Natasha's Dance полностью

Kandinsky's journey east was a journey back in time. He was looking for the remnants of the paganism which Russian missionaries had described in that region from medieval times. There were ancient records of the Komi people worshipping the sun, the river and the trees; of frenzied whirling dances to summon up their spirits; and there were legendary tales about the Komi shamans who beat their drums and flew off on their horse-sticks to the spirit world. Six hundred years of church-building had given no more than a gloss of Christianity to this Eurasian culture. The Komi people had been forcibly converted to the Christian faith by St Stephan in the fourteenth century. The area had been colonized by Russian settlers for several hundreds years, and the culture of the Komi, from their language to their dress, bore a close resemblance to the Russian way of life.

Ust-Sysolsk, the region's capital, where Kandinsky lived for three summer months in 1889, looked much like any Russian town. It consisted of a small classical ensemble of administrative buildings in the centre of a sprawling settlement of log-built peasant huts. As Kandinsky did his fieldwork, recording the beliefs of the old people

21. Group of Komi people in typical clothing, c. 1912

and looking for motifs of shamanistic cults in their folk art, he soon found traces of this ancient pagan culture concealed underneath the Russian one. None of the Komi would describe themselves as anything but Orthodox (at least not to someone from Moscow), and in their public rituals they had a Christian priest. But in their private lives, as Kandinsky ascertained, they still looked to the old shamans. The Komi

people believed in a forest monster called 'Vorsa'. They had a 'living soul' they called an 'ort', which shadowed people through their lives and appeared before them at the moment of their death. They prayed to the spirits of the water and the wind; they spoke to the fire as if they were speaking to a living thing; and their folk art still showed signs of worshipping the sun. Some of the Komi people told Kandinsky that the stars were nailed on to the sky.⁴

Scratching the surface of Komi life Kandinsky had revealed its Asian origins. For centuries the Finno-Ugric tribes had intermingled with the Turkic peoples of northern Asia and the Central Asian steppe. Nineteenth-century archaeologists in the Komi region had unearthed large amounts of ceramic pottery with Mongolian ornament. Kandinsky found a chapel with a Mongolian roof, which he sketched in his journal of the trip.⁵ Nineteenth-century philologists subscribed to the theory of a Ural-Altaic family of languages that united the Finns with the Ostiaks, the Voguls, Samoyeds and Mongols in a single culture stretching from Finland to Manchuria. The idea was advanced in the 1850s by the Finnish explorer M. A. Castren, whose journeys to the east of the Urals had uncovered many things he recognized from home.⁶ Castren's observations were borne out by later scholarship. There are shamanistic motifs, for example, in the Kalevala, or 'Land of Heroes', the Finnish national epic poem, which may suggest a historical connection to the peoples of the East, although the Finns themselves regard their poem as a Baltic Odyssey in the purest folk traditions of Karelia, the region where Finland and Russia meet.⁷ Like a shaman with his horse-stick and drum, its hero Vainamoinen journeys with his kantele (a sort of zither) to a magic underworld inhabited by spirits of the dead. One-fifth of the Kalevala is composed in magic charms. Not written down until 1822, it was usually sung to tunes in the pentatonic ('Indo-Chinese') scale corresponding to the five strings of the kantele, which, like its predecessor, the five-stringed Russian gusli, was tuned to that scale.⁸

Kandinsky's exploration of the Komi region was not just a scientific quest. It was a personal one as well. The Kandinskys took their name from the Konda river near Tobolsk in Siberia, where they had settled in the eighteenth century. The family was descended from the Tungus tribe, who lived along the Amur river in Mongolia. Kandinsky was

proud of his Mongol looks and he liked to boast that he was a descendant of the seventeenth-century Tungus chieftain Gantimur. During the eighteenth century the Tungus had moved north-west to the Ob and Konda rivers. They intermingled with the Ostiaks and the Voguls, who traded with the Komi and with other Finnic peoples on the Urals' western side. Kandinsky's ancestors were among these traders, who would have intermarried with the Komi people, so it is possible that he had Komi blood as well.⁹