Small history of art. Art of the Far East. Vinogradova N.A., Nikolaeva N.S.

M.: 1979. - 374 p.

This volume of "Minor History of Art" is dedicated to the art of the countries of the Far East. It belongs to the pen of Soviet researchers N. Vinogradova and N. Nikolaeva. In a vast territory conventionally designated as the Far East, a vibrant and original culture developed, leaving outstanding works of human genius in literature, philosophy, and the fine arts. Based on the material of architecture, sculpture, painting and decorative crafts of China, Korea, Japan and Mongolia, covering a chronological framework from ancient times to the end of the 19th century, the authors convincingly show that the art of the countries of the Far East, not being isolated from the historical and cultural process, is subordinate to it the most general laws, at the same time represents an independent phenomenon in world art. The book is equipped with scientific apparatus - a synchronistic table, a dictionary, and a bibliography. Richly illustrated with color and tone illustrations.

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CONTENT
6 Preface by Y. S. Nikolaev
9 CHINA N.A. Vinogradova
10 Introduction
16 Art of the most ancient and ancient periods (IV millennium BC - III century AD)
31 Art of the 4th-6th centuries
47 Art of the 7th-13th centuries
117 Art of the late XIII-XIV centuries
125 Art of the late XIV-XIX centuries
153 KOREA N. A. Vinogradova
154 Introduction
158 Art of the most ancient and ancient periods (3rd millennium BC - first centuries BC)
163 Art of the period of three states - Goguryeo, Baekje and Silla (first centuries BC - 7th century AD)
177 Art of the 8th-9th centuries. Unified Silla period
189 Art of the X-XIV centuries. Goryeo period
196 Art of the 14th - early 19th centuries
207 JAPAN N. S. Nikolaeva
208 Introduction
211 Art of the most ancient and ancient periods (IV millennium BC - VI century AD)
220 Art of the 6th-8th centuries
242 Art of the 9th-12th centuries
263 Art of the XIII-XV centuries
289 Art of the 16th - early 17th centuries
306 Art of the second half of the 17th-19th centuries
329 MONGOLIA N.A. Vinogradova
330 Introduction
333 Art of the Ancient and Ancient Periods
337 Art of the feudal period (XIII - early XX centuries)
353 APPLICATIONS
354 Glossary of terms
357 Synchronistic table
367 Brief bibliography
371 Name index
artists and architects

This volume is devoted to the history of art of the peoples of China, Korea, Japan and Mongolia from antiquity to the 19th century. Over the course of several millennia, in a vast territory conventionally designated as the Far East, a vibrant and original culture developed, leaving outstanding works of human genius in literature, philosophy, fine arts, and architecture.
The long historical period discussed in the book includes two successively replacing each other types of culture - ancient and medieval. Already in ancient times, the peoples of the Far East created significant monuments of spiritual and material culture. But their main contribution to the culture of mankind is the outstanding works of painting, sculpture, architecture and decorative arts created in the Middle Ages.

• Features of the formation of culture, science and education in the Far Eastern region.
• Contribution of the peoples of the region to world culture and science.
• Monuments of history and culture.

Features of the formation of culture, science and educationin the Far Eastern region

The discovery and economic development of the Far East was accompanied by cultural development. The development of the culture of the Far Eastern region took place under the influence of all-Russian factors, in line with domestic (Russian) culture. In the history of the development of the culture of the Far East, modern researchers chronologically distinguish several periods. The first is the 17th century. - until the 80s of the XIX century. – this is the period of the birth and formation of Russian culture in the Far East and Russian America, the establishment of cultural and historical contacts with the indigenous peoples of the region. The second period is the 80s of the 19th century and the beginning of the 20th century. – characterized by the emergence and development of professional artistic culture, the development of science and education. The third period falls on the decades of Soviet power (from 1917 to the 90s of the 20th century) and is associated with the creation and development of Soviet, socialist culture. Let us consider some characteristic features of these periods.

Discovery and development of the Far East by Russian people in the 17th century. was accompanied by the spread of Russian culture to new lands and the establishment of contacts with the indigenous population. Russian explorers, moving east to “meet the sun,” carried with them not only household belongings and tools, but also the language of their homeland, its traditions and customs. Russian culture was manifested in everything - in buildings created on new lands, in faith, in everyday life, in education and in everything else that represented the essence of Russian people.

In the period from the 80s of the 17th century to the mid-19th century, due to the loss of the Amur region under the Treaty of Nerchinsk (1689), the cultural development of the Far Eastern region took place mainly in its northern part (Okhotsk coast, Kamchatka, Russian America). The leading role in the spread of Russian culture to new lands and the introduction of the indigenous population to Russian culture was played by the Russian Orthodox Church and her servants. This was explained, firstly, by the fact that the Orthodox religion remained the main moral support Russian person. Secondly, professional culture here was taking its first timid steps. In addition, the basis Orthodox religion constituted humanism, the all-human principle. Its commandments and its demands guided the Russian pioneers who came into contact with the indigenous inhabitants of the Far East. The ministers of the church, as sources testify, both ordinary and those endowed with high rank, spared neither strength nor life to fulfill their high mission. They were already in the first groups of pioneers. The priests had to Christianly accompany brave explorers on a long journey and support Orthodox piety and Russian culture in them in new lands. In addition, while implementing state policy on open lands, church ministers had to build churches, monasteries, and Christianize the aboriginal population. The first clergy arrived in the Far East in 1639 along with the governors of the newly formed Yakut district. Already in 1671, two monasteries were founded in Albazin and Kumarsky fort by the priest Hermogenes. In 1681, the Selenga Trinity and Ambassadorial Spaso-Preobrazhensky monasteries were created - centers for the development of Russian Orthodoxy and Russian culture in the east of the country. In the 70s XVII century Almost every fort had a church. Dozens of churches, houses of worship, and chapels were created in Kamchatka and Russian America. Thus, by 1850, in North America and the Aleutian Islands there were 9 churches, 37 houses of worship and about 15 thousand believers. Since the 18th century Orthodox missionaries began active work to Christianize the local population. By 1762, the Kamchatka spiritual mission converted the bulk of the aborigines (Itelmens) of Kamchatka to Christianity. The next mission was assigned in 1793 to Russian America for the baptism of Aleuts and Indians. From 1794 to 1796 she baptized 12 thousand local residents of Alaska. Modern researchers note that the conversion of aborigines to Orthodoxy and the spread of Russian culture among them were carried out by peaceful means. However, in this progressive process there were also elements of violence. In 1796, the “wild inhabitants” of Alaska killed Hieromonk Juvenal not because he baptized them, they accepted baptism voluntarily, but because he demanded that they renounce polygamy and persuaded them to send their children to school.

With the arrival of Russian explorers in the Far East, enlightenment began to emerge: schools began to be created, and literacy appeared. Schools became one of the links in the formation of Russian culture in the Far East. The construction of schools is developing especially intensively with the creation of settlements on new lands, with the formation of cities and other settlements. It is characteristic that literacy schools were created not only at churches and monasteries, but also on the initiative of explorers and sailors. Children of both Russian and aboriginal populations studied there. Thus, the spiritual mission in Kamchatka from 1750 to 1760 opened schools at churches in Meshursky, Elovsky, Parashunsky, Klyuchevsky, Shemyaginsky forts. In schools, children were taught the alphabet, the book of hours, and the psalter. In general, in the 1760–61 academic year, there were already 14 schools operating in Kamchatka with a student population of about 300 people. In this regard, Kamchatka looked in the middle of the 18th century. the most educated corner of Russia. In 1740, G.V. Steller, a participant in the Second Kamchatka Expedition, opened a literacy school at his own expense in the Bolsheretsky fortress in Kamchatka. A similar school was opened in 1740-1741. in the bay of St. Peter and Paul on the initiative of V. Bering and A.I. Chirikov.

In the first quarter of the 18th century. During the implementation of educational reform by Peter I, vocational educational institutions arose on the outskirts of the Russian Empire to train specialists for industry and the navy. In the Far East, mining schools were the first to emerge. In 1724, such a school was opened at the Nerchinsk plant. The children of exiled convicts, factory foremen and apprentices studied there. They were taught arithmetic, geometry and other sciences. School graduates worked in factories in Nerchinsk. In 1732, a Navigation School was opened in Okhotsk to train personnel for the nascent Pacific Fleet. In 1754 F.I. Soimonov created a Navigation School of 35 boys in Nerchinsk. In Russian America, industrial and commercial people opened schools and educational institutions to train personnel for the Russian-American company. In 1805 on Kodiak Island N.P. Rezanov created a school for training clerks and artisans, where children were accepted without distinction of class. In the 30s XIX century in Novoarkhangelsk (modern Sitka) there was a school for boys, which accepted the children of employees of the Russian-American Company. In 1839, a school for Aleuts was created there, where 50 boys and 43 girls studied.

In the XVII - first half of the XIX century. Literature also originated in the Far East. Its formation was influenced by books that reached the eastern outskirts from Russia in various ways: with expeditions, settlers, spiritual missions, and private individuals. These were books of religious, reference, legal, and artistic content; handwritten and printed books. Already in the 17th century. Libraries began to appear at forts, monasteries, schools, and educational institutions. The library of the Resurrection Church of Albazin had rich liturgical literature. Among the residents of Albazin there were literate people who knew not only books, but also published them. These include the priest Maxim Leontyev, the governor of Albazin Alexei Tolbuzin, the merchants Ushakovs and Naritsins-Musatovs.

Quite an extensive library of topics scientific literature possessed by the participants of the Second Kamchatka Expedition. The Russian Academy of Sciences provided travelers with literature on history, geography, medicine and other branches of knowledge. Historians know the rich library in almost all European languages ​​of the Russian-American Company in Novoarkhangelsk.

In the 18th century on the Far Eastern outskirts, notes, memoirs, letters appear on the history of the region, its nature and population, about new settlements, etc. Among them are the notes of “the Russian merchant Grigory Shelikhov’s journey from 1783 to 1787 from Okhotsk along the Eastern Ocean to the American shores” (published in 1791). The book aroused great interest among readers. The poet Gabriel Derzhavin called G.I. Shelikhov “Russian Columbus.”

The Decembrists and talented writers N.A. had a great influence on the emerging literature in the Far East. Bestuzhev, D.I. Zavalishin, V.L. Davydov and others, who left numerous notes and memoirs. The creativity of the Decembrists, their high citizenship, protest against oppression and serfdom, their faith in a bright future, had a great influence on the young literature of Siberia and the Far East. A famous figure among writers of the 18th century. in the Far East there was an exile, and then the Siberian governor F.I. Soymonov (1692-1780), who in his works gave a detailed description of Nerchinsk, Kyakhta, the Okhotsk coast, Kamchatka, as well as about the peoples of the Far East and the rich beaver fisheries in islands of the Pacific Ocean.

An important component of the spiritual life of Russian explorers and settlers of the Far East were songs, epics, and legends. For example, Russian Cossacks have preserved in their folklore the legends “Terrible Trouble” (about the difficult trials that befell the Cossacks who were settling Transbaikalia in the 17th century), “About how life used to be” (about the construction of the first forts and the conquest of the Buryat and Tungus tribes ). Song occupied a special place in the spiritual life of the pioneers and settlers. The songs sung from Transbaikalia to Russian America, wherever Russian people lived, reflected the history of the discovery and development of the Far East. In this regard, the historical songs “In the Siberian, in the Ukraine, in the Daurian side” are of great interest. This song is about the siege of the Kumarsky fort by the Manchu-Chinese army in 1655. The successful defense of the Russian fortress is shown as a national event. The most famous was the “Song of the Migration to the Amur,” which tells about the rafting of troops and cargo along the Amur. The song lyrics were especially rich. Almost all varieties of lyrical songs were found in the Far East. Love lyrics sang: waiting for a date, unrequited love, separation, jealousy, etc. The basis of family and everyday lyrics were songs about a woman’s difficult lot in someone else’s family, backbreaking work from morning to evening, the tragedy of living with a “hateful” person. A vast layer consisted of comic works that served as accompaniment to round dances or dances. Round dance songs “I will sow quinoa on the shore”, “We were in the round dance”, etc. were widespread throughout the Far East. Many old songs were perceived as an essential component of historical memory. For example, the spring round dance “What is near Kiev, near Chernigov” reminded the peasants of their distant homeland. In general, folklore layers - songs, ditties, non-ritual lyrics, conspiracies, legends - were common to the Cossacks and the peasantry; they formed the core of their spiritual culture, and thus helped maintain connections with their former life.

A characteristic feature of the formation of culture in the Far East was the interaction and mutual influence of cultures - Russian Orthodox Christianity and pagan - the aborigines. Russian people, finding themselves not only in a specific natural and climatic environment, but also in an unusual ethnic environment, were forced to adapt to new conditions and adopt material and spiritual culture from the local aboriginal population. It should be noted that in the Far East the cultures of different peoples were not opposed to each other. During the development of the Far Eastern lands, there was an active process of interaction between two cultures: Russian culture with the pagan culture of the aborigines. The forms, paths and methods of interaction between cultures were influenced by the stages, direction of Russian colonization and the intensity of economic development, as well as Russia’s cultural policy towards the aborigines. Russia was interested in maintaining peaceful relations with all aborigines, and, consequently, in the peaceful spread of Russian culture among them, the rapprochement of the Far Eastern peoples with the Russians and their gradual cultural assimilation.

The interaction of cultures occurred gradually and in stages. At the initial stage of development of the Far Eastern lands (mid-late 17th century) - the first ethnic and cultural contacts between Russians and the indigenous population were episodic and had minimal impact on the culture of the aborigines. At this time, Russian explorers carried out exchange and trade transactions with them (exchanged Russian goods for furs, food, etc.), carried out occasional baptisms of individual representatives of the indigenous population, introducing them to Orthodox culture. As we moved east and expanded and deepened the economic development of the region, the direction, forms and methods of intercultural interaction changed. According to researchers, the zones of the most active mutual influence of cultures in the 18th - until the mid-19th centuries. there were areas of Kamchatka, Russian America. From the second half of the 19th century to the beginning of the 20th century, the center of intercultural interaction moved to the Amur region and Primorye. The main cells of influence of Russian aboriginal culture were schools, libraries, monasteries, churches, which were created in the region by pioneers, sailors, merchants, industrialists and church ministers.

Considering the influence of Russian culture on the culture of the aborigines, scientists note that the sphere of traditional material culture of the aborigines experienced the greatest changes as a result of cultural contacts; it was enriched with new elements. The indigenous peoples of the Far East borrowed new crops and farming techniques from the Russians; certain ethnic groups in the southern part of the region settled down and adopted a peasant way of life. Animal husbandry began to develop in the aboriginal economy, and riding and draft horses appeared. Gradually, all the peoples of the Far East mastered the technique of Russian log house construction, Russian stoves appeared, and in place of the canals they began to install wooden bunks, and subsequently beds. By the beginning of the twentieth century, the Russian hut had become the main type of housing. The influence of Russian culture is reflected in the addition to national food in the form of flour, cereals, potatoes, and vegetables. The Aborigines borrowed food preparation methods from the Russians: salting, frying; began to use clay and metal utensils. Very soon, the indigenous peoples of the region began to adopt Russian clothing and shoes, and the wealthiest of them (Nanais, Negidals) began to wear kosovorotka shirts, boots, caftans, and caps, like Russian merchants. Materials such as fabrics, threads, and beads were widely used for sewing and decorating clothes.

Under the influence of Russian culture, the decorative art of all indigenous peoples of the Far East became widespread in the second half of the 19th and early 20th centuries. a little richer. The influence of Russians in the art of the Itelmen and Aleuts was especially strong. These nationalities widely used satin stitch embroidery, Russian factory fabrics, and Russian beads in decorative arts. Evenki and Even craftswomen very skillfully used Russian colored fabric and colored threads to decorate clothes, bags, and belts. From the middle of the 19th century, Russian influence became noticeable in the art of the peoples of Amur and Sakhalin. Thus, the Nanais began to wear shirts of Russian cut, and on traditional women's robes one could see a border made of Russian lace braid. Carpenter's and joiner's tools began to be used in home production, which had an impact on the improvement of wood carving. The Russian cultural tradition was most deeply assimilated by indigenous peoples as a result of their Christianization and through the system school education. The creation of schools of various types contributed to the penetration of a complex of European scientific (mathematical, historical, geographical, religious) knowledge into the traditional spiritual cultures of the aborigines. Christianization contributed to the introduction of aborigines to the foundations of Russian culture, the creation of mixed marriages and the formation of new ethnic groups - the Kamchadals (Okhotsk coast, Kamchatka), Creoles (Russian America).

Assessing the results of intercultural contacts, it is necessary to emphasize that during the historical period under study, valuable experience was accumulated in the respectful attitude of Russian people towards the aboriginal population, who stood at a lower socio-cultural stage of development. In turn, the Russian population, communicating with indigenous peoples, absorbed their cultural experience necessary for life in the new historical conditions. They learned from the aborigines to master new methods of hunting, fishing, sea fishing using rotary harpoons, use a dog sled, wide skis, build outbuildings - booths, hangers for canning and storing fish; learned how to make and use bahts, as well as use medicinal herbs and wear aboriginal clothing that corresponds to difficult natural and climatic conditions. The above allows us to say that in the Far East already in the 19th century. A new sociocultural environment began to take shape, based on Russian national culture.

In the second half of the 19th century, qualitative changes occurred in the development of the culture of the Far Eastern region, associated with the level of socio-economic development and the nature of the formation of the region’s population, as well as its geopolitical position. Firstly, the geography of cultural construction has changed. Unlike initial stage development of the Far East, when cultural processes flowed mainly in Kamchatka, the coast of the Sea of ​​Okhotsk and in Russian America, from the middle of the 19th century. The southern regions became centers of culture: Amur, Primorsky and Transbaikal regions. This was explained by the fact that the Amur region and Primorye, on the basis of peace treaties concluded with China (Aigun in 1858, Beijing in 1860), were annexed to Russia. In 1867, Russian America (Alaska) was sold by Russia to the United States of America. The tasks of economic development of the Far Eastern region required the settlement of new Russian lands and ensuring their socio-economic and cultural development.

Secondly, the construction of the Trans-Siberian Railway (1891-1916) and the Chinese Eastern Railway (1897-1903) was of great importance for the cultural development of the region. Since 1893, the sea route from Odessa to Vladivostok was opened. The establishment of railway and sea connections between the Far East and Siberia and European Russia accelerated the state resettlement of the population from the western provinces to the Far East and the socio-economic and cultural development of the region. The population of the Far East has increased. In 1905 it amounted to 1 million 200 thousand people. Of these, the urban population by the end of the 19th century in the Primorsky region amounted to 22.7%, in the Amur region - 29.7% (for comparison: in the European part of the country, city dwellers made up only 12.8% of the population). The number of settlements has increased: villages, villages, Cossack villages, villages, stations, cities. The largest cities were Blagoveshchensk (founded in 1856), Khabarovsk (founded in 1858), Vladivostok (founded in 1860). They became the administrative, economic and cultural centers of the Far East at the turn of the 19th and 20th centuries.

Thirdly, the peculiarities of the socio-economic development of the region also influenced the formation of the cultural environment. First of all, not only the government and local authorities, but also the growing numerically of the Far Eastern intelligentsia - the core, the basis of the regional cultural environment. It was the intelligentsia that especially acutely expressed the social need to satisfy the cultural needs of the population. Thanks to her initiative, all types of professional art are emerging in the region.

A feature of the cultural development of the Far Eastern region in the second half of the 19th century - the beginning of the 20th century. there was a simultaneous development of all areas of culture and art: education, science, artistic and musical culture, theater, that is, the active formation of the socio-cultural space of this region was underway. It should be noted that one of the main features of the Far East is the high level of literacy of its population compared to Siberia and European Russia. According to the 1897 census, the percentage of literate people in the Primorsky, Amur regions and Sakhalin was 24-27%, and in Siberia - 11.5%, in European Russia - 22.5%. This situation, first of all, can be explained by the fact that there were many literate people among the settlers.

At the same time, public education in the region developed relatively slowly. By the mid-90s. XIX century throughout the Far East there were about 400 schools with 14 thousand students, and by the beginning of the twentieth century. the number of schools increased to 726, students - to 26.5 thousand. Educational institutions (schools, colleges, etc.) were opened mainly in cities and large towns. At the same time, ministerial and private, Cossack and parochial, village and city institutions functioned, and educational institutions of various types were opened. Educational institutions of lower and middle levels were opened in cities (urban public schools, gymnasiums, real schools); in villages there are one- and two-year and parochial schools; and for indigenous children - missionary schools.

Secondary and higher specialized education has been developed. Here in the Far East, as well as in the center of the country, the following were created: the Naval School - in Nikolaevsk-on-Amur; river - in Blagoveshchensk; railway - in Khabarovsk. In 1899, the first Oriental Institute in the entire Eastern Siberia and the Far East was created in Vladivostok. Women's educational institutions also began to be created. In the 60s of the XIX century. The first women's schools arose in Troitskosavsk (Kyakhta), Verkhneudinsk, Nikolaevsk-on-Amur, Blagoveshchensk, and Vladivostok. By the end of the 19th century. there were seven of them in the region.

The difficulties in establishing public education were associated with a shortage of not only schools, but also teachers. Suffice it to say that among all teaching staff in the region, only 4% had special education. There was not a single professional teacher on Sakhalin. Children were taught by Russian explorers, sailors, former political exiles (especially on Sakhalin), and graduates of theological schools and missionaries were also involved in teaching work. The need for teachers was enormous. In the second half of the 19th century. Pedagogical educational institutions were created in cities: in 1892, the first teachers' seminary in the Far East was opened in Chita, in 1897 - in Blagoveshchensk, and later - in Vladivostok, Khabarovsk, Nikolsko-Ussuriysk. At the same time, the percentage of population literacy by 1914 increased slightly - by only 1%, despite the fact that the number of schools increased to 1,708.

Industrial development, railway and naval construction, mass migration of the population to the Far East from the middle of the 19th century. accelerated the development of science. The prerequisites for the development of science in the Far East were created in the 18th century. - early 19th century Even then, the first hydrometeorological and hydrographic studies were carried out in the seas of the Far East (expeditions of A.I. Chirikov, V.I. Bering, F.P. Litke, I.F. Kruzenshtern, V.M. Golovnin, O.E. Kotzebue) . But they were temporary: expeditions left and research stopped. Systematic study of the region for the purpose of its economic development begins in the 80s of the 19th century. A noticeable role in the study of the Far East was played not by state research institutions (which practically did not exist in the Far East), but by public organizations, such as the Society for the Study of the Amur Region, created in Vladivostok in 1884, headed by F.F. Busse; Khabarovsk Scientific and Medical Society (1886), Society of Doctors of the South Ussuri Territory (1892), Amur Department of the Imperial Russian Geographical Society in Khabarovsk (1894) with branches in Chita (1894), Kyakhta (1894) .), Blagoveshchensk (1896). Scientific societies were engaged in collecting, processing and disseminating information about the region. For this purpose, they conducted research, equipped dozens of expeditions, and published materials. In the 50-60s. organized several scientific expeditions to the Siberian Department of the Russian Geographical Society. Geologists N.P. worked there. Anosov, G.M. Permikin, paleontologist and botanist F.V. Schmidt, biologist R.K. Maak, geographer M.I. Venyukov. N.P. Anosov discovered a gold deposit in the upper reaches of the Jalinda and Selemdzhi rivers, near the mouth of the Gilyuy, in the upper reaches of the Niman. G.M. Permikin compiled the first petrographic map of the banks of the Amur River in Russian science and collected large geological collections. M.I. Venyukov made a topographical survey of the villages on the left bank of the Amur, crossed the Sikhote-Alin ridge and made a geographical description of the Ussuri region between the Ussuri basin and the shore of the Sea of ​​Japan.

In 1867-1869 Russian traveler, geographer N.M. Przhevalsky traveled through the Ussuri region and wrote a book about its geography, flora and fauna, history, and ethnography. This work brought N.M. Przhevalsky became world famous.

Among the largest expeditions of that time, it is necessary to mention the geological studies of mining engineer D.V. Ivanov in 1889 and 1895. for the development of coal deposits in the South Ussuri region, L.F. Batsevich in 1890 and 1907. on oil field exploration. A.I. Chersky, N.A. Palchevsky, V.L. Komarov, M.I. Yankovsky did a lot to study the fauna of the Far East. The expeditions of V.P. Margaritov and V.F. Linder in 1897 to study Kamchatka, the Amur expedition of 1910-1911 were of great scientific importance. under the leadership of N.L. Gondatti et al.

In the second half of the 19th century. - early 20th century Considerable attention of scientists was paid to the study of the peoples of the Far East. In the development of ethnography of the Far East, the role of L.Ya. Shtenberg, V.G. Bogoraz (political exiles, scientists, public figures), V.K. Arsenyev - geographer, archaeologist, traveler, writer, researcher - is high. So, during the expeditions of V.K. Arsenyev in 1908-1910. Work was carried out on topography, geology, archeology and ethnography (archaeological monuments were discovered, an Orch dictionary was compiled, and a collection of shamanic cults was collected). Local history museums created on the initiative of the Society for the Study of the Amur Region made their contribution to the study of the region, its nature and population. On September 30, 1890, the first local history museum in the Far East was opened in Vladivostok. In 1894, the same museums were created in Chita, Troitskosavsk, Nerchinsk, in the village. Aleksandrovsky on Sakhalin, in 1896 - in Khabarovsk. Far Eastern local history museums occupied a priority place among the few scientific and educational institutions. Many scientists and cultural workers considered it an honor to contribute to the formation of museum collections. In a short time, Far Eastern museums significantly replenished their funds. This made it possible to begin publishing guidebooks. So, in 1898 in the village. Aleksandrovsky on Sakhalin published the “Catalogue of the Sakhalin Museum”, in 1900 in Blagoveshchensk - “Catalog of the Annunciation Museum”, in 1907 in Vladivostok - “Catalogue of the Museum of the Society for the Study of the Amur Region”. The distribution of catalogs containing descriptions of museum collections contributed to widespread awareness among the region's population about the riches of museum collections and the attraction of visitors, which naturally increased the scientific, cultural and educational role of museums in the lives of Far Eastern residents.

The Oriental Institute, opened in 1899 in Vladivostok, had a positive influence on the development of Far Eastern science. Famous Russian professors A.V. worked there, taught students and conducted scientific research. Grebenshchikov, N.V. Kuehner, A.V. Rudakov, G.U. Tsibikov and others. Studying the culture and languages ​​of the peoples of Asia, they laid the foundations of Russian oriental studies in the Far East. A printing house was created at the institute, the only one in Russia that had various fonts of oriental languages ​​- Mongolian, Manchurian, Kalmyk, Japanese, Korean. The Oriental Institute had the largest library in the Far East. Over 20 years, its collection has increased from 1,500 to 12 thousand copies. Thus, in the Russian Far East, branches of science related to its economic development - geography, geodesy, geology, meteorology, hydrography, etc., as well as branches related to the study of the territory - archeology, ethnography, history, have developed.

Distinctive feature Far East was large number periodicals. It testified to the socio-economic and cultural development region, and the fact that a group of professional journalists and writers has formed in the region and a large readership has appeared. The periodical press covered all the most populated and developed areas of the region, and reflected the interests of all segments of the population. This is confirmed by the names of some newspapers: “Priamurskie Vedomosti” - the official organ of the Amur Governor-General (since 1894, Khabarovsk); "Vladivostok" (since 1883); “Peter and Paul Announcement Sheet” (since 1912), “Sakhalin Bulletin” (since 1917); “Amurskaya Gazeta” (since 1895), etc. It should be noted that since the mid-90s. XIX century Until 1917, periodical printing in the Far East was developing in an ascending manner. For comparison: in 1895-1904 there were 29 of them, in 1908-1917. 200 newspapers and magazines were published. In terms of the quantity and quality of newspapers, magazines, as well as brochures and books, the Far East has been growing since the end of the 19th century. until 1917 it occupied a leading place in Siberia. In the 90s XIX century Along with the increase in the number of newspapers and magazines, the number of printing houses also increases. Large publishing centers were created in a number of cities. The printing house of Mokina and K0, Churina and K0, A.I. was created in Blagoveshchensk. Motyushensky; in Vladivostok - printing house of the Eastern Institute, Maritime Department, N.M. Matveeva, P.N. Makeeva and others. The development of book publishing in the Far East is evidenced by the following indicators: if in 1900 6 books were published in Khabarovsk, 11 in Blagoveshchensk, 19 in Vladivostok, then in 1916 in Khabarovsk and Blagoveshchensk 20 each and in Vladivostok – 58 books. The highest number of printed materials was published in 1913: 19 books were published in Blagoveshchensk, 37 in Khabarovsk, and 68 books in Vladivostok.

A characteristic feature of the formation of the culture of the Far East during this period is the emergence and development of professional artistic culture. However, unlike the artistic culture of Russia, it was created in the form of amateur associations (musical, theatrical, etc.). This can be explained, first of all, by the late entry of the Far East, in comparison with other regions of the country, into Russia. The region's remoteness from European Russia and insufficient funding for culture and professional personnel also had an impact.

The origin of theater in the Far East began in the 60s. XIX century with amateur performances for soldiers and officers. On December 24, 1860, in one of the barracks of Blagoveshchensk, the lower ranks of the line battalion and artillery team presented the play “The Station Warden” (based on A.S. Pushkin) and the vaudeville “Much Ado about Trifles” by A.A. Yablochkina. The first mentions of amateur theatrical productions in Vladivostok date back to the early 1870s. In 1873, reserve paramedic Bakushev with the clerks of the naval crew and garrison, as well as female convicts, presented to the audience a performance based on the play by A.N. Ostrovsky "Poverty is not a vice." In Khabarovsk, the first amateur performance was staged at the city's Public Assembly in 1873. Professional theater troupes were created in the Far East in the early 90s. XIX century Permanent theaters are being created in the cities of Vladivostok, Blagoveshchensk, and Khabarovsk. At the beginning of the 20th century. Vladivostok already had three theater buildings. The first - “Pacific Ocean” with 775 seats, with stalls, benoir, boxes, was built in 1899 by merchant A.A. Ivanov. Opera and operetta troupes performed in the theater, but dramatic performances were also staged. Thus, the “Troupe of Russian Dramatic Actors of Moscow and St. Petersburg Theaters”, invited by A.A. Ivanov presented a brilliant repertoire for the spring and summer of 1900: “The Inspector General”, “Hamlet”, “Uriel Acosta”, “Vanyushin’s Children”, “Mad Money”, “The Seagull”, “Ivanov”, “Three Sisters”, “Power” darkness", "Idiot", "Dowry". Famous actors I.M. played in the theater. Arnoldov, N.A. Smirnova and others. The performances were a huge success, they attracted many spectators and testified to the fact that on the outskirts of Russia they love the classics. On October 18, 1903, the opening of a new theater “Golden Horn” (for 1000 spectators) took place in Vladivostok by the merchant and famous cultural figure I.I. Galetsky. In addition, the First Public Theater, created by M.N., operated in the city. Ninina-Petipa. Artists E.F. Bour, V.V. worked in the theater. Istomin-Kastrosky, A.A. Lodina, V.D. Muravyov-Svirsky, F.A. Norin, E.A. Ryumshina (a student of the Moscow theater school). Theater director A.I. Tunkov, artists A.A. Quapp and M.A. Kuvaldin. Researchers note that according to its artistic principles, the Public Theater was a follower of Stanislavsky's Moscow Art Theater. In Blagoveshchensk, performances and concerts were held on the stage of the Public Assembly, opened in 1882. At the end of the 19th century. The New Theater (or Rozanov Theater) was also built there on Amurskaya Street (for 900 spectators) with two tiers, side galleries and a balcony. In Khabarovsk, performances by professional local and touring theater troupes and individual artists were staged on the stages of the Public and Officers' Meetings. In Nikolaevsk-on-Amur, the stage of the Public Meeting was used for performances (since 1888). Since the early 1890s. in three large cities of the Far East (Vladivostok, Khabarovsk, Blagoveshchensk) theater seasons are constantly held, which indicates the stability of the theatrical business on the eastern outskirts of Russia. However, in time they did not coincide with the all-Russian ones. The Russian concept of “theater season” is September-October before the start of Lent. In the cities of the Far East, for example, in Vladivostok, the holding of the theater season depended largely on the period during which the largest concentration of ships in the Harbor occurred. In Blagoveshchensk it lasted from autumn to December, i.e. before the departure of gold miners and gold seekers to the taiga for the mines.

Musical culture in the Far East, like theatrical culture, developed from amateur to professional. The origin of musical art began with naval orchestras. In 1860, a military orchestra with a staff of 51 people was established in Nikolaevsk-on-Amur, and in 1862 - in Vladivostok. In the 80s In the 19th century, music circles appeared in Blagoveshchensk, Vladivostok, Chita, and Khabarovsk, which began to play a significant role in meeting the musical needs of city residents. In July 1889, the Maritime Assembly of Vladivostok hosted celebrations dedicated to the 40th anniversary of Admiral G.I.’s exit through the mouth of the Amur into the Tatar Strait. Nevelsky. The musical circle and touring artists warmly responded to the idea of ​​​​building a monument to G.I. in Vladivostok. Nevelsky. In particular, not only cash, received from the concerts of the music circle, but also funds from one of the concerts of the famous Russian flutist, Professor A. Tershak. A significant event in the development of musical culture in the Far East was the opening in 1909 of the Vladivostok branch of the Imperial Russian Musical Society. His small orchestra received professional status and began organizing symphonic music concerts for the townspeople. Musicians constantly turned to the works of Russian composers: Tchaikovsky, Rubinstein, Scriabin, Borodin and others.

The touring and concert activities of artists from Siberia and European Russia were of great importance for the emergence of professional musical and entire artistic culture in the region. Since the mid-90s. Until the beginning of the twentieth century, tours became an integral part of the cultural life of the region. The system of touring and concert practice influenced the musical life of Far Eastern cities, increased the cultural level of the population, shaped the tastes of the Far Eastern public, facilitated the adaptation of newcomers, and stimulated the development of the region. Numerous touring artists and theater companies introduced the Far Easterners to the latest achievements of the arts. The first to explore the distant outskirts were our Siberian neighbors, dramatic artists from Irkutsk. The appearance of Siberian dramatic groups in the Far East is natural. Siberian theaters have been around since the 70s. were included in the all-Russian provincial system and lived according to the laws characteristic of that time. By the 90s. two or three professional theaters were constantly operating in Irkutsk. During these same years, the Far East was visited by touring groups from other Russian cities. Famous musicians performed for the residents of Vladivostok: Russian violinist K. Dumchev, domestic vocalists L.V. Sobinov, A.D. Vyaltseva, Czech cellist B. Sikora. Famous Moscow and St. Petersburg artists performed on the theater stages of the cities of the Far East - V.K. Komissarzhevskaya, P.N. Orlenev, V.I. Davydov and others.

According to researchers, the emergence of Far Eastern literature was preceded by the emergence in all-Russian literature of the theme of the discovery and development of this region by Russian people. In 1859 N.A. Dobrolyubov wrote that a whole branch of literature about the Far East has been created in the Russian press. In the 19th century books by S.V. have become widespread among readers. Maksimov “In the East”, I.A. Goncharov “Frigate “Pallada””, N.M. Przhevalsky “Travel to the Ussuri region”, A.P. Chekhov "Sakhalin Island". Great contribution to the emergence of Russian fiction in the Far East contributed by political exiles: V.G. Bogoraz, I.F. Yakubovich, S.S. Sinegub, I.P. Mirolyubov.

At the end of the 19th century. The Far East has its own poets and writers: A.Ya. Maksimov publishes his stories and essays about life in Primorye. His most famous books are “Around the World. Voyage of the corvette "Askold" and "In the Far East". In 1896 N.L. Matveev published a book of essays “From the Past of the Ussuri Taiga”, then the book “Ussuri Stories” and “A Brief Historical Sketch of Vladivostok”. L. Volkov, N. Tatarinov, V.Ya. created their wonderful works. Coconuts. The literary work of V.K. began in the Far East. Arsenyev, whose works “Around the Ussuri Region” and “Dersu Uzala” are still widely known and loved by readers.

Fine art originated in the region, like literature, due to the great social need for it and largely thanks to the asceticism of Russian artists who visited this region and gave it their hearts and creativity. Among them, the most famous are K. Gunn, A. Pannemaker, P. Barenovsky, F. Bagrantz. In the 90s XIX century fine art began to be created in Khabarovsk, Blagoveshchensk, Vladivostok. At the beginning of the 20th century. In Vladivostok, the first group of local artists emerged, among whom A.N. distinguished himself the most. Klementeev, K.N. Kal, A.A. Lushnikov, V.A. Batalov. The successful development of fine arts in Vladivostok was also evidenced by the creation of the “Society for the Encouragement of Fine Arts” in February 1900. They had a positive impact on the development of fine arts art exhibitions. In 1886 (from April 17 to 21), the first exhibition of works of fine art in the Far Eastern region was opened in Vladivostok. It consisted of almost a thousand different works of ancient times. On March 5, 1902, an exhibition of Khabarovsk artists opened in Vladivostok. Two artists from Blagoveshchensk took part in it: V.G. Shelgunov (graduate of the St. Petersburg Academy of Arts, student of Shishkin and Kuindzhi) and P.N. Kirillov (a graduate of the Stroganov School), two artists from Khabarovsk - Vekenyev and Potekhin, and artists from Vladivostok - Nikolin and Pilipenko.

Artists P, N. became widely known in the region. Ryazantsev and A.A. Sakharov. Pyotr Nikolaevich Ryazantsev is the founder of professional fine art in the Far East. He was born in Nerchinsk in 1829. In 1887 he moved to Blagoveshchensk, where he died in 1897, leaving behind a huge number of paintings and icons executed at a high professional level. His large landscape paintings were bought by art connoisseurs from high-ranking figures - Metropolitan of Moscow and Kolomna Innocent, Governor General Baron Korf - to merchants and gymnasium teachers. A.A. Sakharov is the first marine painter of Primorye, a graduate of the Academy of Arts. He worked in Vladivostok, on the Shantar Islands, in Blagoveshchensk, in Khabarovsk, in Port Arthur. In June 1904, at his exhibition in Vladivostok, he presented paintings on military-historical themes: “The battle at Chemulpo “Varyag” and “Korean” with 14 Japanese ships”, “Attempts of the Japanese to block the entrance to the internal roadstead of Port Arthur with fire ships” "etc.

Thus, a feature of the cultural development of the Far Eastern region in the pre-revolutionary period of its development was the simultaneous development of all areas of culture and art: education, science, artistic and musical culture, theater, that is, the active formation of the socio-cultural space of this region was underway. However, cultural achievements were not available to the broad masses of the population. The majority of the country's population remained illiterate.

New period in history national culture began with the victory of October 1917, when the creation of a proletarian socialist culture was proclaimed. Cultural construction was based on Lenin’s attitude to cultural heritage and Lenin’s theory of two cultures: the culture of the “tops” - the bourgeoisie and landowners, and the culture of the “bottoms” - the working people. V.I. Lenin repeatedly emphasized the priority importance of culture for the successful creation of socialism in Russia. A distinctive feature of the Soviet period of cultural history is the large role of the party and state in its development. The cultural policy of the Soviet state was carried out under the slogan: “All cultural achievements go to the working people!” In the very first months of the revolution, creative work began in the field of cultural construction. A.M. Gorky noted, summing up the results of the year’s work, that cultural and historical creativity had acquired “dimensions and forms unprecedented in the history of mankind.” At the same time, it should be emphasized that cultural construction in the center and locally took place in a complex and contradictory manner. The Soviet government in the center and locally began cultural construction in difficult economic conditions. Difficulties were also caused by the illiteracy of the majority of the country's population, lack of funds and small number of personnel. The Russian intelligentsia, as stated by V.I. Lenin, the majority did not accept October Revolution and her proclamation of the construction of socialism. Only a small part of the intelligentsia joined the ranks of supporters of the construction of socialism. Others, not accepting the revolution, fled the country to Siberia, the Far East, and then, after the end of the civil war, fled to China and other countries. And still others hid, waited, watched closely in the hope that the new government would not last long.

The Soviet government was faced with the difficult task of educating a new man, a builder of a socialist society. To achieve this goal it was necessary: ​​to destroy the previous system of public education and education, to create a fundamentally different one, which would lay the foundations for the formation of a new Soviet person; to reorganize on the basis of the socialist worldview all areas of artistic culture, primarily art and literature, which will complete the education of a person worthy of a communist future, as well as to develop the broadest propaganda of the superiority of the values ​​of socialism.

One of the most important directions of the cultural policy of the Soviet state was the elimination of illiteracy of the population, because literacy is the basis of the cultural development of individuals and society. Before 1917, the literacy rate of the country's population was ~70-80%. In the Far East, the proportion of literate people among the population did not exceed 40%; among indigenous peoples it was 2-3%. The number of existing schools did not meet the needs of the region in providing education to all school-age children. With the establishment of Soviet power in the Far East, party, Soviet, and public organizations began work to introduce workers to education and culture. By decision of the Far Bureau of the Central Committee of the RCP (b), from January to April 1923, a three-month strike was held to eliminate illiteracy, and in April 1923, an Extraordinary Commission for the Elimination of Illiteracy and Low Literacy was created. New schools began to be created, especially primary ones, thanks to which already in the 1923/24 academic year the school network was quantitatively approaching that which was registered on the eve of the First World War (in the 1913/14 academic year). Schools were opened for national minorities (Korean, Polish, Tatar, etc.). The problem of training teachers was also solved: on the basis of the existing 9 teacher seminaries, 3 pedagogical technical schools and 2 pedagogical courses were formed, admission to which was carried out strictly according to the class principle (children of workers and peasants were accepted). To improve the general level of pedagogical work, they began to publish a monthly magazine, “Issues of Education in the Far East.” The material base of schools was strengthened. High school teachers were trained at the State Far Eastern University. Old teaching staff who accepted Soviet power and the new ideology were brought into work. Thanks to everyone's efforts, by 1930 illiteracy and semi-literacy among the adult population of the Far East had been largely eliminated. In 1930, the Far East joined the struggle for the introduction of universal primary education. The number of schools increased sharply, and the problem of teaching staff was solved. By 1930, in the region there were 1,783 primary schools providing a 4-year level of education, 170 schools with a 7-year education, 938 first-aid posts, 348 schools for semi-literate people. In February 1939, at the first Primorsky regional party conference, it was noted that universal primary education had been implemented in the region, and universal seven-year education in the cities. However, there were many shortcomings: almost 40 percent of schools were taught in two shifts, and in Vladivostok two shifts were maintained in all schools, and there was not enough teaching staff. A similar situation was typical for other regions of the Far East.

The most important direction of the cultural policy of the Soviet government was the creation of a wide network of educational institutions of vocational and secondary specialized education. Dozens of factory schools (FZU) were opened in districts, regions, factories and factories to train workers in various specialties. In the 1927/28 academic year, 20 such schools were created (before the revolution there were 9), and in the 19236/37 academic year there were already 27. On October 2, 1940, by the Decree of the Presidium of the Supreme Soviet of the USSR “On State Labor Reserves of the USSR” a system was created vocational education. By December 1, 1940, more than 40 vocational and railway schools and FZU schools were already operating in the Far East. They accepted thousands of students. Along with the acquisition of practical skills, much attention was paid to professional theoretical training.

There have been significant successes in the development of secondary and higher education. If in the early 1920s. in the Far East there were 10 technical schools and schools of secondary specialized education, then by the beginning of the 40s. – more than 50. They trained mid-level specialists in all major sectors of the national economy and culture. Higher educational institutions were also created. By the time the civil war ended, there were 4 state universities in the Far East (two in Vladivostok - a university and a conservatory, two in Chita - an institute of public education and a conservatory), and by the beginning of the 40s. there were 8 of them. The largest of them: Far Eastern State University, Khabarovsk Medical Institute (founded in 1930), in 1938 the Teachers' Institute in Khabarovsk was transformed into a pedagogical one, and in 1939 the Institute of Engineers was created railway transport. The most important indicator of the development of education and culture in the Far East in the 20-30s. was the creation of writing among the indigenous peoples of the North, and then the emergence and development of their professional artistic culture on this basis. In 1934, a northern department was opened at the Khabarovsk Teachers' Institute to train teachers for schools of the peoples of the North.

The further development of secondary and higher specialized education in the Far East is associated with the post-war period, although there were isolated cases of the opening of educational institutions during the war. For example, in 1944 the Vladivostok Art School was opened in Vladivostok. In the 50-80s. Secondary and higher educational institutions were created in all territories and regions of the Far Eastern region. By the beginning of the 90s. There were 40 universities alone in the region, hundreds of schools of secondary general education and vocational training, more than a hundred technical schools and schools of secondary specialized education.

During the years of Soviet power, a huge step forward was made in the development of science in the Far East. In the 20-30s, the emergence and formation of Far Eastern Soviet science took place. The main center of scientific life in the region was the Far Eastern Research Institute of Local History, created in 1929. In addition to it, geodetic, meteorological and marine observatories, branches of the Geological Committee, the Pacific Scientific and Fishery Station, the Far Eastern Book Chamber, and branches of the Association worked in the Far East during this period Oriental Studies and the Society of Local History. The largest higher educational institutions, where the main scientific forces were concentrated, were then the Far Eastern State University and the Far Eastern Polytechnic Institute. The main task that both state and public scientific forces solved during this period was the development of practical recommendations for industry, transport and agriculture. The region's scientists successfully completed the task. Let's give one fact. In 1926, at the Dalzavod plant, Doctor of Technical Sciences, Professor of DVPI V.P. Vologdin created the first electric welding shop. Under his leadership, the fundamentals of the theory of electric welding of metals were tested, the first welded containers for oils and fuels, and bridge trusses were created. In 1930, under his leadership, a towing boat with a welded boat was built in the building of the electric welding shop - the first all-welded vessel in the USSR. In 1932, an academic institution was created - the Far Eastern Branch of the USSR Academy of Sciences. The organizer and its first leader was the outstanding world-famous scientist Vladimir Leontyevich Komarov. In the post-war period - 50-70s. The Far East, like the whole country, was experiencing a real rise in science and culture. In 1957, the Far Eastern Branch of the Siberian Branch of the USSR Academy of Sciences was created. In the Far Eastern branch, new areas of scientific research and new departments and laboratories were opened, on the basis of which institutes grew. Thus, in 1959, the Far Eastern Geological Institute was opened in Vladivostok, in 1962 - the Biological Soil Institute, in 1964 - the Institute of Biologically Active Substances, later renamed the Pacific Institute of Bioorganic Chemistry. Research institutes were created: in Khabarovsk - Research Institute of Forestry, in Blagoveshchensk - All-Russian Research Institute of Soybeans, in Magadan - Research Institute of Gold and Rare Metals.

Science and education in the Far East in the 50-80s. solved three main, traditional for the region, tasks: first, the study of the Far Eastern zone (nature, climate, minerals, adjacent maritime space); secondly, the scientific development of the most important industries for the Far East - defense, mining, forestry, fishing; training of specialists for the entire complex of the national economy of the region. Both academic and industry fields were actively developing. At this time, a whole galaxy of talented scientists grew up in the Far East, of whom Russian science is now proud. This is A.I. Krushanov – academician, E.A. Radkevich, B.P. Kolesnikov, F.K. Shipunov (became corresponding members of the USSR Academy of Sciences), N.E. Kabanov, A.I. Kurentsov, V.T. Bykov, L.N. Vasiliev, P.G. Oshmarin, I.. Belikov, A.V. Stotsenko and many others, whose works have not lost their significance to this day.

In the 70-80s. Far Eastern science reached the world level. A notable event in the scientific life of the Far East was the XIV Pacific Scientific Congress (Khabarovsk, August - September 1979). It was attended by more than 2,000 thousand delegates and guests from 46 countries, representatives of international public organizations (UNESCO, WHO, UNEP), international scientific societies, leaders of the Soviet state, the Communist Party, leading scientists of the USSR and the Far East. The general theme and motto of the congress is “Natural resources of the Pacific Ocean - for the benefit of humanity.” The congress participants held a general symposium “Scientific foundations for the rational use and protection of the environment of the Pacific region,” 14 problem committees worked, and about 1,500 abstracts of scientific reports were published. The Congress ended with the adoption of the resolution “For cooperation in the Pacific region in the use of natural resources for the benefit of humanity.” However, not all the ideas and initiatives of the congress were developed.

Today, the Far Eastern Branch of the Russian Academy of Sciences is the largest scientific complex, which has its own in the cities of the region - Vladivostok, Khabarovsk, Blagoveshchensk, Magadan and Petropavlovsk-Kamchatsky scientific centers. The department represents all the main areas of technical, natural and social sciences. The institutes are headed by scientists whose names are known not only in Russia, but also abroad, academicians G.B. Belyakov, V.P. Myasnikov, M.D. Ageev, Yu.S. Ovodov, S.A. Fedotov, corresponding members V.P. Korobeinikov, N.V. Kuznetsov, P.G. Gorovoy, Zh.N. Zhuravlev, O.G. Kusakin and others. And yet, the contribution of science to the development of the economy and culture of the region is clearly insufficient. The qualitative development of science was hampered, first of all, by the fact that not all scientific developments were in demand.

The most important direction of the cultural policy of Soviet power was the development of means mass media. The press took priority. According to V.I. Lenin’s plan, the press was supposed to perform the functions of a “collective propagandist, collective agitator and collective organizer” of the masses, to affirm the ideals of communism in their minds. These fundamental factors determined its development both in the center and locally. In the Far East since 1922 (in the territory from Lake Baikal to the shores of the Pacific Ocean) more than 20 Soviet newspapers were published: in Vladivostok - “Red Banner”, “Red Star”, “Seaside Peasant”, “Seaside Worker”; in Khabarovsk - “Pacific Star”, “Working Path”; in Blagoveshchensk - “Amurskaya Pravda”, “Red Youth of the Amur”; in Petropavlovsk-Kamchatsky - “Polar Star”; in Chita - “Zabaikalsky Rabochiy”, the magazine “Young Spartak”, etc. According to the content of the newspapers, as in the European part of the country, they were divided into party-Soviet, trade union, youth and Komsomol newspapers. Depending on the level of socio-economic and cultural development, some regions (for example, Kamchatka) had fewer publications, while others had more. Thus, in Vladivostok, in addition to those mentioned above, the evening workers’ newspaper “Red Star” (1923-1924) and the pioneer newspaper “Children of October” (1924) were published. The highest peak in the quantitative development of multi-circulation printing in the Far East occurred in the 30s. During these same years, district and city newspapers were created - organs of local district party committees and district councils. Following them, a network of large-circulation newspapers is being formed - organs of party committees of various industrial enterprises and machine-transport stations. By the beginning of the 90s, more than 100 newspapers were published in the Far East - regional, city, district and large-circulation. More than 100 primary journalistic organizations united about 2,000 professional journalists, members of the Union of Journalists of the USSR.

Cinema was the popular and favorite art of the population. Already in 1924 there were 30 film installations in the region. Among the films released by Soviet cinema during this period were films that gained worldwide fame, such as “Strike”, “Battleship Potemkin” by S. Eidenstein, “Mother” by V. Pudovkin, etc.

Radio played an important role in introducing the working masses to culture and expanding their horizons. Regular radio broadcasting in the region began in September 1927 - in the cities of Vladivostok and Khabarovsk. In 1937, there were 6 radio points operating in the Far East. Radio programs covered all aspects of public life, issues of socio-economic and cultural development of the country.

In the post-war period, in the 50s, television journalism of its own appeared in the Far East. The first television studio arose in Vladivostok, followed by it in other regional and regional centers. Radio committees are transformed into Committees on television and radio broadcasting. In the 60s, the Daltelefilm studio was established in Vladivostok under the Primorsky Regional Committee for Television and Radio Broadcasting to create documentaries about the life and work of Far Easterners. In the 60-80s, radio and television entered literally every home. As you know, in 1960, regular broadcasts of Central Television programs began on the Orbita system. Regional and regional television studios were created in the regions, producing programs based on local material.

The increase in the culture of the population directly influenced the development of artistic culture. In the 20s, theatrical art was born. It developed within the framework of state cultural programs. In the Far East, professional theaters are opening in large industrial centers. In 1926, a musical comedy theater opened in Khabarovsk; in Vladivostok - drama theater; in Komsomolsk-on-Amur - drama theater (1932), etc. Theaters were created not only in regional centers, but also in the outback. Thus, the Peasant Theater appeared in Spassk; in Suchan - Workers' Theatre. In 1937, nine major drama theaters of the Far East gave 1,750 performances, which were attended by 736 thousand spectators. Numerous amateur musical, literary, theater studios; A network of art education was formed, consisting of 4 music and one art schools.

In the post-war years, the culture of the Far Easterners grew immeasurably. New social and cultural facilities appeared everywhere: clubs, cinemas, libraries, Palaces of Culture. One of the striking examples of the effectiveness of cultural work among the population was the numerous creative groups - dance ensembles, choirs, drama clubs that arose at the Houses and Palaces of Culture. Active theatrical life continued, professional concert ensembles, symphony orchestras, choreographic and vocal groups appeared, the activities of which were coordinated and directed by regional and regional philharmonic societies.

Hundreds of professional artists and talented self-taught people have reached a high level in painting, graphics, and sculpture. By 1990, the Primorsky organization of the Union of Artists of the Russian Federation alone consisted of 74 members. In the 70-80s. The paintings of Yu. Rochev, A. Usenko, V. Doronin, and K. Shebeko became famous. In the Khabarovsk Territory, artists V. Vysotsky, A. Shishkin, A. Dyatelo, A. Geiker, sculptors Y.P. Milchin, I. Gorbunov created their works.

Far Eastern musicians have achieved enormous success. The work of composers was of great interest: Yu. Vladimirov, who wrote a number of significant musical works (cantatas, oratorios, a symphony in memory of Sergei Lazo, songs for children, etc.), a collector of musical folklore throughout the Far East. The Far Eastern Symphony Orchestra, whose artistic director and conductor has been V. Titz for a number of years, has become widely known throughout the Far East.

The literature of the Far East, like all art, developed in line with the country's Soviet culture. The main subjects in the works of Far Eastern writers, as before, were: the nature of the region, the history of its development and settlement, the life of people on the distant outskirts of Russia. In the post-war years, works devoted to military themes appeared. It is worth mentioning such significant literary works as “Far from Moscow” by V. Azhaev, “Sungari Notes” by D. Nagishkin, “Infantry Soldiers” by G. Markov.

New names appeared in literature and art: writers V. Efimenko, G. Guk, O. Shcherbakovsky, N. Zadornov, N. Ryzhikh, L. Knyazev, V. Kolykhalov, A. Tkachenko, N. Navolochkin, I. Basargin; poets S. Smolyakov, A. Pavlukhin, A. Kosheida, V. Korzhikov, G. Lysenko, L. Korolev and others. The magazines “Far East” (Khabarovsk) and the almanac “Pacific Ocean” (Vladivostok) were published in the region. The main character of the works of Soviet writers is the man of labor. Convincing evidence of the achievements of Far Eastern literature is the constant attention to it abroad. A. Fadeev’s novel “Destruction” was published in Japanese 7 times (first in 1929). In the 60s to mid. 80s literature about the Far East was actively translated into European languages: more than 130 publications were published in German, 110 in Czech, 90 in Polish, etc. Thus, in French, German, Polish, Czech, Bulgarian, Hungarian, Japanese novels by N. Zadornov were published; A. Fadeev’s books have been reprinted more than 100 times; V. Arsenyev and V. Azhaev - 50 times.

However, not all the possibilities of socialism were fully used for the cultural development of the country. Formed in the 30s. The administrative-command system deformed many of the principles of socialism, slowed down the process of the revolutionary rise of culture and democratization of the spiritual life of society, which began in the first years of Soviet power. The party-state leadership of cultural construction took the form of administrative dictate. Mass repressions of the 30s - early 50s. led to irreparable losses in the field of culture and affected the moral state of society. The continuity of generations of the domestic intelligentsia has been disrupted. And in subsequent decades, the administrative-command system continued to put pressure on the cultural life of society. The contradictions between the needs of social development and the methods of leadership of the country became especially acute in the period of the 70s - the first half of the 80s.

Its isolation from the world cultural and historical process had a negative impact on the progress of national culture. Very little was selected from the world cultural experience of both past centuries and the 20th century, mainly what fit within the framework of a materialistic worldview. As a result, a huge part of world culture remained unfamiliar not only to the people, but also to the intelligentsia.

Contribution of the peoples of the region to world culture and science

Far Eastern science originates from travel, from the inquisitive human mind. The Far East has seen many people whose passion was the desire to understand the world and travel. Chekhov said beautifully about such ascetic people: “Their ideological spirit, noble ambition, based on the honor of their homeland and science, their perseverance, no deprivation, dangers and temptations of personal happiness, an invincible desire for a once-planned goal, the wealth of their knowledge and hard work, the habit of heat, cold, homesickness, debilitating fevers, their fanatical faith... in science - make them in the eyes of the people ascetics, embodying the highest moral force...". From afar, from the very depths of history, stretches a chain of geographical discoveries of explorers, navigators and scientists on the Pacific Ocean. Let's remember the seventieth century. It is famous for the campaigns and discoveries of Russian explorers - Moskvitin, Dezhnev, Khabarovsk, Poyarkov, Atlasov. Through their labor, will, courage, and intelligence, the Far Eastern lands were discovered and annexed to Russia. The 18th century is the century of Russian Columbus, navigators and scientists; it is the century of great geographical discoveries. The Kamchatka expeditions of the 18th century were of exceptional importance for geographical science and for our state. It was they who laid the foundation for the development of the Far Eastern outskirts of Russia and enriched science with discoveries. Titled scientists of the Academy of Sciences took part in the 2nd Kamchatka (Great Siberian, 1733-1743) expedition - adjunct Steller, astronomer de la Creuer, historian G. Miller, etc. But none of them left such a mark on science as the unknown " Mr. Student" Krasheninnikov. This is how the “student” of the Moscow Greek-Slavic-Latin Academy Stepan Krasheninnikov was styled in official papers. It was he (Krasheninnikov), who lived for four years in Kamchatka in severe hardships and worries, tireless labors and quests, worked as a geographer, botanist, zoologist, ichthyologist, ethnographer, historian, linguist, thoroughly studied the nature of the distant peninsula, the life of the peoples inhabiting it and created an immortal monument of Russian scientific thought - the book “Description of the Land of Kamchatka”, which had no equal in the geographical literature of the 18th century. For many sailors and travelers, it was a reference book and guide. The work of a remarkable Russian scientist and traveler of the 18th century. Stepan Petrovich Krasheninnikov enjoys well-deserved fame and worldwide fame. (Krasheninnikov Stepan Petrovich (1711-1755), Russian traveler, explorer of Kamchatka, academician of the St. Petersburg Academy of Sciences (1750).

The 19th century is rich in numerous expeditions and discoveries. This is the century of Russian trips around the world in the first half of the century. (expeditions of F.P. Litke, I.F. Kruzenshtern, V.M. Golovnin, O.E. Kotzebue). With their geographical and ethnographic discoveries, scientist A.F. Liddendorf, navigator G.I. Nevelskoy, naturalist L.I. Shrenk, officer N.M. Przhevalsky, naturalists R.K. Maak, K.I. Maksimovich enriched domestic and world science , scientist L.A. Sternberg and others. But the first scientist who discovered the Far East to the world was Vladimir Klavdievich Arsenyev. He devoted thirty years of his life to studying the nature and population of his beloved region. Thus, we can consider that science received a permanent residence here from him. During this time, V.K. Arsenyev rode horses, walked and boated tens of thousands of kilometers through unknown regions of the Ussuri region, sailed the Amur River, explored lakes, the river network of Primorye, part of Sakhalin and the Commander Islands, collected and described the richest natural resources. historical and ethnographic collections. The great role of V.K. Arsenyev in the development of ethnography, archeology and history of the Far East. He has written more than 50 scientific and popular science papers, numerous reports and other materials. V.K. Arsenyev is one of the founders of the local history trend in domestic scientific and artistic literature. V.K. Arsenyev (1872-1930) – researcher, ethnographer, writer. His works - “Across the Ussuri Region” (1921), “Dersu Uzala” (1923), “In the Sikhote-Alin Mountains” (1937) - are known throughout the world. The Museum of Local Lore in Vladivostok bears his name. A monument to V.K. Arsenyev was created in the city of Arsenyev.

The Far East, with its unique nature, rich mineral and biological resources, and the uniqueness of its indigenous peoples, has attracted many researchers. The first information about its vegetation, living world, subsoil treasures and nationalities was provided by scientists of the 18th-19th centuries. But comprehensive scientific development of the region began only during the years of Soviet power. And it is associated with the name of Vladimir Leontyevich Komarov - a Soviet scientist, academician of the Russian Academy of Sciences (since 1920), chairman of the USSR Academy of Sciences (since 1936). V.L. Komarov did a lot to study the eastern regions of the country and organize scientific research in the Far East. Even before the revolution, a young scientist, full of thirst for discovery, travels to the Far East. He explored the lower reaches of the Ussuri River, the Tunguska and Bira basins, the plains of the Amur region, and the Lesser Khingan where the Amur cuts through it. V. Komarov undertook travels to Manchuria, Korea, Mongolia, Kamchatka and Primorye, the result of which were the major works “Flora of Manchuria”, “Flora of Kamchatka”. Already a venerable scientist, Vladimir Leontyevich visited the Far East more than once in the 30s, conducting research in the Ussuriysk region, in the vicinity of Khabarovsk, on Zeya and in the Kedrovaya Pad nature reserve. Together with the botanist E.N. Klobukova-Alisova, he created the “Identifier of Plants of the Far Eastern Region,” which is a reference book for many generations of scientists.

Famous historians, archaeologists, ethnographers - A.I. Krushanov, N.N. Dikov, E. .V.Shevkunov, Zh.V.Andreeva, N.K.Starkova and many others. Here we will talk about the work of the great scientist, archaeologist, ethnographer, academician Alexei Pavlovich Okladnikov, on whose initiative archaeological work began in the Far East, which was considered a region without deep roots.

A.P. Okladnikov made an invaluable contribution to the world treasury of science. A.P. Okladnikov’s passion for history, archeology and ethnography, which originated in his school years, was finally determined during his studies at Irkutsk University. A.P. Okladnikov devoted most of his life to the study of Siberia. In the 20-30s, he conducted his first archaeological searches in Transbaikalia, opening the forgotten Shishkinsky gallery of rock paintings of ancient people. In the 30-40s, he headed the Angarsk archaeological expedition of the Irkutsk Museum of Local Lore, continued research on the Angara, discovering a series of burial grounds, settlements, sites, monuments of primitive art; he made a number of significant discoveries in Uzbekistan. His expeditions in 1947-1958 work in Kyrgyzstan, Turkmenistan and Tajikistan. The search is crowned with the discovery of Stone Age monuments. In 1940-1945. A.P. Okladnikov discovered dozens of monuments from the Paleolithic era to the 17th century in Yakutia, which allowed a new look at the world of hunters, fishermen and cattle breeders who lived in the vast northeastern expanses of Asia, as it turned out over many millennia. In the late 40s - early 50s, under the leadership of A.P. Okladnikov, research began in Transbaikalia, the Buryat Autonomous Soviet Socialist Republic, the Chita region and the Baikal region. Since 1953, A.P. Okladnikov has been conducting large-scale excavations of monuments of different periods in Primorye and the Amur region, which made it possible to solve the problems of the development of cultures of the Neolithic and Early Metal Ages, the formation and development and flourishing of the first Tungus states of Bohai and the Jurchen Empire. A.P. Okladnikov’s contribution to the development of various aspects of primitive art was enormous, an interest in which he carried throughout his life. Based on the results of extensive research, A.P. Okladnikov created more than 600 works. The most famous of them, which are included in the treasury of Russian and world science and culture: “Neolithic and Bronze Age of the Baikal region” (1950,1955), “Russian polar sailors of the 17th century. off the coast of Taimyr" (1948), "The distant past of Primorye" (1959), "Shishkinsky writings" (1959), "Petroglyphs of the Angara" (1966), "Deer Golden Horns" (1964), "Faces of Ancient Amur" (1968) , “Petroglyphs of Middle Lena” (1972), “Paleolithic of Mongolia” (1981), “Petroglyphs of Mongolia” (1981) and many others.

A.P. Okladnikov was a participant in many international congresses and conferences, elected a foreign member of the Academy of Sciences of Mongolia, an honorary member of the Hungarian Academy of Sciences, a corresponding member of the British Academy, and an honorary doctor of the University of Poznan in Poland.

For his enormous contribution to science, the scientist, organizer of science and teacher A.P. Okladnikov was awarded the title of Hero of Socialist Labor by the party and the Soviet government, he was twice awarded the USSR State Prize, he was awarded three Orders of Lenin, three Orders of the Badge of Honor and medals.

Monuments of history and culture

The Far East is a unique region. It is rich in its natural resources, the history of the peoples inhabiting it; it is full of various historical and cultural monuments. All famous in the region historical monuments are of great value, most of them are of national importance and are protected by the state.

It is impossible to talk about each of them in a small tutorial. We will talk only about individual monuments of ancient culture, about historical, historical and revolutionary monuments, about famous historical figures who contributed to the discovery and development of the region, and about architectural monuments of three cities - Khabarovsk, Blagoveshchensk and Vladivostok.

Monuments of spiritual culture

The most remarkable monuments of ancient art are rock carvings (petroglyphs or pisanitsy, as they are also called). On the territory of the Amur region and Primorye there are several known locations of rock carvings left by ancient craftsmen on pliable stone. This is on the Amur River near Sikachi-Alyan, on the rocky bank of the Ussuri River above the village of Sheremetyevo and in the valley of the Kiya River on the road from Khabarovsk to Vladivostok.

The largest center of rock paintings is Sikachi-Alyan. The oldest Nanai village, Sikachi-Alyan, is located 90 kilometers from Khabarovsk. Near the village, along the rocky shore of the Amur, blocks of basalt are piled up in long shafts - the remains of destroyed rocks. There are ancient drawings on them. In total there are about 150 drawings in Sikachi-Alyan. The Sikachi-Alyan images-masks are diverse and unique. They are similar to masks, and each of them has its own characteristics. Face masks are very expressive. A wide upper part, huge round eyes, an open mouth with two rows of large sharp teeth, a narrow rounded chin - such faces resemble the head of a monkey. There are ovoid and oval-shaped larvae, some of them have slanted eyes with round pupils clearly carved into the stone, and a wide, vague nose. On the cheeks and chins of many of the faces, parallel arcs are visible - possibly a tattoo. At the top, many masks are surrounded by a halo of diverging rays. The masculine images exude a formidable power, and through their eyes it is as if the mysterious soul of ancient unknown tribes is looking at us. Next to the frightening faces on the blocks of basalt you can see images of animals: animals, birds, snakes. The most famous animal figure from Sikachi-Alyan’s drawings is an elk. An oblong body, barely noticeable legs, a long neck and a small head - everything is ready for rapid running. The proud camber of the horns is emphasized by the primitive master with airy ease. Inside the animal’s body there are several concentric circles – signs associated with the sun. This is the heavenly elk, the hero of myths, legends and traditions of many peoples. They associated good hunting with him, and therefore their well-being.

An interesting design depicts a giant snake or mudur dragon in the form of a wide zigzag, filled inside with the finest carved mesh. The mudur of Nanai legends is a powerful creature, sometimes beneficent, sometimes terrible, unkind - an indispensable character in many rituals. The mythical snake was carved in a place that could only be reached by water on a light fishing boat.

The drawings near the village of Sheremetyevo are no longer placed on individual blocks of stone, but on even and smooth surfaces of rocks, at the very foot of which the Ussuri splashes. Among them, large faces stand out, similar to the heads of anthropomorphic monkeys, with a huge rounded forehead and the same large round eyes. Above the square chin there is a terrible mouth with a palisade of sharp teeth. A little higher on the rock there are even more fantastic larvae. Narrow-eyed, like the mask images of Shikachi-Alyan, with the outer tips of the eyes curved upward, they are very reminiscent of the conventional masks of the ancient Japanese theater. There is also a figure of a snake in the form of a spiral, above which the head of a poisonous creature rises vertically, and a brightly executed figure of a deer. The images of boats and birds are wonderful. The boats have the appearance of arched lines, above which vertical, thin sticks stick out, depicting rowers or people simply sitting in a boat. The birds look like geese: massive bodies, long necks, and some figures have raised wings.

The images on the Kiya River have the closest resemblance to the rock paintings of Sikachi-Alyan and Sheremetyevo rocks. The first common theme for them is masks. They have similar outlines. The eyes are shown in circles, and transverse stripes are stamped on the forehead. The figure of a deer in Kyiv, for example, is very similar to Sikachi-Alyanskaya and Sheremetyevskaya. What is the origin of “written stones” or petroglyphs? Here is what the ancient Nanai myth tells, for example, about the Sikachi-Alyan writings: “It was a long, long time ago, at the beginning of the world there lived three people. And there were three diving swans. One day people sent three swans to the bottom of the river to get stones and sand for the earth. The birds dived. We were under water for seven days. And when they came out, they saw that the earth was blooming like a carpet, and fish were swimming in the Amur River. Then three people made a man named Kado and a woman Julcha. Then a maiden named Mamilzhi. The people multiplied and populated the entire land along the Amur River. Kado said: “There are three suns in the sky. Life is too hot. I want to shoot two suns!” And he went towards sunrise. He dug a hole and hid in it. I saw the first sun rise and shot it. He shot at the second sun, but missed. Third, he killed. One average left. The water boiled and became a mountain. The mountain was boiling - it became a river. While the stones were still warm, Mamilzhi painted birds and animals on them. Then the stones became hard. After that, life became good...”

So says the legend. What do scientists say about this? Who and when carved these strange images on basalt blocks and steep cliffs? The answer to these questions was received when systematic excavations of ancient settlements on the banks began.

Thanks to modern scientific methods, it is now possible to determine when these amazing masters lived on the Amur. Thus, the age of the Voznesenovsky vessel dates back to the 4th-3rd millennium BC. In other words, it lay in the ground for at least five thousand years!

Petroglyphs of Pegtymel

A unique cultural monument of the Far Northeast Asia are the Pegtymel petroglyph images. They are carved on 12 rocks on the right bank of the Pegtymel River, 50-60 kilometers from its confluence with the Arctic Ocean. At a height of 20-30 m, 104 groups of images have been preserved. This “picture gallery” was created during the first millennium BC. – first millennium AD Older images are partially overlapped by later drawings. The rock paintings reflected the main activities of the ancient inhabitants of the North of the Far East - sea hunting and wild deer hunting. Most often, images of deer are found on the Pegtymel rocks. Among them there are real masterpieces of craftsmanship, for example, with amazing persistence the following plot is repeated on the Pegtymel rocks: a deer, and behind it a boat with a man who stuck a spear or harpoon into the animal. In ancient times, near these rocks there were seasonal crossings (floods) of wild deer, going to new pastures across the river. The ancient artist very skillfully conveyed the characteristic movements of a swimming deer: the head is stretched forward, the swollen body, light as a float, with legs submerged in the water, seems to be floating in a state of weightlessness, the hooves are spread out like crow's feet, and although the water is not marked in any way, you feel that the animal is swimming.

The hunter himself in the boat is often depicted in one broad stroke. The designs of the boats are interesting: multi-seat ones with high bows and small ones, reminiscent of the leather-covered, unsinkable, high-speed kayaks of the Eskimos, Chukchi, and Aleuts. Hunting scenes often include dogs. They fiercely attack running and swimming deer and drive them into the water. Not so often, but still there are images of sea hunting scenes. Various sea animals - whales, killer whales, bearded seals, seals - are drawn clearly and expressively. Sometimes among these animals there is also a polar bear.

On the Pegtymel rocks you can find images of animals such as arctic foxes and wolves. The latter are mostly depicted chasing deer. There are figures of waterfowl. There are a variety of humanoid images.

The Pegtymel petroglyphs reflect what most interested the primitive hunter. The dream of abundant food determined the meaning of Pegtymel rock art. Killing more wild deer and sea animals is what brought this art to life. But the images of a wolf and a killer whale are not associated with hunting magic. These animals were not hunted. The Chukchi and Eskimos have long held the belief that these animals are useful for humans and should not be killed. According to a widely held belief, a wolf and a killer whale are one person, a werewolf. In the guise of a killer whale in the summer, he drives whales to the shore and forces them to wash ashore, thereby helping the hunters. In winter, in the guise of a wolf, attacking deer and destroying the weak among them, he also does a useful job. The deer feed the wolf, but the wolf makes them strong. But the images had not only a ritual meaning. They are very realistic. Drawings carved into rocks are sometimes real, very expressive works of art. You can feel the vigilance and observation of a hunter in them. And, of course, they are a source from which we can learn a lot about the life and way of life of people of that distant era.

Historical, historical and revolutionary monuments

In various cities of the Far East, majestic monuments to fallen heroes during the harsh years of the Civil War were erected. The most expressive of them is located in Khabarovsk, on Komsomolskaya Square. The grand opening of the monument took place on October 26, 1956 in the presence of more than 300 Far Eastern partisans, among whom were former commanders of partisan detachments and active participants in the revolutionary movement. The authors of this majestic and at the same time mournful monument (sculptor A.P. Faydysh-Krendievsky, architect M.O. Barits) sang the heroism of the harsh years of the Civil War. The height of the monument is 22 meters, and the height of the sculptural group is 3 meters. The center of the monument is a tetrahedral obelisk made of gray cut granite (blocks), topped with a five-pointed star cast in bronze in laurel branches. The obelisk is a kind of compositional vertical (axis) of the entire monument. At the foot of the obelisk, on a tetrahedral pedestal, there is a bronze sculptural group: under an unfurled banner there are courageous figures of a commissar, a Red Guard and a partisan. In the sculptural group, the author conveyed folk images of a commissar, baring his head in grief, a Far Eastern partisan in a sheepskin coat and ichigs, dragging his Maxim machine gun through the taiga thickets, and the image of a Red Guard with a rifle and a banner, looking towards the future unfolding before him.

The obelisk is installed on a high pedestal consisting of three parts: the upper one serves as the base of the obelisk, the middle one is a cubic volume and the lower one is a three-stage base of the pedestal, which, like the obelisk, is made of gray granite blocks. On the north-eastern edge of the pedestal, on a ledge, there is an inscription in overhead letters: “To the heroes of the civil war in the Far East. 1918-1922". On the back side of the pedestal there is a bas-relief composition made of bronze. In the center of the composition there is a hammer and sickle on a shield, and on the sides there are three half-mast banners. Above the bas-relief - five pointed star. On the south-eastern edge of the pedestal are carved the words from the famous partisan song (“Across the valleys and along the hills”): “And the assault nights of Spassk, the Volochaev days will remain, like a fairy tale, like alluring lights.” The surrounding area is landscaped and lawns are laid out.

The monument has high artistic merit and has great historical significance, therefore, back in 1960, by a Decree of the Council of Ministers of the RSFSR, it was taken under state protection as a monument of republican significance. It became the first protected object of this rank in the Far East.

Monument to the Fighters for Soviet Power in the Far East in 1917-1922. installed on the central square of Vladivostok on April 28, 1961. Authors: sculptor A. Teneta, engineers A. Usachev and T. Shulgina. The largest monument in the city. It consists of three separate compositions - two group ones and a central sculpture of a Red Army trumpeter, towering over the square at a height of thirty meters. It was the central figure who was “to blame” for the appearance of the unofficial names of the monument among the local informal and bohemian public: “Trumpeter in his own juice” and “Vasya Trubachev and comrades.” The right sculptural group depicts participants in the events of 1917 in Vladivostok. Left - the Red Army soldiers of the NRA of the Far Eastern Republic, who liberated Vladivostok in 1922.

A striking and illustrative example of how the seemingly irreconcilable is reconciled in history is Marine Cemetery Memorial Plot in the city of Vladivostok. It arose in 1905 during the Russo-Japanese War of 1904-1905. The memorial site of the Marine Cemetery is a striking and illustrative example of how history reconciles the seemingly irreconcilable. People of different eras, ideologies and religions are buried here. Next to the veterans of the “red” partisan movement during the Civil War lie English and Canadian soldiers and officers, Czech legionnaires who died in the same years, but professed completely different values.

Veterans of the Battle of Tsushima, sailors of the cruiser "Varyag" side by side with soldiers of the Red Army. The sailors of the Varyag fought and died in battle on January 27, 1904 in the Korean port of Chemulpo with the ships of the Japanese squadron. Red Army soldiers died in the summer of 1938 defending the border Soviet Union from Japanese troops in the area of ​​Lake Khasan. The “Varyag” was commanded by Captain 1st Rank V.F. Rudnev, who was the son of a Russian nobleman, and the Soviet troops were commanded by Marshal of the Soviet Union V.K. Blucher, the son of a peasant. The Marine Cemetery also became the burial place of famous government and public figures of Primorye.

A group of monuments associated with the events of the Great Patriotic War (1941-1945)- one of the most numerous. The Great Patriotic War with the Nazi invaders, which raged on the territory of the USSR for four years from the borders with Poland to the Urals, was part of the Second World War (1939-1945). This war became the largest tragedy in the history of world civilization of the twentieth century, when millions of people in Europe and the United States of America were drawn into the fight against fascism.

In those terrible years for the Soviet Union, thousands of patriots of the Far East took up arms. Many of them never returned to their homes. Their memory is sacred to the modern generation. There is not a single city or village in the region where there is not a monument to fellow countrymen who died in the fight against fascism.

In Khabarovsk, on the high bank of the Amur River, the city’s youngest square is located - Glory Square, opened on the 30th anniversary of Victory in the Great Patriotic War of 1941-1945. In the center of the square rises a 30-meter obelisk of three pylons. The Glory Square memorial appeared in Khabarovsk in 1985. On its plates are the names of Far Easterners who died in the Great Patriotic War. The names of 47 thousand people are engraved on the granite slabs of the local memorial - all those who were called up to the front from the Khabarovsk Territory. They bear the names of Khabarovsk residents - Heroes of the Soviet Union, Heroes of Socialist Labor and full holders of the Order of Glory. The search team worked for several years to perpetuate the memory of everyone by name. By the 40th anniversary of the Great Victory, construction of the second stage of the square was completed. The central structure of the memorial complex is the Memorial Wall, which encircles the site in a semicircle - a podium, in the center of which the Eternal Flame was lit. Over time, pylons appeared here, where the names of the inhabitants of the region who did not return from the war were carved. Opposite is a monument to those who fell in local wars and military conflicts, opened quite recently. Three black pylons in the shape of tulip petals rise on a granite podium, on which are the names of residents of the Khabarovsk Territory who died in “hot spots”. In the center, at the base of the petals, there is a hemisphere with a diameter of about 2 m, on which, like on a globe, conflict zones where the Far Easterners fought were marked with lights. Around the hemisphere there is an inscription: “To fellow countrymen who fell in local wars and military conflicts.” 143 names of Far Easterners are immortalized on the memorial.

In 1982, in Vladivostok, during the celebration of the 50th anniversary of the Red Banner Pacific Fleet, it was inaugurated Memorial ensemble "Battle Glory of the Red Banner Pacific Fleet"- in memory of the Pacific people who died during the Great Patriotic War and the war with imperialist Japan, it was inaugurated in July 1982 during the celebration of the 50th anniversary of the Red Banner Pacific Fleet. Team of authors: architect A.V. Sandoka, sculptors: V.G. Nenazhivin, N.P. Montach, engineers: G.M. Braunagel, I.P. Yablonsky.

The memorial ensemble is a detailed spatial composition consisting of a museum ship - the S-56 submarine, a memory forum with an Eternal Flame and the Wall of Glory of Heroes. The main element of the composition is the guards submarine S-56, which during the Second World War destroyed 14 enemy ships in the polar seas, for which it was awarded the Order of the Red Banner. It is placed on a pedestal and turned into a museum. To the right of the museum boat there is a forum in the form of two terraces connected by wide memorial staircases. The upper terrace is bordered from the rear by a wall with a high-relief composition dedicated to the exploits of Pacific sailors. In the center of the high relief there is a cast-iron memorial plaque with the image of the Order of the Red Banner and the text of the Decree of the Presidium of the Supreme Soviet of the USSR on awarding the Pacific Fleet with this order. Between the stairs on an inclined ramp, in the center of the bronze star, the Eternal Flame is lit. Capsules with the soil of heroes of Moscow, Leningrad, Volgograd, Sevastopol, Odessa, Kyiv, Novorossiysk, Minsk and Kerch are stored in niches on the upper platform of the ramp. The upper terrace of the forum is flanked by 2 pedestals, on one of which a gun from the destroyer “Voikov” is installed, on the other - a turret from the armored boat B-304. On the back side of the submarine, on a raised terrace paved with concrete slabs, there is a Wall of Glory, folded in the form of marble banners, on which are mounted 20 bronze slabs with the names of 192 Heroes of the Soviet Union and 37 full holders of the Order of Glory. In front of the submarine, 45 low rectangular steles with memorial plaques are installed in a row, on which the names of ships, units and formations of the KTOF, awarded government awards and distinctions during the Second World War, are immortalized.

In the city of Komsomolsk-on-Amur on June 23, 1972, the grand opening of a unique Memorial monument to Komsomol heroes, died in 1941-1945. The author of the monument project is the artist N.S. Ivleva, the sculptor is S.V. Nikolin.

The territory on which the monument is located is limited on the northwestern side by Dzerzhinsky Street, on the northeastern side by Oktyabrsky Avenue, and on the southeastern side by Amursky Avenue. The architectural and planning solution of the space makes it possible to conveniently approach the monument and perceive it from different points. The idea of ​​creating the monument is reflected in its spatial composition. The general solution of the complex is built on a combination of vertical pylons, focusing the viewer’s attention, but at the same time carrying the ideological decoding of the monument and the horizontal composition of reliefs of the faces of the heroes - Komsomol members, 3.5-6 meters high, powerful vertical pylons 12.5 meters high, emerging from the planes of the earth create a feeling of monumental strength and express the invincibility, resilience and unity of the entire people during the Second World War. The monument completed the composition of the memorial complex located on the Komsomolsk embankment. The complex also includes the “Eternal Flame”, three tall columns with the dates of the beginning and end of the Second World War, as well as the Heroes’ Square, where the names of Komsomol soldiers who did not return from the war fields are carved on both sides of the stone crossings.

Monuments dedicated to historical figures

Monumental sculpture has become a specific phenomenon of the culture of the Far East. Monuments to historical figures have become landmarks in cities. It is characteristic that all the sculptural monuments were united by one big theme: the development and protection of the Far Eastern lands of Russia. The main purpose of sculptures: to affirm the positive, heroic in the minds of contemporaries, and then their descendants. All created monuments were the result of social activity.

Monument to E.P. Khabarov For 40 years now, there has been a monument to Erofey Pavlovich Khabarov in the city of Khabarovsk, erected on the centennial anniversary of the city. The monument was opened on May 29, 1958 in a solemn ceremony. The author of the monument is Khabarovsk sculptor Ya.P. Milchin. The monument to Erofey Pavlovich Khabarov reminds of his famous campaigns and his great contribution to the development of the outlying Russian lands. We see Khabarov climbing a rock and peering into the Amur distance. In his left hand is clutched a scroll with notes, and right hand supports the floor of a fur coat that has slipped off the shoulder. On the front side of the pedestal there is an inscription carved: “To Erofey Pavlovich Khabarov,” and just below are the words: “On the day of the 100th anniversary of the city of Khabarovsk. 1858-1958". The height of the sculptural figure is 4.5 meters, and the total height of the monument (with pedestal) is 11.5 meters.

There can be no talk of a portrait resemblance to Khabarov, since neither portraits nor even descriptions of Erofey Khabarov’s appearance have been preserved. Therefore, the monument decorating the city station square is a kind of collective image of those brave Russian explorers who were the first to reach these distant lands.

In 1891, on the cliff of the city garden of Khabarovsk, a monument to Nikolai Nikolaevich Muravyov-Amursky with carved names of participants in all rafting expeditions of the Amur expedition: G. Nevelsky, N. Boshnyak, M. Venyukov, K. Budogossky, L. Shrenko, R. Moake, K. Maksimovich and others. The monument was built according to the design of Academician A. M. Opekushin, author of monuments to Pushkin in Moscow and Lermontov in Pyatigorsk. The monument was cast in St. Petersburg in Gavrilov’s art workshop. In January 1891, the statue was exhibited in the Mikhailovsky Palace for the familiarization of residents of the capital. She received the approval of the emperor himself, and then was sent through Odessa and Vladivostok to Khabarovsk, where a pedestal with bronze plaques attached to it with the names of Muravyov-Amursky’s comrades-in-arms was already ready. On May 30, 1891, the grand opening and consecration of the monument took place in the presence of the heir, the crown prince.

In 1925, the monument was demolished. In 1992, the monument was restored according to the surviving working model by St. Petersburg sculptor L. Aristov. On May 30, 1992, on the birthday of the city of Khabarovsk, with a huge crowd of citizens, the bronze count (governor general) returned to his native pedestal on the banks of the Amur River. The monument appeared in its original form, in which it existed for about thirty-five years, personifying the glorious history of the Far Eastern region. In a short period of time, not only the pedestal and sculpture were restored, but also the entire complex: ramps, a retaining wall, a burial mound, which made the pedestal higher, and a fence of thirteen cannons. Eleven of them, to replace the lost ones, were manufactured at the Daldiesel plant, and two were made back in the nineteenth century. A crystal capsule with a message to descendants is walled up in the pedestal of the monument. The monument to Muravyov-Amursky is an outstanding work of Russian monumental art. This is one of Opekushin’s best creations and belongs to the golden fund of monumental art.

Monument, dedicated to the outstanding Russian officer, admiral G.I.Nevelsky stands in a cozy park on Svetlanskaya Street in Vladivostok. The name of this man is widely known and very revered in Russia. The work of the Amur expedition (1851-1855) led by him played a decisive role in the formation of Russian statehood in Primorye. The monument to G.I. Nevelsky and his associates was unveiled on October 26, 1897. It is made of gray granite, specially delivered for this purpose from Russky Island. The author of the project is marine engineer, architect A.N. Antipov. The sculptural part of the monument was made by the famous Russian sculptor R.R. Beck. It was cast in bronze at the Werfel company in St. Petersburg. The monument is distinguished by its austere beauty and elegance of form. Its top is crowned with a bronze eagle. It was created by subscription with funds from the lower ranks of the fleet and city residents and became one of the main attractions of Vladivostok. From the day it appeared until today, the Nevelsky monument has been considered one of the most impeccably functional and at the same time beautiful monuments in Russia.

A monument dedicated to G.I. Nevelsky was also built in Nikolaevsk-on-Amur. The monumental obelisk made of granite with relief and copper plaques with inscriptions was unveiled on August 31, 1813.

And in Khabarovsk, above the Amur, the bronze Nevelskoy stands just as naturally as in Nikolaevsk. The monument to this famous navigator and explorer of the Russian Far East was erected in 1951 in Central Park culture and recreation. With his head uncovered, with a telescope in his hand, he stands on a high bank and watches the waves of the Amur flowing towards the expanses of the Pacific Ocean. The author of this expressive sculpture is Khabarovsk resident A. Bobrovnikov.

In the city of Arsenyev, in the area of ​​the Uvalnaya hill, a monument to V.K. Arsenyev, a famous explorer, archaeologist, ethnographer, and writer, was erected. It reaches a height of about four meters. At a small distance from it there is a huge block of stone. Part of its façade is occupied by a bas-relief of Dersu-Uzala. Udege ornaments are carved on the reverse surface. The monument was erected in honor of the 100th anniversary of the researcher’s birth. Built with money from residents of the city of Arsenyev and the scientific intelligentsia of Russia.

Architectural monuments

Among the wide variety of cultural heritage, architectural monuments occupy a special place - a kind of chronicle of the world. Architectural monuments are silent witnesses of the past; by studying them, we simultaneously get to know ourselves, because in the monuments are the deeds of our ancestors. Architectural monuments embodied in wood and stone reflect the social and economic state of cities at different stages of development, the level of culture and education. In the Far Eastern cities, despite the fact that they developed far from cultural centers, there are many beautiful buildings. Different architectural styles were used in their construction: classicism, eclecticism or modernism.

One of the most beautiful architectural sights of Khabarovsk is rightfully considered City Government House, well known as the Palace of Pioneers. The author of the project is civil engineer P.V.Bartoshevich. On November 26, 1909, the grand opening of the City House took place with a prayer service and consecration of the new building. Built in the Russian style, the City House reflects the artistic merits and features of this architectural phenomenon. An unusually expressive silhouette of the building is given by a high roof with a metal decorative ridge along the ridge and high tetrahedral tents crowning the corner tower and flank projections of the main volume of the building. Rich and varied decorative elements on the two street facades form a plastically rich composition in which every part, every detail is expressive and valuable in its own right. There is no other similar building in the city. As the most attractive building in the city, the City House “saw” many prominent personalities within its walls. In June 1913, in the City House, he performed internationally in front of the residents of Khabarovsk famous artist Imperial St. Petersburg Opera (bass) Lev Mikhailovich Sibiryakov. And in the same 1913, but already in the fall, Fridtjof Nansen, also a world-famous explorer, spoke here, talking about his travels. Several years ago, the building's facades were reconstructed, which allowed the decorative details to be presented in their full glory. Cleared of multiple layers, they became juicy and expressive. The former City House has now found a new life and is rightfully considered one of the most beautiful buildings in Khabarovsk.

On May 23, 1884 it was laid down Assumption Cathedral. The temple was built according to the design of the architect S.O. Ber. The construction was supervised by military engineer-Colonel V.G. Mooro. The cathedral was consecrated on December 16, 1890 by His Eminence Gury, Bishop of Kamchatka. In subsequent years, the improvement of the temple continued. Thus, at the end of 1891, a chapel was added, consecrated in the name of St. Nicholas the Wonderworker in memory of the visit to our region by Tsarevich Nicholas (later Emperor Nicholas II, glorified by the Church as a passion-bearer). The parishioners also cared about the education of children, so on November 26, 1895, a parochial school was opened at the cathedral, which was maintained with money raised from the sale of candles and private donations. In January 1897, the church warden of the Assumption Cathedral, merchant Vasily Plyusnin, donated to the temple a copy of the famous Albazin Icon of the Mother of God “The Word became Flesh” in our region. In January 1902, with the blessing of the ruling bishop of the Annunciation diocese, the construction of a stone bell tower began, then two more side aisles were added to the temple, the aisle of St. Nicholas was expanded with the addition of a “semicircle”, and in this final form the cathedral appears before us on numerous ancient photographs and postcards. The magazine “Blagoveshchensk Diocesan Gazette” reported at the end of 1905: “In its new form, the Khabarovsk Cathedral has become majestic and beautiful and, without exaggeration, one can say, it has become the best church not only in the Blagoveshchensk diocese, but also in the Amur region, not excluding, according to eyewitnesses , and the Vladivostok Cathedral." On January 8, 1930, a team of ten volunteers held the first cleanup day to dismantle the building, calling on other townspeople through the newspaper to follow their example. The cathedral was dismantled. In June 1936, an excavator was used to level the wide hill that served as the foundation of the temple, and this was the last thing that reminded us of the Assumption Cathedral that had recently risen above the city. In 1996, by decree of the mayor of Khabarovsk, the Assumption Cathedral was included in the plan for restoring the historical memory of the city, and in its place a memorial plaque. “On this site was the City-Khabarovsk Cathedral of the Assumption of the Mother of God, a spiritual shrine of Orthodoxy, a symbol of Russia on the banks of the Amur, a monument of Russian architecture.” The groundbreaking for the new temple took place on October 19, 2000. The design of the temple was carried out by the architect Yuri Viktorovich Podlesny. On October 19, 2002, the second life of the Cathedral of the Assumption of the Mother of God officially began. On this day its solemn consecration took place. Metropolitan Sergius of Solnechnogorsk, one of the highest hierarchs of the Russian Orthodox Church, came from Moscow for the consecration.

In 1868, the first wooden church, called Innokentyevskaya in honor of St. Innocent, the first bishop of Irkutsk - the patron saint of Siberia and the Far East, canonized after his death. After 30 years, a new stone one was built to replace it, which has survived to this day, having undergone significant changes. The stone temple was erected with funds donated by merchants Plyusnin and Slugin, as well as with modest contributions from parishioners. The authors of the temple project were engineer-colonel V.G. Mooro and engineer-captain N.G. Bykov.

Located among modern buildings, the Innocent Church has a picturesque and expressive silhouette. Today, the church has lost its previously inherent role as an architectural dominant, but it has great historical and cultural significance due to its architectural and artistic qualities. Due to the liquidation of the church parish at the end of 1931, the church was transferred to the military department. The building housed a radio and telephone workshop for the border troops, and in 1964 it was converted into a planetarium. In October 1992, the building was transferred to the newly formed parish of the Innocent Church. In 1998, the temple was revived, its domes shone with gold, and the ringing of newly cast bells was heard.

From 1899 to 1901 construction of a beautiful building was underway - the Public Assembly. The building was built according to the design of the Irkutsk architect V.A. Rassushin. The building turned out to be really beautiful and for more than a hundred years it has been decorating Khabarovsk with its unusual architecture. Numerous premises on two main and semi-basement floors supported the operation of a theater, restaurant, library and other club institutions. During the tour, many celebrities gave concerts here, and during the months of the theater off-season, local theater troupes staged performances, and various themed evenings were organized that did not allow the townspeople to get bored, especially in winter. In December 1922, the building of the Public Assembly was municipalized, a year later it was leased to the theater of I.V. Tomashevsky, and in 1927 for a period of 40 years it was transferred to the authority of the department of public education of the Far Eastern Territory to house a theater there, with permission for completion and expansion premises. Since January 1945, in the building of the former Public Assembly, the theater for young spectators has been successfully and fruitfully operating for more than 50 years.

A significant and unique building of pre-revolutionary Khabarovsk - three-kilometer railway bridge, built in 1916. It was called the “miracle of the 20th century.” This is the longest railway bridge in the Old World. To this day, the Amur Bridge is an example of engineering art. The bridge project (like the Eiffel Tower) was awarded a gold medal at the World Exhibition in Paris. Authors of the project: L.D. Proskuryakov, G.P. Perederiy. The construction was supervised by A.V. Liverovsky. Since the 90s of the twentieth century, reconstruction of the bridge began. Thanks to an original and complex solution, which made it possible to use bridge supports to add a second tier, it was opened to vehicular traffic.

The city of Blagoveshchensk is notable for its wealth of historical and cultural monuments: on its territory there are eighty-three monuments that are under state protection: fifty architectural and urban planning monuments, four archaeological monuments, twenty historical and monumental art monuments. The most significant of them is the Amur Regional Theater. It was built in 1889, the facade was completed according to the design of engineer Krause, and the dome was designed by engineer Vaskeer. Before the revolution, a public meeting theater was located here. During the days of the revolution of 1905 and the February revolution of 1917, mass socio-political events were organized in the theater. In the year of the centenary of Blagoveshchensk, 1958, columns were built from the facade of the building. Nowadays, it is a theater restored in 1908, which still captivates the hearts of many spectators with the talent of its actors. The Amur Regional Theater is located at the intersection of two streets - Lenin and Komsomolskaya. It is located next to the city park of culture and recreation, surrounded by many trees and shrubs. The townspeople are proud that there is a theater in Blagoveshchensk, which has long traditions and a beautiful building.

A remarkable building is the building of the Blagoveshchensk railway station. It was built in 1908-1912. in the traditions of ancient Russian architecture of Novgorod and Pskov.

Interesting history of the building Blagoveshchensk Regional Museum of Local Lore. This is a monument of republican significance. The building was built in 1911 by the Far Eastern trading and industrial company “Trading House Kunst and Albers” to house its department store in Blagoveshchensk. During the construction of the building, the architect combined Russian architecture of the seventeenth century and European architecture of the same time. Motifs of Russian architecture: double arched windows with kokoshniks and window sill “towels”, faceted rustication of pilasters and piers of the first floor, barrel-shaped kokoshniks in the part above the cornice. The building is stone, two-story, L-shaped - signs of the European style. The main façade faces Lenin (Bolshoy) Street. The main entrance is highlighted by a portal with a semicircular arch and a balcony above it. The corners of the building are highlighted by tetrahedral towers topped with hipped roofs and high spiers. On the corner tower there is a clock that symbolizes the tireless passage of time outside and frozen history inside.

In Vladivostok, the largest center of Primorye, there are more than two hundred monuments. The architectural appearance of the city is a mixture of old and new. Buildings from the late 19th – early 20th centuries are adjacent to buildings built at the end of the 20th century. Very interesting in architectural terms is the station square, the central place of which is railway station building. Its architectural and artistic image is designed in the style of old Russian architecture and is reminiscent of the tower palaces of the Russian tsars of the 17th century. The building was built in 1894 by the architect A. Bazilevsky. In 1908, it was expanded and partially reconstructed by the architect N.V. Konovalov.

One of the beautiful and original buildings in the city of Vladivostok is the department store building "Trading house Kunst and Albers" which embodied the high skill and flight of imagination of the architect G.R. Junghandel. It was built in 1907 by order of the directors of the company. Nowadays it is GUM.

Interesting monuments have also been preserved on quiet Pushkinskaya Street. Here are the buildings of the very first educational institution in the Far East - Oriental Institute(now it is the Far Eastern State Technical University). The institute was built in 1896-1899 by architect A.A. Gvozdiovsky. The building stands out not only for the dark red color of the ancient brick, but also for the original stone statues of lions sitting in front of the main entrance to the university.

The iconic buildings of Vladivostok - cathedrals, churches, churches, synagogues - attract people with their unusual, emotionally expressive architecture, richness of forms and decor. In pre-revolutionary years, the panorama of the city of Vladivostok was decorated with Cathedral of the Assumption Orthodox Cathedral. It was founded in the city on August 14, 1876. The design of the cathedral was developed by engineer V. Shmakov, and later a new project was developed by architect L. Miller with military engineer I. Zeegitrondtu. It was a five-domed tent-domed temple of a cubic shape with a three-part altar apse, a refectory and a two-tier hipped bell tower. It was famous for the beauty and elegance of its interior decoration, beautiful carved iconostasis, and valuable icons. The Cathedral was consecrated in December 1889 by Bishop Gury of Kamchatka and Amur. The cathedral functioned until 1932, and in 1935 it was dismantled. Later, in 1947, on its foundations designed by architect A.I. Poretskov built a four-story building, which now houses the Vladivostok Art School. A modern tourist can imagine the location of the Assumption Cathedral if he looks from the square of the monument to the dead sailors on Svetlanskaya Street towards Pushkinskaya Street: through the branches of the trees of the small square that used to surround him, he will see the whitening walls of the school building, crowned with a small cylindrical rotunda tower. This turret seemed to replace the hipped roof of the cathedral's bell tower.

The second iconic building of Vladivostok was wooden Lutheran church, consecrated in 1882. It was located on the corner of Svetlanskaya and Klyuchevaya streets, opposite the building of the Maritime Assembly. In 1909, after the construction of a new brick church, it was also dismantled. In its place there is now a park in front of the Far Eastern Technical University. And tourists can see the stone building of the new Lutheran church, consecrated in 1909 in the name of the Apostle Paul, a little to the east of this square. It was built according to the design of a famous Vladivostok architect at the beginning of the twentieth century. G.R. Junghandel and decided in the forms of late German Gothic, characteristic of the architecture of Lutheran churches of the 18th-19th centuries. This is a single-nave church with a pointed-vaulted roof, completed on the eastern side by a pentagonal altar apse, and on the western side by a bell tower in the form of a tetrahedral head with a high hipped roof and spire. The first rector of this church was a well-known public figure in the region, a researcher, a member of the Society for the Study of the Amur Region, Pastor Karl August Rumpeter, whose grave is preserved in the memorial site of the Marine Cemetery.

The church building was used for its original purpose until 1930. Since 1951 it has housed Military History Museum Pacific Fleet. The building itself is an architectural monument. And in 1992, the revival of the Lutheran community in Vladivostok began - when priest Manfred Brockmann came here from Germany and became the rector of all Lutheran parishes in the Far East. His persistent efforts to return the church to the community bore fruit: in 1997, the solemn transfer of the building to the Evangelical Lutheran Church took place. The first pastor of the revived Lutheran church was... a young girl who came from Germany, Silke Cook.

Vladivostok fortress– a unique monument of military-defensive architecture. It (the fortress) is one of two sea fortresses in Russia, built at the end of the 19th – beginning of the 20th centuries. in accordance with fortification concepts that were new for those years, which developed after the Franco-Prussian War of 1870. It was built to protect the port of Vladivostok, as the main base of the Siberian flotilla. The structure of the Vladivostok fortress is unique in that it consists of two independent complexes of defensive structures. One of them represents the inner line, built in 1894-1896. under the leadership of famous Russian military engineers K.I. Velichko and K.S. Chernoknizhnikov. The internal line is analogous to the fortifications of Port Arthur. The external line of defense was created in 1910-1914. under the leadership of the outstanding fortification master A.P. Shoshin, who during construction took into account the experience of the Russian-Japanese War of 1904-1905. The fortifications were represented by coastal and mountain batteries that protected the city from both land and sea.

Among them, the most valuable as part of the historical and cultural heritage are: Nameless Battery No. 11 on the Nameless Hill - the oldest coastal battery that protected the city from the Amur Bay, modernized in 1900; Tokarevskaya upper battery on the Shkota Peninsula built in 1901; fortification No. 1 in the area of ​​Dneprovskaya Street, built in 1902, a well-preserved analogue of the fortifications of the Port Arthur fortress; sapper redoubt No. 4 between Lumumba and Neibut streets built in 1903, a powerful resistance center consisting of the redoubt itself and two batteries; fortification No. 4, known as “Fort Pospelov,” protected the entrance to the building built in 1904 and was a powerful resistance center that protected the entrance to the Eastern Bosphorus Strait.

Some of the forts on the outer line of defense were forts newest type, whose decisions anticipated the fortifications of the Second World War.

The history of the Vladivostok fortress is not over. The unique architectural and landscape ensemble of the fortress with monumental fortifications, organically integrated into the terrain, ideally the whole can become a historical and architectural museum-reserve. Nowadays, on the basis of the Nameless Battery, located in the very center of Vladivostok, a museum of the Vladivostok Fortress has been created.

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Dmitry Borovsky, May 1998

Art: Far East: overview

The huge region, conventionally called the Far East, includes China, Japan, Korea, Mongolia and Tibet - countries that have a number of similar features, but at the same time significant differences in culture.

All countries of the Far East experienced the influence of the ancient civilizations of China and India, where, back in the 1st millennium BC, philosophical and religious teachings arose that laid the foundation for the idea of ​​nature as a comprehensive Cosmos - a living and spiritualized organism that lives according to its own laws.

Nature found itself at the center of philosophical and artistic quests throughout the medieval period, and its laws were considered universal, determining the lives and relationships of people. The inner world of man was compared with the diverse manifestations of nature. This influenced the development of the symbolic method in the fine arts, defining its allegorical poetic language. In China, Japan and Korea, under the influence of such an attitude towards nature, types and genres of art were formed, architectural ensembles were built, closely connected with the surrounding landscape, landscape gardening art was born, and, finally, the dawn of landscape painting occurred.

Under the influence of ancient Indian civilization, Buddhism began to spread, and Hinduism also began to spread in Mongolia and Tibet. These religious systems brought not only new ideas to the countries of the Far East, but also had a direct impact on the development of art. Thanks to Buddhism, a previously unknown new artistic language sculpture and painting, ensembles were created, the characteristic feature of which was the interaction of architecture and fine arts.

The features of the depiction of Buddhist deities in sculpture and painting developed over many centuries as a special language of symbols that expressed ideas about the universe, moral laws and human destiny. In this way, the cultural experience and spiritual traditions of many peoples were consolidated and preserved. In images Buddhist art the ideas of the confrontation between good and evil, mercy, love and hope were embodied. All these qualities determined the originality and universal significance of the outstanding creations of Far Eastern artistic culture.

Art: Japan

Japan is located on the Pacific Islands, stretching along the eastern coast of the Asian continent from north to south. Japanese islands located in an area prone to frequent earthquakes and typhoons. Residents of the islands are accustomed to constantly being on guard, being content with a modest life, and quickly rebuilding their homes and households after natural disasters. Despite natural disasters that constantly threaten the well-being of people, Japanese culture reflects the desire for harmony with the surrounding world, the ability to see the beauty of nature in large and small things. In Japanese mythology, the divine consorts, Izanagi and Izanami, were considered the ancestors of everything in the world. From them came a triad of great gods: Amaterasu - the goddess of the Sun, Tsukiyomi - the goddess of the Moon and Susanoo - the god of storms and wind. According to the ideas of the ancient Japanese, deities did not have a visible appearance, but were embodied in nature itself - not only in the Sun and Moon, but also in mountains and rocks, rivers and waterfalls, trees and herbs, which were revered as spirits-kami (the word kami translated from Japanese means divine wind). This deification of nature persisted throughout the Middle Ages and was called Shinto - way of the gods, becoming the Japanese national religion; Europeans call it Shintoism.

The origins of Japanese culture go back to ancient times. The earliest works of art date back to the 4th..2nd millennium BC. The longest and most fruitful period for Japanese art was the Middle Ages (6th-19th centuries).

Art: Japan: Architecture: Traditional Japanese House

The design of a traditional Japanese house developed in the 17th and 18th centuries. It is a wooden frame with three movable walls and one fixed one. The walls do not serve as a support, so they can be moved apart or even removed and serve as a window at the same time. In the warm season, the walls were a lattice structure covered with translucent paper that let in light, and in cold and rainy times they were covered or replaced with wooden panels. In the high humidity of the Japanese climate, the house must be ventilated from below. Therefore, it is raised 60 cm above ground level. To protect the support pillars from rotting, they were installed on stone foundations.

The lightweight wooden frame had the necessary flexibility, which reduced the destructive force of the shock during frequent earthquakes in the country. The roof, tile or reed, had large overhangs that protected the paper walls of the house from rain and the scorching summer sun, but did not block the low rays of the sun in winter, early spring and late autumn. There was a veranda under the roof canopy.

The floors of the living rooms were covered with mats - tatami, on which people mostly sat rather than stood. Therefore, all the proportions of the house were oriented towards a sitting person. Since there was no permanent furniture in the house, they slept on the floor, on special thick mattresses, which were put away in closets during the day. They ate sitting on mats at low tables; they also served for various activities. Sliding internal partitions covered with paper or silk could divide the interior spaces depending on needs, which made it possible to use it more diversely, but it was impossible for each of its inhabitants to have complete privacy inside the house, which affected intra-family relationships in the Japanese family, and in a more general sense - on the peculiarities of the national character of the Japanese.

An important detail of the house - a niche located against a fixed wall - tokonama, where a painting could hang or a composition of flowers - ikebana - stand. It was the spiritual center of the house. The decoration of the niche revealed the individual qualities of the inhabitants of the house, their tastes and artistic inclinations.

A continuation of the traditional Japanese house was garden. It acted as a fence and at the same time connected the house with environment. When the outer walls of the house were moved apart, the boundary between the interior of the house and the garden disappeared and a feeling of closeness to nature and direct communication with it was created. This was an important feature of the national outlook. However, Japanese cities grew, the size of the garden decreased, and it was often replaced by a small symbolic composition of flowers and plants, which served the same role of bringing the home into contact with the natural world.

Art: Japan: ikebana

The art of arranging flowers in vases - ikebana (life of flowers) - dates back to the ancient custom of laying flowers on the altar of a deity, which spread to Japan along with Buddhism in the 6th century. Most often the composition is in the style of that time - rikka (flowers supplied) - consisted of a branch of pine or cypress and lotuses, roses, daffodils, mounted in ancient bronze vessels.

With the development of secular culture in the 10th-12th centuries, flower compositions were installed in the palaces and residential quarters of representatives of the aristocratic class. Special competitions for arranging bouquets became popular at the imperial court. In the second half of the 15th century, a new direction in the art of ikebana appeared, the founder of which was the master Ikenobo Sen'ei. The works of the Ikenobo school were distinguished by their special beauty and sophistication; they were installed at home altars and presented as gifts.

In the 16th century with the spread tea ceremonies a special type of ikebana was formed to decorate a niche - tokonoma in the tea pavilion. The requirement for simplicity, harmony, and a restrained color scheme, which was imposed on all objects of the tea cult, also extended to the design of flowers - chabana (ikebana for tea ceremony). Famous tea master Senno Rikyu created a new, freer style - nageire (carelessly placed flowers), although it was precisely in the apparent disorder that the particular complexity and beauty of the images of this style lay. One type of nageire was the so-called tsuribana, when plants were placed in a hanging boat-shaped vessel. Such compositions were presented to a person entering a position or completing his studies, as they symbolized “exit into the open sea of ​​life.”

In the 17th-19th centuries, the art of ikebana became widespread, and the custom of compulsory training of girls in the art of arranging bouquets arose. However, due to the popularity of ikebana, the compositions were simplified, and strict style rules had to be abandoned. rikka in favor nageire, from which another new style emerged seika or shoka (fresh flowers). At the end of the 19th century the master Ohara Wusin created the style moribana, the main innovation of which was that the flowers were placed in wide vessels.

In an ikebana composition, as a rule, there are three obligatory elements, indicating three principles: Heaven, Earth and Man. They can be embodied as a flower, a branch and grass. Their relationship with each other and additional elements creates works that are different in style and content. The artist’s task is not only to create a beautiful composition, but also to most fully convey in it his own thoughts about human life and his place in the world. The works of outstanding ikebana masters can express hope and sadness, spiritual harmony and sadness.

According to tradition, in ikebana, the season is always reproduced, and the combination of plants forms well-known symbolic wishes in Japan: pine and rose - longevity; peony and bamboo - prosperity and peace; chrysanthemum and orchid - joy; magnolia - spiritual purity etc..

Art: Japan: sculpture: netsuke

Miniature sculpture - netsuke - became widespread in the 18th and 19th centuries as one of the types of decorative and applied art. Its appearance is due to the fact that the national Japanese costume - kimono - does not have pockets and all the necessary small items (pipe, tobacco pouch, medicine box etc.) are attached to the belt using a counterweight keychain. Netsuke therefore necessarily has a hole for a cord, with the help of which the desired object is attached to it. Keychains in the form of sticks and buttons had been used before, but since the end of the 18th century, famous masters had already worked on the creation of netsuke, putting their signature on the works.

Netsuke is the art of the urban class, mass and democratic. Based on the subjects of netsuke, one can judge the spiritual needs, everyday interests, morals and customs of the townspeople. They believed in spirits and demons, which were often depicted in miniature sculpture. They loved figurines of the “seven gods of happiness,” among which the most popular were the god of wealth Daikoku and the god of happiness Fukuroku. The constant subjects of the netsuke were the following: a cracked eggplant with many seeds inside - a wish for large male offspring, two ducks - a symbol of family happiness. A huge number of netsuke are dedicated to everyday themes and everyday life of the city. These are traveling actors and magicians, street vendors, women engaged in various activities, wandering monks, wrestlers, even the Dutch in their exotic, from the Japanese point of view, clothing - wide-brimmed hats, camisoles and trousers.

Distinguished by their thematic diversity, netsuke retained their original function as a keychain, and this purpose dictated to the craftsmen a compact shape without fragile protruding parts, rounded, and pleasant to the touch. This is also related to the choice of material: not very heavy, durable, consisting of one piece. The most common materials were various types of wood, ivory, ceramics, lacquer and metal.

Art: Japan: painting and graphics

Japanese painting is very diverse not only in content, but also in form: these are wall paintings, screen paintings, vertical and horizontal scrolls executed on silk and paper, album sheets and fans.

Ancient painting can be judged only by references in written documents. The earliest surviving outstanding works date back to the Heian period (794..1185). These are illustrations of the famous “The Tale of Prince Genji” by the writer Murasaki Shikibu. The illustrations were made on several horizontal scrolls and supplemented with text. They are attributed to the brushes of the artist Fujiwara Takayoshi (first half of the 12th century).

A characteristic feature of the culture of that era, created by a rather narrow circle of the aristocratic class, was the cult of beauty, the desire to find in all manifestations of material and spiritual life their inherent charm, sometimes elusive and elusive. The painting of that time, which later received the name Yamato-e (literally translated japanese painting), conveyed not an action, but a state of mind.

When the stern and courageous representatives of the military class came to power, the decline of Heian era culture began. A narrative element was established in scroll painting: these are legends of miracles full of dramatic episodes, biographies of preachers of the Buddhist faith, and scenes of warriors’ battles.

In the 14th and 15th centuries, under the influence of the teachings of the Zen sect, with its special attention to nature, landscape painting began to develop (initially under the influence of Chinese models).

For a century and a half Japanese artists mastered Chinese artistic system, making one-color landscape painting heritage of national art. Its highest flowering is associated with the name of the outstanding master Toyo Oda (1420..1506), better known under the pseudonym Sesshu. In his landscapes, using only the finest shades of black ink, he managed to reflect all the multicolored nature of the natural world and its countless states: the moisture-saturated atmosphere of early spring, the invisible but perceptible wind and cold autumn rain, the motionless frozenness of winter.

The 16th century opens the era of the so-called late Middle Ages, which lasted three and a half centuries. At this time, wall paintings became widespread, decorating the palaces of the country's rulers and large feudal lords. One of the founders of the new direction in painting was the famous master Kano Eitoku, who lived in the second half of the 16th century. Wood engraving (woodcut), which flourished in the 18th and 19th centuries, became another type of fine art of the Middle Ages. Engraving, like genre painting, was called ukiyo-e (pictures of the everyday world). In addition to the artist who created the drawing and wrote his name on the finished sheet, a carver and a printer participated in the creation of the engraving. At first, the engraving was monochromatic; it was hand-colored by the artist himself or the buyer. Then two-color printing was invented, and in 1765 the artist Suzuki Harunobu (1725..1770) was the first to use multi-color printing. To do this, the carver placed tracing paper with a pattern on a specially prepared longitudinal cut board (made of pear, cherry or Japanese boxwood) and cut out required quantity printed boards depending on the color scheme of the engraving. Sometimes there were more than 30 of them. After this, the printer, selecting the desired shades, made prints on special paper. His skill was to achieve an exact match of the contours of each color obtained from different wooden boards.

All engravings were divided into two groups: theatrical, which depicted actors of the Japanese classical theater Kabuki in various roles, and everyday, depicting beauties and scenes from their lives. The most famous master of theatrical engraving was Toshushai Sharaku, who depicted the faces of actors in close-up, emphasizing the features of the role they played, the characteristic features of the person reincarnated as the character in the play: anger, fear, cruelty, treachery.

Such outstanding artists as Suzuki Harunobu and Kitagawa Utamaro became famous in everyday life engraving. Utamaro was the creator of female images that embodied the national ideal of beauty. His heroines seem to have frozen for a moment and will now continue their smooth, graceful movement. But this pause is the most expressive moment when the tilt of the head, the gesture of the hand, the silhouette of the figure convey the feelings by which they live.

The most famous master of engraving was the brilliant artist Katsushika Hokusai (1776..1849). Hokusai's work is based on the centuries-old pictorial culture of Japan. Hokusai produced more than 30,000 drawings and illustrated about 500 books. Already a seventy-year-old man, Hokusai created one of the most significant works - the “36 Views of Fuji” series, which puts him on a par with the most outstanding artists of world art. By showing Mount Fuji - the national symbol of Japan - from different places, Hokusai reveals for the first time the image of the homeland and the image of the people in their unity. The artist saw life as a single process in all the diversity of its manifestations, starting from the simple feelings of a person, his daily activities and ending with the surrounding nature with its elements and beauty. The work of Hokusai, which absorbed the centuries-old experience of the art of his people, is the last peak in the artistic culture of medieval Japan, its remarkable result.

Art: Japan: sources of information

Microsoft Encarta 97 Encyclopedia World English Edition. Microsoft Corp., Redmond, 1996;

Internet resources (Worldwide Web);

"Encyclopedia for Children", volume 6 ("Religions of the World"), part two. Avanta+ Publishing House, Moscow, 1996;

"Encyclopedia for Children", volume 7 ("Art"), part one. Avanta+ Publishing House, Moscow, 1997;

Encyclopedia "Myths of the Peoples of the World". Publishing house "Soviet Encyclopedia", Moscow, 1991.

Art: Japan: Glossary

Engraving- view graphics, in which the image is a printed imprint of a design applied to a board made of wood, linoleum, metal, stone; the image itself on wood, linoleum, cardboard etc..

Ikebana(“real flowers”) - the Japanese art of arranging bouquets; the bouquet itself, compiled according to the principles of ikebana.

Kondo(Golden Hall) - the main temple of the Japanese Buddhist monastery complex; later became known as Hondo.

Kaijuma- in Japanese architecture there is a massive gable roof of a Shinto temple; made from straw or cypress bark, and later from tiles.

Woodcut - engraving on a tree.

N´ etsuke- a miniature figurine made of ivory, wood or other materials; served as a keychain with which small objects (for example, a wallet) were attached to the belt; belonging to the Japanese national costume.

Pagoda- in the Buddhist architecture of the countries of the Far East and Southeast Asia, a multi-tiered memorial tower - reliquary with an odd (lucky) number of tiers.

R´ impa- school of Japanese painting of the 17th..18th centuries; gravitated towards literary subjects past centuries; conveyed the lyrical experiences of the characters.

Reliquary- a container for storing relics.

Tyanyva(“tea garden”) - in Japanese architecture, a garden associated with the tea ceremony - pulling; forms a single ensemble with the tea pavilion - chashitsu.

Tyano´ yu(“tea ceremony”) - in the spiritual life of Japan, a philosophical and aesthetic ritual of unity of people, helping them to switch off from the bustle of everyday life.

Ukiyo-e(“pictures of the everyday world”) - a school of Japanese painting and woodcuts 17..19 centuries, reflecting the life and interests of the urban population; inherited traditions genre painting 15..16 centuries.

Haniwa(“clay circle”) - ancient Japanese funerary pottery; named for the method of production: hand-molded clay rings are placed one on top of the other; Dawn period - 5..6 centuries.

Yamato´ uh(“Japanese painting”) - in the fine arts of Japan from the 10th to 11th centuries, an independent direction, opposed Chinese painting; the plots of medieval Japanese stories, novels and diaries were reproduced; Silhouettes, bright color spots, and splashes of gold and silver sparkles were expressively combined.

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1. Features of the development of culture, science and education in the Far Eastern region

2. Cultural monuments of the Far East

List of used literature

1. Peculiaritiesformationculture,scienceAndeducationVFar Easternregion

The discovery and economic development of the Far East was accompanied by cultural development. The development of the culture of the Far Eastern region took place under the influence of all-Russian factors, in line with domestic (Russian) culture. In the history of the development of the culture of the Far East, modern researchers chronologically distinguish several periods.

The first is the 17th century. - until the 80s of the XIX century. - this is the period of the birth and formation of Russian culture in the Far East and Russian America, the establishment of cultural and historical contacts with the indigenous peoples of the region.

The second period is the 80s of the 19th century - the beginning of the 20th century. - characterized by the emergence and development of professional artistic culture, the development of science and education.

The third period falls on the decades of Soviet power (from 1917 to the 90s of the 20th century) and is associated with the creation and development of Soviet, socialist culture. Let us consider some characteristic features of these periods.

Discovery and development of the Far East by Russian people in the 17th century. was accompanied by the spread of Russian culture to new lands and the establishment of contacts with the indigenous population.

In the period from the 80s of the 17th century to the mid-19th century, due to the loss of the Amur region under the Treaty of Nerchinsk (1689), the cultural development of the Far Eastern region took place mainly in its northern part (Okhotsk coast, Kamchatka, Russian America).

The Russian Orthodox Church and its ministers played a leading role in spreading Russian culture to new lands and introducing the indigenous population to Russian culture.

This was explained, firstly, by the fact that the Orthodox religion remained the main moral support of the Russian people.

Secondly, professional culture here was taking its first timid steps.

In addition, the basis of the Orthodox religion was humanism, the universal principle. Its commandments and its demands guided the Russian pioneers who came into contact with the indigenous inhabitants of the Far East. The ministers of the church, as sources testify, both ordinary and those endowed with high rank, spared neither strength nor life to fulfill their high mission.

The first clergy arrived in the Far East in 1639 along with the governors of the newly formed Yakut district. Already in 1671, two monasteries were founded in Albazin and Kumarsky fort by the priest Hermogenes. In 1681, the Selenga Trinity and Ambassadorial Spaso-Preobrazhensky monasteries were created - centers for the development of Russian Orthodoxy and Russian culture in the east of the country. In the 70s XVII century Almost every fort had a church.

With the arrival of Russian explorers in the Far East, enlightenment began to emerge: schools began to be created, and literacy appeared. Schools became one of the links in the formation of Russian culture in the Far East. The construction of schools is developing especially intensively with the creation of settlements on new lands, with the formation of cities and other settlements. It is characteristic that literacy schools were created not only at churches and monasteries, but also on the initiative of explorers and sailors. Children of both Russian and aboriginal populations studied there.

In the XVII - first half of the XIX century. Literature also originated in the Far East. Its formation was influenced by books that reached the eastern outskirts from Russia in various ways: with expeditions, settlers, spiritual missions, and private individuals. These were books of religious, reference, legal, and artistic content; handwritten and printed books. Already in the 17th century. Libraries began to appear at forts, monasteries, schools, and educational institutions. The library of the Resurrection Church of Albazin had rich liturgical literature. Among the residents of Albazin there were literate people who knew not only books, but also published them. These include the priest Maxim Leontyev, the governor of Albazin Alexei Tolbuzin, the merchants Ushakovs and Naritsins-Musatovs.

In the 18th century on the Far Eastern outskirts, notes, memoirs, letters appear on the history of the region, its nature and population, about new settlements, etc. Among them should be mentioned the notes of “the Russian merchant Grigory Shelikhov’s journey from 1783 to 1787 from Okhotsk along the Eastern Ocean to the American shores” (published in 1791). The book aroused great interest among readers. The poet Gabriel Derzhavin called G.I. Shelikhov “Russian Columbus.”

The Decembrists and talented writers N.A. had a great influence on the emerging literature in the Far East. Bestuzhev, D.I. Zavalishin, V.L. Davydov and others, who left numerous notes and memoirs. The creativity of the Decembrists, their high citizenship, protest against oppression and serfdom, their faith in a bright future, had a great influence on the young literature of Siberia and the Far East.

An important component of the spiritual life of Russian explorers and settlers of the Far East were songs, epics, and legends. For example, Russian Cossacks have preserved in their folklore the legends “Terrible Trouble” (about the difficult trials that befell the Cossacks who were settling Transbaikalia in the 17th century), “About how life used to be” (about the construction of the first forts and the conquest of the Buryat and Tungus tribes ). Song occupied a special place in the spiritual life of the pioneers and settlers. The songs sung from Transbaikalia to Russian America, wherever Russian people lived, reflected the history of the discovery and development of the Far East. In this regard, the historical songs “In the Siberian, in the Ukraine, in the Daurian side” are of great interest.

A vast layer consisted of comic works that served as accompaniment to round dances or dances.

A characteristic feature of the formation of culture in the Far East was the interaction and mutual influence of cultures - Russian Orthodox Christianity and pagan - the aborigines. Russian people, finding themselves not only in a specific natural and climatic environment, but also in an unusual ethnic environment, were forced to adapt to new conditions and adopt material and spiritual culture from the local aboriginal population.

During the development of the Far Eastern lands, there was an active process of interaction between two cultures: Russian culture with the pagan culture of the aborigines.

Considering the influence of Russian culture on the culture of the aborigines, scientists note that the sphere of traditional material culture of the aborigines experienced the greatest changes as a result of cultural contacts; it was enriched with new elements.

The indigenous peoples of the Far East borrowed new crops and farming techniques from the Russians; certain ethnic groups in the southern part of the region settled down and adopted a peasant way of life. Animal husbandry began to develop in the aboriginal economy, and riding and draft horses appeared.

Gradually, all the peoples of the Far East mastered the technique of Russian log house construction, Russian stoves appeared, and in place of the canals they began to install wooden bunks, and subsequently beds.

By the beginning of the twentieth century, the Russian hut had become the main type of housing. The influence of Russian culture is reflected in the addition to national food in the form of flour, cereals, potatoes, and vegetables.

The Aborigines borrowed food preparation methods from the Russians: salting, frying; began to use clay and metal utensils. Very soon, the indigenous peoples of the region began to adopt Russian clothing and shoes, and the wealthiest of them (Nanais, Negidals) began to wear kosovorotka shirts, boots, caftans, and caps, like Russian merchants. Materials such as fabrics, threads, and beads were widely used for sewing and decorating clothes.

Under the influence of Russian culture, the decorative art of all indigenous peoples of the Far East became widespread in the second half of the 19th and early 20th centuries. a little richer. The influence of Russians in the art of the Itelmen and Aleuts was especially strong. These nationalities widely used satin stitch embroidery, Russian factory fabrics, and Russian beads in decorative arts. Evenki and Even craftswomen very skillfully used Russian colored fabric and colored threads to decorate clothes, bags, and belts.

From the middle of the 19th century, Russian influence became noticeable in the art of the peoples of Amur and Sakhalin. Thus, the Nanais began to wear shirts of Russian cut, and on traditional women's robes one could see a border made of Russian lace braid. Carpenter's and joiner's tools began to be used in home production, which had an impact on the improvement of wood carving.

In the second half of the 19th century, qualitative changes occurred in the development of the culture of the Far Eastern region, associated with the level of socio-economic development and the nature of the formation of the region’s population, as well as its geopolitical position.

Firstly, the geography of cultural construction has changed. In contrast to the initial stage of development of the Far East, when cultural processes took place mainly in Kamchatka, the coast of the Sea of ​​Okhotsk and in Russian America, from the middle of the 19th century. The southern regions became centers of culture: Amur, Primorsky and Transbaikal regions. This was explained by the fact that the Amur region and Primorye, on the basis of peace treaties concluded with China (Aigun in 1858, Beijing in 1860), were annexed to Russia. In 1867, Russian America (Alaska) was sold by Russia to the United States of America. The tasks of economic development of the Far Eastern region required the settlement of new Russian lands and ensuring their socio-economic and cultural development.

Secondly, the construction of the Trans-Siberian Railway (1891-1916) and the Chinese Eastern Railway (1897-1903) was of great importance for the cultural development of the region. Since 1893, the sea route from Odessa to Vladivostok was opened. The establishment of railway and sea connections between the Far East and Siberia and European Russia accelerated the state resettlement of the population from the western provinces to the Far East and the socio-economic and cultural development of the region.

Thirdly, the peculiarities of the socio-economic development of the region also influenced the formation of the cultural environment. First of all, not only the government and local authorities played a significant role in cultural construction, but also the numerically growing Far Eastern intelligentsia - the core, the basis of the regional cultural environment. It was the intelligentsia that especially acutely expressed the social need to satisfy the cultural needs of the population. Thanks to her initiative, all types of professional art are emerging in the region.

A feature of the cultural development of the Far Eastern region in the second half of the 19th century - the beginning of the 20th century. there was a simultaneous development of all areas of culture and art: education, science, artistic and musical culture, theater, that is, the active formation of the socio-cultural space of this region was underway. It should be noted that one of the main features of the Far East is the high level of literacy of its population compared to Siberia and European Russia.

Secondary and higher specialized education has been developed. Here in the Far East, as well as in the center of the country, the following were created: the Naval School - in Nikolaevsk-on-Amur; river - in Blagoveshchensk; railway - in Khabarovsk. In 1899, the first Oriental Institute in the entire Eastern Siberia and the Far East was created in Vladivostok.

The difficulties in establishing public education were associated with a shortage of not only schools, but also teachers. Suffice it to say that among all teaching staff in the region, only 4% had special education.

Industrial development, railway and naval construction, mass migration of the population to the Far East from the middle of the 19th century. accelerated the development of science.

The Oriental Institute, opened in 1899 in Vladivostok, had a positive influence on the development of Far Eastern science.

A distinctive feature of the Far East was the large number of periodicals. It testified to the socio-economic and cultural development of the region, and the fact that a group of professional journalists and writers had formed in the region and a large readership had appeared. The periodical press covered all the most populated and developed areas of the region, and reflected the interests of all segments of the population.

A characteristic feature of the formation of the culture of the Far East during this period is the emergence and development of professional artistic culture. However, unlike the artistic culture of Russia, it was created in the form of amateur associations (musical, theatrical, etc.). This can be explained, first of all, by the late entry of the Far East, in comparison with other regions of the country, into Russia. The region's remoteness from European Russia and insufficient funding for culture and professional personnel also had an impact.

The origin of theater in the Far East began in the 60s. XIX century with amateur performances for soldiers and officers. On December 24, 1860, in one of the barracks of Blagoveshchensk, the lower ranks of the line battalion and artillery team presented the play “The Station Warden” (based on A.S. Pushkin) and the vaudeville “Much Ado about Trifles” by A.A. Yablochkina. The first mentions of amateur theatrical productions in Vladivostok date back to the early 1870s. In 1873, reserve paramedic Bakushev with the clerks of the naval crew and garrison, as well as female convicts, presented to the audience a performance based on the play by A.N. Ostrovsky "Poverty is not a vice." In Khabarovsk, the first amateur performance was staged at the city's Public Assembly in 1873. Professional theater troupes were created in the Far East in the early 90s. XIX century Permanent theaters are being created in the cities of Vladivostok, Blagoveshchensk, and Khabarovsk.

Musical culture in the Far East, like theatrical culture, developed from amateur to professional. The origin of musical art began with naval orchestras. In 1860, a military orchestra with a staff of 51 people was established in Nikolaevsk-on-Amur, and in 1862 - in Vladivostok. In the 80s In the 19th century, music circles appeared in Blagoveshchensk, Vladivostok, Chita, and Khabarovsk, which began to play a significant role in meeting the musical needs of city residents.

The touring and concert activities of artists from Siberia and European Russia were of great importance for the emergence of professional musical and entire artistic culture in the region. Since the mid-90s. Until the beginning of the twentieth century, tours became an integral part of the cultural life of the region. The system of touring and concert practice influenced the musical life of Far Eastern cities, increased the cultural level of the population, shaped the tastes of the Far Eastern public, facilitated the adaptation of newcomers, and stimulated the development of the region.

2. MonumentscultureDalnyEast

The Far East is a unique region. It is rich in its natural resources, the history of the peoples inhabiting it; it is full of various historical and cultural monuments. All historical monuments known in the region are of great value, most of them are of national importance and are protected by the state.

The most remarkable monuments of ancient art are rock carvings (petroglyphs or pisanitsy, as they are also called). On the territory of the Amur region and Primorye there are several known locations of rock carvings left by ancient craftsmen on pliable stone. This is on the Amur River near Sikachi-Alyan, on the rocky bank of the Ussuri River above the village of Sheremetyevo and in the valley of the Kiya River on the road from Khabarovsk to Vladivostok.

The largest center of rock paintings is Sikachi-Alyan. Near the village, along the rocky shore of the Amur, blocks of basalt are piled up in long shafts - the remains of destroyed rocks. There are ancient drawings on them.

The drawings near the village of Sheremetyevo are no longer placed on individual blocks of stone, but on the even and smooth surfaces of the rocks of the Ussuri River.

A unique cultural monument of the Far Northeast Asia are the Pegtymel petroglyph images. They are carved on 12 rocks on the right bank of the Pegtymel River, 50-60 kilometers from its confluence with the Arctic Ocean. At a height of 20-30 m, 104 groups of images have been preserved. This “picture gallery” was created during the first millennium BC. - first millennium AD Older images are partially overlapped by later drawings. The rock paintings reflected the main activities of the ancient inhabitants of the North of the Far East - sea hunting and wild deer hunting.

In various cities of the Far East, majestic monuments to fallen heroes during the harsh years of the Civil War were erected. The most expressive of them is located in Khabarovsk, on Komsomolskaya Square. The grand opening of the monument took place on October 26, 1956 in the presence of more than 300 Far Eastern partisans, among whom were former commanders of partisan detachments and active participants in the revolutionary movement.

Monument to the Fighters for Soviet Power in the Far East in 1917-1922. installed on the central square of Vladivostok on April 28, 1961. Authors: sculptor A. Teneta, engineers A. Usachev and T. Shulgina. The largest monument in the city. It consists of three separate compositions - two group ones and a central sculpture of a Red Army trumpeter, towering above the square at a height of thirty meters. It was the central figure who was “to blame” for the appearance of the unofficial names of the monument among the local informal and bohemian public: “Trumpeter in his own juice” and “Vasya Trubachev and comrades.” The right sculptural group depicts participants in the events of 1917 in Vladivostok. Left - Red Army soldiers of the People's Republic of the Far East who liberated Vladivostok in 1922.

A striking and illustrative example of how in history the seemingly irreconcilable is reconciled is the Memorial site of the Marine Cemetery in the city of Vladivostok. It arose in 1905 during the Russo-Japanese War of 1904-1905. The memorial site of the Marine Cemetery is a striking and illustrative example of how history reconciles the seemingly irreconcilable. People of different eras, ideologies and religions are buried here. Next to the veterans of the “red” partisan movement during the Civil War lie English and Canadian soldiers and officers, Czech legionnaires who died in the same years, but professed completely different values.

In Khabarovsk, on the high bank of the Amur River, the city’s youngest square is located - Glory Square, opened on the 30th anniversary of Victory in the Great Patriotic War of 1941-1945. In the center of the square rises a 30-meter obelisk of three pylons. The Glory Square memorial appeared in Khabarovsk in 1985. On its plates are the names of Far Easterners who died in the Great Patriotic War. The names of 47 thousand people are engraved on the granite slabs of the local memorial - all those who were called up to the front from the Khabarovsk Territory.

In the city of Komsomolsk-on-Amur, on June 23, 1972, the grand opening of the unique Memorial Monument to the Komsomol heroes who died in 1941-1945 took place.

Monumental sculpture has become a specific phenomenon of the culture of the Far East. Monuments to historical figures have become landmarks in cities. It is characteristic that all the sculptural monuments were united by one big theme: the development and protection of the Far Eastern lands of Russia. The main purpose of sculptures: to affirm the positive, heroic in the minds of contemporaries, and then their descendants. All created monuments were the result of social activity.

For 40 years now, there has been a monument to Erofey Pavlovich Khabarov in the city of Khabarovsk, erected on the centennial anniversary of the city. The monument was opened on May 29, 1958 in a solemn ceremony. The height of the sculptural figure is 4.5 meters, and the total height of the monument (with pedestal) is 11.5 meters.

There can be no talk of a portrait resemblance to Khabarov, since neither portraits nor even descriptions of Erofey Khabarov’s appearance have been preserved. Therefore, the monument decorating the city station square is a kind of collective image of those brave Russian explorers who were the first to reach these distant lands.

In 1891, on the cliff of the city garden of Khabarovsk, a monument to Nikolai Nikolaevich Muravyov-Amursky was erected with the carved names of the participants of all rafting expeditions of the Amur expedition: G. Nevelsky, N. Boshnyak, M. Venyukov, K. Budogossky, L. Shrenko, R. Moake , K. Maksimovich, etc.

A monument dedicated to the outstanding Russian officer, Admiral G.I. Nevelsky stands in a cozy park on Svetlanskaya Street in the city of Vladivostok. The name of this man is widely known and very revered in Russia. The work of the Amur expedition (1851-1855) led by him played a decisive role in the formation of Russian statehood in Primorye.

A monument dedicated to G.I. Nevelsky was also built in Nikolaevsk-on-Amur. The monumental obelisk made of granite with relief and copper plaques with inscriptions was unveiled on August 31, 1813.

And in Khabarovsk, above the Amur, the bronze Nevelskoy stands just as naturally as in Nikolaevsk. The monument to this famous navigator and explorer of the Russian Far East was erected in 1951 in the Central Park of Culture and Leisure. With his head uncovered, with a telescope in his hand, he stands on a high bank and watches the waves of the Amur flowing towards the expanses of the Pacific Ocean. The author of this expressive sculpture is Khabarovsk resident A. Bobrovnikov.

In the city of Arsenyev, in the area of ​​the Uvalnaya hill, a monument to V.K. Arsenyev, a famous explorer, archaeologist, ethnographer, and writer, was erected. It reaches a height of about four meters. At a small distance from it there is a huge block of stone. Part of its façade is occupied by a bas-relief of Dersu-Uzala. Udege ornaments are carved on the reverse surface. The monument was erected in honor of the 100th anniversary of the researcher’s birth. Built with money from residents of the city of Arsenyev and the scientific intelligentsia of Russia.

Among the wide variety of cultural heritage, architectural monuments occupy a special place - a kind of chronicle of the world. Architectural monuments are silent witnesses of the past; by studying them, we simultaneously get to know ourselves, because in the monuments are the deeds of our ancestors. Architectural monuments embodied in wood and stone reflect the social and economic state of cities at different stages of development, the level of culture and education. In the Far Eastern cities, despite the fact that they developed far from cultural centers, there are many beautiful buildings. Different architectural styles were used in their construction: classicism, eclecticism or modernism.

One of the most beautiful architectural sights of Khabarovsk is rightfully considered the House of City Government, well known as the Palace of Pioneers.

In 1868, the first wooden church was built in Khabarovsk, and two years later it was consecrated, named Innokentyevskaya in honor of St. Innocent, the first bishop of Irkutsk - the patron saint of Siberia and the Far East, canonized after his death.

From 1899 to 1901 construction of a beautiful building was underway - the Public Assembly. The building was built according to the design of the Irkutsk architect V.A. Rassushin. The building turned out to be really beautiful and for more than a hundred years it has been decorating Khabarovsk with its unusual architecture.

A significant and unique structure of pre-revolutionary Khabarovsk is a three-kilometer railway bridge built in 1916. It was called the “miracle of the 20th century.” This is the longest railway bridge in the Old World. To this day, the Amur Bridge is an example of engineering art.

The city of Blagoveshchensk is notable for its wealth of historical and cultural monuments: on its territory there are eighty-three monuments that are under state protection: fifty architectural and urban planning monuments, four archaeological monuments, twenty historical and monumental art monuments. The most significant of them is the Amur Regional Theater.

A remarkable building is the building of the Blagoveshchensk railway station. It was built in 1908-1912. in the traditions of ancient Russian architecture of Novgorod and Pskov.

The history of the creation of the building of the Blagoveshchensk Regional Museum of Local Lore is interesting. This is a monument of republican significance. The building was built in 1911 by the Far Eastern trading and industrial company “Trading House Kunst and Albers” to house its department store in Blagoveshchensk.

Vladivostok, the largest center of Primorye, has more than two hundred monuments. The architectural appearance of the city is a mixture of old and new. Buildings from the late 19th to early 20th centuries are adjacent to buildings built at the end of the 20th century. Very interesting in architectural terms is the station square, the central place of which is the railway station building. Its architectural and artistic image is designed in the style of old Russian architecture and is reminiscent of the tower palaces of the Russian tsars of the 17th century. The building was built in 1894 by the architect A. Bazilevsky. In 1908, it was expanded and partially reconstructed by the architect N.V. Konovalov.

The Vladivostok fortress is a unique monument of military defense architecture. It (the fortress) is one of two sea fortresses in Russia, built at the end of the 19th - beginning of the 20th centuries. in accordance with the concepts of fortification that were new for those years, which developed after the Franco-Prussian War of 1870.

culture far east monument

Listusedliterature

1. Russian Far East: Economic potential. Vladivostok: Dalnauka, 2006.

2. Dunichev V.M., Zhukova Z.I. Factors influencing the state and prospects of education in the Far East // Culture, science and education of the peoples of the Far East of Russia and Asia-Pacific countries. - 2006. - No. 4.

3. History and culture of the peoples of the Far East. - Vladivostok, 2005.

4. Essays on the culture of small nationalities of the Far East of the USSR (History, decorative arts, musical folklore, folk sports). Khabarovsk, 1980.

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The originality and distinctive features of Eastern cultures. Models of culture of civilizations of the Ancient East (Jericho, Mesopotamia, Ancient Egypt). The specifics of their development from antiquity to modernity. Features of “Eastern” culture in comparison with “Western” culture.

test, added 01/23/2010


Social and ideological foundations of the culture of the Ancient East. The place and role of man in the sociocultural space of the ancient states of the East. Achievements and symbols of material and spiritual culture.

abstract, added 04/06/2007


Analysis of the culture of the East, features of the typological value of the East. Revealing the essence of the cultures of China, India, Japan. The problem of modernization of the countries of the East is the growth of opportunities to use modern technology in the most important areas of material production.

test, added 06/14/2010


Features of the socio-ideological foundations of the culture of the Ancient East are determined by the method of collective survival. Main achievements and symbols of material and spiritual culture. Development of agriculture and crafts, scientific knowledge, mythology.

test, added 06/24/2016


The emergence of culture as the primary role of communication. Ancient evidence of the existence of human culture. Early stages of culture formation. Concepts of language in the cultures of the ancient Near East. Anthropogenesis and prerequisites for the development of culture.

abstract, added 10/26/2008


Concept, meaning and main types of culture. The role and place of culture in human life. The development of culture in conjunction with religion, science and art. The essence of artistic culture. The meaning of science and scientific activity. Myth as a special form of culture.

test, added 04/13/2015


History of the development of Eastern culture - from antiquity to modernity. Its specific features, beauty and originality. The formation of Western culture, its origins, typology and features. Common points of contact between these cultures and the main differences from each other.

abstract, added 12/25/2014


The development of ancient culture within the framework of the history of “eternal Rome” as a type of European rational culture. Anthropocentrism of Greek culture. The main stages of the development of Hellenic artistic culture. Plastic arts and architecture in Ancient Rome.

The discovery and economic development of the Far East was accompanied by cultural development. The development of the culture of the Far Eastern region took place under the influence of all-Russian factors, in line with domestic (Russian) culture. In the history of the development of the culture of the Far East, modern researchers chronologically distinguish several periods.

The first is the 17th century. - until the 80s of the XIX century. - this is the period of the birth and formation of Russian culture in the Far East and Russian America, the establishment of cultural and historical contacts with the indigenous peoples of the region.

The second period is the 80s of the 19th century - the beginning of the 20th century. - characterized by the emergence and development of professional artistic culture, the development of science and education.

The third period falls on the decades of Soviet power (from 1917 to the 90s of the 20th century) and is associated with the creation and development of Soviet, socialist culture. Let us consider some characteristic features of these periods.

Discovery and development of the Far East by Russian people in the 17th century. was accompanied by the spread of Russian culture to new lands and the establishment of contacts with the indigenous population.

In the period from the 80s of the 17th century to the mid-19th century, due to the loss of the Amur region under the Treaty of Nerchinsk (1689), the cultural development of the Far Eastern region took place mainly in its northern part (Okhotsk coast, Kamchatka, Russian America).

The Russian Orthodox Church and its ministers played a leading role in spreading Russian culture to new lands and introducing the indigenous population to Russian culture.

This was explained, firstly, by the fact that the Orthodox religion remained the main moral support of the Russian people.

Secondly, professional culture here was taking its first timid steps.

In addition, the basis of the Orthodox religion was humanism, the universal principle. Its commandments and its demands guided the Russian pioneers who came into contact with the indigenous inhabitants of the Far East. The ministers of the church, as sources testify, both ordinary and those endowed with high rank, spared neither strength nor life to fulfill their high mission.

The first clergy arrived in the Far East in 1639 along with the governors of the newly formed Yakut district. Already in 1671, two monasteries were founded in Albazin and Kumarsky fort by the priest Hermogenes. In 1681, the Selenga Trinity and Ambassadorial Spaso-Preobrazhensky monasteries were created - centers for the development of Russian Orthodoxy and Russian culture in the east of the country. In the 70s XVII century Almost every fort had a church.

With the arrival of Russian explorers in the Far East, enlightenment began to emerge: schools began to be created, and literacy appeared. Schools became one of the links in the formation of Russian culture in the Far East. The construction of schools is developing especially intensively with the creation of settlements on new lands, with the formation of cities and other settlements. It is characteristic that literacy schools were created not only at churches and monasteries, but also on the initiative of explorers and sailors. Children of both Russian and aboriginal populations studied there.

In the XVII - first half of the XIX century. Literature also originated in the Far East. Its formation was influenced by books that reached the eastern outskirts from Russia in various ways: with expeditions, settlers, spiritual missions, and private individuals. These were books of religious, reference, legal, and artistic content; handwritten and printed books. Already in the 17th century. Libraries began to appear at forts, monasteries, schools, and educational institutions. The library of the Resurrection Church of Albazin had rich liturgical literature. Among the residents of Albazin there were literate people who knew not only books, but also published them. These include the priest Maxim Leontyev, the governor of Albazin Alexei Tolbuzin, the merchants Ushakovs and Naritsins-Musatovs.

In the 18th century on the Far Eastern outskirts, notes, memoirs, letters appear on the history of the region, its nature and population, about new settlements, etc. Among them should be mentioned the notes of “the Russian merchant Grigory Shelikhov’s journey from 1783 to 1787 from Okhotsk along the Eastern Ocean to the American shores” (published in 1791). The book aroused great interest among readers. The poet Gabriel Derzhavin called G.I. Shelikhov “Russian Columbus.”

The Decembrists and talented writers N.A. had a great influence on the emerging literature in the Far East. Bestuzhev, D.I. Zavalishin, V.L. Davydov and others, who left numerous notes and memoirs. The creativity of the Decembrists, their high citizenship, protest against oppression and serfdom, their faith in a bright future, had a great influence on the young literature of Siberia and the Far East.

An important component of the spiritual life of Russian explorers and settlers of the Far East were songs, epics, and legends. For example, Russian Cossacks have preserved in their folklore the legends “Terrible Trouble” (about the difficult trials that befell the Cossacks who were settling Transbaikalia in the 17th century), “About how life used to be” (about the construction of the first forts and the conquest of the Buryat and Tungus tribes ). Song occupied a special place in the spiritual life of the pioneers and settlers. The songs sung from Transbaikalia to Russian America, wherever Russian people lived, reflected the history of the discovery and development of the Far East. In this regard, the historical songs “In the Siberian, in the Ukraine, in the Daurian side” are of great interest.

A vast layer consisted of comic works that served as accompaniment to round dances or dances.

A characteristic feature of the formation of culture in the Far East was the interaction and mutual influence of cultures - Russian Orthodox Christianity and pagan - the aborigines. Russian people, finding themselves not only in a specific natural and climatic environment, but also in an unusual ethnic environment, were forced to adapt to new conditions and adopt material and spiritual culture from the local aboriginal population.

During the development of the Far Eastern lands, there was an active process of interaction between two cultures: Russian culture with the pagan culture of the aborigines.

Considering the influence of Russian culture on the culture of the aborigines, scientists note that the sphere of traditional material culture of the aborigines experienced the greatest changes as a result of cultural contacts; it was enriched with new elements.

The indigenous peoples of the Far East borrowed new crops and farming techniques from the Russians; certain ethnic groups in the southern part of the region settled down and adopted a peasant way of life. Animal husbandry began to develop in the aboriginal economy, and riding and draft horses appeared.

Gradually, all the peoples of the Far East mastered the technique of Russian log house construction, Russian stoves appeared, and in place of the canals they began to install wooden bunks, and subsequently beds.

By the beginning of the twentieth century, the Russian hut had become the main type of housing. The influence of Russian culture is reflected in the addition to national food in the form of flour, cereals, potatoes, and vegetables.

The Aborigines borrowed food preparation methods from the Russians: salting, frying; began to use clay and metal utensils. Very soon, the indigenous peoples of the region began to adopt Russian clothing and shoes, and the wealthiest of them (Nanais, Negidals) began to wear kosovorotka shirts, boots, caftans, and caps, like Russian merchants. Materials such as fabrics, threads, and beads were widely used for sewing and decorating clothes.

Under the influence of Russian culture, the decorative art of all indigenous peoples of the Far East became widespread in the second half of the 19th and early 20th centuries. a little richer. The influence of Russians in the art of the Itelmen and Aleuts was especially strong. These nationalities widely used satin stitch embroidery, Russian factory fabrics, and Russian beads in decorative arts. Evenki and Even craftswomen very skillfully used Russian colored fabric and colored threads to decorate clothes, bags, and belts.

From the middle of the 19th century, Russian influence became noticeable in the art of the peoples of Amur and Sakhalin. Thus, the Nanais began to wear shirts of Russian cut, and on traditional women's robes one could see a border made of Russian lace braid. Carpenter's and joiner's tools began to be used in home production, which had an impact on the improvement of wood carving.

In the second half of the 19th century, qualitative changes occurred in the development of the culture of the Far Eastern region, associated with the level of socio-economic development and the nature of the formation of the region’s population, as well as its geopolitical position.

Firstly, the geography of cultural construction has changed. In contrast to the initial stage of development of the Far East, when cultural processes took place mainly in Kamchatka, the coast of the Sea of ​​Okhotsk and in Russian America, from the middle of the 19th century. The southern regions became centers of culture: Amur, Primorsky and Transbaikal regions. This was explained by the fact that the Amur region and Primorye, on the basis of peace treaties concluded with China (Aigun in 1858, Beijing in 1860), were annexed to Russia. In 1867, Russian America (Alaska) was sold by Russia to the United States of America. The tasks of economic development of the Far Eastern region required the settlement of new Russian lands and ensuring their socio-economic and cultural development.

Secondly, the construction of the Trans-Siberian Railway (1891-1916) and the Chinese Eastern Railway (1897-1903) was of great importance for the cultural development of the region. Since 1893, the sea route from Odessa to Vladivostok was opened. The establishment of railway and sea connections between the Far East and Siberia and European Russia accelerated the state resettlement of the population from the western provinces to the Far East and the socio-economic and cultural development of the region.

Thirdly, the peculiarities of the socio-economic development of the region also influenced the formation of the cultural environment. First of all, not only the government and local authorities played a significant role in cultural construction, but also the numerically growing Far Eastern intelligentsia - the core, the basis of the regional cultural environment. It was the intelligentsia that especially acutely expressed the social need to satisfy the cultural needs of the population. Thanks to her initiative, all types of professional art are emerging in the region.

A feature of the cultural development of the Far Eastern region in the second half of the 19th century - the beginning of the 20th century. there was a simultaneous development of all areas of culture and art: education, science, artistic and musical culture, theater, that is, the active formation of the socio-cultural space of this region was underway. It should be noted that one of the main features of the Far East is the high level of literacy of its population compared to Siberia and European Russia.

Secondary and higher specialized education has been developed. Here in the Far East, as well as in the center of the country, the following were created: the Naval School - in Nikolaevsk-on-Amur; river - in Blagoveshchensk; railway - in Khabarovsk. In 1899, the first Oriental Institute in the entire Eastern Siberia and the Far East was created in Vladivostok.

The difficulties in establishing public education were associated with a shortage of not only schools, but also teachers. Suffice it to say that among all teaching staff in the region, only 4% had special education.

Industrial development, railway and naval construction, mass migration of the population to the Far East from the middle of the 19th century. accelerated the development of science.

The Oriental Institute, opened in 1899 in Vladivostok, had a positive influence on the development of Far Eastern science.

A distinctive feature of the Far East was the large number of periodicals. It testified to the socio-economic and cultural development of the region, and the fact that a group of professional journalists and writers had formed in the region and a large readership had appeared. The periodical press covered all the most populated and developed areas of the region, and reflected the interests of all segments of the population.

A characteristic feature of the formation of the culture of the Far East during this period is the emergence and development of professional artistic culture. However, unlike the artistic culture of Russia, it was created in the form of amateur associations (musical, theatrical, etc.). This can be explained, first of all, by the late entry of the Far East, in comparison with other regions of the country, into Russia. The region's remoteness from European Russia and insufficient funding for culture and professional personnel also had an impact.

The origin of theater in the Far East began in the 60s. XIX century with amateur performances for soldiers and officers. On December 24, 1860, in one of the barracks of Blagoveshchensk, the lower ranks of the line battalion and artillery team presented the play “The Station Warden” (based on A.S. Pushkin) and the vaudeville “Much Ado about Trifles” by A.A. Yablochkina. The first mentions of amateur theatrical productions in Vladivostok date back to the early 1870s. In 1873, reserve paramedic Bakushev with the clerks of the naval crew and garrison, as well as female convicts, presented to the audience a performance based on the play by A.N. Ostrovsky "Poverty is not a vice." In Khabarovsk, the first amateur performance was staged at the city's Public Assembly in 1873. Professional theater troupes were created in the Far East in the early 90s. XIX century Permanent theaters are being created in the cities of Vladivostok, Blagoveshchensk, and Khabarovsk.

Musical culture in the Far East, like theatrical culture, developed from amateur to professional. The origin of musical art began with naval orchestras. In 1860, a military orchestra with a staff of 51 people was established in Nikolaevsk-on-Amur, and in 1862 - in Vladivostok. In the 80s In the 19th century, music circles appeared in Blagoveshchensk, Vladivostok, Chita, and Khabarovsk, which began to play a significant role in meeting the musical needs of city residents.

The touring and concert activities of artists from Siberia and European Russia were of great importance for the emergence of professional musical and entire artistic culture in the region. Since the mid-90s. Until the beginning of the twentieth century, tours became an integral part of the cultural life of the region. The system of touring and concert practice influenced the musical life of Far Eastern cities, increased the cultural level of the population, shaped the tastes of the Far Eastern public, facilitated the adaptation of newcomers, and stimulated the development of the region.