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   » » Wiki: Opanas Slastion
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Opanas Heorhiiovych Slastion (, – September 24, 1933) was a , painter, and .

He was born in the port town of (now ) on the Berdyansk Gulf of the Sea of Azov. He studied at the Imperial Academy of Arts in , (where he was also known as Afanasy Slastyon), researched the documents in the archives of the Russian ministry of defense, and later worked as a teacher at the Arts and Crafts School (later renamed the State Ceramics Vocational School) in . A very gifted person, he perfected his talents in singing, playing, , journalism, education, design, and . Opanas Slastion was a true Ukrainian .


Ukraine at the turn of the 19th–20th centuries
At the time Slastion was growing up, there were opportunities for some Ukrainians to have their talents recognized in the Imperial capital and in Western . Many gifted Ukrainian performers joined court choirs and theatre, , and troupes, and the Ukrainian artists were attracted to the Academy of Arts in St. Petersburg. In the 19th century among these Ukrainian artists was the famous poet and writer , whose writings, and paintings dedicated to Ukrainian ethnographic themes (genre scenes and portraits) greatly influenced Slastion, who became the first illustrator of Shevchenko's 'Kobzar' (the illustrations to "Haidamaky"). As a painter, Slastion is credited with depicting series of and portraits and scenes of Ukrainian country life.


Slastion and the kobzars
Slastion was one of the most active propagators of the artistry of the . Actually, he himself was the first outstanding sighted player and tutor of modern times. Kobzar Ivan Kuchuhura-Kucherenko stayed with him in Myrhorod in order to refine his performance of dumy (sung epic poems) under the guidance of Slastion. , one of the founders of the Poltava Bandurist Capella (who became its conductor), initially learned to play the from Slastion in Myrhorod. Later in his life, in the early 1930s, Slastion designed the shape of the standard Kyiv bandura (the familiar modern shape of the instrument). Some other instruments of the bandura family (such as those made by , for example) were also modeled on Slastion's designs.


Slastion the ethnographer
Slastion was also a leading Ukrainian folklorist and ethnographer. In 1875, then a student at the Petersburg Academy of Arts and a budding folklorist, he spent his holidays in Ukraine and got the chance to know the artistry of the kobzar .

In 1876 P. and his colleague Slastion travelled to and recorded the duma parody by kobzar . In 1887 Slastion made an engraving of kobzar P. . In 1905 he painted a portrait of kobzar and noted that Hashchenko knew four dumy.

In 1902-1903 he was one of the initiators of the idea of the preservation of kobzar music by means of using recently invented .

In 1906 Slastion met the kobzar Zhovniansky, recorded his performances of dumy, and painted his portrait.

In 1908 in the technically savvy Slastion helped and her husband make live recordings (on cylinders) of the dumy performed by the blind (circa 1837 - circa 1917), as part of the major project of the preservation of kobzar music. These recordings were transcribed by , who later published them in his collection Melodiyi ukrayins'kykh narodnykh dum (The Melodies of the Ukrainian Folk Dumas). It is known that Slastion corresponded with another well-known blind kobzar, Tereshko Parkhomenko (1872–1910). In 1909 Slastion made recordings of the repertoire of kobzar , including the duma "The Widow and Her Three Sons".

Selections from Slastion's repertoire originally recorded on wax cylinders can be found on a record released as a dedication to .

As an architect, Opanas Slastion was one of the founding fathers of the Ukrainian Art Nouveau style in architecture.

  • Portrety ukrains'kykh kobzariv (Portraits of the Ukrainian Kobzars). Slastion, Opanas. AN URSR. Kiev,1961
  • CR - Dumy moyi - Surma ... Kobzar Opanas Slastion. R - Melodiya - D 029429-30 '100 richchia Lesi Ukrainky - (1909), Oleh Sozansky (Lviv)
  • Melodiyi ukrayins'kykh narodnykh dum (The Melodies of Ukrainian Folk Dumas), 2 vol., 1910; reprinted in 1969.


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