ÎËÅà ÑÎÕÀÍÅÂÈ×

  
 

 

ÎËÅà ÑÎÕÀÍÅÂÈ×

ÆÈÂÎÏÈÑÅÖ - ÑÊÓËÜÏÒÎÐ.

ÐÎÄÈËÑß ÍÀ ÓÊÐÀÈÍÅ, Ó×ÈËÑß Â ÊÈÅÂÅ È ËÅÍÈÍÃÐÀÄÅ.

ÈÇ ÑÎÞÇÀ ÓÏËÛË ÍÀ ÍÀÄÓÂÍÎÉ ËÎÄÊÅ Â ÒÓÐÖÈÞ.

Ñ ÒÅÕ ÏÎÐ ÆÈÂÅÒ

 ÍÜÞ-ÉÎÐÊÅ.

 

 
  ß ãåíèé

                  äâàäöàòîãî âåêà

ß ÷åëîâåê

                      æåëåçíîé âîëè

ß ñîçäàþ øåäåâðû

                    êîòîðûå îáîáùàþò âñ¸.

 

 ìî¸ì

           òâîð÷åñòâå

                     îãðîìíûå

                                ìàøèíû

                                         è íåáîñêð¸áû

Ãóë

        ãîðîäîâ

                            è çàâîäîâ

Ãðîõîò

               ìåòàëëà

Ðàêåòû

               ëåòÿùèå

                                   ê çâ¸çäàì

Ìàëåíüêàÿ çåìëÿ

                             è áåñêîíå÷íûé

                                                        êîñìîñ

Êîòîðûé ðîæäàåò

                               è ïîãëîùàåò

                                                           ìèðû

Âñ¸ - 

           âî ìíå

ß -

       ãåíèé.

   

 ÃÎËÎÑ

               ÂÅÊÀ -

                           ÆÅËÅÇÍÛÉ

                                                   ËßÇÃ

                                                             ËÅÒ

ÃÎÐÎÄÎÂ

                    ÃÓË

ÌÛ -

          ÐÎÁÎÒÛ ÂÅÊÀ

 

ÌÎÇÃ

           ÌÀØÈÍ

                           ÑÒÀËÜ

                                         ÌÛØÖ

ÑËÛØÈÒ

                  ÌÈÐ

                           ÃÐÎÕÎÒ

                                          ÍÀØÈÕ

                                                         ØÀÃÎÂ

ÕÎËÎÄÍÛÅ

                   ÌÎÙÍÛÅ

                                   ÐÓÊÈ

                                           ÐÅÆÓÒ

                                                      ÏËÀÍÅÒÓ

ÈÄÓÒ

            ÐÎÁÎÒÛ

 

 

/Ïåðèîä "Ãèãàíòèçìà", Ëåíèíãðàä/

   
 
 

ÍÀÄ ÑÅÐÎÉ ÂÎÄÎÉ
                           ÂÑÒÀÅÒ ÓÃÐÞÌÎÅ ÑÎËÍÖÅ
- ÁÎÃÀ ÍÅËÀÑÊÎÂ ËÈÊ

ÓÑÒÀËÎ ßÐÈÒÜÑß ÌÎÐÅ -
                                           ÑÎÍËÈÂÎ È ÑÛÒÎ:
- ÌÍÎÃÎ ÑÈËÜÍÛÕ ÁÎÉÖÎÂ

  ÓØËÎ È Ê ÍÀÌ
                               ÍÅ ÂÅÐÍÅÒÑß -
- ÒÐÈ ÏÐÎÏÀËÎ ËÀÄÜÈ.

  ÍÎ ÌÛ -
                   ÅÙÅ ÆÈÂÛ, ÁÐÀÒÜß!

ÍÀÑ ÎÄÈÍ ÑÎÃÐÅÅÒ,

ÍÀÑ - ÌÍÎÃÎ, -
                              ÌÛ, ÄÀ ËÈÒÂÈÍÛ,

ÄÀÒ×ÀÍÅ -
                      ÂÑÅ Ñ ÒÅÌÈ, Ñ ÞÃÀ,

È ÏËÀÒÓ ÁÅÐÅÌ ÑÅÐÅÁÐÎÌ.
 

ÈÕ ÑÓÄÍÎ ÏÐÎ×ÍÅÉ
                                           È ÂÛØÅ,

ÓÊÐÛÒÎ ÙÈÒÀÌÈ,
                                     ÃÐÓÄÈ - ÁÐÎÍÅÉ;

ÌÛ -
          ÊÎÆÅÉ.

ÓÂÈÄÈÌ,
                  ÊÒÎ ÊÐÅÏ×Å ÁÓÄÅÒ
                                                          Â ÁÎÞ!

ÁÎÉ -
            ÁËÈÇÎÊ.

ÌÍÎÃÎ ÓÄÀÐÎÂ,

ÌÍÎÃÎ ÃÎÐß×ÅÉ ÊÐÎÂÈ
                                     ÏÐÎËÜÅÒÑß Ñ ÑÅÊÈÐ!
À ÊÎÃÄÀ ÌÛ ÄÎÌÎÉ
                                      ÂÅÐÍÅÌÑß,

ÂÅÐÍÅÌÑß ÍÀ ÇÅÌËÞ -
                                              Â ÑËÀÂÅ! -
- ÌÛ ÇÍÀÌß ÍÀØÅ ÓÊÐÀÑÈÌ

ÐÈÌÀ ÃÅÐÁÎÌ.

 

 

 

 

 

 
 

 ÃÈÃÀÍÒÑÊÎÉ ÂÑÏÛØÊÅ
                                               ÀÒÎÌÍÎÃÎ ÂÇÐÛÂÀ

ÐÀÑÒÂÎÐÈÒÑß ÌÎÅ ÂÅËÈÊÎËÅÏÍÎÅ
                                                                               ß.

ÈÑ×ÅÇÍÅÒ ÇÀÌÅ×ÀÒÅËÜÍÎÅ
                               ÏÐÎÈÇÂÅÄÅÍÈÅ ÏÐÈÐÎÄÛ,

ÏÐÅÂÐÀÒßÑÜ
                             Â ÝÍÅÐÃÈÞ ÇÂÅÇÄ.

ÌÎÉ ÌÎÙÍÛÉ ÄÓÕ
                                        ÍÅ ÌÎÆÅÒ ÓÌÅÐÅÒÜ,

ÎÍ ËÈØÜ ÓÒÐÀÒÈÒ
                             ÑÂÎÞ ÊÐÀÑÈÂÓÞ
                                                               ÎÁÎËÎ×ÊÓ.

ÏËÀÌß
               ÈÑÏÅÏÅËÈÂØÅÅ
                                                   ÂÑÞ ÏËÀÍÅÒÓ

- ÏÎÃÐÅÁÀËÜÍÛÉ ÊÎÑÒÅÐ
                                              ÄÎÑÒÎÉÍÛÉ ÌÅÍß.

 

Stress Sculpture has all the spirit of today - dynamism,
tension, struggle, destruction.
Its concept is revolutionary.
It has the power no art can match.
 

Here the metal is not merely a passive material, but it has

been given the opportunity to act its own organic way,

showing its great potential and creating the natural form.
 

Oleg Sohanievich

 

Îëåã Ñîõàíåâè÷ â Åãèïòå

Ôîòî Îëåãà Ñîõàíåâè÷à

 

 

ÍÀÑÒÓÏÈÒ ÍÀÇÍÀ×ÅÍÍÎÅ ÂÐÅÌß

ÂÐÅÌß ÍÅÎÒÂÐÀÒÈÌÎÉ ÃÈÁÅËÈ

ÑÎÄÐÎÃÍÓÂØÀßÑß ÇÅÌËß

ÇÀÕËÅÁÍÅÒÑß Â ÑÂÎÈÕ ÎÊÅÀÍÀÕ

ÏÎÄ ÑÂÅÒÎÌ ÄÂÓÕ ÑÎËÍÖ È ËÓÍ.
 

ÓÉÄÅÒ ËÞÄÑÊÎÉ ÐÎÄ

ÈÑÏÎËÍÈ ÏÐÅÄÍÀ×ÅÐÒÀÍÍÎÅ

ÎÒÌÅÒÈÂ ÑÂÎÉ ÏÓÒÜ

ÌÍÎÃÈÌÈ ÓÄÈÂÈÒÅËÜÍÛÌÈ ÄÅËÀÌÈ,
 

ÍÅÌÍÎÃÈÅ ÎÑÒÀÍÓÒÑß ÆÈÒÜ

×ÒÎÁÛ ÍÀ×ÀÒÜ ÑÍÎÂÀ

ÆÈÇÍÜ ×ÅËÎÂÅ×ÅÑÒÂÀ.

 
íàçàä
äàëüøå
 

Ïóáëèêóåòñÿ ïî èçäàíèþ:

Êîíñòàíòèí Ê. Êóçüìèíñêèé è Ãðèãîðèé Ë. Êîâàëåâ. "Àíòîëîãèÿ íîâåéøåé ðóññêîé ïîýçèè ó Ãîëóáîé ëàãóíû

â 5 òîìàõ"

THE BLUE LAGOON ANTOLOGY OF MODERN RUSSIAN POETRY by K.Kuzminsky & G.Kovalev.

Oriental Research Partners. Newtonville, Mass.

Ýëåêòðîííàÿ ïóáëèêàöèÿ: avk, 2005
 
  

ó

ÀÍÒÎËÎÃÈß ÍÎÂÅÉØÅÉ   ÐÓÑÑÊÎÉ ÏÎÝÇÈÈ

ÃÎËÓÁÎÉ

ËÀÃÓÍÛ

 
 

òîì 5-À 

 

ê ñîäåðæàíèþ

íà ïåðâóþ ñòðàíèöó

ãîñòåâàÿ êíèãà