The stones that do not remain silent.

At the very beginning of the saga "Blade of the Razor," the outstanding author Ivan Efremov describes an exciting event that took place in Petrograd in 1916 – an exhibition by the famous artist and jeweler, a master of Ural gemstones, Alexei Kozmich Denisov-Uralsky. In his words, he depicts the atmosphere that reigned in the cloakroom, where servants hurriedly moved aside to make way for charming ladies clad in luxurious dresses. A light trace of French perfume filled the air, creating a sense that the exhibition had achieved significant success. The newspapers "Rech" and "Petrogradskye Vedomosti" highly praised this "patriotic art," and visiting the exhibition became not just fashionable but mandatory for those in the know about the capital's life. Each room was decorated with glass display cases showcasing exquisite sculptural groups meticulously carved from high-quality Ural gemstones. The reflections of these stones effortlessly created a unique glow, independent of the whims of time and the darkness of the surrounding world... The astonishing mastery of the stone carver evoked unwavering admiration, no less than the rarity of the stones from which these figurines were made. Miniatures became symbolic projections of the warring sides – both the allies and opponents of Russia in the context of World War I. A polar bear, sculpted from moonstone, carefully guarded a tricolor banner made of lapis lazuli, red jasper, and marble. Two pigs with faces carved from rhodonite represented Emperor Franz Joseph of Austria-Hungary and the Turkish Sultan Abdul Hamid, pulling behind them...Here is the translated text: "And the sparrow made of black sherl, with the mustache of Kaiser Wilhelm II. In this delightful row stood out the golden-yellow British lion and the elegant figure of a girl representing France. The state Russian eagle made of mountain crystal, framed in gold and adorned with large emeralds instead of eyes, completed this magnificent ensemble. And Kozma Kryuchkov, depicted with spears striking the Germans, became an especially vivid finale for this collection, as if the writer himself captured them in his narrative. These sculptures truly represent not just a product of Efremov's creative imagination. The inspiration for the creation of these works is drawn from real life – they are genuine works by A.K. Denisov-Ural'skiy, which the writer masterfully described, connecting historical truth with artistic fiction. Twelve masterpieces from the series 'Warring Powers' and other works by this magnificent stone artist have been carefully preserved in the Perm State Art Gallery since 1932. At the recent exhibition in Brussels, held as part of the 'Europalia' festival, a unique perspective on this collection was presented to the public, which took place under the patronage of the President of Russia, Vladimir Putin, and King of Belgium, Albert II, in 2005. For the first time, all of Denisov-Ural's works from the Perm museum were published in the exhibition catalog, supporting the study of the stone carving art of this famous master. Alexey Kozmich Denisov (pseudonym – Ural'skiy) was born in 1864 in Yekaterinburg. His pseudonym speaks for itself – he came from a family of Ural masters and domestic artisans. According to the recollections of N.N. Serebryannikov..."The director of the Perm Art Gallery, the father of the artist, who worked in stone carving, was a man of modest means, forced to provide for a large family. Following family traditions, Alexei Kozymich established himself as a master of relief art, actively participating in exhibitions both in the country and internationally. His works were presented in Moscow in 1882, then in Yekaterinburg in 1887, and in Kazan in 1890. In 1888, at an exhibition in Copenhagen, he was awarded a Diploma from the Scandinavian Exhibition, and in Paris in 1889 and 1895, he received a Honorable Mention and an Honorable Diploma for his decorative works and for organizing a crafts department. The master, with a passionate devotion to his native Ural region, created mineralogical compositions that were so familiar to the area and worked in the unique genre of relief icons, where painting intertwined with stone work. According to Serebryannikov, Denisov-Uralsky found great support in his friendship with the well-known writer D.N. Mamin-Sibiryak, who advised him to continue his education. The master managed to spend three years at the Drawing School of the Society for the Encouragement of the Arts in St. Petersburg, after which he actively painted landscapes of his homeland, admiring the enchanting natural colors of the Ural region. Returning to Yekaterinburg in 1896, Alexei Kozymich became an active participant in the Society of Lovers of Fine Arts, which was just starting its activities. "He regularly attended their cultural evenings, which were held once a week, where he demonstrated his artistic skills—drawing cheerful caricatures, creating quick sketches, and sharing fascinating stories from his travels across the Urals." Denisov also took on the organization of art exhibitions within the Society and actively managed its artistic department. The first such exhibition took place in 1896, and in the following years, similar events were held in the halls of the Noble Assembly, gathering more and more people. The master himself engaged in arranging the displays.exhibits, interacting with visitors and providing explanations. “In Yekaterinburg, everyone knew him: from the elders to the children — his bright and colorful figure could not go unnoticed.” Alexey Kozymich traveled extensively across the Urals, creating landscapes in oil and watercolor, making sketches with pen and pencil, and practicing stone carving. He collected minerals and had an impressive collection. In his small house on Pokrovsky Avenue, he organized a studio that occupied half of this cozy wooden structure. As noted by Serebryannikov, the setting was modest but tastefully decorated. “Kuzymich was in full bloom, radiating talent and energy. Tall and of attractive build, he was always neatly dressed, with a black beard and a luxuriant mane of curly hair — this is how his contemporaries remembered him between 1896 and 1902.” The images of Denisov with his “forever disheveled mane” and “scraggly beard,” which shaped his Old Believer appearance, were successfully conveyed in Efremov's works. A personal exhibition entitled “The Urals in Painting,” organized by Alexey Kozymich at the end of 1901, was moved to Perm and received great interest. After the successful completion of the exhibition, he decided to conquer the capital — St. Petersburg. He succeeded: the exhibition garnered numerous reviews, and magazines such as “Niva” and “Art Review” published reproductions of his works. Patrons began to invest in his creativity. As a result, he was awarded the Gold Medal at the exhibition in Reims in 1903 and the Grand Silver Medal at the 1904 exhibition in St. Louis for the painting “Forest Fire.” Sensing his success, Alexey Kozymich decided to stay in St. Petersburg, and according to Serebryannikov, “he gave up his palette, replacing it with the role of a merchant.”Here is the translated text: "Initially involved with Ural gems, and later—an official of the craft committee of the Ministry of Agriculture." In 1912, he initiated the creation of a society aimed at supporting and developing the craft and grinding industry called "Russian Gems," among the founders of which was merchant of the 1st guild Karl Fyodorovich Verfel, the owner of a factory that later became part of the famous Fabergé firm. Denisov played a significant role in this endeavor, constantly inspiring others with his example and passion for art. Alexei Kozmich Denisov-Ural's shop, as recalled by N.N. Serebryannikov, was distinguished by good commerce, allowing him to provide for all his needs. Ivan Efremov described him succinctly in his novel as "a stingy merchant." In 1911, Denisov held his second personal exhibition in St. Petersburg under the bright title "The Urals and Its Riches," where a variety of exhibits were presented, including even furniture decorated with precious stones. In its early days, his shop was located on the Moika River at number 42, and later moved to Marine Street, number 27. In later accounts from the "Mining Industry Agency for the Distribution of Mineral Resources of Russia A.K. Denisov (Uralsgai) and Co.," one could find a wide assortment including minerals, mineralogical collections, Ural colored stones, as well as "original jewelry creations" made from jasper and malachite. Animal figurines created by Denisov-Ural enjoyed such popularity that they occasionally became significant diplomatic gifts. In 1909, nine figurines made from various stones were purchased from his shop, with a total cost of 330 rubles. Among them were a rhinoceros made of jadeite, a squirrel made of quartzite, an elephant made of obsidian, as well as a frog and a hare made of jadeite, and an owl and a dog made of rock crystal. These amazing works of art were given to representatives of the embassy sent to Beijing to participate in the burial of the deceased bogdikhana, and were presented to the young heir."Here is the translated text into English: "In addition, there was the regent who governed China. Denisov-Ural's relationship with the imperial court was friendly, especially after the triumphant success of his exhibition 'The Urals and Its Treasures' in 1911, when he gifted a collection of Ural stones to the heir apparent, the Tsarevich. The colossal success did not leave high-ranking figures indifferent. For instance, Grand Duchess Maria Pavlovna the Elder purchased a number of items from Denisov on orders dated February 16, 1917, including expensive icons of Saint George the Victorious and the Mother of God for 125 and 150 rubles, as well as two enamel medallions and charming ducklings made from rock crystal. In 1907, the Dowager Empress Maria Feodorovna bought stone figurines of elephants from Denisov-Ural, one made from pink stone costing 65 rubles, and the other from white stone costing 25 rubles. Denisov's workshop not only created sculptures from a single material but also animal figures made using the technique of three-dimensional mosaic. An amazing piece was crafted for the Empress: a stone parrot assembled from ten types of Ural and Siberian stones. The Mineralogical Museum 'Ural Gemstones' holds a large figure of a parrot on a rock, as well as two delicate sculptures—of a penguin and a guineafowl—made from various types of stone. These creations stand out with their matte, slightly rough surface, unlike the products of the Fabergé firm, which are known for their glossy polish and incomparable shine. The art of Alexey Kozmich Denisov-Ural amazes with its magnificence and originality, and it is rightly considered unique. This is especially evident in his turkey figurine, which possesses exceptional character and detailed workmanship. Made in an original case embossed with the elite brand A. DENIS-SOFF-OURALSKY ST PETERSBOURG/MORSKAIA 27, this masterpiece adorns the collection of the Perm Art Gallery. The amazing combination of materials creates a striking plumage effect for the turkey."The granite combined with milky-white quartz for the tail, raspberry-colored orlet for the beard, obsidian for the eyes and beak, and an elegant bronze base for the feet. The extraordinarily matte texture of the figure conveys the richness and grandeur of this important, decorative bird. The exhibition "The Glorious Era of Fabergé," held in 1992 in the Catherine Palace of Tsarskoye Selo, even reflected this figurine as a symbol of Romania. However, considering the brief period during which Romania was an ally of Russia in World War I, such an interpretation seems strange. Nevertheless, the figurine does not have a pedestal that would serve as an integral part of other "portraits" of the participating countries typical of that period. In the collection of the "Ural Gems" museum, one can also find nonsensical items related to World War I events. For example, the comical image of a pig made of rhodonite peering out from a roughly carved quartz radish is a subtle hint at Germany. Or, there is a cork in the form of a lapis lazuli ram's head confidently wearing a red Turkish fez, which leaves no doubt about its function and context. Considering the legacy of Denisov-Ural, his rare and unusual works, which are difficult to classify, stand out brightly. In the collection of the Mineralogical Museum, one can encounter a whimsical figurine of a little man with an egg-shaped body made from rhodonite. His protruding feet and bald head with ears, adorned with sparkling green demantoid eyes, are eye-catching. The master's genuine passion for extravagant characters and metamorphosis is subtly traced in his work.Certainly! Here’s the translation of the provided text into English: --- In terms of artistic quality, one can recall the pig-radish, the pig-fish, or the serpent styled after Kaiser Wilhelm II, and even the louse with the face of Bulgarian Tsar Ferdinand I. However, the little "egg" man clearly does not fit into this political satire. Rather, it aligns with the images of Humpty Dumpty—a character from Lewis Carroll’s “Through the Looking-Glass.” The theme of metamorphosis, where an egg turns into a little man, harmonizes perfectly with the thoughts of Denisov-Uralets. Interestingly, the famous stone-carving factory of Karl Fabergé also created characters inspired by “Through the Looking-Glass,” which have been preserved in the Thai royal family. These figures, based on the illustrations by John Tenniel, resemble similar works by Denisov-Uralets. We are presented with the possibility that Denisov-Uralets, either following in the footsteps of or parallel to Fabergé, was creating his own interpretations of the characters from the famous fairy tale; only further research will shed light on the true origins of this mysterious figurine from the collection of the Mineralogical Museum. The master’s desire to align fantastical images with reality, to imprint them with his unique style, creates an exciting atmosphere of discoveries and surprises. Each work becomes a living testament to his creative energy and deep understanding of the world, where art and fantasy intertwine, giving birth to unparalleled masterpieces. **Alexey Kozmich Denisov-Uralets**, along with other distinguished masters of his time, such as **Prokopy Ovchinnikov** and the famous **Karl Fabergé**, also belonged to the circle of suppliers of stone-carving products for the renowned firm Cartier. However, instances where the settings for his stone masterpieces did not meet the artist's high standards caused disappointment in the fashion capital. For example, Nedelchoffer mentions an unsuccessful silver setting for an inkstand, which the client deemed "ugly" and was removed only after long and arduous negotiations. (According to: T.F. Fabergé, A.S. Gorynya, V.V. Skurlov. p. 607). This misunderstanding... --- Let me know if you need any further assistance!The text indicates that the level of execution of jewelry settings did not always match the uniqueness of the stone works produced by the master; thus, Denisov decided to involve other specialists in his collaborations. In particular, among them were jeweler F. Afanasyev and sculptor G. Malyshev, who worked for Fabergé, as well as an acoustic collective of jewelers advertised as a team of "the best masters" under the well-known jeweler's direction. The workshop of the collective was located at two addresses (Ekaterininsky Canal, No. 41, Apt. 22 and Kazanskaya Street, No. 18, Apt. 22), and accepted orders for a variety of artistic products: jewelry, embossed items, and enameling works. Among the objects that Denisov bequeathed to his home city of Yekaterinburg, some of which later found their way to the Mineralogical Museum "Ural Gemstones," there is a luxurious pendant made from a huge beryl in a platinum setting created at the 8th collective, as well as many stone egg keychains with golden loops bearing the master's hallmark, Afanasyev. Denisov's workshops also produced wonderful stone egg keychains in the form of cute birds with tucked-in feet and holes for attaching golden loops, similar to those later crafted by distinguished masters of the Fabergé firm. A striking example is the bird egg with a golden loop, which is kept in the “Connection of Times” fund established by Russian entrepreneur V. Vekselberg (formerly the Forbes collection). Pyanovsky, who completed his studies at the Imperial Stroganov Central Artistic School in 1905, was one of the masters who created stylish frames for the masterpieces of Denisov-Ural. Holding positions as a teacher and curator at the school, he also managed his own artistic workshop, where a variety of items were produced. On the whimsical frame of a large figurine of an elephant made from Kalkan jade, which is now housed in the Mineralogical Museum "Ural Gemstones," you can see his stamp (L.A.P.). This work, featuring emerald eyes and tusks, is a magnificent example of exquisite artistry. Elephant matchbox holder. Collection of A.K. Denisov-Ural. Kalkan jade, emeralds, nephrite, silver, turquoise, pearls, tourmalines, jadeite. Stamps: workshop - "L.A.P."; Moscow District Assay Office trident - female head in a kokoshnik facing right, with a district cipher marked by the Greek letter "delta" and a hallmark "84"; identification mark - female head in a kokoshnik facing right, with a dot behind the neck, 6. Mineralogical Museum "Ural Gemstones." Photo frame. Collection of A.K. Denisov-Ural. Frame - Moscow, between 1908 and 1917. Workshop of A.A. Pyanovsky. Rhodonite, amethysts, silver. Stamps: workshop - "L.A. Pyanovsky"; Moscow District Assay Office trident - female head in a kokoshnik facing right, with a district cipher marked by the Greek letter "delta" and a hallmark "84"; identification mark - female head in a kokoshnik facing right, with a dot behind the neck, 6. 14.3 x 7.6 cm. Mineralogical Museum "Ural Gemstones." Pyanovsky was known for his lavish designs, including a silver matchbox holder that captivated the imagination with its decoration of enamel, turquoise, pearls, tourmalines, and jadeite, creating an atmosphere of Eastern abundance. Among the animal figurines created by Russian artisansHere is the translation of the provided text into English: --- Among the jewelers, it is indeed the elephant from his collection that stands out with its rich decoration and magnificent combination of metal with precious accessories. The early 20th century became a time of active creative experimentation for Pianovsky, and he gained recognition thanks to his works in the Art Nouveau style. A vivid example is the lapis lazuli frame adorned with seahorses, stars, and beryls, as well as unique photo frames made from raspberry orletz, executed with special care and attention to detail. Pianovsky's name is also associated with the memories of Countess E. L. Kamarovskaya, who ordered gifts for the royal children while in Crimea. For the 16th birthday of Grand Duchess Olga Nikolaevna, she decided to make a gift — an artistic frame in the Russian style. According to her, Pianovsky created a true artistic value by decorating the frame with expensive Siberian stones. This frame brought not only joy to its recipient but also left vivid memories for those who witnessed the event. The countess recalls how, upon receiving the gift, the princess immediately inserted a portrait of her father, thereby creating an unforgettable symbol of family love and cultural tradition. From other testimonies, it becomes clear that Princess Eristova actively supported Pianovsky and recommended him as a talented artist. Her high evaluations and regular recommendations reflect a deep respect for his art. The princess is known for her aesthetic taste and had a rich collection of art objects, which adds an additional touch to Pianovsky's reputation and his works. Pianovsky actively worked in various styles, successfully combining tradition with an innovative approach. His creations were not forgotten and continued to remain relevant even in the harsh conditions of the war that had begun. Each element of his art, whether a photo frame or an interior item, expressed a lively interest in materials, texture, and form. The works created in his workshop still resonate as original, vibrant creations with significant aesthetics. ---with its remarkable value and the unique style of the master. The creativity of Alexei Kozmich Denisov-Ural'skiy represents a symbiosis of outstanding traditions in stone-cutting art and an individual approach that places him on par with such masters as Carl Fabergé, Leonid Pyanovskiy, and other famous jewelers of that time. His works are infused with the spirit of Russian folk art and reflect the unique features of life and everyday existence in Russia during the late 19th to early 20th century. Like Fabergé, Denisov created a whole gallery of figures that embodied images from the expanses of Russian land: peasants, Cossacks, soldiers, and these characters successfully attracted the attention of both the upper society and the imperial family. For instance, among the collection of the Mineralogical Museum named after Academician A.E. Fersman of the Russian Academy of Sciences in Moscow, one of the outstanding works is the sculpture of an elderly soldier made of Kalkan jasper. This detail conveys a deep connection to the people; the figure, trying to light a cigarette, reflects everyday life. The artwork is notable for its richness of texture and color, creating the effect of a worn tunic and instilling a sense of life. In contrast, although the work is less decorative, it is permeated with sincerity and a practical attachment to reality. The meticulous detailing, from the two-headed eagle on the belted waist to the cockade with the colors of the flag, invites one to see in this symbolic image something more than just a mere toy. The chief master of the F.P. Birbaum firm highlighted this work among others in his enthusiastic reviews, noting that "The Reserve Soldier" was created after a model by the talented sculptor Grigory Savitsky. The talented hands captured in this piece the spirit of the time and served as a unique bridge between art and the reality of wartime. Having experienced a fragment of human life, Denisov-Ural'skiy continued to create masterpieces that could compete with the peaks of jewelry art of the era. To understand the uniqueness of his talent, one must...Here's the translation of the provided text into English: "It is worth remembering the works of Afanasyev and Malyshev, which also found their harmony in stone. This artistic unity allowed for depth and expressiveness not only in individual pieces but in all Russian stone-carving art as a whole. Each figure created in Denisov's workshop is not just an object but a message from the past. This is not merely a product of skilled hands — it is a sincere reflection of life, a love for the motherland, and respect for national traditions. Denisov's art excellently illustrates how broad segments of society, including the royal family, found inspiration and joy in simple yet profound images capable of telling about the culture of their country through the prism of tiny stone sculptures. The gemstones, with their diversity and rich hues, became the ideal material for creating "portrait figures" since they allowed for a delicate expression of artistic ideas. The artists of the Fabergé firm understood and valued the uniqueness of the stone's pattern, skillfully drawing artistic concepts from them and combining them with the properties of the materials. Masterfully wielding the "complex Ural alphabet," Denisov-Uralets confidently competed with Fabergé in creating such masterpieces. His work "Russian Soldier," now held in the Perm State Art Gallery, is radically different from the figures presented by Fabergé. Fabergé depicted his soldier in summer uniform, whereas Denisov-Uralets chose a winter appearance, featuring a fur hat adorned with a cockade in the colors of the Russian flag and a greatcoat with buttons on the epaulets. Denisov uses gemstones virtuously for all the accessories, avoiding the use of metal."The text describes a comparison between two sculptural works, one by the artist Denisov and the other by Fabergé. It highlights the different moods and emotional expressions of the figures represented in these sculptures, linked to the distinct historical contexts in which the artists worked. Here is the English translation: The figure created by the mobilized fighter allows for relaxation, taking a break for a smoke, while Denisov's hero is a brave infantryman, marching determinedly with a rifle on his shoulder, his face reading the resolve to defend his homeland. While Fabergé's soldier bows his head, thereby hiding his emotions, Denisov's figure is full of patriotic spirit and confidence. Moreover, Fabergé's character evokes a minor, even oppressed feeling, while Denisov’s creation truly conveys will and pride. The reason for the differences in the moods of these works is not only the style of the masters but also the dramatic circumstances surrounding Fabergé during World War I. The jeweler was troubled by the state of affairs in his country and his firm; many of his employees were called to the front, and the production processes were directed toward meeting wartime needs. Fabergé’s personal tragedy, involving his close friend Princess Ioanna-Amalia Tsitsianova, who was accused of espionage and exiled under police supervision to Yakutsk, only exacerbated his emotional state. In one of his letters, he shared his concerns: "Everything is sad; only a few friends from the remnants of the old circle occasionally visit me, all the others are in exile or captivity." In this context, Fabergé’s works reflect his inner struggle, while Denisov-Ural's figures are made from a patriotic impulse, expressing bright, proud hope. What unites these two creative achievements—works of art—is the lifelike quality of the images, the precise choice of precious stones, and the highest quality of stone cutting. The brave soldier by Denisov-Ural, first mentioned by his biographer, Professor...The text, originally in Russian, translates to: "Though not included in his main works, B. Pavlovsky inspired the writer Yefremov to create the vivid image of Kozma Kryuchkov, whose weapon is adorned with the famous picket. The brilliant work of Denisov-Ural'sky, in which all the contradictions and passions of that time are reflected, intertwines uniquely with what Carl Fabergé showcased. In his twelve sculptures representing the participating countries of World War I (1914-1918), the master depicted not only allegorical figures but also political realities expressed in symbolic images. Here we see Marianne, embodying France, created based on models by Georgy Malyshev—a talented specialist who worked under Fabergé. Germany is represented as a caricatured portrait of Wilhelm II, sitting on a pig, which leaves no doubt about the author’s irony. Friends and opponents of Russia in this theater of allegories are presented through tightly interwoven images. Allies such as Serbia and Montenegro are charmingly depicted as a brave hedgehog and a mountain eagle. Italy is represented by the Capitoline Wolf, referencing ancient Roman symbols. Here too is the gloomy sea lion of Great Britain, holding a fantastic fish with the head of a German pig in its mouth, looking as powerful as the falcon of Japan, elegantly perched on a severed knight's arm. Every detail carries significant meaning and emphasizes the fidelity of the narrative. At the exhibition described by Yefremov, only the 'slender figure of the girl—France', made from carefully selected amazonite and jasper, retains the most accurate representation of reality. Meanwhile, the images of Russia's opponents, constructed on caricatured features, reflect the worst traits that can be..."Here’s the translation of the text into English: "You can find: a gray warty toad in a red fez with bulging eyes, or a scratching monkey on the Austro-Hungarian Empire's trough— all of this creates ominous additional associations. Perhaps the most memorable is the disgusting louse with a portrait of Bulgarian Tsar Ferdinand I. It clings like a vampire to the blood vessel of a burning Slavic heart, highlighting the contradictions and cowardice of Vladimir Coburg. The king, who betrayed his country after years of fighting for its ideals, was summoned for judgment by Denisov-Uralsky, and his portrayal was undoubtedly disheartening. Unfortunately, what was intended as the central element of the entire series—a figure of Russia, initially envisioned as a powerful, expressive "balancing bear"—has not survived. This intensifies the feeling of loss, especially when recalling the moonstone bear described by Efremov on previous pages. Its image evokes strong feelings and passion. Furthermore, do not forget the figurine of a white marble angel, who, with a palm branch in hand, tramples on shells and a serpent with the head of Kaiser Wilhelm II. Each detail, each gesture of these figures carries the spirit of the time and reflects the internal experiences of the people faced with the horrors of war. The sculptures are set on rounded snowy white targets with picturesque coats of arms or symbols of the countries. Each piece stands on magnificent stone pedestals, which in some cases reflect the habitats of animals and birds in a picturesque manner. For example, one of the pedestals depicts an odd rock with a unique emerald, on top of which a majestic black eagle sits."Here is the translation of the provided text into English: "was a symbol of Montenegro. In another case, the ice floe made of crystal immortalizes the image of Great Britain—the mistress of the seas, gracefully soaring above the waves. However, a completely different artistic solution is observed in the pedestal supporting the figure of Marianne, Kaiser Wilhelm, or the Capitoline Wolf, executed in a strict, antique style, on a marble pedestal where the marble slabs combine in a stark contrast of gray and white. Kaiser Wilhelm, in this case, is presented on an architectural stepped pedestal, where he selfishly climbed, leaving disgusting bloody traces on the snow-white slabs. In his theatrical manner, proudly posing with his hands on his hips, he twirls his impressive mustache, presenting himself as a symbol of global domination and loudly proclaiming the slogan "Germany Above All," inscribed on a pig reaching for him from behind. His path to the top is littered with black grave crosses and skulls, effectively spelling out his name from the remains of the dead. The contrast of large geometric planes of black and white stone creates a powerful impression, forming clear shapes—segments of circles and rectangles—which emphasize the expressive rigidity and decorative quality of this work. The elegant geometry of the pedestal undoubtedly connects Denisov-Ural's works with the French art deco style, which became a notable phenomenon in the 1920s thanks to the collaboration between the Ural master and the Cartier company, positively influencing the art of stone cutting in Europe. Among all the pedestals, there stands something truly unique—the scarlet "heart of the Slavs," a grotesque figure of the King of Bulgaria, made of porphyry. This magnificent material, used by the Fabergé company to create imperial Easter eggs, still fascinates with its incredible beauty and depth of color, reminiscent of bull’s blood. The same porphyry is present in the state shield—the pedestal of the egg "Three Hundred Years of the House of Romanov," displayed in the Moscow Museums."the Kremlin. However, magnificent, intricately crafted pieces of purpurin, such as Denissov-Ural’s "Slavic Heart," are unlikely to be found among the legacy of the esteemed Fabergé workshop. The satirical portrayals of Wilhelm II, infused with bubbling grotesque and truly popular, folk humor, reflected the sentiments of broad layers of Russian society against the backdrop of World War I. It is interesting to note that before the conflict began, there was no particular antipathy between the Kaiser and the Tsar, although anti-German sentiments were palpable in the ruling circles. In particular, the Dowager Empress Maria Feodorovna expressed her dislike solely towards Prussia and the House of Hohenzollern, whereas Alexandra Feodorovna maintained a more lenient view on the matter. Nicholas II, for his part, sincerely sought to establish friendly relations with Berlin and his "dear Willy." However, with the onset of war, everything changed. Crowds collectively shouted "hurrah," and what was happening was perceived as a "people's war." Nevertheless, Grand Duke Alexander Mikhailovich observed with puzzlement that "in what circles our peasants have started to hate the Germans, whom they had always respected," and why intellectuals suddenly shifted from pacifist views to hostility towards everything German—from Wagner’s operas to Wiener schnitzels. There were also street excesses: the German Embassy building in St. Petersburg was vandalized, which the Ministry of Foreign Affairs described as "a horrifying and regrettable event." The German population in Russia came under suspicion, and a real hunt for German surnames began, creating a paranoid atmosphere where many were scrutinized for political reliability. Thus, in 1915, at the request of the head of the Palace Police, Agafon Karlovich Fabergé—a hereditary honorary citizen and associate of the renowned jeweler, who had access to the royal family—was subjected to investigation. Ultimately, nothing unfavorable was found, and Agafon’s connections to the palace continued. The outbreak of war...completely changed the public mindset, giving rise to accusatory patriotic literature and propagandistic art, a vivid example of which are the stone caricatures of Denisov-Ural. The creations that question German authority intertwine humor, irony, and skepticism. In one of his works, the master raises the question of whether the scale and ambitions of Germany were artificially inflated. “Oh, wasn’t it you that Bismarck built?” — wonders the poet Igor Severyanin, taking on the role of a critic of German pretentiousness. He is not alone in his views; alongside him stands Fyodor Sollogub, predicting that “arrogant Berlin” will be defeated. In this context, it is worth mentioning A.K. Denisov-Ural, who created in the spirit of folk art, crafting an image of an angel of peace crushing a serpent with the face of the German emperor, symbolizing the predetermined success of the Russian troops. It is important to note the significant influence that magazine graphics and cartographic art of that time had on Denisov-Ural’s creations. His works, such as “Warring Powers,” represent a whimsical fusion of painted folk lubok, expressive political advertising, and refined Petersburg court art. This creation vividly showcased an innovative approach, as similar works in concept and scale had not been produced in Russian stone carving art. Denisov-Ural’s artistry rightfully occupies its niche in both artistic and historical contexts. His works reflect not only incredible skill but also deep thoughts about the time in which he lived. Each figure and every detail of his creations resonate with the events of that period and allow glimpses into the soul of a nation suffering from wars, yet possessing a subtle sense of humor and sarcasm. Denisov-Ural was unparalleled in his ability to use stone to convey emotions and create imagery. For example, his allegorical figures of allies and...The sculptures of Russia during World War I, each possessing individual characteristics, reflected the attitudes toward these states and their leaders. The abundance of symbols and metaphors in his works allows one to trace the non-linearity of historical time and feel the sentiments of society. In creating his pieces, Alexei Kozymich masterfully combined elements of folk culture and high art, giving his works a special expressiveness. By using traditional carving techniques and processing stones with unprecedented insight into their structure, he achieved an effect of the highest artistic significance, allowing for deep interaction with the viewer. The diversity of materials, the play of light and composition distinguish his works from those of other masters. Each figure, each sculpture has its own life and reflects the author's personal experience. The master combined different types of stones, creating exotic combinations that emphasized the uniqueness of each image and conveyed the semantic load of the corresponding allegory. The figure of the master organically fits into the historical fabric of his time, with vibrant and colorful characters emerging from the stone surface. Each piece highlights his skills and ability to recreate on stone not just a visual image, but also layers of emotions, events, and ideas.