Noble estate in Russian culture of the XIX century. Culture of the noble estate

Topic 1. Introduction

Lecture

The role of the noble estate in the development of Russian culture and art.

National identity of "noble nests".

Topic 2. History of the noble estate

Lecture

Moscow residences of Russian tsars (XVI-XVII centuries).

Imperial palaces and parks near St. Petersburg (XVIII century).

The beginning of mass estate construction after the adoption of the decree "On the Liberty of the Nobility" (1762).

- The "Golden Age" of Russian estate culture (the first half of the 19th century).

Noble estate in the post-reform period.

- "Silver Age" of Russian estate culture.

The fate of the "noble nests" in the post-October period.

The current state of cultural heritage.

Topic 3. Aesthetic organization of space: house, garden, temple

Lecture.

Manor as an artistic world.

Change of architectural, landscape gardening styles.

Practical lesson

Discussion of abstracts.

Topic 4. The image of a noble estate in various types of art

Lecture.

The image of "noble nests" in Russian poetry (A. Kantemir, G. Derzhavin, V. Zhukovsky, A. Pushkin, M. Lermontov, D. Boratynsky, A. Fet, A. Bely, N. Gumilyov and others).

Images of "noble nests" in Russian prose (N. Karamzin, A. Pushkin, I. Turgenev, L. Tolstoy, A. Chekhov, I. Bunin, B. Pasternak and others).

Manor landscapes in Russian painting (S. Shchedrin, V. Borovikovsky, A. Venetsianov, I. Kramskoy, V. Polenov, I. Levitan, V. Borisov-Musatov, K. Somov).

Music of the noble estate

Practical lesson

Showing presentations prepared by course participants.

Topic 5. Historical estates on the territory of our region, and their owners and guests

Lecture.

Estates of military leaders and prominent statesmen (Mugreevo, Batyevo, Dyakovo, Borshchovka, Ragozinikha, Bogorodskoye, Knyazhevo, Romanovo, Aleksandrovo).

Estates of scientists (Matveikha, Pogost, Privolnoe).

- "Shelters of inspiration" (Uteshnoye, Kamenka, Novinki, Kotsyno, Frolovka, Icy Keys, Novinki, Pogost, Obolsunovo, Sokolovo).

Practical lesson

Conducting virtual tours of the historical estates of our region.

a) basic literature:

1. Noble and merchant estate in Russia: historical essays of the 16th - 20th centuries. M., 2001.

2. Noble nests of Russia: history, culture, architecture / ed. M.V. Nashchokina. M., 2000.

3. Evangulova O.S. The artistic "universe" of the Russian estate. M., 2003.

4. Kazhdan T.G. Artistic world of the Russian estate. M., 1997.

5. Roosevelt P. Life in the Russian estate: experience of social and cultural history. SPb., 2008.

6. Schukin V.G. The myth of the noble nest: a geocultural study of Russian classical literature. Krakow, 1997; 2nd ed. // Russian genius of education: research in the field of mythopoetics and the history of ideas. M., 2007.

7. Famous museum-estates of Russia. M., 2010.

b) additional literature:

1. Architecture of the Russian estate. M., 1998.

2. "... in the vicinity of Moscow": from the history of Russian estate culture of the XVII - XIX centuries / Comp. M.A. Anikst and V.S. Turchin; text by V.I. Sheredega and V.S. Turchin. M., 1979.

3. Wrangel N.N. Old estates: essays on the history of Russian noble culture. SPb., 1999.

4. Marasinova E.N., Kazhdan T.P. Culture of the Russian estate // Essays on Russian culture of the XIX century. T. 1: socio-cultural environment. M., 1998

5. Nizovsky A.Yu. The most famous estates in Russia. M., 2001.

6. Okhlyabinin S.D. Daily life of a Russian estate of the 19th century. M., 2006.

7. Soloviev K.A. "In the taste of smart antiquity": the estate life of the Russian nobility in the second half of the 18th - first half of the 19th centuries. SPb., 1998.

8. Marasinova E.N., Kazhdan T.P. Culture of the Russian estate // Essays on Russian culture of the XIX century. T. 1: socio-cultural environment. M., 1998

c) Internet resources:

1. Non-commercial partnership "Russian Estate" (www.rususadba.ru).

2. Historical estates of Russia (www.hist-usadba.narod.ru).

3. National Fund for the Revival of the Russian Estate

Yu.A. Vedenin,
Doctor of Geography, Director of the Russian Research Institute of Cultural and Natural Heritage named after D.S. Likhachev of the Ministry of Culture of the Russian Federation

O.A. Borsuk,
Candidate of Geographical Sciences, Faculty of Geography, Lomonosov Moscow State University M.V. Lomonosov

RUSSIAN ESTATE - A PHENOMENON OF WORLD CULTURE

The history of the formation of manor and park complexes began in Russia in the 16th century. The patrimonial lands with the peasant people were transferred to serving boyars and nobles already during the reign of Ivan the Terrible for services to the tsar and the Fatherland. Their place of stay was Moscow near the sovereign. Holidays were given to them rarely, but they were short-term. Therefore, the owners did not seek to equip their suburban possessions. The estates near Moscow, as the estates around Moscow with a radius of about 150-180 kilometers were called before, for many owners were food producers for their owners, who came to them for a short time to have fun with dog and falconry, to relax. Initially, the estates were not subject to sale, exchange, inheritance. Gradually, the estates become hereditary, and from 1714 - the property of the landowners.

The 18th century gave many indulgences to the lays serving the tsar, a decree of 1727 allowed 2/3 of the officers and conscripts to be released to their estates to put the economy in order. Since 1736, the service life of the nobility was limited to 25 years, it was allowed to leave one of the heirs on the estates to conduct business on the estates. In 1740, the nobles were allowed to choose between military and civil service. The formation of a layer of the local nobility begins, living permanently in their estates.

The Manifesto of February 18, 1762 "On the Liberty of the Nobility" completely freed the nobles from compulsory military service. The legal registration of this nobility was finally completed by the provincial reform of 1775 and the Charter of the nobility of 1785, which gave the nobility significant personal, property and estate privileges. The concept of nobility is defined in it as “a consequence flowing from the quality and virtue of the men who ruled in antiquity, who marked themselves with merits, by which, turning the very service into dignity, they acquired a noble denunciation for their offspring.”

The main part of the nobles owned 20 souls of serfs and less - 59%, the owners of 20-100 souls - 25%, 16% were landlords, in whose households there were 100 souls of serfs.
By the middle of the 19th century (according to the population census of 1858), the well-being of the nobility had increased significantly. The share of nobles of the first group decreased (39%), the number of nobles of the second group (20-100 souls) increased to 34%, as well as those who owned from 101 to 1000 souls (21%). Very wealthy large landowners were only 1.3%. The stateless nobles made up 3.5% of the nobility.

The end of the 18th - the middle of the 19th centuries was the time when the estate turned into a special phenomenon of Russian and world culture. Nobles of average income were most interested in culture - literature, theater, painting, history, socio-political theories. The golden age of Russian culture is largely fueled by precisely this layer of the nobility in 18-19 thousand families from whose ranks the talents came out.

Direct communication with the peasants was very important - folk songs, dances, nourished the noble culture, which was reflected in the work of A.S. Pushkin, P.I. Tchaikovsky and many others. It should be noted that the fading of the estate culture was also reflected in the work of painters. The brightest of them was V.E. Borisov-Musatov.

Let's return to the manor and park complexes near Moscow. The nearest of them are now included in the city, the distant pearls of landscape gardening art are strung on river valleys. There are more of them near the capital, the presence of roads and features of the natural landscape also played a role in the arrangement of manor and park complexes. So, in Meshchera near Moscow, they are rare, and the elevated, with diverse landscapes of the territory - the Smolensk-Moscow Upland and the Klin-Dmitrov Ridge - are densely dotted with very picturesque manor and park complexes. A significant number of estates arose south of Moscow on the Moscow-Oksky slope, dissected by numerous rivers.

During the construction of the estate and park complex (as a rule, in river valleys - up to 85% of all estates of the Moscow region were located precisely in them or on their sides), a significant transformation of the landscape and its individual components - vegetation, hydrogeographic network, i.e. rivers, lakes , ponds. The smallest changes concerned large landforms, architectural and planning solutions for the construction of estates and their parks adapted to its features, although small and medium landforms could change, build on or be cut off depending on the circumstances.

Manor construction in the 18th-19th centuries was a significant factor in the transformation of nature at the local level. The change in all natural components in the estates followed the path of increasing natural diversity. The results of these changes during the creation and subsequent development of estate and park complexes are noted in the form of two trends in the development of landscapes: an increase in the landscape diversity of the territory and an increase in the fragmentation of natural components with an increase in aesthetic and landscape diversity within the estates. The successive transformations of landscapes, its "inspiring" resources, transformed the natural landscape into a cultural one.

A cultural landscape is a specific territory with certain natural conditions, which has been mastered for a long time by a person who has changed it as a result of his economic social and intellectual and spiritual activities. The space of the cultural landscape is always filled with symbols and meaning. Its surroundings - forests, meadows and fields - were often preserved as a natural setting.
Erected on the borders of several landscapes - valley, glacial, etc. in the most picturesque places of their possessions, the estates pleased the eye not only with original monumental buildings, but also with a skillful combination of natural and man-made.

The master's house, as a rule, was built in the most elevated place, the temple was also located here, a river flowed nearby or there was a system of ponds. The parks were famous for their collections of various tree species. In the estate of Uvarovka-Porechye in the upper reaches of the Moskva River in the park there were several hundred trees and shrubs, often very exotic, such as arborvitae, cypress and others. Some of them were carefully wrapped in horn-jars during the cold season.

The world of the Russian estate is made up of the ratio of natural, landscape motifs and spatial, artistic, architectural and planning. In cases where the monotony of the natural landscape did not allow the use of structural elements of the relief, artificial reliefs were created - hills, ridges, and the like.

Among the estates near Moscow, and there were more than a thousand of them in the Golden Age of the heyday of the estate culture, at present there are over 700 ruined buildings and parks, from which one alley has been preserved, and even that is not completely, there are over 700. Some of them can be judged from the paintings of artists ( for example, the image of the Grigorovo estate in the painting by A.K. Savrasov).

The estates of the Moscow region bore the features of urban and rural cultures, were a kind of "information centers". The estates that arose near the capital differed greatly from each other in terms of the nature of the building scope, artistic design techniques and their purpose. Many features of the future complex were determined in advance: whether it would be a recreational estate or an estate adapted to more or less permanent housing and housekeeping. In the Moscow region, the pleasure estates of Ostankino, Kuskovo, Kuzminki, Arkhangelskoye crowded closer to the city. On the contrary, the farther from Moscow, the more economic estates appeared, the architecture and parks of which had a relatively simple appearance. It is obvious that there were a majority of such estates.

The classical estate of European Russia was formed at the end of the Petrine era, and its specificity was determined in the process of abandoning the form that was cultivated near St. Petersburg. As a rule, the Moscow region freely combined several functions that balanced each other: it was both a pleasure residence and a place of quiet solitude and an economic enterprise of an active owner. Despite all the variety of estates collected in the suburbs, one can easily find their common features. So, the center of the estate was residential buildings: the master's house and outbuildings, for young people, for guests, for the servants serving the master's house. Next to them were outbuildings intended only to serve the household needs of the owner and his family. Nearby was a church, often older than manor buildings.

An old aphorism - the theater begins with a hanger, you can add - the estate begins with a park. On the manor plans, carefully drawn by the obliging architects of that time, a geometric network of orthogonal, intersecting at right angles, diagonal alleys, radiating from the main house in rays, appeared. There were alleys, the intricate curves of which were more reminiscent of wide paths, emphasizing the features of the relief. The alleys led to viewpoints of the landscape. From them, the distances and the expanse of immense spaces, so beloved by the Russian people, were opened. It is impossible not to recall two aphoristic statements by D.S. Likhachev: “Russian man is a landscape man” and “Russian estate is a gate to nature”.

The destruction of estates did not begin in 1917, but much earlier - with the abolition of serfdom in 1861. The free labor force disappeared, the nobility became impoverished. He was replaced by merchants-entrepreneurs. They bought estates for their needs, tried to manage the economy "with profit." They cut down forests, saved on the maintenance of gardens and parks. The change of owners and its results are beautifully described in classical Russian literature (The Cherry Orchard by A.P. Chekhov).

The beginning of the destruction and plunder of the estates took place in the first years of the 20th century. The first Russian revolution set millions of peasants in motion. "In fairness", "equally" to divide and distribute. At the head of the defeat, arson and looting of estates were often wealthy peasants - kulaks, most of all dragging furniture, icons, paintings, and various utensils from the estates. They took it according to the principle - everything in the economy will fit.

The instability of the power of the Provisional Government also dealt a blow to the estates of the Moscow region. At the same time, the manor house of A. Blok in Shakhmatovo was fired. Decrees of the Soviet government on the preservation of the legacy of the past played a certain positive role - giving the best estates for rest houses and sanatoriums for the party and economic nomenclature. The attention of the public to the state, preservation and use of values ​​inherited from the accursed "past" was attracted by the Society for the Study of the Russian Estate (ORU), established in 1922, one of the leaders of which was A.N. Greek In 1930 he was arrested and convicted. His remarkable work, dedicated to the estates of the Moscow region - "A wreath of estates" - was published as a separate volume in one of the issues of the anthology "Monuments of the Fatherland".

It was difficult to save the estates during the years of the civil war, the poverty of a huge part of the country's population, who even saw in the museums of the noble estates "people's bloodsuckers", and not people of culture who collected and preserved many valuables, including icons, paintings, etc., it was difficult. There were no funds for the maintenance of museums in the estates, the money was needed for the industrialization of the country. The removal of objects of interest from estates to local centers and Moscow, with the intention of placing them later in museums, did not give much effect, although some of the art treasures were thus preserved, but a very significant part of them was nevertheless plundered and disappeared. A positive example is provided by the Dmitrov Museum. The future academician, historian A.K. Tikhomirov and items from the Olgovo estate adorned the museum. He created a series of remarkable works on the historical geography of Muscovy, widely known in Russia and abroad.

The removal of things and archives from the estates forever deprived them of materialized cultural content, the living life of generations was gone, the estate culture collapsed. The placement of children's and recreational institutions in the estates, their employment for the needs of peasant farms led to the destruction of architectural, planning and economic features, as well as the interiors of the estates.

Nowadays, the former manor and park complexes - "noble estates" serve the inhabitants of the country as rest houses, sanatoriums, museums, government residences. Some of them were bought by individuals. The transfer of estates to private hands is possible, a perfect example is the Serednikovo estate. Today this estate is leased from a descendant of Lermontov - his namesake - Mikhail Yuryevich Lermontov. The authors managed to visit the main house of the estate. Here, in the central hall of the manor house, seminars and classes are held for students of the Moscow Engineering Physics Institute on philosophical and cultural topics.

Estate-museums, for example, Muranovo, are in excellent condition. Even many years of restoration did not ruin this estate. The descendants of the Tyutchev family headed this museum and estate complex. Many estates near Moscow keep the memory of great personalities or significant events in the life of Russian culture.

Today, many people have a question, what will remain in the 21st century from the Russian estate as the greatest phenomenon of the world and national culture. The century that has just passed can be characterized as a time when the role of the estate was waning, first as an active participant in a living culture, and then as a heritage phenomenon. Attempts to somehow involve her in modern sociocultural processes so far have not been very successful. After the disappearance of the Russian estate as a naturally occurring living institution, which was characterized by such features as the presence of an owner - a landowner interested in the fate of this estate, as a variety of functions that relied on traditions and, at the same time, showed interest in innovation, as an institution , which determined the special attitude of Russian society to nature. Then, already at the end of the 19th-beginning of the 20th century, many began to consider the estate as a source of nostalgic moods. This was the reason for the emergence of the literature of the estate history of the Silver Age, and in the post-revolutionary period - for the transformation of many estates into museums. On the other hand, there were people who quickly appreciated the practical value of the estate. These are the functions of the estate that were associated with the organization of the most various areas social life and, above all, recreation. At the same time, if at the beginning of the 20th century dacha settlements arose on the territory of many estates or they were split into many smaller estates, then in Soviet times, rest houses, sanatoriums, art houses and pioneer camps began to be located in old estates.

Museums remained only in a few estates. The rest were handed over to the workers as trade union health resorts. However, most of them remained unclaimed. Naturally, such estates quickly collapsed. What is happening today with Russian estates? Museum-reserves and museum-estates are best kept. At present, there are about 40 estate museums in Russia, and the same number of estates are preserved in the form of reserve museums.

The use of a number of estates in the form of sanatoriums, rest houses, boarding houses, hospitals and children's camps continues. This form of protection of historical monuments has always been not very sparing towards them. The example of the majority of estates near Moscow, where sanatoriums and resorts were located, testifies to this trend. Estates: Mikhailovskoye (Sheremetievs), Glinka (Bryus), Vysokoye (Volkovs). This list is extremely large. However, in the 1990s, when most departments and enterprises went bankrupt or were unable to maintain such institutions, the massive destruction of estates began. Let's name two of the most striking cases. These are Vysokoye in the Smolensk region and Pavlishchev Bor in the Kaluga region.

The third traditional form of using old estates is to use them as offices for state and collective farms, schools and clubs. As a rule, these estates are the first candidates for destruction.

And what are the new forms of using estates? Most often only one is named. This is the transfer of estates to private or corporate ownership. The tagoka is often referred to as a public-private partnership. At the same time, either a long-term lease or the introduction of a trust form of management similar to a national trust is meant. All this is supposed to be done in the absence of regulations.
And now I would like to return to the Russian estate as a remarkable phenomenon of world and Russian culture. To begin with, it is necessary to determine the scale of the phenomenon, so some statistics.

A brief table on the change in the number of landlord estates (in thousands), obtained by scientists from the Institute of Russian History of the Russian Academy of Sciences, testifies to the following quantitative indicators: 1550 - 16; 1600 - 17; 1650 - 21; 1700 - 23; 1737 -32; 1800 - 35; 1858 - 50; 1877 - 59; 1895 - 61; 1905 - 55; 1917 - 39(40). Of course, if we take into account all the estates, and not just noble ones, then the number of estates by 1917 remained close to their number at the end of the 19th century. The clear leaders in the number of estates were: Smolensk, Ryazan, Tula, Tver, Moscow, Yaroslavl, Kursk, Kaluga, Kostroma, Pskov and Novgorod regions. The number of estates located there varied from 3 to 1300.

After 1917, the number of estates was constantly decreasing. These are mass arsons and their devastation in 1918. Let's at least remember sad fate all the estates associated with the name of Pushkin and his friends in the Pskov region: Mikhailovskoye, Petrovsky, Trigorskoye, Voskresenskoye, Deriglazovo. Then - collectivization, wars, the absence of real owners, most often, oblivion and uselessness. Now we can hardly name several hundred, or even dozens of estates, where not individual estate buildings or the remains of a park have been preserved, but integral ensembles.

For most of the public, former estates appear as cluttered territories. Places where wonderful palaces once stood, surrounded by gardens and parks, are perceived today as "badland", as objects that not only do not represent any interest for tourists, but also cause irritation with their desolation and the resulting feeling of hopelessness.

Fortunately, in recent times interest in estates revived again. In 1992, the Society for the Study of the Russian Estate was recreated. The estate has become an object of study not only for art historians and architects. Much attention began to be paid to the history of the formation and development of estates, estate landscapes, the economy of the estate, libraries and art collections, the relationship of the owners of the estate with the church, with neighbors and peasants.

It should also be noted that quite a few first-class manor ensembles are still preserved. Many of them have become museums. In Moscow, these are Kuskovo and Ostankino (Sheremetevs), Lyublino (Durasovs), Kuzminki (Golitsyns).

Many rich, perhaps even luxurious estates created by large landowners, representatives of the most noble Russian families, have been preserved in the Moscow region. Among them: Arkhangelsk (Yusupov), Sukhanovo Volkonsky, Valuevo (Musin-Pushkin). All these estates are by no means less significant than Kuskovo, Ostankino, Kuzminki, Cheryomushki, which entered the boundaries of Moscow. There are many wonderful manor complexes in provincial Russia. These are Znamenskoye-Raek in the Tver region, Aleksino in Smolensk, Maryino in the Kursk regions, etc.

But Russia was famous not only for large and significant estates. Small estates located there gave a special charm and charm to the Russian national landscape. Unfortunately, only a few of them have survived to this day. The most fortunate were those estates owned by prominent representatives of Russian culture, which made it possible to organize museums in them. An example of such an estate is Muranovo, the estate of E.A. Baratynsky and F.I. Tyutchev. It was here that one of the first literary estate museums was created. Not far from Muranovo is located Abramtsevo, the estate of Aksakov and Savva Mamontov, a place associated with the names of remarkable Russian writers, artists, composers. No less famous is Melikhovo, the estate where A.P. lived for several years. Chekhov.

In the developed Research Institute of Cultural and Natural Heritage named after D.S. Likhachev's strategy for the development of the museum-reserve system is supposed to significantly expand the network of estate museums associated with the life of remarkable Russian artists, writers, poets, and statesmen. It has already been said that memorial houses-museums and estates are traditional objects on the basis of which museum-reserves are created. And this is very important, because within the museum-reserve (museum-estate) not only the memorial house or the estate itself with its buildings is preserved, but also the manor park, the surrounding landscape with forest areas and agricultural land located in it. This makes it possible to preserve the entire memorial historical landscape, which has absorbed the memory of the life and work of people who had a fundamental influence on the development of the Russian state, Russian culture and science. This trend is clearly seen in the processes of transformation of well-known estate museums into large museum reserves, which currently include not only the memorial estate itself, but also a significant surrounding area, neighboring historical rural settlements.

In accordance with this strategy, the development of the State Memorial Historical, Literary and Natural Landscape Museum-Reserve of A.S. Pushkin "Mikhailovskoye", the State Memorial and Natural Reserve Museum-Estate of L.N. Tolstoy "Yasnaya Polyana", the State Memorial and Natural Museum-Reserve I.S. Turgenev "Spasskoe-Lutovinovo", the State Museum-Reserve M.A. Sholokhov and a number of others.

At the same time, despite the creation of a number of museum-reserves of this type, their number is still not enough. Many prominent politicians, cultural figures, scientists of Russia, who are the pride of the country, do not yet have their own museums (although there are sufficient prerequisites for this - memorial houses, remains of estates, park ensembles and other historical objects have been preserved). It is also very important to preserve the surviving amazing layer of national heritage associated with the estate culture. The creation of museums and museum-reserves in them is, perhaps, the only way to save and socio-economic use of these heritage sites.

The manor-park cultural landscape should be separated from the modern surrounding landscape by a buffer zone. The cultural landscape pleases the eye, it does not tire with monotony and monotony. This is the very video ecology that designers and architects are striving for. Undoubtedly, it is necessary to preserve not only the estate itself, but also its natural surroundings. This requires a zone of transition from the manor-park cultural landscape to the surrounding spaces. To study and preserve the heritage of the country estate culture is our patriotic duty and one of the parts of the national idea, over the formulation of which politicians rack their brains. As noted above, landscape gardening landscapes can today be used not only as museums, but also as museum and protected areas, as well as tourist and recreational areas. Belonging to various municipalities, they should serve as resting places for residents of settlements, as well as places where unobtrusively, on stands and shop windows, the way of folding manor and park complexes is shown.

Based on the proposals of the regions, the recommendations of scientists and specialists involved in designing in the field of culture, a list of promising territories for education was proposed memorial estate museums and museum reserves. Among them, it is worth highlighting the places associated with the life of the composer A.P. Borodin and the founder of Russian aviation N.E. Zhukovsky in the Vladimir region, the Lotarev estate "Vladimirovka", where Igor Severyanin often visited and worked (Vologda region).

In the Kaluga region, the Gorodnya estate, associated with the life of the Golitsyns and the work of the architect Voronikhin, as well as Troitskoye, the owner of which was the first President of the Russian Academy of Sciences E.R. Dashkov.

The Kursk region keeps the memory of the remarkable Russian poet A.A. Fete (the valley of the Tuskar River and the environs of the village of Vorobyovka) and about the estate of E.E. Lansere, an interesting artist and a representative of a wonderful family that gave Russian culture excellent painters and graphic artists.

Of particular note are the places where once there were estates of such remarkable figures of Russian culture as G.R. Derzhavin (Zvanka estate in the Novgorod region), E.A. Boratynsky (the estate of Mara in the Tambov region), N.A. Lvov (the estate of Nikolskoye-Cherenchitsy in the Tver region), N. Gumilyov and A. Akhmatova (the estate of Slepnevo in the Tver region) and many other remarkable figures of Russian art. Of particular interest are territories covering large areas and associated with the life of many cultural figures. Among them, one should mention the Udomelsky district of the Tver region, where many remarkable Russian artists worked: A.G. Venetsianov, I.I. Levitan, S.Yu. Zhukovsky, A.V. Moravov, A.S. Stepanov, N.P. Bogdanov-Velsky, V.K. Byalynitsky-Birulya. Of particular interest is also the Staritsky district of the Tver region, where there is a whole network of estates and villages associated with the name of Pushkin (Bernovo, Pavlovskoye, Malinniki, Glinkino, Kurovo-Pokrovskoye, Krasnoye, Bratkovo, etc.).

Of course, this list is far from complete. It only testifies to the fact that there are the most serious reasons not only for preserving the existing estates, but also for recreating the lost ones, associated with names glorious for Russian culture and history.

"Geography for Schoolchildren". - 2013 . - No. 1 . - S. 23-30.

The time of the maximum power of the Russian feudal class was also the time of the heyday of the suburban noble estate. The "Charter on the Rights and Benefits of the Noble Russian Nobility" of 1785 repeated, summarized and finally legally consolidated its privileged position. The nobleman was declared free from corporal punishment and all types of taxes, it was now possible to deprive him of honor and title only by court and with the highest confirmation. The right of the nobility to freedom from compulsory public service, priority ownership of land and peasants. The estate with subsoil and water, as well as forests “growing in noble dachas”, remained hereditary property that did not go out of line even in the event of serious crimes of the owner. The nobility was allowed to participate in production and trade. It was the representatives of the ruling class who received an education corresponding to the European level of enlightenment.

These circumstances gave a powerful impetus to the development of the estate culture and determined the characteristic features of the "classical" stage in its history, which falls on the last decades of the 18th - the first third of the 19th century. The era of the reign of Catherine II became the beginning of the rapid monumental construction of a suburban ensemble, when complexes appeared on estates where there had not even been a master's house before. The Empress in one of her letters noted the "mania of construction" that seized her subjects. On the last decades of the XVIII century. Andrei Timofeevich Bolotov recalled: “... to tell the truth, our neighborhood was then so empty that none of the good and wealthy neighbors were close to us. The times of that time were not the same as the present; such a great number of noble houses, with their owners everywhere living in them, as now, were nowhere to be found: all the nobility were then in military service, and only elderly old people lived in the villages, unable to serve anymore or due to illness and decrepitude, according to left to some special occasion ... ". Already at the end of the century, estates appeared throughout the Russian Empire, expanding its borders, in those areas where landownership had long existed, and in those where Catherine's nobles received rich estates, for example, in Ukraine and in the Crimea. Particularly intensive manor construction unfolded in the area with the traditionally strong positions of the Russian feudal class, the center of which was Moscow. In "Journey from Moscow to St. Petersburg" A.S. Pushkin wrote: “Once in Moscow there was a wealthy, non-serving boyars, nobles who left the court, independent people ... once Moscow was a gathering place for the entire Russian nobility, which from all provinces gathered in it for the winter. Brilliant young guards flew there from St. Petersburg ... ". And in the summer, Moscow was empty: "... guests came to the dacha."

However, the creation of a network of manor ensembles cannot be considered a process typical of the entire nobility. The elite of the estate took advantage of the advantages of the dominant position in the first place. Noble estate culture is a unique phenomenon in all respects. It is enough to give simple calculations based on the data of the works of A. Romanovich-Slavatinsky, V.I. Semevsky, V.M. Kabuzana, S.M. Troitsky. The construction of even a manor ensemble with a manor house, a church, a landscape park and picturesque dams, which was not particularly luxurious, required the work of at least 200 people. By the beginning of the XIX century. only 2-3% of the one hundred thousandth Russian nobility could afford country estates that differed from the peasant hut and demonstrated the elite life of the landowner. It was these 2-3 thousand "family nests" that created the phenomenon of estate culture, forever merging their classical outlines with the Russian landscape.

The genre features of the manor culture of the period of its heyday were determined by the suburban residences of the noble nobility, such as Kuskovo and Ostankino Sheremetevs, Arkhangelsk Yusupovs, Baturin Razumovskys, Nadezhdino Kurakins, Uman of the Ukrainian magnate Pototsky. The luxury of such ensembles was provided by powerful farms using the latest agricultural achievements. Country palaces were created by the best architects and park builders: N.A. Lvov, V.I. Bazhenov, I.E. Starov, M.F. Kazakov, D.I. Gilardi, K.I. Blank, they employed whole artels of decorators, painters, serf masters and civilian artisans. The estate complexes of the powerful elite had a practically professional theater, multi-volume libraries, the richest collections and collections of paintings. So, the life of Otrada near Moscow, one of the famous Orlovs, Count Vladimir Grigorievich, was served by more than two hundred people, among them - lackeys, coachmen, postilions, gardeners, artists, musicians, all kinds of secretaries and clerks. There was a home-grown poet and his own astronomer, who informed the count about the movement of stars and planets, the dignitary owner could not do without the estate "theologian", whose role was played by a learned valet. For such a large "servants" in 1806 and 1808. were specially drawn up “States and regulations for the courtyard people of His Excellency Gr. Vladimir Grigoryevich Orlov, volunteers) and churchmen who are at the Moscow and Otradnensky houses.

By the 20s. 19th century the active construction of representative country residences is gradually declining, which was associated both with the impoverishment of funds even among the highest nobility, and with the growing trend towards the intimacy of local life. At this time, the estates were more often rebuilt than rebuilt. Kuzminki, formerly called Blachernae, in the 20–30s. are also being reconstructed. The Ural factories of the owners of the estate of the princes Golitsyns made it possible to give shine to this suburban area, the luxury of which is evidenced by a series of lithographed views made in the first third of the century.

Country residences of dignitaries became an object of imitation for many landlords with more modest means, who also sought to improve their estates, build a manor's house and surround it with services, a park or a garden. The estate ambition of a nobleman, who owns 100 souls or less, did not allow him, however, to be content with the life of a single palace. “Four Doric columns glued to the hut with a pediment triangle above them” became a sign of belonging to the “noble caste”. But labyrinths of sticks, twigs and garden plants, a rough peasant interpretation of classical architecture, a simplified retelling of poorly understood artistic ideas did not yet create the atmosphere of the estate life of the “golden age” of the Russian nobility.

A suburban ensemble cannot be mechanically represented by a "property inventory" based on even the most reliable inventories. For example, the Menshikovs' estate Cheryomushki is not just a "suburban dacha, called with. Znamenskoye, with lands, forests, stone and wooden buildings, with furniture, with utensils, agricultural tools and machines of all ranks, with fire, blacksmith and carpentry tools and with horse harness ... ". Each estate had its own fate and its own way of life, which could not be replicated by naive imitation. The history of suburban ensembles was closely intertwined with the biographies of their owners, the personality of the person who created the complex, the way of the family that inspired the walls of the manor house.

Noble estate of the end of the 18th – the first third of the 19th century. - this is a special lifestyle, its own unique attitude, it is also a country entertainment residence, a miniature prototype of the royal court, a multifunctional, huge farm, a theater, a palace, a museum, a monumental ensemble of a dignitary; this is also a rural cultural salon, a shelter for a poet, scientist, philosopher, a unique garden of an agronomist-innovator, a circle of political like-minded people; it is also a patriarchal family hearth.

The many-sided specifics of the estate life could manifest itself in one ensemble, which, due to its versatility, appeared simultaneously as a “family nest”, a luxurious residence of an aristocrat and an office of an enlightened nobleman. During the period under consideration, a "philosophy of rural life" gradually took shape, interfering with idleness, where there was a place for luxurious fantasies, ritualized tradition and poetic inspiration.

“It is clear that, with a very large degree of conventionality, it is possible to combine into one historical and cultural theme the palace country residences of large Russian nobles, representatives of the richest landowner families, on the one hand, and modest rural shelters of the small estate nobility, on the other,” writes G.Yu rightly . Sternin. Indeed, the flourishing of the manor culture of the late 18th-first third of the 19th century. was due to the activities of these "major Russian nobles, representatives of the richest landowner families", in other words, the history of the noble elite, or rather, elites, distinguished by a complex structure and the fragility of the power of individual clans.

The complex, interrelated world of the estate of the noble elite of the period under review arose as a product of the following processes of development of the privileged class of Russia:

- the formation of a hierarchy of the top of the nobility, including several intersecting elites: the power elite, i.e. major officials close to the court; the economic elite, which included wealthy landowners; enlightened elite, the first generations of the Russian noble intelligentsia and, finally, the elite of the past, fading families with a proud ancestral memory of former power. The composition of the noble nobility was unstable, for two or three generations they rose to the throne and individual families rapidly grew rich, then the clan became smaller, poorer, faded, and new dignitaries and magnates came in its place. The power of the political elite was challenged by the cultural and sometimes economic elite, which often did not have access to the throne;

- the emergence of a layer of enlightened nobility, who assimilated elements of Western European culture, which, falling into the Russian social context, often acquired a different meaning and function. The educated elite became the social base of the first generations of the Russian intelligentsia, who were opposed both to the throne and to the secular masses;

- the contradictory, never completed process of the formation of the class culture of the nobility (embodied, in particular, in the awareness of the value of ancestral memory, traditions, relics) was complicated by the formation of a self-determining “personality of the new European time among the educated elite of a socio-psychological type.

Intensive settlement of the territory of the estate, the construction of the manor house and the laying out of the park were associated with the departure of the owner from public service. So, Voronovo begins to rebuild only after his marriage and dismissal from the affairs of the President of the Votchinnaya Collegium I.I. Vorontsov. The next heyday of the estate is associated with the resignation of its other owner, F.V. Rostopchina. Link P.A. Katenina was only the beginning of his voluntary seclusion in the Kolotilovo estate of the Kostroma province, where the poet rebuilt his house. Communications of those years, spring and autumn thaws excluded the combination of rural freedom and public service, where long absences were not allowed. The official, who lived in the estate for months, was forgotten, he was bypassed, he lost patrons and could not count on a successful career. Cultivation of greenhouses and cultivation of exotic flowers in Uzsky near Moscow by infantry general P.A. Tolstoy, commander of the 5th Infantry Corps, stationed in Moscow and its environs, can be considered more a fortunate coincidence than the norm.

The government prudently tried not to appoint nobles to serve near their family estates, and thus put the official before a choice: either "enjoying one's property" or a career. Doctor of Philosophy, former adviser to the Gatchina city government under Paul I A.M. Bakunin was offered the position of trustee of Kazan University, but he preferred the family hearth in Premukhin and agreed only to the position of trustee of the Tver Gymnasium. During the period under review, such a characteristic of social status was possible: "a retired lieutenant captain, a landowner of the Oryol province."

The departure from court life was often accompanied by a move to the aristocratic unemployed Moscow, which was one of the reasons for such a brilliant flourishing of the famous “Moscow region”. From 1807 to 1810 Prince B.V. Golitsyn, having taken a temporary resignation, lives in Moscow and Vyazemy. N.S. Mentikov, also leaving the service with the rank of colonel of the guard, settled in Moscow and for several decades developed and improved the economy in Cheryomushki.

Refusal, even if temporary, from a career followed "failure in service", loss of favor, disgrace or a desire to leave the world, i.e. hidden or obvious, internally motivated or situational conflict with the bureaucratic environment. Willingly or involuntarily, the estate became a refuge, a psychological niche, a kind of rear that needed to be strengthened. Any, even small, failure in the official field caused a saving thought of fleeing to the estate. The ideal of a quiet, calm country life, which relieved the tiresome vanity of the big world, was firmly entrenched in the mind of the nobleman, supporting his often illusory hope for the ever-existing possibility of leaving.

So, the event that immediately preceded the creation of the estate complex, the revival of the previously empty estate, was the resignation of the owner, his transformation, albeit, as a rule, temporary, from an official into a landowner or even rather a patrimony. It was possible to manage the household quite successfully and collect dues through the manager and clerk. Nobles in some of their scattered villages in various provinces have never been at all. But it turned out to be much more difficult to carry out estate construction in absentia, to create a park through correspondence and to think over the interiors of the manor house, and it was simply pointless to collect collections and organize an orchestra. Life in the estate without a master faded instantly. Stepan Borisovich Kurakin began rebuilding his famous Stepanovskoye-Volosovo after his retirement in 1789 with the rank of major general. Death overtakes the owner in 1805, and the unfinished complex passes to his brother Alexander Borisovich, ambassador to the Vienna, and then to the French court. Constant absences of the owner of the estate become the reason for the extremely protracted construction. The estate acquired its final form only under Alexei Borisovich, who sincerely loved Stepanovskoye and even captured its views in oil paintings.

Leaving the service was often temporary. A certain flexibility of the social possibilities of the ruling class allowed the owner of the estate to leave the now rebuilt suburban ensemble and again find himself in a bureaucratic environment.

Moving to the estate, leaving the service, moving away from city life inevitably led to a decrease in the significance of official status and secular prestige in the mind of a nobleman. Rural freedom weakened the regulation of the bureaucratic world and the conventions of custom. The estate became a place for home theater, amateurish literary experiments, turning into a world of free eclecticism. In original manor clubs, card parties were held, billiards were played, and music was played. The ritual of manor life was the annual hunt. Homestead is a way of life, a special way of life, a style of behavior. A.A. Fet wrote: “What is a Russian noble estate from the point of view of moral and aesthetic?” “This is a “house” and a “garden” arranged in the bosom of nature, when the human is one with the “natural” in the deepest organic flowering and renewal, and the natural does not shy away from ennobling cultural cultivation by man, when the poetry of native nature develops the soul hand in hand with the beauty of graceful arts, and under the roof of the manor house, the special music of domestic life does not dry out, living in the change of labor activity and idle fun, joyful love and pure contemplation.

Sukhanov's owner, Prince P.M. Volkonsky, a brilliant general, a participant in the Patriotic War of 1812, greatly appreciated the quiet days spent in his suburban area. In June 1824 he wrote to Count A.A. Zakrevsky: “I live just like in paradise, I’m not in a hurry, I’m not responsible, I do what I want, I do various housework, in the garden all day, I finish the road to the park.”

The way of village life of a nobleman was not formed spontaneously. The owner of the estate, taking advantage of the relative freedom and remoteness from officialdom, created his own style and social circle, his own routine of life, his own sphere of habitation, his own small unique world. At a distance of only 60 versts from Moscow, N.I. Novikov spent more than 20 years in his ancestral Tikhvin. Here he lived “with three children, with a faithful friend, with the wife of a deceased friend and with a short friend Lekar”, “became a gardener”, exercised “according to his favorite matter”, received “regularly on his birthday and name day according to the translated manuscript” from S. AND. Gamaleya and stayed up past midnight for a friendly conversation.

The country house turned into a social periphery of the noble empire. It's social. The estates were located not far from the capitals or large cities; the architecture of the ensemble cannot be called provincial in any way. The estate became a periphery in the sense of a certain independence and remoteness from the epicenter of the domination of bureaucratic values ​​and therefore a place where other orientations and aspirations were formed. A private, say, an unofficial person retired to his estate: either a landowner who started an abundant economy, or a free poet, or a failed dignitary. The charm of manor culture was created not by an occasional prosperous nobleman, but by a nobleman who moved away from the official hierarchy and lived in the village all the time or most of the year, returning to the city only after the first snow.

The efforts of these luxurious nobles, retired officials and exiled writers, aimed at creating the estate, were motivated by various aspirations. The style of life in the estates was determined by the preferences of their owners. Amusement country ensembles have become a great place for a prestigious demonstration of wealth and the implementation of expensive undertakings. In such estates, hunting gave way to balls, dinners, walks in the park were followed by fireworks, boat rides, and card evenings. “In the summer, one holiday, as a rule, passed into another,” writes B.C. Turchin, - the owners and guests moved from one estate to another; and so on for months." For example, in Marfino, when the Saltykovs owned the estate, the congress of guests from Moscow reached two hundred people. The enlightened nobleman, however, could not confine himself to crowded amusements. Permanent theaters and orchestras appeared in the estates. At the same time, high aesthetics was almost never sacrificed for practicality.

The residences of dignitaries became a visual embodiment of the power not only of the owner, but also of the very power to which he was involved. Monumental ceremonial ensembles appear at this time in the regions of Poland, Belarus, Crimea, and Ukraine annexed to Russia. So, the Gomel estate of the Rumyantsevs in 1834 was bought out by the royal governor in Poland, Prince I.F. Paskevich. He carried out the reconstruction of the palace and created a front building designed to accommodate military trophies and the highest gifts. As the researcher V.F. Morozov, in the guise of Paskevich's house, the reference to the monument of Polish classicism - the court of Stanislav-August is obvious, than the architect and the customer wanted to show the identity of the position of the royal governor and the Polish king.

The landowners' possessions could also become the sphere of their agricultural hobbies. Figures of the "legalized" in 1820 Imperial Moscow Society of Agriculture S.I. Gagarin in Yasenevo, P.A. Tolstoy in Uzsky, N.S. Menshikov in Cheryomushki, A.I. Gerard in Bolshoi Golubino built rich greenhouses and greenhouses, bred unique plants. So on the Russian plains Voltaire's formula was embodied: "everyone must cultivate his own garden."

The suburban noble estate was a place not only for theatrical life, the owner's elegant undertakings and the representation of his official status. In his fiefdom, a retired feudal lord could devote measuredly current days to scientific studies. An office in nature, where thought is free from vain worries, was presented by researcher S.S. Katkov house of the poet. P.A. Katenin in the Kostroma province. The Kolotilovo estate included a minimum number of services; it is difficult to imagine the life of a large family in it: it was intended for the owner’s solitary activities and infrequent receptions of friends. In the suburban Marfino N.P. Panin built almost an alchemist's laboratory for the study of the occult sciences and magnetism. And the former director of the Academy of Sciences, the already mentioned Count V.G. Orlov had physical and geological offices in his Otrada, carefully kept the library, archive and some personal belongings of M.V. Lomonosov, acquired from the scientist's widow by brother G.G. Orlov.

The free world of a rural estate, inspired by the close proximity of nature, turned into an Arcadia of poets, a literary salon, a circle of political like-minded people. Meetings of the "Union of Salvation" and "Union of Welfare" took place in the Premukhin's house of the Bakunins, Schelling, Kant, Hegel were read, the piano sounded, members of the circle N.V. Stankevich. The suburban cultural centers of the second capital were Bolshie Vyazemy of the Golitsyns, Ostafyevo Vyazemskys and many others near Moscow.

The noble estate is, of course, the closed world of the family, like Premukhin A.M. Bakunin, where ten children grew up. It is no coincidence that A.T. Bolotov wrote: “I will tell you how, upon my arrival from the service in retirement, I became stricter in my small house, learned how to manage and got used to rural economy, ... how I got to know my neighbors ... then I got married, made children, built a new house , started the gardens; became an economic, historical and philosophical writer ... than he had fun ... ". The "family nest" was both the most important sphere of socialization of the nobleman's personality, and a sacred place of family memory, captured in family portraits, tombs, obelisks.

Behind the many-sided and complex estate world was an equally complex interweaving of motives and views of its creator. The estate was an expression of the owner's personality, a visual realization of his values ​​and tastes. own life, it was he who determined the whole way of life on the estate. “If I fail to use this house and live in it,” wrote A.B. Kurakin, - let him remain here as a lasting decoration and a monument to me.

L.A. Perfilyeva, in her article about the palace in Ostafyevo, explores in detail the question of the “authorship” of A.I. Vyazemsky, the father of the poet, and his participation in the creation of the project of the manor house, which was mainly built in five years, from 1802 to 1807, the year of the death of the prince. For certain types of work, the owner of Ostafyevo entered into contracts with contractors. His intervention in the activities of the “professional architect and contribution to general process the creation of the palace was the intervention of the "customer" - an erudite, active, influencing the will of the architect-executor. And this influence should have manifested itself strongly enough for both the prince himself and his descendants to consider the project of the palace “his own”.

Plans and drawings of the project of the manor house, signed by the customer after the necessary notes and corrections, were often carefully kept in the archives of the estate or family collections. The walls in the office and halls were decorated with picturesque images of the old manor house.

The owner of the ensemble was not bound either by architectural canons or by the more tangible pressure of depersonalizing officialdom in the city. In his native "fatherland" he did not even think of hiding his individual beginning. So, the family Borisoglebskoye of the same Kurakins, under Prince Alexander Borisovich, is renamed Nadezhdino, each house, each path is given a name indicated on the board, paths dedicated to the brothers Stepan and Alexei appear. The images of the prince's friends and affections, the events of his complex emotional life literally splash out onto the alleys of the park. “These names evoke in me,” wrote Kurakin, “pleasant and interesting memories: they denote the nature of feelings and the names of people who occupy my heart. They will often make me sad, but it will always be accompanied by peace of mind ... ". “Through a cloud of tears” the guests of Nadezhdino read the names of the paths dedicated to them.

Typical compositions country houses, the style of an English or French park, the characteristic interiors of the living room and study became only an excuse for the nobleman's imagination, were processed and transformed by the owner in accordance with his ideas about family life and life values. Within the framework of the prevailing architectural, construction, artistic, landscape gardening traditions, manor complexes arose, each of which had its own unique identity. The unique synthesis of nature, architecture, sculpture, painting, achieved in a noble estate, had to have one author, and it was the owner. Apparently, it was important for the nobleman not only to inherit the manor's house and park, but to embody his passions, to breathe his living principle into the architecture of the ensemble. From generation to generation, each representative of the noble Sheremetev family rebuilt their own estate, with their own way of life and style. Companion of Peter I, Field Marshal B.P. Sheremetev builds Meshcherinovo in the spirit of Dutch architecture, his son Pyotr Borisovich embodies the Elizabethan rococo and its transition to classicism in Kuskovo, Nikolai Petrovich at the end of the 18th century. leaves the creation of his father and gives his whole fate to the unique theater in the classical Ostankino, and now again the luxurious palace is abandoned by his heirs, and along the Peterhof road Dmitry Nikolaevich finishes the Ulyanka dacha, faithful to the traditions of the family already at the beginning of our century S.D. Sheremetev arranges his Mikhailovskoye.

The change of owners of one estate complex could sometimes lead to a bizarre combination in the ensemble of various architectural styles, reflecting free aesthetic preferences and tastes. So, Bykovo near Moscow at the end of the 18th century belonged to M.M. Izmailov, head of the Expedition of the Kremlin structure, where V.I. Bazhenov and his assistant M.F. Kazakov. It is not surprising that the landscape park of the country residence of the Catherine nobleman was decorated with the creations of V.I. Bazhenov. A gazebo on one of the islands of a vast pond has survived to this day. Several decades will pass, and the cozy Bykovo will go to the Vorontsov-Dashkovs. New owners in the middle of the XIX century. they will rebuild the manor house inherited from the former owners into a richly decorated building, reminiscent of Renaissance palaces.

The whole family of the owner, trusted persons managing the estate, and regular guests joined the creation of the estate ensemble. In this “domestic creativity”, it was important not only to discuss the project together, but also to settle in the master's house in the first winter season, and then “finish it”. This is how the ideal world of the estate arose, the high semiotic saturation of its space was determined, a special coordinate system in which each element, in interconnection with others, carried its semantic load. “Garden place,” wrote A.T. Bolotov, - you can consider it a canvas on which the gardener paints his picture.

The manor culture was generated by the personality of a nobleman, striving to build his ideal world, to realize his "I", to equip the land at his own discretion, and finally, to create a special microclimate, surrounding himself with close people.

Of course, the nobleman's property, where the manor's house surrounded by a park, was an economic organism, which included arable land, hayfields, forests, wastelands, where brick factories were created, cheese-making, linen, cloth production was organized, mills and trading piers, sawmills and dams were built. Retired officials and the military, having become landowners, started exemplary farms. The owners of large estates could afford the use of agricultural innovations, unique greenhouses and greenhouses, stud farms, numbering several dozen thoroughbred horses. So, Senator F.I. Glebov-Streshnev at the end of the 18th century. introduced a more economical grass-field system with clover sowing instead of the traditional three-field system in Znamenskoye-Rayek. Having retired as a rather young man of 33 years old with the rank of colonel of the guard, N.S. Menshikov joined the Moscow Society of Agriculture and organized a developed industrial gardening in his Cheryomushki. In the 40s. 19th century The Bakunins opened the Premukhinskaya estate manufactory. The estate had a cheese-making and stationery production, typical for the Novotorzhsky district. Large landowners who lived in the country for a long time had their own architects, painters, carpenters, staff of cooks, lackeys, secretaries, etc. Canvas, woolen fabrics, carpets, and furniture were made on the spot.

The landowner was interested in the regular and increasing receipt of dues, "addition of income", getting rid of "unprofitable circumstances" and maintaining his "household in every order". The Russian feudal lord unshakably believed that the well-being of his lands depended on a strict organization of work, the mobilization of all the resources of the patrimony, and the maximum use of peasant labor. He tried to delve into all the details of his diversified economy, strictly followed the processing, storage and commercial sale of the crop, and often showed awareness of the agrarian customs of a particular locality. Many landowners rightly saw one of the most important reasons for low yields in "cultivating the land without manure, from which the land degenerates and from year to year bears worse fruit." Representatives of the "noble" class have mastered the science of economy well and have learned to take into account the possibilities of "unprofitable circumstances". These sources testify to the inconsistency of the myth about the supposedly "elitist ambition of the idle class", contemptuously avoiding participation in production and trade. On the contrary, the Russian nobleman was able to start a kennel and cattle yards, set up a tile factory, establish a distillery and sell products.

However, large farms with the latest technology were the privilege of only the wealthiest elite of the nobility, insignificant in number. The reliable economic basis of luxurious manor life continued to be an elite phenomenon, often situational and opportunistic. Brilliant country palaces and huge landscape parks cannot be considered an integral feature of Russian noble culture. Many large estate owners managed their villages scattered over many counties through clerks. The possessions of medium and small landowners in the period under review often fell into decay, were mortgaged, remortgaged, sold for debts and revived in the hands of new owners. The Russian nobleman, in his own consciousness, was more of a landowner than an patrimony, despite the fact that the conditional nature of land holding was eliminated as early as the beginning of the 18th century. and confirmed by the Manifesto on the Liberty of the Nobility. The dependence of the growth of manorial dachas on royal favor and a successful service career did not allow even a large landowner to treat his villages as eternal and hereditary property. The rights of the land holder were challenged not only by the state and the community, but also by the rising bourgeoisie.

The language of memoirs and letters from the nobility at the end of the 18th - the first third of the 19th century suggests that in the mind of the owner the concepts of "estate" and "estate", "patrimony" and "estate" merged. The nobleman wrote about the "house" or "garden" when it came to the purposeful improvement of the life of his possession. On the whole, in the sources of personal origin, broad and unifying terms prevailed, identifying the master's house itself, the buildings surrounding it, the park, services, and the entire estate. Speaking about the "village", "volost", "dacha", "economy", "locality", the author had in mind the estate. Such word usage testified, on the one hand, to the insufficient reflection of the Russian landowner, and, on the other hand, to the complex motivation for the development of the estate culture, which is not reducible only to the economic needs of the nobleman.

The material preferences of the nobility are distinguished by a strange, at first glance, equal interest in owning lands and a snuffbox with a portrait of the empress, villages and a service. The absence of a purely pragmatic, economically prudent attitude to wealth presupposed the existence of a special specific measure of prosperity, which lay outside the sphere of exclusively economic needs and interests. The level of claims of government officials was determined by the desire to possess wealth, not inferior to the prosperity of the representatives of the social environment to which the nobleman considered himself. “About our friend Carrot, I’ll say that he submitted a note so that they would give him up to 5,000 souls, counting that as a small amount. I wish him to receive them, thinking that his lot and for me can serve as a scale, - wrote A.A. Bezborodko, - but he will still be dissatisfied, having a claim to catch up with us.

Wealth was not the main criterion determining the position of the individual in the system of the noble hierarchy. There were class values ​​that were quoted higher than material wealth. The location of the secular environment was provided, first of all, by noble origin, friendly and family ties with the highest official nobility, prestigious acquaintances and, of course, the rank of Wealth without an appropriate status and the so-called "plebeian wealth" did not guarantee the nobleman social viability and secular recognition. The presence of a measure of prosperity that was not fixed in any way, but generally accepted among the ruling class, oriented the nobleman to the conspicuous consumption of material values.

In the 17th century landowners did not build luxurious manor houses on their estates, did not set up parks, as a rule, lived in cities. By the middle and especially the end of the XVIII century. palace and park ensembles with performances, balls, fireworks already constituted the "glory", "dignity" and "pleasure" of the nobles. Count N.P. Sheremetev wrote: “Having decorated my village Ostankino and presenting it to the audience in a charming way, I thought that, having accomplished the greatest, admirable and admirable deed, in which my knowledge and taste are visible, I will enjoy my work calmly” . They talked about the Sheremetevs themselves. “Luxury can be respectable when it has as its goal the public benefit and pleasure.” At the same time, under the “public benefit”, the nobleman of the first third of the 19th century. could mean a variety of life values: devotion to the interests of the imperial service, honesty of the independent position of a state dignitary, "valor of a secular person", self-improvement, etc., even playing the special role of a soul owner, to whom God and the sovereign entrusted the care of the peasants. But only a few thought about the responsibility to the Fatherland of the owner of the land, called upon to organize a prosperous economy on it.

The charm of the noble estate culture, so dear to us, which eventually turned into its death, consisted in the fact that the estate had never been and was not perceived simply as an aesthetically designed administrative center of the estate, a patrimonial office. The architecture of the suburban complex and the entire local life did not meet the interests of economic expediency in any way. From the main village in the estate, the manor's house moved to a more isolated place, a garden and park ensemble surrounded by a fence arose around it. Cellars were built, crowned with pavilions, a type of Greek temple was chosen for a stable or carriage house, and a barnyard was erected according to the laws of classical warrants, artificial hills were poured, festivities with numerous guests did not subside. The construction of human, pantries, barns was often entrusted to outstanding architects. So, the cellar-pyramid and the buildings of the distillery in Mitino, Novotorzhsky district, were designed by the owner D.I. Lvov, his distant relative N.A. Lvov. Even in the development of the economy, the nobleman often saw an "undertaking". Suffice it to mention the attempts to acclimatize the mulberry tree, the cultivation of pistachio trees and the deer brought from England for the nature of the landscape park.

The well-established life of the estate was not perceived at all as a condition for managing the economy - on the contrary, profitable possessions were supposed to provide the luxury of country life. In the brilliant Arkhangelsk Prince N.B. Yusupov in every possible way developed artistic crafts that did not have industrial significance and were designed only to satisfy the high aesthetic tastes of the owner. Engravings by students of the Yusupov drawing school hung on the walls of the palace. The manor manufactory produced faience and porcelain dishes, which were then painted with underglaze cobalt. In Kupavna, by order of the prince, expensive artistic silks, tablecloths, shawls, belts, and wallpaper shtofs were made. In wealthy estates, serf girls wove carpets and even entire paintings, conveying views of regular parks with gentlemen and ladies strolling among the sheared alleys and with animals and birds placed among the grass and foliage.

Noble estates appear to be an ideal, artificially created space, rare oases of a vast feudal country. “Nowhere did the estate world turn out to be so little connected with the ancient traditions of rural life,” writes D. Shvidkovsky, “nowhere were economic considerations sacrificed so often to realize the ideal as in Russia. On our plain, in the era of Catherine and Alexander, the most grandiose and beautiful provincial cozy pastoral was played out.

In the impoverished Tikhvin, which was threatened by inventory and auction, N.I. Novikov "continuously struggled with needs, shortcomings, was forced to feed the courtyards and peasants with purchased bread." However, he did not allow "these sad circumstances" to thin his spiritual strength. He thought a lot, restored the ruined library, maintained an intellectual theosophical correspondence and rightly believed that "we will never survive the troubles, but the troubles will outlive us." The owner of a poor estate tried to keep "fresh and calm thoughts." In his perception of nature there was no pragmatic tenacious look of an agronomist. “We have a real spring in our village, the river has flowed, the water has been drained, there is absolutely nothing snow, greenery and mosquitoes have appeared, but in the mornings there are the lightest frosts. That's how early spring began! To some extent, the special spiritual mood of the Russian landowner is conveyed by the observations of N.I. Novikov for the future harvest: “The beaten rye with hail, by the goodness of the Lord, has grown from the root and has already sprung up. How marvelous is the Lord our God in all his deeds!!! ... Do not complain, dear friend, that you do not soon succeed in your good desires. Look at wheat and rye: have they suddenly reached their perfection? .

The heyday of the noble estate sparkled for no more than half a century. Therefore, most estates can be called "family nests" only metaphorically. In a village that has belonged to a family at best since the middle of the 17th century, or even bought at the beginning of the 19th, often there was no manor house at all. The construction of the ensemble began at the end of the 18th century. and ends in the first quarter of the XIX. The estate is in the possession of a family, as a rule, for two or three generations and is sold, parting forever with the family that created its splendor. In two decades, a manor's palace was built, a park was laid out, a system of cascading ponds appeared, services grew, a church was consecrated, a family cemetery was included in a single, well-thought-out complex, and the first tombstone was erected on the fresh grave of the owner of the rebuilt estate. Such a bright and lightning-fast story can be told with various variations about many ensembles.

The Kurakin family owned the village of Volosovo in the Tver province according to official documents from the 17th century, and according to family legends from the 15th century, however, the monumental construction of the estate ensemble in it became a reality only in 1792 under Prince Stepan Borisovich, whose childhood, by the way, passed in another estate, Gatchina, acquired by the Empress herself from the Kurakins for a gift to Grigory Orlov when Stepan was 10 years old. The complex in Stepanovsky-Volosov acquired its final form already under the nephew of the childless Stepan Borisovich Boris Alekseevich in the first quarter of the 19th century. The Vvedenskoye Lopukhins, received from Paul I in 1798 and passed to the Zaretsky no later than the 30s, are being built even more rapidly. XIX century. Znamenskoye-Gubailovo went to V.M. Dolgoruky from the Volynsky family as a dowry of his wife. The active construction of the estate complex took place at the end of the 18th century, in 1812 the estate caused significant damage, and in 1836 it already passed into the hands of the court adviser N.S. Demenkov. Znamenskoye-Raek is the estate of almost one generation of the Glebov-Streshnev family. A wonderful ensemble, a gift from Senator F.I. Glebova to his wife E.P. Streshneva, was never completed during the life of the owner. His widow no longer went to Raek, living in her family Pokrovsky, which the Streshnevs owned from the end of the 17th century. The heirs were not slow to sell the estate. Voronovo falls into the Vorontsov family as a dowry. I.I. Vorontsov rebuilds it in the 60s. XVIII century, the creation of the estate complex is continued by his son. He builds a truly luxurious palace, as a result, it goes bankrupt and loses everything erected, transferring to the wrong hands the cemetery with the graves of his parents. At the very beginning of the nineteenth century. Voronovo buys F.V. Rostopchin, who burned it before the threat of the French invasion in 1812, and in the middle of the century the estate also left this family.

The study of estate ensembles shows how unsteady was the fate of the "family nests" in Russia. Sometimes all the children came into the rights to the estate, and one village could have two, and sometimes more co-owners. So, the state of I.V. Novikov, 700 souls of peasants, partly in the Kaluga and partly in the Moscow provinces, passed to the widow and then to four children. The village of Tikhvinskoye, where N.I. returned in 1796 Novikov after imprisonment, was in his joint possession with his younger brother Alexei Ivanovich. “You know that we have only one village,” wrote N.I. Novikov A.F. Labzin. - The brother is already accustomed to the economy and manages everything; and I already avoid everything, therefore, completely without any business, I live almost like a stranger ... These circumstances, in order to give myself some kind of occupation and outdoor exercise, turned me to gardening. After the death of Novikov, Avdotino-Tikhvinskoye was sold at auction and went to P.A. Lopukhin, and then moved to the Committee for the analysis and charity of beggars.
There are known cases of bequeathing the estate to grandchildren. In the history of Cheryomushki, this became a tradition repeated three times by grandfathers. Count V.G. Orlov, having lost both sons, also presented his Joy to the son of his youngest daughter, named after his grandfather Vladimir. Sometimes the choice of an heir was motivated by the interests of the estate economy itself. Infantry General PA Tolstoy last years spent his life in the Uzskoye estate, devoting them to his passion - flowers. He bequeathed luxurious gardening, and with it the entire estate, to his fourth son Vladimir, since it was he who adopted his father's agricultural hobbies and skills.

However, often there were no wills at all, and the estate became the object of a lawsuit between the heirs. Ekaterininsky nobleman V.A. Vsevolozhsky acquired the village of Serednikovo in 1775, in 1796 the owner died without signing off the estate to anyone, which as a result was plundered by the nephew of the deceased. Only in 1801 did the court decide the case in favor of the brother of the deceased, Lieutenant General S.A. Vsevolozhsky, who owned the estate only until 1806. In 1814, Serednikovo passed to Count G.A. Saltykov, and in 1824 it was already bought by D.A. Stolypin, grandmother's brother M.Yu. Lermontov. The instability of the tribal tradition of local life was manifested in the curious testament of the estate ... to the rank. Well-known collector N.P. Rumyantsev, having a brother, bequeathed to transfer his Gomel property, built with love and taste, only to the chancellor or field marshal, and to bury himself in the city's Peter and Paul Cathedral. After his death in 1826, his brother nevertheless owned the estate for some time, although he never lived in it, and soon sold it to the treasury, from where it was transferred to the military department. In 1834, Prince I.F. bought the Gomel estate. Paskevich.

However, despite the interruption of noble families, inheritance through the female line, the impoverishment of some surnames and the rise, sometimes short-lived, of others, the indifference of children to the "local undertakings" of their fathers, the owners of the estates sought to transfer their creations into reliable hands and keep the estates in family ownership. When the poet, bibliophile and lieutenant general of the Russian army B.V. In 1803, Golitsyn inherited the estate of Vyazemy from his uncle Alexander Mikhailovich, the general’s mother, Princess Natalya Petrovna, happily wrote to her husband’s brother: “Between the news concerning my children, I’ll tell you, father, I’ll tell you proof of friendship, Prince Alexander Mikhailovich Nasheva, in memory of a friend evavo and brother to their dead father. Vyazema refused his village after himself to our son Prince. Boris, so that the village could never weave out of our family, and so that his desire could be stronger, he submitted a letter to the Sovereign.

The family ambition of these “family nests” reminds of itself in the coats of arms on the pediment of the manor house, collections of portraits, obelisks, memorial plaques on the walls of the temple, in the whole atmosphere of the estate life. At the same time, without knowing the history of the ensemble, it is difficult to determine the status of the estate in which the estate was built, whether it was a major inheritance passed down from generation to generation or recently acquired land, or maybe a gift to a favorite. Both the Stepanovskoe Kurakins, which for several centuries belonged to the ancient family of the Gediminoviches, and Otrada, granted by the suddenly rising Orlov, were rebuilt in a single sign system as family estates.

A typical example of a visual representation of the family prowess of the Golitsyn family can be considered the main entrance to the Kuzminki estate, which the princes owned only from the middle of the 18th century. At the beginning of the linden alley, leading straight to the manor's house, there was a cast-iron gate in the form of a Doric colonnade. It is characteristic that the same gates were cast at the Ural factories of the Golitsyns according to the project of K. Rossi for Pavlovsk. Only in Kuzminki they end not with a double-headed eagle, but with the coat of arms of the princely family.

Family memory turned out to be not a long-term accumulated cultural layer of the old estate with its unhurried traditionalism, but an architectural and stylistic realization of the idea of ​​family pride that exists in the mind of the owner. The collection of portraits or the melancholy of the family cemetery reflects the nobleman's reflection on the fate of his ancestors. In the estate, which was often incomparably younger than the owner's name, family memory was not inherited, but embodied and updated. The concept of “family nest”, poeticized in Russian literature, does not mean the ancient history of the estate, but the installation of the landowner living in it, the prestige of deep family roots. The process of forming the class culture of the nobility did not go without a vain fashion for generosity. The architectural complex of the estate and carefully preserved collections could be either a whitewashed tradition of a boyar family, or an imitation of the nobility of a nobleman who had just approached the throne. “Ancient surnames fall into insignificance,” wrote Pushkin. - New ones rise and in the third generation disappear again. States merge, and not a single surname knows its ancestors. In these circumstances, the rapid change in the composition of the elites of the Russian nobility was considered valor and just the presence of a more or less long history of the family.

The manor complex became not only a representation of the idea noble family, but also in the social sphere where it developed, where the noble memory of one's roots became an integral part of the owner's personality. The very fact that V.M. Dolgorukov-Krymsky, having rebuilt Znamenskoye-Gubailovo, received as a dowry, expressed a desire after death to be separated from his wife and to be buried in the Volyn region, where the Dolgorukov family tomb already existed, testifies to the gradual increase in the value of family memory in the mind of a nobleman. The son of Vasily Mikhailovich, who survived the years of disgrace in Znamenskoye, also chose the Volyn region as the place of his last refuge. His descendants, who sold in the 30s. 19th century Gubailovo, carefully took the family heirlooms to the Dolgorukov family estate.

Let's take a closer look at the manor complex itself, linger in the front backs, stand in the living rooms, look at family portraits, walk along the alleys of the park, try to imagine the departed owners of these walls and overgrown gardens. Let's trace the whole way to the estate, which began not from the entrance alley and not from the highway, but also in the city - from waiting, gathering and forebodings.

The days of a nobleman, as a rule, took place either in the city or on the estate, but the style and way of life in these two most important spheres of existence of the Russian ruling class were fundamentally different. During the period under review, the government is increasingly striving to streamline urban development, the state idea is embodied in the external appearance of both the capital and provincial cities. Even in the old Russian cities, manor buildings are gradually being replaced. The system of exemplary and standard projects introduced by the government prevented the private initiative of the owner of a city house in the design of his home. The monumental city mansions of dignitaries were not only residential buildings, but also the residences of representatives of the tsarist government with the functions of state institutions, a number of office premises, the corresponding staff and office hours. The palaces of major officials were often erected at public expense, and the personal taste of their inhabitants could manifest itself only in the decoration of the interiors of the house. A typical facade, as it were, turned into a means of expressing allegiance. The city was guided by regularity, symmetry, subordination, here the power of the state was most clearly expressed, based on the normative style. Even a non-serving nobleman felt himself a person responsible to the authorities. But the very fact of the landowner's permanent residence in the city suggested his inclusion in the official hierarchy, his close connection with the urban secular environment.

In the estate, the nobleman was the owner and creator of his own ideal world. He could even give a name to the ensemble he built, expressing in such poetic titles, as Joy, Raek, Neskuchnoe, Refuge, his attitude to the oasis he created. Meadows, ravines, copses stretched behind the overgrown landscape park of the estate. Urban development inexorably reduced the park and garden near the mansion, the windows of which opened onto the square or street. The gentleman in the estate was surrounded by completely different sounds than in the city. He was not awakened by the sound of horseshoes on the stone pavement, the creak of a tarantass, the cry of a cabman. In the city, lonely walks through the fields were impossible; a person, shackled by conventions, could only afford promenades along the embankment or preshpekt with crowds of people and the idle glances of passers-by. The estate did not announce office hours and did not set time for business visits, but friends, relatives and neighbors visited every week.

The manor atmosphere involuntarily formed a special attitude, different priorities, different relationships in the family, set a more natural rhythm, determined by close contact with nature and seasonal cycles. So the city turned for the nobleman into the space of the state, and the village into the world of an independent person. “Manor self-awareness of a local inhabitant,” writes G.Yu. Sternin, is a major force in the spiritual formation of the Russian man of the New Age. A special cultural space arose, saturated with philosophical reflections on the basic values ​​of life, manor mythology was born, which had outlets both into the Christian space, and into the pagan picture of the universe, and into the general ideological formulas of Russian reality, and into poetic ideas about the meaning of being.

Each meeting with the estate, where the nobleman spent his childhood, where he acquired his first life impressions, where on the walls there are portraits of ancestors, and in the family cemetery - their graves, each such meeting became a stage, a meeting with his former self, a powerful stimulus for self-reflection. “Having passed the white gateposts, having entered the park and seeing through the trees the familiar outlines of the outbuildings or the portico of the central house, the person was once again included in the once interrupted and very personally colored time stream” . This is how N.N. recalls the meeting with the childhood home. Muravyov, an associate of A.P. Yermolova, a person close to the Decembrists both in spirit and in origin: “We arrived in the city of Luga, from where we turned to the left with a blueberry to visit the father's ancestral estate Syrtse. We, the two elders, were very glad to see this place, where we spent our childhood: I until the seventh year from birth, my brother until the ninth. Still remained in my memory after a ten-year absence, where what pictures hung, the arrangement of furniture, the cuckoo clock, etc. Our first movement was to scatter in all the rooms, examine everything, avoid the stairs and even the attic, as if they were looking for something. .

The Russian noble estate was distinguished by a layout thought out to the details, with great taste chosen position on the high bank of a river, lake or cascade of ponds. It was not only the park around the manor house that was formed, but the entire area surrounding the estate was re-created, which was sometimes perceived as a landscape skillfully arranged in the picture. They even tried to pave the way to the estate through the most picturesque places. The customer and the architect, starting to create the ensemble, first of all, took care of the organic connection of future buildings and the natural landscape. “I brought the best architect at that time,” wrote V.T. Orlov about his Joy, - and he pointed me to a place on a high mountain - to build a three-story manor castle and a church here. I liked the plan, however, I did not execute it exactly. He built a church on a high mountain, in a place open from the forests, and to build a house he sank lower, to the bank of the river, between the forests. Having received at the very end of the XVIII century. as a gift from Paul I Vvedenskoye, P.V. Lopukhin invited N.A. Lvov to inspect the area. Noting the picturesque location of the estate, the architect remarked: "Nature has done its job in it, but left a fair lesson for art."

Each estate included a master's house, to which an entrance alley led, ending, as a rule, with a semicircular courtyard, where the front facade of a manor's dwelling, usually with two outbuildings on the sides, went out. The rear façade with a terrace faced the park. Not far away, in many estates, there was a church with a family cemetery. The master's house was surrounded by services. The most traditional outbuildings include servants' houses, a manager's wing, a carriage shed, a horse yard, a forge, greenhouses or greenhouses, cellars, barns, storerooms. An integral part of the manor complex was a park and an orchard, as well as a hydraulic system of varying degrees of complexity.

Manor of the bibliophile A.I. Musina-Pushkina Valuevo is interesting because it included many elements of a suburban complex. The manor's house, connected by galleries with two outbuildings, horse and cattle yards, two outbuildings at the entrance gate, a fence, towers, a landscape park with a "Hunting Lodge", a grotto and cascading ponds, have survived to this day.

Despite the commonality of the main elements of the ensemble, each estate was distinguished by its unique originality of buildings and overall composition. So, belfries, ancestral mausoleums or tombs, theater buildings were erected in rich suburban complexes. In the Stepanovsky Kurakins, along the avenue leading to the master's house, a whole town was built, where there were numerous houses for people, a hospital, a fire tower. Of course, the noble estates differed in their material capabilities. There were poor properties located not far from the peasant huts, there were also magnificent complexes of nobles. However, a traditional feature of the Russian noble estate was the organic combination of residential and office buildings into a single architectural ensemble, surrounded by a park and a garden. “Old economic services,” wrote A.N. Grech, - very beautiful in their architecture, gave the estate the appearance of a real and solid house-keeping.

The creators of suburban complexes cared not only about the picturesque view from the windows of the wide entrance alley or the expanse of ponds, but also focused on the view of the estate, which opened up behind the parted leaves of the park in front of the long-awaited guest, attracted the eyes of the traveler on the highway and the bell ringer on the monastery bell tower. A wide avenue lined with birches or lindens, an evening lamp in front of the icon above the arch of the gate - all these details of the estate ensemble created a special quivering state in the soul of a weary traveler. Art historians note the "calculation for distance", "increased central volume" in the architecture of many noble estates. “A house with a semicircular ledge, decorated with Ionic semi-columns, is framed by outbuildings of greenhouse buildings that are far forward,” wrote A.N. Greek about Arkhangelsk. “There is a long distance between them - but from here, from a distance, everything is hidden, merges into one architectural organism, and the three terraces of the Italian park, with their parapets, statues, vases, gatherings, fountains, seem to be the foundation of a grandiose and monolithic palace.”

The master's house, the "venerable castle" was the focus of life in the estate and the compositional center of the entire architectural complex, which, as a rule, had an axial layout. The main axis was determined by the entrance alley and passed through the center of the building, the spatial orientation of which continued in the breakdown of a regular park near its walls. So, the oval hall of the Ostafievsky Palace of the Vyazemskys was located at the intersection of the longitudinal and transverse planning axes of the estate ensemble as a whole. “The connection of the oval hall with the space of the park was carried out by its semicircular ledge in the form of a semi-rotunda ... the seven arched windows of which were supposed to give direction to the seven alleys of the park, rays diverging from the facade of the palace.” At the same time, the axes of the enfilades in the city mansion turned out to be a kind of continuation of the axes of the regular city, which, as it were, do not recognize walls and permeate the space of the building and the space of the city in one order. In the manor estate, the layout of the manor house was connected with the layout of the park and the entire composition of the architectural and landscape complex, which often without visible boundaries turned into forests, meadows, and ended at the river bank. “Possessing great centrifugal force directed towards the master's house,” writes G.Yu. Sternin, - the manor space was open to the outside. Such a layout, of course, created a different attitude for the landowner than for a city dweller.

Experts consider the second half of the XVIII century. and the entire reign of Alexander I was a period of dominance of a style that reproduces the architectural canons of classicism. The Greek porticos and pediments of the estate buildings have forever merged with the landscape of the Central Russian plain under the low gray sky. The master's house was, as a rule, 2-3 storey, wooden, covered with a layer of plaster. The facade ended with a triangular pediment supported by capitals of Ionic, Doric or Corinthian columns. The lower floor, the basement, was sometimes finished with rustication, the mezzanine had high windows, behind which one could guess the suite of front rooms, on the mezzanines there were children's rooms and teachers' rooms with almost square windows. From the house in a semicircle or along the line of the facade there were galleries leading to two outbuildings, repeating the classical style of the main building. With one or another variation, such a description can be attributed to the manor dwellings in the Stepanovskoye Kurakins, Vvedenskoye Lopukhins, Rozhdestveno Kutaisovs, Znamenskoye-Rayok Glebov-Streshnevs, Ostankino Sheremetevs and many other estate complexes. The idea of ​​the noble dwellings of most estates is connected with the ideas of the Italian architect of the 16th century. Andrea Palladio, who created a model of a country villa that took on the architectural forms of an ancient Roman villa, "the only example of a private person that classical culture had." Art critic G.I. Revzin believes that "pure Palladianism", this new example of estate building, appears in Russia from the work of C. Cameron in Pavlovsk. It was important for the crowned mother of Grand Duke Pavel Petrovich to emphasize that her son is a private person, has the most indirect relation to state affairs.

famous author many manor buildings dating back to the "Palladian model" were N.A. Lvov, whom A.N. Grech called "the indefatigable Russian Palladio." Lvov was well acquainted with the works of the Italian Renaissance architect and even translated his treatise into Russian. Works by D. Quarenghi, N.A. Lvov, V.I. Bazhenov, M.F. Kazakova, I.E. Ogarev, they set the style of noble manor architecture, which was simplified and modified by more modest masters, adjusted to the owner's requests. A curious anecdote from the 1808 book "Inscriptions of Arts" is cited by N.N. Wrangell. “One Russian artist drew a plan for a building for a wealthy landowner and redrawn it several times ... “Yes, let me ask you,” the architect says, “what rank or order do you want the building? “Of course, brother,” the landowner answers, “what is my rank, headquarters, but we still have to wait for the order, I don’t have it.” Further, the author reports on a curious case of the construction by the landowner Durasov in Lyublino, near Moscow, of a house, with a plan in the form of the Order of St. Anna and with a statue of this saint on the dome - in memory of his long-desired distinction.

The nobleman declared his particularity and his predilections not only through the architectural forms of the Palladian villa, but also through the pseudo-Gothic elements of the ensemble. Pseudo-Gothic in Russian architecture of the late 18th–early 19th centuries. experts almost entirely associate it with the country estate. City mansions during this period were deprived of such a bizarre decor. The heyday of pseudo-Gothic in manor art begins in the 1760s, however, such buildings continued to live and inevitably influence the worldview of the individual and in XIX century. It is important to interpret the psychological and ideological meaning of this artistic trend. The house in the form of a castle, with towers, window openings, a garden fence reproducing feudal fortifications - all this was not an accidental "undertaking". Behind the pseudo-Gothic motives, behind the whimsical violation of any order, complex motives of the owner-customer are seen, connected, in particular, with the seigneurial ambition of the independence of feudal castles that did not take place in Russia, attempts at least in architectural forms to revive the former boyar power of the clan. In these buildings, we again meet the mood of the individual, internally defending himself from the all-pervading statehood.

The windows of the manor house opened onto the park, which in itself was the most complex artistic unity of various types of art. It is well known that there are several types of parks, among which one can distinguish primarily the French regular park and the English landscape park. Quite popular in Russia, Francesco Militia compared a regular park with a city, where “squares, intersections, rather wide and straight streets are necessary.” Indeed, the geometric and architectural park was closely connected with the urban order and, in relation to Russia, expressed a regular state idea. Accordingly, in a landscape English park one can see a manifestation of a personal, particular beginning. Strictly speaking, in the manor, this sphere of the private man, the idea of ​​regularity was never fully embodied. Small flower parterres were planned only as a part adjoining the house. In addition, and regularly broken fragments of the park inevitably had elements of free violation of style. In Arkhangelsk and Ostankino, in addition to grand prospects, you can always find picturesque side paths.

The regular part of the park, as a rule, turned into a landscape part, which then imperceptibly merged with the natural landscape. So, the classic Palladian mansion continued in symmetrical flowerbeds, and the landscape park opened, as it were, into the endless space of nature. The estate became part of the world.

A landscape park cannot be reduced only to the imitation of nature, simplicity and naturalness. Winding paths, waterfalls, log bridges, grottoes, picturesque outlines of lake shores and dilapidated romantic pavilions hiding in a thicket of trees influenced the consciousness and mood of a person. The landscape park of a Russian noble estate appealed primarily not to reason, but to feeling, giving preference to intuition rather than the canon.

Forest and mountains, river and steppe, gloomy gorges and plains warmed by the sun - all these living pictures of nature are quickly replaced thanks to the thoughtful irregularity of the park. A small area can be visually expanded by purely artistic means. Emotional time and space in a landscape park transcend real ones. Before us is not an attempt to copy the natural landscape, but something more - the recreation of Nature in its diversity and originality, at least the formulation of this concept.

D.S. Likhachev wrote about the "semantics of feelings", mental states that are conveyed by various corners, "locuses" of the manor garden. Inexplicable anxiety, despondency and, at the same time, vague aspirations visited a person at the sight of sad ruins, tombs and urns, fallen stones, slabs rooted into the ground, and other architectural details of melancholic gardens, as if descended from the canvases of David Friedrich or Hubert Robert. Engineer T. Metiel in Uman, the estate of the Ukrainian magnate Count F. Pototsky, implementing the incredible ideas of the customer, created not only caves and waterfalls, but even the underground river Styx. Gardens also gave rise to a feeling of light sadness, poetry, expectation, sometimes they reminded of the mysterious and mysterious Middle Ages. Joy and a life-affirming mood emanated from the ancient temples in the sun-drenched glades.

The landscape park absorbed not only the diversity of nature and wealth human feelings, his whimsical eclecticism was capable of unfolding before a concentrated gaze the widest space of history, the planetary geography of the Earth. In the parks of the Russian noble estate, pavilions are being built for scientific and music lessons, observatories, Rousseau's huts, Radcliffe castles, Trefil's pavilions, the ruins of Troy, Roman dungeons, Darya's, Magomed's or Eloisina's groves grow, hills called Kurgan, Mount Sinai, Parnassus are poured. In landscape parks you can find an Italian house, a Persian tent, a mosque, an antique colonnade, murals imitating Pompeian ornaments. According to B.C. Turchin, with “a similar “semantic inventory”, a person felt like a citizen of the world” .

Regular elements were introduced into the picturesque composition of landscape landscapes of manor parks, classicism was combined with "planters", fish ponds of the late Russian Middle Ages. All these "garden follies" corresponded perfectly to the free village life, the development of a sense of independence of a private person.

Complex semiotics, richness of images, meeting of epochs and cultures also distinguished the space of the manor house of the estate. The ceremonial halls of rich estates with typesetting floors were filled with palace furniture, bronze lighting fixtures, and porcelain. The owners of wealthy estates had a penchant for collecting. The most typical was the collection of paintings, minerals, ancient reliefs, sculptures, coins, medals, chubukhov, ancient weapons. However, we learn more about the owners, their interests, habits, tastes, their way of life from the furnishings of living quarters, children's rooms. Unlike the front cold halls, they were more modest and comfortable.

“In every landlord library, Racine and Corneille, Molière, Boileau and Fénelon, the encyclopedists Diderot, Montesquieu, D'Alembert, Duval, the sentimental Jesner, the elegant Chevalier de Bouffler, Lafontaine, Jean-Jacques Rousseau and, of course, the inevitable Voltaire constituted the obligatory filling of book And next to these classic authors, tall lines lined up the gold-embossed spines of the Great Encyclopedia and the Bibliotheque des Vojages - lengthy descriptions of travels to Asia, America, India, the Pacific Islands of La Perouse, Chardin, Chappe, letters and memoirs of Madame de Sevigne , Count Segur, Necker, works of Latin and Greek authors in prose and verse translations, research on ancient mythology, archeology, art, and in other departments, essays on botany, engineering, fortification by Linnaeus, Laplace often settled ... Countless authors, a whole world of thoughts, ideas and images are enclosed in these volumes of beautiful printing, bound in leather, ... with engraved bookmarks. So poetically described the richest manor libraries A.N. Greek Collections of books, as a rule, were placed in the office, in specially designated rooms. Luxurious editions could also decorate the main halls.

Collections of paintings were represented not only by Flemish still lifes and Italian landscapes. First of all, portraits of the owners and their ancestors, giving an idea of ​​the complex genealogy of the family, made up the art galleries of the estates, which sometimes numbered up to two hundred canvases. These canvases could remind of the kinship of a noble family with the Rurikovichs, the Moscow boyars, Polish magnates, and sometimes with the reigning Romanovs. So, in the estate of F.I. Glebova Znamenskoye-Raek, the images of the chroniclers Nestor and Pimen, opening the portrait gallery, seemed to declare the direct involvement of the owners and their ancestors in the history of Russia. The ambition of ancient families also sounded in the family coats of arms carved on the walls of the front rooms, on the facade of the manor house, at the entrance to the estate. The landowner's own dwelling was also included in the family memory. Pencil drawings, gouaches and engravings convey the history of its creation, reproduce the old building and interiors. In the archives of the estate, one could find drawings of a house that had long been dismantled, on the site of which a classical building was erected.

“The constant presence of the past in the present unusually sharpened eyesight, turning even the most ordinary household items into a guide to human destiny. Such special kind spiritualization of the objective environment is an essential part of the manor mythology. The image of the estate for its inhabitant doubled, existing on the verge of the real, quite tangible, and the mysterious, receding into the distance of time.

Understanding the most complex semantics of the Russian noble estate is impossible without visiting the church and the family cemetery. I note that in the Western European feudal lords, as a rule, chapels were built for the owners, while the temples visited by the peasants were located in the villages. In Russia, the landowner prayed with his people in a church built right on the estate. Marble plaques were installed on the walls of the manor temple, telling about its founder, about the names of relatives and friends with whom the history of the estate was connected. The family cemetery is perhaps the most touching and heartfelt part of the local ensemble. Family graves, as it were, connected generations, reconciled life and death. In his rural seclusion, a Russian nobleman erected obelisks and urns in honor of people close to his heart, as a sign of friendly affection. Such monuments of "sensitive architecture" can be found in many estates. In poetic inscriptions and dedications, one can hear the sorrow of a disappointed heart, the fatigue of the soul, and the wisdom gained through suffering. We will not see in the estate tombstones the vain glorification of the ranks of the deceased.

Image state power, however, was also reflected in the space of the estate, and his presence was not limited to portraits. Columns and obelisks were erected in the gardens, the highest granted to the owner, boards were installed in memory of the visit of the monarch. In Russia, however, there was no tradition of constant travel of the crowned person to the "castles" of his vassals. We will not find in the Russian "noble nests" the "king's room", the most sacred premises of any more or less large Western European seigneury. The "Imperial Room" was not a living room cleaned in case of a sudden appearance of the monarch, but, as, for example, in Arkhangelsk, a hall with portraits and sculptures of dead and living representatives of the Romanov dynasty.

However, the nobleman did not just glorify the name of the ruling emperor, he sought to stand next to famous characters of all eras, and in this context, the owner of the estate lost in the vastness of Russia became not a zealous official, but a participant in world history. Next to the portraits of the owner's ancestors and the obelisks on their graves, the artistically rendered image of the king not only personified the autocrat, but served as a symbol confirming the dignity and pride of the family.

So, libraries collected by generations, collections of paintings and family portraits, family cemeteries, a church, a main entrance alley, a shady park - all these invariable attributes of an aestheticized estate life created a rich world of images, turned a nobleman's estate into a space that makes it possible to feel all the charm and diversity of nature. , which concentrated history, culture, family memory. An independent-minded person was formed not by rural freedom proper, but by the entire estate complex with its most complex sign system.

The ideal world of the “family nest”, the creation of which was immediately preceded by the resignation of the owner and the removal from the leveling influence of the bureaucratic hierarchy, became a symbol of belonging to the Russian noble class, and not to the state of loyal servants of the monarch. The manor complex turned into a kind of pastoral artificial sphere, full of allegory, which was not equal to the depicted one and thereby greatly expanded the semantic space of the ensemble. The sign system of the “family nest” appealed to the past and at the same time rushed into the future through the world of interests of growing children. Along with the understanding of their roots and their continuation, there was a growth and complication of the personality. Apparently, this was what Pushkin had in mind when he wrote:

And this is the "self-standing" of a person, not reducible to the arrogance of a well-born descendant or power " new nobility”, nurtured in the spiritual oasis of the estate, rather quickly led to the loosening of the self-consciousness of the nobility that had not yet strengthened. The opposing intellectual will declare spiritual, and not consanguineous kinship; he will oppose demonstrative luxury with the charm of a neglected garden. And now the owners of country residences (the heroes of Woe from Wit) will talk with hostile bewilderment about a non-serving nobleman who

And Pushkin himself will write AL. Bestuzhev: “Our writers are taken from the upper class of society, their aristocratic pride merges with the author's pride; we don't want to be patronized by equals; ... a Russian poet ... appears with a demand for respect as a six hundred year old nobleman.

The Russian estate was characterized by almost universal multifunctionality, therefore the impoverishment of the nobility and the emergence of the first generations of the Russian intelligentsia led not so much to the decay and decline of the estate culture, but to its functional change.

The short period of prosperity of the noble estate absorbed the complex evolution of the worldview that dominates in it - from the triumph of receptions to the closed world of like-minded people. Through the variety of destinies and situations, there is a tendency towards a gradual evolution of the life of pompous residences. Wealthy suburban ensembles have never been opposed to more modest estates. In turn, in personal sources and literary monuments, the perception of an overgrown garden and a dilapidated manor house as symbols of the spirituality of the manor culture sounds more and more clearly.
In the poem "Osuga", dedicated to the river on which Premukhino is located, A.M. Bakunin writes:

The Scottish traveler, artist Robert Core-Porter, who visited Ostafyevo in 1806, noted that the Vyazemsky house was adapted “both for fun and for the deepest mental work ...”. The second trend in the history of estate culture won and left the deepest mark. The prestige of the dignitary's country palace is replaced by the peace of the "remote abode" of the writer seeking solitude, and now it is no longer the sparkling luxury that is sung in odes, but the charm of the old alley brings a feeling of light sadness to the poetic line.

Thus, another phenomenon will be born in the history of the nobility - a small, poor estate with an extremely intense spiritual life, where in a modest master's house, without "chambers of the idle", the most penetrating pages of Russian literature will appear.

Without becoming the stronghold of the feudal lord and the center of an economically powerful latifundia, the estate turns into the spiritual stronghold of the nobleman. Oases of intellectual and moral independence arose on the lands of the autocratic state. Even a forced exile in the estate, forced removal from the big world was perceived in an enlightened environment as a purifying experience of contact with rural Arcadia. If in Western Europe at that time a sensitive person fled from the disharmony of growing urbanization and industry, then in Russia the role of such an octopus, corroding the soul of an intellectual, was performed by an all-pervading bureaucracy. The world of the countryside is opposed not to the capital or the province, but to the world of "seekers", court lackeys, reception mob.

The tired heart of the poet longed for rest, which he could find in someone else's estate, owned by a friend or an educated philanthropist. On the banks of the Yauza in the village of Leonovo, the patron of sciences and arts I.G. Demidov visited N.I. for a long time. Novikov; in the summer the poet N.I. Polezhaev and novelist I.I. Lazhechnikov, author of the famous Ice House. N.M. Karamzin, who worked for months on his works in Znamensky A.A. Pleshcheev, confessed in one of his letters: “People do not want to believe that a person who led a rather pleasant life in Moscow could good will to be confined in a village, and a stranger at that! And besides, in autumn!” .

The estate, turning into a rival of the city salon, unites poets, writers, artists, and intellectuals of its time. The estate of an enlightened nobleman was seen as an ideal place for creative inspiration, a safe haven where you can, without fear, make seditious speeches among friends and like-minded people. The atmosphere of understanding and approval further strengthened oppositional sentiments. By the end of the reign of Alexander I, these idyllic circles became the main nerve points through which Russian intellectual life pulsed.

The summer dachas of the exiled Decembrists on the Angara can also be attributed to the phenomenon of Russian estate culture. The grandson of Sergei Volkonsky tried to restore the atmosphere in which the participants in the uprising on Senate Square lived in Siberia.

“In a picturesque place on the banks of the beautiful Angara, among rocky hillocks wrapped in forest, they built a summer cottage for themselves. "Kamchatnik" was her name. ...Settlements became cultural nests, centers of spiritual light. Each family lived and raised several children of local residents. ... They often gathered, had conversations, lectured and were very fond of arguing; they subscribed to books, magazines, arranged reading rooms together. All this lived a brisk life, especially in the summer... The move usually took place on Spirit Day. Volkonsky and Trubetskoy left together, in one convoy ... A whole popular movement lived on these words - "princes left", "princes arrived". The vindictiveness of Nicholas I unwittingly created a unique phenomenon of the elite way of the noble estate, free from the deforming soul of the owner of serfdom. It is no coincidence that one of the local residents, the son of an enlightened merchant, in the future a well-known doctor N.A. White-headed, wrote: “And how fun it was to live in this charming, although deaf and so terribly remote corner from European life! ... Subsequently, I heard more than once from the Decembrists themselves, already upon their return to Russia, with what grateful memory and with what pleasure they recalled their stay in the Siberian wilds.

It should not be forgotten that this relatively isolated territory was also inhabited by peasants following the familiar term “noble estate”. It was the estate that became, as it were, the intersection of the lives of the two most important Russian estates. The theme of folk idyll entered the architecture of noble residences as early as the 18th century, when pavilions made of branches and bark, thatched huts of woodcutters, and mills appeared in parks. But it was not the sham rural pastoral that turned the estate into a kind of meeting place for refined Europeanized life and folk elements. Next to the manor's house there were pantries, barns, a servants' quarters, stables, and kennels. Unique systems of artificial reservoirs, bulk mountains and bizarre ruins were erected by the hands of serfs. The owner and his people prayed in the same church; the peasant and lordly worlds in the atmosphere of the "rarefied air" of the Russian estate came into contact hourly. However, they were immeasurably far apart.

The disgrace of soul ownership could be highlighted when a deviation from the pretentious requirements of the customer cost the life of the screwed-up creator of ancient ruins in a landscape park. But completely different examples of relations between a titled dignitary and serf masters are known. Hospitals, churches, schools, and schools for courtyard people were built at the expense of the landowner.

Servants played a special role in creating the poetics of manor life. N.N. Muravyov recalled his meeting with the people who surrounded him in childhood: “The old servants of the father were delighted with the young masters; some we found gray-haired, others introduced us to their children, whom we had not seen before, and soon boys of all ages and sizes gathered around us, who stuffed our pipes and fought among themselves for the honor of serving the master. Old men and women also came running, bringing gifts of chickens, eggs and vegetables. It was these people who were often the true guardians of the family hearth, connoisseurs and champions of the tradition of the older generations, who were lost by the careless young owners of the estate.

The more subtle the nobleman felt, the richer the library he surrounded himself in rural solitude, the more acutely he experienced the destructive disharmony of his small homeland. Behind the house with slender columns and architectural beauties of the park stretched, as far as the eye could see, impoverished Russia, copses, swamps and everywhere heavy unyielding land swallowing the exhausting labor of generations. tried in different ways. Someone, indignant against the ethics of slavery, replaced the “yoke of corvée with an old quitrent”, someone consoled himself with a humane attitude towards the household, and someone deceived himself in the hope of finding peace in his artificially created ideal world.

In the second half of the XIX century. the noble estate continued to occupy one of the key positions in Russian culture. Being the center of many characteristic features spiritual self-consciousness of its time, it was a special world in which various phenomena of the cultural and social life of Russia were reflected and acquired new features.

Meanwhile, until recently, the estate culture of the second half of the 19th century. largely out of the field of view of researchers. The well-known Society for the Study of the Russian Estate, which functioned in the 1920s, focused on the estate of the second half of the 18th - early 19th centuries, the period of its highest prosperity and rise. . Familiarization with the noble estate began to be limited for the most part its architecture and gardening art.

The first steps towards the study of the culture of the Russian estate in a broader perspective were outlined in the book by V.S. Turchin and M.A. Aniksta (1979), illustrated with visual materials highlighting different facets of estate life. The monographs by D.S. Likhachev (1982, 1991), A.P. Vergunova and V.A. Gorohova (1988, 1996) identified a qualitatively new approach to the coverage of historical and cultural processes on the example of the study of one of the constituent parts of the estate culture, in conjunction with the general problems of the development of artistic culture and the cultural environment, the realities of estate life. Also noteworthy is the attention to the estate mythology and its poetic perception, which distinguishes the work of D.S. Likhachev.

Significant progress towards a comprehensive study of problems related to the history of the estate culture, considered in all their diversity and with special attention to the individual who created this culture, is contained in the materials of collections of scientific works of the Society for the Study of the Russian Estate, recreated in 1992.

P. Roosevelt, the author of the already mentioned monograph, made an interesting attempt to illuminate a peculiar picture of Russian estate life, its social and cultural history. However, in this work, despite its broad chronological framework, the estate of the second half of the century is given relatively little space.

History of the Russian estate in the second half of the 19th century. began somewhat earlier than its rigid chronological boundaries. Its origins are seen in the 30-40s. It was the time of the flourishing of romanticism in the culture of the Russian estate, and first of all in its architectural and park environment. Romanticism, as it were, supplanted the classicism that preceded it, opened a new era in the evolution of the estate culture, indicating the emergence of fresh ideas in it.

Many phenomena of estate culture were not only typical of Russian artistic culture as a whole, but in some cases had a great influence on it. This had a particularly visible effect on the provincial culture: in essence, the noble estate served as a kind of "guide" of the metropolitan culture to the culture of the province.

For the provincial cultural life, especially artistic, was characterized by an increase in its level in those cities in the immediate vicinity of which there were significant estate centers. This was characteristic both of the epoch of serfdom and of the decades that followed the peasant reform of 1861. The influence of manor culture on the culture of a provincial town was determined, first of all, by the natural ties that arose between them. Many, as a rule, larger landlords had in district and provincial cities comfortable houses in which they often lived, especially during the winter months, indulging in socializing and secular entertainment. The social circle was sometimes the same as in the estate. Moreover, some landlords, not wanting to change their usual way of life, adhered to a similar layout of living quarters in the city and the countryside, the same arrangement of furniture, everyday items and even decorative and applied arts, creating the illusion of the identity of the living space formed in such a different in its own way. nature environment.

In addition, the status of a landlord allowed the owners of the estate to participate in the public life of a provincial town as leaders of the nobility, trustees of educational institutions and charitable institutions. After the abolition of serfdom, the sphere of social activity of the landowner in the city expanded through participation in the work of the world courts, zemstvo organizations, in the construction of schools and hospitals, people's houses and tea houses, museums, theater buildings and reading rooms.
On the other hand, the noble estate had a significant impact on the culture of the village: one of its manifestations was the training of peasants in various crafts and arts. Developing in line with modern professional art, serf peasant art, according to P.K. Lukomsky, "stood at a huge ... almost at an unattainable height" .

Educational activities in the peasant environment were also expressed in teaching peasant children to read and write, organizing rural primary and vocational schools, hospitals, etc.

Orthodoxy contributed to the deepening of the ties between the estate culture and the life of the peasants. The poetic influence of nature in the manor environment sharpened the perception of the spiritual and moral values ​​preached by the church. At the same time, the simplicity of human relationships in the countryside and the religious mood that arose during the divine service to some extent could soften the social contrasts between parishioners of different classes and created a spiritual atmosphere that united and, as it were, equalized them, according to the well-known Christian postulate, in the face of God.

At the same time, the role of the church in establishing ties between the landowner and the peasants had another aspect. Usually the temple served as a family tomb for the owners of the estate, who in this capacity gave it special meaning. Wherever and at what time of the year a nobleman would die, his body was destined to rest here. There were frequent cases of temporary burial of the deceased at the place of death in anticipation of the winter journey and the subsequent transportation of the body to the family estate. Therefore, often the construction of a temple in the estate preceded the construction of a manor house. But in order to take care of the spiritual and moral enlightenment of the peasants, the temple was usually located at some distance from the main estate buildings, in order to facilitate access to it for everyone. In the second half of the XIX century. the churches built at the expense of the landlords not on the territory of the estate, but in the villages, multiplied, however, they retained their functions of estate or estate churches, especially as a family tomb. Such temples, according to contemporaries, were very revered by the peasants.

In turn, nourishing the urban culture and contributing to the enlightenment of the village, the noble estate was directly influenced by folk art - visual, song, architectural, musical. Permeated with artistic ideas generated by folk art, the estate culture became one of the ways in which these ideas flowed into the culture of the capital.

Occupying a kind of "intermediate" position between the city and the countryside, gravitating towards both types of culture and nourishing them with new juices, the estate world created a typologically independent kind of culture on their basis. G.Yu. draws attention to this feature of landowner culture. Sternin, emphasizing that she attached to the estate "the meaning of a certain universal symbol of Russian life, deeply rooted in its history" .

Indeed, the estate, as one of the most important and, moreover, connecting components of Russian life, for more than half a century, in the minds of many generations belonging to various circles of Russian society, personified the fatherland, its natural, spiritual and cultural values. The estate was in all respects "of its own kind", in the words of one of the characters of the writer-People's Will P. V. Yakubovich. The scale of the distribution of such a perception of the estate world is evidenced not only by the memoirs and individual statements of contemporaries, but also by the unquenchable desire of potential landowners to acquire an estate. This equally applied to the nobles, who for various reasons lost their family estates, and the intelligentsia, approaching in their spiritual worldview the most educated nobility, and the bureaucracy and merchants, who especially launched estate construction in the last third of the 19th century.

The self-sufficient and closed world of the Russian noble estate, by the nature of its social, economic and household structure, was a kind of picture of a state within a state. This was especially pronounced in the pre-reform decades, when the owner of the estate, independent of the bureaucratic system state government, considered himself a sovereign in his estate, the arbiter of people's destinies and the ruler of their souls. However, the best of them, who had a sense of justice and responsibility for their neighbors, made a lot of efforts to ensure not only the establishment of landowner economy and estate life, but also to improve and ensure the life of the ward peasants; the fine appearance of the peasants and the houses in which they lived was a matter of special pride for such landlords.

The relationship of many landowners to the peasants retained the features of patriarchy. “Love for a peasant,” recalled Prince. With E. Trubetskoy - by no means populist admiration for him! - I absorbed the feeling of a particularly close connection with the peasantry from my environment from my very birth. To some extent, my feelings for the peasant bore some kind of vague imprint of kinship ... Such a perception was not my individual feature: the same was the feeling of my peers, who grew up in the same atmosphere as me.

Of course, what has been said should not create an idealized idea of ​​the relationship between landowners and peasants. Without touching on the extreme aspects of the psychology of the feudal lord, which produced the “saltychi”, two circumstances should be borne in mind. The first of these is due to the fact that, with a few exceptions, the estates belonging to such landowners did not represent any significant cultural center, since it could only be formed in a more or less harmonious environment that excluded cruel forms of violence. The second is due to the relatively lower prevalence of such estates than it seemed in the literature of the post-October years. Much more relevant is the issue of small estates, which numerically prevailed in the total number of noble estates and for the most part were not "examples" of cultural life. An exception in this regard are the estates of the creative intelligentsia, the conversation about which is ahead.

The reform of 1861 became the most important milestone in the development of the Russian noble estate. It not only shook the foundations of an isolated and self-sufficient patrimonial world, but also destroyed the idea of ​​\u200b\u200bthe unlimited power of the landowner over the peasants, deprived him of numerous servants and the fruits of the free labor of serf masters, as well as peasants engaged in field work, the barnyard, etc. The growth of industrial production negated the need for the manufacture of household items and arts and crafts by the hands of former serfs. In the landlord economy, wage labor began to be involved.

However, the changes in the estate culture did not happen overnight, but stretched over several decades. The architectural and artistic image of the Russian noble estate, formed in the 18th - early 19th centuries. was not erased during the entire subsequent time. For many years, it was perceived as an unattainable ideal belonging to the era that remained in the past, later acquiring the value of a symbol of noble culture. It received its final symbolic comprehension at the very end of the 19th – beginning of the 20th centuries, when, under the influence of the magazine “World of Art” and the association of artists involved in it, interest in architecture and art of the Classical era intensified, and a neoclassical trend began to form in architectural style.

Not interrupted, in essence, throughout the 19th century. and many traditional lines that emerged in the Russian estate at the beginning of the century. The owners of estates, despite many attempts to overcome the established life of the estate, actually continued to adhere to the patriarchal way of life, traditional views on the architectural and park environment of the estate and traditional forms of cultural life. Actually, the patriarchal nature of the estate life, well-established and measured, indispensable wide hospitality, the need for a habitual, habitable, even if modest, but balanced residential architectural environment, planned according to the laws of symmetry, in the usual set of furniture and household items, were an expression of the persistent traditional foundations of the estate culture. . It is noteworthy that with all the change stylistic features and the principles of the layout of manor structures and the penetration of new trends into the manor culture, the feeling of the traditional nature of the manor culture did not leave either the owners of the estates or their guests, which was reflected in fiction, periodicals, dramaturgy and fine arts of that time.

Perhaps it is precisely the persistence of traditions that to a certain extent explains the phenomenon of Russian estate culture in the second half of the 19th century. This fidelity to traditions (it is no coincidence that of the manor buildings that have miraculously survived to our time, the largest percentage falls on the classic), and sometimes a kind of game in tradition in the second half of the century, increasingly manifested itself as something that opposes the general flow, which later probably contributed to organic penetration into the minds of neoclassical architects of the ideas of classicism.

However, it should be emphasized the dual nature of the attitude to the problems of traditions in the estate culture of the second half of the 19th century, in which an openly sarcastic attitude towards it and an internal, often veiled adherence to the same traditions coexisted at the same time.

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In the 1930s and 1940s, the most freely, organically and, perhaps, consistently, the aesthetics of romanticism, which developed in a certain opposition to the complex and contradictory socio-historical conditions of the Nikolaev time, expressed itself in the estate artistic culture, and, above all, in the formation of the architectural and park environment. . Moreover, it seems that the ideas of romanticism affected the estate much earlier than they received theoretical formulation in literature, fine arts, theater, music and architecture. Penetration romantic tendencies into the estate culture at an earlier stage was prepared by the manifestations of sentimentalism and pre-romanticism characteristic of the estates of the era of classicism. Convincing judgment D.S. Likhachev that “individual romantic elements in landscape parks appeared much earlier than romanticism itself in literature and only subsequently received their understanding in the spirit of the aesthetics of romanticism”, it seems quite legitimate to extend to the architecture of estates, inextricably linked with their park environment.

If from the end of the XVIII century. gradually took place, according to the scientist, “consolidation of the signs of Romanticism into a single romantic style garden and park art", then it could take place only in conjunction with the architecture of the "small" forms of manor and landscape gardening architecture, as well as with the general decorative processing of the facades of manor buildings. It is characteristic that "pseudo-Gothic" in the work of V.I. Bazhenov, M.F. Kazakova, Yu.M. Felten, V.I. Neyolova was used only in manor architecture. “Pseudo-Gothic” developed in line with classicism, was formed mostly according to the canons of the order system, using “Gothic”, as they were called at that time, forms not built according to the rules of “true architecture”, with the involvement of certain motifs of Western Russian medieval architecture.

In the manor construction of the 1830–1850s. the use of medieval forms in their original positions acts as a certain tradition in Russian estate culture. In this sense, the perception of stylization on the themes of European medieval architecture was also traditional. And just as in the previous era, "Gothic taste" meant not a certain grand style, but only a hint of it. In the estates, a theatrical architectural environment was created with the help of such stylization, which, in interaction with the “primordial” nature, was able to awaken romantic moods. But this environment was perceived in the era of romanticism differently than in the 18th century, since in the then prevailing ideas it corresponded to the spiritual ideals of a person and answered his aspirations for beauty. In contrast to the era of classicism, in the style of architectural forms in the “Gothic taste”, architects turn to motifs that were established by that time in modern residential architecture, based on new principles for organizing living space and translating images of the national Middle Ages into the composition and decoration of castles and cottages. In the manor architecture of those years, buildings are distributed that are marked with the seal of "English taste" and look like a castle or a cottage. Such architecture corresponded to the aesthetic principles of romanticism and at the same time met the tasks of comfort, coziness, and the well-known simplicity of a country dwelling. The English way of life is elevated to a model worthy of imitation. In Russian society, Anglomania is becoming fashionable, which manifested itself in a particularly curious way in the estate culture.

In the architecture of estates, the type of cottage is becoming popular. The earliest and most characteristic example of the use of English Gothic motifs in Russian romanticism of the 19th century. was the palace of Nicholas I "Cottage", built in Peterhof by A.A. Menelas. But it was still a building of the palace type, erected in one of the largest royal estates, near the capital. In this context, manor houses built in medium-sized estates are of greater interest. Like the Peterhof "Cottage", they were distinguished by the principles of symmetry on which the composition of these structures was built, as well as by a larger size compared to the English prototypes.

One of the first such buildings was the manor house in Lyubichi, Kirsanovsky district, Tambov province, built in the 1830s. its owner N.I. Krivtsov on his own project. N.I. Krivtsov is far from an ordinary person who left a noticeable mark on the history of Russian culture. A close friend of A.S. Pushkin and P.A. Vyazemsky, a participant in the Patriotic War of 1812, who lost his leg in the battle of Kulm, Krivtsov not only did not succumb to his misfortune, but also made a lot of efforts to expand his education in the hope of benefiting the fatherland. He undertook a three-year trip around Europe, during which he met with prominent people, studied the organization of schools, courts and other institutions, and was fond of the ideas of Rousseau. He used his stay in England as an employee of the Russian embassy to replenish their knowledge. Krivtsov paid special attention to the English way of life and architecture. After retiring, he settled in the Tambov province, where, according to his first biographer Ya.I. Saburov, "unfolded his amazing taste in horticulture, architecture and agriculture" and "was known as an Anglo-lover" . B.N. Chicherin, whose parents were close friends of Krivtsov, noted that in England "he was especially captivated by the English way of life, life in castles, which seemed to him the ideal of a private existence."

N.I. Krivtsova Lyubichi was located at the bend of the river Vyazhlya, where, among the bare steppe, an "Anglo-Russian" estate soon arose with a large manor house in the English style, with high tower, on which the flag fluttered, and a small church attached to the house; separately, in the steppe, far from the habitation, Krivtsov built a chapel-tomb, which later served as the burial place for himself, his wife, who died in St. Petersburg, and his brother, diplomat P.I. Krivtsov. By the beginning of our century, none of these buildings, except for the tower, survived.

“Captured by the English way of life,” wrote B.N. Chicherin, - he took from him what could come to the Russian environment and what constitutes a need for educated person... The way of life he created became a model for the whole region. It was a new enlightened element introduced into Russian landlord life.

It is impossible to judge the architectural appearance of the buildings in Lyubichi, as well as the park surrounding them, laid out, probably with the help of the Penza garden master, the Englishman Magzig (?). Some idea of ​​the master's house can be given by V. A. Baratynsky, that the house he built in Muranov near Moscow was "improvised little Lyubichi".

Krivtsov's Anglomania touched not only the principles architectural solution the estate ensemble he created, but also permeated the life of his family and all his activities. The estate of his brother P.I. served as the implementation of his extensive agronomic plans. Krivtsov - Tamala of the Saratov province, which he ruled. In addition to taking care of his own estate and Tamala, he found time to introduce new ideas that captivated him among the surrounding landowners. There is evidence that he built houses for many of his neighbors.

Lyubichi, together with the estates of friends and neighbors of Krivtsov - N.I. Chicherin and S.A. Baratynsky (the poet's brother) formed, as it were, a single cultural center, although each of the estates had independent significance.

Family home of SA. Baratynsky Mar was founded at the end of the 18th century, with a classicist house and a park full of lordly "futures" that fell into disrepair. Like Krivtsov, the owner erected in the "Gothic style" according to his own drawings a summer house in the park, above the grotto, sung by his brother.

At the heart of the project of the manor house in Karaul (in the same district) N.V. Chicherin, according to his son B.N. Chicherin, lay the plan drawn up by N.I. Krivtsov for the house of the Bologovskys, relatives of the Chicherins. The house was built in the 1840s. designed by a Moscow architect (presumably A.S. Miller) also like a cottage, on the high bank of the Vorona River, surrounded by a large landscape park - the creation of the same Penza garden master Magzig. The anglicized architecture of the manor house in Karaul, seemingly alien to all the traditions of Russian architecture and inadequate to Russian nature, turned out to be possible due to the laconicism of forms, naturally inscribed in this nature.

The interiors of the house, which constituted a comfortable and cozy living environment, are known to us only from photographs of the beginning of the 20th century, which depict the almost century-old collecting activity of the Chicherins. Each room was a kind of museum, with a lovingly selected exhibition of porcelain, bronze, lamps, fabrics. The walls of the three rooms of the lower floor - the dining room, the living room, the "White Hall" - were filled with the most significant paintings from their collection: works of the Velazquez school, Veronese, originals by Jan van Goyen, Palma the Younger, N. Mas, G. Terborch, as well as Russian painters – V.A. Tropinina, V.K. Shebueva, I.K. Aivazovsky, F.A. Vasilyeva and others.

The circle of friends of the Krivtsovs, Chicherins, Baratynskys, Khvoshchinskys - the owners of the neighboring Umet estate, also included the inhabitants of Zubrilovka (Balashevsky district of the Saratov province, - the princes Golitsyns and their neighbor on the estate Ya.I. Saburov.

The cottage type, in terms of architectural and spatial composition and rational principles of internal planning, apparently met the requirements that had developed in the advanced circles of Russian society under the influence of their complex life filled with intellectual pursuits. Almost simultaneously with the mentioned estates of the Tambov province, in different parts of Russia there are estates in which, in addition to the interpretation of architectural structures close to them in a romantic anglicized spirit, similar features are found in the organization of cultural life. Among them is the already mentioned Muranovo. Creating this estate, the poet E.A. Baratynsky was hardly limited to the intention to achieve similarity with the Lyubichs only in the architecture of the master's house. It seems that his plans were much broader and extended to the way of life that he may have been captivated by in the estate of N.I. Krivtsov. In any case, simultaneously with the construction of the house, he took up economic affairs, among which the reproduction of timber sold for export was by no means the last place. In architectural work, the main attention of Baratynsky was focused not on the design of the facade of the house, but on its internal structure, in which two seemingly contradictory beginnings interacted - the use of an enfilade system in the planning of the premises on the first floor and at the same time free construction of an internal space not bound by canons. In the center of the house, a three-part living room was arranged, overlooking the main and garden facades with faceted ledges. The originality of such a decision and the feeling of peace it causes are noted by everyone who has ever written about these interiors. The living room acquired a special coziness in the evening, when the whole family gathered here, oil lamps and candles were lit, music sounded.

The determining factor in the organization of Muranov's cultural life was the upbringing of children. Classroom classes here alternated with walks together with parents and family evenings in the living room, with music playing, indispensable reading aloud, drawing, needlework, etc. Due to teachers, people not only educated, but sometimes very gifted, a rather closed intellectual circle of the inhabitants of the estate expanded . “Our house is now very reminiscent of a small university,” wrote E.A. Baratynsky mother in the summer of 1842 - We have five strangers, among whom fate brought us an excellent drawing teacher. Our little extravagant life and the income we hope to derive from forestry allow us to do much for the education of children, while they and their teachers enliven our loneliness.

The architectural and park environment, nature, everyday, economic and cultural life were combined in Muranovo into a simple, reasonably organized and coherent world, which also favored Baratynsky's literary works. However, this world was soon destroyed. In the autumn of 1843 E.A. Baratynsky with his wife and older children went on a trip to Europe, during which he died in Naples in June of the following year.

The passion for English Gothic also affected those landowners who did not want to rebuild their manor houses, built during the years of classicism (a tribute to traditions and respect for antiquity!) and possessing significant artistic merit. In these cases, the owners of the estates erected, at some distance from the old manor houses, among the picturesque landscapes of the park, new houses in the English style, more comfortable, cozy and modest. The summer house in Mare S.A. has already been mentioned here. Baratynsky, which was built in the same way. But even more interesting in this regard is Avchurino Poltoratsky near Kaluga.

Avchurino by the 1840s was in the possession of the Poltoratsky for almost 50 years (since 1792). The construction of the second stone manor house, with lancet windows, crenellations and phials characteristic of romanticism, complemented by a high octagonal tower, which gave the structure the appearance of an old English castle, corresponded to the Europeanized economy of Avchurin, who was reputed to be exemplary and applied the latest achievements of agricultural technology of that time. The stud farm and the “experimental practical farm” of D.M. Poltoratsky; the facades of these buildings, by the way, were also processed in "Gothic" forms.

The cultural life of Avchurin was distinguished by a high level. Among the friends of the builder of the "Gothic" house S.D. Poltoratsky were such outstanding figures of Russian culture as P.A. Vyazemsky, V.F. Odoevsky, N.I. and I.S. Turgenev The owner himself was a passionate bibliophile. Bookcases stood in all the front rooms of the "Gothic" house; in fact, for the library, which included the book collection of grandfather S.D. Poltoratsky, the famous bibliophile P.K. Khlebnikov, the tower was built.

The new tastes of society also influenced the nature of the requirements of a wealthy customer for the stylistic and figurative interpretation of the estate ensemble. It is known, for example, that Count A.Kh. Benckendorff during perestroika in the 1830s. his estate Fall (on the shores of the Baltic Sea, near Reval). All buildings of this ensemble, from the palace to the park bench, were designed by the architect A.I. Stackenschneider in "Gothic" motifs. The interior decoration of the palace, including its furniture, was made in the same style.

The main element of the ensemble of the Fall estate was a vast landscape park with chestnut and larch alleys, with many secluded "neglected" corners, decorated with light "Gothic" pavilions and ruins, with a waterfall arranged in the immediate vicinity of the house - in front of its terrace, with accentuated drops relief. A particularly romantic impression was made by the panorama unfolded towards the sea, which created the effect of the “authenticity” of a mysterious medieval castle, protruding with its towers and battlements above the dark clumps of trees.

Almost at the same time, when Fall was being landscaped, the motifs of English castle architecture found application in the Panin's Marfin estate near Moscow. The estate was in the possession of the Panins in the 1830s; architect M.D. Bykovsky. The work was carried out in 1831–1846. A striking example of the architecture of romanticism is a magnificent, representative ensemble, subtly connected with nature, created by M.D. Bykovsky. According to the researcher of the work of this master E.I. Kirichenko, the architect, retaining the foundations of the regular layout of the Marfinsky ensemble, shifted the accents, which muffled this regularity, based on a symmetrical-axial composition. At the same time, “other features came to the fore - picturesqueness, picturesqueness, landscape ... the composition, designed for instant visibility, gained versatility and mobility” . Despite the presence of the front courtyard, flanked by two outbuildings and located on the side of the front (access) facade of the palace, opposite the pond, M.D. Bykovsky organized a picturesque entrance to it from the side of the pond. This entrance assumes a consistent acquaintance of the traveler with the pier, the griffins and the fountain, the panorama of the palace, erected on a high hill, processed with terraces and stairways, a narrow "Gothic" bridge, solemn "Gothic" gates in the English style.

The romantic perception of the Marfino estate is facilitated by two churches towering near the main ensemble - Rozhdestvenskaya (1707), built by the fortress architect V.I. Belozerov in the forms of Peter the Great Baroque, and Petropavlovskaya (1770s) in the style of classicism.

The tendencies of romanticism manifested themselves not only in estates, where the architecture and the nature surrounding it themselves gave rise to this. In many cases, the owners of the estates stubbornly preserved the old ensemble of the estate, which developed in the era of classicism, took care of it, avoided reconstruction, limiting themselves to ordinary repairs. The landowners were aware that classicism had outlived itself as a style, but it still seemed beautiful to them. Romanticism was also indirectly manifested in these sensations. Romanticism could also be reflected in the impression that the estate world made on an outside observer. Finally, the very life of such an estate could be permeated with the ideas of romanticism.

In the last third of the XIX century. in Russia, the influence of romantic moods, somewhat muted in previous years, on manor architectural and park complexes is increasing. In the very attraction of man to nature, ties with which were increasingly lost in the era of rapid modernization of society, a romantic worldview was embedded. But similar tendencies in the estate construction of this time manifested themselves in different ways. One of the manifestations of the new wave of romanticism was the resumption of gothic fascination. In a number of large estates, buildings of the palace type appear, evoking associations with French castles of the Renaissance (Sharovka Königov in the Kharkov province, Allatskivi Nolkenov near Lake Peipus). Their architecture was built on a combination of volumes of different sizes, complemented by numerous turrets, pediments, battlements.

The interpretation of medieval motifs in smaller estates was different, where rational requirements for suburban housing prevailed over the desire for romantic images, and the simple outlines of architectural masses were brightened up with stingy attire - just a hint of the motives of the distant past.

Romantic motives also dictated the desire for approval in Russian architecture of that time and, especially, in the country estate architecture of the national style. Not the last role in this process was played by populist ideas, under the influence of which there is an interest in peasant folk art in all its forms and the idea of ​​​​using its original motives in professional art is born. The founders of this trend in the architecture of the last third of the XIX century. were V.A. Hartman and I.P. Ropet (Petrov), who in their practice refused to turn to ancient prototypes and drew their ideas from peasant applied art. It was perceived by many contemporaries as advanced and was especially supported by V.V. Stasov. In addition to the well-known Abramtsevo buildings, one can name "Teremok" in Olgin, Novgorod province, a house in Glubokoye, Pskov province, an extension to the manor house in Ryumina Roshcha, Ryazan province, made using forms interpreted in this way.

In general, the manor architecture of the second half of the XIX century. was affected by all the trends that were characteristic of Russian architecture of that time. Particularly fashionable were the eclectic trends of the Western persuasion, which in manor construction turned out to be in line with the traditions that had developed in the era of classicism. On the other hand, perhaps it was precisely the wealth of stylistic quests that contributed to the diversity artistic images, which saved the manor architecture from boring monotony.

Significant changes also affected the social composition of the owners of country estates at that time. The process of the transition of the old noble estates into the hands of the merchants, which had been outlined even in the pre-reform years, intensified after the abolition of serfdom.

At first, asserting themselves, the new owners sought to preserve the old architectural and park environment of the estate intact and left the interior of the manor house intact, trying to reproduce the way of life that once existed here. But as the years passed, this protective attitude towards the art world of the estate began to give way to commercial interests. At first, relatively rarely, but later on, more and more often there are cases of rebuilding old manor structures, redevelopment and cutting down parks. In their place, as a result of the fragmentation of estates and estate territories, summer cottages began to appear. So, the beautiful well-maintained Volkonsky Kamenka estate near Moscow (Bogorodsky district) by the end of the 1880s. was divided into seven separate estates, owned by various owners, mainly from the merchant class. The Cherry Orchard situation, therefore, took shape in real life long before it was reflected in fiction.

A curious example of the "dacha" use of the estate territory is Kuntsevo, the Naryshkin family estate (since 1690), divided in the middle of the century between the Solodovnikovs and the Soldatenkovs (however, the latter retained the old manor house of the end of the 18th century and a significant part of the landscape park). The rest of the territory was turned by them into a holiday village.

Notes:

Cit. Quoted from: Shamurin Yu. Podmoskovnye. M., 1914. Prince. 1. Issue. 3. S. 52.

Bolotov A. T. The life and adventures of Andrei Bolotov, described by himself for his descendants. T. 1. M., 1993. S. 127–128

See: Romanovich-Slavatinsky A. The nobility of Russia. 2nd ed. Kyiv, 1912; Semevsky V.I. Peasants in the reign of Empress Catherine II. SPb., 1903; Kabuzan V.M., Troitsky SM. Changes in the number, proportion and placement of the nobility in Russia in 1782–1858. // History of the USSR. 1971. No. 4

See: Korobko M.Yu. Narrow // Manor necklace of the South-West of Moscow. M., 1996. S. 112 See about this: Kirichenko E.I. Russian estate in the context of culture... P. 55

Baratynsky E. Letter to mother, A.F. Baratynskaya. Summer 1842 // Baratynsky E. Poems. Prose. Letters. M., 1983. S. 194

Burnt down in 1997

Baratynsky E. Decree. op. pp. 193–194

Petrova T.A. Andrey Stackenschneider. L., 1978. S. 15

Kirichenko E.I. Mikhail Bykovsky. M., 1988. S. 144

Chapter 1. Noble estate as a phenomenon of the cultural and historical landscape.

1.1 Historical and cultural aspect of studying the phenomenon of a noble estate.

1.2 Philosophical and religious currents in the estate culture.

1.3 manor landscape: nature and culture. f

Chapter 2. Typological components of the spiritual life of a noble estate.

2.1 Family: way of life, upbringing, education.

2.2 Church in the culture of the noble estate.

2.3 Cultural and artistic activities in the estate.

Dissertation Introduction 2005, abstract on cultural studies, Ponomareva, Maria Vladimirovna

Relevance of the topic. The theme of the Russian estate in modern historical and cultural conditions has become not only popular, but also appeared to many humanities interesting and fertile subject for research.

Culturology as a science that deals with the identification of general patterns of development of the spiritual life of society and the individual, as a metatheoretical discipline, allows you to recreate the integrity of the cultural world of the Russian noble estate with all its gains and losses and in all its diversity of forms.

The preservation of the spiritual and material cultural heritage is one of the main tasks of modern Russian society. The estate in the history of Russia is one of the most important components of the national culture. The manor and park complex, as a monument of history and culture, is a significant factor in the integration of society in the development of self-awareness and the preservation of the historical memory of our culture.

The current state of most estates (the exceptions are royal residences and large estate complexes of aristocrats) is sad. At the same time, the preserved architectural and park complexes, often in fragments, are a tangible and reliable message from the past. The need to study the estate as a place of spiritual self-realization of the individual, as a special place in the structure of Russian culture leads to a reinterpretation of the heritage of the estate culture, to the search for options for including it in the modern socio-cultural situation.

There were a number of prerequisites for studying the estate culture in the national heritage. The phenomenon of the Russian estate undoubtedly deserves the attention of cultural historians, who today have been freed from a one-sided class approach that did not allow them to study and objectively evaluate primarily the social and cultural institution of the nobility, which was the Russian estate for several centuries. The estate began to be regarded as an obligatory and integral part of Russian culture. There is an obvious need to restore historical and cultural memory, to rethink spiritual, moral and intellectual experience. Important components of the estate culture and, above all, spiritual values, which were previously discarded, must be in demand today.

The Russian estate is a spiritualized space, within the boundaries of which a certain model of culture was realized. The appeal to the spiritual side of the life of a noble Russian estate of the 18th - 19th centuries is topical. as a kind of opposition to the modern cultural situation, which questions and often ignores a number of stable moral ideas, so carefully preserved by the inhabitants of the estate of a bygone era. Social changes in the culture of our people (in recent years) make us look at the Russian estate again, as containing all the features of national psychology and cultural life.

It is also promising to study the Russian estate as part of the cultural and historical landscape of Russia. Two strong impulses prompt us to turn to the theme of the estate. Of course, the first is a material form, that is, fortunately preserved real architectural and park ensembles. The objective environment of the everyday side of the life of the estate is another opportunity to be involved in the material environment that the estate culture left in Russian reality. The second is the estate ensemble, which has taken such a significant role in the history of culture as a place of spiritual self-realization of the individual.

Perhaps in modern conditions out of location, spiritual crisis an appeal to the heritage of the estate reveals it as an organism integral and co-natural to the being of a Russian person.

The world of the Russian estate is an integral part of the national culture, and the absence of continuity and the loss of its cultural forms inevitably leads to a partial understanding of the unity of cultural texts.

In updating the theme of cultural, historical and architectural heritage in the public life of the country there are public organizations, foundations, bringing together specialists and the most knowledgeable enthusiasts in this field. In 1997, in the United States, on the initiative of Priscilla Roosevelt (president of the society), the society american friends Russian estates. Funds from holding charitable activities were transferred to the famous museum-estates of Russia. The list for financial assistance includes Abramtsevo, Arkhangelsk, Khmelita, Pushkin's estate in Boldino, Melikhovo. In 2000, the Fund for the Revival of the Russian Manor was created in Russia. The purpose of the foundation is the implementation of comprehensive programs for the study, popularization, preservation and restoration of the national cultural heritage, architectural monuments, reconstruction and effective use of historical estates.

Today, changes are taking place in the field of protection of historical and cultural heritage in Russia: a package of laws is being prepared on a system of measures for the preservation and restoration of historical and cultural monuments, on the procedure for using and owning these objects, primarily monuments of manor architecture. In 2004, the Moscow government approved the Wreath of Russian Estates program, developed by the Moscow Committee for Tourism. The goal is to make the preserved architectural and park complexes worthy objects for tourists to visit. All these events testify to new changes in the fate of the Russian estate.

The Russian estate is part of the cultural heritage of Russia. The unique national identity of the cultural heritage is included in modern international integration processes and is considered in a number of UNESCO conventions as an integral part of the world heritage.

The degree of scientific development. The process of studying the estate in Russian culture had a number of natural stages: from purely empirical approaches, simple fixation and description, most often limited to the architectural side, through attempts at fragmentary understanding of the world of the estate and classification according to formal features, to the realization of the complexity and versatility of the Russian estate phenomenon.

The first publications about estates in Russia appeared in the 18th century. and were a description of individual palace and park complexes and estates1.

Information about estates near Moscow is found in the literature of the 19th century, which provides information of a biographical nature about the owners, is given history reference and description of parks and gardens, walks around the estate2.

19th century guidebooks contains descriptions of the most famous estates: Kolomenskoye, Kuzminki, Kuskovo, Ostankino, Tsaritsyno and some others3.

The works of S.M. Lyubetsky (60s - 70s of the XIX century), which reminded contemporaries of the "golden age" of estates: their history, farmstead life, old amusements and festivities4. Among his works, the most significant is the book “Moscow Surroundings in Historical Respect and in Their Modern View for Choosing Dachas and Walks.” In the preface, the author expresses an idea that still sounds especially relevant today: “In terms of the number of important events in our history, we have relatively few monuments of the past, and the more carefully we must preserve them, both in material and literary terms. Unfortunately, such an attitude towards our antiquity is greatly hindered by a small acquaintance with it, the almost complete oblivion of memories associated with one or another locality. In order not to go far, let us point out at least to the outskirts of Moscow; many of them

1 A brief description of the village of Spassky, Kuskovo also, belonging to His Excellency Count Peter Borisovich Sheremetev. - M.: 1787.

2 Moscow, or the Historical Guide to the Famous Capital of the Russian State. - M.: 1827.4.1, II; 1831. Part III, IV.

Wanderings around Moscow // Otechestvennye zapiski. 1822. Ch. 12. No. 30.

Guryanov, I.G. Walk in Lublino 1825, August 5 // Otechestvennye zapiski. 1825. 4.XXIV. Book. 2. No. 67.

3 All Moscow in your pocket. Historical, ethnographic, statistical and topographical guide to Moscow and its environs. -M. : 1873.

Kondratiev, N. K. Gray old Moscow. - M.: 1893.

4 Lyubetsky, S.M. Walking in Kuskovo under Empress Catherine II during the celebration of the 25th anniversary of her reign // Modern Chronicle. 1866. No. 57; Moscow Gubernskie Vedomosti. 1866. No. 37. Lyubetsky, S.M. Echoes of antiquity: (Historical mosaic). M., 1867.

Lyubetsky, S.M. The village of Ostankino with its surroundings. Remembrance of ancient festivities, amusements and amusements in it. - M.: 1868. breathe historical memories, both sad and gratifying; but these memories are the property of only a few lovers of antiquity.

Scientific interest in rural estates first appeared in the second half of the 19th century. Since the end of the 70s. 19th century guidebooks began to be published with obligatory information about the location of rural noble estates and with a brief description of them6.

The grandiose work performed under the general supervision of P.P. Semenov and V.I. Lamansky "Russia. Complete geographical description of Our Fatherland”, contains in each book a description of one of the “natural and cultural regions” of Russia. Here, special attention is paid to the economic side of the life of the estates, which are one with the estates, as well as the names of the local nobles who have shown themselves in various fields, including in the field of culture.

On the turn of XIX- XX centuries. in the publications of S.D. Sheremeteva, G.I. Lukom-sky noble estate was shown as a "phenomenon of Russian culture." S.D. Sheremetev traveled around Russia, and also visited some estates near Moscow. He presented his impressions of what he saw in several brochures, where he also provided some information about the estate life of a bygone era.

A certain role in the study of the Russian estate at the turn of the XIX - XX centuries. provided articles in magazines for lovers of antiquity and art: "World of Art" (1899 - 1904), "Old Years" (1907 - 1916), "Capital and Manor" (1.913 - 1917) and some others. In a number of works by A.N. Benoit. P.P. Weiner,

5 Lyubedky, S.M. Neighborhoods of Moscow in historical terms and in their modern form for the choice of summer cottages and festivities: Characteristics and life of Moscow residents of grandfather's and our times. Festivities, festivities, amusements and other wonderful events. Essays on agriculture and gardens since ancient times. 2nd ed. -M. : 1880. -S. 324.

6 V. Debt - oh. Guide to Moscow and its environs. - M.: 1872.

All Moscow in the palm of your hand: Historical, ethnographic, statistical and topographical guide to Moscow and its environs. - M.: 1875.

7 Russia. A complete geographical description of our Fatherland. Table and travel book for Russian shodey. In 19 volumes - St. Petersburg: 1899-1913.

8 Sheremetev, S. D. Ostafievo. - St. Petersburg: 1889; Bobrikia Olenkovo.-M.: 1889; Pokrovskoe-St. Petersburg: 1891; Borisovka. - St. Petersburg. : 1892; Ulyanka. - St. Petersburg. : 1893; Echoes of the 18th century: The village of Markov. - M.: 1896; Echoes of the 18th century. Issue IV: Ostankino in 1797. - St. Petersburg: 1899; Chirkino. - M.: 1899; Lotoish. - M.: 1899; Vvedenskoye. M., 1900; Home antiquity. M. 1900.

G.S.Sh. Kuskovo until 1812. - M.: 1899; Vyazemy. - M.: 1906.

N.V. Wrangel, I.F. Annensky, G.K. and V.K. Lukomsky, I. Grabar and other researchers on the pages of these periodicals emphasized the importance of the old estate in Russian culture. The main motive of these articles was nostalgia for the past, art critics sought to draw public attention to the necessary protection and protection of cultural monuments, since “nowhere so many works of art perish as in Russia. Monuments of artistic antiquity, the last remnants of former beauty, disappear without a trace, and no one will support what once was the subject of admiration of contemporaries.

Of interest is the issue of "Old Years" for July - September 1910, which has the subtitle "Old Estates: Essays on Russian Art and Life". It consists of work II. Wrangel "Landed Russia", three separate essays on estates (A. Sredin "Linen Factory", P. Weiner "Marfino", N., Makarenko "Lyalichi") and other publications.

A special place is occupied by Wrangel's work "Landlord Russia", in which the author reveals the complexity and inconsistency of the estate life of serf Russia: "Russian tyranny, the main engine of our culture and its main brake, expressed itself as clearly as possible in the life of landowner Russia-^ . >Russian landlord life is inextricably linked with serf Russia. The peculiar poetry of the estate culture - a sharp mixture of European sophistication and purely Asian despotism - was conceivable only in the epochs "of the existence of slaves"10.

Among the published works at the beginning of the 20th century, it is worth highlighting the works of G. Lukomsky on the estate theme, "Moscow Region" by Y. Shamurin and "Gardens and Parks" by V. Kurbatov. These publications made it possible to record a number of Russian estates, which later helped to preserve information about them during the years of destruction and plunder. However, these works were dominated by art history analysis.

10 Wrangel, N. Landlord Russia // Monuments of the Fatherland. - No. 25. - 1992. - S. 52.

The popularization of the Russian estate was promoted by the art historian Yu.I. Shamuriya. His essays on estates near Moscow had a somewhat enthusiastic description of them. His thought is important: “As a result of studying the estates, we have become richer: a new streak of Russian culture has opened - interesting and important not only by the perfection of our material creations, but also by our thoughts and tastes.”11. G. D. Zlochevsky, who studies estate bibliographies, believes that Shamurin’s books “did not have serious scientific significance, the author’s “feigned lyrics” awakened a poetic perception of estates in society”12

Thus, the publications of pre-revolutionary literature, in general, have a descriptive character. However, the beginning of the study of the noble estate was laid as an integral part of the cultural heritage in the field of architecture, landscape art, as well as a special place for the concentration of material and spiritual values.

During the Soviet period, the estate was first conceptualized as an architectural and landscape gardening ensemble, and from this perspective it was placed and considered in all publications of Russian art and architecture.

A special page in the study of the Russian estate is associated with the Society for the Study of the Russian Estate, formed in December 1922. The works of the members of the Society, published in the periodical "Collection of the Society for the Study of the Russian Estate" (1927 - 1929)13, contain rich factual material and some thoughts, concerning the methodology of the study of the problem.

The Society for the Study of the Russian Estate (OIRU) approached the systematic and comprehensive study of the Russian estate as a historical and cultural phenomenon. Prepared by the first chairman of the OIRU V.V. The Society's program of activities for the first time saw the main method of studying the estate

11 Shamurin, Yu. Podmoskovny. - M.: 1912. - P.5.

12 Zlochevsky, G. D. Russian estate. Iskhorrzho-bibliographer of the literature review (1787 - 1992). - M. : # 2003.-S.89.

13 For the history of the OIRU, see Ivanova L.V. Society for the Study of the Russian Estate // Monuments of the Fatherland. - No. 1-1989; Mikhailovskaya, N. We pick up abandoned traditions. // Painter. - No. 4-5. - 1992; Zlochevsky, G.D. Not idle eccentricity: Society for the Study of the Russian Estate // Bibliography. - No. b. - 1996. the estate itself" - "the study of elements and compositions, as well as organic formations of the estate whole against the background of the historical and everyday perspective as an influencing factor." This is the first time such an approach has been carried out in the country. “Unlike the vast majority of contemporaries, who considered the estate “a separate settlement, a house with all adjacent buildings,” members of the OIRU saw it as a kind of reduced model of the world, in which the historical memory of many generations was encoded. Society, in essence, stood for the preservation of the noble culture of the past, or rather, for the continuity of cultural tradition. In addition, the complex approach to the description of the estate proposed by Zgura made it possible to see each work of art in the context of the era, instilled a “taste for authenticity”14.

The list of works of the Soviet period related to the history and culture of the Russian estate, which makes it possible to evaluate the surveys carried out, is modest. And at the same time, it was during this period that the estate was comprehended as an architectural and landscape gardening object. These studies include: N.Ya. Tikhomirov "Architecture of estates near Moscow", T.B. Dubyago "Russian regular gardens and parks", I.A. Kosarevsky "The Art of the Park Landscape".

It is important to note that the Russian estate was seen as a synthesis of the arts. The assertion of the originality of Russian estate art, the interpretation of the estate as the result of the labor of serfs are the main statements of Soviet prospectors.

In Soviet historiography, the study of a noble estate was allowed to be studied in connection with prominent personalities culture (Pushkin, Decembrists), in connection with the architectural features of the estate (Ostankino, Abramtsevo) and in connection with the activities of serf masters.

14 Mikhailovskaya, N. We pick up abandoned traditions. // Painter. No. 4-5. - 1992. - P.5.

A situation has arisen in which the estate has taken its inconspicuous place in the history of national culture as an architectural and artistic ensemble and a literary and artistic place of inspiration.

Particularly noteworthy is the publication “... in the vicinity of Moscow: From the history of Russian estate culture of the 17th - 19th centuries”15. This magnificent tome with beautiful illustrations gives a description of the historical and artistic development of estate construction in the Moscow region and estate culture in its entirety "in the rich setting of life itself."

Monograph D.S. Likhachev, Poetry of gardens. On the semantics of landscape gardening styles. The Garden as a Text”16 is an attempt at a historical and cultural study of the history of European and Russian garden and park ensembles from the Middle Ages to the beginning of the 20th century. The author's task is to show that gardens and parks belong to certain styles in art in general, as a manifestation of the artistic consciousness of a particular era, a particular country. Countries and eras are taken only those that, to a certain extent, influence the development of Russian gardens. Therefore, more attention is paid to the Dutch variety of Baroque than to French Classicism, and Romanticism occupies the largest place in the book, since its importance in Russian garden art is especially great. Speaking about gardening art, the author does not so much talk about the arrangement and describes the individual elements of various gardens, but characterizes them in connection with the "aesthetic climate" of the era, which is expressed in the aesthetic ideas set forth by philosophers, in the aesthetic worldview that develops in other arts and most of all in poetry. On the few pages devoted to Russian manor gardens, the semantic characteristic " dark alleys» Russian estates, which are an indispensable element of them.

15. .in the vicinity of Moscow. From the history of Russian estate culture of the XVII - XIX centuries - [Comp. M. A. Anshsst, V. S. Turchin] -M. : 1979.

16 Likhachev, D.S. Poetry of gardens to the semantics of landscape gardening styles. Garden as text / Dmitry Likhachev. - M.: 1998.

With the beginning of perestroika, the research field for studying the noble estate increased.

In 1992, the Society for the Study of the Russian Estate was recreated, which began to study the Russian estate as an object with a rich sociocultural content. From 1994 to 2004, ten scientific collections of the Society were published and a number of scientific conferences were held in such estates as Bolshiye Vyazemy, Ostafyevo, Yasnaya Polyana, Khmelita, Tsaritsyno, etc. The estate began to be considered not only as an architectural ensemble, but as an independent and a full-fledged unit in economic, cultural and spiritual terms. The main attention began to be paid to the history of the formation and development of the estate, libraries, art and other types of collections, gardens and parks, the relationship between owners and peasants. libraries17.

An interesting new aspect of the study of the Russian estate as part of the cultural and historical landscape of Russia. Works devoted to this direction

13 you are the current chairman of the OIRU Yu.A. Vedenin, where the main acceptance is placed on the cultural aspects of the formation of the estate landscape.

It is necessary to consider in more detail the book by O. Evangulova "The Artistic "Universe" of the Russian Estate". The author relies on real testimonies of his contemporaries (the second half of the 18th century - the first half of the 19th century), taken from letters, memoirs, agronomic journals and poetic descriptions. The purpose of the work is to show the most typical features of the estate, the "universe" in all its variety of forms. According to O. Evangulova, the estate combines various artistic flows under its roof: the naive creativity of serfs

17 Tydman, L. V. The role of the customer in the formation of the artistic culture of the XVIII - XIX centuries. // Russian manor-# ba. Issue. 2 (18). -M. : 1991. - S. 91-101.

18 Vedenin, Yu. A., Kuleshova, M. E. Cultural landscape as an object of cultural and natural heritage // Izv. RAN. Ser. geogr. - 2001. -№1. - S. 7-14; Cultural landscape as an object of heritage. [Ed. Yu. A. Vedenina, M. E. Kuleshova]. - M.: 2004. - 620 p. scribes and the latest novelties coexist with grandfather's portraits and works of famous domestic and European painters. Here are considered the types of estates, the relationship between nature and man, the inclusion in artistic structure achievements of other nations.

The work of Yu.M. Lotman "Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX century)19. The author considers the epoch XVIII - early. XIX century, when the features of the new Russian culture, the culture of the new time, were taking shape, called "the family album of our today's culture." What is life? Life is “the usual course of life in its real-practical forms; life is the things that surround us, our habits and everyday behavior. Life surrounds us like air, and, like air, it is noticeable to us only when

20 it is not enough or it deteriorates. The author proposes to consider history through life, and life in a symbolic way is part of culture. Everyday life, according to Lotmaiu, is a historical and psychological category, a sign system, a text. The chapters of the book with different characters are linked together by the thought of the continuity of the cultural and historical process, the intellectual and spiritual connection of generations.

In the field of historical study of the noble estate, the collective work of the employees of the Institute of Russian History of the Russian Academy of Sciences “Noble and merchant rural estate in Russia in the 16th-20th centuries is important. Historical essays” (under the editorship of L.V. Ivanova). It presents the history of a rural Russian estate as a special settlement, different from the city, village, village. In this first generalizing scientific work, “an attempt is made to study the Russian estate as a single integral historical phenomenon, in the interconnections of all components of estate life (economy, life, culture, people, leisure). Therefore, at each major historical stage, the place and role of the estate in the system of feudal (later - semi-feudal, capital) can be traced.

19 Lotman, Yu. M. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX century) / Yuri Lotman. - St. Petersburg. : 1994.

20 Ibid. P. 10. of land tenure and economy and in connection with the evolution of the nobility”21, which is reflected in the chronological principle of this study. In the sections devoted to the noble estate, the second half. XVIII - first half. XIX century, the estate culture is characterized in general terms, taking into account the assessments that have developed in domestic art history. According to T.P. Kazhdan, “historical science is imbued with the consciousness of the inseparable connection of noble culture with poetic world estates"22.

The book "The Life of the Manor Myth: Paradise Lost and Found" is unusual from the point of view of architectural, historical and cultural genres. This, according to the authors themselves, is a free reflection of a philologist and theater historian about “what role the very fact of the existence of the estate played

24 in Russian culture, literature, theater".

The work is interesting in that the estate is considered as a cultural text that can "generate, in turn, literary, philosophical, pictorial texts and at the same time be nourished by them." In parallel, the authors identified some points of intersection of the Russian estate text with the life of the European estate. In their opinion, with which one cannot but agree, the landowner's estate was a space of culture, "but in a natural, natural landscape." The triad "man - art - nature" - these are the components of the estate culture. The estate synthesized both nature and art, regardless of the priorities of a particular era.

In the monograph by P. Roosevelt25 devoted to the Russian rural estate, the estate is shown from three points of view: it is “an aristocratic toy, a luxurious arena of delight and fantasy”; it is a patriarchal and self-sufficient world with established traditions and holidays; it is a rural idyll created by poets and artists.

21 Noble and merchant rural estate in Russia in the 16th - 20th centuries: Historical essays / Ya. E. Vodarsky [id.]. -M. : EditorialURSS, 2001. -S. eleven.

22 Kazhdan, T. P. The artistic world of the Russian estate / T. Kazhdan. - M.: 1997. - S. 7.

2j Dmitrieva, E. E. Life of the estate myth: lost and found paradise / E. Dmitrieva, O. Kuptsova. - M. : OGI, 2003.-528 p.

24 Ibid. C.5.

25 Roosevelt, P.R. Life on die Russian Country Estate. A Social and Cultural History. - Yale University: 1995.

In recent years, a number of serious studies on the estate theme have been published. Here are some of them: "The world of the Russian estate." Sat. articles; Kazhdan T.P., Marasinova E.H. "Culture of the Russian estate"; "Noble Nests of Russia. History, culture, architecture”; Shchukin V. “The myth of the noble nest. Geocultural research in Russian classical literature»26.

The album-catalog “Three Centuries of the Russian Estate”27 allows you to see and evaluate the external and internal decoration of the domestic estate. It contains images of more than 170 estates from different provinces of Russia and perfectly illustrates the architectural and artistic images of the Russian estate for three hundred years.

Among the dissertation research on the problem under consideration, one can name the work of L.V. Rasskazova "Russian provincial Middle Noble estate as a socio-cultural phenomenon (on the example of the estates of the Penza region)", which considers the typology of Russian noble estates, highlights the natural element as part of the provincial estate and its artistic embodiment on the example of M.Yu. Lermontov. The study of the Russian estate, as a cultural and historical phenomenon, is devoted to the work of M.M. Zvyagintseva as an example of the "noble nests" of the Kursk region from the formation of the Kursk estate to the beginning. 20th century

A review of the literature allows us to conclude that the main attention here is paid to architectural and artistic problems (architecture, landscape art, theater, music, fine arts). This trend in the study of estate culture is based on the traditions of the beginning. 20th century (N. Wrangel, G. Lukomsky, Yu. Shamurin), works of the Society for the Study of the Russian Estate of the 20s. Basically, the works that reveal the theme of the Russian estate are written in the art history direction. To a lesser extent, the everyday culture of the estate (“culture

26 The world of the Russian estate. Essays. - M. : Nauka, 1995; Kazhdan, T. P., Marasinova. E. N. The culture of the Russian estate // Essays on Russian culture of the XIX century. T. 1. Social and cultural environment. - M. 1998; Noble nests of Russia. History, culture, architecture. - M. : 2000; Schukin V. The myth of the noble nest. Geocultural research in Russian classical literature. - Krakow: 1997.

27 Three centuries of Russian manor. Painting, graphics, photography. Pictorial chronicle. XVII - XX centuries. Album catalog. - M.: 2004. everyday life). The display of "noble nests" of the period under consideration, as a sociocultural phenomenon based on modern knowledge of cultural studies, is noted in the works of Yu.M. Lotman, T.P. Kazhdan V.G. Shchukin, as well as in articles in the collection "Russian Estate" and in some other publications. Aristocratic country residences and large estates of wealthy noble families have been studied quite comprehensively.

Despite a significant number of publications, there are no theoretical generalizations on the estate culture, aspects related to the "culture of everyday life" and the "philosophy of life" of Russian estates of medium-sized non-local and small estates that prevail in Russia are little studied. XVIII - trans. floor. 19th century The study of their spiritual and intellectual environment requires further in-depth development. f This study is based on two blocks of documentary sources: published and unpublished.

published sources. Documents of personal origin allow revealing the past life of the estate: memoirs, diaries, correspondence of the owners of the estate and their relatives and friends. Significant material about life in the estate contains memoirs. This is a real opportunity to reflect the immediate impressions of the estate life, the culture of communication. A valuable source about the estates of the second half of the XVIII century. - per. half of the 19th century, considered in this work, are the records of landowners-nobles about life and economy - A.T. Bolotova, E.R. Dashkova, D. Blagovo28. Here are vivid and lively descriptions of everyday details of the landlord and peasant life: family, spiritual, cultural.

unpublished sources. The published part of the memoirs is a modest part of the materials on estates. Significant information is found in the archives, revealing new and enriching known aspects of understanding the estate culture. So, for example, the daily notes of A. f. 28 Bolotov, A. T. The life and adventures of Andrei Bolotov are interesting. Described by him for his descendants / Andrey Bolotov. In 4 volumes - St. Petersburg: 1871-1873; Dashkova, E. R. Notes. Letters from sisters M. and K. Wilmotiz of Russia. -M. : Moscow State University, 1987; Blagovo, D. Grandmother's Stories. From the memoirs of five generations, recorded and collected by her grandson D. Blagovo. - JI.: 1989.

Bolotov, made in 179029 or memoirs of the former serf musician E.R. Dashkova - V.M. Malyshev about the princess's charity in the Troitskoye estate: the construction of a theater and a church30. The archives of the nobility-land owners contain their correspondence with clerks and offices, inventories of property, libraries, art collections, various collections, information on expenses for churches, schools, and hospitals. The study involved archival documents of the Department of Manuscripts of the Russian State Library (OR RSL).

OR RSL, fund 548. Here is the “Catalogue of books of the library of Mr. Alexander Yanysov, adjutant of Her Majesty Elizabeth Petrovna. The first catalog of the Gorok Library. 1740.", including books on all Western European languages. There is a painting of the Gorok library of the beginning of the 19th century, which increased over time, made by the grandson of Alexander Yanysov - Dmitry

Blagovo. The album of Agrafena Dmitrievna of 1850 (mother of Dmitry Blagovo), located in the Yankov family archive, contains a section of poems written by V.A. Zhukovsky, F.N. Glinka, M.Yu. Lermontov, E. P. Rostopchina. These data characterize the level of education and cultural atmosphere of the Yankov family.

OR RSL, fund 475. “Diary, 1790, or an everyday note to everything that happened to me this year,” owned by A.T. Bolotov, gives an idea of ​​the real events of his daily life in the Dvoryaninovo estate and in Bogoroditsk. The artistic and scientific interests of Bolotov reflect the following works of this fund: drawings of apples in watercolor in the 1800s. (“Types of apples born in noblemen’s, and partly in other gardens, copied from nature by Andrei Bolotov”), “Economic store, or a collection of all kinds of notes, notes and experiences related to agriculture and house-building and all economy” 1766

29 OR RSL. F. 475, k. 1, unit ridge 5.

30 OR RSL. F. 178, music. coll. No. 7557, li. 4 vol. - 5.

The methodological basis of the study is the historical and cultural approach, which allows us to consider the Russian estate as a cultural and historical phenomenon. Regarding this topic, to the greatest extent, the works of D.S. Likhachev, in which the role of the humani- tarian factor in the development of the human environment was revealed. In them, special importance is given to the spiritual principle in the organization of the environment and its cultural content. “Preservation of the cultural environment is a task no less significant than the preservation of the natural environment. If nature is necessary for man for his biological life, then the cultural environment is just as necessary for his spiritual, moral life, for his “spiritual settlement”.

32 - losti", for his moral self-discipline and sociality ". The study of the spiritual and creative aspect of the estate culture proceeds from the acceptance of the statement of D.S. Likhachev that "the whole depth of Russian culture came out" from the landowner's estate.

The work uses an integrated approach to the study of the estate using the modeling method, the historical-typological method. The methodology of comparative historical research makes it possible to establish links between different types of cultures (for example, noble - peasant) based on the study of the heritage of these cultures. The interpretation of the phenomenon of a noble estate is based on semiotic analysis.

Theoretical foundations include the theory of semiotics of culture by GO.M. Lotmaia, containing the theoretical (Russian culture is a type of culture with a binary structure; the estate is a symbolic text) and historical beginnings. The concept of culture ecology D.S. Likhachev, philosophical views of H.A. Berdyaev allow to expand the study of this topic in the field of culture of everyday life. The research emphasis on the historical specifics of the existence of noble culture prevails in relation to the theoretical one.

31 Likhachev, D.S. Russian culture. - M.: 2000; Garden poetry. On the semantics of landscape gardening styles. Garden as text. - St. Petersburg: 1991; Land Native. - M.: 1983.

32 Likhachev, D.S. Land Native. - M.: 1983. - S. 82.

The purpose of the study: to analyze and summarize the spiritual and intellectual experience accumulated in the estate culture of the second half of the 18th - the first half of the 19th centuries.

Based on the specified purpose of the study, its main objectives are: 1) the study of the spiritual estate culture from the standpoint of a cultural approach; 2) creation of a model of spiritual and intellectual life in the estate in the second half of the 18th - first half of the 19th centuries; 3) identification of the typological components of the cultural life of the noble estate; 4) explanation of the significance of the noble estate in the cultural and historical landscape of Russia in the period of the second half of the 18th - first half of the 19th centuries; 5) establishing the determining role of the fact of the personal principle in creating the cultural atmosphere of the estate space.

The object of the study is the noble estate as a cultural phenomenon.

The geographical density of manor estates (by the beginning of the 20th century there were up to 80,000 estates in the Russian Empire) and their originality in the domestic landscape allows us to classify the estate as one of the main cultural phenomena.

The subject of the study is the historical and cultural aspect of the existence of a noble estate. The subject is the accumulation of spiritual experience, realized and objectified within the framework of his intellectual activity on the example of the estate model. From a culturological perspective, the phenomenon of a noble estate is considered, which includes the following components of the estate world: "philosophy of the villager", way of life and family relations (culture of everyday behavior), connection with the outside world and mutual influence, Orthodox tradition.

Chronologically, the study covers the period of the 2nd floor. XVIII - 1st floor. XIX century, which coincides with the heyday of the estate culture. The lower limit conditionally serves as 1762, the year of the publication of the Manifesto, which gives "liberties and freedom to the entire Russian noble nobility" and provides the right to choose between service and resignation. This allows them to take care of the arrangement of their rural estates. The upper limit is 1861 - the year of the abolition of serfdom. The reforms change the economic basis of the economic activities of estates, which in turn entails a number of changes in the conditions for the functioning and regulation of the diverse forms of cultural life of the estate. The culture of the traditional manor way of life ceases to exist.

The nationwide tragedy of 1812 did not spare the manor culture either. This event also becomes a dividing border between the era, relatively speaking, the "Golden Age" of the Russian estate, which coincided with the style of classicism, and the estate of late classicism (Empire).

The study of the Russian noble estate, as a cultural and historical phenomenon, is based on examples of large and middle estates.

33 puffed estates near Moscow and Central Russia.

The royal (imperial) estates-residences, as well as aristocratic ones, which became the pearls of the estate culture against the backdrop of the mass character of the estates of the "middle" hand, raised their cultural level in the second half of the 18th - early 19th centuries.

The novelty of the study lies in the fact that:

1) the noble estate as a culturological phenomenon was studied using semiotic analysis at the level of interaction between the structures of everyday life;

2) life in the estate is defined as the harmonious building of reality horizontally (this is everyday life) and vertically (this is being, the disclosure of one's own spiritual life);

3) the noble estate is revealed as a center of spiritual national culture, acting as a "crossroads" of cultural traditions, since the traditional model of estate life was formed in Russian

33 In scientific researches on estates the geographical principle of distribution of estates is formed. national soil in the era of Europeanization of domestic culture, which coincided both chronologically and in essence;

4) the role of the church, the Christian worldview as an essential component of the cultural estate consciousness has been established.

theoretical significance. The study of the spiritual and creative side of the estate culture should be integrated into the system of basic humanitarian education sections on culture and national history into a single educational space.

The practical significance of the dissertation lies in the publication of conclusions in the scientific press, in the possibility of using materials in the development of general and special courses on the history and culture of the Moscow region, in solving specific problems related to the reconstruction and use of monuments of the estate culture.

Approbation of the study. The main provisions of the study were discussed at meetings of the Department of Humanities of the Academy of Retraining of Workers of Art, Culture and Tourism (APRIKT), presented in speeches at conferences (“Actual problems of the sciences of culture”) held in APRIKT (2003, 2004), the Russian Institute of Culturology ("Sciences about culture - a step into the XXI century", 2004).

Dissertation structure. The dissertation research consists of an introduction, two chapters, a conclusion, a list of sources and references.

Conclusion of scientific work dissertation on the topic "Noble estate in the cultural and artistic life of Russia"

Conclusion

As a result of the study of the cultural, artistic, spiritual and creative life of the noble estate of the second half of the 18th - first half of the 19th centuries. a number of features have been identified that make it possible to put it among the main phenomena of national culture.

Firstly, the estate is characterized as a place of spiritual self-realization of the individual. The concept of spirituality is directly related to the category of freedom and education of the individual. The unity of these two aspects became possible in the nobility only in the second half. 18th century as a result of well-known historical circumstances that occurred during the reign of Catherine II. A self-sufficient path of development appeared in the conditions of the manor culture, different from public service, but not excluding the latter from the obligatory components of the biography of a local nobleman.

Secondly, a noble estate is characterized by a specific philosophical and religious content, characterized by binary structures: conservatism - the division of ideas of enlightenment philosophy, pedagogical and legal moralism - religious and moral quests, Christian truths - Freemasonry. The manor culture combined ideological functions associated with enlightenment philosophy and spiritual functions based on Orthodoxy. Living in the estate was a convenient and attractive place to search for new forms of cognition of life. "Philosophy of the villager" became in demand among the local nobility.

Thirdly, the phenomenon of estate culture is based on the relationship between nature and man, on a patriarchal view of the land. The manor landscape, as a man-made landscape, is of considerable interest from the standpoint of a culturological approach, since its image and appearance completely depend on the creative intent of the creators. The image of the world created by God is perceived through an individually created garden and park, emphasizing the boundlessness of the Creator's creation and the inevitable limit of one's own capabilities. A feeling of gratitude to Nature, the ability to see and appreciate its beauty, to be a participant in the creation of different types of landscapes - qualities that were mandatory for the type of estate man.

Fourthly, the estate culture is characterized by a sign of nepotism, which is characterized by a patriarchal way of life (the influence of folk culture), observance Orthodox tradition(celebration of church holidays), home education and partly education (European models of education with the study of several foreign languages, history, literature, music lessons, painting and dancing), a strong connection between generations. In the estate, in the family circle, a tradition of children's holidays and children's theater arose. The categories of family and clan determined the structure of the estate model, embodied in the material and spiritual spheres.

Fifthly, the spiritual culture of the estate, Christian in its essence, contained the features of original Russian life, based on the Orthodox tradition, and intellectual "temptations" associated with the influence of Western European enlightenment. Orthodoxy is the spiritual core of the estate culture, which had its own plastic embodiment. following the rhythm church calendar, the imposition of spiritual time on a specific time - features of estate life.

Sixth, the cultural atmosphere of the estate is characterized by the active creative activity of an educated nobleman-landowner, associated with literature, music, collecting, and scientific achievements. The depth of human freedom was realized through the creativity of the cultural transformation of the estate world. Artistic and non-artistic images, poetic and prosaic, "one's own" and "foreign" - features that intertwined and changed places in a single whole of the estate culture. f Thus, looking at the estate horizontally, i.e. - life, and vertically, i.e. - being, became possible when identifying the typological components of the estate culture: family (way of life, traditions, education), church (faith ), creative activity as a result of personality education. The building of the spiritual life itself, when a person (in this case, a nobleman) tried to determine his place in the world, took place in ideal conditions: in the estate. The personality of the owner in the manor culture was fundamental. The variety of forms of manor life was due to different material possibilities and orientation of the interests of the landowner.

The estate, as a cultural phenomenon, with respect to the spiritual and creative aspect, dissolved in the following: the family in the conditions of the estate, that is, in a certain space where the activities of spiritual mentors (for example, priests) and educators (nannies, tutors) harmoniously coexisted in the bosom of nature in the unity of the spirit (church) and mind (the fruit of education).

A single estate space was a synthesis of folk and noble cultures, religious and secular, Russian and European, urban and rural. There was no active contradiction in these binary structures, but the center was shifted towards a secular culture with active Western European influence. This affected literally all aspects of everyday life: communication in foreign languages, inviting foreign tutors, education, enthusiasm for European models in architecture, park building, painting, philosophical teachings, etc.

In the manor lifestyle, as a style of established habits, the list of mandatory components, along with such concepts as: family traditions, spirituality, self-realization of the individual, "philosophy of the villager", mandatory biographical facts, a grateful attitude to nature, included cultural and artistic activity

It became possible to assess the significance of the noble estate, as a unique phenomenon of Russian culture, when considering the spiritual and everyday traditions of the family in the process of everyday life. In this perspective, continuity between generations is very important, the destruction of which led to the spiritual, even physical death of the “noble nest”. Historical memory, as an expression of the connection between generations, manifested itself in the creation and storage of artistic and book collections, diverse collections and, of course, in the design of architectural and park space, which have come down to one degree or another as a tangible message from the past.

The image of the estate, the transformation of its realities into a poetic image (largely idealized and mythologized) and perceived as a source of inspiration for poets, writers, artists, an important place for the spiritual self-realization of the individual, entered the category of characteristic phenomena of national culture.

The noble estate in the context of the most significant traditional binary positions: the estate - the city, the estate - Europe, the estate - the peasant world was in contact with new manifestations of the spiritual life and philosophical consciousness of that time, artistic, cultural and scientific achievements.

Further research in the field of estate culture needs in-depth study theoretical and methodological foundations, theoretical understanding of the concepts: “estate culture”, “estate thinking”, “estate type of behavior”, in conclusions and generalizations.

List of scientific literature Ponomareva, Maria Vladimirovna, dissertation on "Theory and History of Culture"

1. Sources1. RSL Department of Manuscripts

2. Fund No. 178, "The Book of Malyshev", music. coll. No. 7557, ll. 4 vol. 5;

3. Fund No. 475, k. 1, unit ridge 5;

4. Fund No. 548, k. 9, unit ridge 5, 17, 40; room 8, unit ridge 76.

5. Blagovo, D. Grandmother's stories. From the memories of five generations, recorded and collected by her grandson D. Blagovo / D. D. Blagovo. SPb. : type of. A. S. Suvorina, 1885. -462 p.

6. Bolotov, A. T. Monument of past times, or Brief historical notes about former incidents and rumors circulating among the people, 1796 / A. T. Bolotov; reprint, reproduction ed. 1875. Kaliningrad: Amber Tale, 2004. - 205 p.

7. Dashkova, E. R. Notes / Ekaterina Dashkova // Dashkova, E. R. Notes. Letters from sisters M. and K. Wilmot from Russia. Moscow: Moscow University Press, 1987. - 495 p.1. Literature

8. Anisimov, E. V. Russia in the middle of the XVIII century: the struggle for the heritage of Pet-f pa / E. V. Anisimov M.: Thought, 1986. - 237 p.

9. Belova, A. V. "Women's writing" in the noble culture of Russia at the end of the 18th - first half of the 19th century. / A. V. Belova // Choice of method: Study of culture in Russia in the 1990s. : Sat. scientific Art. - M.: 2001. - S. 260 -273.

10. Berdyaev, N. A. The origins and meaning of Russian communism / N. A. Berdyaev. -Repr. play ed. YMCA: 1955. - M. : Nauka, 1990. - 1990. - 224 p.

11. Berdyaev, N. A. On the nature of Russian religious thought of the 19th century / II. A. Berdyaev // Types of religious thought in Russia. Paris: YMCA1. PRESS, 1989.-p. 11-49.

12. Berdyaev, N. A. Philosophy of the free spirit / P. A. Berdyaev. M. : Respublika, 1994. - 480 p.

13. Bessonov, S. V. Arkhangelskoe / S. V. Bessonov. M. : Mosk. worker, 1937. -88 p.

14. Biography of Andrei Timofeevich Bolotov: With remarks from his son, an epitaph, an autograph of a letter and his translation. / note. P. A. Bolotova. -Repr. play ed. 1839. Tula: ASSOD, 1997. - 31 p.

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The estate is not just a complex architectural complex of residential, religious, economic, landscape gardening and entertainment buildings. First of all, family and clan traditions were formed in the estate, which constituted a whole layer of culture and philosophy of the nobility that had gone into the past. The prototype of estates was noble estates, which temporarily complained from the treasury to the nobles for serving the sovereign and could be inherited, and the word “estate” itself came from the verb “seat” (in this context, to provide or bestow land). Most of the estates were in the vicinity Moscow, where back in the 14th century the first noble estates arose, and then, after the transfer of the capital to St. Petersburg under Peter I, the retired and disgraced nobility began to settle.

The history of the estate near Moscow is rooted in fairly distant times. In modern historical science, the terms “peasant estate”, “craftsman estate”, “monastic estate”, etc. are widely used. However, urban estates of the early period have practically nothing in common with estate complexes of the 18th-19th centuries. Suburban estates of the 16th century, which were given for feeding and had a small farm, can be called a kind of pre-estate. Russian estate. Collection of the Society for the Study of the Russian Estate. Issue. 2(18) / Call. authors. Scientific ed. L.V. Ivanova.- M., "AIRO - XX", 1996.- 341 p.- S. 28-35

In the same 16th century, the construction of stone manor churches in estates and estates began - the first step towards decorating manor ensembles. Simultaneously with the beginning of the construction of temples, original estates-residences stand out from the mass of economic complexes - grand ducal (and later royal) estates near Moscow. The most indicative in this regard is the patrimonial estate Kolomenskoye, now located on the territory of Moscow.

At the beginning of the 18th century, with the development of secular culture, a general architectural and artistic appearance of the Russian estate took shape. By the middle of the century, a number of significant estate complexes appeared, such as, for example, Voronovo. By the second half of the 18th century, the estate turned into a full-fledged artistic and cultural complex. The heyday of the estate near Moscow falls on the end of the 18th - beginning of the 19th centuries. The enlightenment traditions of this period brought to society the idea of ​​creating a beautiful and happy world, which was reflected in the art of the manor. The center of any estate complex was the main house, to which a long alley led from the road. Sometimes the alley was decorated with solemn entrance arches, as, for example, in the estates of Arkhangelskoye and Grebnevo. The manor house often ended with a belvedere (Nikolskoye-Gagarino, Valuevo) or a dome (Pekhra-Yakovlevskoye). Many houses resembled a museum with their collections of paintings and sculptures, furniture, interior items (like Ostafyevo or Kuskovo, for example), many of them were just tasteless collections of rarities.

But the estate is not only the manor house itself, it is a whole infrastructure carefully created for a cozy and comfortable life. An indispensable attribute of the estate was a horse yard or a stable. Even if the owners were indifferent to hunting, they needed horses to get to the city or neighbors. In addition to the horse yard, there was also a carriage house. The manor complex also included a number of outbuildings - mills, workshops, a manager's house, an office, a water tower. In some estates there was a theater building (Olgovo, Grebnevo, Pekhra-Yakovlevskoye). The park was a special pride of the owner, in the organization of the park space the owner of the estate always followed the fashion. Some preferred regular French parks, others preferred English landscape parks, there are estates in which regular parks are combined with landscape ones. Wealthier people spent large sums on the care and maintenance of the parks. Pavilions were built, shady and open alleys were laid. The owners also organized small “manufactory undertakings”, such as, for example, a weaving factory in Olgov or cloth factories in Ostafyev.

An indispensable attribute of any significant estate was a church, the design of which was given special importance. Often, the house of the local priest was also located on the estate. Often, ancient churches were rebuilt according to the tastes of the time, renovated and supplemented with new objects, the external and internal decoration changed. A.Yu.Nizovsky The most famous estates of Russia, Moscow, Veche, 2001, p.75 A manor house is inseparable from its surrounding nature, from the surrounding forests with excellent hunting, fishing, mushrooms and berries. In general, hunting was given a special place in the estate economy, a good stable and a kennel meant no less than the architectural richness of the estate and its interior decoration. Each landowner had his own little pride - first-class dogs, cascading ponds with crucians, a wine cellar or, for example, the best blacksmith in the county. Many works of literature were created on the basis of estate life; estates inspired poets, artists, and musicians. In the first years of Soviet power, many estates were subject to looting, a massive export of art treasures began, something settled in museums, a lot went abroad, fell into the hands of the authorities. However, having got into various central and local museums, the elements of the estate culture, cut off from their roots, no longer touch visitors so much. Recently, more and more attention has been paid to the estate, the Society for the Study of the Russian Estate has been created, the most significant and interesting estates are being restored. But still, most of the estates are still in disrepair.

At present, there are more than 80 museum-reserves in Russia, covering an area of ​​more than 160,000 hectares, and 31 estate museums, covering about 900 hectares. All of them represent a special specific domestic type of cultural institution, which includes museum collections, architectural monuments, historical landscapes and natural complexes. A number of museum-reserves are included in the List of especially valuable objects of cultural heritage of the peoples of Russia. These unique historical and cultural territories, together with national parks, form the cultural and ecological framework of Russia. Much has been written about the importance of cultural heritage in the life of any society. Being a embodied tradition of several generations, it creates the nutrient medium in which our modern culture develops.

Among the wide range of objects that make up the cultural fund of the country, a special place is occupied by the estate as an original and multifaceted phenomenon, in which all the socio-economic, historical and cultural processes of Russia are focused.

The concept of "Russian manor culture" evolved from the closed medieval culture of the 17th century, when the estate had a pronounced economic bias, to the middle of the 18th - first half of the 19th century to the heyday. It was during this period that the largest country residences of St. Petersburg and Moscow were created (Ostankino, Kuskovo. Arkhangelskoye in Moscow). Manor ensembles are formed with the greatest consistency (the manor house played a dominant role in the ensemble, outbuildings were taken out into the depths of the garden, a regular park, like Versailles, was broken up). The nobility, released in 1762 from compulsory military service, equipped their urban and rural estates A.Yu. Nizovsky The most famous estates in Russia, Moscow, Veche, 2001. , p.77.

During this period, a sharp change in everyday culture takes place - from the isolation and closeness of the late Middle Ages - to the demonstrative and representative of the 18th century. This was expressed in everything - the spatial composition and interiors of the manor house, in French and landscape English parks. And if the regular park was designed for spectacular effects, then the English park was oriented towards solitary reflection and philosophizing. This is evidenced by the names of park buildings - "Barrel of Diogenes", "Tomb of Confucius", "Caprice", "Monplaisir".

During this heyday, the theater occupied a priority place in culture. He became a kind of symbol of the era. Theater and theatricality penetrated into all spheres of manor culture, from everyday culture and everyday behavior to the largest opera and ballet productions. According to one of the researchers, the theater at that time educated, denounced, confessed, inspired, uplifted the spirit.

Manor culture changed radically after 1861. The changes were so profound that one of the first researchers of this problem, I.N. Wrangel, announced the extinction of the estate culture, the death of the estate.

Objecting to Wrangel, it should be noted that the estate continues to exist, but as the basis of the estate economy of Russia, it is becoming a thing of the past, the foundations of self-sufficiency of the estate economy are being radically undermined A.Yu. Nizovsky The most famous estates of Russia, Moscow, Veche, 2001 p.81.

The social status of the owner changes. Merchant estates appear. A characteristic feature of this time were the estates and art centers, in which the creative intelligentsia, turning to folk sources, contributed to the revival of the ancient Russian tradition (recall Abramtsevo, Talashkino, Polenovo).

Thus, it is possible to speak about the extinction of the estate culture during this period not directly, but indirectly. The noble estate culture was fading away, its clear boundaries were blurred by new introduced elements of merchant and petty-bourgeois culture.

Manor ensembles and interiors were rebuilt in accordance with new artistic tastes (modern manors, neoclassicism), manor life changed. Increasingly, the word "cottage" began to sound as a symbol of an isolated rural corner, where the summer life of a city dweller proceeded.

It was during this period that nostalgia for the fading estate life appears in literature, poetry, and artistic culture. There is a process of "canonization" of the estate as a symbol of the "family nest". The estate in this period, as it were, exists in two dimensions - in reality and in the creative imagination of artists and writers (recall the stories of Chekhov, Bunin, Turgenev, art paintings by Borisov-Musatov, M. Yakunchikova, V. Polenov). Since 1917, the estate culture, as an original multidimensional phenomenon, has been destroyed. In fairness, it should be noted that much was saved primarily by museum specialists, architects and art historians. But, alas, not all.

Such is the evolution of Russian estate culture, which for several centuries occupied a leading place in the general historical and cultural process of Russia.

As already noted, the concept of "Russian estate culture" was multidimensional. Synthetic - that's it salient feature. In the estate culture, a wide range of problems of the surrounding world was connected. First of all, these are artistic problems that characterize the relationship of plastic arts - architecture, gardening, applied and fine arts with spectacular music, ballet, theater, folk art Polyakova M.A. Russian estate culture as a historical and cultural phenomenon. Collection of the Society for the Study of the Russian Estate. Issue. 4 / M., "AIRO - XX", 2002.- p. 23.

A characteristic feature of the estate culture, considered in the context of this problem, is nostalgia for the past, traditionalism. The ideals of the past, which seemed beautiful and bright, were transformed by the owners of estates in garden and park architecture (medieval ruins, thunders), in family portraits, which became, as it were, a link between current and past owners. Lacking for the most part high artistic qualities, they were overgrown with legends and myths. This expressed the mythologization of the estate life.

The unconscious desire to create a special theatrical environment in the estate, a certain canonization of one's family nest was expressed in private estate museums, collections, family albums, monumental monuments friends and patrons.

The study of such a multifaceted phenomenon as a manor, a manor culture involves an appeal to an unusually wide range of problems. The need for an interdisciplinary approach to the study of this phenomenon, a significant layer of Russian culture, is quite obvious.