Editorial

Dear Readers!

Here is the next issue of The Art of Eurasia Journal, and we present here one of the most interesting and remote places in our country — Sakhalin Island.

It is reasonable to assume that a proportion of those who read this issue will not only be aware of the island, but will also have visited the locations in question, having followed in the footsteps of one of the most celebrated humanist writers, A.P. Chekhov. I think that there are those who plan to reach this island someday, the image of which on the map looks very much like a huge fish in the ocean. It is our hope that this issue will serve to reinforce the desire of our readers to undertake such a journey. A great deal has been written and said about the heroic history of Sakhalin, particularly in the wars of the 20th century, as well as about the island's natural beauty and richness. However, there is still much to be discovered about its artistic heritage. We are therefore grateful to our authors for shedding light on the magnificent and diverse artistic culture of this island.

The historical panorama of the art of Sakhalin and its surrounding islands has its roots in the distant past. The article that opens the Forum section provides insights into the ceramics of the remarkable Ainu people and their ideas about the creation of the world. This ceramic vessel is a testament to the Ainu's artistic abilities, showcasing intricate designs, harmonious proportions, and a striking visual appeal.

Concurrently, the art of any region of our country is multinational in character. Consequently, in addition to the heritage of indigenous peoples, Sakhalin fosters and nurtures the creativity of those who found themselves here by the will of fate, such as Koreans. The masters adhere to the most ancient traditions, yet it is not a mere reiteration of ornamental images; rather, it is a creative reflection and an expression of their unique understanding and vision. When viewing the photographs, one is compelled to experience these works in person.

A further phenomenon of art has manifested itself on Sakhalin in the form of the emergence of a prominent personality, which has provided a significant stimulus for the advancement of artistic endeavours. The potential for such developments is considerable. Givi Mantkava, a Georgian artist, has become a notable figure in this regard. He is remembered by Sakhaliners as a person of considerable brightness, openness and creativity, and his legacy, which has been meticulously preserved, is now being subjected to rigorous study.

It was enlightening to gain insight into the vibrant art scene of Sakhalin, where one can witness a fascinating blend of traditional and contemporary artistic expressions at various exhibitions and museums.

The section entitled “Art of the 20th – 21st Centuries” not only reflected the art of Eurasia, but also crossed its geographical boundaries. A noteworthy artist of the 20th century, our fellow countryman and frontline soldier, pilot V.I. Pereyaslavets in Cuba produced a substantial body of work comprising landscapes and portraits of individuals during the Cuban Revolution. Subsequently, the reader will encounter the relatively obscure artist Rosa Gamburskaya, who nevertheless made a significant impact on the art of Moldova. This will be followed by an account of Kyrgyzstan, which describes the international collaboration between Russian and Kyrgyz artists working en plein air in the country's picturesque mountainous regions. The final point of this mental itinerary, which commenced in Cuba, will be in Mongolia. Here, for the first time, the story of the currently practising sculptor Ts. Amgalan, the creator of numerous celebrated works, will be recounted. Of particular significance, in our estimation, is the monumental monument to the Soviet and Mongolian soldiers who perished in the battle on Khalkhin-Gol, which concluded in a resounding triumph precisely 85 years ago.

The traditional section, entitled “Philosophy and Theory of Art”, is once again feature Mongolia. It was not so long ago that the most interesting architect and architectural theorist, B. Dajaav, lived in this country. He bequeathed a substantial legacy, and it is particularly noteworthy that he identified and elucidated a plethora of exceptional characteristics of Mongolian architecture. These insights, derived from rigorous analysis, facilitate a comprehensive understanding of the harmonious integration of Mongolian temples and their profound symbolism and semantics. The article on the “metaphysics of colour”, a pivotal domain of art theory, exemplified in the oeuvre of the Impressionists, is a particularly engaging contribution.

In the modern era, which Hermann Hesse defined as “feuilleton” (and which we might now term “fake”), there is a growing demand for art that is authentic, truthful, not merely entertaining and not 'deceitful'. In light of the preceding considerations, it seems pertinent to cite the celebrated statement of A.P. Chekhov: “One may deceive in the realms of love, politics, and medicine, but in the domain of art, deception is not permitted.” It is worth adding: it is impossible to deceive people who are used to trusting not sophisticated propaganda (which, alas, abounds in today's art space and which imposes pseudo-values on the masses), but what is called “the voice of the heart”. It is, therefore, the intention of this journal to contribute to the development of this voice, which will enable it to resonate more profoundly with art lovers.