Pavel Ryzhenko. “May 9”
The works of Pavel Ryzhenko, dedicated to the theme of monasticism, are lyrical and soulful, unlike, say, his multi-figure compositions on historical themes, which are grand and sometimes even solemn. This depth in depicting a person who is in harmony with the surrounding world, rather than in conflict with it, harks back to Russian artists of the nineteenth and early twentieth centuries (for example, the famous “Little Fox” by Mikhail Nesterov, 1914). “Acquire a peaceful spirit, and thousands around you will be saved,” said Saint Seraphim of Sarov. This very “peaceful spirit” is what artists, including Pavel Ryzhenko, strive to convey in their works.
Pavel Ryzhenko: “St. Seraphim”. The left portion of a tryptich (2006).
Pavel Ryzhenko: “St. Seraphim”. The central portion of a tryptich (2006).
Pavel Ryzhenko: “St. Seraphim”. The right portion of a tryptich (2006).
He dedicated a triptych (2006) to St. Seraphim of Sarov. In the central piece, the saint occupies the entire visual space, even extending beyond it; if he were to stand, there would not be enough room for his figure on the canvas. This emphasizes the saint’s spiritual strength and greatness. Also in the painting is a bear reaching to take bread from the saint’s hand, and a delicate lacework of plants—flowers and grass in the foreground, the greenery of the forest in the background—all speaking to the harmony the saint has with the surrounding world. In the left part of the triptych is what leads to harmony, inner peace—intense, steadfast prayer. Here, the forest is no longer as serene, with dry, prickly fir branches devoid of needles and the sharp movement of an owl flying forward—reminding us of the trials the saint faced during his spiritual struggles in prayer. In the first part of the triptych, the saint approaches the people. Here, too, are dry, prickly branches, but they seem to part—as behind the saint lies a wide, open path…
Pavel Ryzhenko. “The victory of Peresvet” (2005)
Pavel Ryzhenko created a piece entitled “The Victory of Peresvet” (2005). Thematically, it feels like a continuation of what was depicted in the famous painting by Mikhail Avilov, “The Duel of Peresvet and Chelubey on the Kulikovo Field” (1943), where the climactic moment of the battle between the Tatar-Mongol Chelubey and the Russian monk Alexander Peresvet is shown vividly and dynamically. In some ways, Ryzhenko follows Avilov’s composition—the battle is shown prominently in the foreground, almost toward the viewer, and in Ryzhenko’s piece, Peresvet rides forward, directly toward the viewer. However, upon observing Peresvet’s attire, the viewer understands that this is not only about a battle victory, albeit a crucial one, but even more importantly, a spiritual victory. This is further emphasized by the fact that in Avilov’s painting, Peresvet wears chainmail, while in Ryzhenko’s, he is dressed in monastic garb.
Pavel Ryzhenko. “The Prayer of Peresvet” (2005)
In another painting, “The Prayer of Peresvet” (2005), we see Peresvet with his primary “weapon”—prayer. Even if we did not know the title or the figure depicted, the core message remains unchanged. The spear in the hero’s hand evokes another spear—the one held by St. George on icons—and is understood here as a symbol of the fight against evil.
Pavel Ryzhenko. “Oslyaba” (2005)
In “The Victory of Peresvet,” there is a lot of external movement and dynamism—primarily in Peresvet’s figure charging on horseback, and in the figures of the warriors in the background (drawing bows, falling, struck by spears, and so on). In “The Prayer of Peresvet,” there is almost no movement, only silence and stillness, subtly accentuated by the quiet fall of leaves and the rustling of a hedgehog. The horse in the background is still, as is Peresvet himself, paused in concentrated prayer. This silence and stillness further highlight the inner, spiritual motion.
Another hero of the Battle of Kulikovo, Rodion Oslyabya, is also depicted in contemplative prayer (2005). The world around him is beautiful, filled with sunlight, greenery, and the fragrance of blooming trees. Yet, on the right in the foreground are a shield and helmet—reminders that soon the hero will face the battle. However, we see not just a warrior fated to die in a brutal fight, but rather the image of a warrior of God, whose depth and nobility reach beyond the themes of warfare.
Prayer also “resonates” in the painting “Sergius” (2013)—a prayer for the dead and the living, for those behind him, and for all of Russia. The all-encompassing significance of St. Sergius’s prayer is underscored by the vastness of the world unfolding behind him. The path stretching off to the left and fading into the distance, as well as the high, slightly “blurred” horizon line, serve this purpose.
Pavel Ryzhenko. “Sergius” (2013)
The work “Anthill” (2004) from the triptych “Repentance” is filled with silence. However, we will not dwell on the other two paintings; in the context of this discussion, we can overlook the challenging and complex path by which the monk depicted in the painting came to faith and a “peaceful spirit.” Nothing around him disturbs the character’s contemplation—leaves do not stir, and even the bird seems frozen on the branch. Here is the same harmony with nature, the same sense of joy in existence, which is possible only through a deep, personal understanding of God’s presence nearby. It is often thought that an anthill symbolizes the meaningless, restless existence of people in the outer world. Yet here, in this work, the anthill appears as merely a part of the God-created world.
Pavel Ryzhenko. “Anthill”. Central portion of a tryptic (2004)
The painting “Prayer” (2001) is filled with inner concentration. The strong stone walls seem to contrast with the physical frailty of the elderly monk, yet at the same time, they underscore the strength of his spirit and the resilient power of prayer. The falling and fallen leaves help the viewer understand that it is autumn, which can be read as the approaching end of the hero’s earthly journey. However, there are also red, Paschal colors in the painting, reminding us of true Life.
In Pavel Ryzhenko’s painting “Pascha”, the historical-realistic details (the landscape, the medal on the monk-veteran’s chest) evolve into a symbolic understanding of Pascha as a monumental Event that transformed human history, bringing life to stony, seemingly lifeless soil. Moving from thoughts of victory the hero experienced in the war, the artist leads us to reflections on the victory of life over death—and Life over death. Yet Pascha would be impossible without the Cross, and the monk holding a candle, looking upward in prayer, understands this clearly.
Pavel Ryzhenko. “St. Silhouan the Athonite”
Pavel Ryzhenko. “Prayer”. (2001).
Pavel Ryzhenko. “The Brethren”. (2006)
In the work “St. Silouan the Athonite,” the harmonious life of a monk with the surrounding world is depicted, embracing the theme of “Blessed is he who has mercy on animals” (Prov. 12:10). Also shown is a well, reminding us of Christ’s meeting with the Samaritan woman and His words: But whosoever drinketh of the water that I shall give him shall never thirst; but the water that I shall give him shall be in him a well of water springing up into everlasting life (Jn. 4:14).
But the life path of those who have renounced the world is not always peaceful and quiet. To attain “tranquility,” one must stand firm, resist the winds and storms of temptation, and be as steadfast as ancient stone walls. This is also conveyed in the artist’s work “The Brethren” (2006).
