Снежное величие Таганая. Фотограф Татьяна Бирюкова. Россия (Челябинск). The snowy grandeur of Taganay. Photographer Tatyana Biryukova. Russia (Chelyabinsk).
Источник: /35photo.pro/birjukova.

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Снежное величие Таганая. Фотограф Татьяна Бирюкова. Россия (Челябинск). The snowy grandeur of Taganay. Photographer Tatyana Biryukova. Russia (Chelyabinsk).
Источник: /35photo.pro/birjukova.

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A Tatar girl posing for a photo in front of her relatives (1989) - Rustam Mukhametzhanov
The Malachite Casket:
Folklore, Power, and the Magic of the Urals
Pavel Bazhov (1879–1950) is best known for his collection of Ural tales, The Malachite Casket — stories that feel like folklore, but are deeply shaped by the historical and political world in which they were written.
Born in the Ural region, Bazhov wrote about miners, craftsmen, and workers whose lives were tied to the natural wealth of the land — stones, metals, and hidden resources beneath the mountains. His characters are not nobles or heroes, but ordinary people: serfs, freed serfs, and laborers. Their everyday reality, however, is never entirely ordinary. It is always intertwined with something otherworldly.
At the center of these stories stands one of the most memorable figures of Soviet-era folklore — the Mistress of the Copper Mountain. Beautiful, powerful, and unpredictable, she rules over the underground world of minerals. She can reward skill, honesty, and devotion — or punish greed and disobedience. She is not simply a magical figure, but something closer to the spirit of the land itself.
Bazhov’s work appeared at a very specific moment. In the 1930s, the Soviet state actively encouraged interest in history, folklore, and the lives of ordinary people. Writers were urged to turn to folklore as a foundation for literature. Collecting stories, recording traditions, and transforming them into new narratives became part of a broader cultural project.
But Bazhov’s tales are not simple celebrations of folk life.
They are darker.
Written during a period marked by personal loss and political terror, the stories carry a sense of tension, fear, and instability. Beneath the beauty of gemstones and mountain landscapes, there is something unsettling — a world where power is invisible, rules are unclear, and fate depends on forces beyond human control.
This atmosphere is captured visually here in the illustrations by Soviet artist Oleg Korovin (1915-2002). Working in the mid-twentieth century, Korovin brought Bazhov’s world to life with images that emphasize both its beauty and its strangeness — the shimmer of stone, the depth of shadows, and the quiet presence of something watching from beneath the surface.
Our copy of The Malachite Casket, published in Moscow by the Soviet Foreign Languages Publishing House in the 1950s with an English translation by Eve Manning, was also part of a larger effort to present Soviet culture to the outside world. But what it presents is not only folklore — it is a layered vision of labor, nature, and power.
These stories speak in the language of myth. But what they describe feels very real.
-- Kate, Special Collections Graduate Art History Fieldworker
I never expected to see anything to the east of the Urals in the same sentence with "nominated for Oscar". Everything in "Mr Nobody Against Putin" documentary is heartachingly familiar (and I understand the soon-to-be refugee when he says that he'll miss even the hellish winter and the bleak industrial landscapes, it's hard to explain when it's about home), and it feels surreal to see this kind of the "first world"'s attention to it. But I'm sure many people will be able to relate to the topic of a commoner's resistance to tyranny and bloodshed regardless of where they are from.
Guberlin Mountains, Orenburg Oblast
📷: Vyacheslav Chetvergov

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Discuss.
Butovo Culture: this culture dominated territory in north-eastern tundra and river areas of Eastern Europe, beyond today's Baltic states and Finland, north of the Pripet marshes, and stretching towards the Ural mountains.
Coverage of the early modern human archaeological cultures of Europe
Dead are mainly elderly people unable to flee, Russia media report
Local media reported that most of the dead were older people unable to leave their homes. According to local authorities, many of the deaths occurred on Sunday in the village of Yuldus, in Kurgan province on the border between the Urals and Siberia.
Regional emergency service officials said the death toll could increase. A state of emergency was introduced in Kurgan province, where more than 5,000 buildings have burned down. Fires have also engulfed thousands of hectares in Sverdlovsk province, and areas of Siberia’s Omsk and Tyumen provinces.
During a visit to Kurgan province on Monday, Russia’s emergency situations minister, Aleksandr Kurenkov, said settlements were no longer at risk from the blazes, though local media reported on Tuesday that fires still burned there, as well as in Sverdlovsk and Tyumen.
The EU’s Copernicus atmosphere monitoring service (Cams) said its data showed “active fires burning in a band stretching from Russia’s Chelyabinsk region across Omsk and Novosibirsk regions to Primorye in the far east, affecting also Kazakhstan and Mongolia.”
In recent years, Russia has experienced especially widespread forest fires, which experts have blamed on unusually dry summers and high temperatures. The link between the climate crisis and wildfires is complex, but a Carbon Brief analysis quotes Dr Cristina Santin, a wildfires researcher from Swansea University, as saying increased temperatures “can increase the risk of severe fires by causing vegetation to dry out”.
The experts also cited a 2007 decision to disband a federal aviation network that spotted and fought fires. Its assets were turned over to regional authorities, leading to the force’s rapid decline and attracting much criticism. While the government later reestablished the agency, its resources remained limited, hampering its ability to monitor the massive forests of Siberia and the far east.