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[Alexandr Korol]

just like the original. Because the copy was made so precisely that it also captured light and gave off that energy like the source. That’s why my King Tut image on a ring — the ring itself is modern, it’s not ancient. Someone probably made it ten years ago. Seriously, it’s not some antique. But it radiates so strongly because the King Tut mask is depicted correctly, in the right proportions, and that’s why it emits energy. It connects to the King Tut source anyway. I came across this again when I was... I can’t remember which country, but I was in Madame Tussauds. And imagine — I’m walking past all these wax figures of famous people, and then I walk past Mother Teresa, and the energy radiating from her was so prayer-charged, it was unbelievable. And it wasn’t because someone had prayed to that figure — but because she was replicated, and that replication continues the emission, like an extension. That’s why people line up to see the relics of saints — to connect to the source. It still connects you to the source. I can make copies of a statuette — one thousand copies of an Egyptian statuette — and all of them will lead a person to the source, connect them to the source. I care deeply about all the old cultures, traditions, and values that once existed. I try to preserve them somehow, even though they’re being erased by this insane globalism of everything, yes. It was painful and sad for me to watch the film “Memoirs of a Geisha,” seeing how Japan was corrupted. It was heartbreaking to see with my own eyes just a year ago what they’ve turned South Korea into — some kind of modern experiment. And there too, everyone is already like zombies. How everything is being vulgarized and transformed into something unrecognizable, erasing all those boundaries. I love everything ancient. Even recently, when I had some gold pieces made, I tried to replicate the actual ancient Egyptian jewelry exactly. And when something didn’t match, I said — it needs to be redone, because I need it to be like the original, not some modern invention. I always try to restore or preserve everything, you know? There was a case when I bought a very unusual ancient vessel. They didn’t want to sell it to me because none of the current artisans could reproduce it — those kinds of craftsmen don’t exist anymore. I kept it only to preserve it as a sample, so that it could later be replicated. So yes, there’s a kind of universal connection. When I found and carved out a little stone in the forest in Karelia, the Mystic-Old-Man said that it’s the same as an entire object — that it has some kind of connection to something. It doesn’t even matter if it’s just a grain of sand.