By Π’ΠΎΠ½Π΅Π½ΠΊΠΎΠ²Π° ΠΠ°ΡΠ³Π°ΡΠΈΡΠ°
Π. Π’ΠΎΠ½Π΅Π½ΠΊΠΎΠ²Π°, 2013
ΠΡΠΎΡ ΡΠ±ΠΎΡΠ½ΠΈΠΊ Π²ΠΊΠ»ΡΡΠ°Π΅Ρ Π»Π΅ΠΊΡΠΈΠΈ Π. Π’ΠΎΠ½Π΅Π½ΠΊΠΎΠ²ΠΎΠΉ ΠΈΠ· ΡΠΈΠΊΠ»Π° XXVIII Β«Π Π°Π±ΠΎΡΠ° ΠΡΠ΅Π»Π΅Π½ΡΠΊΠΈΡ ΠΡΡΠ΅ΠΉΒ». ΠΠ΅ΠΊΡΠΈΠΈ Π±ΡΠ»ΠΈ ΠΏΡΠΎΡΠΈΡΠ°Π½Ρ Π² ΠΠΈΠΆΠ½Π΅ΠΌ ΠΠΎΠ²Π³ΠΎΡΠΎΠ΄Π΅ Π² ΠΎΠ±ΡΠ΅ΡΡΠ²Π΅ Β«ΠΠ½Π°Π½ΠΈΠ΅Β» Ρ 20 ΠΌΠ°Ρ ΠΏΠΎ 6 ΠΈΡΠ½Ρ 1997 Π³ΠΎΠ΄Π°. ΠΠ° ΠΎΠ±Π»ΠΎΠΆΠΊΠ΅ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½Π° ΠΊΠ°ΡΡΠΈΠ½Π° Π. Π’ΠΎΠ½Π΅Π½ΠΊΠΎΠ²ΠΎΠΉ Β«Π£ΡΠΈΡΠ΅Π»Ρ ΠΠΎΡΠΈΡΒ», Π²ΡΠΏΠΎΠ»Π½Π΅Π½Π½Π°Ρ Π² ΡΠ΅Ρ Π½ΠΈΠΊΠ΅ Β«ΠΠΠ, ΠΌΠ°ΡΠ»ΠΎΒ» Π² 1995 Π³ΠΎΠ΄Ρ. ΠΠ²ΡΠΎΡ ΠΎΠΏΠΈΡΡΠ²Π°Π΅Ρ ΡΠ²ΠΎΠΉ ΠΎΠΏΡΡ ΡΠΎΠ·Π΄Π°Π½ΠΈΡ ΠΏΠΎΡΡΡΠ΅ΡΠΎΠ² Π£ΡΠΈΡΠ΅Π»Π΅ΠΉ, ΠΎΡΠΌΠ΅ΡΠ°Ρ, ΡΡΠΎ Π΅Ρ ΡΡΠΊΠΈ Π±ΡΠ΄ΡΠΎ Π±Ρ Π²Π΅Π»ΠΈ, ΠΈΠ·ΠΌΠ΅Π½ΡΡ ΠΊΠΎΠ½ΡΡΡΡ ΠΈ Π΄ΠΎΠ±Π°Π²Π»ΡΡ ΠΊΡΠ°ΡΠΊΠΈ. ΠΡΠΎΡ ΠΏΡΠΎΡΠ΅ΡΡ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎ ΠΏΡΠΎΡΠ²ΠΈΠ»ΡΡ ΠΏΡΠΈ ΡΠ°Π±ΠΎΡΠ΅ Π½Π°Π΄ ΠΏΠΎΡΡΡΠ΅ΡΠΎΠΌ ΠΠΎΡΠΈΠΈ, Π³Π΄Π΅, ΠΏΠΎ Π΅Ρ ΡΠ»ΠΎΠ²Π°ΠΌ, Π»ΠΈΡΠ° Π£ΡΠΈΡΠ΅Π»Π΅ΠΉ ΠΏΡΠ΅Π΄ΡΡΠ°Π»ΠΈ Π² ΠΎΠ±ΡΠ°Π·Π°Ρ , ΠΊΠΎΡΠΎΡΡΠ΅ ΠΎΠ½ΠΈ ΠΏΡΠΈΠ½ΠΈΠΌΠ°ΡΡ ΠΏΡΠΈ ΡΠ°Π·Π²ΠΎΠΏΠ»ΠΎΡΠ΅Π½ΠΈΠΈ.
M. Tonenkova, 2013
This collection features lectures by M. Tonenkova from the XXVIII cycle, 'Work of Universal Rays.' These lectures were delivered in Nizhny Novgorod at the 'Znanie' society between May 20 and June 6, 1997. The cover displays Tonenkova's painting 'Master Moria,' created with oil on fiberboard in 1995. The author recounts her experience painting portraits of Masters, noting a sense of guidance that altered outlines and added colors, particularly with the portrait of Moria. She suggests these visages represent the forms Masters adopt during disembodiment.