A Draw?! Gimme a Break!

Can you believe your eyes – this is supposed to be a draw!

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Study by M. Liburkin, Bulletin Moscow - Prague, 1946

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At first sight, seems that by no stretch of imagination can White survive here.

Yet, by help of the contacts theory, we will be able to dissect the position into discrete elements to get an understanding on what’s going on here and how a draw is possible.

Take another look at this study of supreme elegance. The white pieces are not active and look totally discoordinated, one Knight on the edge of the board, and yes, the b7-Knight has no way out. One must go. It’s beyond imagination White may hold in this position against an apparently active black Rook and a Pawn ready to march forward all the way.

But how can White create any chances here as his position looks completely lost? Perhaps the only one may be to pose threats to the black Pawn together with a combined King’s action (at least the black King is poorly placed in the corner and out of play for now). But again, it’s still hard to imagine survival is possible here at all.

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1. Nf1-e3

The black Rook is attacked and must lose control over some b7-Knight’s escape squares now; after

1. … Rd5-d3

double attack is established on both Knights which guarantees the prey (one of the Knights) cannot escape.

2. Kc1-c2!

Forcing the black Rook to dispatch the e3-Knight. That’s exactly what White wanted to, as the b7-Knight is in a more favorable position to attack the e6-Pawn – just one move away. What kind of piece contact is this? Threat of attack.

2. … Rd3xe3

One Knight is gone – it’s martyred for the fatherland.

3. Nb7-d8!! Fantastic!

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Now we see more clearly why White gave out the e3-Knight. The Rook is cunningly lured on the e-file (a drive-on, or attraction tactical device) in front of the Pawn where its mobility is reduced and where it can be attacked.

Let’s do some anatomy by way of elementary contacts, as they always provide clue about position:

a) the d8-Knight is attacking the black Pawn,

b) the black Rook is tied down to protecting the Pawn and is limited to only five squares on the e-file (e1-e5),

c) the Rook is under threat of attack from the white King which is one-move away from getting to harass it by stepping on the d-file,

d) the black King is restricted by the Knight (at b7) and tactically (at a7 and b8), which foils any attempt to get out of the corner.

We thus realize the two black pieces are subjected to a double attack consisting of the Knight’s attack on the e6-Pawn, and King’s series of perpetual attacks and threats of attack the Rook cannot escape as it’s tied down to protecting the e6-pawn. This is an example of effective piece cooperation (“the main principle that runs throughout”, Capablanca) between the King and the Knight.

In contrast, the black troops are so discoordinated and all heavily restricted which significantly reduces their fighting potential.

Back to our position. The white King actually wants to be able to attack the Rook whenever it gets on e1, e2, e3, or e4 (it’s well known that King is more gifted at close-range fight than Rook). If the Rook lands on e5, the King simply steps back on the c-file from which it can keep a threat of attack (from say c3-square).

At the same time, on c3 the King is safe as it’s off of the d-file along which the Rook can strike (Re5-d5+) with a double attack winning the d8-Knight.

And lastly, with the Rook on e5, Black is entirely held down really. The Pawn is obviously blocked; the important thing is the black King cannot get out of the corner and join the fray because of another double attack hanging in the air, this time the Nd8-c6 fork (an example of tactical piece cooperation).

3. …Re3-e2+

If 3…e5, then 4.Nf7 maintaining the attack on the e-Pawn and the Rook is unable to avoid King’s attacks coming from the d-file, or if it leaves the e-file, the loss of the Pawn.

4. Kc2-d3 Re3-e1

5. Kd3-d2 Re1-e4

6. Kd2-d3 Re4-e5

7. Kd3-c3!

This subtle move keeps the status-quo (see the comment after move 3). The Black can only try:

7. … Re5-c5 to improve his position, but after

8. Kc3-b4 he is forced to turn back to e-file. Draw!

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Sheer beauty! Isn’t it?

And here’s the author of this brilliance:

Mark Savelevich Liburkin (1910-1953), the famous Russian composer of studies of supreme elegance.

Hope your enjoyed this magnificent piece of chess art.