Moshchelkov Anatoly was born in 1959.  Graduated from Moscow Printing Industry Institute (graphic arts department).  A member of the Russian Artists’ Union. Graphic designer, calligrapher.  The winner of the national award in the sphere of modern Russian fine and decorative art “Russian gallery XXI century” in 2008. The winner of the regional award in fine arts named after Aphanasy Kulikov in 2006-2008.

Autobiography

80th years are characterized by numerous significant experiments where Moscow shorthand writing (XIV-XVII centuries) served as a prologue to me not only in studying of a cultural hand-written heritage, but also laid a foundation for creative process. Investigating shorthand writing of historical documents during institute years already, modifying their significant characteristics, I assured myself again and again in tremendous mobility of Moscow shorthand writing. It’s an incredible ability to bring emotional intensity to a blank sheet of paper with a help of two or three signs, or on the contrary lyricism and speculations. When I borrowed from Ukrainian shorthand writing, a piece of literature and the process of writing receives a new creative impulse. Art intelligence of ligature is already a finished composition. But the main aim was to give a sign and writing that very art completeness, that very rhythm which will become a foundation for the future next image. One failed to find any vitality features and even generation continuation features. Now any reference to paleography revealed new significant characteristics. Visually, Boris Godunov′s clumsy handwriting, desperately trying to keep to the line, and excessive patriarch Nikon’ s fine writing, Peter the Great handwriting and of some others’ writing, who left a priceless hand-written material.

90th years were characterized by creative practice with the use of accumulated material, handwritings. Design elements appear: painted, etching and embossed. This is Аhmatova - Requiem (1995), Charles de  Koster - Til Ulenshpigel, Servantes - Don Kihot.

Today there is an evaluation of research experiments, and the creativity itself is exposed now. In calligraphy there is a "compression" of the text and a word itself as much as the size of a sign, as messenger of  ligature. There is a tendency of "shaking" of a sign as a word picture. The minimum aim is in realization of composite and rhythmic opportunities of a sign. The maximum is in word picture fixing, starting from a sheet of paper and up to something visible. Even in the works with materials the tendency of "shaking" the sign is obvious. There appears rhythmic dependence of 2 diverse origins of rigidity of wood and metal with the mobility of calligraphy (writting). Material designs get other properties, trying to escape from natural chains and calligraphy (writting) on the contrary shows more rigidity and tranquility. There is an uncontrollable desire of  the first to resemble the second, and to the second to the first. Internal pressure, being synthesized, gives birth to a new word picture - a cycle of works of "Writting", “the Museum of manuscripts”.

In interrelation of  calligraphy with the image, the problem of achievement  the maximum word picture is solved. The proof is in the following compositions: Three bible tragedies (2005, 180х100,  triptych),  John Bogoslova′s revelation. Apocalypse. (180х500).

Anatoly Moshchelkov
Calligrapher, member of the Russian Artists’ Union, Graphic designer, the winner of the national award “Russian gallery XXI century”, the winner of the regional award n.a. Aphanasy Kulikov
(Russia, Moscow)