Skip
“Green” economy. Deputies of the People’s Khural have set themselves this goal for the next five years. What do we mean, how will we develop and are there any specific proposals? Sarzhana Merdygeeva attended a meeting with legislators of the economic committee.
The name of the committee has changed, and the composition has also changed. Of the 14 members, almost half are new to the committee. Deputies-economists were diluted by thermal, energy and manufacturing workers.
Anatoly Kushnarev, chairman of the People's Khural Committee of the Republic of Buryatia on economic policy, environmental management and ecology: We have four blocks. This is economic, the second is infrastructure, that is, what concerns housing and communal services, subsoil use, and the fourth is ecology. Ecology is becoming part of the economy.
A strategy will be drawn up in approximately the same areas economic development for the next 15 years. The project is ready and is undergoing public hearings in ministries. It will be presented to the general court of Khural in November. It must be accepted by the end of the year. The committee chairman has his own proposals.
Anatoly Kushnarev, Chairman of the Committee of the People's Khural of the Republic of Buryatia on economic policy, environmental management and ecology: There is an idea to revise investment agreements with large subsoil users. These are JSC Khiagda, Tugnuisky open-pit mine, Buryatzoloto. They cause quite a lot of harm to the environment. I wish they would save more money from taxes. This money would be used to eliminate environmental consequences and fulfill social obligations.
They also plan to replenish the treasury using waste. Garbage recycling will now be listed as a new sector of the economy. And they plan to allocate subsidies from the treasury for clean air.
Anatoly Kushnarev, Chairman of the Committee of the People's Khural of the Republic of Buryatia on economic policy, environmental management and ecology: So that people heat their private homes not with coal and wood, but for example with gas or electricity. I had a specific proposal - to subsidize this kilowatt. Don’t make it 2.75, maybe 1.5 for the left bank. Then many would switch to these modern panels that are offered, some would install electric boilers.
The energy sector is also willing to discuss this proposal with the residents of the republic. Their plans include open dialogues.
Igor Zubarev, deputy of the People's Khural of the Republic of Buryatia: Hold a round table on the topic of energy, specifically its development. Find a balance between consumers, producers and the company itself, which operates in the energy sector. We would like to convene a large round table before the tariff session, which should take place to set tariffs for next year.
In a word, the plans are far-reaching. There is a desire to change. The main thing is that the fuse does not disappear.
Friday, February 07
13th lunar day with the element Fire. Auspicious day for people born in the year of the Horse, Sheep, Monkey and Chicken. Today is a good day to lay the foundation, build a house, dig the ground, start treatment, buy medicinal preparations, herbs, and conduct matchmaking. Going on the road means increasing your well-being. Unfavorable day for people born in the year of the Tiger and Rabbit. It is not recommended to make new acquaintances, make friends, start teaching, get a job, hire a nurse, workers, or buy livestock. Hair cutting- to happiness and success.
Saturday, February 08
14th lunar day with the element Earth. Auspicious day for people born in the year of the Cow, Tiger and Rabbit. Today is a good day to ask for advice, avoid dangerous situations, perform rituals to improve life and wealth, move to a new position, buy livestock. Unfavorable day for people born in the year of the Mouse and Pig. It is not recommended to write essays, publish works on scientific activities, listen to teachings, lectures, start a planned business, get or help get a job, or hire workers. Going on the road means big troubles, as well as separation from loved ones. Hair cutting- to increase wealth and livestock.
Sunday, February 09
15th lunar day with the element Iron. Benevolent deeds and sinful acts committed on this day will multiply a hundred times. A favorable day for people born in the year of the Dragon. Today you can build a dugan, suburgan, lay the foundation of a house, build a house, start a planned business, study and comprehend science, open a bank account, sew and cut clothes, as well as for tough decisions on some issues. Not recommended move, change place of residence and work, bring a daughter-in-law, give a daughter as a bride, and also hold a funeral and wake. Hitting the road means bad news. Hair cutting- to good luck, to favorable consequences.
Egorov Alexey Egorovich (1776-1851)
One of the most gifted masters of academic drawing, A. E. Egorov was not without reason given the name “Russian Raphael” by his contemporaries. His whole life is connected with Petersburg Academy Arts
ABOUT early years Almost nothing is known about the artist. Russian Cossacks picked up a Kalmyk child in the steppe during a military campaign. Vague childhood memories for him forever remained a wagon, a silk robe and embroidered boots. Before coming to St. Petersburg, the boy lived for a short time in the Moscow Educational Home, and in 1782 he was assigned to the Educational School at the Academy of Arts.
In academic classes, Egorov studied with professors I. A. Akimov and G. I. Ugryumov. Here he quickly gained fame as the best draftsman, strengthened by medals for drawings from life.
Having graduated from the Academy of Arts in 1797 with the right to travel abroad to improve his art, Egorov only in 1803, together with other graduates, ended up in Rome. Until this time, he was left to teach drawing in academic classes - a rare honor for a yesterday's graduate.
There were many legends about Egorov’s stay in Italy. From one we learn that at the very first visit to the life class, the Russian artist amazed those present with his skill, depicting the sitter very quickly and, most importantly, from a very complex angle. Egorov drew, sitting almost at the feet of the model, because by the time he arrived in the class, the more comfortable seats were occupied. Another legend tells how Egorov defended the honor of Russian art: in response to a statement from a local artist who claimed that a Russian would never be able to draw a human figure as skillfully as an Italian would, Egorov took coal and said: “Is this how you can do it?” - depicted a man on the whitewashed wall in one sketch, starting with the big toe of his left foot. They said that after this incident, Italian art lovers paid for Yegorov’s drawing as many gold coins as were placed on the surface of the image.
Egorov gained extraordinary popularity in Italy. His talent was highly valued by the leading masters of classicism - A. Canova and V. Camuccini, the latter even used Egorov’s sketches for his compositions. Pope Pius VII invited him to stay in Italy as a court painter. However, the artist did not take advantage of this opportunity and in the summer of 1807, at the end of his pension period, he returned to St. Petersburg. Here he was appointed to the position of adjunct professor at the Academy of Arts, and already in September he was recognized as an academician for the sketch of the composition “Entombment” for the Kazan Cathedral.
Further, more than thirty years of service in the Academy of Arts brought him a gradual ascent to the heights of his academic career. In 1812 he became a professor historical painting, in 1831 - professor of the 1st degree, and in 1832 - emeritus professor - the highest rank in the academic hierarchy.
Artist's paintings
Self-portrait (as a teenager
Apostle Andrew the First-Called
Our Lady with the Child Christ and John the Baptist
Head of a young man. Portrait of V.P. Sukhanov
Torment of the Savior
Bather
Madonna and Child Christ and John the Baptist
One of the most gifted masters of academic drawing, A. E. Egorov (1776-1851) was not without reason given the name “Russian Raphael” by his contemporaries. His whole life is connected with the St. Petersburg Academy of Arts.
Almost nothing is known about the artist's early years. Russian Cossacks picked up a Kalmyk child in the steppe during a military campaign. Vague childhood memories for him forever remained a wagon, a silk robe and embroidered boots. Before coming to St. Petersburg, the boy lived for a short time in the Moscow Educational Home, and in 1782 he was assigned to the Educational School at the Academy of Arts.
In academic classes, Egorov studied with professors I. A. Akimov and G. I. Ugryumov. Here he quickly gained fame as the best draftsman, strengthened by medals for drawings from life. Having graduated from the Academy of Arts in 1797 with the right to travel abroad to improve his art, Egorov only in 1803, together with other graduates, ended up in Rome. Until this time, he was left to teach drawing in academic classes - a rare honor for a yesterday's graduate.
There were many legends about Egorov’s stay in Italy. From one we learn that at the very first visit to the life class, the Russian artist amazed those present with his skill, depicting the sitter very quickly and, most importantly, from a very complex angle. Egorov drew, sitting almost at the feet of the model, because by the time he arrived in the class, the more comfortable seats were occupied. Another legend tells how Egorov defended the honor of Russian art: in response to a statement from a local artist who claimed that a Russian would never be able to draw a human figure as skillfully as an Italian would, Egorov took coal and said: “Is this how you can do it?” - depicted a man on the whitewashed wall in one sketch, starting with the big toe of his left foot. They said that after this incident, Italian art lovers paid for Yegorov’s drawing as many gold coins as were placed on the surface of the image.
Egorov gained extraordinary popularity in Italy. His talent was highly valued by the leading masters of classicism - A. Canova and V. Camuccini, the latter even used Egorov’s sketches for his compositions. Pope Pius VII invited him to stay in Italy as a court painter. However, the artist did not take advantage of this opportunity and in the summer of 1807, at the end of his pension period, he returned to St. Petersburg. Here he was appointed to the position of adjunct professor at the Academy of Arts, and already in September he was recognized as an academician for the sketch of the composition “Entombment” for the Kazan Cathedral. Further, more than thirty years of service in the Academy of Arts brought him a gradual ascent to the heights of his academic career. In 1812 he became professor of historical painting, in 1831 - professor of the 1st degree, and in 1832 - emeritus professor - the highest rank in the academic hierarchy.
The largest place in Egorov’s work is occupied by works on religious subjects. 
Madonna with the Child Christ and John the Baptist. 1833 
Appearance of Christ to Mary Magdalene, 1818 
The Descent of the Holy Spirit on the Apostles 1811 - Egorov Alexey Egorovich (1776-1851) 
Rest on the way to Egypt - Egorov Alexey Egorovich (1776-1851) 
The Virgin Mary with the Child Christ and John the Baptist.
Egorov Alexey Egorovich. Oil on canvas. 92x62.8.
State Tretyakov Gallery, Moscow
The Virgin and Child.
Egorov Alexey Egorovich
Holy family with Anna the prophetess. 1810s
Simeon the God-Receiver.
Alexey Egorovich Egorov (1776-1851). 1830-1840s Oil on canvas. 94×70.6.
Novgorod State United Museum-Reserve
Evangelists Matthew and John the Theologian. Until 1822. State Russian Museum
St. Jerome. No later than 1818 State Russian Museum
Apostle Andrew the First-Called. Egorov Alexey Egorovich
These are icons for St. Petersburg churches - the Life Guards of the Horse Regiment, the Transfiguration, the Kazan and Trinity Cathedrals, the Tauride Palace, for the academic church of St. Catherine, the small and palace churches of Tsarskoye Selo, the Zion Cathedral in Tiflis. He also painted easel paintings based on scenes from the Holy Scriptures: “Madonna with Christ and John” (1813), “The Appearance of Christ to Mary Magdalene” (1818), “Healing of the Paralytic”, “Rest on the Flight to Egypt” (both years) etc. 
Torment of the Savior. 1814 260 x 208, oil on canvas. State Russian Museum, St. Petersburg.
“Then Pilate took Jesus and ordered him to be beaten.” John 19:1
Egorov’s most famous painting is “The Torment of the Savior” (1814). Numerous preparatory drawings and pictorial sketches for it show how carefully the venerable artist thought through the composition. Contemporaries perceived the painting as a standard of academic art. Anatomy professor I.V. Buyalsky, who loved to demonstrate to his students anatomical errors in statues and paintings, said about Egorov’s work: “This is the only picture in which there is not a single error.” In 1850, the famous engraver F.I. Jordan turned to the Council of the Academy of Arts with a request to allow him to engrave this painting by Egorov, which he considered one of the “wonderful new creations in art.” Egorov himself, who attached primary importance to impeccable drawing, careful modeling of forms and well-structured composition, that is, qualities that are especially revealed during engraving, once said: “They will understand me when my work is engraved.” Wood engravings were made from Egorov's drawings in 1846 and published in the form of an album. Much earlier, in 1814, an album of drawings appeared, composed and engraved by the artist himself in pencil. These are 17 compositions on themes from the Holy Scriptures, many of which repeat his paintings.
In addition to religious subjects, Egorov painted portraits (the most famous are the images of Princess E. I. Golitsyna, engraver N. I. Utkin, 1798; N. P. Buyalskaya, 1824; A. R. Tomilova, 1831) and genre scenes (“Susanna”, 1813; "Bathers", b.).
Portrait of Golitsyna as a Vestal Virgin 
Portrait of M.P. Buyalskaya. 18214 timing belt
Alexey Egorovich Egorov Portrait of a girl
Portrait of V.P. Sukhanova
Invariably respected by numerous students and fellow artists, Egorov could not even imagine what blow awaited him in his declining years. In 1835, Nicholas I, who considered himself an art connoisseur, did not like the images for the Church of the Holy Trinity of the Izmailovsky regiment. The Tsar announced that they were “uniformly poorly written” and ordered that those who wrote them be reprimanded in the minutes of the Academy of Arts. Egorov was among them. However, the real trouble came five years later, in 1840, when the angry Nicholas I ordered the images painted by Egorov for the Church of Tsarskoye Selo to be “sent without delay to the Academy of Arts” as not meeting the proper artistic level. And although the specially convened Council of the Academy of Arts stood up for the honor of the artist, the emperor “deigned to give the highest order: as an example to others, to dismiss him from service altogether.”
Egorov had to leave the Academy of Arts, within whose walls he spent almost his entire life. As a reward for his work, he was given a pension of 1,000 rubles a year, and 4,000 were withheld to pay for the Tsarskoe Selo icons.
Expelled from the walls of the Academy of Arts, Egorov did not lose authority in the eyes of his students - K. P. Bryullov, A. T. Markov, K. M. Shamshin and others. They came to the former professor for instructions, showed their new works, valuing his opinion. Egorov worked before last days of your life.
Wikipedia
One of the most gifted masters of academic drawing, A. E. Egorov was not without reason given the name “Russian Raphael” by his contemporaries. His whole life is connected with the St. Petersburg Academy of Arts.
Almost nothing is known about the artist's early years. Russian Cossacks picked up a Kalmyk child in the steppe during a military campaign. Vague childhood memories for him forever remained a wagon, a silk robe and embroidered boots. Before coming to St. Petersburg, the boy lived for a short time in the Moscow Educational Home, and in 1782 he was assigned to the Educational School at the Academy of Arts.
In academic classes, Egorov studied with professors I. A. Akimov and G. I. Ugryumov. Here he quickly gained fame as the best draftsman, strengthened by medals for drawings from life. Having graduated from the Academy of Arts in 1797 with the right to travel abroad to improve his art, Egorov only in 1803, together with other graduates, ended up in Rome. Until this time, he was left to teach drawing in academic classes - a rare honor for a yesterday's graduate.
There were many legends about Egorov’s stay in Italy. From one we learn that at the very first visit to the life class, the Russian artist amazed those present with his skill, depicting the sitter very quickly and, most importantly, from a very complex angle. Egorov drew, sitting almost at the feet of the model, because by the time he arrived in the class, the more comfortable seats were occupied. Another legend tells how Egorov defended the honor of Russian art: in response to a statement from a local artist who claimed that a Russian would never be able to draw a human figure as skillfully as an Italian would, Egorov took coal and said: “Is this how you can do it?” - depicted a man on the whitewashed wall in one outline, starting with the big toe of his left foot. They said that after this incident, Italian art lovers paid for Yegorov’s drawing as many gold coins as were placed on the surface of the image.
Egorov gained extraordinary popularity in Italy. His talent was highly valued by the leading masters of classicism - A. Canova and V. Camuccini, the latter even used Egorov’s sketches for his compositions. Pope Pius VII invited him to stay in Italy as a court painter. However, the artist did not take advantage of this opportunity and in the summer of 1807, at the end of his pension period, he returned to St. Petersburg. Here he was appointed to the position of adjunct professor at the Academy of Arts, and already in September he was recognized as an academician for the sketch of the composition “Entombment” for the Kazan Cathedral. Further, more than thirty years of service in the Academy of Arts brought him a gradual ascent to the heights of his academic career. In 1812 he became professor of historical painting, in 1831 - professor of the 1st degree, and in 1832 - emeritus professor - the highest rank in the academic hierarchy.
The largest place in Egorov’s work is occupied by works on religious subjects. These are icons for St. Petersburg churches - the Life Guards of the Horse Regiment, the Transfiguration, the Kazan and Trinity Cathedrals, the Tauride Palace, for the academic church of St. Catherine, the small and palace churches of Tsarskoye Selo, the Zion Cathedral in Tiflis. He also painted easel paintings based on scenes from the Holy Scriptures: “Madonna with Christ and John” (1813), “The Appearance of Christ to Mary Magdalene” (1818), “Healing of the Paralytic”, “Rest on the Flight to Egypt” (both years) etc.
Egorov’s most famous painting is “The Torment of the Savior” (1814). Numerous preparatory drawings and pictorial sketches for it show how carefully the venerable artist thought through the composition. Contemporaries perceived the painting as a standard of academic art. Anatomy professor I.V. Buyalsky, who loved to demonstrate to his students anatomical errors in statues and paintings, said about Egorov’s work: “This is the only picture in which there is not a single error.” In 1850, the famous engraver F.I. Jordan turned to the Council of the Academy of Arts with a request to allow him to engrave this painting by Egorov, which he considered one of the “wonderful new creations in art.” Egorov himself, who attached primary importance to impeccable drawing, careful modeling of forms and well-structured composition, that is, qualities that are especially revealed during engraving, once said: “They will understand me when my work is engraved.” Wood engravings were made from Egorov's drawings in 1846 and published in the form of an album. Much earlier, in 1814, an album of drawings appeared, composed and engraved by the artist himself in pencil. These are 17 compositions on themes from the Holy Scriptures, many of which repeat his paintings.
In addition to religious subjects, Egorov painted portraits (the most famous are the images of Princess E. I. Golitsyna, engraver N. I. Utkin, 1798; N. P. Buyalskaya, 1824; A. R. Tomilova, 1831) and genre scenes (“Susanna”, 1813; "Bathers", b.). Invariably respected by numerous students and fellow artists, Egorov could not even imagine what blow awaited him in his declining years. In 1835, Nicholas I, who considered himself an art connoisseur, did not like the images for the Church of the Holy Trinity of the Izmailovsky regiment. The Tsar announced that they were “uniformly poorly written” and ordered that those who wrote them be reprimanded in the minutes of the Academy of Arts. Egorov was among them. However, the real trouble came five years later, in 1840, when the angry Nicholas I ordered the images painted by Yegorov for the Church of Tsarskoe Selo to be “sent without delay to the Academy of Arts” as not meeting the proper artistic level. And although the specially convened Council of the Academy of Arts stood up for the honor of the artist, the emperor “deigned to give the highest order: as an example to others, to dismiss him from service altogether.”
Egorov had to leave the Academy of Arts, within whose walls he spent almost his entire life. As a reward for his work, he was given a pension of 1,000 rubles a year, and 4,000 were withheld to pay for the Tsarskoye Selo icons.
Expelled from the walls of the Academy of Arts, Egorov did not lose authority in the eyes of his students - K. P. Bryullov, A. T. Markov, K. M. Shamshin and others. They came to the former professor for instructions, showed their new works, valuing his opinion. Egorov worked until the last days of his life.
Rest on the way to Egypt. B. g. Oil
The appearance of an angel to the Apostle Peter. 1814. Soft varnish
Bather. OK. 1813. Oil
Portrait of A. R. Tomilov. 1831. Oil
