the audience. After all, everyone has their own imagination, and, in the end, everyone has their own language. As the poet's own language was not like that of any other. The word "amazing" in the title of the work can mean for us both "extraordinary", and "good", and "excellent", and "amazing". But we understand this magic of language; the solution amuses and grants us the joy of recognition.
The sculptures opening in Almateevsk. May 2018.
Saint Petersburg sculptor and restorer. Graduated from the Repin Institute of Painting, Sculpture and Architecture. Defended a thesis on "Monumental and monumental-decorative sculpture in the architecture of the Art Nouveau era in St. Petersburg".

Pavel Ignatiev restored numerous elements of architectural monuments and houses in St. Petersburg, including the statues and the fence of the Bobrinsky Palace, the figures of ancient heroes on the building of the Admiralty and the central chandeliers of St. Isaac's Cathedral. He restored the sculptures of the Summer Garden and those of the "Abduction of Proserpine" in front of the Mining Institute in Moscow.

Ignatiev also works as a sculptor-muralist. He creates portrait statues, plaques, and sculptures for major events, for example, the 300th anniversary of the Admiralty Shipyards. Among his works are monuments to the architect and engineer Domenico Trezzini on the University Embankment, as well as to Evgenii Schvartz and Shadows, Schvartz's play of the same name. Ignatiev's works can be seen outside of Russia as well.
Address
"In a wonderful forest…"
All objects
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