The ethnocultural code of heroism in V. Umarultanov’s painting ‘From Terek to Berlin’

Background. In the context of the decolonization of historical memory and the rethinking of heroic discourse canons, research into artistic practices that represent military valor through the prism of local ethico-cultural codes acquires particular scholarly significance. V. Umarsultanov’s painting «From the Terek to Berlin» presents a rare example of a synthesis between the Soviet memorial narrative and the autochthonous Chechen ethical tradition of k’onaхalla, making it a relevant object for interdisciplinary analysis at the intersection of ethno-art history, the philosophy of memory, and cultural semiotics.

The aim is to identify the specifics of artistic representation of heroism in Chechen painting through the lens of the ethnocultural code of k’onaхalla.

Research objectives: to analyze the visual structure of the work in terms of the interaction between documentary and symbolic registers; to reconstruct the semiotic field of the image of Hero of the Soviet Union M. Visaitov as the bearer of the k’onaх ideal; to identify the mechanisms through which a nationally specific ethical code is translated into a universal heroic narrative; to determine the role of the artistic image in shaping an alternative (non-state) memory of the Great Patriotic War.

Materials and methods. The primary material for the study is V. Umarsultanov’s painting «From the Terek to Berlin». The research employs hermeneutic, semiotic, and iconological methods, supplemented by elements of cultural-historical and discourse-analytical approaches.

Results. It has been established that Umarsultanov implements a strategy of «ethical relocalization» of Soviet heroism: the historical figure of Movlid Visaitov is conveyed not as an abstract symbol of state-sanctioned valor, but as the embodiment of the Chechen k’onaх ideal – a person of honor, faithful to his oath, land, and people. The painting’s visual language (composition, color, gesture, and attributes) functions as a semiotic sphere encoding the values of k’onaхalla: restraint, dignity, inner strength, and readiness for self-sacrifice. At the same time, this nationally marked image does not remain confined within ethnic isolation; on the contrary, through aesthetic universalization it acquires transcultural resonance, becoming an ethical testimony capable of integrating local identity into both national and even supranational frameworks of war memory. Thus, the artist constructs an alternative memorial discourse in which heroism is rooted in autochthonous ethics yet simultaneously resonates with universal values of human dignity and resistance to violence.

Scope of application. The findings contribute to the theory of visual memory, ethno-aesthetics, and the anthropology of the heroic, and offer practical potential for use in educational and museum practices oriented toward intercultural dialogue and civic-patriotic education.