Viewing interesting ancient monuments and sculptures

2024 Author: Seth Attwood | [email protected]. Last modified: 2023-12-16 15:55

Previous parts of the author's research:

Ancient cities. Comparison and Analysis

Ancient cities. Comparison and Analysis. Part 2

Ancient cities. Comparison and Analysis. Part 3

Ancient cities. Comparison and Analysis. Part 3 (supplement)

Ancient cities. Comparison and Analysis. Part 4a

Ancient cities. Comparison and Analysis. Part 4b

Ancient cities. Comparison and Analysis. Part 5

Ancient cities. Comparison and Analysis. Part 6

Every time I touch the incredible world of antiquity, I cannot hide my surprise and admiration. And this concerns not only the quality of performance of antiquity, but also how skillfully all this heritage was appropriated (in this case, surprise still prevails). And it would seem, what is there to be surprised at, because I have been dealing with this topic for a long time, a lot of material has been written, but still some moments can be very shocking. Today we will talk about monuments to outstanding people of antiquity, statues of ancient Gods, which are more like Russian idols, called in the chronicles "golden body", about their geography and their location, about the option of using a "3-D" printer in manufacturing, about small details on these statues, and what they can tell and, in general, about my vision of the principle of falsification and appropriation of heritage. Let's start with the latter.

Chapter 1

Imagine that you are a forger. No, I'm not kidding, to understand the actions of a criminal, one must think like a criminal - this was previously one of the basic principles of forensic science (by the way, yesterday, being an attesting person in the Kiev prosecutor's office, I saw an interesting postcard behind the glass of an office cabinet. It showed a lot of money, cars and other luxury items, and the following was written on it: “Someone has a conscience, others have everything else.” What is the motto - this is the result).

So, imagine that once the whole world was, according to Ilyich's plan, engulfed in revolution, people understood the harm of capitalism and the whole planet Earth began to represent fraternal socialist peoples. It is clear that collective farms, economic councils, people's commissariats and other indispensable attributes of Soviet power appeared on all continents. Countless posters appeared with corresponding inscriptions in different languages: "Five years - in three years! Five years to three years! Fünf Jahre auf drei Jahre! Cinq ans à trois ans! Cinque anni a tre anni! 五年 到 三年!" and so on. And of course, monuments to outstanding people will appear on every continent, right? The monument to Ilyich, Dzerzhinsky, Stalin will be displayed in central squares in London, Paris, Rome, Madrid, New York, Mexico City, Tokyo, Canberra, Delhi, Moscow, Kiev, Oslo and other central cities. And at one point, a certain global cataclysm occurs, and all communism is "washed away by a wave", the main blow falls on the Eurasian continent, and with such force that about 30 percent of the former population of the Eurasian continent survives, as well as about 80 percent of the North American population, including which there are many heirs of the former "bourgeois capitalists", who for a long time sharpened their grudge against Marx, Ilyich and others for the fact that their ancestors were deprived of capital and the right to be better than everyone else, and made equal with the rest. And here is such an opportunity - the former government drowned along with the majority of the population of Eurasia, from where the leadership was carried out directly. Before you (well, you remember that you are falsifiers-capitalists) - a huge communist legacy, cities with a still reliable Soviet infrastructure, which could withstand and which were flooded or washed away. We will not now touch upon the issue of etching the former world order from the memory of the surviving people, this is a separate issue, we now have a topic of monuments. Here they are - all over the world - the thousands of bald heads you hate with goatee beards and jackets, which proudly point towards a brighter future. You declare that now you have a democracy that implies capitalism, and of course you immediately try to eliminate all slogans, inscriptions, written evidence, and even reports on the amount of corn harvested in Tennessee are withdrawn, because the reports say - ASSR - American Soviet Socialist Republic. And of course, you need to dismantle all the monuments to the hated communists. But in the process of this fascinating lesson, sooner or later you come to the conclusion that it will be very difficult to dismantle all the monuments on the planet, elementary local ones who survived and who remember will protest, and it is better not to drive people to anger - this is understandable for a fool, but the question will inevitably arise as to what to put on empty pedestals instead of old monuments? After all, new comrades are not trained to create, the flood washed away most of the equipment for making monuments, and the most important thing is lost - the knowledge of HOW to do this is lost along with people who cannot be resurrected and asked. But, of course, something remained, and not everything is burned in the furnace, some of the most useful are simply sent to archives inaccessible to mere mortals, and then the most valuable information about technologies is drawn from these sources. But this is not enough for a mass replacement, for a local one - yes, but if we are talking about an entire planet … And then a brilliant idea comes to your mind. What if the monument is not dismantled, but simply renamed, find a similar outstanding person of a new era and declare that he is in the image of Soviet emperors, leaders, for example Ilyich will be Lenchik DiCaprio:

And Felix Edmundovich will turn into Johnny Depp, for example

Or Snoop Dogg and don't care if he's black.

Or you can "tweak" a little or completely alter the face, all the same, after all, no one will notice. And if someone later asks why DiCaprio, who never had a bald head, suddenly "peeled off" - declare bluntly: this is a stylization, an echo of the era of Communism. Accordingly, new styles appear: neo-communism, sovkoko, sociisans, and so on. And if a person does not at all look like a monument that is "erected" to him and walks, for example, in shorts and a T-shirt, and not in trousers and a jacket, then here it is simply stupid - "this is such an image." Well, well understood, in your democratic CHRISTIAN country, the echoes of the atheistic past will be called nothing else but "imitation of the glorious and highly discernible heritage of past eras."

Do you think, after reading all of the above, that this is nothing more than fiction, phantasmagoria, action in a parallel reality? And what if I tell you that you probably walk by every day and admire such a falsification, without even knowing that what was put into your head since school is not true at all, and you are the descendants of those who survived who still remember? What if I tell you that it is possible that what you admire with fascination, calling "foreign art", was created by your own ancestors, and this rightfully belongs to you, this is a sample of YOUR art, appropriated by someone else? Is it unthinkable? Let's figure it out.

Chapter 2

While collecting information for this article, I had the opportunity to review and compare about a thousand different monuments and sculptures throughout Europe and parts of Asia, specifically Ukraine and the west of modern Russia. I tried not to deprive any major city of attention, but if I missed something, then I have you, dear readers, as well as the opportunity to leave comments. For the most part, the statues of the gods will be minimally represented, since many of them are scattered in different cities, I will only show in my opinion the most significant ones, for the most part I paid attention to equestrian statues and just monuments.

So, we have the city of Kherson, which has all the signs of an ancient city, in particular, the ideal straight-line layout strikes the eye first. It was "founded" by the well-known statesman and politician Grigory Aleksandrovich Potemkin (the surname says a lot, when they want to hide something, or darken something, then such Potemkins appear in the dark, forgive the tautology). The founder of the city is not some useless flea for you, so it would be logical to erect a monument to this outstanding person in this city. And that was done. Someone Martos, who will repeatedly appear further, immortalized an outstanding person, and at the end of 1836 (for some reason the exact date is unknown) a grand opening took place.

This monument in a striking way combines both the elements of the ancient vestments and the vestments of the "medieval", which gives rise to a vague feeling of confusion. The griffins (or winged lions?) On the armor of a person who has never been associated with these symbols are also embarrassing.

But these winged creatures refer us to another well-known character - the emperor Nerva (who, by the way, has a visible stripe on his neck, which possibly indicates a later alteration of the head, as well as on the "bronze horseman." Or maybe it's just mine glitches =)

Also, griffins can be seen on the armor of Julius Caesar.

The antique sword, too, somehow does not stick to the image.

And the most important thing is the similarity of the monument to the person to whom it was erected.

In a nutshell - on the left - "strong-willed", on the right - "soft".

Something's not sticking here, right? Where does the knight's helmet and incomprehensible shields over antique armor come from? Was Martos drunk when he sculpted, what is this combination of incompatible? All contradictions disappear immediately if you know one fact. I will quote:

After the 1917 revolution, the monument to Potemkin was covered with a tarpaulin (this is a reference to the beginning of the article - M. V.'s note), which is why the people received the nickname "Kherson ghost". On April 27, 1921, the monument was removed from the pedestal and moved to the courtyard of the Kherson Historical and Archaeological Museum, and at the beginning of 1944 it disappeared along with the retreating Nazi troops. In 2003, to celebrate the 225th anniversary of the city, the monument was restored by sculptor Yurik Stepanyan.

This is already interesting, now it's only a small matter - to find what the monument looked like at the beginning of the 20th century.

Everything seems to be the same, only the face is a little different. And now I will show you a woodcut of this monument, which dates back to 1891. She will put all the dots on the "i"

Now everything is organic and antique, the helmet is as it should be and there are no incomprehensible armor. Based on this woodcut, it can be concluded that the monument was reworked between 1891-1917. We have already met this time period of falsification many times, in particular, this is the main segment of falsification of information about the city of Kiev. And this, in turn, suggests that during this period there was a redistribution of power about which we do not know anything, this is the final milestone towards a change in the world order (I recall the main dates of falsifications: 1700, 1773-1792, after 1812 to the 40s and 1891-1917. The central bank in the United States was created in 1913, it was the point in the 200-year struggle for power of parasites). These are our pies, and the further, the more amazing.

Chapter 3

As another example of falsification, I would like to mention the monument to Jozef Poniatowski, Polish general, Marshal of France. Remember, I mentioned once that wherever there is falsification, there is a connection with Octavian Augustus? So the uncle of Ponyatovsky, the king and prince of Lithuania, was called Stanislav August Ponyatovsky.

But it looks like it! Like Depp on Dzerzhinsky. And the blond curly hair he got as the image of Marcus Aurelius.

What picky residents, they don't like everything, why all of a sudden? Here is this monument in Gomel:

But, as far as I understand, there is already another monument in St. Petersburg near a handful of antique busts. What the wind brought him there, the istoria is silent, as well as where he later went.

Well, the coat of arms on the armor can also be pulled by the ears to the coat of arms of Poland:

But more still looks like this.

Well, you understand - on the left is the eagle of the so-called "Roman" empire. But there is one more important detail - this is an eight-pointed star.

Yes, this is an award-winning order - you will notice. But there was no such order in Poland in the times of Poniatowski, neither before nor after. Here's what happened: four-pointed crosses (you can read more about Poland's awards here:

On the coats of arms of Poland, I have not seen such a symbol either. But I've definitely seen it somewhere before …

Alatyr is a star with eight peaks. This oldest symbol denotes development in motion. Alatyr - a white-combustible stone - is the beginning and center of the World, the Eye of the Sort, it is from him that the Light of the Sort of the Most High is born and shines, and the grace of God, which he gives to all that exists and carries. The eight-pointed star in religions, esotericism and philosophy symbolizes the harmonious combination of matter and spirit. If you take a closer look, then in its outline you can see two crosses aligned in the center. And the cross, as you know, means the equality of the elements from which the whole universe is created.

But to whom, then, is this monument? Working with the subconscious revealed the name - "Lucius" and "Ivan", at this request we find almost the only emperor whose mustache does not fuse with his beard, so it turns out something like a buoy.

Well, I already mentioned that according to the Catherine shift, Lucius Verus is Ivan Kalita, so the subconscious gave two names. This version, as for me, has the right to life. But the fact that this is a monument to a non-Polish general is obvious to me.

Chapter 4

Similar monuments are scattered all over the world, and I want to show the most basic ones. These are equestrian statues, the signs of which I have already written in one of my previous articles. Let me remind you briefly:

1. The riders are dressed in "antique" vestments, in sandals, sometimes - fur shoes with a lion that has opened its mouth.

2. With them antique weapons - a characteristic antique sword in a sheath with marvelous patterns, a short antique blade.

3. They are holding a club in their hands - the generals know how they point with a club - to attack! Or it’s not just a symbol, but something else.

4. On their heads, as a rule, they have an antique wreath, or just an uncovered head; I have not yet met any examples of emperors in a helmet. All have curls, in my opinion a light color - red or light brown or gold.

5. The horse either rears up or raises one leg, the option is raised right front - raised left hind or vice versa. Her harness is also antique, in the chest area there may be an antique image of the head (the place where the bridle is attached).

6. Almost all riders usually have a raincoat.

7. All, without exception, have no stirrups and saddles, instead of this leather or rag lining, the exception is the monument to Peter in St. Petersburg, there is a bear skin under the tsar's butt, which speaks of the severity and importance of the rider, which cannot be said about Petka.

An example is drawn by Piranesi (pay attention to the pedestal. While I was looking through and looking for monuments, I repeatedly came across a new monument on such a pedestal with the remaining antique 3-D bas-reliefs that were beyond the power of forgers.).

The same istoria with a monument to Derzhavin in Kazan. The "antique" base was left, but the statue was replaced, therefore the great Russian poet differs from the bas-reliefs as a provincial artist from Leonardo da Vinci in terms of the quality of execution. And no, the bas-relief does not depict any battle, swords and a shield, then it seems to you.

But the most widespread of course is precisely the "antique" basis. Here is a monument on one that Piranesi's student Robert Hubert draws for us. And I also forgot to say that there are such 3-D inserts everywhere.

And the last remark - all antique monuments and statues are simply striking in their realism and detail, which is not on copies or "stylizations". The anatomical accuracy and attention to the smallest details are striking, as if for the ancients it was not something difficult, and it is okay to make a statue out of plaster, but it is a completely different matter - from cast iron, copper or bronze, or from an unknown artificial stone. You can even see the veins not only on the hands of people, but also on the legs and paws of animals, in particular, when it comes to a statue of a koona, you can see the veins and tendons on the legs of a horse.

Well, now let's go. Here is the top man, but not in Rome, but in Copenhagen, Denmark, and he is now called Frederick 5.

I will not give a comparison with faces, if you want you can compare it yourself, but if the face looks unnatural, that is, internally you feel some kind of contradiction, then you should know that either the face was changed, or the whole head was cast anew, just like it was done on two monuments in St. Petersburg, turning them into Petrov.

Another example of inconsistency is the Louis 13 monument in Paris, France. See how unnatural the face looks.

We observe this thing as a side effect when creating a monument in antique equestrian statues:

And also in the St. Petersburg lions:

Perhaps this is the key to understanding the technology of mass production of sculptures.

In Great Britain, however, they did not particularly soar over the "name-calling" of monuments, they have all Georgie and Williams there. George 3 with hide lining:

And this is the fountain next to him. Familiar motives, isn't it?

The sculptor was understandably based on this statue of Marcus Aurelius. Where can we go without it?

It is not without reason that I remembered this character, because everywhere there are powerful hints, the search for which for me has become a kind of sport or a warm-up for the mind.

Another George 3 in Berkshire, UK

And another George, but now the second, in London, Great Britain, which does not have a face in a figurative sense:

John Hopetown (almost George =) in Edinburgh, Scotland, UK.

Williams - 3rd in Glasgow, Scotland:

And another one in Bristol.

And this William 3 in Kingston upon hull, UK.

This statue has not survived in Dublin.

As well as this in the same Dublin.

And the last William in London:

Monument to David Hume in Edinburgh.

And now I will show you an awesome falsification. We take an antique sculptural composition, for example:

We remove the horse, put a sword in the man's right hand, and put on a shield on the left hand, and call it a "monument to Achilles" and put it in a prominent place in the capital of Great Britain in the hope that no one will notice the catch!

Isn't that funny to you? And to me very much. However, the falsifiers had a good fantasy, you won’t say anything)

And in France there was a fashion for Louis, and therefore, in addition to the monument already shown by me, there are such projects of monuments to different Louis:

Fourteenth:

And on the fifteenth:

More details here: (Site in French).

And here is another Louis, but already material, the fourteenth, in Lyon, France

Go ahead. Ferdinand 1 Bourbon and Charles 3 Bourbon in Naples, Italy

I perfectly understand that your head is boiling now, so I will dilute the flickering kaleidoscope of equestrian statues with other interesting monuments. Monument to Octavian Augustus in Odessa. 3-D bas-relief with the image of Mercury on a pedestal:

Monument to Columbus in Genoa with painfully familiar protruding antique ships:

Monument to Minin and Pozharsky in Moscow

And in Novgorod

Mass production?

Monument to Suvorov in St. Petersburg, Russia

And this one in Mexico City, Mexico closes the galaxy of equestrian monuments.

And now, by tradition, small

conclusions

Since the Holstein-Romanov dynasty, who seized power in the western part of Russia after a so far unknown catastrophe, presumably the flood of 1700 was German, and accordingly acted together with all the rulers of Europe of that period, who seized power in a similar way, it becomes clear that there is a massive insanity over everything "antique "and" ancient Roman ", because it was necessary to justify somehow the enormous heritage that remained from the previous culture that lived in these territories. But throughout the 18th century, this was not done so actively, because Tartary was still strong and powerful, which did not allow such an insolent lie. therefore, they limited themselves only to the signature of the monuments and in some way in artistic terms. The main mass falsification began after the nuclear strike of 1814, monuments, buildings, statues, canvases, mosaics, frescoes were massively removed (or, in the case of the building, they were "overgrown" with forests and "built", that is, restored), faces were corrected or changed, the inscriptions were changed or completely erased, all "dangerous" material evidence was taken to the archive. But the most elegant, without any signatures, was passed off as the creation of the enlightened West, which could not get rid of the stench, but at the same time for some reason built Versailles and all sorts of cathedrals, which are now practically impossible to recreate. The fact that all this happened within a certain time frame is evidenced by the fact that almost all of the above monuments were "made" after 1814, and not later than the 40s of the 19th century. On the advice of a good friend of mine, I intend to soon make a table on the monuments, which will confirm my words.

And in the next part we will analyze the most interesting antique statues that are scattered all over the world and simply shout that it is time to restore justice.

All health and sober mind)

Mikhail Volk