latviski
1. MISSION OF THE FREEDOM MONUMENT.
Peoples honour their heroes, those who have wrought majestic accomplishments, and great historical events, building monuments to them. Monumental stone and words of might ceaselessly herald powerful thoughts and uplifting accomplishments from generation to generation. The great achievements of the past arouse grateful remembrance and admiration in the living;
Therefore, monuments are a spiritual bond, uniting the living in a conscious community with the departed and the yet unborn.
The Latvian nation, after a centuries long historical struggle, in our era has regained once more it lost independence and unity.
This great event: the people's achieving freedom and the people's unity, is expressed—on the occasion of this year's Independence Day, November 18th—by the solemnly unveiled Freedom Monument. Here in its sculptural and structural appearance is captured the idea of Freedom. Toward the realization of this idea, our peoples' warriors and leaders have willingly donated their energies, be it their own sacrifice in ancient battles, be it in the dawn of the Latvian farmers' unrest, be it in the people's awakening movement, be it buffeted in the white-capped waves of 1905, be it in the Tīreļi swamps or on Nāves island, be it on the banks of the Venta or the Daugava, be it in the historic events of the 15th of May.
The Freedom Monument expresses those feelings and ideals, for which our forebears have suffered and fought, which belong to today's generation, and which will never fade as long as there is a Latvian people.
That rich spiritual content in the artistic formation of the monument is expressed in symbolic scenes.
2. CONSTRUCTION OF THE FREEDOM MONUMENT AND HARMONIZATION OF MATERIALS.
The 41 meter high monument1 consists of a steel and concrete nucleus sheathed in stone. The immense blocks of stone incorporated are so counterbalanced as to require nothing to hold them together in place; nevertheless, the masses are affixed with bronze cables and with a unique cementing material. The work's inherent attraction is rooted not only in the the stateliness of its form, not only
At the base, as if in agitation at the height of battle, is red granite. At the middle, sculptures are carved from greyish Nistadt granite. The cool, veiled mood of color makes one anticipate, in the very stone, ancient hopes and dreams as if gently slumbering in a wintry Northern peace. Juxtaposing this colour's vocabulary, uniting and balancing the alarm [of the red granite] with this serenity is the light (imported) Italian travertine, be it harmonized into the bas-reliefs and open fields of the lower sections, or be it celebrating in the form of the slender obelisk. The golden tones of the travertine glisten against the azure of the sky, as if heralding the ultimate perseverance of optimistic faith, as if crowning atop the monument the dark green laurels of victory.
In this manner, just by the particular properties of its materials and their means of incorporation, the monument already expresses its secrets to the attentive eye, revealing its artistic and conceptual thought.
3. A FEW WORDS ABOUT THE EXTENT AND PACE OF EFFORT INVOLVED.
Building the monument was a vast undertaking. Over a period of four years, just the quarrying, dressing, and sculpting of the stone alone required 308,000 man-hours; to accomplish such an assignment, one person would have to work 130 years, even with the most modern of equipment. The combined weight of materials utilized reaches approximately 2,500 tons; which would fill more than 200 freight train cars.
Such a massive effort, after years of delays and lack of progress, could finally start in earnest only when the Freedom Monument Committee was founded in 1928, independent of political parties, squabbles, and in-fighting; and whose head, ex officio, was the current State President. The fundamental changes of May 15th in the life of our country2 gave new impetus to the work of construction, provided a significant new influx of financial and material support3, and deepened the significance of the effort itself as well.
4. OVERALL SENSE OF THE MONUMENT'S CONCEPTUAL CONTENT.
The Freedom Monument expresses the people's strivings for self-sufficiency and the fulfilment of that effort in solemn feelings in the design of the edifice's structure with numerous inter-related groups of sculptures and reliefs.
Any one of these scenes illustrates some important moment in the development of our people or enacts a formative influence upon our national and cultural life. Developments in ancient and recent Latvian life and development of the Latvian spirit are shown here in a modern person's perception and view, with that, affirming the possibilities of new Latvian beginnings in our own era.
As one circles the constructed monument along the expansive plaza (see Figure No. 1 ["bird's eye view"]), step by step new scenes of an idyllic uplifting world of heroes unfolds before the viewer. From various vantage points, insuring we are drawn into into these incarnations of the Latvian soul ever more closely: ever larger, ever richer, ever more beautiful, life unfolds in all its nobility and might. Let us reverently draw closer to the beauty of the heroes' world: that beauty makes great and strong the life of the nation.
And so — the tribe of heroes will grow ever closer, ever more dear, in its great modesty, its solemn serenity, in its noble pride.
Let us listen into the Freedom Monument in its language of imagery: in it sounds forth the thoughts born in the people's soul.
5. OVERVIEW OF THE MONUMENT.
The monument exudes expressive profile lines from all sides of the square, although it reveals its main view from the side of the Daugava. (See title page picture.) It consists of a platform upon which rises, one atop the other, three cubes, each one above slimmer than the one below. Above them rises a slender shaft — an obelisk topped with a copper statue.
Here we see a red granite faced smooth-walled cubic base (3.5 meters in height, 9.2 meters in width, 11 meters in length). Its front face reads: "For Fatherland and Freedom." Above this footing rises a second cube with multiple projections and niches hollowed into its corners. The cube's narrower sides (3.5 meters high, 8.5 meters wide) face opposite the Daugava River and Liberty Boulevard avenue, while the wider (3.5 meters high, 10 meters wide) opposite the National Opera and Bastej Hill. Above these bands rises a third, still narrower and taller cube (on the narrower side, walls 6 meters wide and 6 meters high; on the wider side, walls of 6 meters by 7.5 meters); massive groups of sculptures of blue-grey granite join on all sides. This part forms the base of the afore-mentioned tapered (19 meters tall and 3 by 2.5 meters at the base) obelisk with the 9 meter tall statue of Freedom on top.
6. FIRST BAND OF SCULPTURES.
The middle cube with three-figured groups at four corners is sculpted of red granite. The figures of this band are imbued with the foremost core strengths upon which public life and national prosperity are founded. Towards the Daugava, at the left, appear three powerful figures: a farmer, fisherman and craftsman. (See Figure No. 4.) They express the Latvian virtue of work and and tirelessness of dedication. The well set-up figured farmer stands in the center of the group. He has a scythe in his calloused hands, about the handle of which run oak leaves with acorns — symbol of masculinity and success.
The roughly lined face of the farmer is serious and energetic. Flanking this leading cornerstone of the peoples' welfare we see workmen, kneeling: a craftsman with the his tools and a an old fisherman, hardened by winds and storms with a net over his shoulder. There is deep earnestness and honesty of their countenances, while their facile and muscular hands, constantly ensuring prosperity, are raised and raise the house of the nation.
At the opposite corner are found the vigilant guards of the fatherland, who are prepared at any moment to defend the people's honour and the people's rights. (See Figure No. 5.) at the center — the ancient Latvian warrior serenely grasps his sword, guarding the freedom of his homeland. His upward gaze portends his courage and unflinching confidence in his task.
Settled down aside him are the protectors of independent Latvia: behold, a soldier ready for battle in his pea-coat grasps a gun in left hand and in his right a grenade: no less vigilant is his other battle comrade. On the Freedom Boulevard side to the left is the Latvian Mother, the radiant source of the people's moral strength, and guardian of the family. (See Figure No. 6.) So simple and transfigured is her image, exuding love and the capacity for self-sacrifice.
Her head covered, a wide shawl over her shoulder, with an oak leaf garland and drooping palm frond in her right hand, the mother expresses female softness, expresses peace and harmony. Beside
Together with the working and warrior forces we see also our spiritual guides. (See Figure No. 7.) Sunken into deep reflection, his walking-stick in his hands, catalysed by inner ferment, stands a seeker of new knowledge. At his feet we see two men: the soothsayer, wizened from long years at his task, a seer into the people's soul; and with him, for life's practical needs, the intimate awakener of the people's ambition, the motivator, the scholar seeking knowledge in writings.
7. SIDE RELIEFS.
Within this horizontal band around the monument we also find illustrated, facing Bastej Hill, the 1905 Revolution, while facing the National Opera, Latvia's war of independence.
Behold, in a mighty attack across the Iron Bridge the heroes of our homeland sweep forward against the enemy. (See Figure No. 8.) All about rampage the fires of war. The framework of the bridge is bullet-ridden and punctured; shrapnel and soldier's caps fly through the air. The liberators of their fatherland, with their rifles held firmly in hand, carrying a machine gun, break down the enemy's resistance. One can see the courage in their faces, upon their lips, a fearless smile. And so, in those fateful battles along the banks of the Daugava Latvian freedom was born. At the center of the other long wall we see the Latvian workers. (See Figure No. 9.) Revolutionary banners waving, armed with hammers and screwdrivers, they assault a Cossack with his whip astride his horse. Defending their rights, the people's workers rise up as one against their enslavers.
8. MAIN GROUP OF FIGURES.
At the next level of the monument rise the 5.5-6 meter tall main figure groups, which symbolically evoke the people's freedom
Approaching from Brīvības Boulevard, we see a mighty masculine elevated triptych: the chain-breakers. (See Fig. No. 10.) In the middle—the elder, the younger both at his sides. With a great inner intensity they have grasped the heavy chains which bind the three together, and strive to break them.
It is as if the spirit is discontent with the resistance of the metal, discontent with the links of slavery. The group expresses the spirit of the eternal freedom fighter. Yearning within yearnings for the radiant sun of liberation, they loathe any power which subjugates the people into slavery.
Opposite the National Opera, we see the wizened vaidelots {heathen priest]. (See Fig. No 11.) He has just sung out a refrain about the people's fate and longings, about the noble deeds of heroes. With one hand he holds on to his kokle [Latvian zither] lying on the ground, while the other he has placed on the shoulder of a shepherd. Knelt at the feet of the aged balladeer, the boy, deeply moved, gazes upon a witness to the past — a horse's skull. The song's spirit has also called upon the youth to rise up, to give his energies to the people, to follow in the footsteps of heroes. Reflection, anxiety, vengeance already animate the shepherd's movements: the vaidelots' words have struck a spark in his soul. Behold, the hand of the youth already grips more firmly a weapon for battle.
On the side facing Bastej Hill we see a symbol of strength of the workers of the land—the Bear Slayer. (See Fig. No. 12.) The hero vanquishes the ruler of the forest—the bear—in battle. In the robust stance of the hero of the people we observe the primordial force of Nature, which has awoken to protect the Birthland's culture and the Birthland's independence against hostile powers.
Moving from scene to scene, we once again come to the side facing the Daugava. Here we behold a commanding and bright Latvian image. (See cover picture.) The stately woman's pose, wearing a wreath upon her head, exudes a sense of satisfaction and noble peace. In her hand, over a shield with the blazing sun, Latvia holds her sword, tranquilly protecting her fruits—the spikes [of wheat] in her left hand.
This impetus upward, toward a more beautiful and noble life, is evocatively carried upward by the flow of the pointed obelisk. From the foundations of the nation's life in its lower section, through dreams of the past and images of longings in its top level, this movement rises like a heroic arrow, auguring a new world gleaming in the sun of Freedom.
9. THE STATUE OF FREEDOM.
A crystal track will gleam, running along a center groove up the middle of the obelisk: reinforcing the strength of upward movement and connecting the lower forms with the culmination of the monument. Atop the pillar, in heroic temperament as if having conquered the gravity of the world, a woman forged in power holds three stars in her uplifted hands. (See Figure Nr. 15.) Her figure is draped in a long gown, outlining her lithe limbs; over her shoulders, down her back, falls a wide shawl in folds. The monument's rise vertically reaches its highest point here; the simple expressive lines of the statue of Freedom can already be seen from afar, against the blue sky.
Across the battles of the past, across the present, high into the heavens, as if upon unshakeable bedrock, the lofty song of Freedom's ideals resounds in the sculptor's creation.
Within the sculpture of the woman, as in a culminating chord at the conclusion, are bound together all the threads [of the story] resolved within the monument. Here reveals itself the deepest meaning of a people's lives, of a people's strivings: to be free, to themselves build, to themselves fulfill, their cultural mission.
In hands, which reach tirelessly toward the heavens, the never-fading stars of Freedom shine as an eternally marked destination for Latvian struggles and Latvian labours.
Jānis Siliņš.
| 1 | *) The creator of the Freedom Monument is sculptor Kārlis Zāle, its structural design was realized by architect Ernests Stālbergs. |
| 2 | Refers to the 1934 coup of Kārlis Ulmanis. |
| 3 | The monument was funded completely through donations. |
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