Metropolitan Tikhon (Shevkunov) will say goodbye to the parishioners of the Sretensky Monastery. Archimandrite Tikhon (Shevkunov): biography

The name of Archimandrite Tikhon (Shevkunov) constantly riveted the attention of the Russian political press. Some consider him almost a “grey eminence”, dictating his will to Vladimir Putin, others believe that the President of the Russian Federation needs constant communication with Patriarch Kirill of Moscow and All Russia, a wise-minded Orthodox confessor.

However, returning to the name of the Orthodox preacher Archimandrite Tikhon (Shevkunov), I would certainly like to note that he is a very smart and perspicacious modern man who acutely feels responsible for the fate of his people and Fatherland, a monk who has taken on very serious obligations to God.

The history of the emergence of monasticism

Christian monasticism is a communal life that begins from the moment when a person voluntarily renounces all worldly goods and begins to live according to certain rules, where the vow of chastity, modesty and complete obedience is always observed.

The first Christian monk was St. Anthony the Great, who lived in Ancient Egypt in 356 BC. e. He was not a poor man, but he sold all his property and distributed money to the poor. And then he settled not far from his home and began to lead a hermit life, spending all the time in tireless prayer to God and reading the Holy Scriptures. This served as an example for other hermits who began to settle in their cells near him. Over time, this kind of community began to appear in almost all of Central and Northern Egypt.

The emergence of monasticism in Russia

In Russia, the appearance of monasteries is associated with the year 988, when the Spassky Monastery was founded by the Greek monks near the city of Vyshgorod. At about the same time, the Monk Anthony brought to Ancient Russia Athos monasticism and becomes the founder of the famous Kiev-Pechersk Lavra, which later became the center of all religious life in Russia. Now St. Anthony Pechersky is revered as "the head of all Russian churches."

Archimandrite Tikhon (Shevkunov). Biography. Path to monasticism

Before accepting monasticism, he was Grigory Aleksandrovich Shevkunov. The future archimandrite was born into a family of doctors in Moscow in the summer of 1958. As an adult, he entered VGIK at the screenwriting and film studies department, which he successfully graduated in 1982. After graduating from the institute, he becomes a novice of the Holy Dormition Pskov-Caves Monastery, where later on his fate was most decisively influenced by ascetic monks and, of course, the kindest and most holy spiritual father of the monastery, Archimandrite

In 1986, Grigory begins his career with work in the department of the Publishing House of the Moscow Patriarchate, which was led by (Nechaev). It was during these years that he worked on the study of all historical facts and documents on the occurrence Christian Orthodoxy and the lives of saints. For the millennium of the Baptism of Russia, Gregory prepared a huge number of films of a religious and educational plan, where he himself acted both as an author and as a consultant. So in an atheistic life Soviet citizens gaining momentum new round leading to the knowledge of the true canons of Christian Orthodoxy. And at the same time, the future archimandrite was reprinting the Ancient Patericon and other patristic books.

Acceptance of monasticism

In the summer of 1991, Grigory Shevkunov takes monastic vows at the Donskoy Monastery in Moscow, where he was christened Tikhon. During his service in the monastery, he takes part in the uncovering of the relics of St. Tikhon, which were buried in the Donskoy Cathedral in 1925. And soon he became the rector of the courtyard of the Pskov-Pechersk Monastery, located in the buildings of the ancient one. One feature that Archimandrite Tikhon (Shevkunov) has is definitely worth noting: where he serves, his true purpose and firmness of convictions are always felt.

The life of an archimandrite

In 1995, the monk was consecrated to the rank of hegumen, and in 1998, to the rank of archimandrite. A year later, he became the rector of the Sretensky Higher Orthodox Monastery School, which was later transformed into a theological seminary. About Archimandrite Tikhon (Shevkunov) always speaks with big love and gratitude.

Further, together with the brethren from 1998 to 2001, he repeatedly visits the Chechen Republic, where he brings humanitarian aid. And also actively participates in the reunification process of the Russian Orthodox Church(ROC) with the Russian Orthodox Church Outside of Russia (ROCOR). From 2003 to 2006, Archimandrite Tikhon (Shevkunov) was a member of the commission for the preparation of the dialogue and the act of canonical conversion. Then he receives the post of secretary of the Patriarchal Council for Culture and becomes the head of the commission for interaction between the Russian Orthodox Church and the museum community.

In 2011, Archimandrite Tikhon was already a member of the Supreme Church Council Russian Orthodox Church, as well as a member of the Board of Trustees charitable foundation St. Basil the Great, Academician of the Russian Academy of Natural Sciences and permanent member of the Izborsk Club.

Archimandrite has a number church awards, including the Order of Friendship for the preservation of spiritual and cultural values, presented to him in 2007. His creative works can be admired. And conversations with Archimandrite Tikhon (Shevkunov) are always very lively, interesting and understandable for any person.

The film "Monastery. Pskov-Pechersk monastery»

It is impossible to ignore the amazing and unique work of its kind, which is called “Monastery. Pskov-Pechersk monastery. Grigory Shevkunov shot this film in 1986 with an amateur camera, when he was not yet Archimandrite Tikhon, but was just a graduate of VGIK. After graduating from high school, he went to the Pskov-Caves Monastery, where he spent a 9-year novitiate with the elder Ion (Krestyankin) and later accepted

main topic The film is dedicated to the Pskov-Caves Monastery, which is known to the Russian church for having preserved the eldership. This is the only monastery that has never been closed, and even in Soviet time. Until the 1930s, it was located on the territory of Estonia, so the Bolsheviks did not have time to ruin it, and then the war broke out. By the way, many elders and ministers of this monastery were at the front.

The then-future Archimandrite Tikhon (Shevkunov) accumulated a lot in his archive of photo and video materials of the monastic life of the brethren. In the film, he shows the most precious and significant places for the monk's heart, one of which is a special miracle created by God - caves in which 14 thousand people were buried during the entire existence of the monastery. When you enter these caves, it is surprising that there is absolutely no smell of decay. As soon as a person dies, after three days this smell appears, but after the body is carried into the caves, it disappears. This phenomenon still no one can explain, even scientists. In this one feels the spiritual peculiarity of the monastery walls.

Love for the Pskov-Pechersk brotherhood

The story of the life of Elder Melchisidek, one of the most amazing associates of the monastery, is striking, about which Grigory Shevkunov tells. Looking into his eyes, you understand that this is a real ascetic, confessor and prayer book, who was in the war, then came to the monastery and worked as a turner. He with my own hands made lecterns, kivot and crosses. But one day he had a stroke, and the doctor pronounced him dead. But Ioan (Krestyankin), who was the spiritual father of all the brethren and about whom Archimandrite Tikhon also wrote a lot in his stories, began to pray for Father Melchisidek, and a miracle happened. After a while, the old man came to life and wept. After that, he accepted the rank of tonsure into the schema and began to pray to God even more intensely.

Archimandrite Tikhon (Shevkunov) later recalled that he once asked the elder Melchisidek about what he saw when he was dead. He said that he was in a meadow near the moat, in which there was everything that he did with his own hands - these were kivots, lecterns and crosses. And then he felt that the Mother of God was standing behind him, who told him: “We expected prayer and repentance from you, and this is what you brought us.” After that, the Lord brought him back to life again.

In his picture, the future Archimandrite Tikhon (Shevkunov) also shows the wonderful old man Feofan, who was also in the war and lost his arm there. He said that he always followed the orders of his commander, but, thank God, he did not have to kill people. He has many awards and orders. Now he is meekness, charm and love itself.

There are countless stories of this kind in the monastery. When you look at the modest life and constant work of the monks, everything seems very gloomy and gloomy, but their kind attitude and concern for every person, sick or healthy, young or old, is striking. After the film, a very warm and bright feeling of peace and tranquility remains.

Book "Unholy Saints"

Archimandrite Tikhon (Shevkunov) dedicated "Unholy Saints" to the great ascetics with whom he had to live and communicate in monasteries. With what love and care he writes about everyone, openly, without lies and without embellishments, with humor and kindness... Archimandrite Tikhon (Shevkunov) describes his mentor Ion especially touchingly. “Unholy Saints” contains a story about how a huge number of parishioners turned to the confessor for the healing of the soul and body, and for everyone he always found words of reassurance, instilled hope in everyone, begged many to take care, and warned some of the dangers. In the Soviet years, he spent many years in prison and exile, but nothing could break him. God's faith and joys of life on earth.

The film "Death of the Empire. Byzantine Lesson»

Archimandrite Tikhon (Shevkunov) dedicated the documentary film “The Fall of the Empire” to the 555th anniversary of the fall of Byzantium and Constantinople.

This is not just a medieval story; an absolutely clear parallel is drawn here to the problems of Byzantium and modern Russia. Empires can be different, but the problems are often the same. What could destroy such a powerful and culturally developed Byzantium? As it turned out, the main global problem became frequent change political orientations, lack of continuity and stability state power. Frequently changing emperors began to pursue their new policies, which often exhausted the people and weakened the country's economy. In the film, the author describes it simply brilliantly, and in such a talent one must give him credit. On this occasion, there are also quite interesting sermons by Archimandrite Tikhon (Shevkunov), which he reads to young seminarians and parishioners.

About Putin

Be that as it may, but today, according to Archimandrite Tikhon, Russia is experiencing its new rebirth, it may even perish, it is quite possible to create a powerful prosperous empire, above all, an empire of spirit and patriotism.

On the one hand, it is constantly threatened by Islamic terrorism, on the other hand, someone is trying with all their might to impose on it and the whole world total American hegemony with their own laws.

Archimandrite Tikhon (Shevkunov) says this about Putin: “He who truly loves Russia can only pray for Vladimir Vladimirovich, who has been placed at the head of Russia by the Providence of God…”

Before you read this essay, please watch this video:

It seems to be, as they say, “both laughter and tears” ... But, having laughed, those to whom I happened to show these interviews usually became noticeably sad. And it is true: if this is the case everywhere, there is nothing to laugh at: “The connection of times has broken,” no more, no less than a Shakespearean theme.

Every year we accept new students to the Sretensky Theological Seminary. More than half are yesterday's schoolchildren, the rest are young people with higher education. The level of their humanitarian training is simply appalling. Although many graduated from high school with excellent grades. I hear the same thing from rectors and teachers of secular higher educational institutions.

To rectify the situation, we have been teaching Russian literature for three years as a bachelor, which is called from scratch, and for four years - history. In fairness, it should be said that in each course there are one or two well-prepared students, but there are only a few of them. A Soviet average graduate from some 1975-1980s is a luminary compared to the excellent students of the Unified State Examination-2016.

The interviews you saw were conducted at our request by two well-known television companies, Red Square and Masterskaya, whose correspondents interviewed university students and young people with higher education. Many young people refused, saying that they were not ready to answer questions of a humanitarian nature. What was presented is by no means a selection of the worst answers: this was our condition, the fulfillment of which we were assured by the employees of the television companies.

When preparing this video for publication, we initially wanted to hide the faces of young people. But then we decided to leave everything as it is. First, the young people who answer our questions are surprisingly lively, likable, resourceful and smart (this is not irony). And secondly, in my opinion, they are not to blame for the fact that they are practically not even familiar with the literature, art and culture of Russia - the great heritage not only of our country, but of all mankind. But this property belongs primarily to these young people - by birthright, by the right of their native language. It is really not they who are to blame for the current situation, but those who did not pass on their legitimate spiritual heritage to them. These are none other than us - people of the middle and older generations. We are to blame.

Our parents and grandfathers, in the difficult, to put it mildly, conditions of the 20th century, were able to pass on to us a priceless treasure - the great Russian culture: literature and art, instill a taste and love for them. We, in turn, had to do the same for the next generations. But they failed to fulfill their duty.

There are many reasons for what happened - from the influence of the Internet, unprofessionalism and negligence of reform officials to the intrigues of liberals and the intrigues of the West. You can very convincingly explain why everything happened this way. But the essence of the matter will not change from this: our generation, quite obviously, has not fulfilled its duty in relation to those to whom we will transfer Russia, these guys from the screen.

Having dealt with our first traditional and sacramental question "Who is to blame?", Let's move on to the second traditional question: "What to do?"

Last year, the Society of Russian Literature was formed, headed by His Holiness Patriarch Kirill. One of the projects of the society will be the association "Pushkin Union", whose task, if I may say so, is the return of Russian classics and - more broadly - national culture, literature and art in the field of spiritual and intellectual life younger generation. Members of the Society of Russian Literature, Ministers of Culture and Education V.R. Medinsky and O.Yu. Vasilyeva, Rector of Moscow State University V.A. Sadovnichiy, rectors of many other universities, leaders of creative unions, cultural figures have already met twice to discuss and develop a program of action.

It was obvious to everyone: the worst thing that can be done in this situation is to start forcibly and intrusively with all the might of the state, the Church and society to force people to love the classics. In fact, the real and most important thing is to convey to young people who have already left school, at least the basics of our cultural heritage, with which neither the school nor the family was able to acquaint them. To instill a taste for Russian literature and art. Instead of the current simulacrum of liberal arts education, it is necessary to create an effective and holistic educational system with living teaching methods for current and future schoolchildren and students. This is what many departments and public associations are now doing under the general coordination of the Society of Russian Literature. By the way, a similar and positive experience already exists: the activities of the Russian Historical Society.

How great was the Soviet education system, if we leave aside its ideological component? After all, already by the mid-1970s, the communist ideology, even without any restructuring, remained outside the brackets of the lessons of most thinking teachers. The phenomenon of Soviet education was based on two outstanding and brilliant achievements. The first is the teacher. Second - unique system school education and upbringing.

A good and even outstanding teacher was not an exception, but an excellent, but also a familiar norm. I remember my usual Moscow school. All our teachers from a human point of view were extraordinarily interesting personalities. From the point of view of the specialty - outstanding professionals.

How things are now is not for me to judge. But looking at the current pedagogical universities system of the so-called practice-oriented education, at least you are amazed at the courage of its creators. I remember the Soviet five-year Teacher Education the then students. Prepared for high school by that school at that level, students were allowed to practice in the classroom, starting only from the penultimate year. Now undergraduate students (four years of study) are removed from lectures and sent to practical work in schools from the first year. The teachers with whom I have spoken on this topic are horrified by this system.

And now about the system. Soviet education was built and debugged in such a way that even a teacher of average ability interested students in a humanitarian subject, conveyed and made understandable and close the values ​​that our great literature carried. In addition, endless essays (remember: school essays, canceled by our reformers, returned to schools only by a direct order of the President just three years ago), polls, control of the RONO, which was subordinate to the Ministry of Education, excluded cultural amnesia and large-scale illiteracy as a phenomenon for the majority.

Today, schools are not subordinate to the Ministry of Education. Their superiors are regional and municipal bodies. It's the same as if in the army the local garrisons were not subordinate to the Ministry of Defense, but to the governors.

The comparison of the educational sphere with the army is not accidental. We remember the significant words of the Leipzig geography professor Oskar Peschel after the victory of the Prussian army over the Austrians in 1866: “Public education plays a decisive role in the war. When the Prussians beat the Austrians, it was the victory of the Prussian teacher over the Austrian school teacher. These words hit the mark so well that their authorship is still attributed to Otto von Bismarck, an unshakable authority in state and national construction.

The current education system, its reforms and programs have been criticized so often that it makes no sense to take up this matter again. At the first congress of the Society of Russian Literature, President V.V. Putin has set quite definite tasks, the main of which is the formation of the state language policy and the "golden" list of works required for study in schools. Let me remind you that today it depends on the teacher (a classmate of those guys we just saw on the screen) whether his class will study such masterpieces as “I loved you: love still, perhaps ...”, “I erected a monument to myself not made by hands ...” A.S. Pushkin, "Motherland", "I go out alone on the road ..." M.Yu. Lermontov. Or the teacher will replace them with much more “perfect” works from his point of view. This is the right of today's teacher.

“Alternative”, that is, in fact, not obligatory for study, is, in addition to the works already cited, also, for example, “War and Peace”. At school, we didn’t read this novel in full either, skipping the author’s historiosophical reflections, but accessible to a teenager most of Tolstoy's masterpiece shaped the worldview of generations. "Crime and Punishment" is also from the list of variable, read, optional works for studying. Even Mumu, where we learned compassion and mercy, is from the same group. "Young people won't read this!" With energy worthy best use, we are persuaded and forced to accept this "advanced" point of view.

But, firstly, young people, if they are truly introduced into the world of domestic and world literature and art, show a striking interest in them. And they only wonder why until now they have been excommunicated from all this treasure. And secondly, the alternative of referring to the best examples of culture created by previous generations is quite obvious. A. S. Pushkin clearly reminds us of what deliberate and snobbish neglect of the classics leads to: “Respect for the past is the feature that distinguishes education from savagery.”

Of course, let professionals judge all this finally. But we, the humble recipients of their students and pupils in society as a whole and in high school in particular, we cannot but ask questions.

Actually, the Society of Russian Literature was created as a platform for such discussions. Of course, no one is going to force young people to delve only into the classics and force them to completely forget about modern culture. The only way to interpret public concern about the decline of liberal arts education in this way is to look at the problem from the point of view of malevolent predilection. I am writing this because there are many hunters to discredit the return of Russian classics.

Let me give you one last but illustrative example. Recently Minister of Culture V.R. Medinsky brought together the most popular video bloggers to discuss exactly the issues that we are talking about today. The audience of these bloggers is millions of subscribers, representatives of just the generation we are talking about. A well-known fact: many of the young hardly read. They don't watch TV. Therefore, even if plans for new productions of classics in serials are implemented, these young people simply will not see such films. They, with rare exceptions, do not go to popular, especially scientific, lectures. Cultural figures beloved by the older generations are not convincing and absolutely not interesting for them. The new generation spends a significant part of their lives online. Representatives of their culture, which have a huge influence on them, are completely unknown to us. Or they cause us about the same rejection that the current student with an earring in his nose feels towards people of the art of the last century, significant to us. Sometimes it seems that we are becoming more and more aliens to each other.

Bloggers turned out to be very interesting interlocutors, thinking people. At a meeting with the minister, they made several important proposals, among which was the idea of ​​attracting the attention of young people to the classics through those whom the youth themselves are ready to hear. We proposed to consider whether it is possible for contemporary performers, who gather huge audiences of young people, to unite for special concerts on the best works national poetry and music. Such performers like no one else in our situation could help the common cause. This idea, it seemed to me, was unanimously supported by all our young interlocutors.

And if, they added, these singers also read excerpts from their favorite poetic and prose works of the classics and urge listeners to seek and find the beauty of the best works of Russian poets, then, no doubt, they will be heard. Moreover, some of the most popular performers today read video lectures, for example, on issues of culture and art of the early twentieth century. All these were working moments of the discussion. Everyone understood that the final decisions were still far away.

Bloggers, despite their youth, turned out to be professional and - most importantly - noble interlocutors: nothing from the preliminary discussion was “thrown” into the network. But the correspondent of one of the leading news agencies who was present at the meeting taught them a lesson in “professionalism”: taking a few phrases out of the context of the discussion and not explaining any details, she published sensational news in her agency that the Patriarchal Council for Culture had come up with a proposal to popularize the classics with with the help of the foul language Shnur and rapper Timati. It was, of course, rather strange, but for me in this story the decency and professionalism of our young interlocutors turned out to be the most important. And there will still be plenty of those who want to discredit the planned work. Sometimes from the most unexpected areas. And you have to be ready for this.

“And what about the Church?” - they will turn to us a question from the church environment. (Stronger questions await us from the secular environment, but let's leave them aside for now.) So, what is the point for the Church to participate in solving, of course, an important, but purely secular problem? The best way The Church's interest in humanitarian education was expressed by one of the most famous elders of the 20th century, St. Silouan of Athos: "In the last times, educated people will find the way to salvation."

I have no doubt that, despite all the complexity, the problem we raised today will be resolved. The key to this is the common concern of parents and teachers, secular and church people, government officials and cultural figures. Losses cannot be avoided, but on the whole, many real steps have been planned by our ministries, and by creative and public communities.

But there is another factor that gives hope.

“Uncle, not looking at anyone, blew off the dust, tapped the lid of the guitar with his bony fingers, tuned it and straightened himself in his chair. He took (with a somewhat theatrical gesture, leaving the elbow of his left hand aside) the guitar above the neck and, winking at Anisya Fyodorovna, began not the Lady, but took one sonorous, clear chord and measured, calmly, but firmly began to finish the well-known song “According to li-i-ice pavement”. At once, in time with that sedate joy (the same that Anisya Fyodorovna's whole being breathed), the motive of the song began to sing in the souls of Nikolai and Natasha. Anisya Fyodorovna blushed and, covering herself with a handkerchief, laughingly left the room ...

Charm, charm, uncle! more more! Natasha screamed as soon as he finished. She jumped up from her seat, hugged her uncle and kissed him. - Nikolenka, Nikolenka! she said, looking round at her brother and as if asking him: what is this?

... Natasha threw off the scarf that was thrown over her, ran ahead of her uncle and, propping her hands on her hips, made a movement with her shoulders and stood.

Where, how, when she sucked into herself from that Russian air that she breathed - this countess, brought up by a French emigrant - this spirit, from where did she get these techniques that pas de châle should long ago have been forced out? But these spirits and methods were the same, inimitable, unstudied, Russian, which her uncle expected from her. As soon as she stood up, she smiled solemnly, proudly and cunningly cheerfully, the first fear that gripped Nikolai and all those present, the fear that she would do something wrong, passed, and they were already admiring her.

She did the same thing, and did it so exactly, so quite exactly, that Anisya Fyodorovna, who immediately handed her the handkerchief necessary for her work, burst into tears through laughter, looking at this thin, graceful, so alien to her, educated countess in silk and velvet. who knew how to understand everything that was in Anisya, and in Anisya's father, and in her aunt, and in her mother, and in every Russian person. - L.N. Tolstoy "War and Peace".

One of the most high-profile film premieres next year promises to be the film "Matilda" by Alexei Uchitel. And one of the sharpest too. Letters are sent to the deputies and the Ministry of Culture demanding that the film not be shown, which again, following an inescapable Soviet habit, drops the image of the last Russian emperor into the mud. Many were frightened by the trailer of the future film, presenting it as a burning melodrama. The validity of these reactions is commented on by a member of the Presidential Council for Culture and Art, Bishop Tikhon (Shevkunov) of Yegoryevsk.

- Alexey Uchitel is a wonderful director, artist, not a hack, this is proved both by his films and film awards, he chose for his new film the plot of the love of the last Russian emperor for the ballerina Matilda Kshesinskaya. A real artist is free to choose any subject...

– Who dares to dispute this? Of course, the artist is free to choose any historical subject. It's a thankless task to discuss a film that hasn't been released yet.

“But spears are being broken because of him today.

– No wonder: the film is released in early spring 2017, exactly on the centennial anniversary of the February 1917 coup. Hence the particular interest. The coming year will inexorably put us before the need to comprehend the grandiose civilizational catastrophe that occurred in Russia a hundred years ago. The events that took place then decisively affected the lives of almost all people who lived in the Russian Empire, in the Soviet Union, and influenced the fate of the whole world. Scientists, politicians, religious and public figures will seek answers to many questions related to this date. The same task will arise before art. Theater, painting, music - all of them will be called upon to contribute to the artistic, figurative understanding of the causes and consequences of the Russian tragedy. As we see today, the cinema will not remain on the sidelines either. On such a symbolic anniversary, Russian cinematography will be represented by the film "Matilda", the only one, at least among the announced feature films, on this topic. The premiere date was chosen in advance and, of course, not by chance - March 2017: exactly the centenary of the coup and abdication of Nicholas II.

- Is a premature conflict flaring up around Matilda?

– In preparation for our meeting, I reviewed the materials of the discussion. Here is what the director of the film Alexei Uchitel himself says: “They discuss and make some statements and write to the prosecutor’s office that no one has seen anything, not a single frame. Therefore, when people try to express something, they should have a subject of conversation, and it doesn't exist." But actually it is not. A few months ago, the creators of "Matilda" posted a trailer for the film on the Internet, and anyone can easily see not just "one frame", but watch several excerpts from the most key scenes of the future film. So there is quite a subject for conversation. There is another important subject on this topic - the real history of the relationship between Tsarevich Nikolai Alexandrovich and Matilda Kshesinskaya.

– What sources, including documentary ones, can tell us about this story?

– Letters and diaries, memoirs, reports fiscal services. The heir and Matilda Kshesinskaya met in 1890 at the graduation of the ballet school. He was a little over twenty, she was 18. The girl falls in love with the Tsarevich, and he is ready to be carried away by her, if only to dispel the sadness from the categorical refusal of her father: Emperor Alexander III forbade the heir to even think about marrying a young German princess Alix, whom Nikolai fell in love with when she visited Russia a year ago. At first, the acquaintance of the Tsarevich and Kshesinskaya continues fleetingly: they meet either on the street or in the theater. Then Nikolai swims away in a long trip around the world, and when he returns, he meets with Matilda, and their feelings flare up again. Nicholas called them "the brightest" pages of his youth. But by 1893, these relations are becoming more calm, they are becoming less common. And when the girl whom the heir actually dreamed of marrying, Princess Alice of Darmstadt, agreed to the marriage, and Emperor Alexander III nevertheless agreed to it, Nicholas sincerely told Matilda about this. In 1894, all relations between Nikolai and Matilda were terminated. Forever and ever. Although he still treated Kshesinskaya very warmly. They remained friends, and neither side made a tragedy out of the breakup. We agreed that she would call him both "you" and Nicky. He helped her in every possible way, but they never met alone again. The heir considered it his duty to tell the bride about Matilda. There is a letter from Alix to her fiancé, where she writes: "I love you even more since you told me this story. Your trust touches me so deeply ... Can I be worthy of him?" The love of the last Russian Emperor Nikolai Alexandrovich and Empress Alexandra Feodorovna, striking in the depth of feelings, fidelity and tenderness, continued on earth until their last martyr's hour in the Ipatiev House in July 1918. That, in fact, is the whole story.

- And, probably, there is nothing wrong with the fact that a talented director will talk about her in his film.

Hugs with Matilda, hugs with Alexandra... What is this - the author's vision? No - slander real people

– Well, if that were the case. Alexei Uchitel's film claims to be historic, and the trailer is titled nothing less than "The Main Historical Blockbuster of the Year." But after watching it, I, frankly, cannot understand: why did the authors do it this way? Why touch the subject like this? Why do they make the viewer believe in the historicity of the heartbreaking scenes of the "love triangle" they invented, in which Nikolai, both before and after marriage, melodramatically rushes between Matilda and Alexandra. Why is Empress Alexandra Feodorovna depicted as a demonic fury walking with a knife (I'm not kidding!) at her rival? Vengeful, envious Alexandra Feodorovna, unfortunate, wonderful, magnificent Matilda, weak-willed Nikolai, rushing first to one, then to the other. Hugs with Matilda, hugs with Alexandra... What is this - the author's vision? No - slander on real people. But that's not all. Why invent the fainting of Nicholas during the coronation with a crown that has flown picturesquely from his crowned head? Is this a "subtle" hint of future upheavals? Why force Alexander III utter a completely delusional, especially in his mouth, maxim that he is the only one of the Romanovs who did not live with ballerinas? Who is the trailer slogan that pops up on the screen: "Love that changed Russia"? For complete idiots? Why, to whom do they want to confuse their heads with another masterpiece slogan: "The Secret of the Romanov House"? What's the other secret? All secular Petersburg knew about the relationship between the heir and Kshesinskaya. Should the century of the collapse of a dynasty be greeted with heartbreaking Hollywood melodrama? And here by the way love triangle with explicit scenes? Despite the fact that a considerable part of our viewers will perceive the film, released in the year of the centenary of revolutionary upheavals, as real story Russia. And most importantly, what is impossible to comprehend: do the authors really not understand that all these vulgar falsifications will inevitably be exposed, neither skillfully filmed spectacular scenes, nor expensive scenery and costumes, nor foreign actors will help the film. Or are those right who say: nothing personal, just business. I don't want to think like that.

But there is no movie yet...

– The film did not come out, and any objections to it are easily contained by a reminder of the shameful phrase: "I have not read Pasternak, but I condemn it." But can't the trailer, as the author's annotation of the film, alert any person familiar with Russian history? I'm not talking about how much this alarms Orthodox people, for whom Nicholas II and his family are holy martyrs.

- But the sovereign is not glorified for every scene of his life - for his martyr's death.

– Yes, he is glorified for the path that he has traveled since 1917. And it was the way of the cross - with five children, a wife and several relatives. It was for his courageous confession, for the kind of Christian he remained in the last year and a half of his life, that he was glorified in the Church.

- And what, the Church will demand a ban on the film?

Movie bans are an absolutely dead end and the wrong way. A warning of right and wrong, that's what's important...

– I am sure that this is an absolutely dead end and the wrong way. Not demands for bans, but a warning about truth and untruth - this is the goal that can and should be set in connection with the upcoming wide screening of the film. If the film matches the trailer, it will be enough just to talk widely about the real former history. Actually, what we are doing now. And then the viewer will decide for himself.

– Vladyka, but you studied at VGIK and you understand that a good film is impossible without drama. And doesn't an artist have a right to fiction?

– But not deliberate misrepresentation. In a historical novel, "fiction is not deceit," Okudzhava argued. AT work of art about historical figures, of course, the author's fiction, artistic, dramatic reconstruction of events is needed. But if the artist is not deprived of elementary moral responsibility, he will not go beyond the limits of historical authenticity and will never turn history into its opposite. Conscious distortion of history is either deception or propaganda.

– On the basis of history, and not against, not contrary to it. It's all about taste and talent. Of course, you can take historical characters and make them do whatever the author pleases. Kutuzov in the film adaptation of "War and Peace" can pass not only Moscow, but also St. Petersburg. And Pugachev in the film based on " Captain's daughter"to become Catherine's lover. Only this has nothing to do with art. Either it is called special genre- fantasy. Then the film should be labeled as such.

- Did you tell Alexei Uchitel about this?

Yes, I talked to him on the phone. He said exactly the same as you.

– And what did he say?

- That the trailer and even the script is not a movie yet. In this sense, he is right.

– Have you read the script?

The director gave me the script to read, but I promised him to refrain from commenting on the script.

– Apparently, your position has not changed after getting acquainted with the script?

I won't comment on the script.

- When "Matilda" is released as a series, maybe it's worth accompanying each series with a documentary film that returns the historical consciousness of the viewer to the correct perception?

– I don’t really imagine it. I think it's enough for people to know the true story.

- I reviewed a lot yesterday documentaries about the heir and Kshesinskaya - completely disgusting in tone and persistently convincing that the romance continued in the marriage of the sovereign. With comments by esotericists, dubious psychologists and others. And no one pulls yellow TV channels for foulness, and for some reason we are in a hurry to make claims to the undoubted artist.

- Pseudo-documentary crafts do not have a great influence on the minds and souls of people, they do not attract so much attention. Another thing is a great art series.

– Outwardly magnificent Polish actress, wonderful German director Thomas Ostermeier and actor of his famous Schaubühne theater Lars Eidinger play in the film. That is, the film, in addition to a good director, had a wealthy producer.

- The film is designed not only for the domestic audience, but also for international distribution. It was made according to the global, globalistic, Hollywood "laws of the genre". I think that from a purely spectacular point of view, it will be a spectacular, pompous picture.

– Over the past 20 years, the State Hermitage Museum has held many exhibitions abroad dedicated to Russian sovereigns. Mikhail Piotrovsky believes that this largely succeeded in changing the views of the European establishment on the Russian tsars. They are no longer seen through jokes about Catherine's lovers, but as people of high culture, with excellent taste, and historical power. Against the backdrop of such efforts, it would be a pity to again show the world the image of Nicholas II through a love triangle ...

- Nicholas II like no other for a hundred recent years was discredited and slandered. People at the household level are used to it. And latently ready to accept New film about a completely insignificant, depraved, betraying his word, not knowing the honor and loyalty of the last king. But all this is again in the old basket - a strange state, a strange people, strange kings. It's a pity.

– However, the movie hasn't been released yet.

“That's where we started the conversation. It's a thankless task to discuss a film that hasn't been released yet. I know firsthand what it's like to make a movie. This is a huge work of many people, and first of all the director. And it is all the more insulting when the plot is initially based on the plot, which cannot be called otherwise than historical bad taste.

- AT recent times there are constant reproaches against the Church that it demands to ban this or that performance or film, referring to protests about insulting religious feelings. Famous Actors and directors see this as a violation of creative freedom.

– Activists are offended. The directors are outraged. The press warns the public about new facts of interference by the Russian Orthodox Church in the sphere of freedom of creativity. Progressive society is indignant. The issue of censorship is being raised at the Presidential Council for Culture and Art... It's just some kind of drama. Stronger than Goethe's Faust. So I want to say: the curtain!

– But in fact, in this performance, not everything is so simple.

- Indeed, there were appeals against showing a famous rock opera in Omsk. But these protests were not made by the Russian Orthodox Church, but by one of the many thousands of public associations, unions, and brotherhoods operating today in our country. A group of Orthodox activists is demanding that this performance be filmed, it seems, in all the cities where the St. Petersburg Opera Theater comes on tour. Recently, such appeals were, for example, in Tobolsk. They were considered and not satisfied. At the same time, the Tobolsk diocese had nothing to do with the demands for the cancellation of the performance. And in Omsk, according to the producer, the showing of the performance was even more agreed upon with the metropolis. Anyway official representative The diocese stated the following: “It is not the business of the diocese to regulate the repertoire policy of this or that theatre. I only know that the confessor of the performer leading role blessed him for this 30 years ago.” The head of the information department of the Russian Orthodox Church, Vladimir Legoyda, after the beginning of the hype in the media, through all news agencies, said that the Church does not support the demand to remove the performance from the repertoire of theaters. And the producers informed that the performance in Omsk was canceled, since tickets for it were bought in an amount of just over forty for a thousandth hall. Last year, they said, the same performance was shown here, in Omsk, although even then there were appeals from citizens with a request to cancel the performance. But the tickets sold out and the performance took place.

– All this known facts. But only one thing is heard everywhere: the Russian Orthodox Church demands to film the performance and achieves its goal.

- Recently, a priest from Armavir, remembering Vasily Zhukovsky's editing of Pushkin's fairy tale about Balda, where the priest was replaced by a merchant, published in the Armavir printing house a pamphlet with a merchant and without a priest, with a circulation of four thousand copies. And right there in dozens of media, including central ones, headlines appeared: "The Russian Orthodox Church is editing Pushkin!" And despite the fact that the head of the publishing council of the Russian Orthodox Church, Metropolitan of Kaluga and Borovsk, Kliment, also through all news agencies said that in this case this is a personal initiative of an individual priest and that the classics cannot be changed and edited even for the most good purposes, journalistic statements that the Church has reached complete insanity, so that Pushkin is also being altered, are joyfully full to this day. Here we have a multi-episode drama. It is obvious that its authors like it very much. There are also enthusiastic spectators. So without a doubt - to be continued. But we have long been accustomed to this, so, as they say, the flag in hand! As for the movie, I'm sure individuals and groups, including the Orthodox, will demand its ban. Let me say right away: we treat their position with respect and understanding. And we will urge it to be taken into account. But, once again, I consider the path of prohibitions a dead end. It is the business of the Church to forbid and permit, when necessary, in spiritual world. But not in the secular. Including neither in the theater nor in the cinema. But this does not mean that we will not openly express our beliefs.

– What about Tannhäuser? After all, there was a protest official Church- Metropolia of Novosibirsk

– And not only a protest, but also a court case was initiated on the suit of the Novosibirsk Metropolia for an innovative variation on the theme of Wagner. In the production, no matter how much some theater critics fooled our heads, the only "artistic find", the goal and the center of attention was blasphemy against the image of Christ. Public hearings were held, then the Novosibirsk Metropolis filed a lawsuit in full accordance with the law. And she lost this trial.

– But the play was cancelled.

– This difficult, unpleasant and unprecedented decision of the Ministry of Culture should be assessed in the context of the subsequent bloody tragedy of Charlie Hebdo. As life has shown, this decision turned out to be the right and necessary prevention from irresponsible and extremely dangerous, especially in the conditions of our multinational and polyreligious country, public experiments-provocations that anyone can call creativity.

Date of Birth: July 2, 1958 The country: Russia Biography:

In 1982 he graduated from the screenwriting department of the All-Union state institution cinematography with a degree in literary work. In the same year he entered as a worker, then as a novice.

In 1995, he was elevated to the rank of hegumen and was appointed abbot of the Sretensky stauropegial monastery.

In 1998 he was elevated to the rank of archimandrite.

In 1999, he was appointed rector of the Sretensky Higher Orthodox Monastery School, which was later transformed into.

Since March 2001 - Chairman of the monastery economy - agricultural production cooperative "Resurrection" in the Mikhailovsky district of the Ryazan region.

In 2004, he graduated from the Sretensky Theological Seminary as an external student.

By order of the President of the Russian Federation of March 16, 2010, the Council under the President Russian Federation on culture and art.

Place of work: Commission for Interaction of the Russian Orthodox Church with the Museum Community (Head) Place of work: Church-Public Council for Defense Against the Alcohol Threat (Co-Chair) Diocese: Pskov Diocese (Ruling Bishop) Place of work: Dormition Pskov-Pechersky Monastery (Vicar) Place of work: Patriarchal Council for Culture (Chairman) Place of work: Pskov Metropolis (Head of the Metropolis) Scientific works, publications:

Archimandrite Tikhon (Shevkunov) when he was named Bishop of Yegorievsk.

• Pskov-Pechersk Monastery, which received the Grand Prix at the XII International Festival of Orthodox Cinema and TV Programs Radonezh (Yaroslavl) in November 2007;
• "Death of an Empire. The Byzantine Lesson", which received the Golden Eagle award of the Russian Film Academy in 2009.

Awards:

Church:

• 2008 - Order of St. Sergius of Radonezh II degree;
• 2008 - Order of St. equal to ap. book. Vladimir III Art. “taking into account the labors in the matter of restoring unity with the Russian Church Abroad”;
• 2010 - Order of St. Nestor the Chronicler (UOC);
• 2017 - St. blgv. book. Daniel of Moscow, I class;
• 2019 - Rev. Sergius of Radonezh III Art.

Secular:

• 2003 - National Prize. P.A. Stolypin "The Agrarian Elite of Russia" in the nomination "Effective Land Owner" and special sign"Behind spiritual rebirth village";
• 2006 - Award "Best Books and Publishing Houses of the Year" "for the publication of religious literature";
• 2007 - Order of Friendship "for merits in the preservation of spiritual and cultural traditions, a great contribution to the development of agriculture";
• 2008 - award " Best Book year-2007";
• 2008 - the prize of the newspaper "Izvestia" "Izvestnost";
• laureate national award"Person of the Year" for 2008 and 2009

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Leaves Moscow, receiving in return a good opportunity for a run

Bishop Tikhon (Shevkunov), who is called "Putin's confessor", has received a new appointment. He will head the Pskov Metropolis. In this regard, rumors intensified: Tikhon could become the new patriarch.

"Resolved: His Grace of Pskov and Porkhov, the head of the Pskov Metropolis to be a bishop Egorevsky Tikhon with the retention of the post of chairman of the Patriarchal Council for Culture. "The decision of the Holy Synod on the new career of one of the most recognizable bishops of the Russian Orthodox Church caused, as they say, an ambiguous reaction from the public. "The candidacy of the future patriarch is almost determined," wrote, for example, on this occasion in LJ Protodeacon Andrey Kuraev. But there are other assessments of Tikhon's career prospects.

“The charter of the Russian Orthodox Church does not allow a vicar bishop to be a candidate for the patriarchal throne,” Andrey Kuraev notes in his blog. “Vladyka Tikhon will now have experience in managing the metropolitan. sympathy. I also believe that it would be better for him to become the head of the Russian Orthodox Church in the post-Putin years. To be "honest", so that he does not look like a "puppet of the Kremlin", so that they see him as himself, and not a political puppet."

However, in a conversation with an MK observer, Father Andrei explained that he did not mean Operation Successor at all: “I cannot conclude that the patriarch would like to see him in this post after himself. Those stars that the patriarch was guided by, making this decision, may be completely different."

Nothing is known to the church publicist about the intentions of Tikhon himself. But Father Andrei believes that his patriarchal prospects are already evidenced by the very course of events: “The current patriarchate will leave a very bad aftertaste. And among the bishops, known to all the country, only Tikhon enjoys a good reputation. He does not smell of power, he does not have a thirst to build everyone, to break through the knee - something that is very visible in the current patriarch."

Quite highly appreciates the career prospects of Tikhon and member of the Public Chamber Union State Archpriest Vsevolod Chaplin of Russia and Belarus: "I think Bishop Tikhon's opportunities will expand with this election. He has long outgrown the status of a vicar, which he had until now. Having experience in managing a diocese makes it possible, at least technically, to be promoted to the patriarchal throne. It also draws attention is paid to the fact that he retained the post of head of the patriarchal council for culture. This means that he will continue to work quite often in the capital. That is, there will be no disappearance from Moscow."

So far, Chaplin believes, Tikhon's patriarchal rating is low: "If the election of the patriarch were taking place now, I would not expect Tikhon to be even one of the two main candidates. The most obvious candidates would be Metropolitan Barsanuphius and Metropolitan Onufry of Kyiv. But the transition to the status diocesan bishop while maintaining the possibility of church and social activities in Moscow gives Tikhon, let's say, a good opportunity to take a run.

It takes a completely different point of view leading expert of the Center for Political Technologies Aleksey Makarkin. In his opinion, Tikhon's new post bears little resemblance to a launch pad for takeoff. By outward signs this is really an exaltation: Tikhon received an independent diocese for administration, and a very significant and rich one at that. But at the same time, Tikhon leaves Moscow, the political scientist notes, "and his influence is largely due to the fact that he is in constant contact with his spiritual children."

Makarkin, however, does not believe the persistent rumors that Tikhon is the confessor of Vladimir Putin: “It cannot be ruled out that Tikhon could receive confessions from him. This is quite possible. But the fact that he is the president’s confessor, so to speak, on a regular basis, is very doubtful. In this case, he would hardly have left for Pskov. The confessor should be nearby. But the fact that many representatives of the elite, including the power elite, belong to the spiritual children of Tikhon is a reality. Accordingly, now it will be more difficult for him to maintain relations with these people."

Makarkin recalls that in last year actively discussed the possibility of Tikhon occupying the St. Petersburg department. This would really be a sharp increase in status: according to the charter of the Russian Orthodox Church, the Metropolitan of St. Petersburg is a permanent member of the Holy Synod. "But as a result, not Petersburg, but Pskov, a much less prestigious option. jumping into the patriarchal chair is, according to Makarkin, the absence of any signs that the current patriarch is going to resign. "Of course, anything can happen, but I'm still more inclined towards the version of an honorable removal from Moscow," - sums up the expert.