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's estate", "monastic estate", etc. are widely used. However, city estates early period have practically nothing in common with estate complexes of the 18th-19th centuries. Suburban estates can be called a kind of pre-estate. XVI century who were given for feeding and had a small household. 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.

IN early XVIII century with the development of secular culture, there was a general architectural and artistic appearance of the Russian estate. 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 late 18th- the beginning of the XIX century. 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 main house, to which a long alley led from the carriageway. 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 crucian ponds, 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 early years of Soviet power, many estates were plundered, mass exports began. art treasures, 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 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 cultural heritage 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 a 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 socio-economic and historical and cultural processes Russia.

The concept of "Russian estate culture" has evolved from a closed medieval culture XVII century, when the estate had a pronounced economic bias, to mid-eighteenth- the first half of the XIX 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, there is a sharp change in everyday culture - from isolation and closeness late medieval- to demonstrativeness and representativeness of the 18th century. It was expressed in everything - spatial composition and interiors of a 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.

changing social status owner. Merchant estates appear. Estates became a characteristic feature of this time. art centers in which the creative intelligentsia, referring to folk origins contributed to the revival old Russian tradition(remember 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 the new artistic tastes(modern, neoclassical estates), manor life was changing. 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 the Russian estate culture, which for several centuries occupied leading place in the general historical-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 was connected wide circle problems of the environment. 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 to 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.

A beautiful place was chosen on a hill, near the river, at the confluence of a stream into it. The ensemble obeyed the planning axis, oriented perpendicular to the river. In the northern provinces, due to cold winds, it was often located lower, on a slope. The house, more often two-story, less often one-story, with one extended facade was turned to the entrance, the other - to the slope above the river.

The entrance to the house was marked by a portico - the covered front of the building - and a colonnade. And on the pediment they usually placed a coat of arms or a monogram - intricately intertwined initials of the owner of the estate. The roof was crowned with a belvedere - a special superstructure above the building, from which a picturesque view of the surroundings opened.

The roof of the manor house often had the shape of a dome, which gave solemnity and grandeur. Outside, it was decorated not only with columns, but also with sculptures. In front of the house, from the side of the entrance, a front courtyard was formed, which was limited on the sides by outbuildings, often connected with the house by covered passages or colonnades. The yard received a regular layout with a driveway in front of the entrance and flower beds. To the right and to the left of the front yard there were cattle and horse yards, barns, rigs, other outbuildings and an orchard.

The men's study was the intellectual and economic center of the estate's everyday life. Furnished it almost always very modestly. Managers reported here, wrote letters and orders, dues were calculated, neighbors were received, and architects' projects were discussed. In quiet classrooms, a fashion for reading was formed.

At the very end of the 18th century, a women's office appeared in the manor house. The day of a noblewoman, especially in a rural estate, was filled to the brim with worries. Her morning began in a secluded office, where they went for an order with a report, for money, with a daily menu. During the day, and especially in the evening, the hostess's office turned into a salon.

The hostess of the estate received close relatives, friends, neighbors in the office. Here she read, drew, did needlework, and carried on extensive correspondence. The women's office has always been distinguished by special comfort and warmth. The walls were painted bright hues, pasted over with wallpaper with floral decor, the same floral painting covered the ceiling. The floor was no longer made of bright type-setting parquet, but was covered with a colored carpet.

An almost obligatory accessory of the estate is family portraits. portrait gallery ancestors in its scope resembled the large palace meetings of the former Russian nobles.

At the end of the 17th - beginning of the 18th century, active construction of manor temples began on the estates, which did not stop until the beginning of the 20th century. The manor church was the link that spiritually united the gentlemen, courtyards and residents of the villages adjacent to the manor.

The heyday of noble landowners' estates came at the end of the 18th - the first half of the 19th century. It was during these years that manor construction covered literally the entire European part of Russia.

Many estates gathered excellent libraries, which kept books and magazines from Moscow and St. Petersburg, as well as from abroad. Among the books there were not only works of art, but also a variety of manuals on housekeeping and construction. “These estates influenced the development of not only the county, but the entire province,” writes Yu. A. Vedenin (1, p. 31). a significant role musical classes, choirs, orchestras and theaters played in the estate life.

The history of the Samarin estate on the Volga is inextricably linked with the history of our region. Samarins are an ancient family. Their ancestor, the Kiev nobleman Nestor Ryabets, was mentioned in 1282 among the boyars of the Galician king Lev Danilovich. In the 17th century, the Samarin family was recorded in the Velvet Book of ancient noble families. Their surname is included in the VI part of the genealogical books of the ancient Russian nobility of the Moscow, Tula, Kaluga, Yaroslavl, Simbirsk and Samara provinces.

Four generations of the Samarins, in their Volga estate Vasilyevsky, founded and equipped villages, villages and farms, built churches, schools, hospitals and maintained them at their own expense, competently managed, took an active part in public life Samara and Simbirsk provinces.

And the beginning of all this was laid by a Moscow nobleman, second major Vasily Nikolaevich Samarin (May 27, 1741 - April 23, 1811). He went down in the history of the family as a brave warrior and successor to the best traditions of the family: skillful, rational housekeeping, multiplication and development of new possessions, creation of a reliable material well-being for posterity and providing favorable conditions for their peasants.

In 1773, he turned to Empress Catherine II with a request for permission to set up a distillery. Soon followed a decree dated January 15, 1774: “Smoke wine for own use, neither small nor large, do not sell to anyone and do not change for anything, and do not give to workers in payment for work, as well as gifts and do not lend to the side , and to your people, who live with you, and the aforementioned patrimony, peasants for holidays and homelands and for name days, give a bottle of wine or more, but not more than half a bucket, and they are not forbidden to drink, the guests who come to them to drink without money ”(2, p. 12 -16).

On the estates of the Samarins in the Yaroslavl, Tver and Tula provinces, Vasily Nikolayevich, together with the manager, selected young peasant families for resettlement in new lands, promising them comfortable solid houses, homestead lands, allocating carts, cattle and everything necessary for a long journey to the peasants. They worked in a new place in hunting both for the landowner and in their farmstead. It was from the first settlers, young men and their lively, hard-working wives, that a friendly core of the population of the Samarin patrimony was formed.

In the “List of the family and property status of Vasily Nikolaevich Samarin”, compiled in 1790 and 1792, it is written: “According to the last 4th revision of the Syzran district, hereditary in the villages of Vladimir - male 55, female 61; Vyazovka - male 176, female 185; in the village of Vasilyevsky - male 239, female 235, inherited by merchants in the village of Vladimir male 184, female 197 ”(2, p. 25, 28).

The son of Vasily Nikolaevich, Fyodor Vasilyevich Samarin (1784–1853), the owner of extensive property in the Syzran and Samara counties, entered the history of the glorious family of the Samarins as a caring owner and brave warrior (2, pp. 32–33). In the Moscow province, he had 16 villages and villages and more than four thousand peasants. He had several possessions in the Tver, Tula, Yaroslavl and Ryazan provinces. Almost all summer Samarin spent in these estates. But his favorite brainchild was the Vasilyevsky estate on the Volga.

Fedor Vasilievich worthily continued the work begun by his father. Soon after the death of Vasily Nikolaevich in 1811, he brought here Petr Yakovlevich Voronkov, who served in the Vasilyevsky estate until 1855, regularly managing the household, and with his good deeds was known throughout the Volga region.

Fyodor Vasilyevich compiled for Voronkov "Instruction" of five chapters. The first chapter listed all the direct duties of the manager. In the second chapter, Fyodor Vasilievich demanded that the manager "avoid corporal punishment as much as possible" and "do not beat anyone from your hands." The rest of the chapters were signed specific tasks management of the barnyard, office and other economic affairs.

In the Department of Manuscripts of the Russian state library The Samarins' fund contains 223 letters from F.V. Samarin to Ya.P. Voronkov for 1809-1842 and 272 letters for 1843-1853. Some of his letters are stored in the Samarins' fund in the State Archives of the Ulyanovsk Region.

Samarin treated the peasants with care and concern. In 1846, he wrote with regret to Voronkov: “We rarely find conscientious people among the petty local nobles, for the most part they are without any upbringing and education, live in idleness, and if they serve, it is only to enrich themselves at the expense of others, and the peasants who belong to them usually live poorly and almost never receive a fair trial” (2, p. 47).

Samarin was seriously engaged in sheep breeding, bought breeding rams and queens abroad, and invited specialists. In 1836, his sheep farm had three experienced Saxon sheepdogs, two sorters trained in Moscow, and a clerk who studied abroad. By January 1837, the plant had 18,580 sheep, which were kept in three herds: selective, electoral and generational.

Fedor Vasilyevich in 1827 was one of the first in Russia to open a school for peasant children in Vasilyevsky. In 1850, the construction of a girls' school began on his estate. In a letter dated November 4 of the same year, Samarin urged Voronkov that girls should “be sure to be taught, since every girl, having become a mother, will be able to pay more attention to teaching her children than a father, who is less likely to be at home and more impatient with his children. students."

Fedor Vasilyevich believed that in the Vasilyevsky school, instead of a priest, the teacher should be a person "from those who graduated from the seminary in the first category, good-natured, loved by the population." He encouraged the peasants who sent their children to school in every possible way, and the courtyards who graduated from school with good marks could count on receiving the position of a clerk.

Fedor Vasilievich with young years taught his sons to manage the household. Yuriy came to Vasilyevskoye several times; in 1849-1850, Vladimir spent the summer months here in order to “learn housekeeping” under the guidance of the manager Voronkov.

After the death of Fyodor Vasilievich, all the household cares passed to Yuri, the eldest son. His mother, Sofya Yurievna, helped him. Fulfilling the will of their father, the Samarin brothers and their mother, on August 1, 1858, drew up an act on the amicable division of real estate left by Fyodor Vasilyevich. The Samarins decided not to divide the Volga patrimony among themselves.

The Volga possessions went to Yuri and Dmitry. The economy was considerable: 39,692 acres of land, forests, hayfields, fishing, and so on. In the villages belonging to the Samarins, there were 2195 serfs. In Vasilyevsky there were grain and timber piers. In all villages and villages there were master buildings: wooden house with services, 12 outbuildings for offices and employees, 20 outbuildings for factory workers and shepherds of a sheep factory, a staff room, a hospital with two outbuildings, a cloth factory. In addition, 12 grain barns, 12 stone rigs, three four-horse threshing machines, four single-horse winnowing machines. There were three flour mills, two of them were water mills on the Chagra River, one was three-set, one was two-set and one was windmill. There were 15,000 heads at the Electoral Merino Sheep Farm, housed in nine sheepfolds. In general, the estate on the Volga brought in an income of 44,600 silver rubles.

In 1885, according to the project of the architect M.A. Durnov, here, on the steep bank of the Volga, a large house-palace and a whole complex of utility and other premises were built.

After the death of Yu. F. Samarin, according to his will, certified in 1875, to his brother, Dmitry Fedorovich Samarin, the entire immovable family estate on the Volga was officially transferred into full ownership.

In the 80s XIX years century, in the rational and scientifically based management of the economy, Dmitry Fedorovich was assisted by the manager of the estate, O. O. Kramer, who completed the course of agronomy at the Prague Polytechnic. The head of the office and two clerks graduated from agricultural schools.

In the summer, the Samarin estate was always crowded. Numerous Samara relatives lived here for months (3, p. 219).

The history of the vast Vasilievskoye estate on the Volga is not only the history of the life and work of its owners, it is the history of those villages and villages that were founded and equipped at their expense, the history of the creation of diversified agriculture, the history of the development of public education, healthcare and culture.

Literature and sources

1. Vedenin Yu. A. Russian noble estates and their role in the revival of the cultural landscape of Russia // Russian estate. Issue. 1 (17). M., 1994.

2. Okhlyabnin. S. D. Everyday life Russian estates XIX century. M., 2006.

3. Poddubnaya R. P. Vasilevskoe. The Samarins' estate on the Volga. Samara, 2008.

Noble estate briefly

This section contains some diploma, term papers and tests for students, made by the specialists of our portal. These works are intended for review, not borrowing.

Noble estate briefly

On the course “World Culture and Art”
Theme: “Noble Manor”
Performed:
1st year student Borisova A.S.
Code: 230500u

Velikiy Novgorod
2004
Table of contents
Introduction

2. Noble estate as a people's university
Conclusion
List of used literature
3
4
12
14
17

Introduction

The history of the Russian estate spans almost six centuries. Even in the period of ancient Rus', in any village there was a house of the owner that stood out among others, which allows us to call the village a prototype of a patrimonial or local estate.
One of the parts noble culture is a homestead culture. Noble estate culture is a complex multifaceted phenomenon of Russian culture. The homestead culture is diverse.
This is the culture of aristocratic noble circles, the culture of advanced noble and serf intelligentsia, and part of folk culture. For several centuries, noble estates performed several functions:
- they were actually the organizers of agricultural production;
- were centers of economic and cultural development significant territories;
- architectural ensembles of estates, outbuildings, parks, ponds, cemeteries, chapels, churches, by their existence had a huge impact on others;
- the culture and life of the capital cities were introduced into the provincial noble estates. Music, painting, theater, libraries, collections of antiques and rare plants became an integral part of noble estates;
- noble estates disposed to creativity, writing. They brought up the color of the Russian intelligentsia of the XVIII-XIX.

1. Manor as a cultural phenomenon

The Russian noble estate as a phenomenon of artistic culture has been little studied, although there is literature devoted to the estate cultural centers of this time.
Art world The Russian noble estate was composed of a combination of various types of art, artistic and social life, cultural, economic and everyday life, a comfortable and at the same time refined architectural environment that harmoniously fit into wildlife. This compilation combination was not only closely connected with the processes that took place in the Russian artistic culture of the 19th century, but also had a significant influence on these processes.
On the one hand, the noble estate glorified by writers and poets was itself a kind of cultural phenomenon. The estate was integral part provincial culture and at the same time belonged to urban culture, thus participating in the mutual exchange of these two poles of culture, contributing to their enrichment and strengthening.
The Russian estate was not only a pleasant place for the owners of the estate to live seasonally, but also corresponded to the aesthetic ideals of a person of that time and had conditions that simplified relations with the common people.
A.A. Fet asked the question: “What is a Russian noble estate from the point of view of moral and aesthetic (” And he himself answered: “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, while the natural does not shy away from ennobling cultural cultivation by man, when poetry native nature develops the soul hand in hand with the beauty of the fine 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.
In the 19th century classicism dominates in manor building. This style "contributed to the preservation of the integrity of the human race, arguing that all contradictions can be overcome." It is the harmony of “home”, “garden” and “nature” that Fet speaks of and was reflected in classicism. Hence the desire to isolate, separate and harmonize the island of the estate. It gave a feeling of independence and freedom (the cult of antiquity). The estate strengthened a person's faith in their well-being. It was the birthplace of a nobleman (man), his childhood passed here, he returned here so that death would save him from old age.
In general, the artistic appearance of the estate was set up so that its entire environment exuded history. Classicism connected the past and the present, antiquity and modernity. Hellas was reminded of: 1) the columns of the main house, 2) murals imitating Pompeian ones, 3) “antique” furniture and utensils. Sculptures in the house, marble statues in front of the house and in the garden represented the heroes of antiquity and mythological allegories.
You don't have to look far for examples. Suffice it to recall the richest collection of statues "Maryino": "Venus of Maryinskaya", "Goddess of Medicine", "Julius Caesar", "Socrates" or "Mokva": "Three Graces", etc.

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» 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 domestic 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

Holding virtual tours on the historical estates of our region.

a) basic literature:

1. Noble and merchant estate in Russia: historical essays XVI - XX 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. The 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. Myth noble nest: geocultural research on 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 the Russian estate culture 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 - the first half of XIX 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

Russian manor - as a factor of cultural formation of spiritual and aesthetic

outlook of the nobility.

Gorodnova Lyubov Evgenievna - Tambov State local history museum

Abstract: the article discusses the uniqueness of the provincial noble. This is due to the fact that real monuments of manor construction are still preserved - elements cultural code estates: architectural and palace complexes, residential areas, religious buildings, landscape gardening ensembles.

Key words: province, Russian estate, cultural formation, Cultural Center, spiritual self-realization.

In the 20th century, the provincial noble estate, as a unique socio-cultural object, practically fell out of sight of culturologists, historians, and art historians. This was the result of the denial of the creative role of the nobility for several decades, and the estate culture was interpreted as a decadence of a national culture. And the propaganda carefully inflated for half a century - “war on palaces” - destroyed at one time tens and hundreds of noble estates. The theme of the uniqueness of the provincial noble estate in modern historical and cultural conditions is very relevant. This is due, first of all, to the fact that real monuments of manor construction are still preserved - elements of the cultural code of the estate: architectural and palace complexes, residential areas, religious buildings, garden and park ensembles.

The estates are many-sided and diverse in their essence; for centuries they served in the provinces as mini-outposts of Russian culture. The manor culture combined both the culture of the advanced nobility and folk culture. When arranging the estate, all the achievements of world art - painting and architecture - were used in the decorations of buildings and interior design. But at the same time, the internal potential of the estate was also actively involved - the abilities and talent of serfs. Owner using peasant labor, thereby contributing to the development of the talent of the craftsman - they both became accomplices in the creative process.

An important role in the organization of the estate space was assigned to mental stereotypes: estates were arranged with the strictest discipline, in the manner of military settlements (A.A. Arakcheev - the Gruzino estate, Tver province); they built oriental palaces with appropriate interiors, surrounded themselves with "home-grown" araps and serf odalisques (ID Shepelev - Vyksa factories, Nizhny Novgorod province). Noble Masons reflected their spiritual and philosophical views in the architecture, decorations and interiors of manor buildings. The theme of the philosophy of "free masons", after several decades of an unspoken ban, is again being addressed by researchers. But the theme of Masonic estates remains little studied so far because of the former diversity, there is practically nothing left at the present time. a shining example This kind of estate, with powerful Masonic symbols that have survived to this day, is the Zubrilovka estate of the princes Golitsyn-Prozorovsky (Penza region). Interest in Masonic philosophy was a deeply private side of life, but it was reflected in the realities of the estate world - the design of the temple, the architecture and the location of the buildings of the estate - the palace, church, bell tower.

The church in Zubrilovka, as in any other noble estate, was a spiritual center, embodied an independent world, the meaning of which was equally addressed to heaven, and to God, and to the inhabitants of the estate. Examples of an attempt to familiarize the inhabitants of the estate with the highest ideals are the wall painting of the chapel - the suffering of the Holy Martyr Barbara and the icon of the Archangel Michael. The grisaille murals of the temple are also ambiguous in their essence. The symbolism and coloring of the murals allow us to assume that the owners of Zubrilovka belonged to the Ioannovsky degree of Freemasonry, in particular, to the lodge of the Russian Eagle. The Ioannovsky degree is the three lower levels of the order (student, comrade, master), which made peaceful idealists out of brothers. It was dominated by the symbolism of ethical principles - equality, brotherhood, universal love. The coloring of the Ioannovsky degree is bright and clear, the color scheme is corresponding - gold, azure, white. The Russian Eagle Lodge was founded on March 12, 1818, its main symbol is the Kleinod double-headed eagle, whose presence

we observe in the murals of the Zubrilovsky temple. The postulates of the lodge "freemasons" star (sun) - a symbol of the Great Architect of the Universe; the cross and the crown of thorns are symbols of the martyrdom of Christ; bible - Foundation stone Masonic philosophy; the wand is a symbol of the power of the supreme master of the lodge; segments of columns - a symbol of stability, the fundamental nature of Masonic teachings; pincers and a hammer - tools for processing wild stone (wild stone - the human soul); knots - a symbol of the fortress of the Masonic brotherhood; lilies - a symbol of the Virgin Mary; three-candlestick - a symbol of the third stage of the order; the double-headed eagle - the symbol of the Russian Eagle lodge - is present not only in the murals of the chapel, but also in the altar parts of the chapel churches.

The arrangement of the estate was partly a tribute to the fashion for country palaces, but it was not a simple improvement of the everyday life of a nobleman away from the capital. Important, and paramount, was the fact that every owner dreamed of building " family nest”, whose essential attributes are the manor house, church, greenhouses, gardens, parks, cascades of ponds, flower beds, utility yards, etc. In a word, everything that later on in young offspring will be associated with the concept of " small motherland". Born on the estate, they served in the capitals, receiving ranks and awards, traveled the world in search of new experiences and ideals, and the last shelter was found, as a rule, in the family necropolis of their native estate. Eternal love for the “native ashes”, sometimes even inexplicable, in this case - a feeling of a high philosophical order, which, leveling class differences, in fact, is an implication of the spiritual unity of the nobility and common people. The color of manor life was determined by the spiritual space, history, traditions, which were reverently guarded and passed down from generation to generation, with significant events imprinted forever in family heirlooms, with a family gallery, library, collections, family albums, tombstones near the church. The continuity of family traditions - “it is customary for us”, adherence to patriarchal foundations, living with a large family, warm relationships - determined the behavior model of the inhabitants of the estate. More than one generation of the nobility was raised on tribal values, on the “traditions of ancient times,” for whom nobility, duty, honor, and responsibility were integral features of an educated person. The value system of the nobility underwent a transformation over time, but the eternal ones remained - "for the Faith, the Tsar and the Fatherland."

After the peasant reform of 1861, the provincial estate went through a period of decline, but, retaining the status of an independent cultural space, it continues to serve as a source of inspiration for poets, artists, and composers. Here creative person fully understood the futility of the vain world, experienced, lacking at all times, a sense of freedom. The spirit of the estate attracted, fascinated, inspired. The best works of the "golden age" were created in the conditions of a prosperous noble estate. It was after arriving in his native Mara that Yevgeny Boratynsky wrote the following lines:

chains imposed by fate

Fell from my hands, and again

I see you, native steppes,

My initial love.

Nikolay Krivtsov enjoying rural scenery, wrote, imitating A.S. Pushkin:

I lived long and enjoyed long,

But since then I only know bliss,

How the Lord brought me to Lubichi.

idyll rural life G. Derzhavin and M. Lermontov were enthusiastic. V. Borisov-Musatov was inspired by Zubrilovka, the estate of the princes Golitsyn-Prozorovsky, to create his best paintings. Sergei Rachmaninov created everything significant in his work in Ivanovka -

family estate his wife. I. Bunin sang the “Swan Song” to the estate when the estate culture suffered the fate of the “cherry garden”.

At the beginning of the 20th century, old Russia collapsed under the pressure of nihilistic revelry - “we will destroy the whole world of violence”. Disappeared forever, burned in the furnaces of cynicism and lack of spirituality, estate values ​​- books, paintings, collections of arts and crafts. A blatant paradox of vandalism - built for several generations, centuries - destroyed in a few months. The names of noble estates disappeared from the map of Russia, palaces were destroyed, estate churches, parks, family necropolises were destroyed. The ties with the past, with the origins of our culture, have been severed. But history and culture Russian state it is impossible to imagine without the noble families of the Sheremetevs, Rumyantsevs, Naryshkins, Golitsyns, Stroganovs, Prozorovskys, Volkonskys, Chicherins, Boratynskys and others. Best Representatives nobility in the diplomatic field or on the battlefield were involved in significant milestones in the world and national history. These events were reflected in the creation of the image of the estate, which brought progressive ideas into the spiritual, cultural and social environment of the province. The Russian province, due to its poverty, could not afford a sated cultural life, nor monumental architecture - this was the prerogative of the capitals. The noble estate, both urban and suburban, was the only source of transformation of the appearance of the province. Manor complexes organically fit into surrounding landscape, emphasizing the harmonious fusion of nature and human creation. The culture of the noble estate must be accepted as a phenomenon of a national character. Representatives of many noble families, brought up in the estate, turned out to be scattered all over the world by the will of fate - artists, poets, composers, they enriched the culture of foreign countries.

The study of the phenomenon of a noble estate is a complex direction in the national

without studying the features of the living space of the estate, its influence on environment, we lost it in material terms. The history of the Russian provincial noble estate is currently being studied by researchers based on the surviving fragments, and these are, at best, the ruined remains of palaces, temples, outbuildings and small park areas. Only with their help it is possible to judge the architectonics of the manor culture, its features, the symbolism and semantic content of the palace and park complexes. The culture of a provincial noble estate must be studied in the complex of all problems - theological, cultural, historical, art history, environmental. Only then will we be able to fully comprehend and appreciate the contribution that the Russian estate made to the development of not only Russian, but also world culture.