Zaumnnaya gniga

Zaumnnaya gniga by Alexey Kruchenykh and Alyagrov(Alyagrov is alias of Roman Yakobson).A few words about authors.Aleksey Kruchenykh had graduated from school in Herson and after that he worked a teacher of drawing a short while. Then he had moved to the Moscow and worked in humorous printings. He was famed for the “Whole Moscow in cartoons” – series of cartoons and caricatures of writers, painters and scientists.Creative cooperation of Kruchenykh and Khlebnikov had begun at 1912, when they wrote and published the poem “Playing in the hell”.Kruchenykh’ working in area of alogical poetry at 1913 led to development of principles of nonsense poetry. There is poetry which has it’s own language going out of logical bounds and consisting of unknown words. The nonsense language is pieces of words, terminations, graphical and phonetic combinations. The classic example of such poetry is Kruchenykh’s poem “Dyr buk schyr”Дыр бул щылУбешщурСкумВы со буР л. ЭзKruchenykh said that the “Dyr bul schyr” is much more national heritage than in whole Pushkin’s poetry. Readers were shocked.Kruchenykh and Khlebnikov formulated the theory of Nonsense in collection “The word as it is”.: “…there is language of fast moving contemporaneity destroying old fereeze language”.Kruchenykh acceded to the Left Front of Arts.  Kruchenykh and Mayakovskiy acted in criticism of Esenin.The book “Modality of Lenin’s speech” was published in 1928. It was last living Kruchenykh’s publication. After this him literature works existed only as typewritten copies.Roman Yakobson is russian linguist, whom ideas influenced to another sciences such as literary studies, anthropology, neuroscience, russian cultural history. He founded the Moscow linguistic coterie and Praguer linguistic coterie.Yakobson investigated oeuvre of Velimir Khlebnikov. The scientist proclaimed that poetry is aesthetic function of language and that’s why it is indifferent with respect to describing object.Yakobson described 12 binary acoustic features, which put together phonologic oppositions. Such opposition are language universals underlying in any language. Method of structural analysis in terms of binary opposition had a bearing on anthropologist Klod Levi-Stross. He used  such method in analysis of myth and it layed foundation of french structuralism.Allies Alyagrov interpreted as follows: Alya (or Lyalya) is the name of girl friend, plus g, plus ro plus v (ro means Roman Osipovich).Alyagrov’s poems had appeared in competion of edition that’s why rhymes were printed in printing-office and attached in the end of book.

In the Alyagrov’s abstract verses author used the “word not samovitoe but perishing from heart failure in striving to laconic and arrhythmias.””Zaumnaya gniga” got up by paintress Olga Rozanova, the exponent of russian avant-garde.Rozanova participated in an exhibitions and issues of the Youth Association and the Knave of Diamonds. Also she participated in Kazemie Malevich’s circle the “Supremus”.The basis of “Zaumnaya gniga” is the series “Playing cards”.

The basis of the “Zaumnaya gniga” is the series “Playing cards”. Engravings intended to sell individual impressions  or as postcards. The book appeared in 1915. Circulation is 140 copies, the format of 22 by 20 cm. We see different date on the cover – 1916. S you know, the authors produced “a book of the future.”

On the cover of the book – a red sticker in the shape of heart, sewn white bone buttons. Pictures almost start to live an independent life. This is clearly seen in Rozanov’s linocut of “Zaumnaya gniga.” Conceived and executed as a separate series, only then they were connected with the abstruse verses Kruchenykh and Jakobson.

A series of revive heroes card artist continues Larionov’s work. He opened up lower urban culture. . We can make sure if we note tawdry psychology of the characters themselves and particularly vulgar juicy texture print. Engravings printed on paper loose structure (in orange-golden, red and blue colors), so not all places paint stuck to it with the same force.

This has the effect of trial, failed imprint, referring to the most archaic techniques of traditional engavings. In each copy there is different ranges and tone color print paper, which is clearly seen when we compare different impressions of the same prints. However, unlike Larionov Rozanova is not confined within the primitive. Dynamic shifts of the so-called synchronous images, using the insriptions and signs affix modern, “futuristic” sound to whole book.


According to the Kruchenykh, “nonsense language hold out a hand to nonsense painting.” Nikoay Burliuk wrote that the arrangement of letters has tremendous value. In the “Zaumnaya Gniga” as if they are flying, forming a new pattern, sliding down at the pages, like a handful of bones.


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