Catalog of the International thematic art project "Ornamentalism. Terra incognita. " 2013 Moscow. 48 p. of P. 6-7 - article of Professor of institute of Slavic philology of the Polish academy of Sciences (Warsaw), the art critic and the literary critic – Grazyna Bobilevich "To history the eseninskikh of portraits: Sergey Yesenin in the image of the artist Alexey Akindinov (experience of preliminary interpretation)".

On Modern Eseninovedeniye No. 25 magazine materials; 2013 of P. 11 – a color illustration of a picture of A. Akindinov "Motherhood". The author and the originator – Lyudmila Chekalina (the curator of an exhibition, the Chief researcher of On Kashirka gallery, the art critic, the member of Association of art critics (AIS). State showroom "On Kashirka". The organizer – Department of culture of the city of Moscow.


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The artist - an ornamentalist perceives the world as integrity. It designs it and models from numerous power, power fields bearing information which are plastically fixed as a set being imposed, being weaved and crossing – patterns, waves, lines, symbols and signs. Their fluid, dynamic, various forms are allocated with a certain expressivity and sense.

       As states Yesenin "Keys Mary": "People need to learn to read the signs of the forgotten [...]. They should comprehend that their ancestors did not give us simple swirls izhitsy Fitou and they gave them to us as signs opening book, the book of the soul »(V, 203)," in word and image "opens" a hitherto hidden force Russian mysticism »(V, 208)," the very signs of which was his commoner izbyanuyu liturgy »(V, 194). Similarly thinks Akindinov, who is convinced that "the twenty-first century, people learn to read, and will read the ancient signs and symbols." In the process of perception kontseptosfer artist image organizes rhythm, dividing it into a plurality of time intervals, the sequence of which, in turn, feels like a musical beginning of the composition.

     The rhythm is an alternation of tension and a discharge by means of constantly changing, being combined lines, geometrical figures, anthropomorphous, the zoomorfnykh, floristic patterns. These components and qualitative values of graphics and paints are paced, thanks to application of the principles of repetition and variability of plastic elements.

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       It should be noted that in an Old Russian knizhnost "weaving of words", as well as "a wattled ornament", create feeling of "rhythmic expectation", regularity of repetition of motives which are combined "on symmetry". And they "that are condensed, repeat more poorly in the form of an echo". It not so much stylistic reception, how many certain philosophy of the word and art in general. Terrestrial life, the human word – only an echo of high divine sense".

       Conceptualized Akindinov components iconic text design new artistic integrity, the new visual semantic series and cultural codes. Plastic ornamentalism deterministic abstract, mythological thinking, which authorizes the existence of a causal conditionality, communication and interaction phenomena unreal unity (in the physical sense) and real (in emotion).

       Visible components have a certain implication, for example, philosophical, religious, symbolical, poetic, cultural, biographic. They will be decoded though to solve, read, analyse all visual message difficult. In the mind / imagination recipient figurative semantic field of visual statements (a combination of colors, signs, symbols, meanings, and by the artist, also sounds and olfactory experiences), on a metaphorical and / or verbal level, is transformed into a pattern is associated with structural optic moire.

       In terms of visual depicted ornamentalism Akindinova tends to leitmotiv, narrative, repeatability and orderliness visible plot. Theme depicted reality and associative semantic field ornament / pattern dictate temporal indicators (past, present, future). At the formal level of fine writing ornamentation creates texture and color of the painting inscribed with oil paints on canvas.

       Layering ornamental structures of a certain color to his additional and / or contrasting shades, and ornament / pattern on a real image (maintaining the principle of figurative art, objectivity), creates a common ornamental iconic space. Ornament transparent cover story, figurative, substantive motiviku, visible space fixed by creating a sense of movement and airiness. Without losing recognition, shapes and objects acquire ornamental texture.


     Woven of ornament composition likens canvas carpet / tapestry / wallpaper / diaper. She often unclosed, pattern, placed in all zones created colored base. Multilayer laminated decorative collage on stylistically reinterpreted images. Sometimes in principle depiction amplified as it seems, convention, which leads to the abstract ornament.

     Differentiated by stylistic (ornamentalism, symbolism, postmodernism) and genre varieties (portrait, landscape, still life, genre painting), painting has special Akindinov: concept, philosophy and poetics.

From the article "On the history of portraits Yesenin Sergei. Yesenin image Ryazan artist Alexei Akindinov (preliminary interpretation of the experience)."


Magazine "Modern eseninovedenie." Ryazan. 2013. № 25.

Grazyna Bobilevich.
Professor Institute of Slavic Studies of the Polish Academy of Sciences (Warsaw), art critic, literary critic.