Dmitry Schmar.

"Self-portrait against the background of the painting" Cracking "

Dmitry Alexandrovich Schmarin was born in Moscow in 1967, the father - the Native Moskvich, the mother comes from the Kuban Cossack family. At the end of the Children's Art School and MSHS at the Surikov Institute, in 1985, Dmitry entered the MGAHI. IN AND. Surikova. The theme of the charts of the Cossacks is permeated all his work.

"Fastening"

By order of the Dattle of January 24, 1919, the vigorous destruction of the Cossacks of the Bolsheviks began to coldly exterminate the Cossack estate, starting from the Don Stanits. Without rendering the abuse, the Cossacks rebelled, but the uprising was suppressed with monstrous cruelty. In the early spring of 1919 in the village of Veshinskaya and Kazan, executions were made. Cossacks were knocked out with families, - from men capable of keeping weapons to unfeigned children. Stanic priests were killed with the Cossacks. For the execution of a bloody order as the executioners of the Russian people were called by the detachments of the Chinese and Latvians, the power and criminals were not bent. The terrible moment of the oppression of the Cossacks in the face of the death of Dmitry Schmarin elected the plot for his painting "Razkaching". Decent humility before the Will of God is striking at least than the harsh courage in standing for the truth of people presented on the canvas. Against the background of the ghost gray undead, the Bolshevik executioners, the white shirts of sentenced martyrs shine brightly, the Blue Cossack Skirt, sobbing her husband on her shoulder. In the distance, in a transparent haze, emphasizing the tragic and solemn rest, the dome of the Static Temple will be lightweight, light huts will peacefully dreamed, the Don steppe is widely spread. Everything froze ... in work

"For Russia Holy" The image of the "White Vityazy" image is wounds, - Russian children, adolescents, along with adults of those who have segged into combat rows.

"Prayer before Dear"

"Ice Hike"

"White came"

"Shot White in Crimea"

"Farewell. Autumn"

Dmitry Belyukin

Dmitry Beljukin was born in Moscow in 1962, the son of a famous artist, book illustrator Anatoly Ivanovich Buliukina. Having finished the ISHS. Surikova in 1980, entered Moscow State art Institute them. V. I. Surikova at the Faculty of Painting, the workshop of the portrait (Head - Professor I. S. Glazunov). The artist of large themes is called Dmitry Beljukin art historians. Perhaps it will not be an exaggeration to say - the main topics. After all, in his works, he reflects on the meaning of life and history, trying to look into the future of Russia through her past ... In his 50 years, Dmitry Beljukin was awarded the higher regalia for the Russian artist, the exhibitions are successful, reproductions with paintings are published on book covers, in history textbooks . Moscow opened a permanent gallery of his work. And the main thing - no one will be able to reproach him that for all the years of creativity, he even changed his original credo in any.

Exposure from an interview:

- Your father in the 1990s wrote a series of "Gallery of ancestors", there is in it and portrait of his grandfather, your great-grandfather of Sergei Kuzmich Buliukina from the village of Serebrynoprudsky district Ryazan (now Moscow) region. It seems to me that in this severe old man with subtle features of the face reflected specific traits Your kind ...

- Maybe. The big family was educated by the peasants who would probably be happy to Pyotr Arkadyevich Stolypin ... They discharged agricultural journals, bought equipment. Father often recalled the village childhood. He could easily cut a dull or town. So that in the forest to drink water from the spring, did the burst, which was then left on the nearest tree for others.

And now there is not only our house in the village of Shodlinka, no and the village itself. XX century erased her from the face of the earth ...

Some works of Dmitry Beliukina:

Cossack Sukhoi

"Esaul Kostykin and Biplane"

"Evacuation of Cornilovtsy from Crimea"

"Exodus"

Fragment of the "Exodus" picture

"Shards"

Artist Ivan Vladimirov (1869 - 1947) The author of the famous painting "Lenin and Stalin in Spilling" is also known for its watercolor sketches of the socialist revolution. He did them in 1917 from nature, the fact that he saw with his own eyes.
Here it is shown as revolutionary masses are satisfied with the pogrom in the Winter Palace:

And here - the proletarians rob wine warehouse:

Local pop and landowner before a revolutionary court. Soon they will be executed:

The Bolsheviks are withdrawn from the peasants bread:

February 1917, Arrest of White Guard Generals:

Agitator in the village with a portrait of Trotsky in his hands, like this and folk masses were fascinated:

Pavel Rydenko

Pavel Rygenko (born in 1970) - graduate and teacher Russian Academy Painting, sculptures and architecture. He writes in the style of "classic Russian realism." His teacher Ilya Glazunov says that "Pavel Ryrhenko is a passionate in the work of a talented artist, he has a great future." He himself says about his work: "I suggest people to look at our ambiguous past, full of tragic events in which the great spirit of our people appeared in the entire fullness. It is understood that we are not a gray mass, not the so-called "electorate", and the people with a rich history and self-consciousness. I want to believe that I offer people an alternative to the mass, "Mishful" culture that makes us forget about the main issues of being. "

"Farewell to purses"

Painting Ryzhko is not just talented paintings. These are armor-piercing shells, destroying the indifference to now great History Russia. It is heavy bells, awakening in us the desire to make yourself better. The pictures of Rygenko - the expression of his inner powerful spirit, a hot and blessing aspox, as he himself says, "see Russia strong and free from sin."

"Farewell to the sovereign with troops"

One of the most famous works Pavel Rygenko - Triptych dedicated to tragic fate Emperor Nicholas of the second and his family, in which paintings "Farewell to the sovereign with troops", "imprisonment in the royal village" and "Ipatiev house after the murder royal family" In the "Farewell, the sovereign ..." artist with an amazing psychologist was able to transfer the entire tragity of the moment. Bet in Mogilev. Here, a few days ago, Nikolai Romanov was an autocrat of the All-Russian, the ruler of the Great Empire. And, so, he returned here, taking off the throne, he returned not to the emperor already, but Colonel Romanov, returned to say goodbye to his dear troops. Bent, he goes along their silent row, looking into his eyes to everyone, looking for not that support, not that forgiveness ... And they are in last time Give the honor to your king, who is not destined to see them anymore. A terrible, irreparable already misfortune is moving to Russia. It rolls on it, by definition of Solzhenitsyn, the fatal red wheel ... Moloch is launched, and it is not stopped already. Russia stepped into the abyss, and soon she will swallow her and the sovereign, and the troops loyal to him ... and this atmosphere of the impending, gaining catastrophe transfers the February blizzard depicted in the picture. As if smoke, I was bitten by the heaven with the sky, the wind is jumping trees, the snow flares, raises the flakes of snow and pops them in the face of Russian warriors and the Russian king, the sovereign relieves them ... With her renunciation, the sovereign finally revealed the door of the empire for the February landslide. Spacious. And the winds are blown away soon from the face of the Great Russia ...

"Imprisonment in the royal village"

"Ipatiev house after a queuy"

Approximately the same fatal for the Russian Earth there are a picture of Pavel Ryzhko "Wreath", striking in the deep, inecilible sorrow, penetrating into the most soul and causing a strange, inexplicable longing and bitterness in it ...

In the picture, early spring. Snow barely stated, and because all the earth resembles a swamp. Trees are shrouded in light greenish haze. Behind their branches, gray, rainy sky, dull and sorrowful. It seems that the whole nature cries in this moment, sympathizing with a soldier who came from the front. He survived in the terrible war, got wounded to the house, and there is no one here. No one is waiting for her hero ... And the soldier came to the graveyard, bowed to his native grave, dropped a stormy tear ... He remembered the former peaceful years, remembered how he left from here to protect his native land, as she said, as she was resting on this wetland. Much remembered the soldiers. I thought he say "Hello" dear to himself, but he had to say goodbye again, now forever ... who rests under this gray wooden cross with a wreath of yellow flowers? Does the mother of the soldier? Or wife? We can not know this ... We can only see the endless grief of the hero who came from the war, and mourn together with him ...

Before tears dramatically and touching the plot of the paintings "Umbrella":

"Umbrella"

What else can touch the soul of a killer sinner, yesterday's sailor from Linkar "Gangeut"? Perhaps the absurdity of the situation and the degrading insecurity of the girl, discontinued their umbrella over the killed mom? What should he shoot the girl? But slipped on the wall of the brave sailor and dropped on the snow. He has no strength to raise a rifle, and a mighty hand cooked from the knee. He is confused. Does it come to the awareness of the deed? And what will happen to him then?

And a few more works but already different artists dedicated to this topic.

Oleg Ozhogin "Officer"

Y. Repin "Portrait of Vasily Mikhailovich Maksimova"

V. Miroshnichenko. Peter Nikolaevich Vrangel

R.V. Wenna. Alexander Vasilyevich Kolchak

D. Trofimov. Anton Ivanovich Denikin

Ilya glazunov "The defeat of the temple in Easter Night"

"Konarmy" I. E. Babel is a collection of small-grades, related to the theme of the civil war and a uniform narrator. Stories from this book began to be published in 1923. Different materials, they painted the world new and unexpected. Fate ordered so that, having adopted a revolution with her fascinating passion and leaving her, Babel starts typing his stories and correspondence in the St. Petersburg newspaper "New Life", which I contributes to M. Gorky. But then, perhaps, one of the first, he saw a rift of life in the revolution, a spill of history. Babel was aware of all this as a rift of being. This is a feeling of truth and brought Babel on the road of war. In July 1920, he voluntarily went to the front, in the first equestrian army.

Babel arrived at the front as the correspondent of the newspaper "Red Cavalist" Kirill Vasilyevich Lutov. Moving with parts, he led the diary. Reading him, it is impossible not to notice that Babel is stunned: new impressions came to a sharp contradiction with his life experience. He saw what he could not even think about: troops and Cossacks were served with their equipment, with their horses and cold weapons. Cossacks cut off from the troops were forced to feed themselves and provide themselves with horses at the expense of the local population, which often led to bloody incidents. They gave the way out of their fatigue, anarchism, a hyager, disregard for the dignity of other people. Violence rose into a mobular row.

Babel saw in the soldiers their immaturity, the lack of culture, rudeness, and it was difficult for him to imagine how the ideas of revolution will be in the minds of these people. And, judging by the diary, in the soul of Babel, a painful question was getting up: "Why do I have an impassive melancholy?" And the answer was: "Because far from home, because we destroy, go like a whirlwind, like a lava ... Life will fly out, I'm on a big incessant memorial service." The basis of the stories of "Konarmy" and lay down the record made by the Babel in her diary. V opens a collection by the story of "Transition through Zbruch". The joy of victory from taking Novgorod-Volyn as it is emphasized by the joy of nature itself: "Fields of purple poppy bloom around us, the midday wind plays in the yellow rye, the virgin buckwheat rises on the horizon ..." And then: "Orange sun rolls across the sky like a severe Head, "and" gentle light ", which" lights up in the clouds gorges ", can no longer remove anxiety. Pictures of victory acquire unusual cruelty. And then: "The smell of yesterday's blood killed horses dripped in the evening coolness" - this phrase "Tweak" whole triumphant rushes of the story.

All this prepared and the final of the story: Sleeping a neighbor-Jew brutally slaughtered. In the story "Letter" the fighter of the first equestrian, almost a boy, Vasily Kurdyukov dictates a letter of his mother, in which he tells how his brother Senka "finished" "Papash" White Guard, who, in turn, "Cumshot" of his native Son Fedy. And this is the truth of the Civil War, when fathers and children become sworn enemies and without.

In the story of "Salt" Balmishev Nikita in a letter to the editors describes how he let in a wagon with the confermers traveling to the front, a woman with a child and protected her from violence from his comrades, and when he learned that instead of a child she was lucky, threw her From the car and shot: "... I washed away this shame from the face of Labor Earth and the Republic."

Babel describes heroism, just as spontaneous, but necessary in these conditions. The squadron commander of Trunov, disturbing the charter, the most grated and cruelly straightens with the prisoners of war and immediately, together with a fighter, remains behind the machine gun to distract the enemy aircraft from the surrounding squadron.

At the grave of the "World Hero Pasha Trunova" the commander of Pugachev regiment "shouted about the dead fighters from the first equestrian, about the proud of this phalange, hiding the hammer of history on the anvil of future centuries" ("Squadron Trunov"). Focusing on ordinary participants in the events, Babel speaks very little about the true leaders of the first equestrian, who tamed this spontaneous volunte and turned it into organized strength. However, Babel does not hide his admiration for Savitsky, whose prototype served as the legendary Tymoshenko.

In all the stories of "Konarmy" there is the presence of the author himself, who, together with her heroes, passed a difficult path to comprehend the meaning of this bloody struggle. In the descriptions of the events there is a cruel truth of the mighty bloody stream of life.

For an attempt to truthfully describe the events of the Civil War Babel was accused of "anti-Soviet conspiratorial terrorist activity ..." and in 1939, he was arrested, and in 1940 he was shot.

Ivan Vladimirov is considered to be a Soviet artist. He had government awards, among his work there is a portrait of the "leader." But his legacy is the illustration of the civil war. They are given "ideologically faithful" names, in the cycle is included by how many anti-cycle drawings (by the way, noticeably inferior to the rest - the author painted them clearly), but all other things are such a velocity of Bolshevism, which is even surprising how blind people were "comrades". And the glory is that Vladimirov is a documentary artist - simply displaced that he saw, and the Bolsheviks were in his drawings, which they were - with Gopniks, laughing on people. "This artist must be truthful." In these drawings, Vladimirov was truthful and, thanks to him, we have an exceptional picturesque chronicle of the era.

Russia: Realities of the Revolution and Civil War through the eyes of the artist Ivan Vladimirov (part 1)

Capture of whitevardi spyware

The uprising of the peasants in the estate of Prince Shakhovsky

Framing of peasants by Belocazakas

Capture of the Weangele Tanks of the Red Army under Kakhovka

The flight of the bourgeoisie from Novorossiysk in 1920

Civil War In the image of M. A. Sholokhov

In 1917, the war turned into a bloody confusion. This is no longer a domestic, requiring a sacrificial duty, and a fratricidal war. With the onset of the revolutionary pore, the relationship between classes and estates changes, morals and traditional culture, and with them, and the state are rapidly destroyed. That disintegration that was generated by the moral war, covers all social and spiritual ties, leads society to the state of struggle against everyone, to the loss of people of the Fatherland and Faith.

If you compare the War Facility depicted by the writer before this turn and after it, it becomes a noticeable strengthening of tragity, starting from the moment of the transition of world war in civil. Cossacks, tired of bloodshed, hope for his imminent end, because the authorities "must be finished off, then that the people, and we do not want war."

First world War depicted Sholokhov as a folk disaster

Sholokhov with great mastery describes the horrors of war crumpled people and physically, and morally. Death, suffering will be sympathy and unite the soldiers: people can not get used to war. Sholokhov writes in the second book that the news about overthrow the autocracy did not cause a joyful feeling among the Cossacks, they reacted with her restrained alarm and waiting. Cossacks are tired of the war. They dream of her end. How many of them have already died: not one widow - the Cossack is departed on the dead. Cossacks did not immediately figure out historical events. Returning from the fronts of world war, the Cossacks have not yet known which tragedy of the fratricide war they will have to survive in the near future. The upper-Don uprising appears in the image of Sholokhov as one of the central events of the civil war on Don.

There were a lot of reasons. Red terror, unjustified cruelty of representatives soviet power On Don in the novel is shown with a large artistic force. Sholokhov showed in the novel and the fact that the Upper-Don uprising reflected a people's protest against the destruction of the feasures of the peasant life and the age-old traditions of the Cossacks, the traditions that became the basis of peasant morality and morality, the folded centuries, and inherited from generation to generation. The writer showed the doomance of the uprising. Already during the events, the people understood and felt their fratricidal character. One of the leaders of the uprising, Grigory Melekhov, says: "But I think that we got lost when they went to the uprising."

The epic covers the period of great shocks in Russia. These shocks strongly reflected on the fate of the Don Cossacks described in the novel. Eternal values Determine the life of the Cossacks as it is impossible to be more bright in that difficult historical period, which reflected Sholokhov in the novel. Love for native land, respect for the elder generation, love for a woman, the need for freedom - these are the basic values, without which free Cossack does not think.

Image of civil war as the tragedy of the people

Not only civilian, every war for Sholokhov is disaster. The writer convincingly shows that the cruelty of the Civil War was prepared by four years of the First World War.

The perception of war as a nationwide tragedy contributes to a gloomy symbolism. On the eve of the announcement of the war in Tatar "at night on the bell tower, the owl was roared. Sybaky and terrible hung over the farm cries, and the owl from the bell tower flew on the cemetery, which sounded by calves, moaned over the brown tested graves.

"To be thin to be," the old men, having walked from the cemetery of the crude violas.

"War will surpage."

War of Fire Solochi burst into the Cossack Kuchens Just during harvest when the people value each minute. Tried watery, raising the cloud of dust. The fatal appeared ...

Sholokhov demonstrates how the month of war changes to unrecognizable people, cries their souls, devastates until the bottom, causes the world to look at the world.

Here is a writer describes the situation after one of the battles. In the midst of the forest completely scattered corpses. "Lied Vnakat. Shoulders to shoulder, in various poses, often obscene and terrible. "

The plane flies, resets the bomb. The following crawls from Zhorka Zharkov, "smoked, casting gentle-pink and blue, selected guts."

This is a merciless truth of war. And what blasphemy over morality, reason, the betrayal of humanism became in these conditions the glorification of the feat. The general teacher was needed by the "hero". And he was quickly "invented": Kuzmu Kryuchkova, who killed allegedly more than a dozen Germans. There were even cigarettes to produce with a portrait of the "hero". About him, he wrote the press.

Sholokhov talks about the feat otherwise: "It was like this: people who have faced the death of death, who have not had time to block the hands on the destruction of themselves, in the declaration of their animal horror stumbled, stumbled, they struck blind blows, they missed themselves and horses and fought, scared by shot, I killed a person, morally crushed.

It was called the feat. "

In primitive chips each other people on the front. Russian warriors corpses hang on wire barriers. German artillery to the last soldier destroys the whole shelves. Earth is densely Obagged by human blood. Everywhere, the hills of the graves everywhere. Sholokhov created a sorrowful crying about the dead, irresistible words cursed the war.

But even more terrible in the image of Sholokhov civil war. Because she is a fratricide. People of one culture, one faith, one blood engaged in the scale of each other unheardly by the scale. This "conveyor" of meaningless, terrible murders, shown by Sholokhov, amusing to the depths of the soul.

... The punior of Mitka Korshunov does not spare neither old or small. Mikhail Koshevaya, quenching his need for class hatred, kills Tedal grandfather Grishak. Daria shoots the prisoner. Even Gregory, yielding to the psychosis of the meaningless destruction of people in war, becomes a killer and monster.

In the novel, a lot of stunning imaging scenes. One of them is the recryminate of the subtlets over the forty captive officers. "Forestly caught shots. Officers, encountered, rushed with a swarming. Lieutenant with beautiful female eyes, in a red officer bump, ran crasing his hands behind his head. The bullet forced him highly, as if through the barrier, jump. He fell - and no longer rose. High, brave Esaul fell in two. He was enough for the blade of the checkers, with the cut palms, he was poured on the sleeves; He shouted like a child, - fell on his knees, on his back, rolled his head on the snow; On the face you could have visited the eyes of the eyes and a black mouth drilled with a solid cry. In the face she was stripped by his pins, on a black mouth, and he still shouted thin from horror and pain in his voice. Corresponding to him, the Cossack, in Sintels with a torn hlystik, finished it with a shot. Curly Juncker almost broke through the chain - he was overtaking and some Atamanese killed him in the back of the head. The same Ataman was driving a bullet between the blades by the centurion, which fled in the cooler dropped from the wind. Sottente sat down and until the scraobs are fingers, until he died. Sedistered podeshaul killed on the spot; Parting with life, he knocked his deep hole in the snow and still beat, as a good horse at the tickle, if they did not finish his squeezed Cossacks. " Messengers are extremely expressive these lines, horror performed before performed. With unbearable pain, they read, with peaceful trepidation and carry the most desperate curse of the fratricidal war.

No less terrible pages dedicated to the execution of the subtelkovtsy. People, at the beginning "willingly" those who smash on the execution "as on a rare cheerful spectacle" and stood, "as if for a holiday", faced with the realities of cruel and inhuman execution, are in a hurry to dispay, so by the time of the reprisals above the leaders - the subtype and krivoshlikov - it remains at all few people.

However, the siblings are mistaken, hesitantly considers people as if people were separated from the recognition of his rightness. They could not bear the inhuman, anti-patient their nature of the spectacle of violent death. Only God created a man, and only God can take away his life.

On the pages of the novel, two "truths" are faced: "True" White, Chernetsov and other killed officers, abandoned in the face of the subtelkov: "Cossack traitor! Traitor!" and opposing her "True" subtelkov thinking that he defends the interests of the "labor nation".

Breakdown with their "truths", both sides are merciless and meaningless, in some kind of demonic frenza, each other extermines each other, without noticing that there are less than those for whom they try to approve their ideas. Talking about the war, about the rich life of the most combat tribe among the whole Russian people, Sholokhov, however, nowhere, no one reproach to the War of Praise. No wonder his book, as noted by the famous Sholochman V.Litvinov, was banned from Maoists who considered war best way Social recovery of life on Earth. "Quiet Don" is a passionate denial of any such cannibhol. Love for people is incompatible with love for war. War - always trouble People.

Death in the perception of Sholokhov is something that opposes life, its unconditional principle, especially death is violent. In this sense, the creator of the "quiet dona" is a faithful follower of the best humanistic traditions of both Russian and world literature.

Preparing the extermination of man by a man in war, knowing what the tests are the moral feeling in front-line conditions, Sholokhov, along with the pages of his novel, painted the classical paintings of spiritual resistance, excerpts and humanism, which took place in the war. Humane attitude To neighbor, humanity cannot finally be destroyed. This is evidenced, in particular, many actions of Grigory Melekhova: his contempt for the looting, the protection of Polka Fraz, the salvation of Stepan Astakhov.

The concepts of "War" and "Humanity" are not encrypted by each other, and at the same time, on the background of the bloody crossbar, the moral possibilities of a person are particularly drawn, how beautiful it can be. War is severely examining the moral fortress, unknown for peaceful days.

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46. \u200b\u200bThe image of the revolution and civil war in the Roman M. Bulgakov "White Guard"

The romance effect ends in 1925, and tells the work on revolutionary events in Kiev in the winter of 1918-1919. It tells about a very difficult time when it was impossible to understand everything immediately, to understand everything, to reconcile contradictory feelings and thoughts in themselves. In this novel, they have imprinted not yet cooled, burning memories of Kiev during the civil war.

"White Guard" (1925) is an artistic work showing the white army from the inside. These are warriors performed by valor, honor, loyal to debt protection of Russia. They give life for Russia, her honor - how they understand it. Bulgakov appears by the artist tragic and romantic at the same time. The house of turbines, where there was so much warmth, tenderness, mutual understanding, is comprehended as a symbol of Russia. The heroes of Bulgakov die, defending their Russia.

Social cataclysm exposes characters - someone runs, someone prefers death in battle.

The story is difficult and multifaceted: there is an objective story, fantastic, rigid manner, lyrical essay. The composition is complex: installation of a variety of pieces: the history of the family of turbine, the change of authorities, rampant elements during the civil war, battle scenes, the fate of individual heroes. The annular composition begins and ends with the foreboding of the apocalypse, the symbolism of which is permeated with the whole novel. The bloody events of the war of war are depicted as a terrible court. The "end of the world" came, but the turbines continue to live further - their salvation, this is their home, the hearth, followed by Elena, not in vain, the old life is emphasized, the details (right up to the mother's service).

Through the fate of the turbine B, the drama of the revolution and the Civil War opens the drama. The problem of moral choice in the play: Alexey - either to preserve the faithfulness of the oath, or to save the lives of people, he chooses life: "Take off the straps, throw the rifles and immediately at home!". Human life is the highest value. B. perceived the revolution of 17 years not only as a turning point in the history of P, but also in the fate of the Russian intelligentsia. In the "White Guard" in many ways, the autobiographical intelligent family of turbines is drawn into the events of the Civil War. The name of the novel is a difference - the events of the revolution in it are as much as possible. Waste b from a negative image of a white motion brought on a writer accusations in attempts to justify a white movement. For b, the house of turbines is the embodiment of the P, which is the road to him. G. Aadamovich noted that the author showed his heroes in "misfortunes and lesions." The events of the revolution in the novel "are most thought out." "It was especially noticeable against the background of the Plugged image of the" revolutionary mass "in the works of A.Serafimovich, B. Pilnyak, A. Bel and others," wrote Muromsky.

The main topic is a historical catastrophe. B connects the personal beginning with social historical, puts the fate of a separate person in contact with the destiny of the country. The Pushkinsky principle of the image is a tradition - historical events through the fate of individuals. The death of the city is like a wreck of a whole civilization. The rejection of the methods of violence with the goal of creating the OCC of harmony, the condemnation of the fratricidal war is expressed in the images of a prophetic sleep by Alexey Turbine, in which he is the Wahmist Sweep, who died in 1916 with the squadron of the hussar, and tells about the paradise koshusch, in the cat he turned out to be On the events of the Grees of War. The image of Paradise, the place is assigned a place for everyone, they are "lonely killed" and white and red. It is no coincidence that in the meaning of the dream of Alexey Turbine The Lord says the dead Zilin: "All of you I have, the pool, the same - in the battlefield killed."

The moment of the fracture for the turbine and the rest of the heroes of the novel is the day of the Fourteente of December 1918, the battle with Petlyurovsky troops, which should have become a breakdown of forces to the subsequent battles with the Red Army, and turned around defeat, defeat. This is a turning point and a climax in the novel. There is a guess that all is a chain of mistakes and delusions, that the debt is not in the protection of the collapsed monarchy and the traitor to the hetman and the honor of something else. Tsarist Russia dies, but Russia is alive ...

One of the comic characters of the play, Zhytomyr Cousin Larion, pronounces a sublime monologue: "My duck ship drowned for a long time for the waves of the civil war ... While he did not come to this harbor with cream curtains, to the people I liked so much .. . ". Bulgakov saw an ideal in keeping the "harbor with cream curtains", although the time turned. Bulgakov clearly saw in the Bolsheviks the better alternative compared to the Petliurovskoy free and believed that the intellectuals who survived in the fire of the Civil War, it is necessary, fastening the heart, to reconcile with the Soviet authorities. However, the dignity and inviolability of the inner spiritual world should be preserved,

"White Guard" The whole lies in line with the traditions of Russian classical realistic prose. Society is depicted on the eve of his death. The task of the artist - as much as possible to portray the dramatic reality of the real world. Artists were not needed here.

Roman about historical shock. Bulgakov managed to portray what was premonished by the block, only without romantic pathos. There is no distance between the author and his hero - one of the main features of the work (although the novel is written from 3 persons). Psychologically, it does not exist, because The death of the part of the society to which the author belongs to and he merges with his hero.

The only depolytic romance about the revolution and civil war. In the rest of the works everywhere, the confrontation of the parties was presented, necessarily stood the problem of choice. Sometimes the psychological complexity of choice was demonstrated, sometimes the right to an error. The difficulty was obligatory, the right to error too. Exception - M.B., "Quiet Don".

Bulgakov depicts what is happening as a universal tragedy, without the possibility of choice. The fact of the revolution for the artist is the act of destroying the social environment to which the author and heroes belong. "White Guard" - a novel about the end of life. The destruction of the habitat must necessarily entail the destruction of the meaning of existence. Physically, a person can escape, but it will be another person. The author's attitude to what is happening is open. The last episode is symbolic: a picture, close to the apocalypse - what the city expects. The final scene: night, city, freezing watch, he sees the Red Star - Mars is an apocalyptic picture.

Roman begins by a quiet bell tower, and ends the funeral, the universal thunder of the bells (sic!) which heralds the death of the city.

In the novel, M. Bulgakov "White Guard" (1922-1924) reflects the events of the civil war period 1918-1919. In his hometown of Kiev. These events of Bulgakov considers not from class or political positions, but with purely human. Whoever captures the city is Hetman, Petlurovtsy or Bolsheviks, the blood is inevitably poured, hundreds of people die in torment, and others are even more terrible. Violence gives rise even more violence. This is what the writer worries most.

Central image - house, symbol of native hearth. Having gathered in the house of heroes on the eve of Christmas, the author thinks about the possible fate of both the characters themselves and all of Russia. "The year was great and terrible for Christmas 1918, from the beginning of the second revolution of the second ..." - so begins the novel, which tells about the fate of the turbine family. They live in Kiev, on Alekseevsky descent. Youth - Alexey, Elena, Nikolka - remained without parents. But they have a house that contains not just things, but a system of life, traditions, inclusion in nationwide being. The turbine house was erected on the "Stone of Faith" to Russia, Orthodoxy, the king, culture. And here is the house and revolution became enemies. The revolution entered the conflict with the old house to leave children without faith, without a roof, without a culture and expel.