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Middle Asia. Now it’s a national treasure, but on the canvas it’s just an area where people have always flocked to learn something new, or to celebrate an event. On the canvas of the Russian artist Vereshchagin is just a triumph associated with the victory over the enemy. It doesn’t matter which way, it’s important to show how this all happened.
You need to start with the most terrible element of triumph. A line of poles passed through the entire square; at the top of each pole were the heads of the killed enemies. It was like a scalp was removed from the Indians, then they simply chopped off their head either during the battle (the head was a trophy) or already from a prisoner (if nobody took into slavery).
In the center of the square a circle was formed of the faithful and powerful of this world. If the places in the circle were already occupied, then they would drive up to the circle on horses or donkeys and look from this height at what is happening inside the circle. In the same circle, performances began. It could be acrobats, maskaraboses, fakirs or tightrope walkers. Sometimes a wit came out to the center, which in its own words delighted the listeners' ears with a funny saying, or with a simple story about the military prowess of their ancestors.
Vereshchagin conveyed exactly the atmosphere that was at that moment in the square. Despite the heat, there were always a lot of people. But what’s interesting is that the artist was able to comply with the main condition of any Muslim. Faith forbids drawing faces of people. And so as not to offend anyone, the artist did not draw anyone’s face on this canvas, he simply turned his back to the audience, as if unobtrusively inviting him, to look into the circle.
Of course, the artist had sketches and sketches and canvases, where faces were painted exactly the same, but specifically on this canvas - the rule of the Koran was observed perfectly. Maybe it was so conceived, or maybe the painter really knew about the condition.
Painting Plastova Summer