Stepan Erzia frequently depicted representatives of Mordovian ethnic groups in his works. The sculptor aimed to create a generalized image of a Mordovian woman, but he used real people as a source of inspiration. Researchers believe that the muse of An Erzyan Woman composition was his sister Euphemia.
It is interesting to note than the image of the Erzyan girl is not at all poetic: the master created a monolithic bust that has the shape of a pyramid, and used minimal artistic means to create a plausible image. The traditional headwear emphasizes the strict geometrical pattern. The woman has an austere silhouette, direct look and a distinct gesture of her hand, which is decisive and helpless at a time. It can be interpreted differently - as an expression of gratitude, obedience or emotion.
Mordovian writer and poet Artur Moro considered the sculpture to be absolutely realistic. In his perception, this is a portrait of a young Erzyan woman with a strong and attractive face. Attention is drawn to full and strong-willed lips and slightly protruding cheekbones. All of that, according to Moro, ‘renders internal composure and fiery temperament’ restrained by will and a strong character. However, the image is not lacking in sensuality. The thin long fingers of the Erzyan girl add elegance and appeal, and the cascading hair emphasizes femininity.
In such a laconic composition, Erzia is very attentive to detail. He skillfully put all the meaningful focus points on this static monumental ‘canvas’: the clothes are decorated with embroidered patterns, the woman is wearing a necklace made of coins, and the neck of her chemise is fastened with a clasp. One can notice a ring on her middle finger, but the girl is not married judging by the braid over her right shoulder. Married women would pull their hair back and hide it fully under the headwear.
An Erzyan Woman is made of armored concrete, although the name of the sculptor is inextricably connected with the quebracho and algaroba exotic wood. For some time, he worked with marble but then got tired of the banal and predictable images. Erzia was always a nonconformist, and he decided to subdue the brutal and crude reinforced concrete, equally unfavored by sculptors. He even used it for female images. However, their deliberate ‘concrete’ harshness later fell out of his favor.
But the Erzyan woman in reinforced concrete looks absolutely integral and harmonious. The master was never known for excessively sugary works, and he treated the ethnic theme very seriously. However, the national color never lay on the surface in his works, it was rendered via details, plastics and the overall mood. And the sculptor never treated the national idea as something superior to the individuality of his characters.
An Erzyan Woman is interesting not only from the historical and the ethnic viewpoint. First of all, this is an image of a woman, which is generalized and very specific at a time. Expressive and full of character. Even in reinforced concrete, the sculptor managed to render the femininity and delicacy of his heroine.
It is interesting to note than the image of the Erzyan girl is not at all poetic: the master created a monolithic bust that has the shape of a pyramid, and used minimal artistic means to create a plausible image. The traditional headwear emphasizes the strict geometrical pattern. The woman has an austere silhouette, direct look and a distinct gesture of her hand, which is decisive and helpless at a time. It can be interpreted differently - as an expression of gratitude, obedience or emotion.
Mordovian writer and poet Artur Moro considered the sculpture to be absolutely realistic. In his perception, this is a portrait of a young Erzyan woman with a strong and attractive face. Attention is drawn to full and strong-willed lips and slightly protruding cheekbones. All of that, according to Moro, ‘renders internal composure and fiery temperament’ restrained by will and a strong character. However, the image is not lacking in sensuality. The thin long fingers of the Erzyan girl add elegance and appeal, and the cascading hair emphasizes femininity.
In such a laconic composition, Erzia is very attentive to detail. He skillfully put all the meaningful focus points on this static monumental ‘canvas’: the clothes are decorated with embroidered patterns, the woman is wearing a necklace made of coins, and the neck of her chemise is fastened with a clasp. One can notice a ring on her middle finger, but the girl is not married judging by the braid over her right shoulder. Married women would pull their hair back and hide it fully under the headwear.
An Erzyan Woman is made of armored concrete, although the name of the sculptor is inextricably connected with the quebracho and algaroba exotic wood. For some time, he worked with marble but then got tired of the banal and predictable images. Erzia was always a nonconformist, and he decided to subdue the brutal and crude reinforced concrete, equally unfavored by sculptors. He even used it for female images. However, their deliberate ‘concrete’ harshness later fell out of his favor.
But the Erzyan woman in reinforced concrete looks absolutely integral and harmonious. The master was never known for excessively sugary works, and he treated the ethnic theme very seriously. However, the national color never lay on the surface in his works, it was rendered via details, plastics and the overall mood. And the sculptor never treated the national idea as something superior to the individuality of his characters.
An Erzyan Woman is interesting not only from the historical and the ethnic viewpoint. First of all, this is an image of a woman, which is generalized and very specific at a time. Expressive and full of character. Even in reinforced concrete, the sculptor managed to render the femininity and delicacy of his heroine.
