Presentation of the World Heritage Project

Dear ladies and gentlemen,

I would like to present several works from the new project "World Heritage." This project continues the line under the general title "Philosopher's Stone," which began with a collection of the same name in 2009. The first collection included ten stones, each with a parable. In this parable, the symbols depicted in the stone's facets unfolded into philosophical concepts. Who can be the victor in the struggle between man and nature, and what will be the price of this victory? How are the past, present, and future connected in a single, fleeting "now," and how can this be discerned in the reflection of the world trembling on the edge of a blade of grass? What is the greatest treasure for a person, and can it be discerned amidst the difficulties and joys of life? How does a person change after once touching Perfection, experiencing creative ecstasy, and lifting the veil of Eternity to others?

The core concept of the first collection evolved with the cutting of the stones, which were initially unrelated. Over time, ten symbols—ten concepts—arranged themselves into a kind of synthesis, complementing and extending one another. When they were first exhibited together in France in 2014, it became clear that each of these stones symbolizes a particular stage in the development of the universe and, consequently, of humankind, and together they represent a single cycle of evolution…

Several more collections followed, including some completed—for example, "Elements": five stones reflecting the connection between the five Elements and the five human senses—and others unfinished. The latter includes a grand project involving cutting stones symbolically representing the major world religions and presenting them to the leaders of these religions. This project has already included meetings with His Holiness the 14th Dalai Lama, the Russian Orthodox Patriarch, and Pope Francis.

But now let me say a few words about a new project I'm currently presenting. Its name is "World Heritage." Each collection, whether just beginning or already completed, seems to me the most important project of my life. Whether this is true or not, time will tell. But "Heritage" truly eclipses everything else right now. This project seems greater than my life, because the world's cultural heritage is truly inexhaustible.

The original goal of this project was to present the seeds of Wisdom scattered throughout the world's cultural heritage. With this idea in mind, the first stones were born, dedicated to China, Japan, India... Each stone was associated with a particular culture (note – not a country, but a culture). Each stone contained patterns, images, or symbols emblematic of that culture, combined into a composition. Each stone was accompanied by a short text outlining the theme of the composition. That was the beginning.

However, as I delved deeper into this topic, I realized I had set myself too narrow a framework. After all, the deeper the truths expressed by different cultures, the more similar they are in essence, differing only in their modes of expression. Thus, the many branches of a single tree, as they thicken, become fewer in number and gradually merge into a single trunk, which, in turn, ascends to a single Root.

And so I decided to move from essence to form; from the meaning of symbols to the means of conveying them. Chance came to the rescue. In April, a fire broke out at Notre Dame Cathedral in Paris. Many were shocked by this event, and I was no exception. I thought about how fragile our heritage can be—what was created and preserved over centuries can be destroyed in a matter of hours. And I wanted to immortalize the memory of this great cathedral, which can rightfully be considered part of world cultural heritage. I am very grateful to my French colleague Lionel Bailey, who suggested the idea of ​​embodying the cathedral's stained-glass rose window in the cut design... In my work, I tried to reproduce the design of this stained-glass window as accurately as possible. And so, soon this stone shone with its 860 facets, recalling the 860 years of history of Notre Dame Cathedral...

This stone went beyond the original concept. It was then that the idea of ​​transitioning from content to form emerged. How do different cultures convey great and eternal concepts to us? How can different peoples express Wisdom, Love, Beauty, Harmony? What contribution did different countries make to the world's cultural treasury?

The last question could well express the main theme of the updated project. Interestingly, the first stones fit seamlessly into this theme, as if they were designed specifically within its framework. What is most characteristic of China, what literally permeates its culture? Philosophy, of course. And it is philosophy that is reflected in the composition and symbolism of the first stone. What is Japan particularly famous for? Its traditions, of course. And two fundamental Japanese traditions—the veneration of Power and the admiration of Beauty—form the basis of the second stone. What is inconceivable in Tibetan culture? Religion, of course. And it is the Mandala—the Abode of the Deities, as a reflection of various aspects of the universe—that is depicted in the third stone. France is renowned for its history, which has shaped a unique, refined culture. And an integral part of this history is embodied in Notre Dame Cathedral…

How many stones will be included in this project? It's hard to say. Italy, with its unique paintings and sculptures, will certainly be reflected. Spain, with the incomprehensible architecture of Gaudi, will certainly be there. England, which gave us literature and a language that has now become a global means of communication, will certainly be there. I also want to embrace vanished civilizations, which also serve as building blocks in the wall of cultural heritage. This project could be a lifetime endeavor, because, as I've already said, it's larger than a human life. Much will have to be studied, lived, and understood in order to formulate the ideas that will give birth to the drawings. Because these drawings will become the diagrams by which the stones will be cut. And I would be grateful for any help along the way.

Now let's take a closer look at the stones in this collection so far. I'll say right away that I don't want to fully reveal the symbolism of the artistic compositions that underpin the stones' designs. It's too multifaceted, and I don't yet fully understand it myself, as there's an element of intuition involved in the composition's construction. Furthermore, symbols are meant to give the viewer the opportunity to interact with them themselves, understanding some with their minds and feeling others with their hearts.

Each stone in the project is cut in two variations (except the last) – one made from natural and one from synthetic materials. The natural mineral reflects the collaboration between the artist and our living planet; the stone acquires the harmony and charm of integrity. At the same time, the synthetic material, with its high optical properties, allows for a more complete expression of the artist's vision. For example, the refractive index and dispersion of cubic zirconia allow for a more accurate depiction of the stained-glass effect of a historic cathedral or the complexity of the interplay of aspects of the universe in a Tibetan mandala. But more on that later.

Each stone is accompanied by a photo illustration and a short text—a few lines. Together, they form a triune composition that allows the viewer to connect with a particular culture, see its wisdom reflected in the stone, and listen to their own feelings.

Stone 1 – “From the Emptiness” (China).

Natural stone - quartz (citrine), 230 (?) carats, 712 facets.

"Sakura blossoms fade quickly, and the flight of an arrow is elusive. But the beauty of the flower is as immortal as the power of the flying arrow. Strength and beauty are two faces of one Perfection..."

Chinese culture is one of the oldest and most widely practiced today. Perhaps this is why China became the foundation stone for this project. Chinese culture is characterized by the unity of opposites—black and white, male and female, spirit and matter. This duality is expressed in the ancient Yin-Yang symbol, where two halves of a single whole flow into each other, merging into a circle. This symbol is faceted in the center of the stone's crown, serving as the composition's starting point. It consists of 60 facets, recalling the full 60-year cycle of the Chinese calendar—12 symbolic animals of five colors. These same 60 sectors are present on the pavilion, as if materializing in real life the potential inherent in the original Cause. And finally, an ornament of tetragons and hexagons surrounds the Yin-Yang symbol, the awakening Dragon—the Universe born from this Cause.

Fire citrine was chosen as the material, since Fire symbolizes active creative energy and the Fire Dragon is the beginning of the 60-year calendar cycle.

Stone 2 – “Faces of Perfection” (Japan).

Spodumene (kunzite), 122.85 carats, 250 facets.

"The cherry blossoms fade quickly, and the flight of an arrow is elusive. But the beauty of the flower is as immortal as the power of the flying arrow. Strength and beauty are two faces of one Perfection..."

A country where symbolism is elevated to a cult. Symbols are everywhere; their ambiguity and multifaceted nature define a way of life and the structure of thought. And symbolic thinking is supported by fidelity to tradition. As mentioned at the outset, two were chosen from the many traditions of the ancient land of Yamato: the veneration of Strength and the admiration of Beauty. Therefore, the stone pavilion is illuminated by the rays of the sun—the embodiment of vitality, power, and prosperity. At the very heart of this luminary, a sakura blossom blooms—a symbol of beauty and the transience of life. This same Strength, blessed by Beauty, is reflected in Asanoha—the traditional Japanese ornament that forms the crown of the stone. The simplicity and complexity of the pattern, consisting of triangles forming diamonds, hexagons, twelve-pointed stars, and enclosed within a circle, once again remind us of the multifaceted nature of our lives, of the many faces of a single Perfection.

Stone 3 – “Reflection of the Great” (Tibet).

Topaz, 160.95 carats, 722 facets.

"The Great Mandala shines within a small stone. A small person comprehends great Truths. The insignificant can contain the grandiose, being the beginning, the end, and evolution itself…"

I already mentioned the stone that was presented to His Holiness the Dalai Lama in 2012. It figuratively represented the Kalachakra Mandala—one of the most complex and comprehensive symbols of Tibetan spiritual teaching. The harsh conditions of the highlands and centuries of isolation led to the development of a unique culture, distinct from that of China, of which Tibet is now a part. This entire culture is based on religion. Monasteries became not only spiritual but also educational and scientific centers. I felt that this sacred symbol of spiritual teaching was entirely worthy of representing Tibet's historical contribution to the world treasury.

A full description of this stone takes up four pages of text—I won't quote it in full. I'll just say that in Tantric teachings, the Mandala is the abode of Deities, each of whom represents a particular aspect of the universe. And each of the 722 facets represents a Deity of the Mandala, grouped and arranged in a specific order. Thus, this stone is a model of our universe, revealing in its unique interplay the full complexity of the interaction of its aspects.

The material chosen was greenish-blue topaz, the colour of melted glacial water.

Stone 4 – “Heart and Essence” (India).

Scapolite (Madagascar), 199.9 carats, 205 facets.

"Beauty is the goal and the means; the Ray of the Middle Path – the Ray of Protection – shines like a treasure in the lotus between the roads of Destruction and Creation, like the spirit of the three-tongued flame – the heart and essence of our Universe…"

India is another example of the careful preservation of ancient religious wisdom. It has been said, "Beauty is the highest wisdom." In India, the lotus flower is considered the center of beauty and wisdom. The lotus, in one form or another, appears in various collections. It was the basis of the "Touch of Perfection" stone from the first "Philosopher's Stone" collection. It was one of three images in the small "Flowers" collection, where the forget-me-not, rose, and lotus represented the body, soul, and spirit of man and, by extension, the universe. In the fourth "World Heritage" stone, a three-petaled lotus flower with a shining star at its center is depicted in the middle of a pavilion, surrounded by rays extending to the girdle. The three petals represent the Hindu Trinity—Brahma, Vishnu, and Shiva—Creator, Destroyer, and Preserver. In the text written for this stone, I particularly emphasized the ray of Protection, not yet suspecting what significance it would take on in the fifth stone...

The crown of the stone is covered with a pattern of numerous triangles, very unusual for a Western viewer. But anyone from the East will immediately recognize the Sri Yantra—the queen of all yantras, which in Hinduism roughly correspond to Buddhist mandalas. The World Heritage Project does not include any stones with a simple design. But I would note the particular complexity of this stone, as depicting the continuous sides of intersecting triangles while maintaining the overall design is extremely challenging, even for a very skilled cutter.

The stone was made from golden scapolite, seemingly filled with the sun. In Hinduism, the sun is a symbol of the Guru, the Teacher, and I am very grateful to my friend Steve Ulatowsky of New Era Gems for finding this beautiful crystal for me.

Stone 5 – “The Fragility of the Imperishable” (France).

Cubic zirconia (synthetic), 427 carats, 860 facets.

“History teaches us how fragile our heritage can be: what was created and preserved over centuries can be damaged and even destroyed in a matter of hours…”

We just talked about the Hindu Trinity: Brahma the Creator, Shiva the Destroyer, and Vishnu the Preserver. And now, in April, France offers us a lesson in philosophical understanding of history, as the entire world stood frozen in horror at the fire at Notre Dame Cathedral. We were lucky—the cathedral was only partially destroyed, not suffering the same fate as the statues of Bamiyan or the temples of Palmyra. But we saw how fragile that which seemed indestructible can be. I previously spoke about the idea embodied in the fifth stone of the project—the stained-glass window of Notre Dame Cathedral. Again—for the umpteenth time—I looked at the cutting diagram on the computer screen and told myself it was impossible. And again—for the umpteenth time!—I sat down and did it.

So far, the "Fragility of the Imperishable" stone is only made of synthetic material. But I already have a crystal that will be used to create the main version. I hope it will be no less worthy.

A few more words in conclusion. Each of the "World Heritage" stones is so complex that it's impossible to replicate it exactly. Each subsequent copy—even one made by me—will differ from the original and from the previous copy. I've decided to limit their number to twenty. This means that each stone in this project will exist in no more than twenty author's copies, which will essentially be the originals. Each copy will have an author's certificate indicating its own number. The account is already open: the first three copies—China, Japan, and Tibet—have already been sold to a private collection in England. We'll see what happens next.

Thank you for your attention. If you have any questions, I will try to answer them.