Fyodor Telkov
An evening walk | Ural Mari Series
Photography
An evening walk | Ural Mari Series
ABOUT
From the Ural Mari series
'Back in the 16th century Russian tsar Ivan the Terrible conquered Cheremiss princedoms along with the Khanate of Kazan. After this defeat some of the Mari population fled to the eastern regions evading high taxes and forced Christianisation.'
'For four centuries the Ural Maris managed to preserve their traditional religion which reveres the forces of nature each personified by its god. Paganism is different from that of the 16th century. It has changed under the influence of Christianity and Islam. However up to the beginning of the 20th century there was a sacred grove in each Mari village where people could pray. These were public and family places and each street had its own priest.'
'The greatest harm to the Mari culture and religion was done by the Soviet government in the first half of the 20th century. As the old-timers recall the last mass prayings were practiced by Maris during the Second World War; it was a kind of relief measures from the communists.'
'Today Ural Maris have only one official sacred place left — Kjusjo-kuryk (Prayer Mounting) near the village of Bolshaja Tavra.'
Hahnemühle Photo Rag 310g | 100% Cotton
Bright White Matt | Acid Free | Archival Pigment Print
20 x 30 cm | Edition of 10 + 2AP
53 x 80 cm | Edition of 10 + 2AP
73 x 110 cm | Edition of 10 + 2AP
30 x 20 cm:
Full Bleed: 31,56 x 21,56 x 2,59 cm
Matted: 46,56 x 31,56 x 2,59 cm
60 x 40 cm:
Full Bleed: 61,56 x 41,56 x 2,59 cm
Matted: 71,56 x 51,96 x 2,59 cm
The work comes with a Certification of Authenticity signed and numbered by the artist
DESCRIPTION
From the Ural Mari series
'Back in the 16th century Russian tsar Ivan the Terrible conquered Cheremiss princedoms along with the Khanate of Kazan. After this defeat some of the Mari population fled to the eastern regions evading high taxes and forced Christianisation.'
'For four centuries the Ural Maris managed to preserve their traditional religion which reveres the forces of nature each personified by its god. Paganism is different from that of the 16th century. It has changed under the influence of Christianity and Islam. However up to the beginning of the 20th century there was a sacred grove in each Mari village where people could pray. These were public and family places and each street had its own priest.'
'The greatest harm to the Mari culture and religion was done by the Soviet government in the first half of the 20th century. As the old-timers recall the last mass prayings were practiced by Maris during the Second World War; it was a kind of relief measures from the communists.'
'Today Ural Maris have only one official sacred place left — Kjusjo-kuryk (Prayer Mounting) near the village of Bolshaja Tavra.'
Hahnemühle Photo Rag 310g | 100% Cotton
Bright White Matt | Acid Free | Archival Pigment Print
20 x 30 cm | Edition of 10 + 2AP
53 x 80 cm | Edition of 10 + 2AP
73 x 110 cm | Edition of 10 + 2AP
30 x 20 cm:
Full Bleed: 31,56 x 21,56 x 2,59 cm
Matted: 46,56 x 31,56 x 2,59 cm
60 x 40 cm:
Full Bleed: 61,56 x 41,56 x 2,59 cm
Matted: 71,56 x 51,96 x 2,59 cm
The work comes with a Certification of Authenticity signed and numbered by the artist
DIMENSIONS
From the Ural Mari series
'Back in the 16th century Russian tsar Ivan the Terrible conquered Cheremiss princedoms along with the Khanate of Kazan. After this defeat some of the Mari population fled to the eastern regions evading high taxes and forced Christianisation.'
'For four centuries the Ural Maris managed to preserve their traditional religion which reveres the forces of nature each personified by its god. Paganism is different from that of the 16th century. It has changed under the influence of Christianity and Islam. However up to the beginning of the 20th century there was a sacred grove in each Mari village where people could pray. These were public and family places and each street had its own priest.'
'The greatest harm to the Mari culture and religion was done by the Soviet government in the first half of the 20th century. As the old-timers recall the last mass prayings were practiced by Maris during the Second World War; it was a kind of relief measures from the communists.'
'Today Ural Maris have only one official sacred place left — Kjusjo-kuryk (Prayer Mounting) near the village of Bolshaja Tavra.'
Hahnemühle Photo Rag 310g | 100% Cotton
Bright White Matt | Acid Free | Archival Pigment Print
20 x 30 cm | Edition of 10 + 2AP
53 x 80 cm | Edition of 10 + 2AP
73 x 110 cm | Edition of 10 + 2AP
30 x 20 cm:
Full Bleed: 31,56 x 21,56 x 2,59 cm
Matted: 46,56 x 31,56 x 2,59 cm
60 x 40 cm:
Full Bleed: 61,56 x 41,56 x 2,59 cm
Matted: 71,56 x 51,96 x 2,59 cm
The work comes with a Certification of Authenticity signed and numbered by the artist
FRAMED DIMENSIONS
From the Ural Mari series
'Back in the 16th century Russian tsar Ivan the Terrible conquered Cheremiss princedoms along with the Khanate of Kazan. After this defeat some of the Mari population fled to the eastern regions evading high taxes and forced Christianisation.'
'For four centuries the Ural Maris managed to preserve their traditional religion which reveres the forces of nature each personified by its god. Paganism is different from that of the 16th century. It has changed under the influence of Christianity and Islam. However up to the beginning of the 20th century there was a sacred grove in each Mari village where people could pray. These were public and family places and each street had its own priest.'
'The greatest harm to the Mari culture and religion was done by the Soviet government in the first half of the 20th century. As the old-timers recall the last mass prayings were practiced by Maris during the Second World War; it was a kind of relief measures from the communists.'
'Today Ural Maris have only one official sacred place left — Kjusjo-kuryk (Prayer Mounting) near the village of Bolshaja Tavra.'
Hahnemühle Photo Rag 310g | 100% Cotton
Bright White Matt | Acid Free | Archival Pigment Print
20 x 30 cm | Edition of 10 + 2AP
53 x 80 cm | Edition of 10 + 2AP
73 x 110 cm | Edition of 10 + 2AP
30 x 20 cm:
Full Bleed: 31,56 x 21,56 x 2,59 cm
Matted: 46,56 x 31,56 x 2,59 cm
60 x 40 cm:
Full Bleed: 61,56 x 41,56 x 2,59 cm
Matted: 71,56 x 51,96 x 2,59 cm
The work comes with a Certification of Authenticity signed and numbered by the artist
PRINTS
Our prints are produced exclusively on archival Hahnemühle Photo Rag papers. This acid- and lignin-free paper meets the most exacting requirements for age resistance and is specially designed for FineArt applications.
FRAMING
All prints are offered with Alpha Nielsen frames. They are made of aluminum with veneered real wood surface and normal glass offering quality and design for the highest demands.
- Floating glass
- Deposit of acid-free paper (200 g)
- Stable MDF back wall with springs and hangers
- Extra strong corner joint
- Adjustable hanger with height-adjustable wall hanger
FULL BLEED
A full bleed image extends to the edges of the printing paper, so that the photograph completely covers the page and does not show borders or white space around the edges.
MATTED
The mat is a piece of cardboard placed over your photograph to serve as a frame.
ACID FREE
We archive, package and frame your prints entirely acid free. Acid-free materials protect your artwork from yellowing and aging.
Shipping
Shipping rates are calculated by the size of the package, and shipped via DHL. Please reach out to info@eepberlin.org for any specific shipping and handling questions.
Orders ship within 14 business days.
Returns
We are dedicated to providing you with realistic descriptions and visuals of the artwork featured on our site. However, if you are displeased with your acquisition please email us at info@eepberlin.org. We’ll gladly offer you a refund. The cancellation period is 14 days from receipt of the goods according to § 355 BGB.
If your works arrive damaged, please ensure EEP Berlin is notified within 14 days of delivery.
'When I was a child, I often traveled to the old past in my dreams, to those days, that are gone for good, thus impossible to experience. All that was left was to imagine. As a photographer, I became interested in looking for peculiar wormholes, the parallel worlds, societies, where time and history seemed to be frozen. From this point of view, I explore local territories and find it exciting when the past, fairy tales or myths suddenly come up through the surface of well-known reality.'
Featured
Featured artwork by Fyodor Telkov
