Scenery. Types of literary landscapes

The purpose of my work: To study the types of landscapes in Russian literature and Russian painting, and their purpose.

Landscape (from French paysage, from pays-country, locality) - a description, a picture of nature, part of the real environment in which the action takes place. The landscape can emphasize or convey state of mind characters; at the same time, the internal state of a person is used or contrasted with the life of nature. Depending on the subject, the image of the landscape can be rural, urban, industrial, sea, river, historical (pictures of the distant past), fantastic (the image of the future world), astral (supposed, conceivable, heavenly). “On all sides the mountains are impregnable, reddish rocks, hung with green ivy and topped with clusters of plane trees, yellow cliffs, streaked with gullies, and there, high, high, a golden fringe of snow, and below the Aragva, embracing another nameless river, noisily escaping from a black, full of haze gorge, stretches with a silver thread and sparkles like a snake with its scales.

Mountain landscape - this type of landscape is associated not only with the description of the mountains, which gave rise to the name, but also with the description of the space around the mountains: the sky, vegetation, the area surrounding the mountain, human habitation. The mountain landscape is loved, first of all, by romantics, who saw in the mountains the embodiment of mystery and greatness (A. Green, A. Vesely liked to portray the mountains); for the same reason, it is also interesting to modernists; Mountain landscape perceived in Russian literature as exotic, because it is not typical landscape. “On all sides the mountains are impregnable, reddish rocks, hung with green ivy and topped with clusters of plane trees, yellow cliffs, streaked with gullies, and there, high, high, a golden fringe of snow, and below the Aragva, embracing another nameless river, noisily escaping from a black, full of haze gorge, stretches with a silver thread and sparkles like a snake with its scales.

Valley landscape - not uncommon in the works of writers depicting Far East, the center of the European part of Russia, for which a similar landscape is typical (V. Arseniev, Vs. Ivanov). Often, the depiction of flora and fauna, the space surrounding the valley is associated in works with ideas about the most important elements of national consciousness and the national way of life. “Fujina Valley can be called meadow. An old oak, a branched linden and a knotted speck grow along it as single trees. The low mountains on the sides are covered with a mixed forest with a predominance of fir and spruce.

Forest landscape - the most characteristic of Russian literature; almost all writers associated their ideas about the Russian national character and history with the forest. The understanding of the forest by Russian writers was different: it could be based both on the pantheistic idea (admiration for the natural world, the recognition of its laws as obligatory for man), and on the anthropocentric idea (the vision of man as the master, ruler, “improver” of nature); descriptions of the forest are not uncommon in the works of V. Arseniev, S. Klychkov, L. Leonov, I. Sokolov-Mikitov, Vyach. Shishkov. “The forest in this place was gray, with damp trunks, as if charred from below, in wild tufts of moss hanging down to the ground. He pretended to be a beggar, from whom there was nothing to take, and then distracted him with a raspberry tree in a clearing strewn with ripe berries, then he tried to buy off a nest with already grown chicks, then he frightened, finally, with a tall juniper, which, like a schemnik in a dark robe with a pointed cap , wandered out to meet because of the roots of a fallen spruce. “Already after sunrise, returning from the capercaillie current, I walked along the edge of a deep ditch. The rising sun gilded the pine tops. Below, under the trees, on the mosses, gray dew lay, a thick smell of rotting leaves and spring water. Rejoicing in the sun, the thrushes sang loudly in the trees, on the top of a high pine lit by the sun, somewhere under the sky, choking, cooed a wild dove - a birdwing.

Unusual feelings arise in the heart of an impressionable hunter in a wonderful morning hour! As if merging with the surrounding forest nature, I enjoyed the music of the coming morning, the wonderful colors of sunrise. (I. Sokolov-Mikitov "On the forest ditch")

Seascape - (descriptions of the southern seas, as well as landscapes of the Arctic Ocean and its coast) - the sea, like the mountains, attracted, first of all, romantics or writers, in whose work romantic moods were noticeable. The seascape, together with the air environment (sunrises, sunsets), was a kind of “school of painting” for writers: it developed means of verbal transmission of complex colors in unity with spatial composition. In the work of P. Nizovy, I. Sokolov-Mikitov, who are fascinated by the North, the so-called “polar” cycles are distinguished, in which they declare themselves as natural scientists who scientifically reliably describe flora and fauna, climate, landscape, etc. “Meanwhile, the sea, circled along the horizon with a golden thread, it was still asleep; only under the cliff, in the puddles of the coastal holes, did the water rise and fall. The steel color of the sleeping ocean near the shore turned into blue and black. Behind the golden thread, the sky, flashing, shone with a huge fan of light; the white clouds were set off by a faint blush. Subtle, divine colors shone in them. In the black distance, a quivering snowy whiteness has already laid down; the foam shone, and a crimson gap, flashing among the golden thread, threw scarlet ripples across the ocean, at Assol's feet. “On the shores of the vast Kizyl-Agach Bay there were once powerful fisheries, gangs, large sea steamers entered the very depths of the bay without hindrance. In recent years, the Kizyl-Agach Bay has been rapidly shallowing. Every year, the muddy bottom is exposed - a viscous black “batak”, in which an inexperienced hunter risks dying. Shallowing is caused by a general decrease in the level of the Caspian Sea. The reason for this shallowing is partly the lack of water supplied major rivers- Volga and Ural. So the destruction of the forests of the North, which supplied the rivers with water, echoed in the opposite part of the country.

Almost every year the shallow-water hospitable sea bay changes its shape. New feeding shallows are opening. Where a motorboat passed freely last year, now you can sail only in a light kulas.”

River landscape - its central element is the river. We love writers who subtly feel the uniqueness of Russian nature; they draw gentle little rivers in which they discover the origins of lyricism, harmony national soul, or separating, powerful rivers (Volga), in which they find something in common with the elemental beginning of the Russian character.

Social landscape: nature as an arena and object of labor - the image of agricultural land; found most often in works with active social issues, historical, as well as in lyrical prose. The military landscape also belongs to the social landscape - the image of nature as an arena of war; in the works of L. Seifullina, A. Serafimovich, M. Sholokhov, describing the life of the south of Russia, for which the steppe is typical natural phenomenon. The first two writers are more focused on social issues, so their descriptions contain less information about the life of the steppe nature than those of M. Sholokhov. M. Sholokhov, on the other hand, creates wide panoramas of the steppe, and then describes in detail the vegetation, fauna, weather in various times of the year. The image of nature, including the steppe, in the works of M. Sholokhov is called “independent”: it is fully drawn, has its own plot (the movement of the seasons), does not depend on the human plot, descriptions of nature can exist autonomously from the work in the form of natural miniatures. “In war, trees, like people, each have their own destiny. I saw a huge section of the forest, cut down by the fire of our artillery. The Germans, driven out of the village of S., have recently strengthened in this forest, here they thought to linger, but death mowed them down along with the trees. Dead German soldiers lay under the fallen trunks of pine trees, their bodies torn to shreds rotted in the green fern, and the resinous aroma of pine trees split by shells could not drown out the suffocatingly sugary, pungent stench of decaying corpses. It seemed that even the earth with brown, scorched and hard edges of funnels exudes a grave smell.

Lyrical landscape - more common in works of lyrical prose (lyrical novel, short story, miniature), which is distinguished by the severity of the sensual-emotional beginning and the pathos of the exaltation of life. Given through the eyes of a lyrical (often autobiographical) hero: it is an expression of the state of his inner world, primarily sensual-emotional. Lyrical hero experiences a sense of unity, harmony, harmony with nature, therefore, in the landscape, a peaceful nature is drawn, maternally disposed towards a person; it is spiritualized, poeticized. The lyrical landscape, as a rule, is created on the connection of contemplation natural painting(immediately at the moment or in memory images) and latent or explicit meditativeness (emotional reflection, reflection). The latter is connected with the themes of home, love, motherland, sometimes God, is permeated with a sense of world harmony, mystery and deep meaning life. There are many tropes in the descriptions, the rhythm is expressed. Lyrical landscapes are especially developed in the literature of the 19th-20th centuries. “It was a beautiful July day, one of those days that only happens when the weather has settled for a long time. From early morning the sky is clear; the morning dawn does not burn with fire: it spreads with a gentle blush. The sun - not fiery, not hot, as during a sultry drought, not dull-purple, as before a storm, but bright and welcomingly radiant - peacefully rises under a narrow and long cloud, shines freshly and sinks, and its purple fog. The upper, thin edge of the stretched cloud will sparkle with snakes; their brilliance is like that of hammered silver. »

A landscape stroke is a separate element of a natural picture; as a rule, gives an idea of ​​the place and time of action. Landscape strokes are used by all writers, but those who are inclined to dynamic narration are more inclined towards them. In a number of genres, descriptions of nature are presented only with landscape strokes - primarily in the genres of mass literature (detective, action movie, love story, etc.); modern literature (the turn of the 20th-21st centuries) tends to compress descriptiveness and to crowd out the landscape, so the natural environment in it is also depicted with a few landscape strokes. This indicates the ongoing alienation of man from the natural environment. “We walked around the village, and it didn’t hurt us to look at it - neither the houses nor their inhabitants. We went down to the river, stomped along the echoing wooden bridge, on which the village boys sat with their fishing rods like ruffled sparrows, and entered the village. There was only one street along which wooden houses climbed up the hillock. The street in the middle was dusty, and along the edges it was overgrown with thick and tall grass, from which in places a crooked and gray picket fence protruded.

Landscape panorama. A large space is depicted with natural objects located in it, visible from above, from some kind of elevation, from a "bird's eye view". Such descriptions are typical both for large epic works, in which they emphasize the inclusion of the life of specific heroes in the movement of history, and for works of small form (story, miniature), in which philosophical problems are significant. There is also the concept of “moving panorama”, which refers to a wide-angle image, as if by a moving camera. Close to the panoramic planetary landscape, seeking to represent the planet as a whole; observation point - as if from the top of a high mountain or from space. The presence of panoramic descriptions in numerous works of Russian literature is explained by the peculiarities of the national landscape - flat, open, without mountains and high hills, and, of course, by the properties of the national soul that loves space. “It was 9 o'clock in the morning. Fog spread like a continuous sea along the bottom, but near the village of Shlapanitsa, at the height on which Napoleon stood, surrounded by his marshals, it was completely light. Above him was a clear, blue sky, and a huge ball of the sun, like a huge hollow crimson float, swayed on the surface of a milky sea of ​​fog. Not only everything French troops, but Napoleon himself with his headquarters was not on the other side of the streams and the lower villages of Sokolnits and Shlapanits, behind which we intended to take a position and start business, but on this side, so close to our troops that Napoleon with a simple eye could distinguish an equestrian in our army from the pedestrian. Napoleon stood a little ahead of his marshals on a small gray Arabian horse, in a blue greatcoat, in the same one in which he made the Italian campaign. He silently peered into the hills, which seemed to emerge from a sea of ​​fog, and along which Russian troops were moving in the distance, and listened to the sounds of shooting in the hollow. In the midst of the fog, he saw how in the deepening made up by two mountains near the village of Prats, Russian columns were moving in the same direction towards the hollows, shining with bayonets, and one after another they were hiding in a sea of ​​fog.

Fantastic landscape - not uncommon in the works of romantics, symbolists, mystics, science fiction writers, common in the avant-garde, post-avant-garde, possible as constituent element objectively realistic works (philosophical short story, short story, novel, utopian novel and dystopian novel, etc.). Such a landscape is created by various means: by shifting or imposing time, by the fantasy of emptiness (a sea without water; a city, fields without people) or by the fantasy of a multitude (two suns or the moon and the sun at the same time, the imposition of pictures of different times), the transformation of material and natural forms (replacement of volumetric by flat , complex - simplified, interconnected - disparate existence of individual objects, weightless - densely heavy, etc.), the image of an alien landscape, space paintings, etc. “Spring. From behind the Green Wall, from the wild invisible plains, the wind carries yellow honey dust of some flowers. Lips dry from this sweet dust - every minute you run your tongue over them - and, it must be, the sweet lips of all the women you meet (and men, too, of course).

Narrative about nature. Landscape is a description of nature, suggesting some constancy in its state; a work of art often also tells about events occurring in nature - thunderstorms, floods, snowstorms. These events have their own logic of development, that is, a plot, therefore such paintings are called narrative, plot; plot pictures nature are quite large in volume and are often independent texts in the work - miniatures. The narrative about nature can also be in the form of a story about the fate of animals; in the work it is either a fragment of the characteristics of human characters, i.e. it is functional (when the theme of nature is not the main one), or forms an independent storyline (when the “natural” problem occupies the forefront). “Distant lightning in the fence divided the entire visible world in half, and from there, on the other side, behind the village of Panyutino, a dusty whirlwind came under a heavy and slow cloud; there came a thunderclap, at first muffled and fearless, then its sound resounded. The whirlwind overtook and hit with sand, earth, leaves, grass stalks and village rubbish. Together with the whirlwind, through its hot dust, hail went and began to beat bread and earth. The hail changed to a big cool rain. “But as soon as Vladimir left the outskirts in the field, the wind picked up and there was such a snowstorm that he didn’t see anything. In one minute the road skidded; the surroundings vanished into a cloudy and yellowish haze through which white flakes of snow flew; heaven merged with earth.

Landscape (fr. Paysage, from pays - country, area), in painting and photography - a type of picture depicting nature or any area (forest, field, mountains, grove, village, city). Often listing the genres of art, the landscape is mentioned on one of last places. He is sometimes given minor role in relation to the plot of the picture. But today, such a point of view, consistent with the old ideas, seems at least naive. In our time of restless thoughts about the crisis in the relationship between man and nature, the search for ways to bring civilization and the environment closer together, landscape art often appears as a wise teacher. In the works of past eras, in the best canvases of our time, it demonstrates how nature enters the human consciousness, turning into a symbol, lyrical meditation or an alarming warning.

Landscape includes some basic elements: Ground surface, Vegetation, Human buildings, Perspective view. The picture may also include: water bodies (lakes, seas, rivers), fauna, people, light, meteorological formations (clouds, rain).

Famous Russian landscape painters: Aivazovsky, Ivan Konstantinovich "Seascape", "Ship near the coast", "Moonlight Night"; Kuindzhi, Arkhip Ivanovich "Birch Grove", "Volga", "Sunset"; Levitan, Isaac Ilyich "March", "Summer Evening", "Twilight"; Shishkin, Ivan Ivanovich "Pine Forest", "The Edge of the Forest", "On the Bank of the Forest"; Yuon, Konstantin Fedorovich "Flight Landscape", "Summer Day", "Blue Bush". In painting and graphics, there is the concept of a mythological or fantastic landscape, which does not exist in reality, but is artificially created on the pictorial surface.

Conclusion: In the course of the study, I came to the conclusion that the world of landscapes is very diverse both in Russian literature and in Russian painting. Each landscape is unique in its own way and with its help the author of any work can convey different moods and different emotions.

Landscape painting, also known as landscape art, is the depiction of nature in all its manifestations. Mostly mountains, valleys, trees, rivers and forests. The main feature is the presence of a wide view, as well as its elements located in a coherent composition. There are different types of landscape, including rural and urban, sea and river, religious and futuristic.

Types of landscape: the essence

The most popular element of any landscape is the sky. The weather in all its manifestations is also part of the composition. Landscape views in art can be completely imaginary (imaginary) or copied from reality with varying degrees of accuracy. If the main purpose of an image is to display an actual, defined location, especially buildings, then it will be called a topographic (realistic) view.

The concept of "landscape"

In the visual arts, the term "landscape" comes from the Dutch word landchap(a piece of land) and describes any painting or drawing whose main subject is a depiction of a picturesque view. Examples include grasslands, hills, mountains, valleys, trees, rivers, forests, coastal views, and seas. The painting may be a depiction of a real place, or it may be an imaginary or idealized scene.

Recognition of nature and its choice as specific subject art is a relatively recent phenomenon. Until the 17th century, the landscape was limited to the backgrounds of portraits or paintings devoted mainly to religious, mythological or historical illustrations. Today, the beautiful view of the landscape continues to be a major theme in art.

Landscape through the ages

In creativity artists of the XVII century by Claude Lorraine and Nicholas Poussin, the landscape backdrop began to dominate the display historical events. However, their treatment of the landscape was somewhat stylized or artificial. They tried to take on the scenery of Greece and Rome, and their work became known as classical landscape. At the same time, some Dutch artists such as Jacob van Ruysad were developing a much more naturalistic form of painting based on what they saw around them.

When the arts were classified by the French Academy in the seventeenth century, landscape was ranked fourth in importance among the five genres. Nevertheless, landscape painting became increasingly popular in the 18th century, despite the predominance of classical motifs.

Landscape and its position in the hierarchy of genres

Landscape was an established genre in Chinese art by the fourth century AD, but in Western art landscape painting originates before the era of Renaissance art in the sixteenth century. Of course, many artists from Roman times and earlier included picturesque landscapes and views of nature in their paintings, but they were auxiliary elements of the main theme of the picture. The main problem with landscape was that it was very low in the academic distribution of genres.

The hierarchy of fine arts in the Renaissance was as follows:

1. Historical painting.
2. Portrait art.
3. Painting, that is, scenes from everyday life.
4. Scenery.
5. Still life.

These rankings were finally set out in 1669 by the secretary of the French Academy, André Félibien. Thus, the art world, including its patrons, teachers, and artists, did not take landscape painting seriously and attributed more value to historical works, portraits, and genre paintings. The neoclassical and academic schools followed Greek art in giving primacy to the human body, especially the nude.

The boom of naturalistic landscape drawing

The nineteenth century saw a veritable surge in naturalistic landscape design, driven in part by the notion that nature is a direct manifestation of God, and in part by the growing alienation of many people from nature due to increasing industrialization and urbanization. As a result, the traditional hierarchy of genres collapsed.

Landscape painters of the 19th century entered into a large-scale romantic movement, it was at this time that landscape painting finally became a worthy genre in the art academies of Europe and became widespread throughout the world. In the second half of the twentieth century, the definition of landscape was called into question. The genre expanded into urban and industrial landscapes, and artists began to use less traditional mediums when creating landscape works.

Three types of landscape art

A painting or photograph that depicts nature is called landscape art. While each artist has their own style, the genre is generally grouped into three broad categories:

• Representational landscape art is the most basic genre. The details do not use special colors or filters to create an unrealistic effect. In contrast, representational landscape art focuses on the natural beauty of nature and paints a realistic picture of the subject.
• Impressionist landscape art focuses on depicting a realistic scene in an almost unrealistic light. This is achieved through several methods, including separating the foreground from the background using soft focus, applying unusual methods lighting or the inclusion of saturated, bright or unnatural colors. Impressionist landscape art largely responds to the eye of the artist or photographer and the ability to create a stunning natural image.
• Abstract landscape art relies less on environment landscape and more to represent the main subject of the image. In the abstract part, the landscape can be the background, and the foreground can be the focus on one component, such as a tree branch unusual shape or the shadow of a large object.

Each style has its own characteristics, varying colors, lighting and props. IN landscape paintings, as a rule, additional elements are added in addition to the landscape itself. Traditionally, these are animals and people. The purpose of the landscape piece is to showcase the natural beauty of nature, whether soothing, violent or surreal.

natural scenery

Landscape painting refers to a work of art in which the main focus is on the image of nature (mountains, forests, rocks, trees, rivers, valleys, etc.). The earth is a marvelous creation, from barren deserts to lush rainforests, from endless oceans to cloudy skies. Throughout history, artists have found inspiration in the mysterious beauty of nature and the grandeur of the Earth's diverse landscapes.

Cityscape: views of the cityscape

Landscape paintings are not limited to images of the earth and nature. For example, they may also include images of buildings, streets, bridges. This type of landscape is called urban. His sketches may include various historical or modern facilities. Types of urban landscape are determined in accordance with what is shown in the picture. One of the most attractive are images of palaces and castles, religious monuments, as well as residential buildings of the 17th-19th centuries.

Rural and park landscape

When nature and the results of conscious human activity meet together, a certain dissonance is bound to arise. But there is an environment where these two conflicting parties are able to agree among themselves and achieve a relative balance. First of all, it is the countryside and landscape parks, where nature is complemented by architectural elements. The rural landscape has been one of the most popular landscape themes of all time. Artists depicted a house on a hill or near a pond, green meadows with grazing sheep, country roads, and so on.

topographic landscapes

Flat objects differ from three-dimensional three-dimensional objects that have length, width and height. One of the options for depicting a landscape is that the image is given a more or less clearly defined relief. This type of landscape is called topographic or sculptural.

documentary landscapes

Another view landscape painting are documentary landscapes depicting scenes from everyday life. The included figures of people deserve no less attention than trees or houses. On the one hand, they add life to the composition, on the other hand, they emphasize the size of the surrounding space in comparison with a person.

Landscapes with animals

A distinctive feature of the landscape is that with their help a feeling of peace, contentment and harmony is created. However, wildlife is a continuous movement. Trees, plants, rain, wind - these are all dynamic and changeable factors, in this regard, it is quite natural to place animals among them as an integral part of all wildlife.

The views can be very different: the mood landscape symbolizes the lyrical coloring of feelings, the architectural one is very reminiscent of the city, the sea (marina) and river show the endless beauty of the water landscape. The historical and heroic types are associated with great warriors, mythical heroes and gods. The decorative landscape serves as an excellent interior decoration. a certain amount species do not exist. Depending on the artist's vision, industrial landscapes (city views), epic, romantic or even cosmic landscapes are distinguished.

The main feature of this genre of fine art is that the main subject of the image is nature in its original form or transformed by man.

Everyone loves nature in their own way and “as best they can”. For some, this is expressed only by a trip to the forest, and for some, a source of new strength, emotional experiences. Our people owe their moral qualities, talent and creative power, among other reasons, to our nature. The power of her aesthetic perception is so great that, if it were not for her, we would not have such a brilliant Pushkin as he was. But not only Pushkin, but also Lermontov, Chekhov, and finally, there would not be a galaxy of wonderful landscape painters: Savrasov, Levitan, Nesterov, Polenov and many others.

It is clear that we will never exchange our modest distances for the most solemn beauties of the tropics and the west. We were born and lived under the “gray calico of these quiet northern skies”, their beauty merged with our whole life, they were its witnesses, and therefore only we can feel and understand it with full force. Once again, Griboyedov’s words come to mind that “the smoke of the fatherland is sweet and pleasant for us” - the smoke of villages in the silence of a soft winter day or the smoke of fires that draws low over meadow lakes.

Pictures are good because at any moment you can enter into a familiar, but always something new world our nature - one has only to cross the threshold of the frame. It is hard to believe that even at the beginning of the 19th century, some critics considered the landscape unnecessary, and they said about landscape painters and writers that they “hide in the landscape from reality” and thereby give themselves away as enemies of direct perception and reflection of reality.

A true landscape painter always knows where one can find the thickest frost, where the mightiest firs grow in the surrounding area, what colors are needed for the water of a deaf lake and what colors are needed for rain in a village twilight.

You experience complete happiness from the finished work more when you work outdoors in any weather. Even on those days when it snows and rains over a swamp, and a gusty wind tears the stretcher and canvas from the easel. But on other days you will not see and feel the fullness of the true colors of the landscape - the colors of the gloomy sky, the bright, blinding summer sun, the intoxicating freshness of the spring wind.

The work of a true landscape painter is not only the work of a painter, but also of a true patriot. His dense is a poem about Russia, a poem about a house in the first place.

Taking into account everything that is happening in contemporary art, in particular, in painting, you understand more and more how deep and morally “educated” the painting of past centuries is. Only there, in “that painting” one can learn what is really beautiful, human, spiritual.

The fact remains modern man, being in a constant tandem of the city, technologies and other innovations that take time for rest, simple reflections, reflections, searches for oneself, undoubtedly, it tries to protect itself from this, to give rest to the body and its thoughts.

Needless to say, sometimes you unbearably want to escape into nature, into the forest, and even into the village. Just relax, admire, breathe in the air, admire the beauty and splendor of nature.

Turning to fiction, and more specifically, to the literature of the 50s, the life of the peasants was depicted especially often. Nationality, as an integral feature of realism, was inextricably linked with the national character of the content of art.

The idea of ​​Russian nature at that time was so inseparable from the people that in itself, in its images, poetic expressions of people's thoughts, suffering and despair were often found. It is worth recalling the words of the notorious M.E. Saltykov-Shchedrin about such a vivid perception of nature - "Since childhood, I have sympathized with our rural nature, although there is nothing in it that could be especially boasted of." He concludes his description with heartfelt lines “But I love her this, the monotonous nature of the Russian land, I love her not for herself, but for the person whom she raised in her bosom and whom she explains ...”

The realistic landscape painting of the fifties was fundamentally different from the previous perspective painting, that is, “species”, the tasks of which were limited to documentary accurate reproduction of a panorama, a certain area, and then a romantic landscape, widespread among academic artists. It was at that time that a turning point took place in Russian landscape painting, expressed at first in the appeal of landscape painters to Russian nature, which was the natural living environment for the peasant

The landscape has won the place of one of the leading genres of painting. His language has become, like poetry, a way of expressing the high feelings of the artist, an area of ​​art in which deep and serious truths about the life and destinies of mankind are expressed, a contemporary speaks and recognizes himself in it. Looking at the works of landscape painting, listening to what the artist tells about, depicts nature, we learn the knowledge of life, understanding and love for the world and man.

In Russian painting of the last century, two sides of the landscape as a type of painting are revealed: the objective, that is, the image, the view of certain localities and cities, and the subjective, the expression in images of the nature of human feelings and experiences. The landscape is a reflection of the reality that is outside of a person and is transformed by him. On the other hand, it also reflects the growth of personal and social self-awareness.

For example, A. I. Herzen’s statement about Russian nature (written abroad in 1853) makes a deep impression: “In our poor northern valley nature there is a touching charm, especially close to our hearts. Sorrento, not the Roman Campaign, not the frowning Alps, not the richly cultivated farms of England Our endless meadows, covered with even greenery, are reassuringly good, in our creeping nature ... something that is sung in a Russian song, which resonates bloodily in Russian heart".

The landscape should be a portrait from nature, and not an admiration of her beautiful and striking effects alone. Searching for these latter is a slippery and dangerous business. Even with the strongest, poetic, original nature, it is easy to slip here, to fly head down ... ".

The beginning of the development of the rural landscape was laid by Alexei Venetsianov (1780-1847), who is known to everyone as an unsurpassed master of the domestic genre. Life in the village gave the artist rich material, opened up a new world, the beauty and poetry of native Russian nature. The most poetic works of Venetsianov, imbued with peace and tranquility, love for man and nature, include a small painting "The Sleeping Shepherd". Calm smooth rhythms of the plains, gentle slopes of hills overgrown with thin trees, spruces standing alone, a river with low banks - all these infinitely familiar, close motifs were found by the artist in his native nature. The landscape in Venetsianov's paintings was no longer just a background, but played an active role in conveying the mood, in solving the image.

Venetsianov himself combined views of fields and meadows in his paintings with images of peasant girls and children. These reapers and shepherds embodied in his paintings the poetic collective image peasant Rus'. The landscape backgrounds of his paintings introduce the theme of nature as a sphere of application of labor into Russian painting. human hands. In this, Venetsianov breaks with the classical tradition of depicting ideal nature, trimmed and smoothed - the nature of parks where people from the upper strata of society relax and enjoy. But for all the democratism of the Venetian peasant lands, the very figures of the girls in his paintings are classically idealized.

Landscapes for his paintings Venetsianov found in the vicinity of his village Safonkovo. The artists of his school also worked in the same places. Often they brought into their works the naivete and innocence of the folk picture. The distant space in their landscapes sometimes seems boundless. The small figurines of people inhabiting it are lost in it. These people among the Venetians represent the characteristic types of the village or provincial town. A guy with a scythe, a woman with a yoke and buckets, hunters, provincial officials and merchants in the city square - this is the world of the people they portrayed and through whose eyes they looked at the surrounding life.

The work of Venetsianov himself was such a close legacy for the landscape painters of the 1950s that even in the classroom, the teachers of the Moscow School of Painting widely used the Venetian system, based on a thorough study of the subject of the image. The works of Venetsianov with images of Russian nature and the experiments in this area of ​​his followers, although performed on the material of wildlife, were perceived by young artists as a stage already passed.

The image of nature, as the image of a person, reflects the life, feelings and thoughts of the society that brought up its creator-artist. The landscapes reflect the thoughts of the best Russian people about the fate of their homeland, deep love for their people, an excited call to fight against injustice. The ideas that illuminated all the art of the second half of the 19th century penetrate the images, filling it with a new content for pan-European painting.

The painting of realistic landscape painters clearly testifies to the ardent interest and serious attention with which the most advanced masters treated the needs of the people, their suffering, poverty and oppression, how sincerely they sought with their art not only to expose the injustice of the social order, but also to stand up for "humiliated and offended" people.

Already in the first half of the century, the artists A. V. Tyranov and G. V. Soroka, who were direct pupils of Venetsianov, tried their hand at working on a rural landscape, in the native places for artists. Their paintings, "not always perfect in skill, are distinguished by an extraordinary purity of perception of nature and sincerity of feeling." Being the successors of the Venetian traditions, these landscape painters with their work represent a characteristic phenomenon in the realistic art of the 40s.

The dominant role for landscape painters was acquired by the question of the content of their art. Artists were expected to produce works that would reflect the mood of the oppressed people.

It was during this decade that Russian landscape painters became interested in depicting such motifs of nature in which artists could tell about people's sadness in the language of their art. The dreary nature of autumn, with dirty, washed-out roads, rare copses, a gloomy, rainy sky, snow-covered small villages - all these themes in their endless versions, performed by Russian landscape painters with such love and diligence, received citizenship rights in the 60s. It is characteristic that at the same time the theme of the winter landscape, on which Savrasov and Kamenev worked especially hard, became widespread.

Polenov's artistic activity was based on the desire to benefit people with his art, to actively participate in the life of society. This desire brought the master's work closer to the general process of democratization of the art of the last thirdXIXcentury, primarily with the movement of the Association of the Wanderers, whose active participant he was from the late 1870s. Polenov's works of the 1890s are characterized by special attention to different states of nature. One of the features of Polenov was the desire to combine landscape and household genres, not just to revive this or that motif with human figures, but to present a holistic picture of life in which people and the nature surrounding them are merged into a single artistic image. And in the "Moscow Courtyard", elegiac in mood paintings "Grandmother's Garden", "Overgrown Pond", "Early Snow", " Golden autumn"- in all his landscapes, Polenov, by means of painting, asserts an important and essentially very simple truth: poetry and beauty are around us in the usual course of everyday life, in the nature around us.

Polenov's work is a large and significant phenomenon in Russian painting of the second half of the 19th century. With Savrasov and Vasiliev, he is brought together not immediately tangible, but strong and strict compositional construction and picturesqueness, giving his landscapes a certain monumentality. Polenov also uses the means and techniques of the open air more freely and more directly than his associates. Light and air become the "heroes" of his wonderful canvases, which today captivate with their freshness, emotionality, vitality and naturalness.

The multifaceted talent of V.D. Polenov most fully manifested itself in the field of landscape painting. In its history, marked by brilliant victories, this artist wrote one of the brightest pages with his work. Working simultaneously in such diverse genres as historical painting, portraiture, landscape and decorative art, the artist himself considered landscape painting to be the most appropriate for the warehouse of his talent. Such an exceptional position of the landscape theme in his work makes it possible to independently consider it among the works of other landscape painters.

Since the beginning of the 1970s, scenes from peasant life have become increasingly common in Polenov's works. The artist, apparently, begins to look for ways to the landscape genre, the work on which would make it possible to give the landscape as an effective component of the plot taken.

S.I. admitted Mamontov after a trip to Italy in 1873: “Now I am in the countryside, breathing deeply after stuffy, fetid Italy; what a pine air we have! The Italians do not suspect that such a thing exists in the world! After all, this is Our, native, rural air! Subtly and penetratingly, the artist recreated the rural landscape in the sketch “Village of Turgenevo” (museum-estate of V.D. Polenov). With his calm softness, he seems to brighten up the life of the inhabitants of a small village with rickety, thatched huts. This study was written by Polenov in 1885 in Turgenev. The high pictorial qualities of this sketch and its inherent fullness of artistic expression made it possible for Polenov many years later to use it, almost without changing the color composition, in the painting “Backyards”, shown at a traveling exhibition in 1892.

Subsequently, other motifs of the rural landscape, originally captured in sketches, were used in paintings. Giving in the paintings a more in-depth description of the landscape image, Polenov achieved in them at the same time a greater ideological orientation.

It is interesting to dwell in this regard on Polenov's large painting "Russian Village", which appeared for the first time at a traveling exhibition in Moscow in 1889. The central place in the composition of the landscape is occupied by a fishing village, located in the middle of an open area near a wide river. Strong, log cabins with a strict, emphasized pattern of high roofs, small areas of green gardens, fishing nets wound on high poles, the absence of shady greenery around the dwelling - all this conveys a somewhat harsh character appearance villages. However, even here the artist managed to make nature feel like a bright and joyful beginning in people's lives.

In the foreground there is a narrow rivulet with a sandy shore illuminated by the sun and a gentle slope descending to the water. The crooked bridges thrown over the river leading to the village, the narrow, trodden paths going up the slope from the bridges, the spinners descending to the water from the last hut, give a greater extent to the depth of the foreground and enhance its emotional sound. Looking at the figure of a white-headed boy standing with a fishing rod near the water, at the scarlet village children playing in the sun in the sand near the bridges, at the old woman sitting next to them with a child in her arms, you see them all warmed by the warmth and caress of nature.

Concluding the review of Polenov's work as a landscape painter, it should be emphasized once again that it was the landscape that constituted his most progressive side. It was in this area that Polenov, starting from the 60s, steadily followed the path of realism. The originality and significance of his role in the realistic rural landscape of the second half of XIX were that he, being the largest representative landscape painters, the Wanderers, was able to become a living and effective link between the realists of the older generation and the youth. In the minds of which he tirelessly maintained an interest in great meaningful art, in the embodiment in the landscape-picture of deep impressions of reality. The youth found support in his plein air painting for their own quests, for expressing their feelings and reflections on life in the landscape.

For a long time, the landscape has made its mark in the development of world painting.

But where did the Russian landscape come from. EVERYONE KNOWS CITY LANDSCAPES. But what is so special about rural landscapes?

“On such roads only in galoshes to pass!” about Levitan

But what attracts us all in the first place in the Russian rural landscape ?!

Levitan's landscapes with their openness, naturalness, sensuality...

Isaac Levitan is the greatest of those Russian landscape painters who in the 19th century discovered the modest beauty of Russian nature for contemporaries. Starting to work under the guidance of Savrasov and Polenov, Levitan soon left his teachers far behind, forever inscribing his name in the pantheon of Russian culture. For a long time it was believed that in Russia there is no nature capable of arousing admiration and becoming a topic for a serious work. Instead of nature, there was only a gray, faceless mass, dreary and endless, like human grief. But that is why his best landscapes, sometimes quite small, carry a truly great poetic meaning. In the image of crooked willows on a village street and old logs thrown over a ditch, we see a "heavenly" image of spring, in a puddle we see the reflected sun, and young green grass near the village bridge turns out to be not just a plant of a well-known variety, but a sign of the joy of the resurrection of nature.

Levitan wrote a lot in the air. So Savrasov told him.

–Drive the sun onto the canvas! - Shouted Savrasov. - We missed the spring warmth! The snow melted, ran down the ravines with cold water, why didn't I see it on your sketches? The lindens blossomed, the rains were as if not water, but silver poured from the sky - where is all this on your canvases? Shame and nonsense! From the time of this heavy dressing, Levitan began to work in the air. At first it was difficult for him to get used to the new sensation of colors. That, a hundred in the rooms seemed bright and clean, in the air it was incomprehensibly withered, covered with a muddy coating.

The small landscape "Bridge" is a sketch painted in nature, in which the freshness of the direct perception of nature masterfully conveyed by the young artist wins. The colors of a summer sunny day are beautifully reproduced, when all the greenery seems sparkling and full of vital juices. Light permeated the foliage of old willows, closed crowns. Their dense branches form a green tent and almost cover the sky. Choosing a low point of view, Levitan made the center of the composition in this study a dilapidated log bridge thrown over a stream flowing along the bottom of a ravine. It combines all the elements involved in the construction of a landscape image. From this center, the gaze easily rushes inland, to the huts of the village, thanks to which the bridge itself is perceived as part of a typical rural landscape. Levitan seeks to show the viewer the special beauty of the motif he has chosen: he makes one admire the play of sun glare and blue shadows on the dilapidated logs of the bridge, makes it possible to look under the bridge and see behind the dark shadow cast by it on the water, a spot of bright light on the surface of the water and a reflection of the blue sky in her. But not only the radiance of a sunny day could transform this modest, devoid of external effect rural landscape. Each piece of living nature captured in the sketch expresses the artist's subtle poetic perception of life, a sense of its beauty. That is why, despite the relatively broad manner of writing, he gives a feeling of fullness of life and inner completeness. It is impossible not to pay attention to the pictorial skill, which seemed primarily in the skillful use of rich opportunities. colors. Sound painting serves Levitan in order to sing such a modest motive, the like of which could not be found in the old landscape art.

The connections between Levitan's art and Savrasov's art appear in the landscape with the bridge not as clearly and directly as in the previous painting. But at the same time, only a graduate of the Savrasov school could have conceived the idea of ​​making such an inconspicuous detail of the village landscape as an old, somehow knocked down footbridge, the object of artistic recreation. Using the basic principles of Savrasov's art, Levitan in this study goes further than his teacher in search of simplicity and conciseness of the plot.

And along with this, in the painting of "The Bridge", in the light palette of colors, in the subtly conveyed interaction of light and color, one can already feel the system of painting that Levitan could master under the guidance of Polenov.

But the most significant and deepest image of the village landscape was created by Levitan in the film “Twilight. Haystacks" (1899, Tretyakov Gallery), also written after a trip to the Novgorod province. Like the previous ones, this landscape is extremely simple in plot. In front of the viewer is a plain of mowed meadow with rows of sour haystacks illuminated by the soft light of the moon. But only. But, apparently, this motive deeply excited the artist with the significance and poetic beauty of his appearance. And, perhaps, even before returning to Moscow, where the painting “Twilight. Haystacks”, in the artist’s view, this plot of everyday life has already taken shape in a landscape image, inspired by the dream of the harmony of nature and a person who gives his strength and his work. Having achieved a high degree of generalization, Levitan managed to preserve in the picture a clear sense of the state of nature, that is, that side of her life, which makes one feel more strongly in the landscape of a lyrical warehouse, determining its emotional structure. The combination of lyrical and epic beginnings contains the unique charm and touching tenderness of this landscape.

Presentation "Landscape in the work of the Wanderers" will introduce the work of outstanding Russian landscape painters: Savrasov, Shishkin, Vasiliev, Kuindzhi, Polenov and Levitan.

Landscape in the Works of Russian Wanderers

In the second half of the 19th century, the landscape in Russian painting is experiencing a dawn. Unlike the genre painting of the Wanderers, in which the emphasis was mainly on the negative phenomena of life, landscape painters sought to find in surrounding reality positive values. It is interesting to compare the landscapes of our Wanderers with the pictures of nature in their art. The ideas of the Wanderers could not but be reflected in the choice of subjects by landscape painters. Most often, they choose simple motifs, which include elements of the everyday genre.

These poor villages

This poor nature

The land of native long-suffering,

The land of the Russian people!

They don't understand and they don't notice

The proud gaze of a foreigner,

What shines through and secretly shines

In your humble nakedness.

Fedor Tyutchev

A few words should be said about my presentation. The main technique that allowed creating an interactive composition is a hyperlink. Transitions between parts are carried out mainly with the help of buttons (sometimes - by clicking). A minimum of text and a maximum of images with musical accompaniment will please those who will view the presentation in PowerPoint.

Lyrical landscapes by A.K. Savrasova

The founder of new ideas in Russian landscape painting is Alexei Kondratievich Savrasov, lyrical landscapes which I would like to call mood landscapes.

Epic landscapes of I.I. Shishkin

Ivan Ivanovich Shishkin is distinguished from his fellow artists by a special, objective view of nature. For his amazing knowledge of the forest, he received the nickname "Goblin". Shishkin does not seek to convey the state of nature, its movement, emphasizing the constancy and full of its being. His subjects are endless expanses, mighty trees, forest jungles and bright glades.

Romantic landscapes F.A. Vasiliev

“He was generously endowed with a mighty and wondrous talent,

He possessed a wonderful power of feeling and colors in art.

Such an assessment was given by the artists to their young comrade, having written these words on his grave. Fedor Vasiliev lived only twenty-three years, but left a remarkable mark not only in Russian, but in world art. He was friends with Ivan Shishkin, worked with him in the open air, but his attitude to nature is very different from the objective attitude of his older comrade. In an effort to paint landscapes realistically, our artist remained a romantic at heart, choosing bright moments in the life of nature. Perhaps it is worth recalling the characteristic features in order to better appreciate the genius of this young landscape painter.

Shining landscapes by A.I. Kuindzhi

A romantic view of nature brings the work of Arkhip Ivanovich Kuindzhi closer to the landscapes of Fyodor Vasiliev. Kuindzhi set the task of depicting bright effects of light and color. Sketches, written by him in the open air, in the workshop he turned into bright decorative paintings, not caring too much about the realism of landscapes, which often resemble theatrical scenery.

The world is joyful and beautiful in the landscapes of V.D. Polenova

Polenov, like none of his contemporaries (with the exception of Repin), succeeded in mastering the principles of plein air painting. He used colored shadows, fixed shades of color, its transitions, emphasized the dependence of color on light, subtly feeling the weakening of color intensity as the subject moved away from the foreground.

“It seems to me that art should give happiness and joy, otherwise it is worthless.”
V.D. Polenov

Landscapes of mood I.I. Levitan

My presentation on the landscape in the work of the Wanderers concludes with a story about one of my favorite painters, Isaac Levitan. Sadness emanates from his amazingly lyrical landscapes. Levitan's work completes the development of the Russian landscape of the 19th century, enriching it with new pictorial discoveries, but at the same time preserving those principles of lyrical perception of nature, which were embodied in the work of the Wanderers.

“No one has reached such amazing simplicity and clarity of motive, which Levitan has recently reached, and I don’t know if anyone will come after.”

A.P. Chekhov

References:

• Art. Small children's encyclopedia. - M .: Russian Encyclopedic Partnership, 2001.
• Encyclopedia for children. T.7. Art. – M.: Avanta+, 2000.
• Encyclopedia. Scenery. - M .: "OLMA-PRESS Education", 2002.
• Great artists. Volume 5. Arkhip Ivanovich Kuindzhi. - M .: Publishing house "Direct-Media", 2009.
• Great artists. Volume 15. Isaac Ilyich Levitan. - M .: Publishing house "Direct-Media", 2009.
• Great artists. Volume 31. Vasily Dmitrievich Polenov. - M .: Publishing house "Direct-Media", 2010.
• Great artists. Volume 22. Alexey Kondratievich Savrasov. - M .: Publishing house "Direct-Media", 2010.
• Great artists. Volume 9. Ivan Ivanovich Shishkin. - M .: Publishing house "Direct-Media", 2009.
• Solovyov V.M. Golden book of Russian culture. ‒ M.: Bely Gorod, 2007.

If, my dear reader, you have a desire to dive deeper into the topic, I recommend that you look at the site Gallerix.ru. That's where I found most illustrations for your presentation.

Good luck!

Landscape (French paysage from pays - country, area) is one of the content and compositional elements of a literary work, which performs many functions, depending on the style of the author, literary direction(trends) with which it is associated, the writer’s method, the author’s goal (to reveal the state of the hero, to oppose the surrounding world to human beliefs, to establish compositional links between the elements of the work, to reflect the mystery of nature and its alienation from civilization), as well as the type and genre of the work.

In the Russian epic epic, in the medieval story, there are no detailed descriptions of nature, and those of its phenomena, which in the course of action should serve as a background for the characters, are depicted with the help of conditional repetitive epithets, sometimes very expressive, well-aimed, but few individual. Elements of a developed landscape can sometimes be found only in comparisons, when a description of a natural phenomenon is needed to liken the action or state of the characters to it, for example: bowed his side, burdened with a helmet" ("Iliad", song VIII). Already in the Odyssey, the landscape begins to acquire greater significance than in the Iliad (see, for example, the description of the garden of Alcinous, Ode VII), and in later Greek poetry genres arise where, for all the insignificance of the quantitative volume of the landscape, qualitatively it acquires great weight and meaning: such is the "bucolic" poetry, the idylls of Theocritus, in which the image of the rural landscape and everyday life is included as the main necessary element in a work. The same must be said about late Roman literature, which knows special "descriptive poems." Virgil's Georgics was the largest work of this kind. In the 16th century and especially in the 17th century, first in Italy, and then throughout Europe, in connection with the rise of aristocratic aristocratic culture that glorified the "joys of life" in the bosom of the local "idyll", there was a flourishing of idyllic and "descriptive poetry" that made rural life, nature surrounding it as its object. Since that time, the landscape is constantly found in the works different styles which develop, live and die during the XVIII-XIX centuries in European literature, and the nature of the landscape, determined by the nature of the style, acquires its own functional originality in each given case.

In the so-called classical court poetry of the 18th century. - odes and heroic poems par excellence - the image of nature occupies an insignificant place, the poet's attention is focused on the glorification of representatives of his class, on the monumental images of kings, generals, etc. The landscape mostly acts as a background for the portrait of that hero or for that the event that is sung by the poet; moreover, it is taken in the same monumental and majestic colors, emphasizing the same sides in the images for which it serves as a background.

Completely different features are drawn in the later landscape in the poetry of the conservative nobility, ch. arr. emerging sentimentalism in late XVIII V. As capitalist relations develop, writers of the nobility, who defend the inviolability of the feudal-serf order, oppose capitalism more and more sharply, attacking urban culture and opposing simplicity to it. rural life, idyllic relationship of landowners and peasants.

The image of nature acquires in them a great independent and functional significance, carries a great ideological (essentially reactionary) content, because through it the author expresses his favorite antithesis city - village, which serves to reveal the main ideological tendencies.

In the prose of sentimentalists, in the "rural" story, in numerous "journeys" the landscape plays the most honorable role. Being included in the general system of reactionary images that distort reality, the landscape in the literature of sentimentalists has a sugary, embellished character, is associated with deceitful, idyllic images of peasants prospering with the landowner, etc. On the contrary, in literature reflecting the growth of bourgeois ideology, the landscape takes on a completely different character. , given in realistic tones, exposes the exploitation of the serfs, etc., serving to establish this different ideological and artistic system.

landscape in romantic work has a completely different meaning than the landscape for sentimentalists. The landscape of the romantics calls not to admire the manor "peysan" nature, but serves as a means of expressing the stormy passions of the romantic. In some cases, we have a landscape that contrasts with the hero, and then the task of the contrast is to set off even more, to emphasize the state of the hero. In romantic lyrics, one can often find works for which the landscape is also the main theme, which fully expresses the main trend of the romantic style in the absence of a hero and a plot.

With the gradual decline of romanticism in the bourgeois-noble literature of the 30-60s. the landscape changes its character and its purpose in a literary work. famous landscapes carry extremely complex and varied functions in the novels and lyrical plays of these authors; the unifying feature remains an exceptional love for the Russian local landscape, a sympathetic image of the appearance of the estate and the fortress village and some idealization of the rural background against which they show their heroes.

Next to the "idealizing" realism of the rural landscape of the writers of the bourgeois-noble camp, there appears the realism, growing out of naturalism, of writers close to the revolutionary democracy of the 60s, and later populists. In creating a rural landscape, democratic writers not only do not savor or idealize it, but are especially willing to expose its unattractive sides, establishing a close connection between it and the economic life of the population. The realistic landscape of the populists is one of the essential tools in their artistic arsenal, helping them in their criticism of the social order. With the development of bourgeois-democratic literature, the rural landscape is more and more often pushed aside by the description of the city, which, by analogy, is designated as the urban landscape. A large industrial city as a center of capitalist culture becomes the subject of study by writers and finds its external reflection in their work. With the increasing importance of large industrial centers in late XIX and the beginning of the 20th century. the urban landscape grows and differentiates in literature. In the work of representatives of bourgeois-noble literature, the urban landscape takes on a symbolic character. It reveals the fear of representatives of the degrading social groups before the future that brings them modern city. On the other hand, the same growth of capitalism causes a craving for "nature", which is expressed in literature by the appearance of a landscape of an exotic nature or stylized in the old "estate" or "peasant" spirit. These landscapes marked a desire to escape from modernity into the past, into fictional world from oppressive reality, etc.

The relationship between man and nature has become the object of attention of art, philosophy, and aesthetics. The landscape began to acquire importance in literature starting from the 18th century. And already in the second half of the 19th century. there are a number of detailed research papers on the literary landscape.

An active study of the theme of nature in the literature begins in the 1960s, when the results of the ecological crisis were clearly visible. Since that time, works have been regularly published that explore various aspects of the image and understanding of nature: A.F. Britikov - "The Mastery of Mikhail Sholokhov" (1964), E.H. Kupreyanov - “Aesthetics of JI.H. Tolstoy" (1966). Among the works that appeared in these years, the monographs of K.V. Pigareva - "Russian literature and fine arts (XVIII - the first quarter XIX V.). Essays” (1966) and “Russian Literature and Fine Arts. Essays on the Russian national landscape mid-nineteenth century" (1972). They broadly and panoramicly illuminate the problem of nature in literature and fine arts.

B.E. Galanov - “Painting with a word. Man, landscape, thing ”(1972), G.B. Kurlyandskaya - "The Artistic Method of Turgenev the Novelist" (1972), JI.C. Achkasova - "Humanism in the work of K. Paustovsky" (1972), I. Kuzmichev - "Writer Arseniev: Personality and books" (1977), I. Strakhov - "Artistic thinking of I.S. Turgenev and JI.H. Tolstoy in the depiction of landscapes” (1980), V.A. Smirnova - “Ivan Sokolov-Mikitov. Essay on life and writing "(1983), S.A. Lipin - "Man through the eyes of nature" - (1985), T.Ya. Grinfeld-Singurs - "Nature in the art world MM. Prishvin" (1989), S. Semenova - "Overcoming Tragedy" (1989), H.H. Kiselev - "In Harmony with Nature" (1989), E.A. Yablokov - "Artistic comprehension of the relationship between nature and man in Soviet literature of the 20-30s." (1990), K.G. Bohemian - "Landscape: pages of history" (1992), Tikhonova T.M. - “Descriptions of nature based on the works of K.G. Abramov” (1994), A.I. Smirnova - "Not what you think, nature": Russian natural-philosophical prose of the 1960s - 1980s" (1995), N.V. Kozhukhovskaya - "Feeling of nature in Russian literature XIX century” (1995), L.V. Gurlenova - "The feeling of nature in Russian prose of the 1920-1930s" (1998), Stepanenko L.G. - “Sholokhov's descriptions of nature. Landscapes of the master and the researcher "(2003), Rudzevich I. -" Man and nature in the work of Sergei Zalygin "(2003).

Valuable historical, literary and theoretical information of a generalizing nature - about the types of landscape and the forms of its existence in the work - are contained in the monograph by V.A. Nikolsky "Nature and Man in Russian Literature of the 19th Century" (1973), M.N. Epiggein ("Nature, the world, the secret of the universe": The system of landscape images in Russian poetry, 1990).

There are works that consider the interpretation of the topic within the artistic direction. These are articles by N.D. Kochetkova "Portrait and landscape in the literature of Russian sentimentalism" (1986), V.Yu. Troitsky " romantic landscape in Russian prose and painting of the 20-30s of the 19th century” (1988); G.I. Rogovoi "Nature in the artistic consciousness of the Symbolists" (2002), monograph by I.O. Shaitanov “The Thinking Muse. “Discovery of Nature” in the Poetry of the 18th Century” (1989), etc.

A number of collective works can also be noted: “Man and Nature in the First Soviet Prose” (Syktyvkar, 1980), “Man and Nature in fiction"(Syktyvkar, 1981), "Landscape as a developing form of embodiment of the author's concept" (Moscow, 1984), "Artistic creativity. Issues of complex study: Man - nature - art" (Moscow, 1986), "Landscape in literature and painting" (Perm, 1993), "Nature in the artistic world of the writer" (Volgograd, 1994), "Old Russian literature. Image of Nature and Man" (Moscow, 1995), "The Theme of Nature in Fiction" (Syktyvkar, 1995), "Feeling of Nature" in Russian Literature" (Syktyvkar, 1995), "Nature and Man in Russian Literature" (Volgograd, 2000 ), "Nature and Man in Fiction" (Volgograd, 2001), "Nature: Material and Spiritual" (St. Petersburg, 2002). The range of issues considered in them: the evolution of the literary landscape and its main directions, the possible typology of nature descriptions, the role and functions of the landscape on different stages historical and literary process.

The collective monograph “Aesthetics of Nature”, published by the Institute of Philosophy in 1994, can also be considered as a large final work. The main problem of the monograph is already expressed in the introductory article by K.M. Dolgova: “The aesthetics of nature is not so much a discussion of whether beauty and aesthetic appearance are inherent in nature, but a clarification of possibilities. formation and development of human aesthetic sensibility and aesthetic consciousness, artistic value nature"

Here we find many of the fundamental ideas in understanding nature as an aesthetic category.

Perm State Pedagogical University, Leningrad State Regional University named after A.S. Pushkin, Volgograd State University and Syktyvkar State University. The largest of them is the last university, in which, on the basis of the Department of Russian and Foreign Literature, research on the literary landscape has been purposefully conducted for about thirty years. The first inter-university collection was published here back in 1980 (“Man and Nature in Soviet Prose”), in the next 1981 another collection was published - “Man and Nature in Fiction Prose”. In 1995, the first all-Russian scientific conference “The Theme of Nature in Fiction” was held within the walls of this university, and in the same year, along with the materials of the conference, a collective monograph “The Feeling of Nature in Russian Literature” was published. In 1989, Associate Professor of Syktyvkar University T.Ya. Grinfeld - Zingurs published a monograph “Nature in the artistic world of M.M. Prishvin”, in 1995 N.V. Kozhukhovskaya published her monograph "The Evolution of the Sense of Nature in Russian Prose of the 19th Century", and three years later JI.B. Gurlenova published another monograph, "The Feeling of Nature in Russian Literature of the 1920s and 1930s." All three researchers defended doctoral dissertations following the monographs.

Let us also pay attention to the following fact: in 1995, the first All-Russian scientific conference was held in Syktyvkar, dedicated to the theme of nature in fiction, then in 1998 and 2000. two all-Russian conferences on a similar topic were held in Volgograd, and in 2002 - in St. Petersburg.

Reference and philological sources indicate that "landscape in literature is one of the compositional components and a type of verbal and artistic detailing"; "landscape - a description of nature, sometimes in general the outside world, open space"; "image in works of art of natural or human-modified nature"; “one of the content and compositional components of a work of art: a description of nature, more broadly, of any open space”; "an image of a person's natural environment and an image of any open space, including the" city landscape ".

The authors of various monographic works also offer their understanding of the landscape. According to B.E. Galanov, a landscape is an image of nature, indicating the time and place of action in a work and creating a certain mood. V.N. Stasevich thinks about the landscape as a "transformed reality, for the creation of which real world is a necessary stimulus and an inexhaustible pantry. Art critic A.A. Fedorov-Davydov defines the landscape as "a reflection of reality outside of a person", as "the highest degree artistic display nature". M.N. Epstein.

The collective monograph “The Feeling of Nature in Russian Literature” gives the following definition: “Landscape is the actual picture, the result of the formalization of the feeling of nature in the image, it itself is much wider, it contains the philosophy of nature, the socio-aesthetic ideas of the era, it means the direction worldview of the artist, includes the moral traditions of understanding the theme of man and nature, the originality of the poetics of the landscape, the specific style of this work.

While working on the dissertation, we also took into account the opinion of V.E. Khalizev, expressed in his textbook on the theory of literature: “The forms of the presence of nature in literature are diverse. These are mythological embodiments of her powers, and poetic personifications, and emotionally colored judgments, and descriptions of animals, plants, their portraits, so to speak, and, finally, landscapes proper (French pays - country, area) - descriptions of wide spaces " .

Summarizing a number of explanations, it can be noted that a landscape is an image of nature that performs various functions in a work, depending on the style and method of the writer. Most often it is a view, a description of the visible world.