Култура

On the occasion of the interview with sculpture Vladimir Ginovsky in v. "Tempo" from 26 August 2004.
For years my profession has been connected with the National Library of St. John. St. Cyril and Methodius". I visit her often. I arrange meetings in the garden in front of the imposing statue of the holy brothers. I never once happened to walk past her with indifference. I always feel a deep thrill and admiration. St. St. Cyril and Methodius venerably faced the entrance of the national book store as its patrons and inspirers. "What greatness and dignity!" I have heard foreigners exclaim. Indeed, is there a stronger symbol of Bulgaria than the cult of the Bulgarian people to its first teachers embodied in exquisite form? We are used to the statue and many do not notice it, but foreigners with their gaze "from the side" faithfully sense its extraordinary power. The work of sculptor Vladimir Ginovsky, erected in 1975, expresses spiritual power and eternity. It stands as a negation of our sense of inferiority, as a confirmation of our nation's spiritual potential. We should be grateful to the artist Ginowski for this suggestion.
The slightly pointed forehead of Constantine the Philosopher is studded with nobility and lofty thoughts, which he silently conveys to us, and the far-reaching gaze of Methodius expresses apostolic dedication and power. The two figures are fraternally bonded by a common sense of duty and dedication to first-teachers - a fatherly anchor in our spiritual quests. Why st. St. Cyril and Methodius are so alive and impactful? I have seen other monuments of the holy brothers, which do not instill thoughts, do not exalt the spirit. I was trying to analyze the means of expression of this work. I've observed individual fragments and lines for a long time, but I didn't get anywhere! Until I saw her author live in 1996...
In the corridor of the People's Library, my gaze rested on a man radiating dignity, mind and kindness. I was impressed because we are surrounded by sullen and worried people, and he was creating a sense of enlightenment and calm. I asked my colleagues who he was. They explained to me that it was the sculptor who sculpted St. Peter's. St. Cyril and Methodius in front of the library entrance.
It is not enough to be a graduate of an art academy and master the technique to create a significant work that excites young and old. You have to be a person with a rich and pure soul. How many cultural accumulations are needed, what artistic nerve to recreate your sense of a person or event - to understand the spirit of history, to feel the unique in each person. The spiritual harmony of the sculptor and his worship of the holy brothers have poured into a classic slender and timeless work. His humble sense of the first-teachers is broadcast and transmitted to everyone. It is their aura. It educates. That is why the holy brothers are so alive and powerful.
Later Ginovski's retrospective exhibition in the gallery of Velingrad revealed a series of portraits: of Levski, Katya Popova, Boris Hristov, Iliya Petrov, Dechko Uzunov, Boyan Penev, Neofit Rilski. I did not know that the magnificent Botev in Vratsa was also his work. It was an exhibition of portraits of diverse personalities, each with its own brilliance, temperamentally captured by Ginowski's hand.
It is a wonderful idea of the municipality of Velingrad to pay tribute to Nikolay Ghiaurov by erecting a bust-monument for him. Who's going to sculpt it? There are hundreds of painters, but few masters of the most difficult genre portraiture.
Vladimir Ginovski, proven with 50 monuments in Bulgaria and abroad, has a studio in Rakitovo. In my opinion, shared by other representatives of the public, our city should take advantage of this happy circumstance and invite him to perform the project for bronze bust of Nikolay Ghiaurov. When a work of art recreates an image of a large personality, there is a risk of subjective distortion or even debasement of the portrait. It all depends on the personality of the re-creationist: on his penetrating eyes and his emotional attitude towards the person portrayed. I am convinced that the portrait of Gyaurov, born from Ginovsky's imagination, will be commensurate with the stellar presence of Nikolai Gyaurov on the opera stage. I hope that Velingrad will provide the chance for a spiritual "meeting" between two great artists one in music, the other in plastic art.
With this bust-monument Velingrad will become even more palatable for us, and for its guests even more attractive and culturally significant.
Ani Popova