Draw an episode of a historical battle with children's drawings. Battle of Kulikovo

Communication with famous painting Mikhail Avilov's "Battle of the Kulikovo Field" provides an amazing opportunity to an amusing trip to Ancient Rus' and feel involved in tragic and great events.

Brief description of Avilov's painting "Duel on the Kulikovo Field"

On the bank of the river there is a wide field, part of which is still covered with grass, part of which is burned out or trampled down. Along the blue ribbon of the river on the bank, the Russian army lined up in full combat gear, ready for battle. On the other side of the picture, as an antithesis - just as numerous and ready to rush into battle at any moment - is the Horde army. In the center on foreground Two horse riders came together in a duel: a Russian knight on a black horse and a Tatar-Mongol warrior on a bay horse. They are depicted at the moment when they knock each other off their heated horses with spears. Above the fighting warriors frozen in combat readiness, the sky swirls with clouds: on the Horde side it is bright blue, on the Russian side, as a threat to enemies, it is yellow-gray, restless.

Rus' and the Horde after Genghis Khan and Batu

In the mid-14th century, after the death of Khan Batu, about 25 rulers changed on the Horde throne, and the Horde was torn apart by strife, as a result of which the state split into two parts: western and eastern. The eastern part of the Golden Horde was led by the descendant of Genghis Khan, Khan Tokhtamysh. And in the western part, power was seized by the treacherous military leader Mamai, who seized the throne by cunning and deceit. Having pacified the strife by force for a while, he decided to regain his former power over Russia. The Arab Shah, sent by him to the Nizhny Novgorod principality, inflicted a severe defeat on the united Russian army, which was led by the Moscow prince Dmitry Bobrok of Volyn. This was followed by a battle between Russian and Horde troops on the Vozha River. The Russian army in this battle was commanded by the Moscow prince Dmitry Ivanovich Donskoy. And the Horde army is Mamai himself. This time, luck was with the Russians, and the defeated Mamai harbored the thought of revenge in his soul. The possibility and outcome of such a revenge is in the description of the painting “Duel on the Kulikovo Field” presented in the article.

The Great Controversy

IN brief description The painting “Duel on the Kulikovo Field” presents a composition repeating the formation of troops before the Battle of Kulikovo. On the eve of September 8, 1380, at the confluence of the Nepryadva River and the Don, two huge armies led by Dmitry Ivanovich and Mamai gathered in confrontation.The basis of the Russian army were Muscovites. Under the leadership of the Moscow prince, warriors from almost all Russian principalities united.The peoples of the Volga region and the Caucasus, subordinate to the Horde, as well as the Lithuanian and Ryazan principalities, gathered under the Horde command.

It was this moment that the author depicted on his canvas. On the Kulikovo field, Horde and Russian troops lined up in combat readiness on the left and right. Russian squads are deployed in accordance with historical information near the bank of the Don, which they had just crossed. The soldiers standing in the front rows hold banners with the face of Jesus Christ in their hands as a sign of blessing and God's support.

In order to avoid the inevitable rivers of blood, according to legend, it was decided to determine the outcome of the battle by a duel between two mighty heroes. From the Horde they became Chelubey, and from the Russians - the warrior-monk Peresvet, sent with the army of Dmitry Ivanovich by the founder of the Trinity-Sergius Monastery, Sergius of Radonezh. It is Peresvet and Chelubey who are the main characters of the canvas. Let's return to the description of the painting "Duel on the Kulikovo Field". They occupy the center of the canvas and, according to the iconic hierarchy, seem much larger than other warriors, which does not correspond to the possible distance between the fighters and their army.

The truth about Peresvet and the image of the Russian hero

Peresvet is a figure that is both real and legendary. Many people consider Peresvet a hero folk epics, a fictional character, collectively ancient Russian hero. Actually sung in folk art the warrior was quite a real person. Little is known about his fate. He came from a noble boyar family of the Bryansk principality. Alexander Peresvet’s adolescence and youth were spent in labors and prayers, as well as in military training, so that he could stand up for the defense of the Fatherland at any moment. Further, his fate was connected with the defense native land- He devoted a lot of energy to military work, serving in the princely army.

Later, together with his probably cousin Andrei, nicknamed Oslyabya, also from a Bryansk boyar family, he became a monk. According to legend, he was tonsured at the Rostov Boris and Gleb Monastery. Then they moved to the Trinity-Sergius Monastery near Moscow, but how exactly they got there is unknown.

By 1380, these were already middle-aged monks, known to many as brave and invincible knights, mighty Russian heroes. Before leaving for battle, blessed by Sergius of Radonezh, Peresvet performed a prayer in the chapel of St. Dmitry of Thessalonica - patron of the Russian army.

According to surviving descriptions from the Nikon Chronicle, during the duel Alexander Peresvet was dressed in a monastic robe given to him by Sergius of Radonezh. The robe was covered on all sides with images of the cross. The hero was wearing a helmet on his head, and on top of it was a kukol (a headdress of monks covering the head, neck and even shoulders). The only weapon Peresvet had was a spear. Whether he had a horse is not mentioned anywhere.

According to various sources, the outcome of the fight was the serious injury or death of the monk. However, along with all the fallen, he was not buried on the field - he was transported and buried in the Church of the Nativity of the Virgin Mary in the Simonovsky Monastery.

As for the artistic image of Peresvet created by Avilov, ideologically the hero is an example of courage and courage, an ideal guide for instilling in those contemplating the canvas pride in their Motherland and its defenders, patriotism and interest in history. But for those who are not only interested, but also compare the facts, it will become obvious that Peresvet Avilova is still quite young. His clothes are more like those of a warrior: a cone helmet, chain mail, and a shield. There is no talk of any monastic vestments with crosses or dolls. So, despite all the plausibility of the image of Alexander Peresvet, the historical truth in the film is clearly violated.

The riddle of Chelubey and the artistic image of a warrior

As for the image of Chelubey, or, as history also knows him, Timir-Murza or Tavrul, Mamai’s favorite warrior, the chronicles have preserved mention of him as a formidable and invincible warrior. In addition, he was considered immortal. Chelubey fought three hundred fights and emerged victorious in all of them. Such luck seems mythological. However, the mystery of the vitality and invincibility of the Horde warrior could now be explained.

Chelubey was a Tibetan monk who mastered the practice of Bon-po combat magic. The art of this fight lies in the mastery of magic spells to summon demon spirits and the ability to use them during battle, calling them to one’s aid. At the same time, the initiated “immortal” actually sells his soul dark forces, and no one can defeat him. However, such a person voluntarily condemns his soul after death to remain in the kingdom of demons. Only a warrior endowed with power from God can defeat a “possessed” one. That is exactly what the Russian knight-monk Peresvet was.

The image of Chelubey in Avilov’s film is very believable, but is clearly inferior in power to the Russian hero. If you carefully examine the equipment of a Horde warrior and compare it with known facts, it turns out that the Horde usually dressed in a quilted, lined caftan. Underneath he wore a armor reaching to the knees with iron shoulder pads and gloves. And under the armor - a leather jacket with iron hoops fastened from elbow to wrist on narrow sleeves. They put soft leather boots on their feet, upholstered with metal plates, one of which, apparently the heel plate, had a sharp spike. On the head is a round helmet with a nosepiece and a chain mail mesh that covers the shoulders and neck. The crown of the helmet was decorated with two tufts of hair. Weapons usually used were curved sabers, bows, spears, and daggers.

In Avilov’s painting, Chelubey ignores tradition: he is dressed in an ordinary robe made of thin fabric, too richly decorated for a monk. What is worn under the robe is not visible. On his feet are pants and boots that reach mid-calf, with a metal “patch” visible on the back. Neither the plating of iron plates nor the tenon on the “patch” are visible. Chelubey’s head is covered with an expensive hat with a fur trim, not at all similar to a helmet. She doesn't even have two tufts of hair on top of her head. In addition, the character has a shield for protection. While maintaining obvious plausibility, this image in the canvas is historically unreliable. Even if we take Chelubey’s “immortality” into account, it is unlikely that a warrior, understanding the importance and complexity of the moment, will take such risks.

The duel between Good and Evil

The painting “The Duel of Peresvet with Chelubey” was painted by Avilov during the difficult years for the country - the Great Patriotic War.

The author's idea, which had been incubating for about 25 years, was realized in just six months. Did the author want to legendary images whether it allegorically reflects the events of its time or not is unknown, but it happened so. If we consider the picture from the point of view of the eternal struggle in the world of Good and Evil in the image of Peresvet and Chelubey, then why not imagine Good Soviet Union and his army, which came to the death in battle with fascist Germany, Hitler’s army - the personification of Evil.

So Avilov’s painting “The Duel on the Kulikovo Field” will always be relevant and can be considered from the point of view of embodying the idea of ​​​​unity of the Russian people against enemies, and the image of Peresvet - as a guideline for imitation in love for the Motherland, readiness to give one’s life for one’s native land.

Speech of the Russian army from Moscow against Mamai From decorations for the “Life of Sergius of Radonezh”.

People perceive and evaluate each event in history in their own way - in accordance with the ideas about the world, life, and truth that have developed over centuries. In art, this is reflected in the special selection of images, their lighting, and interpretation. Of great interest are the picturesque miniatures that decorate the lists of “Tales of Mamaev's massacre" and "The Life of Sergius of Radonezh" (many pages of this work date back to the time of the battle). How did ancient artists depict the battle and its main participant - the Russian people? What features of the people's worldview are reflected in their work?

Kostroma residents Fedor Sabur and Grigory Kholopishchev find Dmitry Donskoy near a birch tree

Carefully examining the decorations, we are struck first of all by the special purity and sonority of the colors, the elation and spirituality of the images. This, of course, is not accidental: before us are works that tell about a time of extraordinary spiritual upsurge of the people. And the jubilant feeling of the unity of the Russian land, the belief in the final victory over the enemy permeate the monuments of writing and art of the late XIV - early XV centuries, are preserved in the works of the XVI - XVII centuries dedicated to the battle.
But joy and faith did not appear immediately. Not only the economic, but also the moral and psychological consequences of the yoke were extremely severe. Continuous raids destroyed the established way of life and instilled in people uncertainty about the future. Horde ambassadors and Baskaks, merchants and moneylenders, who came to Rus' with strong military detachments, instilled servility and servility, deception and greed, insensitivity to insults and shame.
Terrible years! Needed great effort the best part of the people, in order to bring, in the words of the remarkable domestic historian V.O. Klyuchevsky, the population of Rus' “from the despondency and numbness into which external misfortunes plunged it.” This was greatly hindered by the belief that spread immediately after Batu’s invasion that the troubles that befell our ancestors were sent down from above for their sins. After all, according to medieval views, the right always wins, and the enemies won the victory over and over again. Should we really give up?

Blessing of Dmitry Donskoy and the entire Russian army. From decorations to the legend of the Massacre of Mamayev

No, the people did not resign themselves to the hated yoke. At the end of the 13th - beginning of the 14th centuries, uprisings, as a rule, were spontaneous. But even then they achieved great power and acquired the significance of a national cause. Thus, as a result of a series of uprisings in 1262, the Horde were forced to remove their tax farmers and governors from all Russian cities, who committed outrages during the collection of tribute.
Actions against the enslavers became more organized when Moscow stood at the head of the Russian lands. The grandson of Ivan Kalita was especially active Grand Duke Dmitry Ivanovich, who ruled from 1359 to 1389. He played an outstanding role in the fight against foreign yoke and the creation of a single centralized state. Dmitry managed to rally a union of Russian principalities around Moscow, capable of entering into open battle with the Horde. His military art was offensive in nature - Russian army More than once during his time he crossed the Oka River and advanced far into the steppe to meet the enemy. According to the chronicler, “the Grand Duke with his courage kept guard over the Russian land.” His activities were supported by the majority of the princes, and the whole people warmly sympathized with the great cause. “And the Russian land boiled with glory during the reign” of Dmitry Ivanovich, nicknamed Donskoy for the Kulikovo victory.
The unity of the native land, the cohesion of the Russian people are vividly embodied in book painting. One of the miniatures tells the story of Mamai’s performance and the news of it received in Moscow. The messenger speaks excitedly, Dmitry and everyone in the chambers listen excitedly. Muscovites who filled the square are heatedly discussing the news. Everyone understands that the hour of battle with the enemy is approaching.

Review of Russian regiments on the Maiden Field in Kolomna

The Grand Duke goes to the monastery of Elder Sergius of Radonezh. Sergius was a consistent fighter against princely strife and for liberation from the foreign yoke. Another important role was also played: in the most remote corners of Rus', he and his students founded monasteries, spreading the political influence of Moscow, creating new centers of culture. It is no coincidence that many left Sergius’s circle wonderful people, among which great painter Ancient Rus' Andrey Rublev.
According to the “Legend...” the abbot supports the Grand Duke in his belief that truth is on the side of the Russians. He says: “You will defeat your enemies!” - and blesses him and the entire army to fight Mamai. And so that everyone knows about his approval, he sends two monks with the army - Peresvet and Oslyabya.
Dmitry Donskoy calls the people to battle. Princely squads and militia detachments began to flock to Moscow from all over. Meek tillers and fearless trappers hurried from remote villages and dense forests. Craftsmen came from the cities. Even recent robbers, like Thomas Kopybey, who is mentioned in the “Tale ...”, were going to fight for the Russian land.
All the people, Moscow and newcomers, came out to see off the army. Few of the warriors will return home and see their children and wives again. That is why the picture of a national farewell is so pure and quiet. According to Russian custom, the final (last) kiss is given to Dmitry and all the soldiers by their wives. Then, sitting at the window of the golden-domed mansion, they gaze at the departing shelves for a long time...

Rumor about Mamaia from decorations for the life of Sergius of Radonezh

The artist likened the scene of the army’s performance from Moscow to a jubilant song. Endless rows of regiments; a forest of raised spears, a sea of ​​pointed helmets; the proud tread of horses, the tongues of banners flapping in the wind; golden armor, green and red warlord cloaks; the enlightened faces of the warriors... The decisive moment was approaching. The inspiration that gripped the people was enormous, and the upcoming battle was seen in the form of a feast: “The princes walked along the great, wide road, and behind them the Russian sons hurriedly set out, as if at a feast to drink cups of honey and eat grapes, wanting to gain honor and glory for themselves. name."
The further the army went to the south, the more it resembled a mighty stream. At the crossing point across the Oka, the Moscow army on foot, led by governor Timofey Vasilyevich, and the troops of Vladimir Serpukhovsky, Dmitry Ivanovich’s cousin, arrived. The military forces of Dmitry Polotsky and Andrei Bryansky joined the town of Berezuy. Even near the Kulikov field itself, new detachments continued to approach. And it seemed to people that the mighty forces of the people had awakened. Therefore, Dmitry Donskoy, Peresvet and the entire Russian army are depicted in the image of heroes in manuscripts.
Old Russian heroes, or brave ones, have always enjoyed the special love of the people. In the 10th - 13th centuries, their outposts reliably protected the borders of the Russian state from the raids of steppe nomads. In small numbers, and sometimes alone, these brave men fought off raids by fairly large enemy detachments. Under the year 1148, chronicles report the feat of the brave Demyan Kudenevich. Without military armor, he alone went out to meet the Polovtsian detachment of 300 people and repelled it from Pereyaslav the Russian (now Khmelnitsky) on the Dnieper.

Russian wives give the final kiss. From the decorations for “The Tale of the Massacre of Mamaev.”

For their selflessness and courage, the heroes were called “ God's people" This is what they called then those with whom there was truth and who fought for truth and in truth. Emphasizing this, people often force the heroes of epics - defenders of the Russian land, at the moment of the decisive battle with the enemy, to dress up in the clothes of simple Kalik wanderers. Tugarin Zmeevich and the filthy Idolishche can’t believe their eyes: are these people, who look much weaker than them, really famous Russian warriors? However, it is not a matter of external brilliance and strength. The enemies faced real heroes who quickly won.
In the Battle of Kulikovo, truth was on the side of Rus'. Dmitry Donskoy and his entire army were confident in her. That is why in most lists of the “Tales...” the former Bryansk brave Alexander Peresvet goes to single combat with the Horde hero Chelubey without armor, in the clothes of a simple Kaliki monk. Very often, in addition, the Russian warrior was portrayed much smaller than Chelubey. Inspired by the consciousness of his rightness, Peresvet defeats a powerful enemy, but at the same time dies himself.
Popular views were reflected even more fully in jewelry dedicated to Dmitry Donskoy (he is depicted everywhere with a beard). Before the start of the battle, the prince dresses up in the clothes of a simple warrior and stands in the leading regiment, which took the first crushing blow of the enemy cavalry: “And, taking his spear and his iron club, he rode out of the regiment to be the first to start.”

Like the heroes of epics, Dmitry Donskoy performs miracles of courage. In one picture he is shown with a mace - at the initial moment of the battle he was seen “beating tightly with his iron club.” On others the prince is depicted with a spear. Probably, in the heat of the first battle, the horse under him was killed and he moved to the second. Later, Dmitry Ivanovich fights four enemies at once, “very attacking him.” Perhaps in this battle he lost his second horse. But he did not lose heart. Just like the ancient Russian heroes, he continues the battle on foot: “He fought, standing in front of everyone, and there were many killed to the right and left of him, and the enemies surrounded him around him like hollow water.” Just before the ambush regiment entered the battle, someone saw the prince wandering with difficulty across the battlefield, “wounded by velma.”
The battle ended in victory for the Russians, but those gathered under the princely banner were sad: Dmitry Ivanovich, the leader and commander, was not among them. And no one knew what became of him. They searched for him for a long time among the living and the fallen. Finally, two Kostroma residents, Fyodor Sabur and Grigory Kholopishchev, found the prince near the felled birch tree. Someone, mistaking him for dead, covered him with birch branches: according to ancient Russian custom, the dead were necessarily covered with birch branches or leaves. But Dmitry Donskoy was alive, although he was in a deep faint.

Russian wives look after the departing regiments From the decorations for “The Tale of the Massacre of Mamaev.”

The birch tree under which Dmitry Donskoy was found is a deeply folk image, widespread in songs. Thus, the writers of “The Tale ...” and the painters who decorated it seemed to emphasize the closeness of the great commander to his native people, the commonality of his views and popular views.
We see that ancient Russian book art testifies to the unity of the people, which made it possible to defeat a stronger and more numerous enemy. A century later, this victory and this unity led to the final liberation from the rule of the Golden Horde.

Mamai, embittered by the defeat, organized a raid on the Ryazan principality and again ruined it. The Horde ruler began to prepare a new big campaign, dreaming of repeating the invasion of Batu ( “as it was under Batu”). He sought to restore the power of the Horde over Russia, resume the flow of tribute, and undermine the growing power of Moscow.

Mamai gathered warriors from all over the Horde and hired heavily armed infantrymen from the Italian colonies that then existed in Crimea. With his army, he moved to Rus' and stopped in August 1380 at its borders in the upper reaches of the Don, waiting for the regiments of his ally, the Grand Duke of Lithuania Yagaila Olgerdovich.

Rus' was also preparing. In addition to the Moscow squads, in the army of Dmitry Ivanovich there were regiments from many lands of North-Eastern Rus'; detachments came from Western Russian lands led by the Jogaila brothers. The prince led his army to Kolomna, from there to Lopasna, on the left bank of the Oka, then south of it, to the Don, at the confluence of the Nepryadva River. In the Russian army there were not only “Russian princes”, “voivodes”, boyars, warriors, but "all people", "people", i.e. peasants, townspeople.

The Russians crossed the Don on the night of September 8, 1380. Here, at the mouth of the Nepryadva, on the vast Kulikovo field, hilly, crossed by ravines and river valleys, a bloody battle began in the morning. In the center of the Russian troops there was a large regiment, on the flanks there were regiments of the right and left arm, in front there was an advanced regiment, behind there was a reserve; on the eastern outskirts, in the green oak grove beyond the Smolka River, there is an ambush regiment. Mamai placed infantry in the center and cavalry on the flanks.

According to legend, the signal for the battle was the duel between Peresvet and Chelubey, Russian and Horde heroes who died in the battle. The Horde forces dealt a terrible blow to the advanced regiment, completely destroyed it, but they themselves lost many soldiers. Then the Horde attacked a large regiment and broke through to the banner of the Grand Duke. Bryansk, Vladimir and Suzdal squads came to the rescue. The large regiment held out. “And there was a strong battle, and an evil slaughter, and blood flowed like water, and countless numbers of dead fell from both sides, from the Tatar and Russian. They not only killed with weapons, but also died under horses’ feet; they suffocated from the great cramped conditions, because such a multitude of converging forces could not fit on the Kulikovo field, between the Don and Mecha.”

Artist I. Glazunov. Battle of Peresvet with Chelubey.

The Horde failed to break the Russian right flank. Mamai carried the attack to their left flank. The mounted Horde regiments flew here like a tornado, and the Russians began to slowly retreat. The enemy rushed forward, threw back the reserve regiment, and began to bypass the large regiment.

The critical moment of the battle came, and then, unexpectedly for the Horde, an ambush regiment led by Prince Vladimir Andreevich and Dmitry Mikhailovich Bobrok entered the battle. At Beaver's call: “The hour has come and the time is drawing near!” Be brave, brothers and friends!”— fresh Russian cavalry, rushing out of the oak grove like a whirlwind, attacked the enemy in the flank and rear. It was so swift and terrible that the Horde, crushed and defeated, was seized by panic. Their cavalry rushed to run, crushing their own infantry, rushing to the Red Hill, where Mamai’s headquarters was located.

Scheme of the Battle of Kulikovo.

Artist Shmarinov. Battle of Kulikovo.

A general flight began. Mamai’s army ceased to exist, and he himself fled to Crimea and died there.

Dmitry Ivanovich's victory over the Golden Horde breathed new strength and hope into the hearts of the Russian people and captured the imagination of his contemporaries and descendants. “Across the Russian land,” exults the author of “Zadonshchina,” a 14th-century story. about the Battle of Kulikovo, joy and courage spread, and Russian glory ascended..." Moscow showed itself to be the political leader of Rus', its prince, nicknamed Donskoy, - leader national importance. The Russian people, inspired by a great goal, struck enormous power those who wanted to repeat the “Batu pogrom”.

True, two years later Tokhtamysh, the new khan, unexpectedly came to Rus', weakened by losses on the Kulikovo field. He approached Moscow, captured and burned the city by deception. Rus' was forced to resume paying tribute to the Horde. However, this could not negate all the results Battle of Kulikovo. The unification of Russian lands continued.

Dmitry Ivanovich did a lot for Rus'. From boyhood until the end of his days, he was constantly on campaigns, worries, and troubles. He had to fight the Horde, Lithuania, and Russian rivals. The prince also settled church affairs - he tried, although unsuccessfully, to make his protege priest Mityai (Mikhail) metropolitan.

A life full of worries and worries did not last long for the prince; he lived for less than four decades. But, ending his short earthly journey, he left behind a much stronger Rus' and covenants for the future. Dying, he transferred, without asking the consent of Khan Tokhtamysh, to his son Vasily (1389-1425) the great reign of Vladimir as his patrimony and expressed the hope that "God will change the Horde", i.e., will free Rus' from the yoke.

Chronicle story about the massacre on the Don

...The Grand Duke came to the Don River two days before the Nativity of the Holy Mother of God... They came to the Don, stood here and thought a lot. Some said: “Go, prince, beyond the Don,” and others said: “Don’t go, because our enemies have multiplied, not only the Tatars, but also Lithuania and Ryazan people”... (Dmitry) told his brother to all the princes and governors great: “The time has come, brothers, for our battle...” And he ordered bridges to be paved and fords to be inquired that night. The next day, early on Saturday, September 8, on the very holiday, at sunrise there was great darkness throughout the whole earth, haze, there was no light from the morning until the third hour... The great prince prepared his great regiments, and all his the Russian princes prepared their regiments, and his great commanders dressed in festive clothes, and mortal accidents were destroyed... When the prince crossed the Don into an open field, into the Mamaev land, at the mouth of the Nepryadva, the Lord God alone led him...

And it was at six o’clock in the afternoon, the filthy ones began to appear... And then the Tatar regiments prepared against the Christians, and the regiments met; and, seeing the great forces, they went, and the earth hummed, the mountains and hills shook from the multitude of countless warriors... When they fought from the sixth hour to the ninth, the blood of both - Russian sons and filthy ones - spilled out like a rain cloud... And Mamai , trembling in fear and groaning heavily, said: “Great is the Christian God and great is his power...” And he himself took flight and quickly ran back to the horde... And they drove them to the Swords River...

The Battle of Kulikovo became a visible embodiment of the ideas of patriotism. The events leading up to the battle and the battle itself remained in the field of attention for centuries creative people. Historians, writers, sculptors and painters never tire of turning to the battle theme. Daria Roshchenya’s selection includes ten paintings reflecting the famous battle.

September 21 is the Day of Military Glory of Russia - the Day of the victory of Russian regiments led by Grand Duke Dmitry Donskoy over the Mongol-Tatar troops in the Battle of Kulikovo in 1380. Historians are unanimous in their opinion when they talk about the Battle of Kulikovo: on that windy autumn day along the banks of the Nepryadva River, the future of the Russian land was decided. Grief and patience, the thirst for liberation from the yoke, strength, will and faith came together at one point. In one place they coincided in their aspirations greatest people of their time: active, wise, far-sighted, strong-willed monks and warriors. Reverend Sergius, Abbot of Radonezh, and Grand Duke Dmitry Ivanovich, nicknamed Donskoy after the battle, their predecessors, Metropolitans of Moscow and All Rus' Peter and Alexy, who raised Prince Dmitry, as well as hundreds of thousands of nameless Russian soldiers - these are the winners.

The military feat also became a spiritual feat, a sacred feat. As a catalyst, he launched powerful processes that contributed to the unification of disparate lands into a single state. No, the Battle of Kulikovo was not the final victory over the Tatar-Mongols. The yoke was thrown off only a hundred years later. However, it was the Battle of Kulikovo that dispelled the myth of the invincibility of the Golden Horde, gave hope and gave birth to heroes.

XVI-XVII centuries: hagiographic icon

The Battle of Kulikovo has remained in the field of attention of artists for many centuries. And if in the XVI-XVII centuries we're talking about about rare and canonical images within the framework of chronicle lists and hagiographic stamps on icons, then three centuries later, with the development of interest in history and historical picture, – the plot of the Battle of Kulikovo becomes one of the central themes of the historical genre.

The historical genre in painting has always been ideological. But this has never stopped artists from making their work a conceptual statement and a personal experience.

In 1959, restorers uncovered one of the icons of the Yaroslavl school. Under the dark layer of drying oil and the upper notes, a so-called allotment (that is, an addition to the icon) with a plot about the “Mamaev’s Massacre” was discovered. Apparently, the allotment was made in the eighties of the 17th century.

In the center of the composition is the legendary duel between Peresvet and Chelubey, on the right is the army of Dmitry Donskoy, ready for battle, on the left is Mamai’s camp. The lowest part of the composition depicts the meeting of the victors and the burial of soldiers who died for their friends. The icon is in the collection of the Yaroslavl Art Museum.

First half of the 19th century: “To raise famous ancestors from the grave”

The development of art, the vector of its movement directly depends on the environment and society, time and its fashion. Military turmoil early XIX century, Napoleon's victorious march across Europe, the War of 1812 - these events in one way or another affected almost all spheres of Russian life and determined a surge of interest not only in the present, but also in the heroic past of the country.

Karamzin’s “History of the Russian State,” published in 1918, literally blew up public opinion and became the subject of heated salon discussions for a long time. Karamzin also penned the article “On incidents and characters in Russian history that can be the subject of fiction.” With this article, the historian set the bar and identified a topical topic in art:

“The idea of ​​giving artists objects from Russian history is worthy of your patriotism and is The best way to revive for us its great characters and cases, especially while we still do not have eloquent historians who could raise our famous ancestors from the grave and reveal their shadows in a radiant crown of glory... We must accustom Russians to respect their own; must show that it can be the subject of the artist’s inspiration and the powerful effects of art on the heart. Not only the historian and poet, but also the painter and sculptor are organs of patriotism...

We have come closer in our historical memories to the disastrous times of Russia; and if the painter puts down his brush, then the sculptor will take up his chisel in order to preserve the memory of Russian heroism in misfortunes, which most of all reveal strength in the character of people and nations. The shadows of our ancestors, who wanted to die rather than accept chains from the Mongol barbarians, await monuments of our gratitude in a place stained with their blood. Can art and marble find a better use?”

But long before Karamzin’s article, the professors of the Academy of Arts offered graduates the topic “Dmitry Donskoy on the Kulikovo Field” as an examination test, and the program clearly stipulated how the prince should be depicted: “ Imagine the Grand Duke Dmitry Donskoy, when, following the victory over Mamai, the remaining Russian Princes and other warriors find him in the grove at his last breath, blood was still flowing from his wounds: but the joyful news of the complete defeat of the Tatars revives the dying Grand Duke».

One such academic work is the painting Orest Kiprensky, written by him in 1805 and entitled “Dmitry Donskoy on the Kulikovo Field.” The work of Vasily Sazonov, created twenty years later, in 1824, has the same name.

Orest Kiprensky. Dmitry Donskoy on the Kulikovo Field

Best works Italian and Flemish schools of painting were guidelines for the young Orest Kiprensky, who took up the development of the plot final exam at the Academy of Arts. This is probably why in his painting the heroic defender of the fatherland, Prince Dmitry Donskoy, least of all resembles the Russian prince as we are accustomed to imagining him. The lack of national flavor did not bother the author at all, nor did it surprise the examiners.

« The Grand Duke's head is full of expression. And the joy of the victory, he is animated, coupled with gratitude to the Almighty, is vividly depicted in his languid gaze directed to heaven. This work is the first experience of this work young artist, giving great hope about himself“, said the review of the work of the future first Russian portrait painter. On September 1, 1805, Kiprensky was awarded a large gold medal for the painting. Now the work is in the collection of the Russian Museum (St. Petersburg).

Vasily Sazonov. "Dmitry Donskoy on the Kulikovo Field"

Serf of Count Nikolai Rumyantsev Vasily Sazonov was assigned by his patron in 1804 to study at the Academy of Arts. The young painter's successes in the field of drawing were so outstanding that the count gave the serf his freedom. A brilliant graduate of the Academy, Sazonov, with the support of the count, continued his studies in Italy, where he made copies of works by Caravaggio and Titian.

Returning to Russia, the artist turned to the educational topic of the Academy of Arts and painted the painting “Dmitry Donskoy on the Kulikovo Field.” Sazonov depicted the wounded prince surrounded by soldiers. In front of him are kneeling Cossacks and a man in armor and a royal robe. Apparently, this is the boyar Mikhail Brenok, with whom the prince exchanged clothes and horses at the very beginning of the battle. For this painting, as well as copies made in Italy, Sazonov was awarded the title of academician in 1830. The painting is in the collection of the State Russian Museum in St. Petersburg.

Second half of the 19th century: unattainable historical authenticity

TO mid-19th century, the history of the Battle of Kulikovo disappears from the field of view of artists, giving way to contemporary subjects. And even the attempts of Nicholas I to turn Winter Palace, having survived a terrible fire in December 1837, in the “New Vatican”, remained unrealized. They died in that fire unique interiors, executed by Rastrelli, Montferrand, Quarenghi, and paintings describing key events in Russian history were lost. The new cycle of paintings from Russian history did not work out, but the official request did not go unnoticed by the academic community.

In 1850, by order of Nicholas I, a French battle painter Yvon Adolphe in Paris he painted the monumental canvas “The Battle of the Kulikovo Field”. It was originally planned that the painting would decorate the interiors of the lower corridor of the Cathedral of Christ the Savior, conceived as a temple-monument to the heroes of the War of 1812. However, plans have changed. Today the work adorns the flight of stairs (anteroom) leading to the St. George Hall of the Grand Kremlin Palace.

In the 1870s, the “Battle of Kulikovo” was included as a theme in the interior design program of the Historical Museum. One of the panels was ordered Valentin Serov, whose historical consultant was Ivan Zabelin. Zabelin was not only the head of the Historical Museum, but also one of the most authoritative experts on the history of Ancient Rus'. On the walls of the museum he wanted to see folk epic, which will not leave the viewer indifferent and will make you feel the connection of times.

But neither Serov, nor Sergei Malyutin, who after Serov was entrusted with making the panel, nor Sergei Korovin, completed the work. Too many contradictions arose between customers and performers. Not a single painter has been able to satisfy all the demands of scientists. The frame in which the panel was planned to be placed was empty until 1950, when a neutral landscape with views of Moscow was placed in it.

Valentin Serov. After the Battle of Kulikovo, sketch

Serov worked hard on a sketch for the panel. In 1894, he visited the Kulikovo field and worked on the composition in detail. Hundreds of sketches and eight sketches have survived, some of which were done in oil. The work was regularly discussed at meetings of the Academic Council of the Historical Museum, and was changed compositionally and even artistically at Zabelin’s insistent demands.

At first, Serov obediently followed the instructions, but in 1898, after the next meeting, he refused to continue working on the sketch and returned the money given to him Historical Museum in payment for the painting. Numerous sketches are kept in collections today Tretyakov Gallery and the Historical Museum.

A little earlier, a native of the Ufa merchants addressed the topic of the events of the Battle of Kulikovo Mikhail Nesterov. However, the graduate of the Moscow School of Painting, Sculpture and Architecture was interested not only in the battle side of the events of 1380.

Nesterov was the artist who was one of the first to turn to the theme of the country’s religious identity and made the hero of the painting a holy hermit. The Trinity Lavra of Sergius, next to which the artist settled (he was visiting the Mamontovs’ estate in Abramtsevo), became firmly entrenched in his life. Here he drew inspiration and strength.

The first work on the image of the saint was the painting “Vision to the Youth Bartholomew” (1889-90). The work was bought by Tretyakov, was a success, but was assessed ambiguously by the public. But Nesterov himself was confirmed in his desire to write the “life” of the great ascetic of the Russian land, especially since in 1892 Russia was supposed to celebrate the 500th anniversary of the Dormition of St. Sergius, abbot of Radonezh. This is how “The Youth of St. Sergius” (1892), the triptych “The Works of St. Sergius” (1896-97) and “St. Sergius of Radonezh” (1899) appear.

With each new job the image of the saint became more expressive, more monumental and deeper. Nesterov could not ignore the meeting of Prince Dmitry with the Monk Sergius.

The young Prince Dmitry went to defend the entire Russian land, and not just his personal inheritance. He firmly believed in God’s help: both when he read “God is our refuge and strength” in front of the Don Icon of the Mother of God, and when he came to take the elder’s blessing to enter into battle with the atheists.

For Nesterov, the key theme was the tension of that moment when the monk blesses the kneeling prince. However, the sketch “Sergius of Radonezh’s Blessing of Dmitry Donskoy for the Battle of Kulikovo” was never completed by Nesterov. He was not satisfied with his sketches and wrote about them to Elizaveta Mamontova: “... the theme had long been outlined by me for a series of paintings on the history of the Radonezh miracle worker, but all the sketches that I did were not more interesting than any programs..." In 1897, "The Youth of the Venerable", "The Works of the Venerable" and the watercolor "Reverend Sergius of Radonezh blesses Dmitry Donskoy for the battle with the Tatars" were donated by the artist to the city gallery of the Tretyakov brothers.

20th century: the main character is the people

During the most difficult and difficult years of the Second World War, the ideological machine began to work. All forces were mobilized, including fine art, which had a goal through resurrection people's memory, through examples of valiant victories over the aggressor, to support the spirit of the people. Alexander Bubnov writes his famous “Morning on the Kulikovo Field” (1943-47), and battle painter Mikhail Avilov creates “The Duel on the Kulikovo Field” (1943).

Alexander Bubnov Graduated from the Higher Art and Technical Institute. Fascinated by the work of the Peredvizhniki artists and Russian realism, he focused on historical genre. A young romantic, Bubnov at the beginning of his creative career sinned with excessive idealization of Soviet reality. But it was during the years of the Great Patriotic War While working on propaganda posters and leaflets, he seriously turns to the historical genre.

In 1943, Bubnov was working on his programmatic work “Morning on the Kulikovo Field”. The artist came up with the idea for “Morning” back in 1938. Initially, the theme of his painting was the history of the battle on Lake Peipsi, however, an appeal to documents and a serious immersion in historical literature convinced Bubnov to write the Battle of Kulikovo.

A year and a half of work on sketches, the search for images and plastic solutions, long and careful elaboration of details, excluding even a hint of the characters being fake, allowed the artist to create a characteristic canvas. The film not only contains historical truth, it also conveys an epic scope and message: the main hero of any battle is the people.

For the painting “Morning on the Kulikovo Field” in 1948, Bubnov was awarded State Prize THE USSR. His painting, reproductions of which were included in history textbooks, is in the collection of the Tretyakov Gallery in Moscow.

Mikhail Avilov. Duel between Peresvet and Chelubey

Graduate of the battle workshop of the Academy of Arts, participant in the First World War and the Civil War, Mikhail Avilov in his works he demonstrates not only the skill of the painter, he amazes with the convincingness of his depiction of battle scenes.

Avilov addressed the topic of the duel between the heroic monk Alexander Peresvet and the Tatar murza Chelubey back in 1917. But then the picture did not work out and was even destroyed by the author.

In 1942, having arrived in Moscow from evacuation, the artist received a large studio, which allowed him to return to the theme of the Battle of Kulikovo. “Dmitry Donskoy with Sergius of Radonezh”, “Dmitry Donskoy decides to cross the Don”, “Battle of Kulikovo”, “Flight of Mamai” - four large sketches were created by Avilov, but only one of them - the confrontation between the Russian knight and the Tatar hero - became a finished work , included in the annals of the world visual arts. In 1946, Avilov was awarded for the painting “Duel of Peresvet with Chelubey on the Kulikovo Field” Stalin Prize first degree. Currently, the painting is in the collection of the State Russian Museum in St. Petersburg.

1980: new wave of interest

The 80s of the 20th century became the next period and a new wave of interest in the topic of the Battle of Kulikovo: in 1980, the country celebrated the 600th anniversary of the Battle of Kulikovo. The cycle “Kulikovo Field” by Ilya Glazunov and the triptych “Kulikovo Field” by Yuri Raksha were dedicated to this anniversary, and filmed at the Mosfilm studio by director Roman Davydov cartoon"Swans of the Unscrupulous."

Ilya Glazunov. Cycle “Kulikovo Field”. Dmitry Donskoy. 1980

Ilya Glazunov. Cycle “Kulikovo Field”. Eve. 1978

Leningrader, blockade survivor, Ilya Glazunov, like many, lost in that terrible war parents. After the evacuation, he returned to Leningrad and graduated from the Institute of Painting, Sculpture and Architecture named after I.E. Repina. Studying historical literature, chronicles, and lives, Glazunov devoted twenty years of his life to working on the “Kulikovo Field” cycle, which included thirty paintings. In the sixties, the first paintings appeared: “The Messenger”, “Storm of the City”, “Khan Mamai”, and the public’s acquaintance with the cycle was timed to coincide with the grand anniversary, the 600th anniversary of the Battle of Kulikovo.

In 1980, Glazunov was awarded the title folk artist THE USSR. Speaking about his cycle, Glazunov explains that he sought “to convey only the authenticity of life, the truth of what is happening, so that once again our contemporary would touch the great past of the Motherland, with new strength I would feel the inextricable connection of times, the connection of generations, my involvement in the events of bygone eras.”

Yuri Raksha. Triptych “Kulikovo Field”. 1980. Left side– “Blessing for battle”

Yuri Raksha Since childhood, I have been interested not only in drawing, but also in history. He graduated from Surikovskaya with a silver medal art school, VGIK, worked at Mosfilm, participated in the filming of a dozen films and never gave up painting. Each new film gave birth to an idea for the future canvas. This was the case with the painting “The Ascension” based on the novel by V. Bykov. “Without the scene of the execution of the main character Sotnikov,” Raksha recalled, “I would not have decided on the bulk of Kulikovo Field.”

Battle of Kulikovo (Mamaevo or Don Massacre) - a battle between the Russian army led by the Moscow prince Dmitry Donskoy and the army of the temnik of the Golden Horde Mamai, which took place on September 8, 1380 on the territory of the Kulikovo field between the rivers Don, Nepryadva and Beautiful Mecha, currently belonging to the Kimovsky and Kurkinsky districts of the Tula region, on an area of ​​​​about 10 km². In the 60s of the 14th century, the strengthening of the Moscow Principality in North-Eastern Rus' and the Mamai temnik in the Golden Horde proceeded almost simultaneously, and the unification of the Horde under the rule of Mamai was facilitated by the Russian princes with their victories over Tagai on the river. Void in 1365, above Bulat-Temir on the river. Drunk in 1367 and marching on the middle Volga in 1370. When in 1371 Mamai gave the label for the great reign of Vladimir to Mikhail Alexandrovich Tverskoy, Dmitry Ivanovich told Ambassador Achikhozha “I’m not going to the label, I won’t let Prince Mikhail reign in the land of Vladimir, and for you, the ambassador, the path is clear,” which was turning point in relations between Moscow and the Horde. In 1372, Dmitry achieved the cessation of Lithuanian assistance to the Principality of Tver (Lyubutsky Treaty); in 1375, he obtained recognition from Tver of the condition “if the Tatars come to us or attack you, you and I will go against them; “If we go against the Tatars, then you, together with us, will go against them,” after which, in the spring of 1376, the Russian army led by D. M. Bobrok-Volynsky invaded the middle Volga, took a ransom of 5,000 rubles from Mamaev’s henchmen and planted the Russians there customs officers. In 1376, Khan of the Blue Horde Arapsha, who came to serve Mamai from the left bank of the Volga, ravaged the Novosilsk principality, avoiding a battle with the Moscow army that had crossed the Oka River; in 1377 on the river. Pyana defeated the Moscow-Suzdal army, which did not have time to prepare for battle, and ruined the Nizhny Novgorod and Ryazan principalities. In 1378, Mamai finally decided on a direct confrontation with Dmitry, but the army he sent under the command of Murza Begich suffered a crushing defeat on the river. Vozha. The Ryazan principality was immediately devastated by Mamai again, but in 1378−1380 Mamai lost his position on the lower Volga in favor of Tokhtamysh. Correlation and deployment of forces[edit] The performance of the Russian army at the Battle of Kulikovo (Ancient miniature). Russian army[edit] Novoskoltsev A. N. “Reverend Sergius blesses Dmitry for the fight against Mamai” The gathering of Russian troops was scheduled in Kolomna on August 15. The core of the Russian army set out from Moscow to Kolomna in three parts along three roads. Separately there was the court of Dmitry himself, separately the regiments of his cousin Vladimir Andreevich Serpukhovsky and separately the regiments of the assistants of the Belozersk, Yaroslavl and Rostov princes. Troops also arrived from the Suzdal and Smolensk Grand Duchies. According to some sources (the later Nikon Chronicle and Solovyov S.M., who accepted its version), the Tver regiment, brought by Mikhail Alexandrovich’s nephew Ivan Vsevolodovich, as well as the Novgorodians who joined immediately before the battle, also participated in the gathering, but historians question the reliability of this information. Already in Kolomna, the primary battle order was formed: Dmitry led a large regiment; Vladimir Andreevich - regiment right hand; Gleb Bryansky was appointed commander of the left-hand regiment; The leading regiment was made up of Kolomna residents. The episode with the blessing of the army by Sergius, which gained great fame thanks to the life of Sergius of Radonezh, is not mentioned in early sources about the Battle of Kulikovo. There is also a version (V.A. Kuchkin) according to which the story of the life of Sergius of Radonezh’s blessing of Dmitry Donskoy to fight against Mamai refers not to the Battle of Kulikovo, but to the battle on the Vozha River (1378) and is related in “The Tale of the Massacre of Mamai” "and other later texts with the Battle of Kulikovo later, as with a larger event. The immediate formal reason for the upcoming clash was Dmitry’s refusal to Mamai’s demand to increase the tribute paid to the amount in which it was paid under Dzhanibek. Mamai counted on joining forces with the Grand Duke of Lithuania Jagiello and Oleg Ryazansky against Moscow, while he counted on the fact that Dmitry would not risk withdrawing troops beyond the Oka, but would take a defensive position on its northern bank, as he had already done in 1373 and 1379 . The connection of allied forces on the southern bank of the Oka was planned for September 14. However, Dmitry, realizing the danger of such a unification, on August 26 quickly withdrew his army to the mouth of Lopasnya and crossed the Oka River to the Ryazan borders. It should be noted that Dmitry led the army to the Don not along the shortest route, but along an arc to the west central regions Principality of Ryazan, ordered that not a single hair should fall from the head of a Ryazan resident. “Zadonshchina” also mentions 70 Ryazan boyars among those killed on the Kulikovo Field. The decision to transfer Oka was unexpected not only for Mamai. In Russian cities that sent their regiments to the Kolomna gathering, the crossing of the Oka with the abandonment of strategic...