OLEG MELEKHOV – Esteemed  Aristocrat of  Art

“Art is no longer expected to express itself in obscene or vulgar language, art is by nature explicit, blissful, a profound language understood and used for centuries – a language which is noble, associative, the language with more nuances than letters”.

Nonna Christy, a well-known Moscow art critic, during one of Oleg Melekhov`s opening-days was in such a state of exaltation that instead of a ponderous speech merely breathed out in an expression of enthusiasm:
                                                 “Oh, Oleg!”

That announcement reflected admiration, amazement and worship of   a real master with a prodigious talent. Moscow did more than recognized him officially – it threw open the doors of its galleries, to pre-empt rivals by inviting the artist to exhibit first in their halls. The most prestigious “New Manege” where the price of an exhibition hall is $1000 a day grants him its hall free for a fortnight. On the very first day of the third millenium  “The Beginning of New Age” art exhibition was opened in the main cultural center of Russia, and it was highly symbolic.  The Moscow authorities covered all the expenses for which there was no precedent.   Moscow does not believe in subterfuge but has implicit faith in money and …  real art.  Thankfully, there are still art critics who can distinguish a true talent from an imitation.  
    Nikolay Schmidt, a respected connoisseur of art and “New Manege” head for 40 years, an artist and art critic himself, spoke favorably of the    exhibition: “For those Muscovites who visited our gallery the creative work exhibited by the artist turned into a revelation, unfamiliar to them previously but appearing to exude love to a man and the world as a whole. By the expression of his art this love becomes his inspiration. He is a philosopher, an artist with a remarkable grasp of directions in art and with a unique   individuality of his own… Subdued colours are typical in Russian art. This is the first time that I have come across such pure colours and brightness. A surprisingly precise composition. You are a Great Artist.  Thank you for your agreement to exhibit your paintings in our gallery!”
     Then we have the State Duma and the Council of Federation where all the paintings had to be re-positioned   every day as very curious officials – deputies and senators – would look behind the pictures expecting to find a light bulb fixed there. In the dark hall of the Council of Federation   the paintings were actually shining, provoking the enlightened public into asking questions as to the source of the light. At long last Kaliningrad is no more spoken of   as purely a    geopolitical oddity but as a beautiful city with its cultural heritage firmly emerging for all to see. The question about the source of power was far from being a trivial one.
      The turn of milleniums was marked by the emergence of a new age of art.  The films appeared the ideas of which were expressed by using purely artistic methods and by ignoring social debates, or completely replacing them. “The Prospero`s Books” by Peter Greenway, “The Piano” by Jane Campion, Caroyan`s “The Mood of Love”, “High Heels” by Pedro Almodovar… Peter Greenway and Andrey Tarkovsky became the founders of a new living language.  Cinematography was assuming its own identity under the banner of cinematographic art.
    A clear distinction of the battle between good and evil was emerging; a new awareness of the Great Masters of the past was raised in human perception. In “Matthew`s Passion” by Bach, “The Requiem” by Mozart, Tchaikovsky`s “The Nutcracker” the listener exposes his soul to a harmony which transcends human anguish. 
     In literary circles Vladimir Nabokov is regarded as the indisputable leader, in his novel-parable  “The Invitation to Execution” Kitezh bridge is used to show all seekers of beauty and wisdom a thorny path to the new age/.
     Complementary and enriched spheres of art enhanced by the wide spectrum of information available are combined to create an amalgamation of new culture, new humanity, and new age.
     In the light of Oleg Melekhov`s creativity the future art which is able to awake the ontological consciousness of a person   sounds as a lofty goal. This consciousness clarifies and extends his aesthetic vision, gives him an opportunity to overcome a linear-horizontal measurement of time.    
     How does the artist succeed in achieving such an effect, what makes his paintings so honest that they immediately touch your heart?  It is this particular aspect of his creativity I would like to explore first of all.
   Once Cézanne, when festing his eyes upon a masterpiece spoke with admiration about its creator: “He must have suffered a lot to achieve such a sound of pink”. It is of little use to burst only once through the commercial conceit which is mercilessly cultivated by modern civilization. One ought to live above the confines of the philistines to create over and over again unique objects rooted in eternity. One ought to be able to walk independently through the dogma constrains and to escape working by rote.  To be able to paint symbolic “Sagittarius” without unnecessary details so avoiding any period between strained alertness and the shot itself and thus achieving absolute fullness of the painting and refraining from a cheap conventional statement.
Each new cycle of the artist`s imagination is an unpredictable departure from the safe straight highway leading to big city pleasures. The traveler is taken to a narrow and impassable earth road which runs under a sign of an executioner`s block, complete with axes. And when this sinister road becomes surrounded with orchards of Hesperidins and changes into yet another wide highway, he pauses once again to make way to those who   follow him.   He leaves them his portfolio of sketches with recorded dangers and uncertainties of every section for all to discover. As a rule each sketch has a number of stages of development and the resulting big canvas differs quite often from the original idea. But all the construction stages will be presented to the viewers to enable them to sympathize and participate in the building of the Common Temple of Beauty in the City of the Future.
Using his creative imagination the artist often uncovers an old-age truth of art as a way of purification. This may be communicated to the viewer capable of a reaction, to which he can find himself on the same wavelength as a picture itself.
Art possesses huge power, exceeding the power of all known weapons. A word can kill but it can also rise from the dead. Good music inspires, bad music can destroy mood, fate and ultimately life itself. A special role in the Pantheon of Beauty is given to fine arts. Especially where structured layers generate fields of physical and mental energy. The picture itself becomes a unit of power charged by an artist. You can deal with it provided your feelings and emotions are pure. Such contacts result in energy exchanges between the picture and the viewer. If the artist succeeds in depicting the future in his work in the form of new field structures, then a viewer who comes into contact with them enriches and expands his consciousness. What is more it is in this contact that he can create new fields, imprinting his unique vision that will in turn enrich other viewers. Only a literary plot can be picked up effortlessly. And very often most people cannot spare a minute to reflect in the vibrations of a picture and enrich themselves with the beauty of its harmony. Appreciation and taste should be taught as a matter of primary importance for a new age man.  After all, most people are not aware of how to improve taste; they prefer to be poisoned instead by primitive chocolate-box beauty and undisguised filth embedded within consciousness after a careless glance. It is easy to plunge into the mire; it is difficult to wade through all the dust and filth of the path without getting dirty.
Art has always had a powerful psychotropic effect on human consciousness. The Nazis in concentration camps tested prisoners with paintings of abstract artists and intentionally impregnated them with ideas of   deregulation of the human mind.  The results were stunning. After which there followed a notorious legal procedure.    
A salutary effect of world classic paintings is also a well-known fact. This is the first and main criterion of the distinction between “new art” and “old art”. One brings exultation, the other – a painful feeling of disgust and an itch for cleansing.    
In Oleg Melekhov`s painting everything is innovative – words, sounds and visual images captured. It is so because it was he who experienced it, and every brush stroke and reflex has been achieved through anguish. By a thorough, step-by-step development of his works the artist succeeds in achieving amazing veracity and a refined decorative style of within his pictures. Taken together they create the unique style of the artist. His eye as an indicator of beauty has the perceptive vision of Old Russian icon painters, a pure feeling for colour as perceived by the French impressionists and the graceful characters of Arabic ornamental patterns. Academician Raushenbach precisely estimated and scientifically substantiated Cézanne`s perceptive vision unspoilt by a linear-horizontal perspective.   
The urban landscape is one of   the favorite themes within the repertoire of Oleg Melekhov. The choice is not accidental. It would be more precise, however, to define the theme of the rebirth of the old city as a new cultural Epoch. For many centuries Konigsberg had been a powerful accumulator of human values. Many famous philosophers, men of science and cultural workers lived and worked here.  Their creative work was reflected in books, printed music, pictures and incombustible testimonies of Mother Nature. There are only a few architectural masterpieces remaining from the old city the splendor of which may even have aroused the envy of Paris and Venice in their day. Within its walls remain significant features of a bygone German culture. From these fragments of old Konigsberg by making sketches over many years the artist has succeeded in developing an artistic insight resulting in a special vision breaking through the realities of a rough physical world.  Then he turned to archival documents with old engravings and photos. A special cycle of his works was dedicated to the city of Ernest Theodore Hoffman`s fantasies.   Hoffman was born on this soil, graduated from Konigsberg University. Why was that particular German romantic singled out among so many of his contemporaries who immortalized their city? It was because he was linked to the Russian culture. The latter is young and active and as with all new cultures has the ability to absorb and nurture new and fresh ideas.
At present there is a vacuum between the two cultures – Russian and German resulting from a long-term existence of German and Soviet totalitarian regimes. It needs to be replenished in such a way as to connect the best of the past with that of the future. And such a brilliant and powerful link is rooted in the past.
Alexander Pushkin, a genius of national literature lived in the era where Hoffman exerted such global influence. Wilhelm Lenz, a pianist and a musical critic wrote in his memoirs about meetings with Pushkin at Odoevskiy`s place: Pushkin never stopped talking about Hoffman; he wrote his “The Queen of Spades” in imitation of Hoffman but in a more refined style”. As with a number of Baltic region capitals each having a number of common denominators, for example Konigsberg and St.Petersburg, so Pushkin and Hoffman were congenial souls. Totally different in styles their underlying themes had much in common. Pushkin the pragmatist and Hoffman looking at individual identity and social interaction from a different perspective, both were arriving at similar conclusions. They showed the life as a multidimensional, polyphonic concept. Hoffman influenced all famous writers of the 19th century to a greater or lesser extent.
Lermontov wrote “Shtoss”, Dostoevsky – “The Landlady”, Gogol – “The Portrait”, Odoevsky – “Silfida”…  Odoevsky took a further step from a fantastic reality to a perception of the highest Reality: “I would like to explain all these weird phenomena, to bring them within the general laws of nature, to contribute to the elimination of superstitions”. Bedtime ghost stories were put into the garments of a new meaning, romanticism on the Russian soil stepped into the prime of youth.
At the turn of centuries Hoffman was a significant figure in the German culture. He concentrated in himself the most viable features of humanitarian art of the previous century, including for example, Novelize, and discarded the refined pedantic philosophy of the early German romanticists. But the main romantic development was, according to Igor Bells and favored by Hoffman, art synthesis. Although a gifted writer his artistic talents did not by any means end there, he was also a prolific composer, an outstanding conductor of symphonies and opera, a more than competent singer and notwithstanding all of these attributes, a respected stage designer. His opera “Undine” was staged in Berlin in 1816.    So musical types in Hoffman`s novels and stories are remarkable for their depth and humanity which are based not only on his inexhaustible creative imagination but also on a high level of professionalism”. Shuman named one of his best pieces as “Crysleriana” after one of the main characters of “The worldly wisdom of Murr cat” since he believed Hoffman to be his soul brother. Let us remember that Shuman inseparably linked “the poetic future” with protection and confirmation of the sublime in the recent past. 
Oleg Melekhov`s educational development included the study of music which enhanced his understanding of the music of colour. There is no doubt therefore that the portrayals of images and feelings peculiar to both masters are in harmony with each other and interlinked through time.  Their “lyrical vigor blends into the stream of moving aesthetic consciousness”. It is in this way that ages are linked and history puts down its roots into eternity, “The Golden Age”.  It is in this way that the period of human decadence, the so-called Dark Age, is declining and the Light Age is surfacing.
The creators therefore are confronted with a dilemma: on the one hand there is an intended idea, on the other hand – the way of its implementation. There is a gap between “what” and “how”. The ability to replenish it and to link the two shores by a bridge depends on the author`s technique and his artistic vision. There is a saying: “It is not good when the master is not an artist but it is much worse when the artist is not a master”.  In this case, one can face the profanation of the idea. A direct solution “to a brow” means “illustration” or “literature” in an artistic language. Such a picture of the idea has no magic of its own. If there is no magic which visibly links the idea and its implementation then there is no tension of the link. It is   the mastery of the artist himself, which affects the extent of filling the existing gap with the magic. The different tasks should be solved using different solutions. These solutions determine the manner of implementation of such ideas. To create fullness and breadth various perceptions are needed.  Such selection gives rise to the cycles – multi band highways which thread in and around the main idea. As to the artists they use, as a rule, only one manner. In Nabokov`s opinion, they are “savages devoid of the real culture, who have seized some of its threads and are displaying only imitative idea”.
It is very difficult to number all the options Oleg Melekhov offers in his interpretation of city landscapes. All of them are original and represent the unique format peculiar only to his painting. Take for example molded  pictures-sculptures which sparkle with numerous facets of carved precious  stones highlighting the pure colours, where  only an exact composition prevents the figuration of this mosaic from sliding down into abstraction. Exhibition of all these works normally confined within a 1.5 meter square format creates the illusion of being in Zurbagan – the city of childish dreams where tangible examples ancient high relieves, the solemn severity of the Gothic and contrasting bright embroidery of Persian carpets are combined.   As with Goethe’s  “The Corinthian Bride” there is an anticipation of the fight and victory:
      “From Athens to Corinth that is multicolumn
       a young guest turned up who is unknown…”
The opinion of a certain Japanese monk on the landscape is also worthy of our attention. He cleverly expressed using a few touches the very essence of matter, which is recognized by feelings rather than by sight. 
                        “Blue in the window,
                          Slightly touched the red
                          By leafage”
Hike is replaced by a monumental and dynamic hexameter of the streets of the old city the lightness and freshness of which are achieved by 3 or 4 colours. But for all that the artist always shows an intuitive handling of colour. Some of his works are based on two complimentary, and as it was believed earlier, inharmonious colours, violet and green, for example. Surely such sensation of colour is possible provided there is a deep understanding of the essence of associatively. Hence  in the pictures dedicated to Hoffman`s  City of  Fantasies  a sharp ear of a careful viewer     hears the music of Tchaikovsky`s “The Nutcracker” in the key of  cobbles on  the pavement and the heels of Dora Hott, Hoffman`s sweetheart, 200 years later revealing a true meaning of romanticism, which  poetized not an inevitable end as it was interpreted  in   a socialist reading-book but an eternal life that death  is unable to prevent. The artist succeeded in finding the threads which link the past and the future and nurturing them with the magic implemented in the Beauty of the present.
It may sound Greek to a human flippancy. But it is very important to understand that the true meaning of human life lies in the building of the Common Temple of Beauty which will be raised on our planet one day with everyone praying within. It will be when evil and disgrace as a synonym of evil leave our earth. It never occurred to Philistines how many valuable treasures lie in front of them, what jewels are scattered about.  The Superior World diligently tells the people over and over again: you will approach by way of beauty; perception of beauty will save you. We have been summoned to the festival of this world and our lives  are blessed thereby. But the drama of human life is that some people create such a festival every day by beautifying and improving the life inside and around them, others have come to this festival only to enjoy themselves. They intend to take without any wish to be enriched by the  inspiration or to use it for ennobling their lives.
                         “Oh, Times! Oh Measures!”  
In the opinion of A.Mikhalkov-Konchalovsky, in his films Tarkovsky developed the principles of the remoteness and coldness while having a deep insight.  He did not care about the way his viewer perceived the scene, he spoke of the feeling development resulted from abstract thinking. For that an enormous courage was needed.  After all, people like children require entertainment and action”- this idea was expressed by Pushkin who nevertheless never renounced the dignity of art while he “played on three main strings of our imagination – laughter, compassion and horror”. Up to now a dramatic effect of his magic amazes a human soul.
In the painting of the middle of the 19th century on the even ripples of a photographic copying of the reality a wave of impressionism emerged.  It appeared as unexpectedly as in his own time Hoffman appeared on the background of clumsy romantic symbolism with its permanent praising of chivalrous armours, war-horses, dwarfs and castle chapels with their proprietress. Impressionists depicted only their own impression of the things seen and thus approached the Reality for mystery appeared in their works.
 A basic structure of fine arts is a living pliancy of line and a life of colour. Before the age of impressionists the life of colour was subjected to the life of line. With their arrival the life of line started to get washed out by colour and acquired more and more conventional outlines. And it was when the life of colour broke loose from the grip of the line and devoured it that an extreme was formed under the name of abstractionism.  It was an extra step aside that promoted the development of industrial art in the form of carpets, wallpaper and other articles of civilization.  Impressionism became a major step forward in a human world perception. Evolutionary motions on the planet caused modified psychophysics of an eye peculiar to the most sensitive people.
Violent changes in the ozone layer, the planet climate and human psychophysiology are more visible now than at any other time in the last century. Extrasensory abilities specific to a substantial part of humanity are the most obvious criterion of an incipient culture. Some are becoming more refined, gentle and kind. Whereas others are the opposite, descending into vulgarity and aggression. World perception   is changing and an understanding of colour typical for the discerning is expanding. Rudeness and ignorance will gradually diminish from the scene of evolution.
             “… Our spirit is shattering our flesh is collapsing,
                Giving birth to the organ for the sixth feeling”
Time dictates to the fine arts a rhythm refinement of plastic means of expressiveness to achieve a more complete expression of the idea of casting a man of the new evolutionary formation. They lie in synthesizing the life of line by the life of colour. An alchemical crucible where the most harmonious alloy is being cast can be found in the future. If an artist succeeds in choosing accurate colour ingredients, makes them red-hot in the furnace of resonant harmony of light, colour and line, creates the pressure desired in the crucible by coupling of a compositional solution, it is quite possible then that he will cast a bar of gold the lustre of which will reflect the idea from the future. It is the magic of such mystery that is called supremacy in art. The line as a plastic mean of artistic expressiveness is coming back and obtains a new life since the artists have always depicted with a vivid line of colour a visible world resulted from a long chain of the cosmic forces set in motion one after another. The highest planes or spheres of our planet are the realms of culmination of an absolute harmony.    
Those people who have a deep insight into such realms of images and ideas and manage to synthesize a pictorial noumeite or a fiery precursor of line and colour become aristocrats of painting. Aristocrats of music read these images as sounds and combine them with the harmony of compositions.  There are only a few of them. The rest are divided into those who are on their way to these spheres and, the major part, who are bathing in the dirty slough of lower spheres and create insuperable hindrances for themselves by the fruits of their “creation”. The 20th century will go down in history of art as the darkest century that brought forth an unprecedented amount of filth resulted from the decomposition of the form. The decomposition always accompanies the decay and as a result, the destruction. It is in this way that the world is divided into builders and destructives.
The main battle of Armageddon, which involves the whole planet, does not pass through Chechnya or Iraq, it passes through the art. Hence there is such an amount of “obscenity” on the screen, in books and music. Dark forces will struggle to the death for their power over human minds. A man will have to do his best to learn to discern the difference between a muddy scum of illusions from the past and pure art from the future. It is not an arduous task if there is a desire to develop and refine an artistic flair. The works of those artists who reflect the lowest astral of their abnormal world conception by means of a distorting mirror of their perception are exhibited in empty halls. Opium for the people is not in need any more. Hallucinations remain in favor only with red Khmers, Voodoo wizards and Buryat shamans.
                           “Oh, Times! Oh, Castles!”
At the moment the task of primary importance is to promote the development of an artistic flair. Why is it so important? In old Indian tradition the evolution circles were called circles of artistic flair. Why is artistic flair in particular? The fact is a man has a cosmic predestination. A human being has such a link with the future, which is not specific to animals. Up to now, however, most people completely imitate the worst aspects of the animal world by showing their mean passions and an aggressive striving for consumption.   If a man succeeds in establishing such a link with the future then he brings its aroma into this day: he nurtures and ennobles it by means of a high sense of beauty perception and uniqueness of every moment of reality. The more he is developed the cleaner and smoother the mirror of his perception is. Broken and distorting mirrors reflect only illusions of the past by disfiguring and aggravating the present.
                         “Oh, Times! Oh, Flairs!
                          A high brow is given
                          For pure art”
In an ancient Greek fable Perseus won a victory over terrible Medusa Gorgon thanks to Athena`s gift – a copper shield which reflected her image like a mirror. It is important to understand the concealed meaning of the fable, the shield being the gift of Goddess is a rosy aura through which Perseus was looking at Evil – his past, but as a result of the gift, was immune to it.
Each evolutionary circle gives mankind a chance to develop a certain quality of artistic flair. All the best achievements and developments of human ideas eventually became a part of the universal culture. Embryonic crystals of such energy shown in the symbols of fables and legends were passed on to the new generations.
The idea of the synthesis of science, religion and art, which dominated the 19th century, has brought its fruits into the social life of the 21st century. In Nida, a picturesque Mecca for artists, the ground floor of a newly built temple is provided as an art gallery and as a venue for chamber music. Religious services are held on the first floor. At present the Catholic Church erects temples of religion and art. The Christian Orthodox Church is more conservative but it has also taken a bold step. Patriarchy of All-Russia has acknowledged the erroneous declaration of scientific knowledge being hostile to the Lord and church. The President of the Academy of Sciences stated: “The scientists have come to conclusion that the Author exists.” And further on: “The purpose of human evolution is to embrace God and to achieve the Divine insight”.             
“Religion” comes from the Latin “religare” meaning “to bind”. Which can be interpreted as an integration of future world causes and present world effects. Art is a pointer, which embodies the magic of this terrestrial binding of images. And so the very essence of religion lies in a love, which polarizes the cause of a pure motive in order to sanctify the effect. The process of transforming the effect by means of the cause is the essence of art, which in turn embraces science. The latter is only applicable to method and its function in this progression is to give a good basic technique for the actual process. Therefore the task of synergism has always been of primary importance for humanity. It can only be possible when desire for beauty, and ethereal harmonies is paramount and when the developed perception is capable of encapsulating spiritual Love. Only then does life acquire its fundamental core, which, whilst developing, moves human consciousness along the evolutionary path of development prescribed by the Divines. That is why the aristocrats of art are the messengers, reflecting love at its purest and also embracing its disciples.   Supremacy in art is linked to the revelation of human magnetism and the mystery of life often depicting the hidden depth as well as aspects, which are clearly revealed. My function as a messenger is to try to express the inexpressible in a word. Those who feel it will understand it without elaborate explanations. As to skeptics, they remain unfulfilled.
                      “Oh, Times! Oh, Mankind!
“Art” comes from “iskus” meaning “temptation” but there are degrees of temptation, some light, some dark… All artists at some time or other painted a nude female figure. The Divines fixed the grain of the idea within the consciousness at the dawn of time as a gift.

  1. What makes a woman so attractive to a man?
  2. Magic light which envelopes every woman. The secret of her beauty is in this light.  The   more intense it is the more beautiful the woman is.

“Female” Goddesses were older than “male” in ancient religions. A female image was the symbol of Innermost Wisdom with a male image meaning a Revealed Secret. High priests in ancient Babylon and Egypt were women. This is a very weighty argument in favour of evolutionary seniority of multifunctional female nature. Egyptians called an artist “seienakh” meaning “a person who reanimates”. In the opinion of those who reanimate, an exalted female image was a link between divine love to a man and therefore to God who saw a personified divine beauty in a woman.  For light art, intimate and spiritual life are innermost parts enriching each other.
For dark art, love remains an abstract concept. Those people who are prone to it are dreaming of a true life all their lives, but it remains unachievable to them the same way as high morality, which is a refined energy of human essence. 
 Female origins with their traditional propensity for tenderness usually demonstrate an ability to find the correct solutions in the most desperate situations.
                             “Oh, Times! Oh, Temples!
                             The secret is kept back by a Fair Lady!”
Most female images in Oleg Melekhov`s creations combine suppleness of bodies with a sharpness of limbs and tend to portray an artistic symbol which expresses on the one hand the restless delicacy of a spiritual origin and on the other – by means of expressive childlike faces and a softness of inner rhythmic structure – the eternal youth of maternal nature. This symbol sometimes culminates in a deep artistic understanding of a well thought-out style in which the form itself is explored and revealed with exceptional simplicity and laconic brevity up to its archaic shrouds. It being acknowledged that these schemes invariably achieve the power of expressiveness and female intensity: “A great indicator of the female origin”, “A Kiss from the Soul” a cycle in watercolors collectively called as “A hand touched a hand”. Performed in different styles showing lightness and lucidity of a fleeting touch, clear of naturalism and all its manifestations, they transmit the depth of a brilliant artistic play realized without a particular effort.  Lightness, play and lyricism of pictorial spirits produce a philosophic essence of the artist`s comprehension of the “fabric” of femininity each fold of which conceals the mystery of Existence.
      The world is under a veil of mystery.
      The world is held up by mystery.
      A mystery accompanies a man in the course of his life.
      A mystery protects his path.
The Sphinx with a female appearance enjoys the riddles proposed to travelers passing by, being itself one of the greatest riddles of the world.
Yury Ryurikov, researching the subject of love, in his book “Who should love in the 21st century” traces the development of this feeling during a certain period of history. “Love in Platoon’s time was synergetic, all-embracing. The feeling enveloped a man on the verge of life and death. Here is an extract from Safo as an example:
                            “The moment I see you
                              I am unable to    open my mouth
                              I am turning greener than the grass
                              And I am just on the point of
                              Saying goodbye to my life.”              
Since Platoon two cerebral hemispheres, two reflections and two streams of love have been included in our conception, the stream of synergetic love growing shallower and that of analytic love deepening. Art, religion and science were subject to delimitation. As academic science became extremely dull and logical, art was becoming more and more emotional, almost light-hearted. In the 14th century Petrarka opened the second stream of love:
                             “I am striking with awe and I am waiting impatiently, I am burning with the desire and I am becoming numb with cold,
                              “I am fleeing from everyone, and everyone is beloved for me”. 
He saw two rivers of love, two streams of feelings – light and dark; delight and anguish, elation and pain. But he overlooked streamlets. In the 20th century two rivers turned into the delta, each of its streams being broken up into the smallest streamlets of moods and emotional activities. Micro-psychology of love is springing up. Attention is focused on almost inaudible volatile sparklets, which focus more and more on inexplicable feelings.  A new type of matrimony appears, marriage – cooperation where priority is given to likeness of interests, opinions, in other words, the bedrock on which friendship and respect are based. After all, passions fade away, but friendship, respect, interest in each other remain. For that a man needs concentrated help with his feelings.  It is an appropriate background for the emergence of new responsibilities – to satisfy the spiritual demands of each other. This incredibly increases the aspirations of both sides, enriches a family life and improves diversification… Masculinity absorbs feminine features: gentleness, humaneness, versatility, distinction of semi-tones and tints. Emotional femininity is becoming more and more sensible…”.
It may be added to these remarkable studies that in such a liaison earthly love can become a reflection of divine love and the motivation for its perception.
It is perception of the love of Heaven, which promotes and refines the love of earth. The purpose of a man as an ethic being is a progressive aspiration towards the Divine. He looks for fulfillment of love through himself, that is giving”. When he is subject to irrational impulses or expedient rationality instead of being led by the Divine knowledge and will, he will fail to meet spiritual demands of his spouse. He has nothing to give but his salary. The light of love flickers and quickly dies out unless the beauty of renovation supports it. To achieve such a beauty a man has to work selflessly at self-improvement and to be anxious for cognition of him and the outer world. Love has always been a splendid incentive of human life and also the High Muse in the wreath of fine arts.  
A man who feels well can be good at expressing his feelings. The means of expression cannot exist separately from the things to be expressed. And if this particular work of art is bad, it is bad not only because the artist did not have any means of expression but also because he had nothing to express. The form and the content are inseparable:  who works at art works also at its expression”- those words were written by N.Punin, a prominent art critic of the last century.
In this article I deliberately try to concentrate on the issues pertinent to the background of creativity as I am interested most in quality analysis which in articles on fine arts is often replaced by plot analysis as well as historical or formal analysis.  The form analysis is not identical to the quality analysis: they only partly agree with each other.
Nowadays the world of seekers of truth is divided into aesthetes and hedonists. The former made a lifeless virtue from lively ethics, the latter – a monotonous gloss of Bohemia vulgarity from the unique beauty of existence.
Aurobindo Ghosh defined the goal of a man as an aesthetic being: ”To find the Divine through beauty; for this purpose it is required first to see and depict a human being, Nature and the life for their sake in their own salient truth and beauty as it is behind these first features that the beauty of Divine lies. And through their precise transformation what was veiled must be opened”.
Supremacy of Oleg Melekhov`s creativity lies in an exquisite transparency of the veil which conceals the mystery.
Tarkovsky used to restrain a tragic pathos of an actor: “never slam the doors of an old cupboard. Words have no meaning. Do not play but live, breath…” He was most afraid of artificiality, even a clearly pronounced phrase. His image was developed from algorisms, a mosaic chain of seemingly inconsequential behavior, which gave rise to the uniqueness of a picture.    He did not bring the spirit of mysticism to the scene, though mystery is present in all his pictures.
Aristocrats of art always summarize all the achievements of world culture and amalgamated their own unique art style. Their motto is: “Past the crowds to the heart of people”. Those who make hearts harmonious create world art culture far from squares and market places. Having an exquisite sense of beauty they were following the path of aesthetic martyrdom through the thorns of misunderstanding of contemporaries and primitive imperfection of tastes.   This path scheme outlined on both sides by those in power and by indifference of spiritless throng joins all the seekers of truth and beauty:
                                “Oh, Times! Oh, Temples!
                                I have discovered the enchantment of amalgam”.

In spite of its provinciality Kaliningrad did not lose the gloss of metropolis and as a cultural center it is one of foremost European cities. Chamber orchestra conducted by A.Andreev, “Lik” (Image) male choir, Oleg Melekhov`s painting and many other things not only defended the cultural space of Konigsberg but also raised its standing to a new level. I consider it as a natural choice that Kaliningrad   was the best contender for the international organist contests named after M.Tariverdiev, a prominent musician of the present era.
“During the years of our work we, representatives of Kaliningrad officials, failed to attract such attention and interest to the city as was attracted by artist Oleg Melekhow during a week`s exhibition in the State Duma.” – said the deputy. That opinion was unanimously shared by all deputies. “The attitude to the city has been changed, they have started to speak about its unique geopolitical position”.
Numerous admirers of this prominent master of line and colour  are dreaming of the artist having a studio – gallery of his own which could easily be turned into a Russian cultural Mecca for city-dwellers and  tourists alike. Guides have nothing to show while his collection of 400 pictures might fill up the vacuum in a worthy manner.”
Oleg Melekhov has already added a glorious page to the Pantheon of Beauty of all ages and nations. His creations have become the common property of Russian culture, it should be known to all those who wish to rule the city or the country.
V.Pokladova, head of arts departments of the Museum of History and Art writes in her review on the artist`s creation: “it amazes with its outrageous subjectivity, smartness of modeling a unique world of his own. This fledgling art is a result of continuous daily work where the artist designs his own space. Today this space represents a huge world of over 3000 pictures and numerous examples of pupils, some of them having their own unique features. The artist who is constantly venturing into the future succeeds in reaching the freedom by means of the intuition developed inside, and in a permanent ascent he helps all those who wish to obtain that freedom for themselves. It is in this that a real democracy of his aristocracy, the true power of art, is shown: never to impose his vision of the world on his pupils but show the truth within themselves by lighting the path, showing the route of their freedom. It is the task of primary importance for him, he proves in practice a wise  postulate of the ancients: “He who has  not taught his son a skill prepares  him to be a highway robber”.
The thirty years of his career as a teacher of drawing at school speak volumes. Still more, the letters of grateful pupils speak. Here is one of them. It is from Maria Stepanova from USA: “Dear Oleg Alexandrovich, if ever I came back you would have been the first person I wanted to meet. I think there is no need whatsoever to tell you what an indisputable authority you are for me and how deeply I appreciate your help. I think of you every day and never stop admiring you being always right without foisting your own tastes on anybody. It amazes me how much you know…”.                
A copy of the picture from his spiritual cycle “ The Heart  Devotion”  would be quite suitable here. Its absolutely marvelous plasticity of lines, a magic combination of delicate tones, a Divinely pure female image  and a light grace of birds are expressed by dancing  the whole picture is alive.  The dance penetrates your heart,  fascinates and carries it away into the world of  magic and harmony.  By  filling up the heart with energy, it shows the way out of  the earthly life constrains.
                               “Oh, Times
                                Oh, Sound, Oh, Colour
                                Oh, Muse and Oleg!”

How much lightness, grace and generosity are in your soaring creative work. The power of beauty you have  found thrusts out tyranny and bureaucracy. It  holds joy and affection and bestows  them on people. That is why it is genuine as it realizes the Highest Law of Love!

Vitaliy Ivanischev   

Vitaliy Ivanischev is a writer and an artist, the author of “The Magic of Nida”, the book about the magic created by three Russian artists who worked at International open air murals  in the town of Nida (Lithuania). The book is written in a genre of literary sgraffito and illustrated with colour insets taken  from sketches and paintings made during the sacrament of revelation. It was revelation of secret formulas of beauty taken from space and aimed at solving the task of world reunification through beauty. This is not only his first book on the murals, but also, in some way, the first attempt synthesize painting and literature.
His latest work is “Svetlogorsk Glaizum (“Amber”)  of Rauschen” essay.  



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