The book "Ornamentalism in the visual arts and structural composite thinking" (p. 240) is the complement of the book "Light and Image" (page 280). Author - Maximilian A. Presnyakov. Ryazan. Publishing house "Russian word." Black - white and color illustrations. Color reproductions of paintings by Alexei Akindinov in the book "Ornamentalism in the visual arts" - page 114, the same number of black - white reproductions. Section "Applications" (Annex 2) - page 205 - 211. "The story of Alexei Akindinov about his personal discovery ornamentalism ideas." (black - white illustrations) ISBN 978-5-89877-203-1
About the book online Maximilian Presnyakov (text in Russian)>>>
First page of a cover, illustration of a picture of Marina Polyakova "Festive departure", 2006. Canvas, author's equipment.
P. 47. Illustration of a picture of Alexey Akindinov "Spoilt child", 2000. Canvas, oil. The quote from the Internet - versions sociological encyclopedic English – the Russian dictionary.
P. 48. Sketch illustration to Alexey Akindinov's picture – "The Adit of Tigil". 1998, paper, graphitic pencil. The quote from the Internet - versions sociological encyclopedic English – the Russian dictionary. It is especially noted, Maksimilyan that the last three offers from the "ornamentalizm" formulation (in this dictionary), are borrowed from two articles about Alexey Akindinov's creativity, published considerably earlier in articles: The newspaper – "The Moscow Komsomol member in Ryazan", on March 14-21, 2002 No. 11 (217) of p. 11 "Alexey Akindinov's Patterns", Lyubov Suskina, Ryazan, and - the magazine – "The Ryazan Business the magazine", February, 2006 No. 3(18), "Akindinov's figured dreams", the author - Mikhail Kunitsin, p. 106-107. In particular, the phrase quoted, in the dictionary - without the indication of a source - Alexey Akindinov who has said this phrase for Ryazan "Magazine business": "Pictures of an ornamentalizm bewitch and "let know at the same time the whole world".
P. 79. Sketch illustration to Alexey Akindinov's picture – "Is sacred". 2001, paper, graphitic pencil.
                P. 90. Illustration of a picture of Alexey Akindinov – "The android and religion". 2006. Canvas, oil. In Maksimilyan Presnyakov's text it is a question of Elena Kovylina's project "Hidden patterns", carried out in room gallery "Cheryomushki" in Moscow. The Hidden Patterns project took place in 2006, in three months after the group Ornamentalnost exhibition organized by Alexey Akindinov. On the Ornamentalnost project Alexey put forward idea of ten-year anniversary of Ornamentalizm style, this exhibition was shined on “Kultura TV” channel, nowadays "Russia K", in a news plot was spoken about Alexey Akindinov's new style – an ornamentalizm. Links to Kultura TV channel with news about the Ornamentalnost exhibition: the "Z@gruzka” program of November 30, 2006(text in Russian)>>>
The archived version(text in Russian)>>>
                News quote: "10 years to an ornamentalizm – the direction in art which was thought up by artist Alexey Akindinov were executed, to this date at the Ryazan regional drama theater the Ornamentalnost exhibition opened. Alexey with adherents consider that the world is a most difficult ornament which needs to be understood, or at least to draw. It is possible to estimate world ornaments on a site "".
               It should be noted that else for some months, the same All-Russian Culture television channel in the news of May 26, 2006, I reported about existence of a site of the artist – an ornamentalist – Alexey Akindinov, and about the concept of the ornamentalizm which has been put forward by Akindinov: the Z@gruzka” program of May 26, 2006(text in Russian)>>>
The archived version(text in Russian)>>>
              News quote: "The site of artist-ornamentalista Alexey Akindinov which easily interweaves the ornaments into the present was updated. Here site "" epigraph: "The world is penetrated by electromagnetic waves. Waves no other than pattern, ornament. I transfer them to a canvas... " To look at the electricity embodied in paints, it is possible on a site of the artist."
P. 93. Sketch illustration to Alexey Akindinov's picture – "The hunter of month" (below). 2007. Paper, graphitic pencil.
                   P. 95. The text about the first collective exhibition devoted to an ornamentalizm – "A mesh image" (fall of the 2000th year), passing through half a year, after opening of a conceptual personal exhibition of Alexey Akindinov "All a pattern" which took place in February of the 2000th year in "A museum of history of youth movement".
                    News video topic on Alexey Akindinov's exhibition "All a pattern" (February, 2000), (Plot in Russian)>>>
Quote: "… The collective conceptual art exhibition "Mesh Image" which took place in the showroom Gallery Club of Regional Junior Library in 2000 opened a subject of "ornamentalizm" and in particular "neo-ornamentalizma" for the city of Ryazan as the new thematic project uniting works of different authors, having own creative approaches to the central idea. In a year before Alexey Akindinov, the participant of the mentioned project, within the personal exhibition "In total Pattern" put forward the similar concept as the central idea of the art credo. And if the separate works of modern artists showing movement in this direction, still it is possible to find occasionally, conceptual generalizations within the collective statement in the form of exhibition projects can't almost be found. That that in 2003 in the same gallery under a banner of the same concept there took place a collective exhibition easel and generally pictorial works "Ornament music" is more considerable. The collective exhibition projects beating a subject of ornamental easel composition, pass from time to time in Ryazan mainly at an initiative of artist Alexey Akindinov."
              P. 96. Sketch illustration to Alexey Akindinov's picture – "Astrologer". 1998. Paper, graphitic pencil. In the text it is a question of updating of style of Alexey Akindinov – "ornamentalizm" and its exhibition projects devoted to this direction in art. Sources are specified: publications in "paper" mass media (the Novaya Gazeta Newspaper, No. 45 P (1210) 20 - 26 of November 2006, Monday, Vera Novikova's article "Color or the line? ", p. 7, and the Ryazanskiye Vedomosti newspaper, Wednesday, November 22, 2006, p. 3, Vladlen Gordiyenko "Ornamentalnost" in Ryazan), and on the All-Russian television channels.
             The quote from Maksimilyan Presnyakov's text: "Artist Alexey Akindinov, the initiator and the curator of the majority of projects of this sort, thinks of these exhibitions as an important stage of updating of the style called by it "ornamentalizm" which he purposefully develops many years, bringing him out of the rhythmic graphic reflections and structural stylistic searches. In 2006 Alexey Akindinov designated 10-year anniversary of "ornamentalizm" the collective exhibition “OrnaMentalnost” project which got to “Kultura” TV channel announcements. Practically all pictures of this artist executed by oil paints on a canvas as if are weaved from an ornament."
           P. 97. Regarding Maksimilyan Presnyakov's text it is a question of the picturesque principles of work of Alexey Akindinov and in particular of preliminary work on pictures – graphic sketches. Quote: "To each work the detailed reduced sketch a graphitic pencil that made a number of ornamentalistichesky works in the graphics, widely presented on one of Alexey's personal exhibitions becomes. Without receding from figurative structure of composition on a canvas, Alexey Akindinov creates from it as if a carpet, imposing on stylistically rethought images multilayered moire of an ornamental collage. Being conformed with the logic, the artist fills the image with symbols, collecting improvisations of text sounding."
P. 101. Illustration of a picture of Alexey Akindinov "City instants". 2006. Canvas, oil.
P. 109. Illustration of a picture of Alexey Akindinov "Sergey Preobrazhenskogo's Portrait". 2010. Canvas, oil.
P. 114. Color illustrations of pictures of Alexey Akindinov: from above – a picture – "Spoilt child", 2000, a canvas, oil, from below – "The android and religion", 2006, a canvas, oil.
P. 194. Illustration of a picture of Alexey Akindinov "Gerika – Gerlikaerika", 1997г.с. canvas, oil.
                P. 205. Appendix No. 2. "Alexey Akindinov's story about his personal opening of idea of an ornamentalizm. " A sketch illustration to Alexey Akindinov's picture "Snow queen". 2001, paper, graphitic pencil.
               The quote (interview Maksimilyan Presnyakov takes): "- Ornamentalizm in your pictures appeared as improvisation or how judgment of the heritage saved up by art?
            -  I studied in student's group of the Ryazan art school of G.K.Vagner of the 90th. The main tendencies and the thoughts soaring in our group – self-expression of the artist and his otlichitelnost in the fine arts, search of new forms. Everyone on the looked for. Tendencies to an ornamentation in our collective appeared in 1995, when group of young students: Sergey Preobrazhensky, Sergey Surov, Dmitry Kuvayev and I, restored Boris and Gleb's temple in Ryazan. On a debt being before frescos and an iconostasis, at subconscious level we absorbed love to a pattern and addiction to it. But then it didn't take shape in the conceptual direction. Just there were first drawings in the similar direction. About the theory and speech wasn't. In 1996 we have first attempts …"
                    P. 206. Appendix No. 2. "Alexey Akindinov's story about his personal opening of idea of an ornamentalizm. " The quote (interview Maksimilyan Presnyakov takes): Alexey Akindinov: "In 1996 we have first attempts to reveal an ornament in easel painting as the main character. Except me, wrote the pictures in similar "key": Sergey Preobrazhensky and Tatyana Yevstigneyev both of them were my classmates. Tatyana Evstegneeva looking at ours with Sergey experiments in painting, I told me - "I also as well as you came to a conclusion, something that us learned to go from the general to the particular it it isn't right. It is necessary to go from fine details, creating from them a picture of the whole. Only it isn't necessary to look for style, he itself(himself) will appear when time will come. "
                  Tatyana tragicly was lost (it was killed by a poison prick) fall of 1999. In two days prior to her death it dreamed me - I took it on hands and bore in a bathtub to wash, and having washed it, covered a face with its transparent shroud … Her not numerous pictures and graphic works were stored in walls of children's art gallery after her death. The manner of this author reminded image crystallization, its crushing on small components. It looked not busily and organically.
                  Sergey Preobrazhensky initially possessed bright the expressed manner of the letter. It differed locality, an obobshchyonnost of forms and colors, the decision reminded the mosaic poster. (At his many pictures of 1999-2002 there was an ornament). On one of viewings in RHU it told - "I thought up new style, decided to write pictures open, pure colors, directly from tubes". It has on me very strong impact both as the artist and as the instructor. As it constantly without sparing, I spoke to me about my searches in painting.
               - Ornamentalizm not as the direction, but it is rather as special structural filling of easel painting is noted in Russia from 1970th and 1980th by at least two names of artists – Konstantin Kuznetsov and Roman Krivosheyev though terminological justification of their stylistic finds appeared a little later. But, probably, this information wasn't so available earlier, and therefore much had to go in this direction the way. What was starting points in your movement to ornamentalistichesky approach in easel painting?
                - Before I came to use of ornamental structures in painting I imitated Salvador Dalí. Sergey, seeing my pictures of that period I spoke to me - "Alexey, it everything already was, don't repeat, look for further". Similar responses weren't pleasant to me, but they forced me to go further in the searches of the style. In 1996 during restoration of  Skorbyashchensky church (the same structure of students) in my visual perception of the world there were interesting changes … After I recovered, and having got home slept, having opened eyes in the morning, saw in the imagination, the person drinking from a mug. The ornament decorating a mug, gradually flowed on a hand to the character, then on his face."

                     P. 207. Appendix No. 2. "Alexey Akindinov's story about his personal opening of idea of an ornamentalizm. " The quote (interview Maksimilyan Presnyakov takes): Alexey Akindinov: "The ornament decorating a mug, gradually flowed on a hand to the character, then on his face. And in some instants, all visible space it was tightened by whimsical ornamental lace. At this moment I understood – here this that – that I looked for. It was the first intelligent experience which led me to creation of the first pictures with application of an ornamentation and its implantation in the image of other subjects. I wrote some pictures in a similar manner and having shown on viewing, sounded the idea so – "I set for myself a task – to create new style in art. Idea that all reality has to cover a pattern as if accumulating on everything that we see". My statement and my pictures caused in different teachers not unambiguous reaction. Victor Vasilyevich Korsakov told "It is very complex challenge for the student of RHU besides that here it is necessary studies drawing, painting and composition bases, you still want to open the new direction. But it is curious. Dare" Gubanchikov told - "On these pictures it is necessary to put either five, or two. I think are five". Alexey Kozlov told - "Very courageous decision, and already for this courage it is necessary to put the highest mark. It as light at the end of a tunnel. As the phenomenon which we waited long ago, and its everything wasn't. And here it! " Alexander Kovalyov acted at once with council as it is possible to develop the similar decision, having told "Time you have an idea on a covering a pattern of all visible world, it is possible to prepare a relief canvas with a pattern and from above to write a subject picture, but think itself as it will be. Let the artist dig …"
                 There was also one more my adherent those years - the student of parallel course RHU - Andrey Nazarov. In pagan plots, not busily it interwove ornamental motives. Both in painting, and in the schedule it turned out at it very yuvelirno, not for nothing it was trained three years in the village Red (Kostroma). Having seen my pictures with pattern application, he suggested me to create with it a creative tandem - to write joint pictures. And one idea deserves the greatest interest: to write one picture on one subject, only in the beginning one sites of a picture one author will write, and not to mention others. Then the written sites needed to be closed not transparent paper and other artist wrote on этод - a plot the picture (without seeing work of another). And after that paper was removed and there came the moment of the birth of a new picture.
                (Presnyakov Maksimilyan) – it is curious that later when we were in common exposed in Gallery Club, Andrey Nazarov suggested also to me to do collaborations. Having impressed with my author's ornamental development, he began to argue that he can write the work middle, and I can make an ornament on perimeter. As at me was more than enough ideas besides ornamental, I had to refuse this invention".
P. 208. Appendix No. 2. "Alexey Akindinov's story about his personal opening of idea of an ornamentalizm. " The quote (interview Maksimilyan Presnyakov takes):
              - (Maksimilyan Presnyakov) - When ornamentalistichesky ideas, at your look, were presented for the first time in the form of a conceptual exhibition in Ryazan?
              - (Alexey Akindinov) - In 1998 I held the first personal exhibition in the Ryazan art school, having shown a big series of ornamental painting. Demonstration of a subject of an ornament in easel painting was the purpose of an exhibition. At exhibition opening, teacher Natalia Tyukina (sculptor) told - "Now it will be interesting to see from you an embodiment of this idea in other art forms, for example in a sculpture how it will be?"
               At that time, except above-mentioned students I had also other adherents. In the newspaper – "The Ryazan Sheets. ", Wednesday, February 24, 1999 No. 41 (486) - in the article "Dream of the Boy …" about study and glory" author Elena Bannikova were published the short principles of my ornamental vision of the world.
              At the beginning of 2000 in the Museum of history of youth movement there took place my personal exhibition "In total Pattern" which continued an ornamentalizm subject for Ryazan. In the newspaper - "The Ryazan Sheets", Thursday February 24, 2000 No. 35 (774) in article - "Alexey Akindinov's all patterns", p. 4, author Tatyana Bannikova, these principles were stated already in more detail.
              At the end of 2000 in Ryazan there was a conceptual association of artists who in one way or another (it isn't dependent from each other) developed an ornamentalizm subject in painting. It already was the collective exhibition project "Mesh Image" - the exhibition which was taking place in walls of Gallery club of Regional Junior library.
             - (Maksimilyan Presnyakov) – I Remember this exhibition project. His idea took shape at me after several group exhibitions at which very different plastic courses and stylistic development were compared. As this idea, it is possible to tell, I soared in air, probably, already and not all remember, from where it undertook. By comparison of different graphic languages there is almost verbalizirovanny image of semantic moire which is formed, maybe, at the level of a sinesteziya. From these associations, from judgment of some phenomena known to me described in psychology, also there was at me this idea. You, probably, have associations which can transfer a vision to an image ornamental?
            - (Alexey Akindinov) – Many thoughts and abstract ideas are presented to me in an image of an ornament. Even all life situation as a whole, set of my my experiences and impressions at any level is represented to me in the form of an ornament. By the way, and people can be perceived by means of ornamental images. And these ornamental structures not stiffened, they can move, change. These ornaments can change very strongly at someone over time, they can be someone more refined or opposite - simpler. I know also people to whom I have no ornamental association …."  
                    P. 209. Appendix No. 2. "Alexey Akindinov's story about his personal opening of idea of an ornamentalizm. " The quote (interview Maksimilyan Presnyakov takes):
                 - (Maksimilyan Presnyakov) – It is possible to assume that their ornamental beginning or very slowly crystallizes, or changes so quickly that it can't almost be caught and recorded even at mental level.
                 - (Alexey Akindinov) – Probably …
                  (2011. January – February)

                 - (Maksimilyan Presnyakov) – an Ornament used during these or those eras, in these or those cultures is connected by special characteristics with the corresponding outlooks, with outlook. It is mentioned at many art critics. But this analysis is, as a rule, limited to level of signs, symbols and simple associations. The ornament in pictures and in graphic sheets arises, probably, also in that case when the artist tries graphic means to transfer something, besides visible and literally taken, additional measurements of thought, space when the artist isn't satisfied by means of classical painting and classical prospect …
                 - (Alexey Akindinov) - More than a century ago, mathematician Henri Poincare made known mental experiment with the rope which has done a big way through all Universe. I won't describe a detail of this experiment. But I want to note that during the twentieth century some scientists dealing with this issue came to very interesting opening. 
                 - (Maksimilyan Presnyakov) – Nevertheless It is necessary to tell about it a little in more detail.
                 - (Alexey Akindinov) - It is necessary to mention two from them which, in my opinion, are related to an ornamentalizm in science and the fine arts.
                   1) Stephen Smale, mathematician. In 1958 it surprised the scientific world with idea "to turn inside out" the sphere in the three-dimensional space, further called paradox of his name. "What if the Universe was not трёхмерна if in it there were four measurements or five? " - Smale asked such question. The problem of knots on imagined to "Poincare's rope" was essential to mathematicians. In space with a large number of measurements this problem is absent. 
                   It is easy to describe Smale's idea, having looked at an attraction of "the Russian hills". In ours - three-dimensional space of the machine freely move on twisting rails if to look at a shadow from hills – rails form freakish, repeatedly being crossed bends of lines which it is difficult to understand. On the earth plane (where a shadow), in the world of two measurements, rails are crossed and tied in knots, creating something reminding patterns. And if again to look at the three-dimensional image – rails naturally aren't crossed. Having increased number of measurements from the 2nd to the 3rd, it became clear that rails aren't crossed and not tied in knots. Too most for a hypothesis Poincare, Smale solved a problem of knots for the highest dimensions, still not allowed for three measurements."
                     P. 210. Appendix No. 2. "Alexey Akindinov's story about his personal opening of idea of an ornamentalizm. "
                     The quote (interview Maksimilyan Presnyakov takes):
                     - (Alexey Akindinov) "-Too most for a hypothesis Poincare, Smale solved a problem of knots for the highest dimensions, still not allowed for three measurements. Having confirmed Poincare's hypothesis for 5 and more measurements, in 1966 Smale was awarded by a medal Fildsa. 
                    2) William Tyorston, the mathematician by the nickname "Wizard". It entered new methodology. On Poincare's hypothesis if a rope, to throw in the Universe and it which has come back back, it will be possible to involve entirely – the Universe is spheric. And if it doesn't turn out? On what the Universe is similar? On a steering-wheel or something another? Poincare didn't ask this question, and Tyorston was puzzled – "If the Universe isn't spheric what it could have a form? " It pushed him to a new technique. William believed that a problem of topology is to find and classify possible varieties. Tyorston looked for examples round himself, began to develop classification of varieties - topological forms. Orange can be ranked as the sphere as subjects can be allocated with existence and quantity of openings. These searches brought (in ten years from their beginning), essential fruits. In 1982 he made a hypothesis, having suggested that "… what - was a Universe form, it can be made of no more than eight types of basic components". This assumption received the name "Hypothesis of Geometrization of Tyorston". It reminds the principle of a kaleidoscope. In a kaleidoscope we see variety of patterns. But all these difficult patterns are formed by a combination of limited quantity of multi-colored fragments of glass. On Tyorston's hypothesis our Universe is arranged in this way. At all the complexity – it consists of at most eight basic components. "Final objects form an infinite number of combinations and in the same way compact varieties form object which seems made of an infinite number of components" - Tyorston speaks.  
                 - (Maksimilyan Presnyakov) – However, the scheme of a kaleidoscope is too simple for an illustration of these ideas, I even would tell that is too primitive. Pictures of a kaleidoscope can prompt a certain thought, can hint at something, but can't appear sufficient means of expression of thought. It is possible to note with regret that deep ideas in art can be noticed very much not by many even at the level of the world scale as the very few can estimate ideas, hypotheses and proofs of modern mathematicians and physicists. At the same time that is remarkable, modern mathematics and the physics based on systemacity first of all to the European thought, many opening and enlightenments repeat ways of thinkers different others including east civilizations which have begun the cultural construction earlier, in particular, it is possible to remember a civilization Indian. Many courses of thought of the modern science describing processes and the phenomena in the physical and mathematical worlds, it is possible to call the descriptions made by means of other (new) terms, "as if" processes and the phenomena already known …"
                   P. 211. Appendix No. 2. "Alexey Akindinov's story about his personal opening of idea of an ornamentalizm. " The quote (interview Maksimilyan Presnyakov takes):
                - "Many courses of thought of the modern science describing processes and the phenomena in the physical and mathematical worlds, it is possible to call the descriptions made by means of other (new) terms, "as if" processes and the phenomena already known. Multidimensionality and is a lot of dimension of a physical continuum, its "mnogostrukturnost" is described by east philosophers by means of various systems of the terms which often have and mystical background. And east twiddle as if to some extent and these or those forms fixed and fixes, that is shows these achievements by means of visible images and structures. 
                 - (Alexey Akindinov) - Strangely enough, but scientific ideas go "hand in hand" with ideas of the fine arts, confirming and complementing each other.
                 - (Maksimilyan Presnyakov) – However, is interesting accent in systemacity of modern scientific thought on terms and descriptions of that is called as "movement". By means of this image different descriptions of multidimensionality and a strukturnost are under construction …
                  - (Alexey Akindinov) - Having taken for an example Stephen Smale's idea (about a shadow from "the Russian hills") it is possible to assume safely that an ornament applied in the fine arts, and in particular in easel painting, in particular, when the pattern accumulates on the subjects, a represented plot, is a projection (scheme) of the highest measurements.   Pictures or the graphic works comprising ornamental structure or the invoice, bear in themselves reflection more than three measurements and are certain "doors" or "windows" in new space. 
                    Tyorston's hypothesis (about a kaleidoscope) considerably expands understanding of structure of space of the Universe and confirms its ornamental basis.
                    (2012. August-September)".