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RUSSIA 2000: THE ROBE OF POWER, Vasily SMELYANSKIY, Graphic poetry composition

Graphic poetry composition
, version 01

(size 630 x 910 mm) created by
Vasily SMELYANSKIY, Free Russian Master, using the unique technique of virzhi (stands for "virtual painting"). December 1999 – October 2010

(the version is based on the author's art work of the same name of 1999)

Home -> Publications / Mass Media -> 2001 -> Free Russian Master Vasily SMELYANSKIY





One of the recent telecasts of a local announcement has been devoted to the artist Vasily Smelyanskiy, who now works in Chelyabinsk. The keynote of the TV program was an unusual picture of the President of Russia, which was the main character. The popularity of this picture has spread outside of South Ural where it was written a long time ago.




Certainly, the picture of Vladimir Putin created by Vasily Smelyanskiy is not traditional. There is no official image with the concentrated face and smart vestments which are habitual for this genre. There is nothing common from those portraits of leaders with the walls of any establishments during the former times were decorated. There is the young man in the picture with the sphinx smile, dressed in a bit of strange attire reminding either chain armor, or kimono or vestments of Asian lords who examines virtual spheres, seeing something that is hidden from what is uninitiated. The President, whose eyes are of blue color in life, has dark eyes in the picture, which gives depth to his sight. His hands are covered by an element of another picture where skeletons of ancient fortresses and the people who bear roods are clearly visible. Ruin... Barbarity... The apostles, who cannot find any peace, go in the background by hardly an appreciable chain. Russia 2000: The Robe of Power is the name of the picture. The attire of the President brings all of these small fragments together. With each increase, it is visible that each fragment is just the same figure in a miniature. At once, the pose casts thoughts about martial arts when the weakened body instantly would seem turn to a monolith of solid muscles. Poems of the Master are entered in the picture:

...all depends on the inner eye —
on the own profound vision:
on your standpoint upon the course of things
on the bell tower from which you sing your note
on the unison in which you recognize your roving essence...






 ... Many creators of both last and modern years take pseudonyms. However, as the internet says, the Free Russian Master does not need it. His surname is bright and valuable. It already includes his credo for creativity and creation. The appearance of the creator corresponds to his products: probably the Bulgakov's Master would look so in its creative blossoming when he was searching not for rest, but a storm. And Vasily defines himself first of all, as a poet and a writer (the twentieth anniversary of the creative activity of the Master was marked last year). He began writing pictures about three years ago, being, truly, the book man of nuts-and-bolts. With his twenty years of experience, he was the founder and the publisher of refined polygraphy. He has already written more than one hundred pictures. Within two years, more than fifty of them are in private and corporate collections. His style proceeds not from painting. At first, graphic poetry has appeared — the main opening of the life of the Master. This is special, calculated to the millimeter under laws of psychology of perception arrangement of poetic syntagms (semantic units). It is named "predicative poetry" by the author. Lines can stand in the end of the page, which are to be placed on a diagonal and a vertical, which are unexpectedly to be crossed among them. But it is not for its appearance and singularity, and in strictly certain places where they "lie down" quite harmoniously. First of all, it is corresponding to the sense, internal maintenance, and, perception of the reader. The main thing is the deepest respect of the reader and his private world. Therefore, graphic poetry is also named as "management poetry", which is capable to influence on the subconsciousness of a person. It is a genre which does not have analogs in the world's practice. Graphic poetry is used by clear interest at experts of elective technologies, teachers, and managers. Studio Premier SK, which was created by Vasily Smelyanskiy, together with the teleprompter Natalia Kozakova, has occupied an empty niche of elite advertising and imaging technologies in Chelyabinsk.





Virtual painting appeared as a visual version of graphic poetry.


First of all, virtual paintings by Vasily Smelyanskiy are amazing due to the scrupulous relation to details. Each stroke and dab is the results of long searches. It is necessary to say that the Master creates all his paintings in a non habitual way, because he uses a computer instead of painting with brushes, using it as a new kind of "palette knife" which do not have anything general with so-called "computer graphics". The computer graphics only show the possibilities of the clever programs without any attitude toward art. Vasily Smelyanskiy's virtual paintings cause amazement to the founders of these programs. They ask to prove to them that all these paintings were drawn on a computer, with the use of their programs, instead of scanning from painted images. Virtual images are transferred with the use of expensive technologies on special canvases with no more than five versions (that proves to be true of certificates). One of them remains in the property of the author.


In works of the Master, everyone sees those images that are prompted to him by his consciousness. You will not find detailed plots at Smelyanskiy. It is necessary to understand the concept of each picture by yourself. One person who does not have the gift of painting, but sharply feels its essence has responded about Smelyanskiy's virtual painting: "The secret of Chinese cuisine consists that you do not know what ingredients are cooked in the dish. However, it turns out to be gourmet. The technology and a plan remain a riddle here and the result is amazing".





It is necessary to notice that everything created by Vasily Smelyanskiy is an element of the monumental project Tetrageddon where the virtual painting is combined with graphic poetry.


However, let us return to a picture which perhaps became the trademark of the Master: Vladimir Putin's image. Let us consider what the author states:


"... Basically, I did not paint a portrait... I began creating a picture Russia 2000: The Robe of Power in June 1999. I meant 'the cover' and symbolical 'clothes' of Russian power, and there it was only on the picture. It was the generalized image of the impoverished and dilapidated country toiling from anarchy and ready 'to be given' to any who dared, for which it is generous on love and adoration power (it is still power!) which has truly prepared the Asian throne, and Vladimir Putin has just joined in a picture in this robe... In 1999, he just came up from being 'non-existent' and seriously was not perceived by anybody. I was unable to find a quality photo of him on the internet. So, I took from it his character. Actually, I do not paint portraits. I write pictures where people live as heroes, characters... Why did I choose Putin and not another political leader? I do not know. Putin was entered in robe only, and entered so strongly, in details...


Basically I did not set this as the purpose to foresee political events. To me as an artist, it is not as interesting."


"... first of all, regarding sympathy to the hero of the picture, you will not envy such an inheritance. To you, it is not America packed into cellophane charm with Texas' white teeth shining. There are both a rood and a drudgery in Russia ..."


"... The first version of Russia 2000: The Robe of Power is at one of the heads of secret services of Russia. All the rights to the other three versions belong to the party Edinstvo. One of them is presented to Peter Sumin, one was presented to someone from the central party leadership, and one is in office of the Chelyabinsk branch of party Edinstvo. Did he see the picture? They say that he saw it, and he liked it. It is fine then."


"... I pull out 'the root', the 'inner essence' of the character of a person, or the character of circumstances. I was interested in Putin as a person of circumstances. He is an emperor, and the emperor does not belong to himself. He belongs to circumstances..."


"... People say that I made people more beautiful... Certainly! Because I am interested in a person's inner world, his dramatic art, his life's vector instead of his wart, or third chin. After all, in life all of these trifles aren't appreciable, and are not perceived. The person is not static, but is more of a constant movement. Life is a gesture and mimicry. But the picture is static! So imagine: the national actor, a symbol of Russia, a legend and a drama, and a wart. It is incompatible. People see a wart and that is all! There is anything except a wart. Where is the philosophy here? Where there is a wart, there is no philosophy... It is the inner sight of people. Alas... That is why I draw the person as he has been conceived, if it is not so bad of a life... And there is enough ugliness in a person, besides any warts."


"... To a policy? It is indifferent enough. The power is an illness, which mankind has suffered since biblical times. It is our rood, our punishment for a choice of a technetronic way of development across to all ethical and moral standards, across the nature of life. On this way, the power and hierarchies are inevitable. On this, by the way, homo sapiens have already lost, as he has a false idea of himself as the 'big brother' of biospheres. With that, the prefix noo in the concept of noosphere, and the noosphere does not forgive such ambitions..."


"... Putin? I think Russia 2000: The Robe of Power will not be empty for a long time. The situation in Russia is similar to an epoch of Rome which is the beginning of a new era, at the beginning of board of the emperor Augustus. However, our 'emperor' has not learned to transform yet any miss into a victory. But it is a question of time! It is not his fault. Here is as in one of my advertising screenplays: the bear writes the letter: 'Dear mummy! I live well, all along.But if you knew, among what wild beasts I have to live!' Understand, the President lives and governs not somewhere in Sweden, but in Russia."


"... To talk about Russia in the twenty first century as a new empire? Russia survives, by definition of Gumilev L., as a Golden Autumn. Civil wars remained in the past. Arduously governed stability comes to change it. It is the blossoming of the arts and crafts that life is seen as 'material' which is led by the Majesty of the Inhabitant in the first place. The hysterical ideology of the previous period, called in the theory of ethnogenesis as a crisis phase, is replaced with the ideology of 'silent comfort', 'success without especial risk'. The imperial power can provide this ideology only. Again, remember Rome during the time of the emperor Augustus. And society in exchange for the magnificent Golden Autumn will give out any mandate of the Supreme power. It will shut eyes to any actions against an 'irrepressible' minority for majority's prosperity... And this is the time of the blossoming of Masters and technologies. Who else will provide life with the inflow of money, products, luxury without any risk? It is beginning now. Augustus, by the way, had been governing for more than thirty years and people called that period of his government as the golden epoch of the Roman empire.


It is all true that only in the case that if we 'have slipped' the crisis phase, and have remained with super ethnic integrity that the Russian superethnos can continue in the historical way. I have doubts here. Moreover, I am firmly convinced in the obverse. There is a birth and formation of a new superethnos from the splinters of the previous. There is a long and fascinating phase of passionate raise in case 'kind' neighbors will not bother us and we will not blunder. Two dear 'brothers', newborns - the Kazakh and Ukrainian superethnoses which simultaneously have shown themselves to the world have the same situation.


However, such statements of a question do not find the response and sympathy. It is clear: according to fact, they start to speak openly about such things only in 200 -300 years. Who will voluntary refuse from such an untwisted brand the Russian superethnos!?

Who will plead guilty with a strong mind and memory and say that he has been ridden off from the Russian superethnos? An evil deed place date will designate: on December, 8, 1991 in Belovezhskaya puscha. To whom it was pleasantly understood: that we are all 'not already that' and still 'goodness knows what', and our way is in gloom. Nobody knows whether it will be or not. Personally, I am sure that we 'will cope' as our ancestors always did: with an ardent whistling, artful squint, dazzling greatness ... But that will all be in the future. People want to live in the present...

I am probably the only person who has designated the core of what is going on with such clues and have called things by their proper names, wrote, and talked about them in broadcasting. The idea was generated definitively on New Year's Eve of the Millennium (since December, 31st in 1999 for January, 1st 2000). After Boris Yetlsin, who was the President of the Russian Federation, gave a speech regarding his resignation and delegation of power to Vladimir Putin, I got a firm confidence: 'the point of no return has passed and is becoming a 'reference point'. God grants to all Russians, the chance and possibility to be one. If, of course, we will not blunder ...

But who needs such an idea, and whether it is true? And therefore, to make it clear, let us forget what was told before, let the will of the Golden Autumn of the Russian superethnos be, let the will be magnificent, advantaged, and wise old age be ..."


"... No and No. Rigid imperial centralization, if it is 'clever', means that a rather sound independence and self-controllability separate 'khanates'. There was so in all 'clever' empires, as there is now. For example, the republic of Tatarstan has some areas in which governors have strong control over the power. And Southern Urals, eventually..."


"... Moscow? It is a big brothel. I say to you this as the Muscovite. I do not wish to live in Moscow and have not I for many years. However, I cannot persuade my parents to refuse from living there.


It is not about living, but only solving any questions about one's career. The air is necessary for life. Native air. All of my friends from my youth live abroad, and that is not a bad life, but it isn't interesting to me. I am the Russian Master. I haven't gone to Texas to give lectures. I will earn money here... And Moscow is not Russia. Russia begins behind 101 kilometers of the Moscow ring. And there is a spiritual province inside of this ring. That is why, after fifteen years of wandering the country, I have chosen the native land to myself in unison: the South Ural khanate. My son lives here, by the way. It is a wonderful place. It is the edge of Masters. The area has them in more than one square centimeter in Russia. These creators are the present property of the region.

Even in the economic plan of their ability, they can block the incomes of the semi-gone bankrupt factories and the exhausted bowels. It is clever to use of potential.

The whole regions live in the world at the expense of one-two Masters or their names. The whole industry works on it there, and here is the constellation with the classics, like the best graphic artist of the world Mishin.


Manufacturers of the Ural taken off their hats before Masters, built mansions for them, and considered it as honor to become related children. Because they understood to whom they are obliged by millions..."


"... I do not wish to be too serious. It is necessary to do everything thoroughly, but with a smile and self-irony, instead of temporal actions being in your best bib and tucker. It is best to be more cheerful and kind. In Russia, only the laughter and kindness allow to survive. Contrary to all".


On this emotional note my conversation with Free Russian Master Vasily Smelyanskiy has ended. Coming back to the publishing house, I thought that he is an amazing person: his speech expresses the way he does his art, which is not ordinary thinking, but it is inherent to people of art, who have pragmatic and exact vision of many things which have occurred but are hidden in our country. Probably, this distinctive feature, as well as an intuition from above, and a prediction of the future events, is characteristic for all Russian creators: artists, poets, writers. What really would be desirable is that "Golden Autumn" which Vasily Smelyanskiy spoke about, would become a new mark in the development of Russian culture.



For the first time, the article was published with insignificant reductions in the magazine The New Economic Policy № 1 (Chelyabinsk), February, 2001.

The article was accompanied by color strips with the reproduction of a painting is based on graphic poetry by Smelyanskiy. Russia 2000: The Robe of Power, and the self-portrait of Smelyanskiy are from a triptych which is called UDGE: Underneath the Debris of the Collapsed Empire.

The picture by Smelyanskiy CITY: And now I'm watching the city has been placed on the magazine's cover.

On a separate strip, there are quotes from Smelyanskiy's poem SOME CONSIDERATIONS ON THE COURSE OF THINGS AND LOVE

Since №1 of 2001, the magazine The New Economic Policy has started with a new design. The concept and original model was developed by Smelyanskiy. 


Photos under order
LLC Kulturnoe Nasledie and LLC Rig Persona®

lexander SOKOLOV



The material has been created on the ground of the interview



Retouched photos by


English translation
under order of
 IE Smelyanskiy V.Y. 



 © the Text, Leontieva N., Smelyanskiy V., 2001
© Poems, pictures, Smelyanskiy V., 1999—2010
© Photos, LLC Rig Persona®, 2005—2009


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