National Palace of Culture

1 “Bulgaria” Sq.

National Palace of Culture (NDK)

The National Palace of Culture is an architectural ensemble officially inaugurated in 1981. It was dedicated to the 1300 anniversary of the establishment of the Bulgarian state, and its impressive decoration accords with this theme. The imposing building was designed by architect Alexander Barov and was completed in just four years. In general, most monumental wall art from the 1980s in Bulgaria is grandiose in both design and execution, and it became ever more present in the interior an on the exterior of public buildings like the National Palace of Culture.

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The stone and metal mosaics “Composition 1” and “Composition 2” in the ticket center by Mihalis Garudis and Kolyo Getsov, 1981

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Gallery: Architecture and Construction 1

Gallery: Architecture and Construction 2

The stone mosaic “Feast of Dionysus” in the foyer of Hall №2 by Atanas Yaranov, 1981

The mosaic “Feast of Dionysus” is a good example of works from the late 1970s and early 1980s in which space is only rudimentarily defined in the overall design. This allows the mosaic to further articulate its surrounding architectural space without disrupting its own structure and impact on the viewers. The space depicted in the mosaic is divided into two planes. The background plane has little depth while the shapes in the front are “heavy” since they are constructed through contrasting shadows and light. The absence of half tones divides the work into two halves – a light and a dark one. The dark and light bands of tesserae serve as highlights and core shadows, which make the images, seem more like sculptures.

The placement of the human figures near the room’s floor serves to blur the border between the artwork and its architectural surroundings. The scale is large and the distance between the viewer and the mosaic intentionally short, which results in the viewer becoming a participant in the depicted ritual.

The two mosaics “Rhodope Song” and “Feast of Dionysus” face each other in the foyer of Hall №2 and are thematically related. The “movement” in each flows towards the other, uniting “rhythm” and “ecstatic ritual”.

The stone and metal mosaics “Composition 1” and “Composition 2” in the ticket center by Mihalis Garudis and Kolyo Getsov, 1981

The artists Mihalis Garudis and Kolyo Getsov co-designed the two panels “Composition 1” and “Composition 2”, which combine stone mosaics and metal. They used the same medium, artistic message, and technique for both works.

“Composition 2” depicts a central circle with three clenched fists surrounded by a “cracked” metal surface, which is in turn surrounded by stone tesserae laid out in concentric circles. The combination of metal and stone highlights the skills of each of the artists with their respective medium and also carries the meaning of strength and steadfastness. The message of the work centers on the ideas of “strength in unity”, the “joint fight,” and “consolidated resistance.” The accent is on the large shapes and their sculptural impact. They are placed against a neutral background; the tesserae follow the outline of the central image and make it more prominent. The “crack” across the middle of the mosaic panel corresponds with the “cracks” in the metal circular area.

Gallery: “Composition 1”

Gallery: “Composition 2”

The stone mosaic “Spring” in the foyer of entrance B2 by Yordan Spirov, 1981

Mosaics from the mid 1970s were often abstract works – either geometric or amorphic images that make an impact based on its raster, direction, rhythm, and structure. By making use of the specifics of the medium, which is suitable for abstract images, the authors gains artistic freedom that they would not have had if they had closely the themes dictated by the communist party.

In the stone mosaic called “Spring”, the artist focuses on a “rhythm” of harmonious colors and technical precision. The mosaic’s title is tentative since it does not depict any recognizable figures. It can be associated with spring based on its color composition and position in the interior space.

The stone and smalt mosaic “Rhodope Song” in the foyer of Hall №2 by Dimitar Kirov – Di Kiro, 1981

This mosaic has an expressive style combining distinct figures and abstract geometric shapes. The image of the Bulgarian woman owes its popularity to the 1980s tendency to overemphasize Bulgarian national identity through the repetition of traditional clothing and figures. What began as an ad hoc state-level mandate turned into a regulated policy for adhering to a certain formula in monumental art across the country.

The mosaic “Rhodope Song” is part of the larger decoration strategy for the National Palace of Culture. Dimitar Kirov executed the mosaic in his characteristic versatile style. The figures in the mosaic broadly resemble women in traditional Bulgarian costumes. While the costumes are not authentic reproductions of period-specific clothing, their details are meant to be stylized symbols of national identity.

The figures are constructed from geometric shapes, which gives them an abstract and stylized appearance. This effect distorts the otherwise familiar shapes but at the same time allows a broader visual interpretation. Color is the main component of the mosaic. The contrast between light and dark colors defines the composition and accentuates its center. Lines and expressive strokes further define individual figures. The “rhythm” of colored shapes contrasting with each other creates a logical link throughout the composition and relates to the linguistic suggestion of “song” in the mosaic’s title.

The stone and smalt mosaic “The Sun” in Hall №4 by Grigor Spiridonov, 1981

The mosaic is composed of biomorphic lines but no actual figures. The shapes resemble raindrops in varying colors and together they form an abstract image on a golden background. The vibrant colors set apart the mosaic image from its surroundings, which creates an expressive contrast. The chosen colors lie on opposite ends on the color wheel – orange and blue are matched by yellow and green. The white serves to define the outlines of each raindrop. The work thus relies on a sharp contrast of colors for its impact on the viewer. Abstract works of art regularly serve as aesthetic accents in interior and exterior decoration in Bulgaria.