The image of a Russian estate in photography. Modern estates. Lifestyle. Offers and features Modern “Russian estate” style in the landscape

Saint Petersburg

The State Museum and Exhibition Center ROSPHOTO together with the State Historical Museum present the exhibition “The Image of a Russian Estate in Photography”, demonstrating a collection of estate photography from the 1860s to the 1920s from the collection Historical Museum. The exhibition allows us to trace the evolution of the estate theme in photography and identify the main directions of estate subjects in Russian photography.

The estate as the basis of noble life, economy and culture Russian Empire was a vivid expression of national genius and a meeting point between elite and folk cultures. Equal from a historical point of view, although not equal in artistic qualities, photographic images of Russian estates create a diverse picture of bygone estate culture, the poetic world of family nests and the private life of large noble and merchant families. The estate appears at the exhibition from several angles: from ceremonial views of large estates and amateur photographs from family albums to artistic images of ancient parks and abandoned estates.

The exhibition opens with custom-made views of estates made by masters of the largest photographic studios. The photographs, often large in size and specially designed, show advantageous views of the architectural complex and landscape, as well as portraits of the owners in their favorite estates. The plot of the estate views, the printing features, and sometimes the composition were determined not only by the ideas of the photographer himself, but also by the wishes of the customer. Many famous estates (Ostafyevo, Arkhangelskoye, Ilyinskoye), which served as the central residences of their owners, are depicted in a similar way. The exhibition features unique examples of early estate photography from the 1860s. – photographs of the Nikolskoye-Obolyaninovo estate, taken by M.N. Sherer, and Nikolskoye-Prozorovskoye M.B. Tulinova.

The second section is devoted to amateur photography. The authors of these photographs are the owners and guests of the estates themselves. The photographs are distinguished by the spontaneity of the subjects and the vividness of the composition. At the turn of the century, photography became an accessible form artistic activity. Summer leisure in Russian society was traditionally associated with the estate, so images of everyday joyful life on the estate became widespread in amateur photography. The appearance of amateur photographs is not related to the aesthetic or historical value of the estate; they are generated by the harmonious atmosphere of estate life and common family activities. The subjects of the photographs are varied: genre scenes (picnics on the grass, boating, walking), portraits of servants and guests, personal rooms on the upper floor, sweet secluded corners of the park and surrounding area.

The photographs in the next section reflect the interest that arose in the early 20th century in the study and preservation of the Russian estate with its artistic and historical artifacts. The estate is beginning to be perceived as a unique synthetic phenomenon of art and a place of ancestral memory. Photographers strive to capture features architectural ensemble and the interior complex of the estates. A number of masters turn to photography of architecture and the genre of views for the purpose of photographic documentation of monuments: P.P. Pavlov, N.N. Ushakov, A.A. Ivanov-Terentyev.

At the beginning of the 20th century. The myth of the Russian estate took literary and artistic form, and an idea was formed of it as a symbol of the passing culture of the nobility. The author's eye of the photographers was attracted by details and landscapes that conveyed the special passeistic mood of estate life - the poetry of dying, passing greatness. The main objects of the image - the estate nature and the park - became spiritual and emotionally charged. The idea of ​​the estate was embodied in iconic images of artistic photography: a young lady and a park alley. In some works, the artistically transformed image of the estate, as if covered with a light haze of memory, corresponds to the techniques of pictorial photography. The works in this section come from the collections of the Russian Photographic Society - the pearl of the photographic collection of the Historical Museum. Photos by N.S. Krotkova, V.N. Chasovnikova, V.N. Shokhin's works were shown in photographic competitions and were selected by the Society to create a museum. The estate theme was also reflected in the works of famous masters A.S. Mazurin and N.A. Petrova.

The last significant period in the development of the estate theme in artistic light painting was the 1920s. The enormous interest in studying the estate heritage and the poetry of devastated nests attracted leading Soviet photographers. At this time, having become exclusively a phenomenon of the past, the estate acquired the possibility of new interpretations. The exhibition presents photo studies of the outstanding domestic master A.D. Greenberg, who sought to create a new image of the estate. The photographer’s works embody the no longer beautiful “passing away” Silver Age, but the “past”, irretrievably lost, perished past. Most of these estate photographs were shown at the famous exhibition of 1928. “ Soviet photography in 10 years." Subsequently, the disappearance of estate culture as a living and powerful tradition led to the absence of its image in Soviet photography.

Exhibition hall of the Front building, 2nd floor.

State Museum and Exhibition Center ROSPHOTO

Address: St. Petersburg, Bolshaya Morskaya, 35

Directions: St. metro station "Nevsky Prospekt"/"Gostiny Dvor", "Admiralteyskaya", troll. No. 5, 22, bus. No. 27, 3, 22. Art. m. "Sennaya Ploshchad"/"Sadovaya"

EMail: [email protected], [email protected]

Image of a noble estate

and the fate of the hero in the novel by I.A. Goncharov "Oblomov"

Technologies: problem-based learning, ICT technology, integrated learning technology

Form of delivery: lesson-dialogue

Teacher's word

Ivan Aleksandrovich Goncharov came from a wealthy merchant family: his father was engaged in the grain trade, his ancestors were merchants for several generations. The writer had neither inherited nor acquired property. He spent his childhood in Simbirsk, and most of his life was connected with St. Petersburg, where he served. However, despite the lack of personal experience of “estate” childhood, Goncharov in the novel “Oblomov” creates a surprisingly believable, colorful and tangible image of a noble estate. His “Flemishness” was manifested in the depiction of Oblomov’s estate in all its strength.

The main action of the novel “Oblomov” takes place in St. Petersburg and its environs, but the image of Oblomov, which repeatedly appears on the pages of the work, is one of the central ones. On the one hand, Oblomovka is the childhood of the protagonist, that is, what, according to Goncharov, determines the character and, possibly, the fate of a person. On the other hand, this is the ideal of Ilya Ilyich, a kind of utopia.

We are introduced to the estate already at the beginning of the novel, through a letter from the headman, who is clearly deceiving his owner. Note that the nobles quite often found themselves cut off from their possessions and entrusted the farm to the headman or manager. You can remember what we wrote about in the introductory article to the section: sometimes only childhood and old age were connected with the nobleman’s native estate. The years of adolescence and youth were spent studying, and maturity - in service. At this time, people came to the family nest infrequently. It also happened, as N. A. Nekrasov describes in “The Forgotten Village”:

Finally one day in the middle of the road
The drogues appeared like gears in a train:
There is a tall oak coffin on the road,
And there’s a gentleman in the coffin; and behind the coffin is a new one.
The old one was buried, the new one wiped away the tears,
He got into his carriage and left for St. Petersburg.

The nobleman could not live on his estate due to various reasons. There are two main ones: public service and love for city (secular, cultural) life. However, none of these reasons exist for Oblomov. In the first part we see the hero’s attitude towards metropolitan life, and it is obvious that he does not like it, it seems full of meaningless vanity. He defines each of his guests with a summary word - “unhappy.” At the same time, Oblomov is not bound by the service. In addition, it is obvious that the economy requires his intervention.

- Why then does Oblomov not go to the village? What's stopping him?

What is important here is how the hero sees any journey as the end of the world (even moving to another apartment in the city), and the fact that he needs to first make a plan (he tells Stoltz about this). We get acquainted with this plan in eighth chapter of the first part.

Let's reread the passage. Let's answer problematic questions:

- What does the plan consist of?

- What is its main part?

- Why does Oblomov run through the “fundamental aspects” of estate management only briefly in his mind?

- What in this regard causes Goncharov’s obvious smile and ours, the reader’s?

- How useful and fruitful are Oblomov’s projects?

- What other character of Russian literature does Oblomov resemble here?

- Features of what literary movement can be seen in the description of a summer evening on the estate?

- What is the beauty and what is the disadvantage of such an ideal?

CONCLUSIONS (summarizing student judgments)

Oblomov’s plans show his Manilov-like dreaminess, inability and reluctance to delve into the management of the economy, an idealized, some kind of sentimental-bucolic idea of ​​​​local life. His estate, with steam rising from the fields and peasants returning from the fields, seems operatic and decorative. Life on the estate is in no way connected with the thought of work, but is thought of as a state of pleasant idleness (“even the servants are depicted as idle”).

Let's turn now to Oblomov's bedtime (part 1, chapter 9) and let’s take a mental walk through the real Oblomovka that our hero knew (after all, this is, in fact, not a dream, but a story about his childhood).

- What does Oblomovka seem like in this dream?

- What characteristic features and details do you remember?

- What is the tone of the story?

- What unites all the inhabitants of Oblomovka - both nobles and peasants?

- With what intonation does Goncharov paint Oblomovka and its inhabitants?

Let's consider at least a small fragment of the text in more detail from the point of view of style. Questions (can be in groups):

-How does the style of this text differ from the writer’s narrative style throughout the novel as a whole?

- For what purpose are such expressions used as “roaring lions”, “Egyptian plagues”, what do they set the reader up for?

- How is expectation destroyed by the appearance of the expressions “clucking chickens”, “chewing cows”, etc.?

- Why is the entire fragment based on negation?

- What is the style of this landscape?

- What does it have in common with Oblomov’s dreams from the eighth chapter?

You can show students one or two sentimentalist paintings that are idyllic in nature (slides 1-2). Let us pay attention to how man and nature are connected in the paintings, how nobles and peasants are depicted.

So, the description of Oblomovka is again an idyllic picture, reminiscent of a sentimental pastoral, but presented by the author in an ironic manner. The hero perceives her without any irony, so sentimental and ironic fragments are constantly mixed.

In the center of the dream is the image of little Ilyusha Oblomov. In essence, we have before us another estate “childhood” in Russian literature. The familiar moment of a child’s awakening is striking: “Ilya Ilyich woke up in the morning in his small bed. He is only seven years old. It’s easy and fun for him.”

Discussion of advanced task issues

- What are the similarities between the childhoods of Nikita, Nikolenka Irtenyev and Ilyusha Oblomov? How are they different?

Illustrative material will help us here. Let's compare illustrations by different authors: E. Bem, Yu. Gershkovich, I. Konovalov, V. Taburin, T. Shishmareva, N. Shcheglov, P. Estoppe.

Questions for the slides:

Slide No. 3. What mood does the illustration evoke? Imagine that you are driving into Oblomovka. What emotions do you have?

Slide No. 4. Why is the house by the ravine “rewarded” with a separate illustration? What additional meaning does the illustration acquire due to the figure of the child?

Slide No. 5. Compare the illustrations of T. Shishmareva and V. Taburin. What do they have in common? (Note the composition). What does Ilyusha’s pose express in both paintings? By what means do each of the authors convey the atmosphere of Oblomovka and Ilyusha’s state? Are these illustrations similar or different in concept?

SUMMARY OF ANSWERS

At first glance, the illustrations are surprisingly similar. The pose of the hero, the location of his figure, the tree and rickety buildings on the right side of the picture, the ascending diagonal clearly visible in the composition, the contrast between the general stupor of the world and the living figure of the child, which is also located diagonally, but in the opposite direction, almost coincide. However, upon careful reading of the paintings, we will notice that in Shishmareva’s illustration we see a curious child who is trying to lean out of the gates of a sleepy kingdom while its guards are sleeping, but it is as if he has stuck his feet to the border that he cannot cross; he himself remains there in the yard, only his head crosses the goal line. Taburin’s boy is more free, his figure is more dynamic. He reaches out to the flowering herbs, wanting to see and comprehend the secrets of the world that surrounds him.

Slide No. 6. Compare the illustrations of Yu. Gershkovich and I. Konovalov. What point of the text does each picture illustrate? How are these illustrations similar and how are they different (pay attention to the composition, poses of the characters, location, details)? How do the authors show the presence or absence of Ilyusha’s contact with the nanny at this moment? What does each illustration tell? What idea does the juxtaposition of these two illustrations lead us to?

The first illustration depicts the moment when Ilyusha looks on a summer morning at a passing cart and the shadow it casts and is surprised by the world, thinking about everything that he sees. In this episode, Ilyusha is tormented by the desire to run out of the yard and run up the mountain. Mentally, he left Oblomov’s circle. The artist managed to convey this in the boy’s very pose, in his focus on the distant perspective.

On the second - one of the winter evenings, when the nanny tells Ilyusha stories and fairy tales. Here, on the contrary, the relationship between the child and the nanny is emphasized: the heroes are in a tightly enclosed space, Ilyusha greedily absorbs stories, after which “he forever remains in the mood to lie on the stove, walk around in a ready-made, unearned dress and eat at the expense of the good sorceress.”

These illustrations clarify the peculiar duality of Oblomov’s childhood and the hero’s soul.

Slide No. 7. Compare the illustrations of E. Bem and N. Shcheglov. What do these images have in common? What principle underlies their construction?

The illustrations show the same moment: when the nanny falls asleep and Ilyusha, seizing the moment, sets off to explore the world around him on his own. The basis of both images, different in technique and style, is the contrast between the static figure of the nanny and the dynamic figure of the child. But if in Bem everything turns out to be enclosed, like a frame, by the boundaries of the dovecote, then in Shcheglov the child opens up a spacious world with the height of the sky and running clouds, towards which he joyfully stretches out his hands. The contrast between Oblomovka and the big world is emphasized in this illustration by light and shadow: the nanny sits in the shade of the house, while Ilyusha runs out into the sunlit space.

Slide No. 8. What is unusual about the illustration by the French artist? What impression does she make on you? What idea is expressed by the composition of the picture? What mood do human figures create?

In this picture, all the characters froze in a kind of sleepy static. The figures of adults tightly surround the child. At the same time, one gets the impression not so much of love and care as of constraint and even threat.

To sum up the conversation about illustrations, let’s say that there is a lot of love in little Ilyusha’s life: everyone adores and pampers him. But this atmosphere of love, which we emphasized as something purely positive when talking about the childhood of Nikolenka or Nikita, here becomes cloying and somehow distorted: “This entire staff and retinue of the Oblomov house picked up Ilya Ilyich and began to shower him with affection and praise; he barely had time to wipe away the traces of uninvited kisses. After that, they began feeding him buns, crackers, and cream. Then the mother, after petting him some more, let him go for a walk in the garden, around the yard, in the meadow, with a strict confirmation to the nanny not to leave the child alone, not to allow him near horses, the dogs should not go far from the house to the goat, and most importantly, do not let it into the ravine, as the most terrible place in the area, which had a bad reputation.”

So, we see that in childhood Ilya Ilyich was a lively and receptive child, but unlike Nikolenka or Nikita, he grows up under constant care, he is actually not allowed to do anything on his own. In addition, his life lacks the cultural atmosphere that we saw in Tolstoy (music, reading). From this point of view, it is interesting to compare the description of a winter evening in Nikita’s Childhood and in Oblomov’s Dream.

Goncharov believed that the impressions of himself early childhood are decisive in a person’s life: “Not a single detail, not a single feature escapes the child’s inquisitive attention; the picture of home life is indelibly etched into the soul; the soft mind is fed with living examples and unconsciously draws a program for its life based on the life around it.”

What are adults doing that little Ilyusha is absorbing?

“Oblomov himself, an old man, is also not without activities. He sits by the window all morning and strictly watches everything that is happening in the yard,” writes Goncharov about Ilya Ilyich’s father.

- What are these activities, how does the author talk about them, how does he feel about them?

- What is the activity of Oblomov’s mother?

- What does the life of all the inhabitants of the estate revolve around?

Ilya Ivanovich’s activities are absolutely meaningless: he looks out the window all day and distracts everyone working with unnecessary questions. His wife is focused on what is most important for the Oblomovites, what their world revolves around - food.

“Perhaps Ilyusha has long noticed and understands what they say and do in front of him: like his father, in corduroy trousers, in a brown woolen cloth jacket, all he knows all day is that he walks from corner to corner, with his hands behind him, sniffs tobacco and blows his nose, and mother moves from coffee to tea, from tea to dinner; that the parent would never even think of believing how many kopecks were mowed or compressed, and to recover for the omission, but give him a handkerchief too soon, he will scream about the riots and turn the whole house upside down,” Goncharov concludes.

This is the world of the estate in Ilya Ilyich’s childhood memories - the image of his “golden age”, his ideal (idealized) past.

ABOUTBlom's utopia placed by the author in the second part of the novel, in the episode of the dispute with Stolz (Chapter 4). Oblomov draws his friend imaginary pictures of his future life.

Let's re-read this text carefully with parallel compiling a table.

Then we ask you to mark the points in the table similarities and differences.

- Is Oblomov’s ideal similar to what surrounded him in childhood? How?

- What is the difference that Oblomov so ardently defends?

- What’s so great about this offer?“The lights were already on in the house; there are five knives knocking in the kitchen; a frying pan of mushrooms, cutlets, berries... there's music... Casta diva... Casta diva! » – how does it characterize Oblomov’s idyll?

One of the reasons that keeps Oblomov from going to the village, in his own words, is that he wants to come there not alone, but with his wife. Note that Oblomovka is a region family idylls. However, having become Olga’s fiancé and realizing that he has nowhere to take his young wife, Oblomov will never arrange matters regarding the estate.

- What's stopping him?

- Why can’t Oblomov make this path from his current state to the realization of his dream - a path that he always mentally “jumps over” (“Well, if only I would come to a new, calmly arranged house...”, he begins to explain his dreams to Stoltz , without dwelling on the thought of how the house will become “peacefully arranged”)?

- Why, instead of the family estate, at the end of the novel we see Oblomov on Vyborg side, in a kind of “surrogate” Oblomovka?

D/Z Tenth graders will have to answer these questions during their subsequent study of the novel.

APPLICATION

“Ilya Ilyich began developing a plan for the estate. He quickly ran through in his mind several serious, fundamental articles about quitrents and plowing, came up with a new, stricter measure against the laziness and vagrancy of the peasants, and moved on to organizing his own life in the village.

He was occupied by the construction village house; He happily paused for a few minutes on the arrangement of the rooms, determined the length and width of the dining room and billiard room, and thought about where his office would face with its windows; I even remembered furniture and carpets.

After this, he arranged the wings of the house, considering the number of guests he intended to receive, and allocated space for stables, barns, human services and various other services.

Finally he turned to the garden: he decided to leave all the old linden and oak trees as they were, and destroy the apple and pear trees and plant acacias in their place; I thought about the park, but, having made a rough estimate of the costs in my head, I found that it was expensive, and, postponing this until another time, I moved on to the flower beds and greenhouses.

Then the tempting thought of future fruit flashed through his mind so vividly that he was suddenly transported several years into the future to the village, when the estate had already been arranged according to his plan and when he lived there forever.

He imagined himself sitting on a summer evening on the terrace, at a tea table, under a canopy of trees impenetrable to the sun, with a long pipe and lazily inhaling smoke, thoughtfully enjoying the view from behind the trees, the coolness, the silence; and in the distance the fields turn yellow, the sun sets behind the familiar birch tree and blushes the pond, smooth as a mirror; steam rises from the fields; it becomes cool, dusk comes; the peasants are going home in droves.

The idle servants sit at the gate; there you can hear cheerful voices, laughter, a balalaika, girls playing burners; his little ones frolic around him, climb onto his lap, hang on his neck; sitting at the samovar... the queen of everything around her, its deity... a woman! wife! Meanwhile, in the dining room, decorated with elegant simplicity, welcoming lights shone brightly, a large round table was set; Zakhar, promoted to majordomo, with completely gray sideburns, sets the table, arranges the crystal and silverware with a pleasant clink, constantly dropping a glass or a fork on the floor; sit down to a hearty dinner; here sits his childhood comrade, his constant friend, Stolz, and other, all familiar faces; then they go to bed...

Oblomov’s face suddenly flushed with a blush of happiness...”

“The Lord did not punish that side with either Egyptian or simple plagues. None of the residents have seen or remember any terrible heavenly signs, no balls of fire, or sudden darkness; there are no poisonous reptiles there; the locusts do not fly there; there are no roaring lions, no roaring tigers, not even bears and wolves, because there are no forests. There are only plenty of chewing cows, bleating sheep and clucking chickens wandering through the fields and the village.

God knows whether a poet or a dreamer would be content with the nature of a peaceful corner. These gentlemen, as you know, love to look at the moon and listen to the clicking of nightingales. They love the coquette moon, which would dress up in fawn clouds and shine mysteriously through the branches of trees or sprinkle sheaves of silver rays into the eyes of its admirers.

And in this region no one knew what kind of moon it was - everyone called it a month.

She somehow good-naturedly looked at the villages and fields with all her eyes and looked very much like a cleaned copper basin.”

“The entire corner of fifteen or twenty miles around was a series of picturesque sketches, cheerful, smiling landscapes. The sandy and sloping banks of a bright river, small bushes creeping up from a hill to the water, a curved ravine with a stream at the bottom and a birch grove - everything seemed to have been deliberately tidied up one by one and masterfully drawn.

A heart exhausted by unrest or completely unfamiliar with it asks to hide in this forgotten corner and live a happiness unknown to anyone.”

The estate as the basis of noble life, economy and culture of the Russian Empire was a vivid expression of national genius and a place of contact between elite and popular cultures. The vanished world of the Russian estate has left a lot of literary and documentary evidence. Equal from a historical point of view, although not equal in artistic qualities, the photographs recreate the bygone poetic world of family nests and pictures of the private life of large noble and merchant families. Having observed the disappearance of estate culture A.N. Grech argued that after 1930 it should be perceived only “through the eyes of memory.” By visualizing the memory of several pre-revolutionary generations, photographic images reveal this phenomenon of Russian life visibly and fully. The estate appears at the exhibition from several angles: from ceremonial views of large estates and amateur photographs from family albums to artistic images of ancient parks and abandoned estates.

The exhibition opens with custom-made ceremonial views of estates, made by masters of the largest studios. The plot of the estate views, the printing features, and sometimes the composition were determined not only by the ideas of the photographer himself, but also by the wishes of the customer. The photographs document architectural complexes and landscapes, and capture the owners in their favorite estates. The famous ones, Ilyinskoye and Porechye, are depicted in a similar way. To unique examples of early estate photography of the 1860s. include stereo daguerreotypes from the T. Schneider and Sons" with the interiors of Maryin, photographs taken by M.N. Sherer, and created by M.B. Tulinov.

Amateur photographs, the authors of which are the owners and guests of the estates themselves, are distinguished by the spontaneity of their subjects and the vividness of their composition. The subjects of the photographs are varied: genre scenes (picnics, boating, walking), portraits of servants and guests, personal rooms, sweet secluded corners of the park and surrounding area. At the turn of the 19th and 20th centuries, photography became an accessible form of artistic activity. Summer leisure in Russian society is traditionally associated with the estate, so images of everyday joyful life on the estate have become widespread. The appearance of amateur photographs is not related to the aesthetic or historical value of the estate; they were generated by the harmonious atmosphere of estate life and common family activities.

Documentary photographs reflect the era that emerged in the 1890s–1910s. great interest in the study and preservation of the Russian estate with its artistic and historical artifacts. The estate began to be perceived as a unique synthetic phenomenon of art and a place of ancestral memory. Photographers recorded the features of the architectural ensemble and interior complex of the estates. P.P. turned to photography of architecture and views for the purpose of photographic documentation of monuments. Pavlov, N.N. Ushakov, A.A. Ivanov-Terentyev.

At the beginning of the 20th century. The myth of the Russian estate took literary and artistic form, and an idea was formed of it as a symbol of the passing culture of the nobility. The author's eye of the photographers was attracted by landscapes and details that conveyed the special passeistic mood of estate life - the poetry of dying, passing greatness. The main objects of the image - the estate nature and the park - became spiritual and emotionally charged. The artistically transformed image of the estate, as if hidden by a light haze of memory, corresponds to the techniques of pictorial photography. The idea of ​​the estate was embodied in the iconic images of photography - the young lady and the alley. Most of the works come from the collections of the Russian Photographic Society - the pearl of the photographic collection of the Historical Museum. Photos by A.S. Mazurina, N.A. Petrova, N.S. Krotkova, V.N. Chasovnikova, V.N. Shokhin's works were demonstrated at competitions and were selected for the future museum of light painting.

The 1920s is the last significant period in the development of the estate theme. Interest in studying the estate heritage and the poetry of destroyed nests attracted leading Soviet photographers. Having become exclusively a phenomenon of the past, the estate acquired the possibility of new interpretations. Photo studies of outstanding Russian masters no longer embody the beautiful passing of the Silver Age, but the former, irretrievably lost, perished past. Most of the photographs were shown at the famous exhibition “Soviet Photography for 10 Years” in 1928. Subsequently, the disappearance of estate culture as a living and powerful tradition led to the absence of the image of the estate in Soviet photography.

Landscape design is becoming increasingly popular not only among owners of mansions, 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 site design ideas. Inspiration for garden landscaping can be found in Russian estates of the 19th century.

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

The 19th century in Russia is associated with light luxury; pictures of leisurely gentlemen strolling in the shade of green park alleys appear before our eyes. Often, such parks were adjacent to the territory of noble estates. The passion 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 Russia geographically covers many climatic zones, landscape architects of that time managed to create magnificent parks and gardens. Any garden area was divided into zones: for walking, for relaxation, for work.

Russian design was initially 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 Baroque to Renaissance. And only in the 19th century the oriental fashion for landscape landscapes came to Russia. At that time, the design began to change, plants were planted in such a way as to seem part of nature, slightly carelessly, but absolutely harmoniously.

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

Despite the fact that Russian style borrows many ideas from other cultures, it has its own individual characteristic. Also inIn the 19th century, usable space was allocated to personal plots. Seasonal vegetables were grown on it. Also, the concept of a “pharmacy garden” appeared - a small plot on which medicinal herbs were planted.

For a long time, the Russian style was not considered by modern designers as a separate direction in creating landscapes. When architects and garden designers took notice, they found many interesting ideas for the garden and began to put them into practice

The emergence of such a concept as a dacha is one of the latest revolutions 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 dacha plot of one hectare. All the main ideas of this design direction can be harmoniously placed on several hundred square meters of dacha territory. The main zones of the Russian style include:

• The main element is always the house. It comes from him central road through other design elements.
• The front part of the garden. Flower beds are traditionally located here: in the 19th century, hyacinths and tulips were popular.
• A seating area is required. Here you can build a small gazebo.
• A traditional feature of the Russian style is vegetable garden area. At dachas at the end of the 20th century, the vegetable garden began to occupy almost the entire area of ​​the plot.
• Front garden. In this area 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: borders from, small architectural forms, paths laid out in a loose line.

For the garden, you can choose both annual plants and. In the area in front of the house, annual flowers are usually planted in flower beds. Daffodils, tulips, marigolds, and asters work well. 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, housewives of manor houses planted plants on their property in warm weather not in flower beds, but in pots. And with the onset of cold weather, the flowers were brought back into the house.

Of the trees on a summer cottage, both fruit varieties (cherry, apple, pear) and evergreen ones (spruce, pine) will look advantageous. Don't forget about linden, willow and birch. These trees can be used to plant a magnificent cascade, creating a shady alley. Under trees, it is recommended to plant plants that do not require a lot of sun, for example, or lily of the valley.

It is best to plant fragrant 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 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 is increasingly gaining 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 implies slight negligence, chaos. At the same time, the entire design looks absolutely harmonious. Special attention should be given to the paths. Even if the path is paved with tiles, it is best to leave small gaps so that grass can penetrate through them. Such a path will harmoniously combine with the mood of nature. You can revive your summer cottage with the help of various decorative elements made by yourself. New ideas for a summer house and garden can be found in the photo:

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

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

“Wild” moments can be played out in different ways, but in any case, thick, 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 appearance Houses. It is not necessary to build a wooden hut. To give a rustic style, you can use facing material in the form of beams. Carved shutters on the windows are well suited for Russian-style interiors. 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 lace. For Russian country, decoupage of furniture and the use of lace, for example, on a tablecloth, are suitable. Fresh flowers and wooden dishes as decor will always look great.

We must remember! Country style does not imply a chaotic warehouse of everything unnecessary. Russian country music is just a semblance of negligence.

How not to create a fake Russian style

It’s 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:

• Russian style does not tolerate clutter; its main feature is space. If the dacha plot does not allow you to create all the elements of the Russian style, it is better not to use them all. In such cases, only those that the owners like best are retained.
• The main mistake when creating a Russian style at the dacha is the use of a lawn. It should be completely abandoned.
• Should not be used sharp corners and strict forms.
• The color scheme of the Russian style is always harmonious. You should not use a combination of too bright shades in one area.

Modern style “Russian estate” in the landscape

When creating landscape design, more and more designers are using the Russian estate style or, as it is usually called “Russian style”. This design move is especially popular in areas that are located in close proximity to a forest or a river.

Modern Russian style contains all the basic ideas for a beautiful garden , borrowed from 19th century architects. Modern designers carefully select flowering plants that are suitable for a particular climate zone. Flowers in a modern style are the main element of the garden. In the middle of the central path leading from the house to the gate, designers suggest installing flower beds. All flowers in them must be combined in size and color.

Particular attention is also paid coniferous trees. If there are none on the site, then the designers suggest planting large trees. To complete the picture of the estate, designers add modern light gazebos and benches, which look harmonious in the recreation area, next to the central flower bed.

Reconstruction of an abandoned garden

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

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 elements 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 look. Such a bright flower garden will add color to an ordinary summer cottage and will not require any special investment.