Kosta Khetagurov

Kosta Levanovich Khetagurov (, ; ) was a national poet of the Ossetian people who is generally regarded as the founder of Ossetian literature. He was also a talented painter and a notable public benefactor.

Khetagurov was born in the village of Nar in what is now Alagirsky District in the Republic of North Ossetia–Alania. He studied at the Stavropol Gymnasium from 1871 to 1881, and entered the Saint Petersburg Academy of Arts in 1881, but had to abandon his studies due to financial constraint in 1885. Back in his native Ossetia, he became a prominent poet, whose poems composed in Ossetic quickly spread throughout Ossetian towns and villages in an oral form. He also published a number of poems, stories and articles in the Russian-language newspapers Severny Kavkaz (edited by himself, 1893–1902), and Kazbek. His paintings also gained in notable popularity, one of them depicting Saint Nino, a 4th-century Christian baptizer of the Georgians, was particularly welcomed by the Georgian society.

Due to his criticism of the Imperial Russian government he was twice exiled from his motherland from 1891 to 1896 and again from 1899 to 1902. The last exile significantly shattered the poet's health and deprived him of the ability to continue his creative and social activities. Khetagurov died shortly afterwards in Labæ (nowadays Karachay-Cherkessia) in 1906.

Early life and education Konstantin (Kosta) Khetagkaty was born on October 15, 1859, in the remote mountain village of Nar. Situated at the terminus of a lengthy road, Nar is a small yet notable town near the larger town of Tibsli in the Alagir gorge of North Ossetia. Located close to the Georgian-Russian border, this geographical proximity would later prove significant.

Kosta was recognized as a drawing prodigy.

Due to his recognition as a gestating artist, Kosta was selected to attend a distant school, the Lyceum in Stravopol. Kosta's remarkable facility with brush and pen was apprehended and remarked upon by the Russian drawing master Smirnov.

It was now that a crossroads arose. Kosta had a disagreement with father Khetagurov about the direction of his future efforts. The father was convinced that the proper life for Kosta was that of a soldier. As a result, the father informed Kosta of the many patriotic benefits and opportunities for the fighting man. Kosta, however, rebutted this argument strongly that he was not interested in fighting opportunities. There was some back and forth on this matter. Eventually, Kosta won out, though it is not known whether this was done by reconciling or by scorning father Khetagurov. The mind made up, in 1881 Kosta entered the Academy of Arts in Petersburg. There, the din and hubbub surrounding Kosta's work raised the expectations even higher. There was a widespread thought that Kosta would become an artist for life.

A double-edged sword struck the poor Kosta, however, as he found his stipend suddenly removed from his life. The stipend has been up to this point in the story a form of deep reliance by Kosta, and he struggled to maintain himself without it. There were trials of the spirit as the many hours of work stockpiled. There were trials of the body as Kosta was forced to undertake laborious activities in pursuit of sustenance. Still, one end did not meet the other. In these dark times Kosta was buffeted by an impossible situation. He had no choice but to throw the towel in and return to Nar. Why was the stipend taken from Kosta? It is a fact unknown, but at least one author speculates it was due to the political divisions that were becoming rife in Russia.

Career

Although Kosta was partially unschooled, his paintings were still formidable. This allowed Kosta to live for a time from commissions of his skills. To much herald and trumpet there was a great exhibition of his work soon into this period. The exhibition was considered a cultural moment of note in [Vladikavkaz]. There are contemporary accounts that the exhibition was a great coup, both for the reputation and for the funding of Kosta. There was then the conundrum in that a paying opportunity presented itself, but only that of the rude painter of theatrical backdrops. This construction of scenes was lucrative but Kosta was displeased that the theaters advertised his presence so widely. He did not wish his name to become associated with that more crass form of painting.

The National Poet Emerges The early rate of painting was vast—some mourn that this rate did not maintain itself. However, it is said that when Kosta returned to the house of Nar it was as if a great stone had been placed on his paint brush. The interests of Kosta migrated away from the paint. At first, despite the "dreary situation" that alarmed Kosta, painting was still attempted, but with a subplot of unhappiness. Other attempts of the pen began to supplant the painting. Many say this was "the birth of a great poet." Another fact of noteworthiness is that today Ossetia is known as a place of great arts and culture, with large thanks to Kosta. To reflect this, one of the three universities of Ossetia, has the name Kosta Khetagurov upon it.

Statues There have now been several statues of Kosta put up across the region. A more recently constructed statue is the one in Vladikavkaz. This statue once projected the legacy of Kosta. There is a sign on it that can be read, "To Kosta Khetagurov, the founder of Ossetian literature - from the Government of the Soviet Union."