Museums being places hoarding of a repertoire of items and exhibits of special interest and public significance, whether of the arts or of architecture, of such artifacts and objects that hold esteemed importance as being explorations of the artistic or cultural kind, rooted at times in history while emerging otherwise from items of interest more fitting in with the contemporary pursuits of the world, it is obvious indeed that these places holding within them another world altogether of wonder in revelation and discovery are such institutions that reside in a peculiar identity of themselves. Eagerly peered into by locals and tourists alike whether in the true desire of charting out the contents of these confines or to tick off another must visit round-up from their itinerary are these piquers of interest that never fail to make evident the uniqueness characterising of their being, whether in singular or multi dimensional a strand of assertion of what they hold and display, manifesting themselves therefore as places of popular interest and importance galore across an identity rooted in the ideals of protection and preservation. No matter the range of their spawn, in what they encompass and present therefore as methodically maintained a collection accruing out of their own accord in classification, different museums end up being repositories of as diverse essences as possible, harbouring within them still such exquisite notions of profound legacy or enriching indeed explorations of the worldly kind that strike everytime by their sheer allure irrespective of their categorisation across the dynamics of what might make them up.
Underlining this tremendous appeal that museums of any particular kind or any specific type in just about any place of the world essentially harbours in all the defining dimension of what they are designed to be is a particular such space of amazement galore that stuns indeed in the very assertion of what it spawns as across its identity of remarkable intrigue. With its setting based on an extraordinary premise of not just spectatularity but also equal rarity, the Mykola Syadristy Microminiatures Museum located in Ukraine’s capital city of Kiev is a sight to revel in all artistic splendor of what it encompasses. Indeed, as evident in the very name of it, this entity housed by the itself distinguished and sacred territory of the Kiev-Pechersk Lavra is a museum that puts up exclusively on exhibition such fine specimens of art that are not even decipherable across the ordinary range of human vision. And while that might indeed be interpreted as an exaltation of the sheer grandeur and expertise characterising each of the many pieces arising from the unbounded geniosity of the man whose name also finds as deservedly esteemed prominence across the namesake identity of this close to one-of-a-kind museum, the metaphor is also as fitting of allusion to its literal interpretation. For what shapes up this unbelievable world of barely visible physicality, at least apparently in the contents of it, are a range of displays stemming out from the immense proficiency of the world’s best micro miniaturist embedded therefore essentially in this premise of smallness. But venture into this realm of unparalleled wonder and erudition masterfully brought to life by the Ukraine born artist of immense distinction and would be convinced indeed of the truth of smallness not always being an indication in contrary of what strikes as significant.
Housing exclusively the largest concentrations of works by Syadristy is this unbelievable almost expanse of miniatural magic observable only through a magnifying glass in all utmost perfection of its many specimens of artistry. Whether it be the sheer (mere) size of the sculptures or the intricate detailing of them as well as the finesse in which they have been painstakingly and almost unreally hand crafted by the master artist with such technique as specially devised as his every piece of art, every single aspect of exploration attached to each exhibit of what counts indeed as the treasures making up this museum conjuring almost of a fantastical experience as one that belies belief, makes for a revelation in the unrestricted faculties of the human mind. Unique all along in both their vision and visage and inimitable indeed in the exquisite aesthetics of them, not to mention the worth extolling flair through which they assert as sights of immense fascination, the diverse collection of what decks up the museum appropriately housed in the gifted artist’s native country is as dynamic as could be.
Fascinating many a curiously enchanted visitor by the precisely micro dimensions across which the museum explores the mavericks accruing out of Syadristy’s name and fame in great littleness are such breathtaking assertions of beauty effectively eked out in spaces as minute as the eye of a needle in one case or a hollowed out length of human hair on the other. And it’s not even mere vision that the specimens please through their deft eking out in such unimaginable dimensions of almost nothingness; it also is parallelly the significance that tends to run along some of these works in surreptitious seating. The caravan of golden camels clumping towards a pyramid and a palm tree sculpted into a needle’s eye for instance is invocative of a certain Biblical veracity that deems it easier for a camel to pass through the needle eye than it is for a rich man to gain entry into heaven. And yet even in such ample profoundness of it, this particularly standout scene presents itself also as the ultimate depiction in artistic ability as the unanimously overwhelming favorite of one and all laying their eyes upon this surreal almost sight in deserty splendor.
Contending for almost equal surveying in popularity by virtues of its as stunning beauty is the twirling rose made out of hardened paint flakes extracted from old painting and embedded within a single lock of hair hollowed and polished in a mere 0.05 diameter of width. Indeed, even in such creative imaginations through which every skilled assertion of his art is furthered to sum up unrealistically real portraits of acute specifications, the globally renowned Ukrainian Mykola Syadristy brings upon himself also the credit of being a talent in multidimensionality. Engineering therefore each of his creations to such tremendous extent of perfect, of course in utter patience derived only from his never ending pursuance of a passion so uniquely arousing and as enriching in its yielded finality, has been this graduate of the Kharkhov Art College who though had in his lifetime dabbled also in a host of (unrelated) fields. And in keeping up with this never one faceted expanse of himself has been such creations by Syadristy that touch upon everything from books and songs to ships and electric motors to inscriptions and instruments, finding unrestricted expression within a seemingly limited ambit of physical space. Not one to be restricted however by such mere considerations of something as irrelevant as the extent of one’s dominion in territory, buoyed as he had always been instead by the ever expanding passionate piquancy of his own, Syadristy went on engraving and carving and crafting and depicting as myriad musings as possible, scouting out the world for inspiration across multiple of its uniquely diverse manifestations. And thus it spawns today, his eponymous museum of native dwelling, as an immersive experience into such meanderings that seemingly go beyond the human scope and present therefore a didactic vision in such engrossing emergence of which one would necessarily be in awe of.
Ensuing therefore as a result of such artistic flair would be the smallest book of the world- the Taras Shevchencko Kobzar illustrated across 12 of its pages in a 0.6 mm size in poems and pictures sewed together with as dramatic an assertion of what is a cobweb and gracing upon its cover a make out of strawflower petal. Literature done, the focus now shifts to music instead with a fragment of the Oginsky polonaise finding precise expression upon a 2X5 mm glass chrysanthemum petal. The musical lore continues with a balalaika embedded in a tiny poppy seed even as a 4 mm long violin strikes a chord as well as the smallest of its kind in the world. Ballerina Maya Plyseckaya M.Syadristy dances away in all her grace as well, upon a 3X4 mm small part upon a cherry stone as a bas-relief portrait of her person. But famous of a different kind would perhaps be the world’s smallest working electric motor, diminutive in size by at least 20 times of even a tiny poppy seed while a 3.4 mm long, 337 part model frigate dubbed the Scarlet Sails continues along the mechanical route. Yet again occupying minimal space upon the poppy seed is a windmill, this time as a 203 golden part windmill while a life size gilded flea and wearing tiny golden horseshoes sums up this auric take by the artist to maintain the aura of this unique indeed place of profound prettiness, rendered even beautiful this time in a more metaphorical manner with poetic description entailing each single specimen of brilliant craftsmanship. Be it poesy therefore or pint sized assertions of reality, characterised along either of these unfurlings by a profusion in prominence of the beauty and significance inherent in a passionate pursuance of creativity of the arts, Ukraine’s Museum of Microminiatures is a metamorphosis perhaps of the world deciphering glory in its tiniest of elements, playing out as it does its macro existence across the more intricately detailed element of the meaningful minis.