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Mandzhieva B.B., Batyreva S.G. [Mythopoetic motives of Kalmyk folklore in the painting of G.O. Rokchinsky] World of Science. Series: Sociology, Philology, Cultural Studies, 2024, Vol. 15, No. 4. Available at: https://sfk-mn.ru/PDF/38FLSK424.pdf (in Russian).

Mythopoetic motives of Kalmyk folklore in the painting of G.O. Rokchinsky

Mandzhieva Bayrta Barbaevna
Kalmyk Scientific Center of the Russian Academy of Sciences, Elista, Russia
E-mail: mbbairta@yandex.ru
ORCID: https://orcid.org/0000-0002-5644-3340
RSCI: https://elibrary.ru/author_profile.asp?id=377289
WoS: https://www.webofscience.com/wos/author/rid/J-7400-2016

Batyreva Svetlana Garrievna
Gorodovikov Kalmyk State University, Elista, Russia
E-mail: sargerel@mail.ru
ORCID: https://orcid.org/0000-0003-4268-0705
RSCI: https://elibrary.ru/author_profile.asp?id=182599

Abstract. The article is devoted to the consideration of mythopoetic motives of Kalmyk folklore in the painting of the famous Kalmyk artist G.O. Rokchinsky. The epic theme of his famous works projects images of the country of Bumba, jangarchi, Buddhist temples, jewelry «Morn-Erdn», «Zhangrin zhindmn», measured by the cosmic depth of vision of the world. The mythopoetic content of creativity determines the horizons of mastering the Time and Space of the traditional heritage of ancestors. The relevance of this study is due to the fact that in Mongolian studies there are not enough works devoted to the consideration of the theme of the artist’s perception of the verbal heritage of ancestors. The material of the study is the published4 works of the artist G.O. Rokchinsky, the texts of the Kalmyk heroic epic «Dzhangar» and the fairy-tale tradition of the Kalmyks. The work uses descriptive, comparative-contrastive, comparative-historical methods. Mythopoetic motifs of Kalmyk folklore in the painting of G.O. Rokchinsky showed that the artist’s perception of space and time occurs through the cyclical rhythm of nomadic existence, which is conditioned by the semantics of ethnic self-awareness, figuratively projected by the circle of concepts «family-peoplehomeland». In the composition «Dzhangarchi Eelyan Ovla» in the image of the epic singer the life-giving energy of the spirit of the people is personified. In understanding the heritage, the artist goes through all the phases of the «solar rotation», associated with the milestones of his creative path. In the analysis of the works, we identified the ethnic dominants of the path, indicated in graphic sketches, then embodied in painting («Baatr», «Three heroes», «Friend of the Kalmyk steppes»). The plasticity of small forms was accompanied by the appearance in graphics of expressive images of Dzhangar and heroes in glorious deeds, in the poetic interpretation of female images («Long song», «Horsewoman», «Aga Shavdal»). In the composition «Chindamani Dzhangar», the epic theme embraces generic totemic associations in the images of animals of the Kalmyk folk calendar, organically introduced into the fabric of the work. Transferring mythopoetic works of Kalmyk folklore into painting, the artist reproduces the picture of the world in the language of the poetic tradition of the Kalmyks.

Keywords: artist; mythopoetic motifs; the epic «Dzhangar»; dzhangarchi; tradition; hero; picture of the world

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