Modern estates. Lifestyle. Suggestions and features. Historical and literary image of the Smidovich estate. A trip to the “sacred forest Russian estates of the 19th century as a source of inspiration

Yakusheva Elizaveta

The era of urbanization is passing - people are tired of living among dust, asphalt and exhaust gases. People want to break free, they want the real, pure and natural. And thanks to the high level of progress, life in the bosom of nature and the modern level of comfort are now quite compatible concepts. Moving out of town, we remember how our ancestors lived and apply their experience in a new life.

The history of the Russian estate goes back almost six centuries. Even in the period of ancient Russia, in any village there was a house of the "owner" that stood out among others - a prototype of a local estate. The word "estate" comes from the Russian verb "to sit down", and as a phenomenon, the estate took root on Russian soil because, according to researchers, it invariably remained for the owner a corner of the world, mastered and equipped for himself.

A family estate is not just a country house and the land adjacent to it, but also a spiritual territory, where a variety of events in your family's life are collected and captured. Everyday worries, happy holidays, family celebrations, work and leisure time - all this has been preserved and passed through the centuries, reminding you of the history of the family. The estate, in the original sense of the word, is a small homeland of a person, where several generations of his ancestors lived. In our time, this concept is practically lost. We live in city apartments, being city dwellers in the second or third generation, we go out of town to a personal plot, which most often can hardly be called a family estate. If Europeans can proudly tell you about the history of their kind, lead you through the halls of the family estate, where ceremonial receptions were held, then we can tell you more about the pedigree of a pet than about our own. It just so happened in our country. But more and more often modern people come to understand what kind of history means to them. Building a "family nest" is the first step towards restoring the previous role of the family estate, preserving and respecting the history of one's ancestors.

Today, a "family nest" can be called a fairly large land plot with various outbuildings, a master's house, a place for rest. Of course, life in the modern "family nest" is different from what was available to our ancestors. Modern suburban settlements are built with a well-thought-out infrastructure, all the benefits of civilization are available to their inhabitants, but one thing remains unchanged - life in harmony with nature and with oneself. Endless expanses, green or snow-covered fields, natural reservoirs, horseback riding and boating do not cease to be in demand.

As soon as one utters the phrase "Russian manor", an established image rises before one's eyes: a wrought-iron fence, a collapsed stone entrance arch, overgrown alleys, empty park pavilions and gazebos, a manor house, in which, it seems, footsteps and whispering of former inhabitants can still be heard.

Russian estate is a treasure of Russian culture. Today, in the 21st century, we can say that the Russian estate is being reborn: many families choose an interior for a country house or city apartment in the traditions that were formed during the time of tsarist Russia.

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Municipal educational institution

Secondary school №89. G. Volgograd

City competition educational

research works

High school students "I and the Earth"

named after V.I. Vernadsky

section of the history of the Fatherland

The history of the Russian estate and the lifestyle of its inhabitants.

Performed:

student of grade 9 "A"

Yakusheva Elizaveta

History teacher:

Gnatkovskaya Lyudmila Viktorovna

Volgograd, 2014

1.Introduction ………………………………………………………… ..3-6

2. The history of the Russian estate and the way of life of its inhabitants ……… ..7-21

3.Conclusion …………………………………………………… ... 22-24

4.List of literature ………………………………………… ...... 25-26

1. Introduction

In other words, the estate became a place where a person decided to settle down, live at home, put down roots. A family estate is not just a country house and the land adjacent to it, but also a spiritual territory, where a variety of events in your family's life are collected and captured. Everyday worries, happy holidays, family celebrations, work and leisure time - all this has been preserved and passed through the centuries, reminding you of the history of the family. The estate, in the original sense of the word, is a small homeland of a person, where several generations of his ancestors lived. In our time, this concept is practically lost. We live in city apartments, being city dwellers in the second or third generation, we go out of town to a personal plot, which most often can hardly be called a family estate. If Europeans can proudly tell you about the history of their kind, lead you through the halls of the family estate, where ceremonial receptions were held, then we can tell you more about the pedigree of a pet than about our own. It just so happened in our country. But more and more often modern people come to understand what kind of history means to them. Building a "family nest" is the first step towards restoring the previous role of the family estate, preserving and respecting the history of one's ancestors.

Relevance of the research topic. The choice of the theme is due to the importance of the estate in the culture of Russia. For many centuries, the estate was the main component of the national socio-cultural reality. The peculiar historical preconditions for the emergence and development of the Russian estate made it a pronounced national phenomenon. The study of the estate from a culturological point of view is now the most relevant, since it is caused by the growing processes of the formation of national identity in connection with the changing idea of \u200b\u200bthe place and role of Russia in universal cultural development.

The new principles of our country's presence in the world community require respect not only for foreign national cultures, but, first of all, for our own. The growing growth of Russian national self-awareness at the present time necessitates the restoration of historical and cultural memory. The traditions of Russian culture are uninterrupted, as they are the fruit of the joint efforts of many generations. Modernity is inconceivable without the "age-old building of culture", without awareness of the previous moral, spiritual, intellectual experience, without respect for the fund of enduring values \u200b\u200baccumulated by our people.

The Russian estate is a phenomenon that to a large extent determined the peculiarities of Russian culture, its historical life and spiritual content. The estate is interpreted as a sign of Russia, a symbol of Russian culture. Its presence is invariable in the visual arts, literature, music.

Research objectis a Russian estate and its inhabitants.

goal work is the study of the Russian estate, consideration of its role and place in the national culture, to see the way of life of the inhabitants of the Russian estate.

Tasks:

Highlight the historical stages in the life of the estate;

Study the lifestyle of the inhabitants of the estate

The main workinghypothesis The research can be formulated as follows: considering the Russian estate as a sociocultural phenomenon in its historical development will clarify the understanding of the national characteristics of Russian culture in general, enrich the modern understanding of the originality of its traditions and their role in the formation of national identity today.

Scientific novelty presented research is that the Russian estate is considered in the methodology of complex cultural analysis. This approach makes it possible to reveal the features of this phenomenon as a unique historical and cultural complex, one of the most significant phenomena of Russian culture. The study also proposes the principles of classification and the foundations for the typology of the Russian estate in the political and economic, socio-psychological, spiritual, artistic and aesthetic life of Russia.

Theoretical significance research consists in the novelty and reliability of the results obtained, which represent a significant contribution to research on this problem.

Practical significance the work consists in the relevance of developing history lessons dedicated to the culture of Russia, where the problems of the Russian estate should take a significant place. The research material can also be used in special courses and extracurricular activities with schoolchildren.

2.History of the Russian estate and the lifestyle of its inhabitants

A manor in Russian architecture is a separate settlement, a complex of residential, utility, park and other buildings, as well as, as a rule, a manor park, constituting a single whole. The term "estate" refers to the possessions of Russian noblemen and wealthy representatives of other estates, dating back to the 17th - early 20th centuries.

The first mention of the estate in documents dates back to 1536. In a separate book in June 1536, the division of the estates of the Obolensky princes between relatives in the Bezhetsk district is recorded. From the text it turns out that there was a homestead near the village of Dgino.

The following main categories are distinguished, which have a number of features that affect the appearance of Russian estates:

boyar estates of the 17th century;
landowners' estates of the 18th-19th centuries;
city \u200b\u200bestates of the 18th-19th centuries;
peasant estates.

The composition of a classical manor house usually included a manor house, several outbuildings, a stable, a greenhouse, buildings for servants, etc. A church was often built in large estates.

Urban noble estates, typical for Moscow, to a lesser extent for St. Petersburg, provincial cities, as a rule, included a manor house, "services" (stables, sheds, servants' quarters), a small garden.

Many Russian estates were built according to the original designs of famous architects, while a considerable part was built according to “standard” designs. In the estates that belonged to famous collectors and collectors, significant cultural values, collections of works of fine and decorative arts were often concentrated.

A number of estates that belonged to well-known philanthropists became famous as important centers of cultural life (for example, Abramtsevo, Talashkino). Other estates became famous due to the famous owners (Tarkhany, Boldino).

After the October Revolution of 1917, almost all Russian noble estates were abandoned by their owners, most of them were plundered and further desolate. In a number of outstanding estates during the years of Soviet power, museums were created (Arkhangelskoye, Kuskovo, Ostankino - in the Moscow region and Moscow), including memorial (Yasnaya Polyana in the Tula region, Karabikha near Yaroslavl, etc.).

According to the National Foundation "Revival of the Russian Estate", in 2007 there were about 7 thousand manors in Russia, which are monuments of history and architecture, and about two thirds of them are in ruins.

The estate was born from the inherent aspirations of man to equip the world around him, to bring it closer to the speculative ideal. For a nobleman, the estate has always been a "haven of calmness, work and inspiration", in which one could hide from everyday hardships. The estate immersed in the world of simple human joys, in the cycle of household chores and entertainment associated with construction, gardening, theater, hunting and receiving guests. In the bosom of nature, in peace and quiet, many values \u200b\u200bacquired their true meaning. In the shadow of the muses, poetry was written, romances were composed, pictures were created. The present day coexisted in the estate with the past, the memory of which lived in the portraits of the family galleries, in the park monuments and in the "paternal coffins" of tombs.

Manor estates throughout the 18th century. served as a place for the life of their inhabitants, here they were born, brought up, for most of them their whole life passed here, the life of more than one generation. Wealthy landowners left their "family nests" only for the winter or for the time of service and study. For large aristocratic landowners, estates were official ceremonial residences, an administrative and economic center with its own bureaucratic apparatus, a huge "staff" of courtyard people headed by a clerk, with an office through which "decrees" and instructions were sent. The estates occupied large territories due to the lands assigned to them, forests, fields, peasant villages. In his estate, the owner acted as a monarch, and his serfs were his subjects. Their richly decorated manor houses resembled palaces. The arrival of the landowner was met with bells ringing, bread and salt.

One of the most significant consequences of Peter's reforms was the change in morals and customs. But the seeds of European culture on Russian soil, which the reformer tsar so indomitably planted, gave bizarre and not always successful shoots. Unaccustomed from their traditional way of life, they assimilated someone else's superficially, consumeristically. From the achievements of Western culture, they borrowed primarily what made life pleasant and comfortable

Noble estate of the 18th century formed and evolved in line with contemporary advanced ideological, aesthetic and artistic trends of domestic and European culture, accumulated the spiritual, artistic and material culture of modern society. The closest prototypes for a large aristocratic estate were the royal country residences near St. Petersburg. And those, in turn, served as role models for provincial estates. The culture of the noble estate has created excellent examples of architectural and garden-park ensembles, fine arts, music and theater.

When decorating the estate ensemble of the last third of the 18th century. a special place was given to the surrounding landscape, the dignity and expressiveness of the natural landscape, terrain, green areas, reservoirs were emphasized. The latter were given the configuration of natural lakes. The deficiencies of the territory were made up for by artificial methods, achieving the credibility of the authenticity of nature, untouched by man.

Since the 1760s, after the abolition of the compulsory noble service, the flourishing of the rural estate begins. Changes in the appearance of the estate did not become noticeable immediately. The habitual, traditional way of life was not violated by all owners. The share of manor settlements by counties by the 1780s dropped. The share of estates without manor houses has also increased. Perhaps this was due to the movement of some of the nobles to the cities, to new county institutions. As before, the manor houses were mostly wooden. As in the first half of the century, the bulk of the nobility in the counties owned one estate. It is indicative that the number of estates without peasant households has sharply decreased. Wealthy landowners still held a strong position in such industries as livestock, poultry, horticulture, and fish farming. Greenhouses became a characteristic feature of many estates. Judging by the developed estate economy, the number of courtyard people did not decrease either, but among them the number of those who mastered rare craft specialties (carpenters, carvers, locksmiths, etc.), which were necessary for the improvement of manor houses, increased.

Back in the 40s of the 18th century, during the reign of Empress Anna Ioannovna, the prince's house in Arkhangelskoye consisted of only three rooms, in fact - separate log cabins, connected by a passage. The interiors of this dwelling were also unpretentious: in the red corner of the icon with an inextinguishable icon lamp, along the walls of a bench, a tiled stove, an oak table, four leather chairs, a spruce bed “in motley and knurled pillowcases”. A bathhouse, outbuildings - glaciers, a barn, a cookery fit into the courtyard, fenced off by a low lattice fence. The main attraction of the estate was the stone church of the Archangel Michael.

The majestic palaces of noblemen were usually built on high places, on the picturesque banks of rivers or lakes, dominating the district and helping their owners to enter the image of the sovereign ruler. This fun was extremely common among the nobility. It seemed prestigious to have your own court, your own ladies-in-waiting, chamberlains and ladies of state, court marshals and equestrians, amused pride, intoxicated with the feeling of unlimited power.

Balls were held on solemn days. In the estate of the nobleman Prince Golitsyn, for example, according to the description of an eyewitness, it happened like this: “The guests gathered in the brightly lit hall, and when all the guests were assembled, the prince's own orchestra played a solemn march, and the prince went out into the hall to the sound of his the shoulder of his chamberlain. The ball opened with a polonaise, and the host walked with his lady of state, who had previously kissed his hand ... "

The wealthy and noble landlords, or who wanted others to think so, tried to erect a vast stone house, surrounding it with many also stone outbuildings, outbuildings, colonnades, greenhouses and greenhouses. The house was surrounded by a garden with ponds and a park, regular or landscape, depending on the tastes of the owner. Among the trees were statues in antique style, and often monuments too. The manor world was created very carefully and in detail. In a good estate there should be nothing that is not thought out. Everything is significant, everything is an allegory, everything is "read" by those initiated into the estate sacrament. The yellow color of the manor house showed the wealth of the owner. The roof was supported by white (symbol of light) columns. The gray color of the wings is the distance from the active life. And red in unplastered outbuildings is, on the contrary, the color of life, activity. And all this was drowned in the greenery of gardens and parks - a symbol of hope. Swamps, cemeteries, ravines, hills - everything was slightly corrected, corrected and called Non-Brides. Becoming significant in the manor symbolism. Naturally, this ideal world was necessarily, although often purely symbolic, fenced off from the surrounding world by walls, trellises, towers, artificial ditches - ravines and ponds.

Every tree, every plant means something in general harmony. White birch trunks, reminiscent of white columnar trunks, serve as a stable image of the homeland. Lindens in the driveways during the spring bloom hinted at heavenly ether with their fragrance. Acacia was planted as a symbol of the immortality of the soul. For the oak, perceived as strength, eternity, virtue, special glades were arranged. Ivy, as a sign of immortality, twined the trees in the park. And the reeds by the water symbolized solitude. Even the grass was seen as mortal flesh, withering and rising. It is characteristic that aspen, as a "cursed tree", is practically not found in noble estates.

The size of the manor house and the luxury that surrounded it depended on the state of the landowner, and it could be formed in different ways. One of the sources of means for the existence of a "noble" person was service, or rather, abuse on it, to put it simply - theft. Almost everyone sinned by this, only on a different scale, from the district solicitor to the governor-general and the minister.

The more comfortable the house was, or the more its owner wished to have the glory of a good owner, the more strictly regulated the inner life of that little world that included the population of the master's estate. Detailed instructions outlined the responsibilities of each servant and a list of penalties for failure to comply or improperly performed. In one of these instructions, drawn up by the Moscow master Lunin, we read that the daytime waiter “without reminding himself must often send the boys to remove the candles cleanly and neatly; it will be required if the candle is not placed directly in the chandal, or it is wobbling ... "After supper, the day waiter and footman had to extinguish the candles and take them to the buffet, where they carefully disassembled all the cinders, of which the smallest were then given to be poured into new candles, and large cinders were ordered to be consumed in the back chambers.

Life in the estate was clearly divided into ceremonial and everyday life. The man's office was the intellectual and economic center of the estate's daily life. However, it was almost always furnished very modestly. "The cabinet, placed next to the sideboard (pantry), was inferior to him in size and, despite its seclusion, seemed still too spacious for the owner's scholarly occupations and the storage of his books," wrote FF Vigel. Throughout the entire 18th century, when intellectual and moral work became the duty of every nobleman, the owner's office belonged to almost the most casual rooms of the estate. Everything here was designed for solitary work. Accordingly, the study was furnished. The "Golan" or "English" office was considered fashionable. Almost all of its furnishings consisted of ascetic oak furniture, with very discreet upholstery, and a modest table clock. The writing desks did not complain. Preference was given to secretaries, desks, bureaus.

The master's office, in contrast to the hostess's chambers, was hardly decorated and was decorated very modestly. Only an exquisite decanter and a glass for "morning consumption" of cherry or anise (it was believed that this helps to prevent "angina pectoris" and "stroke" - the most fashionable diseases of the 18th - early 19th centuries) and a smoking pipe were considered indispensable. At the turn of the century, smoking became a symbolic ritual. In the living room and in the hall, no one ever smoked even without guests in their family, so that, God forbid, somehow this smell would not remain and so that the furniture would not stink. Smoking began to spread noticeably after 1812.

It was here, in the office of the owner of the estate, that the managers reported, letters and orders were written, the rent was calculated, the neighbors were simply accepted, and the projects of the estate architects were discussed.

Since the men's office is designed for work, books played a major role in its interior. Some of the books were necessary for a successful housekeeping. In the quiet mansion offices, a fashion for reading was formed. If the men's office was the private center of the estate, then the living room or hall served as its ceremonial face. This division into home and guest, everyday and festive was characteristic of the entire noble era. One of the consequences of this division of the entire life of the noble family was the differentiation of manor interiors into "ceremonial apartments" and "rooms for a family name." In wealthy estates, the living room and hall served different purposes, but in most houses they were perfectly combined.

Contemporaries, of course, perceived the hall or living room as a ceremonial, and therefore officially - a cold apartment. The hall, large, empty and cold, with two or three windows to the street and four to the courtyard, with rows of chairs along the walls, with lamps on high legs and candelabra in the corners, with a large piano against the wall; dances, gala dinners and a place of playing cards were her purpose. Then the living room, also with three windows, with a constant sofa and a round table in the back and a large mirror above the sofa. On the sides of the sofa there are chairs, chaise longues, tables, and between the windows there are tables with narrow mirrors all over the wall. The ceiling of the hall was certainly decorated with a magnificent plafond, and the floor with parquet inserts with a special pattern. The solemnity of the ceremonial hall was given by the carved gilded wood of the walls and furniture. Cold - white, blue, greenish tones throughout the living room were only slightly supported by gold and ocher. The center of the room was almost always a large ceremonial portrait of the current reigning person in an indispensable gilded frame. It was placed deliberately symmetrically along the main axis of the living room and was given the same honors as the sovereigns themselves. At the beginning of the 19th century, living rooms "warm up". Now they are already painted in pinkish or ocher warm colors. Lush gilded furniture is replaced by more austere mahogany. Handicrafts move here from ladies' offices. And in the fireplaces, which were cold before, a fire is lit every evening, fenced off from the hall by embroidered fireplace screens.

And the purpose of living rooms is changing. Now family holidays are held here, quiet. Often household members gather for family reading. In the evenings the whole family sat in a circle, someone read, others listened: especially ladies and girls.

At the very end of the 18th century, a women's office appeared in the manor house. This was demanded by the sentimental age, with its images of a gentle wife and businesslike mistress. Now, having received an education, the woman herself shaped the spiritual image of not only her children, but also the courtyard people entrusted to her care. The day of the noblewoman, especially in the country estate, was filled with worries to the utmost. Her morning began in a secluded office, where they went for an order with a report, for money, with a daily menu.

However, over the course of the day, the functions of the women's cabinet change. The morning is always businesslike. And in the daytime, and especially in the evening, the hostess's office turns into a kind of salon. The very concept of a salon, where performers and audience change each other, where there is talk about everything and nothing, where celebrities are invited, was formed at the end of the 18th century.

In her estate office, the hostess received the closest relatives, friends, neighbors. Here she read, painted, did needlework. She also kept up an extensive correspondence here. Therefore, the women's office has always been distinguished by its special comfort and warmth. The walls were painted in light colors, covered with wallpaper. Floral decor, the same floral painting covered the ceiling. The floor was no longer formed from a bright typesetting parquet, but was covered with a colored carpet. Fireplace warmth was added to the warmth of communication in the women's office. Stoves and fireplaces here were abundantly decorated with faience tiles with reliefs on the themes of ancient mythology.

But the main role in the women's study was undoubtedly artistic furniture. The walls between the windows were occupied by large mirrors resting on graceful tables. They reflected portraits of watercolors, embroidery. The furniture itself was now made of Karelian birch. Small round tables and tables - bobiks, armchairs and bureaus allowed the owner of the study to build the necessary comfort herself. At the same time, they tried to divide the single space of the office into several cozy corners, each of which had its own purpose.

The dining room took a special place of honor among the state rooms of the estate. At the same time, the dining room and the necessary daily space. It was here that the family felt like unity. After the dining room is on a par with the most ceremonial premises of the noble estate, they begin to decorate it in a special way. The walls of this bright room were usually not decorated with tapestries or fashionable silk fabrics - they absorb odors. On the other hand, paintings and oil paintings were widely used. In addition to still lifes, natural in the dining room, paintings on historical themes or family portraits were often placed here, which further emphasized the splendor of the room. In estates, where several generations have changed, dining rooms often became a place for storing family relics. Sometimes entire collections were posted.

But they tried to put as little furniture as possible in the dining rooms - only that which was necessary. The chairs were, as a rule, very simple, since the main requirement for them was convenience - dinners sometimes lasted very long. The tables, on the other hand, could not stand at all. They were often made sliding and carried out only during lunch, depending on the number of guests. However, in the middle of the 19th century, a huge table already occupies almost the entire space of the dining room.

A must in dining rooms of the 18th century are buffets - slides, on which various items from porcelain and glass were exhibited. Small console tables attached to the wall served the same purpose. With the accumulation of family collections, such sideboards and tables were replaced by large glazed cabinets in which collectibles were located.

Porcelain held a special place in Russian dining rooms of the 18th - 19th centuries. Not a single estate could be imagined without him. He performed not so much an everyday as a representative function - he spoke about the wealth and taste of the owner. Therefore, good porcelain was specially mined and collected. Custom-made porcelain sets were a rarity even in very wealthy homes, and therefore the entire set of dishes was collected literally from separate items. And only by the end of the 18th century, porcelain sets firmly took place on the dining tables of the Russian nobility.

Metal utensils were practically not used in the estates; they were gold or silver. At the same time, if golden dishes spoke to the guests about the wealth of the owner, then porcelain - about refined tastes. In poorer houses, pewter and majolica played the same representative role.

In the 18th century, several bedrooms appeared in the estates. Front bedrooms - living rooms have never been used. These were purely executive rooms. During the day we rested in the "daily bedchamber". At night they slept in private bedrooms, which were located in the private chambers of the owner, hostess and their children.

Here, in the bedroom, the day of the owners of the estate began and ended. According to the Orthodox tradition, going to bed was always preceded by evening prayer. In the bedroom there were icons especially revered in the family. Most often these were icons with the image of the Mother of God. The piety of the owners was expressed in the abundant decoration of the icons. Expensive silver and gold frames were ordered for them, decorated with chasing, engraving, and stones. They preferred to personally decorate especially expensive icons with embroidered beads or river pearls. Often among the serf manor masters there were their own icon painters. And the landowner, as a rule, supported the local church and all its ministers at his own expense.

Numerous draperies made of expensive fabrics served as a natural decoration for the manor bedrooms. The same fabrics were used to make lush curtains on the windows, bed canopies, decorated with bouquets of feathers ("feather bouquets"). They tried to upholster the upholstered furniture for seating with the same fabric, thus creating a set.

And yet the life and dwellings of most of the nobles remained forcedly modest and unassuming. In contrast to the noble estate that grew up on an elevated bank and dominated the district, the house of a poor landowner huddled in a hollow to protect itself from the winds and cold. The walls were dilapidated, the window frames were cracked, the windows were cracked. Many estates retained such a miserable appearance for almost a century and a half, unchanging from the second quarter of the 18th century to the middle of the 19th century. The reason was, of course, poverty, which the owners could not overcome even with the merciless exploitation of serf labor.

An example of the estate of that time is the estate of the famous memoirist Andrei Bolotov in the 50s of the 18th century. A one-story house without a foundation, almost up to the tiniest windows, has grown into the ground. Of the three rooms, the largest, the hall, was unheated and therefore almost uninhabited. Of the furniture, there were benches on the walls, and a table covered with a carpet. Other rooms were residential. The huge stoves were so hot in winter that with a lack of fresh air (there were no vents and no windows were opened), the inhabitants fainted. They walked away from fainting and drowned again, following the rule that "the heat of the bones does not ache. The right corner is lined with icons, furniture - chairs and a bed. The second room was quite small in size, and simultaneously played the role of a nursery, a footman’s, and a girl’s, depending on the need and circumstances.

Almost a hundred years have passed, and this is how an ordinary noble estate of the middle of the 19th century appears in the description of contemporaries: the landlord's house is divided by simple partitions into several small rooms, and in such four or five "cells", as a rule, a large family lives, including not only a few children, but also all sorts of hospitality and certainly distant poor relatives, among whom there were the owner's unmarried sisters or elderly aunts, and in addition - governesses, nannies, maids and nurses.

In the estate of the "middle hand" there were one hundred, two hundred or more peasant households, in which lived from several hundred to 1-2 thousand serfs. The owner's house was located a short distance from the village, sometimes next to the church. It was spacious, but most often wooden, two-story and certainly with a "hall" - for receiving guests and dancing. The yard, as in the old days, was occupied by outbuildings: a kitchen, human huts, barns, a carriage shed, a stable. In some estates a new house was built without demolishing the old one. It was intended for the family of the eldest son or for the owner's wife, who for some reason did not want to live under the same roof with her husband.

The new house, in contrast to the old one, in which the spirit of the old time was preserved for decades, was more willing to decorate with elegant furniture, mirrors, paintings. Family portraits occupied an important place among the paintings in the noble estate.

Behind all, in the very last and farthest ranks of the Russian nobility, was its most numerous part - the small estates. The notions prevailing in society also did not allow them to lag behind their more wealthy brethren. The emergence of an increasing number of small estates led to the fragmentation of estates between the heirs. Since the beginning of the 19th century, after the transfer of state peasants to the ownership of the nobility stopped under Alexander I, the shredding of estates became especially noticeable.

Over time, the grinding reached an extreme degree, and then the landlord's house could no longer be distinguished from the peasant dwelling, and the landowner himself could not be distinguished from his serf. However, already at the beginning of the 19th century, there was a considerable number of homeless and "soulless" nobles who did not have a single peasant or courtyard at all and cultivated their land plots on their own. There were especially many small landowners in the Ryazan province. There they even received a special nickname "noblewomen". Such "noblewomen" sometimes inhabited entire villages, their houses were mixed with peasant huts, and the size of their land plots was so small that they could not feed the "noble" family itself, often very numerous. There was no time for hospitality or visiting guests. The usual dwelling of the small landed nobles was a tiny, dilapidated building of two rooms, separated by a passage, with an attached kitchen. But in the house there were two halves - to the right of the entrance “master's”, to the left - human, and thus, here, among poverty and squalor, the estate spirit was preserved, separating masters and slaves.

Each of these halves, in turn, was divided by partitions. In the human room there were sleeping beds, spinning wheels, and hand millstones on the walls. From furniture - a rough table, benches or several chairs, chests, buckets, and other things that are needed on the farm. Under the benches, baskets of eggs were usually kept, and dogs, poultry, calves, cats and other animals wandered or ran around the room.

The master's half was cleaner, tidier, furnished with furniture, though old, pretty shabby, but "remembering" the best times. The rest of the room was not much different from the peasant dwelling. But one of the characteristic signs of small-scale life was the same, inherent in the richer nobles, the multitude of all kinds of hangers-on and parasites, huddled together with the owners in their extremely modest home. In circumstances of need, merging with real poverty, relatives lived in cramped quarters and often from hand to mouth, who had absolutely no one to go to for help and nowhere to look for a piece of bread, except in this wretched "family nest." Here one could also meet “unmarried nieces, the elderly sister of the owner or mistress, or the uncle — a retired cornet who squandered his fortune”.

In such a close and poor cohabitation, quarrels and endless mutual reproaches arose. The owners found fault with the freeloaders, they, not remaining in debt, recalled the long-standing benefits rendered by their fathers to the current breadwinners. They scolded roughly and "in the most common way", reconciled and quarreled again, and the hours of the truce were diversified with gossip or playing cards.

The culture of a noble estate of the 18th century occupies an important place in the history of Russian culture of this period, remaining for us to this day a "fairy tale". As a result of the study of estates, we become richer: "a new period of Russian culture has opened, interesting and important not only for the perfection of our material creations, but also for our thoughts, our poetry and philosophy, our beliefs and tastes."

3. Conclusion

The study showed that the Russian estate for many centuries was one of the main components of Russian culture. The estate reflected not only the spiritual and aesthetic ideals of its time, but also the individual character traits of the owner, combining the general and the special. At the same time, the estates were both keepers of patriarchal traditions and the place where the most daring undertakings were embodied.

Each type of Russian estate was a system, a dynamic integrity, reflecting one's own attitude to the world and understanding of the connection with it and the role of man in it. Determining the place of the Russian estate in the socio-cultural context from the historical typological positions is necessary for understanding the genesis of Russian culture in general and regional in particular.

The following general conclusions can be drawn:

1. The estate is an organic and integral phenomenon of Russian culture, the appearance of which is caused by essential socio-cultural needs and is conditioned by all the previous historical and cultural development of the country.

One of the main features that determined the "longevity" of the estate is its rootedness in Russian culture.

2. Establishment of the freedom of the noble landowner, the theory of "life order" lay at the heart of manor construction. The estate acted as a peculiar way of expressing the creative and aesthetic energy of the Russian nobility. Each individual estate had its own ideal model of reality. Monologue was one of the most important characteristics of the Russian estate, which determined its originality and uniqueness.

The presence of borders with the external environment was a necessary condition for the preservation of the artificially created idyllic "manor paradise". At the same time, the estate itself was in difficult and contradictory relations with the capitals, with the district town, with neighboring estates, with the peasant world. Oriented towards metropolitan culture, the estate has always been an opposition to statehood, simultaneously existing as a phenomenon of provincial culture.

The manor became the main component of the landscape, often changing the natural environment and occupying the most aesthetically advantageous place.

The national originality of Russian manor gardens and parks lay in their greater openness, in an organic combination of intimacy and spatial connection with the environment. The national landscape still preserves the traces of the manor transformation of nature.

The Russian estate has always been and was considered by its inhabitants as a "family nest" of the Russian nobility. Its atmosphere was supported by portrait galleries illustrating the "family bloodline"; telling about the merits of their ancestors; estate churches, which usually served as family tombs.

The main principle of life in the estate - understanding life as creativity - found different forms of expression. The active character of the owner of the estate was a means of achieving harmonization both for his personality and for the whole life in the estate. In this regard, economic improvements and intellectual pursuits, artistic amateurism and various manor amusements were equally related to useful activities.

3. In the estate, the noble and peasant cultures, as well as the essentially synthetic ecclesiastical culture, were inextricably linked.

Manor art combined plastic and spectacular views; professional, amateur and folk forms. The manor theater was the most democratic both in terms of the composition of the performers and the choice of repertoire.

Picture galleries in the estates served as one of the forms of deliberate introduction of elements of Western European artistic life into Russian culture. At the same time, the estate was at the same time a collection of art treasures and a center of artistic creativity.

In the second half of the 19th century, the Russian estate was transformed from a subject of artistic activity into its object. Literature and painting became the expression of nostalgic longing for the life of the estate.

The estate is constantly present in the national cultural and artistic memory, being one of the most important culture-forming factors.

The estate was an organic and integral phenomenon of Russian culture, which reflected the living way of life in Russia. Now the estate occupies an important place in the national cultural heritage. The study of this socio-cultural phenomenon in the historical stages of its development allows one to penetrate deeper into the spiritual foundations and originality of the national culture, contributing to the acquisition of national identity, dignity and historical and cultural memory, as well as to clarify and concretize the idea of \u200b\u200bthe realities of national culture. Being a fact of national culture, the Russian estate belongs to the fund of universal values.

4.List of literature

1. Bartenev I.A., Batazhkova V.N. Russian interior of the 18th-19th centuries. L .: Stroyizdat, 1977 .-- 128 p.

2. Bakhtina I., Chernyavskaya E. Masterpieces of garden and park art // Building and architect of Moscow. 1977. - N10-11.

3. Borisova E.A. Some features of pre-romantic tendencies in Russian architecture of the late 18th century // Russian classicism of the second half of the 18th early 19th century. - M .: Fig. lawsuit, 1994 .-- pp. 175-183

4. Brodsky B.I. Witnesses of a strange age. M .: Det.lit-ra, 1978 .-- 157 p.

5. Vergunov A.P., Gorokhov V.A. Russian gardens and parks. Moscow: Nauka, 1988 .-- 412 p.

6. In the vicinity of Moscow: From the history of Russian manor culture of the 17th-19th centuries. Moscow: Art, 1979 .-- 398 p.

7. Memoirs of VA Insarsky. From the life of our landowners, 1840-1850s // Russian antiquity. 1874. - Book. 1-2. -T.IX. - S.301-322.

8. Golitsyn M. Petrovskoe // Russian estates. SPb., 1912.-Issue 2. - 138 p.

9. Golombievsky A. Abandoned estate: the village of Nadezhdino, the former estate of the princes Kurakin // Old years. 1911.- N1.- S. 4-7.

10. Denike B. Paradise-Semenovskoe // Among collectors. 1924. -N9-12. - С.31-

11. Dolgopolova S., Laevskaya E. Soul and Home: Russian estate as an expression of Sophia culture // Our heritage. 1994. -N29-30. - S. 147-157.

12. Evsina N.A. Architectural theory in Russia in the second half of the 18th and early 19th centuries. - M .: Art, 1985 .-- 328 p.

13. Zabelin I.E. How did Russian tsars-sovereigns lived in the old days? -M .: Panorama, 1991.48 p.

14. Zgura V.V. Society for the Study of the Russian Estate // Architecture. 1923. - N3-5. - S.69-71.

15. Ivanova L.V. Society for the Study of the Russian Estate // Fatherland. Issue 1. - M .: Profizdat, 1990. - P.36-43.

16.Kazhdan T.P. The cultural life of the estate in the second half of the 19th century. Kachanovka // The relationship of arts in the artistic development of Russia in the second half of the XIX century. Ideological principles. Structural features. Moscow: Nauka, 1982, pp. 264-297.

17. Kazhdan T.P. Russian estate // Russian artistic culture of the second half of the 19th century. M .: Nauka, 1991, - S. 354-393.

18. The World of the Russian Estate: Essays. Moscow: Nauka, 1995 .-- 294 p.

19. Monuments of the Fatherland. The world of the Russian estate (Almanac N25). -M .: Russian book, 1992.167 p.

20. Ryabtsev Yu. S. The world of the Russian estate of the 18th century. / / Teaching history at school. 1994. - N4. - P.37-41.

21. Toropov S.A. Suburban estates. M .: Publishing house of Ak. Architects of the USSR, 1947 .-- 39 p.

22. That wonderful world of the XVIII-XIX centuries. in. M .: Sov. Russia, 1991 .-- 477 p.

23. Shchukina E.P. "Natural Garden" of the Russian Estate at the End of the 18th Century // Russian Art of the 18th Century: Materials and Research. Moscow: Nauka, 1973 - pp. 109-117.

24. http://www.hnh.ru/nature/Russian_manors

25.http: //russkaya-usadba.livejournal.com/

A bit of history
A manor in the Russian tradition is a separate settlement, a complex of residential, economic, park and other buildings, as well as, as a rule, a manor park, which make up a single whole. The term "estate" refers to the possessions of Russian noblemen of the 17th - early 20th centuries; it is believed that it originated from the Russian verb "to sit down".
The first mention of the estate in documents refers to 1536. In a separate book in June 1536, the division of the patrimony of the Obolensky princes between relatives in the Bezhetsk district is recorded. From the text it turns out that there was a homestead near the village of Dgino.
Thus, the history of the Russian estate goes back almost six centuries. According to researchers, the estate took root on Russian soil because it invariably remained for the owner a corner of the world, mastered and equipped for himself.
The family estate is not just a country house and the land adjacent to it, but also a spiritual territory, where a variety of events in the life of the family are collected and captured. Everyday worries, happy holidays, family celebrations, work and leisure time - all this was captured and passed through the centuries, recalling the history of the family. The estate is like a small homeland of a person, where several generations of his ancestors lived.

Our present with you
Unfortunately, now the concept of "homestead" is practically lost. We live in city apartments, being city dwellers in the second or third generation, and even if we go out of town to a site, it is difficult to call it a "backyard". But more and more often, modern people come to understand what kind of history means to them. Building a “family nest” is the first step towards restoring the former role of the family estate, preserving and respecting the history of our ancestors.

In modernized suburban construction, the so-called "cottage villages" prevail, which are actively built up with houses made of stone, glass, metal and plastic. Yes, it is practical, effective, stylish, but, as they say, the Russian spirit does not live there and does not smell of Russia. Not to mention the lack of environmental friendliness of such buildings.

However, not so long ago wooden construction in the Russian style experienced the first stage of revival.

Fortunately, already at the end of the past century and with the onset of the new millennium, the traditions of the Russian estate began to revive among those who like to lead a country lifestyle, surrounded by nature, in the midst of peace and quiet. And the very environment in such housing is conducive to pacification and peace.

What can a modern manor be like?
The meaning of a modern estate can be formulated as a separate land tenure with a complex of residential, economic, park and other buildings, including the estate park - a single whole (family) estate that has absorbed all the triumph of progress, and at the same time, without forgetting about the traditional values \u200b\u200bof Russian architecture ...

So, the estate is a complex system of buildings on a plot of at least 30 acres. Central house, outbuildings, guest houses, bathhouse, garage, gazebos, boiler room, autonomous power plant, garden, squares, pond, etc.

Of course, the central residential building has its own special requirements. Being the center of the estate and the ancestral estate of future generations, this house should be expressive enough from the point of view of the exterior, reliable and durable from a constructive point of view.

Life on a family estate, as mentioned, presupposes a change of generations of its owners, but it may also be so that three families will live in good harmony under one roof at once. This task, of course, is being successfully solved by the verified design of the central building.

Naturally, the issue of its operation - the availability of life support systems - is on a par with the design of the estate. The estate must be provided with energy supply, heating and sewerage systems in such a way that the owners of the house think about them as little as possible, and the maintenance staff would take over the daily operation.

Summing up, we can say that today the "family nest" is a fairly large plot of land with a master's house, a place for rest and various outbuildings. Modern suburban settlements are being built with a well-thought-out infrastructure, all the benefits of civilization are available to their residents, but one thing remains unchanged - life in harmony with nature and with oneself. Endless expanses, green or snow-covered fields, natural reservoirs, horseback riding and boating do not cease to be in demand.

The State Historical Museum and the Union of Photo Artists of Russia present an exhibition as part of a project to study photographic estate heritage

State Historical Museum, until April 6, 2015
Main building of the Historical Museum, Voskresenskie gates
Moscow, Red Square, 1

The State Historical Museum and the Union of Photo Artists of Russia held a contest "The Image of a Russian Estate" as part of a project to study the photographic heritage of the estate. More than 500 works were submitted for the competition, completed in 1987–2014 and depicting many estates in central Russia. The best photographic works - the winners of the competition are presented at an exhibition within the walls of the State Historical Museum.

The Russian estate was the basis of the noble life, economy and culture of the Russian Empire. As a vivid expression of national genius and a place where elite and folk cultures meet, she embodied Russia, its harmonious ideal hypostasis. The disappeared Atlantis of the Russian estate left a lot of documentary and artistic evidence. Photographic images testify to this phenomenon of the Russian world visibly, multifaceted, fully. The Russian estate is a favorite theme of many generations of photographers, various creative tasks and professional skills. Some authors saw their task in documenting architectural and landscape objects, others viewed shooting as a pleasant pastime in their leisure time, and still others sought to create works of art by means of light painting.

In the 1920s and 1930s, when the cultural traditions of pre-revolutionary Russia turned out to be alien to the new government, this topic acquired a special dramatic meaning. The plans of the largest creative union of the Russian Photographic Society included holding at the end of the 1920s the exhibition "Russian Estate in Photography", organized by the famous photographer Y. P. Eremin. Outstanding masters of light painting N.I.Svishov-Paola, A.D. Grinberg, P.V. Klepikov were fascinated by the manor plot. They strove, first of all, to create a new image of the estate, which embodied not the beautiful “outgoing” Silver Age, but the “past”, irretrievably lost, dying past. The exhibition did not take place. The photographers were accused of the fact that the "old" is "dearer to them than the new", critics noted the social alienation of the estate theme to the new system and the old-fashionedness of such subjects. The 1920s – 30s became the last significant period in the development of the estate theme in artistic photography. For the next decades, this topic remained the property of documentary and amateur trends.

The Russian Photographic Society, to a certain extent, was the prototype of the Union of Russian Photographers, created in 1991. The "Image of a Russian Estate" competition was conceived to support and actualize the important topic of preserving national heritage and continuing photographic traditions. The results showed that it was the creation of the image of the estate that became the main thing for the participants of the competition, as it once did for the members of the Russian Photographic Society. The photographers, using a variety of shooting media, expressed their own views on this significant phenomenon of Russian history and culture. In general, the complex of competitive works is a "snapshot" of the current state of the estate: sometimes - museumified, more often - decaying or practically lost.

The words of the chairman of the Society for the Study of the Russian Estate A. N. Grech, written in 1932, are still relevant today: “ In ten years, a grandiose necropolis was created. It contains the culture of two centuries. Here are buried monuments of art and everyday life, thoughts and images that inspire Russian poetry, literature and music, social thought". Russian photographers made a significant contribution to the preservation of historical memory. Once Yu. P. Eremin explained to his opponents: “ It seemed to me necessary and exciting to remove the architecture of the old manor, I considered it important to preserve these documents of the past for our present". The works of the participants of the competition demonstrated that interest in this important topic exists and, we hope, will not be exhausted.

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Rybalko D.M. (Tula), researcher at the V.V. Veresaeva House-Museum / 2011

“It seems to me: our life is the same sacred forest. We enter it so ourselves to have fun, to have fun. And everything around lives, everything feels deeply and strongly ... Yes, one should enter into life not as a cheerful reveler, as in a pleasant grove, but with reverent awe, as in a sacred forest full of life and mystery. "

V.V. Veresaev

Following the thoughts of the writer, we will try to reconstruct the speculative historical and literary image of an old noble city estate of the second half of the 19th century, the Smidovich estate in Tula on the street. Verkhne-Dvoryanskaya (now Gogolevskaya St., 82, House-Museum of V.V. Veresaev). After all, the writer, doctor, Pushkin scholar, translator V.V. Veresaev, who grew up on the same soil with the parental garden, absorbed such a reverent attitude to life: “Until the age of seventeen continuously, and then for many years in the summer I lived in Tula and the Tula province and , of course, it was completely saturated with Tula nature. Wherever I portrayed a provincial city ("Without a road", "At the turn", "To life") Tula served as my material. "

Both the accumulated materials from the State Archives of the Tula Region and literary sources will help us to reveal the historical and literary image of the estate, as well as literary sources: works and memoirs of the writer himself, which are no less reliable due to the realistic style of writing, which is very characteristic of V.V. Veresaev.

So, we have a number of documents on the history of the Smidovich estate in Tula: a) the purchase fortress of the doctor's wife EP Smidovich on the house 231/223, a yard and a garden place on the street. Verkhne-Dvoryanskaya from April 28, 1867; b) V.I.Smidovich's petition for the sale of a part of the estate located under the garden to his wife Mrs. Smidovich for rounding off her estate on Verkhne-Dvoryanskaya Street. June 3, 1874; c) the petition of the widow of the court counselor E.P. Smidovich for the construction of a wooden staircase on the 2nd floor of her house dated February 19, 1898. A drawing of the estate with all the buildings is attached to these documents - this is a one-story wooden house where the Smidovich family lived; a two-story wooden house that was rented out; sheds and shed. The boundaries of the estate and the surnames of the neighbors are indicated, which shows that the Smidovich estate has the form of a regular rectangle with sides of 41 and 26 fathoms, with a total area of \u200b\u200b4785 sq. In addition, a description of the estate, or rather the meteorological site on it, can be found in the book by V. I. Smidovich "Meteorological observations in the city of Tula in 1877", as well as by studying the photographic material and the plan of the house drawn up by Veresaev.

These undoubtedly important historical facts, which formed the basis for the creation of the museum, by themselves would never have been able to convey the former splendor of the estate life, in contrast to the living writer's word: “... Dad had his own house on Verkhne-Dvoryanskaya Street, and I was born in it. It was a small house with four rooms, with a huge garden ... The garden at the beginning was, like all the neighboring ones, almost entirely fruit, but dad gradually planted it with fruitless trees, and already in my memory, only here and there were apple trees, pears and cherries ... Strong maples and ash trees grew and widened, the birches of the great alley rose more and more, thickets of lilac and yellow acacia along the fences grew thicker and thicker. Every bush in the garden, every tree was familiar to us ... And there were excellent places for games: under Daddy's balcony, for example, a dark, low room where you had to bend over ... A lot of villainy was committed in this dungeon, a lot of bandits hid , many torments were experienced by the captives ... "

This excerpt from the memoirs of V.V. Veresaev clearly shows how spiritually important a literary source is for us, which depicts its authentic reality, reveals the inner world of the estate, and the state of mind of its inhabitants, which cannot be conveyed only by historical materials to an ordinary reader, not a specialist ... For us, such a source is VV Veresaev's "Memories" and a number of his works, where one can see not only the image of the estates that are native to the writer, but also traces the realities of the estates of Russia. In the story "Without a Road", thanks to which Veresaev became famous in Russia, events unfold either in the vicinity of an old noble estate in the village of Kasatkin (the prototype is an estate in the village of Zybin, where the writer visited every summer), then in Slesarsk (Tula), although we are talking about the decline of the populist movement. In the book, we will see the linden alleys of the Zybinsky garden, a large manor house with columns along the facade, the Vashanu river, picturesque surroundings. But the image of the estate in the works of Veresaev is often collective, formed from the aromas of the Tula garden and shady ash vaults along the city outskirts, the latitudes of the suburban Vladychnya and Zybin.

In addition, a literary source can often either confirm or deny archival evidence. In addition, it contains a ton of factual material. So, for example, having only one plan of the Smidovich estate, we would never be able to get a complete picture of it. But now, comparing the writer's documents and memoirs, we learn that the garden was of a park type, mostly maple, lovingly planned and planted by the writer's father Vikenty Ignatievich Smidovich, the shape of a regular quadrangle, large enough for a city estate. In addition to maples, ash trees, linden, spruce and many shrubs grew in it: elderberry, wild rose, roses, jasmine-mock-orange. When examining the garden in 1993, 13 trees planted by V.I.Smidovich at the age of 100-130 years were identified, and traces of gravilate, balsam, forget-me-nots were found in the soil. The decoration of the garden was a bush of white rhododendron, which was removed to the greenhouse for the winter. We learn about this again from memories: “When I was still very young, my father was very fond of gardening ... There were hotbeds, there was a small greenhouse. I vaguely remember the warm, steamy air, the patterned leaves of palm trees, the wall and ceiling of dusty glass, the slides of loose, very black earth on the tables, the rows of pots with planted cuttings. And I also remember the sonorous, firmly imprinted word “rhododendron” ”.

In front of the garden there was a large flower garden, where the rarest flowers grew, which were lovingly looked after by Vikenty Ignatievich. How much my father valued his garden can be judged by the exceptional case when the future writer was whipped for the only time in all the time: “Dad called me, led me to a flower, showed him and said: - See, here's a flower? Don't you dare not only touch him, but don't come close. If it breaks, it will be very unpleasant for me. Got it? - Got it. " The fact is that Vincent, who was a great inventor and dreamer, understood the pope in such a way that he was entrusted with transplanting a flower. Of course, he was very flattered by the trust placed in him and made the transplant with the utmost care, for which he was unjustly punished.

The birch alley, laid from the house to the pavilion at the end of the garden, was the main compositional and planning axis of the estate. In the far corner there was a canooper bush, on the crooked path that led from the courtyard to the birch alley there was a Tatar maple, on a round hill there was a horse chestnut. Yellow acacia, white and blue lilacs grew along the fence. Old Russian varieties of apple trees grew from fruit trees on the site: pear, cinnamon, borovinka, antonovka, kitaika, fruits that, according to the writer's memories, were so tempting for children, especially on the eve of the apple salvation.

An unusual activity for a noble family was work in the garden, in which not only the servants, but also all household members took part: "By Trinity, the garden had to be cleaned: rake last year's leaves and twigs from the grass with a rake, sweep the paths, sprinkle them with sand." But then an interesting story unfolds before us, about how my mother suggested the children let go of the old day laborer, give him money, and finish the work themselves, to which the children happily agreed: “We worked with animation for three days and cleaned the garden for the holiday ". In addition, a reasonable tradition was established by the mother: "Any of us really needed money, he could get work from his mother in the garden or in the yard ... Mom instructed me to clear the area under the big linden tree from the grass and twigs from the grass and twigs." And the fight against May beetles: “Spring. The birches have just unfurled their patterned, cheerful green leaves. May beetles with a businesslike buzzing rush around the birches, and we are bustling down below - sweaty, panting, with eyes crawling out onto our foreheads ... Never afterwards did nothing fill me with such pride in my useful work as this fight with May beetles. "

It is important to note that the outer decoration of the estate and the structure of life in it have always been a reflection of the inner world of its inhabitants. The Smidovich family was very significant for Tula, because the writer's father, a Polish nobleman, was considered one of the best doctors, was known for his social and scientific activities aimed at improving the sanitary condition of the city, the love of the Tula working poor, which he treated free of charge and in the first clinic, and at home. He contributed to the construction of the first water supply system in Tula, the opening of the largest Tula park named after IP Belousov on the site of the former city dump and much more. He owned an interesting collection of minerals and a library in various branches of knowledge. And he happily handed over his chemical laboratory, located in the basement of the house, to the City Sanitary Commission created by him. Conducted systematic meteorological observation, with the help of which he left a detailed description of the features of the Tula climate, so there was a meteorological site on the estate. The description of this site, as well as the results of work on it, we can read in the book "Meteorological observations in the city of Tula for 1877".

It was a tradition in the family to arrange family readings in the evenings, a day of the German language once a week, children's dance evenings on Christmastide, and invite interesting people. The Smidovich estate is still a meeting place for the Tula intelligentsia. It is no coincidence that it was here, in a house with such rich family traditions, that the writer's mother, E. P. Yunitskaya, a natural-born teacher, opened the first kindergarten in Russia, “a perfect curiosity in Tula,” writes V.V. Veresaev. There is evidence of this in the "Tula Provincial Gazette" dated October 25, 1872: "With the permission of the trustee of the Moscow educational district, I open on November 1 this year on Bolshaya Dvoryanskaya Street, in my own house, a kindergarten for children from 3 years to 7" And the signature : "Elizaveta Pavlovna".

The father cared not only about the moral and intellectual development of his children, but also, like a doctor, about physical health: “At the end of our garden there was a large playground, and on it there was“ gymnastics ”: two high pillars with a cross beam; in the middle there are climbing poles, a knotted rope, a trapeze. " These structures also served as decorations for children, where, as V.V. Veresaev writes, “there were various adventures of an Indian character”: “Once, after many adventures in different parts of the garden, my sister Arabella and I were captured by the Indians (I was Arthur, Julia - Arabella). The Indians tied us up ... It took place in a large gazebo, at the end of the garden: it was a real wooden house, painted green, with an iron roof, with three windows and a door ... We carefully climbed out the window and with the speed of a snake rushing on the prey, they started to flee into the virgin forest.

We ran all night and day. In the evening we made a halt on the steps of my father’s balcony.

I put my ear to the ground, ... parted the jasmine branches - and stopped as if rooted to the spot: in pursuit of us, thirty thousand red-skinned riders rushed ... We ran around the ledge of the house, a black barrel with rainwater, ran along the stable wall to a large linden ... Lying down in the impenetrable bamboo thickets, near the garden with onions, I beat from my choices at choice ... "

Memories of his youth are full of not so much detailed as poetic descriptions of the estate, where you can see what a fine palette of natural shades she endowed the soul of the future writer: “It was May, our large garden was like a bright green sea, and on it the white and purple foam of blooming lilacs lightened. Her scent filled the rooms. Sun, shine, joy. And there was not just joy, but a continuous feeling of it. "

Recalling the estates in emigration, one of the former authors of the St. Petersburg magazine Apollo A. Trubnikov wrote: “In the noble estates the whole essence of Russian culture has been condensed; they were intellectual greenhouses, in which the most beautiful flowers bloomed. From them came Pushkin, Lermontov, Tolstoy, Turgenev, Leskov, our great writers, our best musicians and poets ... the evolution of our society after Peter manifested itself not at all in the architecture of Tsarskoye Selo or the treasures collected by Catherine in the Hermitage, but in the birth of a very peculiar and the unlikely world of Russian estates. " All of the above applies equally to our estate.

Great writers (A.S. Pushkin in Zakharov, N.V. Gogol in the village of Vasilyevka, Poltava region, M.Yu. Lermontov in Tarkhany, L.N. Tolstoy in Yasnaya Polyana) matured as individuals in the conditions of the estate universe and subsequently all their life thought of it in categories.

The Tula estate of the Smidovichs is the source of everything: the personality and shades of the writer's work, the beginning of his life and creative path, the prototype of artistic images, the source of the book and worldview called "living life", rooted in childhood, in the parental garden. Unlike I. A. Bunin with his minor perception of the estate world (the Butyrki farm, in which the writer spent his childhood earlier, was away from the highways in the deepest field silence) Veresaev enthusiastically looks at life according to the ancient times. The author's rapture with life, living life, nature, music is not fictional feelings and images in his works, but genuine ones. We can easily be convinced of this if we read one diary entry made on July 13, 1892 in Tula during the period of writing the story "Without a Road": “Yesterday I arrived from Zybin. A wonderful time. The countryside alone can make me happy. I reveled in the smell of ripe rye, dewy starry nights, air, river ... In the evenings, music by Nadia Stavrovskaya, Beethoven. You sit on the terrace and listen through the open windows and look into the garden ... vague, but strikingly beautiful images form in your head. "

The whole work of the writer is saturated with the joyful mystery of the living, the Tula expanses endowed his soul with their colors, he thinks in terms of earthly beauty. And, perhaps, it was thanks to the natural sense of harmony that V.V. Veresaev entered Russian literature, as a public writer, like a tuning fork reacting to the falsity of the surrounding reality: “And how could I be so blind before not to see this penetrating everything life? And as a child, I felt it. I then went up to the window at night and looked into the garden. In the dim gloom, lilac bushes mysteriously dozed, strangely living branches moved against the pale background of the sky, and everything lived its own special, mysterious life. Having strayed away, wandered aside, I now returned to her, to this inaccessible mind, but conquering the soul, the bright mystery of life. "

Landscaping is becoming more and more popular not only among mansion owners, but also among amateur gardeners. It can be quite difficult to make your several hundred square meters cozy, elegant, and at the same time practical. The most difficult task sometimes becomes to decide on the ideas for the design of the site. Inspiration for garden landscaping can be found in 19th-century Russian manors.

Russian estates of the 19th century as a source of inspiration

The 19th century in Russia is associated with light luxury, pictures of gentlemen strolling slowly in the shade of green park alleys appear before our eyes. Often, such parks were adjacent to the territory of noble estates. The enthusiasm for landscape design, which began at the end of the 18th century, grew into a separate branch of art in the 19th century. Despite the fact that geographically Russia covers many climatic zones, landscape architects of that time managed to create magnificent parks and gardens. Any home area was divided into zones: for walking, for recreation, for work.

The Russian design was originally based on a regular style, that is, all elements had clear boundaries and regular shapes. This style was taken from Europe and combined various architectural eras: from the Baroque to the Renaissance. It was only in the 19th century that the eastern fashion for the landscape landscape came to Russia. At that time, the design began to change, the plants were planted in such a way as to seem a part of nature, slightly carelessly, but absolutely harmonious.

They were very popular among wealthy gentlemen. An obligatory attribute of the garden's design was laid out paths that passed under the arches of trees and led to the house itself. The connection of housing and the site was carried out by building terraces or gazebos. Such structures were made spacious and light so that one could spend time in them without fuss.

Despite the fact that the Russian style has borrowed many ideas from other cultures, it has its own individual trait. Also inIn the 19th century, a useful area was allocated on personal plots. Seasonal vegetables were grown there. Also, there was such a concept as a “pharmacy garden” - a small area where medicinal herbs were planted.

For a long time, the Russian style was not considered by modern designers as a separate direction in the creation of landscapes. When architects and garden designers paid attention to it, they found many interesting ideas for the garden and began to apply them in practice.

The emergence of such a thing as a summer residence is one of the last rounds in the development of Russian landscape design. To apply the Russian style in the garden, you do not have to be the owner of a suburban area per hectare. All the main ideas of this direction in design can be harmoniously located on several hundred square meters of the suburban area. The main areas of the Russian style include:

Home is always the main element... It comes from him central road through other design elements.
Front part of the garden... Flowerbeds are traditionally located here: hyacinths and tulips were popular in the 19th century.
A recreation area is required. A small gazebo can be built here.
A traditional feature of the Russian style is vegetable garden area... At the dachas of the late 20th century, the garden began to occupy almost the entire area of \u200b\u200bthe site.
Front garden. On the territory of this zone, you can plant trees and lay out a path.
Economic zone.

Each element in the Russian style carries a design load, several main features can be distinguished: curbs from, small architectural forms, paths laid out in a loose line.

For the garden, you can choose both annual plants and. On the territory in front of the house, annual flowers are usually planted in flower beds. Daffodils, tulips, marigolds, asters are well suited. Such flowers, planted in a chaotic manner, will set the tone for the house, and also visually expand the area.

Interesting! In the 19th century, the mistresses of the manor houses in the warm season planted plants on the site not in flower beds, but in pots. And with the onset of cold weather, the flowers were brought back into the house.

From the trees in the summer cottage, both fruit species (cherry, apple, pear) and evergreen (spruce, pine) will look advantageous. Don't forget about linden, willow and birch. From such trees, you can plant a magnificent cascade, creating a shady alley. It is recommended to plant plants under the trees that do not require a lot of sun, for example, or lily of the valley.

It is best to plant scented plants near the recreation area. Thyme, mint, oregano will give the air a unique aroma of freshness and help create an atmosphere for relaxation.

A great idea for your garden, if the area of \u200b\u200bthe territory allows, would be. The pond can be decorated with decorative architectural elements in the form of small sculptures.

Russian country in interior and landscape design

Rustic style or Russian country music is gaining more and more popularity. Many ideas for the garden and home can be taken not only from the design of the 19th century, but also from other eras. Country style means slight negligence, randomness... At the same time, the whole design looks absolutely harmonious. Particular attention should be paid to the tracks. Even if the path is tiled, it is best to leave small gaps for grass to push through. This path will be in harmony with the mood of nature. You can revive the summer cottage with the help of various decorative elements made by yourself. New ideas for summer cottages and gardens can be found in the photo:

Recreation area arrangement. Not too cozy for a personal garden, but you can borrow a harmonious combination of a fence, paths, a gazebo and white birch trunks.

This photo explains a little what makes the English garden and the Russian estate of the 19th century related - a certain melancholy and at the same time dignity, respectability.

“Wild” moments can be played in different ways, but in any case, dense, rich, slightly careless and mysterious greenery is one of the hallmarks of the Russian style.

The interior in Russian country is also rich in different ideas. You can start with the appearance of the house. It is not necessary to build a wooden hut. To give a rustic style, you can use the facing material in the form of beams. Carved shutters on the windows are well suited for the interior in the Russian style. The interior design of the house depends on the preferences of the owners. The cottage can be furnished with solid wood furniture. Or, on the contrary, the decoration can be light and lacy. For Russian country decoupage of furniture, the use of lace, for example, on a tablecloth, is suitable. Fresh flowers and wooden dishes will always look advantageous as a decor.

Remember! Country style does not imply a chaotic warehouse of all unnecessary. Russian country is just an appearance of negligence.

How not to create a fake Russian style

It is easy to get confused in all the variety of beautiful landscape ideas of the Russian style. The main thing is to avoid common mistakes when creating your own garden:

The Russian style does not tolerate clutter, its main feature is spaciousness. If the summer cottage does not allow you to create all the elements of the Russian style, it is better not to use all of them. In such cases, only those that the owners like more are left.
The main mistake when creating a Russian style in the country is the use of a lawn. Should be abandoned altogether.
You should not use sharp corners and strict shapes.
The color scheme of the Russian style is always harmonious. You should not use a combination of too bright colors in the same area.

Modern style "Russian estate" in the landscape

When creating landscape design, more and more designers use the Russian estate style or, as it is usually called, the "Russian style". This design move is especially popular on sites that are located in the immediate vicinity of a forest or a river.

Modern Russian style contains all the basic ideas for a beautiful garden , borrowed from the architects of the XIX century. Modern designers carefully select flowering plants that are suitable for a particular climatic zone. It is flowers in a modern style that are the main element of the garden. In the middle of the central path leading from the house to the gate, designers suggest installing or flower beds. All flowers in them must be combined in size and color.

Special attention is also paid to conifers... If there are no such on the territory of the site, then the designers propose to plant large-sized ones. For a complete picture of the estate, the designers add modern light arbors and benches that look harmonious in the recreation area, next to the central flower garden.

Reconstruction of an abandoned garden

A neglected garden is not a reason to be upset. Especially if it is planted with fruit trees or shrubs of various types. From such a garden, you can get an almost ready-made Russian country style. Growing flowers and plants, if trimmed, can be used as path curbs.

In cases where there are climbing plant species in abandoned areas, they will make a great pergola. Old household utensils can be used as decorative items for the garden. The abandoned area should be diluted with new planted flowers in the same color scheme as the wild plants.

Country style flower garden

A small detail can make the whole image. Such a bright flower garden will add color to an ordinary summer cottage and will not require special investments.