слово

As can be seen from the planned events and from the very agenda of the current scientific session, the importance attached to the anniversary year in honor of the 700th anniversary of the Boyana frescoes is great, and this is completely understandable. Like all the planned events, the scientific session with its rich and important agenda poses a number of extremely complex and extremely timely questions to all of us. This will be seen from the very content of the reports. Here I will allow myself to dwell a few words on the significance of our session and in general on the anniversary celebration of the 700th anniversary of the Boyana frescoes. The entire celebration and especially the scientific session have the task of clarifying some issues of general ideological and political importance. These include, first of all, the question of our past and present attitude towards the Byzantine cultural heritage and, in particular, towards Byzantine art from the time before and after the Boyana frescoes. Two essential mistakes can be made here - one of a cosmopolitan and national-nihilistic nature, the other of a nationalistic-chauvinistic nature. There have been, and still are, historians, archaeologists, art critics who claim that the Boyana frescoes and our painting of that time in general had an essentially Byzantine character, developed along the path along which the art of the Byzantine Empire of that time developed. Insofar as some of these authors are forced to speak of a certain originality, originality, specific national character of our art, and in particular of the Boyana frescoes, they still do this as additional reservations. In this way, they essentially underestimate everything that our people and artists have brought to the common treasury of the then and later fine art and of the then and later culture in general. No matter how such views are motivated, no matter what evidence is sought in their defense, the fact remains that they essentially mean a denial and underestimation of the creative originality and value of our native art, and in particular the Boyana frescoes. From the content of almost all the reports, as well as from the film that we will see, we will have the opportunity to convince ourselves that such a view is incorrect and cannot be accepted as a guiding methodological principle in our further historical and specifically aesthetic research and assessments of our native artistic heritage, and in particular the Boyana frescoes.

Comrades, At our current meeting in honor of the 50th anniversary of the Union of Bulgarian Writers, we started an argument with the Chairman of the Committee on Culture and Art, Dr. Petar Vutov. I asked him to give me the floor later, so that I could prepare accordingly and get into tune, so to speak. But he told me: "It is not possible, Comrade Zhivkov, because the Chairman of the Union of Bulgarian Writers, Dr. Kamen Kalchev, will also speak, and other comrades will speak, and there will also be a literary program." It seems, as I understood from Dr. Vutov's information, that today's meeting will be more difficult than your solemn meeting last night. (Merry cheering. Applause). The second issue of our argument with Dr. Vutov concerns whether I should just raise a toast or deliver a speech. I do not know why Dr. Vutov, by giving me the floor, limits me and suggests that I raise a toast. I could not imagine how you, the writers, would exist if you did not write, and how we, the political and state figures, would exist if we did not deliver speeches. After all, that is how we earn our living. (Merry cheering. Applause). Dear writers, Dear comrades, Distinguished guests, I am fulfilling a pleasant assignment from the Central Committee of the Bulgarian Communist Party, the people's government and my comrades - members of the Politburo and secretaries of the Central Committee of the party, who are present at this meeting. I greet you most cordially, warmly fatherly - I mean the party, friendly - I mean our comradeship and ties, on the occasion of the glorious 50th anniversary of the Union of Bulgarian Writers. (Prolonged applause).

So far, in our scientific literature, the Praise of Metropolitan Cyprian of Kiev and later of All Russia (1376-1406) by his younger contemporary and relative, Grigory Tsamblak of Tarnovo, has not been subjected to a more thorough literary analysis. However, all researchers who have dealt with it to one degree or another note that this work of Tsamblak is one of the very interesting works of our old literature. For example, Bonyu St. Angelov, who recently reprinted the Word, points out that he is doing this because, in his opinion, Tsamblak's glorification of Cyprian possesses "great literary and historical value." Professor Peter Dinekov, making a general assessment of the Word, finds that it - like the rest of Tsamblak's works - is a vivid manifesto of his great literary talent, especially as regards the depiction of mass scenes; One such moment is the welcoming of Cyprian in Tarnovo in 1379. In describing this holiday for the people of Tarnovo, Tsamblak managed to convey the excitement of the crowd (and) to color his story emotionally.

Every time I think of the great artist, the silhouettes of his numerous heroes are clearly outlined in my mind. And along with them, the image of the unforgettable Beshkov is resurrected. I don’t know why, but his translucent, sinewy and long, very long fingers are most clearly outlined. I met such graceful and flexible fingers, strong and mobile fingers for the first time in Iliya Beshkov. There was something noble and refined in them, gallant and gentle, exceptional and powerful. These fingers played with equal skill on the round holes of his countless whistles, duduks, dvoyanki and tsafari, which he took out of the inside pocket of his jacket. With them he held the remarkable blade of the pen, which knew no rest. With them he drummed on tambourines, drums and random objects and, when it got boring, he replaced the drum. These fingers have long held the pencil with which he wrote his original essays about the Equal-to-the-Apostles Cyril and Methodius or about the folk song, about Paisius of Hilendar or about the deacon Levski, about the God-fighter Hristo Botev or about the fiery prophet "Georgi Dimitrov", about Stamboliyski or Kolarov, about the duel Aleko - Bai Ganyo or about his numerous friends - Nikola Marinov, Ivan Milev, Pencho Georgiev, Konstantin Petkanov, Alexander Bozhinov, Ruska Marinova, Alexander Stamenov and many others... Beshkov has written down many of his ideas about art, maxims about life, aphorisms about human existence, his "jokes", which contain so much wisdom, sorrow and pride.