Exposition based on the picture Yu Raksha seeing off the militia. Essay based on the painting "Seeing Off the Militia" by Yu

At all times, the most basic and sacred duty for every person was to protect his land from the enemy. Living as a patriot and dying for the Motherland has always been a great honor. The painting by Y. Rakshi “Seeing off the militia” is dedicated to the theme of protecting Russia from the Tatar-Mongol yoke. We see that the artist depicted on the canvas a militia emerging from the city gates, women and children seeing off their men to war.
On the left side of the picture, like a river, a people's river flows from the white city gates: the city's military men, peasants, ordinary townspeople, foot soldiers, horsemen - everyone goes to battle to stand up for the independence of their land.
In the center of the picture and on its right side, the painter depicted children, women: mothers, wives and sisters, who came out to accompany their husbands to military battle. There are both commoners and noble women here. They stand huddled closely together: their common grief has erased the social boundaries between them.
One of the women crosses herself and bows to the army. She, like everyone who came to see them off, understands that many of the soldiers will not return home from this campaign, so she bows to them, as they bow to the great martyrs. Each of the women looks out for her husband, father, son as they walk, follows them with her eyes, and in her eyes there is anxiety, sadness, inexpressible grief. One of the women in a red sundress is depicted bare-haired, sitting on the grass, her head is slightly thrown back, her mouth is slightly open - the woman is crying, wailing. Her whole pose suggests that she no longer expects to see the one she is seeing off alive, so she cries for him as if he were dead. In the center of the mourners is a beautiful young woman, with wheat-colored hair braided in a braid, with a hoop on her head. She is wearing a yellow dress with blue stripes. She is not a commoner, but a woman of noble birth. With her left hand she hugs the boy, her son, who stands with his head down. A woman sees off her husband, the boy's father. Most likely he leads the militia. The woman tries to be strong, sadness is frozen in her eyes, but she should not show her grief to her son - after all, if her husband dies, she alone will have to raise the future defender of her native land. Of course, she calls on her son to be proud of his father, the defender of the Fatherland, who goes to battle as a saint.
Viewers of the painting are amazed by the extraordinary expressiveness of the color scheme of the painting, as well as the emotional depth of the experiences conveyed by the artist in this canvas. The images of women symbolize Rus' itself, which, seeing off its sons to mortal combat, mourns.

Essay on literature on the topic: Description of the painting by Y. Rakshi “Seeing off the militia”

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Description based on the painting by Y. Raksha “Seeing off the militia”

An essay based on a painting by the wonderful Russian artist Yu.M. Rakshi (1937-1980) “Seeing the Militia” develops students’ creative abilities, their research skills, and fosters patriotic and aesthetic feelings. The essay is written in 8th grade.

Essay based on the painting “Seeing off the militia.” 8th grade

Yuri Mikhailovich Raksha was born in 1937 into a family of workers. He studied at an art school and graduated from VGIK with a degree in production design. Participated in the creation of such significant films as “Time, Forward” and “Ascension”. Many paintings by Yu.M. Rakshas received wide recognition and brought him worldwide fame.

Yuri Mikhailovich died very young, he was only forty-three years old. In 1980, the terminally ill artist completed work on the grandiose triptych “Kulikovo Field”. This multifaceted work consists of three parts: “Blessing for the battle”, “Seeing off the militia”, “The coming”.

The triptych is dedicated to the Battle of Kulikovo, which took place in 1380 and marked the beginning of liberation from the Tatar-Mongol yoke. The painting “Seeing off the militia” is the right side part of the triptych. Another name for the painting is “The Cry of Women.”

In the center of the composition are women and children. They accompany the Russian army, consisting of their husbands, sons and brothers, leaving for the campaign. Mighty warriors are surrounded by fog, a bloody battle awaits them, and many of them will give their lives for their homeland, protecting mothers, wives, and children. White-stone Moscow is visible in the distance, with thousands of militia emerging from its gates.

In the foreground is a young, beautiful woman with a sad and beautiful face. This is the wife of Dmitry Donskoy, Grand Duchess Evdokia. Soon she will have a child, her children are next to her - the boy hangs his head, he also feels the tragedy of what is happening; a teenage girl looks intensely at the departing warriors, trying to remember their faces, to preserve the memory of them.

It is known that Dmitry Donskoy and Evdokia loved each other very much and one can understand what feelings the princess experienced as she saw off her beloved husband to a feat of arms. To the right of Evdokia, a bare-haired woman in a red sundress sank to the ground, exhausted. She threw her head back, her mouth was open - she was sobbing, her grief was immeasurable.

A young girl with her head covered with a scarf prays, and a gray-haired old man standing behind the women blesses the warriors with his staff. A woman standing next to him clutches her little son to her chest. Everyone, commoners and nobles, rallied into one in the face of a common disaster. Now they are the Russian people. This picture teaches us to love our homeland, appreciate the people living in it, and admire its past.

On the left side of the picture, like a river, a people's river flows from the white city gates: the city's military men, peasants, ordinary townspeople, foot soldiers, horsemen - everyone goes to battle to stand up for the independence of their land.

In the center of the picture and on its right side, the painter depicted children, women: mothers, wives and sisters, who came out to accompany their husbands to military battle. There are both commoners and noble women here. They stand huddled closely together: their common grief has erased the social boundaries between them.

One of the women crosses herself and bows to the army. She, like everyone who came to see them off, understands that many of the soldiers will not return home from this campaign, so she bows to them, as they bow to the great martyrs. Each of the women looks out for her husband, father, son as they walk, follows them with her eyes, and in her eyes there is anxiety, sadness, inexpressible grief. One of the women in a red sundress is depicted bare-haired, sitting on the grass, her head is slightly thrown back, her mouth is slightly open - the woman is crying, wailing. Her whole pose suggests that she no longer expects to see the one she is seeing off alive, so she cries for him as if he were dead.

In the center of the mourners is a beautiful young woman, with wheat-colored hair braided in a braid, with a hoop on her head. She is wearing a yellow dress with blue stripes. She is not a commoner, but a woman of noble birth. With her left hand she hugs the boy, her son, who stands with his head down. A woman sees off her husband, the boy's father. Most likely he leads the militia. The woman tries to be strong, sadness is frozen in her eyes, but she should not show her grief to her son - after all, if her husband dies, she alone will have to raise the future defender of her native land. Of course, she calls on her son to be proud of his father, the defender of the Fatherland, who goes to battle as a saint.

Viewers of the painting are amazed by the extraordinary expressiveness of the color scheme of the painting, as well as the emotional depth of the experiences conveyed by the artist in this canvas. The images of women symbolize Rus' itself, which, seeing off its sons to mortal combat, mourns.

The most sacred thing on earth is to defend your homeland, your native corner, your land from the enemy. This is the main business of every person. In Rus' it has always been considered right to live like a true patriot, and to die defending the Motherland has always been considered a great honor. The plot of Rakshi’s patriotic film “Seeing Off the Militia” also tells about this. The theme of this painting touches on the time when Rus' was attacked by the Tatar-Mongol yoke and the Russian people were forced to defend their native Russian land.

Yuri Mikhailovich depicted on his canvas the militia, which is slowly leaving the city and is already beginning to leave the city gates. And in the city itself, people gathered to see off the warriors who would protect them. These are mostly women and children; there are few old people among them. On the left in the picture people are walking smoothly, as if it looks like the surface of a river that is slowly flowing across the area. People are already leaving the city gates, which are painted white.

But the author of the picture shows that the militia that will defend the city consists not only of warriors who already have a lot of battles and battles behind them. Among the defenders are peasants, and ordinary and ordinary townspeople. Some walk, others follow slowly in the crowd on horseback, but they all have one goal: they go to battle to defend the freedom and independence of their native Russian land.

The painter Raksha placed local residents in the central place of his picturesque and very poetic canvas. So, on the right side of the long folk river there are children and women. Most likely, these are the mothers, sisters and wives of those warriors who went to defend the city. They came out to lead their loved ones to a military and fair battle. They all hope that their men will still return home victorious.

Grief and war united people of different classes. Among the mourners, as well as among the militia, there are those who belong to a noble family and ordinary people. By the way, they can easily be seen and distinguished in the crowd of mourners. The grief that came to their city affected the quiet life of each of them. Therefore, both rich and poor now stand huddled together, they no longer have social boundaries.

Among the women, the one who stands out in the crowd is the one who crosses herself and bows to the army. She also came here to see off her close men and understands perfectly well that many of those who are now leaving the city gates will most likely never return home, so she bows to them, thanking them for their feat. Each of those women who stands in the crowd peers at their close men: father, brother, husband, son. They try to remember them, and, most importantly, follow them at least with their eyes. But they reflect grief and sadness, and also great anxiety.

One of the women, being in grief, sat down on the grass. She is bareheaded and wearing a red sundress. The artist captured her at that moment when he could no longer restrain himself. Her strength left her, and she sat down straight on the grass, slightly throwing her head back, crying. Her mouth is open as she wails out loud. By the way this woman is killed, one can understand that she is so greatly shocked by everything that is happening that she even managed to lose hope of ever again seeing alive the one who had just left to defend his homeland. She cries and laments for him, as if for a warrior who has already died.

Among the mourners, the central place is occupied by a young, stately and beautiful woman. Her hair is neatly braided into a single wheat-colored braid. There is a hair hoop on the head. Her dress is yellow, but with blue stripes. From the way she is dressed, the way she carries herself, it is clear that this woman is not a commoner at all, but of a noble family. With her left hand she carefully hugs the boy, most likely this is her son. There is sadness on his face, so he lowered his head. It is clear that he does not want to part with his father at all. This woman sees off her husband, but she holds herself proudly and does not allow her bad thoughts to destroy her dream of his quick return.

Maybe it’s her husband who heads this militia, so she, as the governor’s wife, simply has no right to be weak. That's why she looks like she's strong in spirit. And only the sadness and melancholy in her eyes betrays her. She understands that she has a son nearby, who will soon also become a warrior, so she must show him an example of perseverance and endurance. Of course, she raises her son so that he is proud of his father, who boldly and decisively goes into battle, realizing that he needs to protect his native land and family.

Painting by Yu.M. Rakshi amazes with its expressiveness of shades and colors, since the artist decided to choose them unusual and interesting. The emotional depth of feelings and experiences cannot but amaze. The women whom the artist conveys in such detail and precision in his canvas, focusing his attention on them, are images, first of all, of the Russian land, which mourns, but sees off its sons to the liberation battle.

Yuri Rakshi is a twentieth-century painter who created about two hundred paintings. Most of them are dedicated to the topic. One of these paintings is Rakshi’s painting “Seeing Off the Militia.” This work also has a second title, “Women’s Crying,” and for good reason, because when you look at the picture, the first thing that strikes you is a bunch of grief-stricken women, among whom the old man is lost.

He, perhaps, is glad to be among the warriors, but his age does not allow him to go to war, because he will only be a burden. All he can do is shout parting words after him. All the women came out to see off their brothers, fathers, and loved ones. Moreover, as they see off, they understand that this is the last time they see many of them, because the war is merciless and takes lives indiscriminately. For this reason, women cannot hold back their tears, they cannot hide their sadness and pain.

Farewell to the militia description of the painting

Among the grief-stricken women, we see a pregnant woman hugging her firstborn. She is dressed in beautiful clothes and it is clear that she is from a wealthy class. Next to her, a second woman fell to the ground; she, unlike the others, was without a scarf. Apparently, it flew off her head when she ran out to see the men off. Next to this woman is a girl picking flowers. She probably wants to give them to her father as a talisman. A little further away stand older women, they are no longer crying, they have cried their tears, because, most likely, this is not the first time they are seeing off their men to war. These women only silently bless the warriors on their way and pray that they all return back. All of them: rich and poor, commoners and noble women, were united by grief in the form of war.

Considering Rakshi’s work “Seeing Off the Militia” and describing the picture, one cannot help but say about the courageous warriors who are sent to certain death for the good of their Motherland, for the good of their relatives and friends, so that they live on a land free from enemies. They, like the river that the author depicted in the distance outside the city, come out of the gate, only this is a people's river, consisting of peasants, nobility, ordinary townspeople: foot and horsemen.