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博格杰斯科•伊利亚•特罗菲莫维奇
1923 – 2010

博格杰斯科•伊利亚•特罗菲莫维奇 <br>1923 – 2010

博格杰斯科•伊利亚•特罗菲莫维奇
1923 – 2010

圣彼得堡, 俄罗斯

书法家,苏联人民艺术家,教授

Book magician

The mastership of Iliya Bogdesko, the People’s Artist of the USSR, has long been appreciated by the general public. His skillful design of Ion Kryanghe’s book “A purse with two coins” inspires the readers and conveys the feeling of gratitude to the artist who created vivid, funny and expressive national characters. He really “made the book”. Iliya Bogdesko designed it all: from the hard cover and text to the date line and price mark.

Profound knowledge of his Motherland’s traditions, historic beliefs of his people attract us and make us believe in this short educative fairy-tale about a little cock who got round a cruel landlord and helped his naïve master. It is a fairy-tale about the everlasting fight between good and evil.

The book typography is plain, exquisitely beautiful, perfectly artistic in all its nuances; it harmoniously fits the illustrations and decorative elements, it is easy for the readers (even in a miniature edition). Besides, the typography is based on the national semi-uncial font of the 16th-17th centuries and old Moldavian handwritten scripts. The work of Moldavian polygraphists is worth while mentioning in this context as well. The book is full of their love for the Motherland and pride for I. Kryanghe and I. Bogdesko, the foremost representatives of national culture. Moldavian polygraphists designed the book with high-quality reproductions, typography and cover. This issue of “The purse with two coins” is one of the best samples of Soviet book art in general. The 1st Degree Diploma the book was bestowed with in 1978 at the All-Union Book Art Contest proves it very well.

The first success came to Iliya Bogdesko, the graduate of the Leningrad Institute n.a. I. Repin, with his illustrations for Gogol’s “Sorochinsky Fair” which was immediately approved by numerous critics. One of them was quoted saying that “Bogdesko let a new fresh stream into the illustrative art”. It rarely happens that the graduate illustrations of a beginning artist were published without any further delay in 1952, it is even more surprising because it happened over 50 years ago.

As far as Bogdesko decided the illustrations for “Sorochinsky Fair” would be executed in a traditional narrative manner, he felt the need to study the historic and ethnographic material not by books but in famous Sorochintsy which was very well described by Gogol. Even if the artist’s design manner changed later, his manner of literary work interpretation was always the same. For instance, the edition of Pushkin’s “Gypsies” (1957) including only 18 illustrations is the book that made Bogdesko famous all over the Soviet Union. Only a few people know that it took him 4 years of painstaking work, psychological observations, several months spent in a traveling gypsy camping ground and about 1, 500 sketches drawn.

Bogdesko’s interest for national book traditions and folk craft and his long trips through Bessarabian villages brought to his mind an idea of designing handwritten books. Facsimile reprinting of such books would render the feeling of hand-made design and thus make the comprehension of classic books easier.

In 1962 the fairy-tale by Ion Kryanghe became one of the first books of its kind. The edition was a success. However, it was Bogdesko’s longing for perfection and beauty that made him return to this classic Moldavian book 15 years later and make a new different book design. The next handwritten book was a medieval folk ballad “Mioritsa” revised by Vassile Alexandri (1968). Bogdesko had worked on it for two years.

The Artist used to say: “I stylized the “Mioritsa” illustrations as a traditional Moldavian carpet: coloured flowers on a black background. I also got inspiration from late Moldavian icons which are plain and precise. However, it doesn’t imply I simply redisplayed them. I could feel free when my baggage of knowledge was as if easily packed in a rucksack behind my back and let me feel free… The font is handwritten, bicolour. If in “The purse with two coins” the colour served to separate the author’s words from the words of the characters, in “Mioritsa” the colour intensifies the expressiveness of the lyrics: the black is applied to describe the villainy, and the red describes pure thoughts, love for the country, fiancée and Mother.

Iliya Bogdesko continues designing handwritten books. After “Mioritsa” in 1970 he prepared the illustrations for one more folk ballad (revised by V. Alexandri again), “Kodryana”. The stylized handwritten font is applied in this book as well. Perfectly designed Bogdesko’s fonts won him glory. In his typography he combined artistic mastership and profound knowledge of national book art. Among the advantages of Bogdesko’s typography is his innovation of antiquity. The influence of his typographic experiments on the Moldavian culture of book design cannot be overestimated: a lot of Moldavian artists apply and vary the font. I wish this newly designed typography would become the type-setting font. However, this would take a lot of effort. Perhaps, fellow artists would help Iliya Bogdesko to create the type-setting font named after the author?

Iliya Bogdesko is constantly searching for something new. The drawing technique he used earlier doesn’t satisfy him anymore. In 1976 he executed the illustrations for The Praise of Folly by Erasmus of Rotterdam in his usual technique, and now he is working on a new sequence of illustrations for the book, applying the engraving with a copper technique.

“Compare the engravings and pen drawings in a book and you will immediately notice the advantages of the copperplate print. The same illustrations acquire new properties…I would compare it to the difference between the music you hear in the concert hall and recorded music…” says Bogdesko.

One of the books Bogdesko is proud of is Gulliver’s Travels by Swift (1980). It was published in two issues. One of them, a rare book executed in a labour-consuming engraving with a metal technique, was published in only 60 copies. The second one, a popular edition, with off-set illustrations was bestowed with the Ivan Fedorov Diploma at the All-Union Book Art Contest in 1980.

Every new book created by Bogdesko, proves his artistic motto: “Always in my manner but different every other time”.

K. Burov,
Book designer
The Book Magician, notes of the art editor
about I. Bogdesko

作者的作品

Amat victoria curam (胜利热爱努力)

纸、墨水、笔,2003-2004年

Sapere aude (敢作敢为知道)

纸、墨水、30x21厘米,2002年

Dimidium facti, qui coepit facit (利哈伊的麻烦—开始)

纸、墨水、24х26厘米, 2002年

Laboremus(让我们开始工作)

纸、墨水、17,5х10厘米, 2002年

粗面石

纸、墨水、笔, 25х20厘米, 2003-2004年

斯拉夫报纸

纸、墨水、笔,30x17厘米, 2001年

书法(Calligraphy)

草书,宽尖羽毛,墨水,39x29厘米

书法 (书)

AGAT出版社,圣彼得堡, 21x28厘米,2006年

Amazing uncial

纸、墨水、42х31厘米,2008 年

插画

蚀刻,28x39厘米,1991年

钱包里还剩两块钱(书)

“文学艺术家”出版社,基什尼奥夫, 发行量5万册,15x23厘米,1977年

«Master Manole» 纸页

“文学艺术家”出版社,基什尼奥夫, 发行量5万册,15x23厘米,1977年

«N» 纸页

书法花文字,墨水,宽尖金属笔,15x19厘米

«但唐吉诃德只是看着...» 纸页

黑色墨水,红色水粉,宽尖羽毛,28x39厘米

纸页5

黑色墨水,红色水粉,宽尖羽毛,24х34厘米

纸页56

黑色墨水,红色水粉,宽尖羽毛,25х35厘米

«唐吉诃德» 纸页(“在这个故事的第二部分...)

图片—蚀刻画,文本—草书笔迹,宽笔尖金属笔,59х36厘米

«唐吉诃德» 纸页(“从地上抬起唐吉诃德和...)

图片—蚀刻画,文本—草书笔迹,宽笔尖金属笔,50х36厘米

«赞美愚蠢» 纸页 (“比要求的要少得多...)

绘图-蚀刻,文本-宽笔尖金属笔,黑色墨水,红色水粉,字体-人道主义的斜体字,36x31厘米

«赞美愚蠢» 纸页(“有些人在棺材里看...)

图画 - 蚀刻画, 文本宽笔尖笔,黑色墨水,红色水粉,作者哥特式字体风格,31x26厘米

«赞美愚蠢» 纸页(“但最愚蠢、最肮脏的是...)

图画 - 蚀刻画, 文本宽笔尖笔,黑色墨水,红色水粉,字体-人道主义的斜体字,32x28厘米

«赞美愚蠢» 纸页(封面)

图画 - 蚀刻画, 文本宽笔尖笔,黑色墨水,红色水粉,作者对哥特式的解释,32x28厘米

文学

字体组成,宽尖笔,30x23厘米

«Master Manole» (书)

“文学艺术家”出版社,基什尼奥夫, 21х29厘米,1986年

米开朗基罗

白纸、白色水粉、宽边羽毛、文字。 “..让他们奋起反抗邪恶,克服疑虑和痛苦”,31x17厘米

图画。画架图形。建纪念碑的艺术

黑色纸,白色水粉,宽尖羽毛,准备印刷(用黑色墨水完成),29x34厘米

摩尔多瓦人

照相复制品。原件:宽尖羽毛,古俄罗斯字体组成,摩尔多瓦文字,19x26厘米

字体

草书笔迹,宽笔尖笔,墨水,准备打印(白色水粉整理),31х22厘米

铅字结构

宽头羽毛,黑色纸,白色水粉,准备印刷(用黑色墨水和白色水粉整理),胶印,39x27厘米,1984年

铅字结构 2

宽头羽毛,黑色纸,白色水粉,准备印刷(用黑色墨水和白色水粉整理) 28,5x40,2厘米,1983年

字体

古俄罗斯字体组成,墨水,宽尖羽毛,29x43厘米,1984年
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距开幕只剩 156 days
智慧的想法
书法是试图通过改变字形达到真正和谐的艺术。