Famous architectural monuments of Russia. Tsar Bell and Tsar Cannon
The image of Kabanikha in the play “The Thunderstorm” is one of the main negative ones that forms the plot. Hence the depth of his portrayal by playwright Ostrovsky. The play itself shows how, in the depths of an outdated but still strong patriarchal society, the champions of the “dark kingdom” in the very bud stifle the barely emerging shoots of the new. At the same time, the author of the work depicts two types that support the foundations of the Old Testament society based on dogmas. This is the widowed wealthy merchant Marfa Ignatievna Kabanova, as well as the wealthy merchant Savel Prokofich Dikoy. No wonder they call each other godfathers.
Merchant's wife Kabanova as an ideologist of the “dark kingdom”
It should be admitted that the image of Kabanikha in the play “The Thunderstorm” is gradated negative images occupies a more significant position than the character of the merchant Wild. Unlike her godfather, who oppresses those around him in the most primitive ways (with the help of swearing, almost reaching the point of beatings and humiliation), Marfa Ignatievna understands perfectly well what “old times” are and how they should be protected. Her influence on others is more subtle. After all, as the reader reads the drama, she sees not only scenes where she peremptorily lectures her family, but also moments where she pretends to be “old and stupid.” Moreover, the merchant Kabanova acts as an apologist for double morality and hypocrisy in the manipulation of her neighbors. And in this sense, the image of Kabanikha in the play “The Thunderstorm” is truly classic in Russian literature.
The merchant's desire is to subjugate her neighbors
The playwright Ostrovsky managed to show at the same time, deeply and clearly for the reader, how in the merchant Kabanova, ostentatious, insincere religiosity coexists with an absolutely unchristian, immoral and selfish desire - to subjugate people to himself. Marfa Ignatievna really breaks the will and characters of her neighbors, their life aspirations, crushes real, genuine spirituality. She is opposed by the image of Katerina in Ostrovsky’s play “The Thunderstorm,” her daughter-in-law.
Different understanding of antiquity by Kabanikha and Katerina
To be precise, Katerina is also a representative of a patriarchal society. This idea was expressed by the actor and literary critic Pisarev in response to famous article Nikolai Dobrolyubov “A Ray of Light in a Dark Kingdom.”
However, if her mother-in-law represents the “old times”, gloomy, dogmatic, subjugating people and killing their aspirations with meaningless “don’ts” and teachings “how it should be,” then Katerina, in contrast to her, has completely different views on the “old times”.
For her, there are also centuries-old traditions, but they are expressed in completely different ways: in love for others and care for them, in a childishly enthusiastic attitude towards the world around us, in the ability to see and perceive all the good things around, in the instinctive rejection of gloomy dogmatism, in mercy . “Old time” for Katerina is colorful, romantic, poetic, joyful. Thus, Katerina and Kabanikha personalize two opposing aspects of Russian patriarchal serf society - dark and light.
Psychological pressure from Kabanikha on Katerina
The tragic image of Katerina in Ostrovsky's play "The Thunderstorm" invariably evokes the reader's sympathy and sympathy. The girl ends up in the Kabanov family by marrying Tikhon, the son of a merchant's wife. Before Katerina appeared in the house, her future mother-in-law completely imposed her will on everyone at home: her son and daughter Varvara. Moreover, if Tikhon is completely morally broken and is only able to follow the instructions of “mama,” then Varvara only pretends to agree, but always acts in her own way. However, under the influence of her mother, her personality was also deformed - the girl became insincere and double-minded.
The image of Kabanikha in the play “The Thunderstorm” is antagonistic to the image of Katerina throughout the entire play. It’s not for nothing that the daughter-in-law reproaches that her mother-in-law “eats her.” Kabanikha constantly insults her with far-fetched suspicions. It exhausts the soul with senseless compulsions to “bow to your husband” and “cut your nose.” Moreover, the merchant's wife appeals to quite plausible principles: maintaining order in the family; harmonious (as is customary in the Russian tradition) relationships between relatives; foundations of the Christian faith. In fact, Marfa Ignatievna’s influence on Katerina comes down to compulsion - to blindly follow her orders. Kabanikha wants to turn her into another subject of her home “dark kingdom”.
Unmercifulness is a common trait between Kabanikha and Wild
The characterization of the image of Kabanikha in the play “The Thunderstorm” by Ostrovsky shows her common feature with the image of the merchant Wild, despite their obvious characteristic differences. This is unmerciful towards people. Both of them treat their neighbors and fellow citizens in a non-Christian, consumerist way.
True, Savel Prokofich does this openly, and Marfa Ignatievna resorts to mimicry, imitating Christian beliefs. In conversations with her neighbors, she prefers the tactic “the best defense is attack,” accusing them of non-existent “sins.” She doesn’t even hear counter arguments from her children and daughter-in-law. “I would believe... if I hadn’t heard with my own ears... what veneration is like...” Isn’t it a very convenient, almost “impenetrable” position?
The characterization and image of Kabanikha from the play “The Thunderstorm” by A. Ostrovsky combines hypocrisy and cruelty. After all, in fact, Kabanikha, who regularly goes to church and does not spare alms to the poor, turns out to be cruel and unable to forgive Katerina, who has repented and admitted cheating on her husband. Moreover, she gives instructions to the deprived own point The son Tikhon wants to beat her, which he does. They motivate this, again, by tradition.
Kabanikha contributed to Katerina’s suicide
It is the image of Katerina Kabanova in Ostrovsky’s play “The Thunderstorm,” constantly bullied by her mother-in-law, deprived of all rights and intercession, that gives tragedy to Ostrovsky’s play. None of the readers doubt that her suicide is the result of the unfavorable influence of her mother-in-law, constant humiliation, threats, and cruel treatment.
The situation is aggravated by the fact that Katerina had already previously stated that she would settle scores with her unhappy life. Marfa Ignatievna, who was well aware of everything that was going on in the house, could not help but know this. Was there any direct intent on the part of the mother-in-law to drive her daughter-in-law to suicide? Hardly. Rather, Kabanikha thought of “breaking” her, completely, as she had already done with her son. As a result, the merchant's family collapses: her daughter Varvara accuses her of directly contributing to the tragedy and leaves home. Tikhon goes on a drinking binge...
However, the hard-hearted Marfa Ignatievna does not repent even after this. For her " dark kingdom", manipulating people is more important than family, more important than morality. This conclusion can be drawn from the episode of Kabanikha’s revealed hypocrisy even in this tragic situation. The merchant's wife publicly bows and thanks the people who retrieved the body of the late Katerina from the Volga. However, then he declares that she cannot be forgiven. What could be more anti-Christian than not forgiving a dead person? This, perhaps, can only be done by a real apostate.
Instead of a conclusion
Negative characteristic character- merchant Kabanova - is revealed gradually as the action progresses. Does the image of Katerina in A. N. Ostrovsky’s play “The Thunderstorm” fully oppose him? Probably no. The girl has nothing to oppose to the suffocating atmosphere around her; she only begs for understanding. She makes a mistake. The imaginary liberation from the domestic “dark kingdom” of the Kabanovs - an affair with Boris - turns out to be a mirage. Katerina repents. It would seem that Kabanikha’s morality has won... It costs the merchant’s wife nothing to turn the girl into her ally. To do this, you just need to show mercy. However, as they say, habit is second nature. Kabanikha, “offended,” bullies the already unrequited, humiliated Katerina with redoubled force.
The daughter-in-law's suicide brings devastating consequences for Marfa Ignatievna's family. We are now seeing a crisis in the obedient (before Katerina’s appearance) family of the merchant’s wife, which is falling apart. Kabanikha can no longer effectively defend the “old times.” From the above, the conclusion suggests itself that at the turn of the 19th century the way of life Russian society was changing steadily.
In fact, society even then demanded a liberation decree abolishing serfdom, allowing commoners to raise the role of education and social freedoms.
Ticket number 17
1. Describe the achievements of Russian culture in the 9th-12th centuries: writing, literature, oral folk art.
Response plan
1. Features of the culture of Rus'.
2. Development of writing.
3. Development of literature.
4. Oral folk art.
1.Byzantium remained the country with the most developed culture for a long time. In the 11th-12th centuries. Byzantine culture reached its highest peak in painting, architecture, sculpture, and literature. Byzantium had a huge influence on the development of the culture of many countries, including Rus'.
People Ancient Rus' they not only sowed grain, traded and fought. They built temples, decorated their walls with skillful images, and made jewelry, composed songs and fairy tales, collected libraries, opened schools, i.e. created cultural values.
2. Writing among the Slavic tribes arose even before the adoption of Christianity. Byzantine monks Cyril and Methodius created the Slavic alphabet.
Since the time of Vladimir Svyatoslavovich, church literati and translators began to come to Rus'. Schools were opened at churches and monasteries. During the reign of Yaroslav the Wise, numerous translations of books were created, historical works. The first Russian books were written on specially treated calfskin - parchment. Kigas were decorated with elegant miniatures. Such books were very expensive and only the richest could become their owners.
People, including ordinary townspeople, often exchanged business notes and letters. Instead of paper, they used processed birch bark - birch bark.
3.In the 9th century Literature was born in Rus'. A special place in it was occupied by chronicles, stories about events that took place from year to year. The oldest chronicle is “The Tale of Bygone Years,” created at the beginning of the 12th century. monk of the Kiev-Pechersky Monastery Nestor. From the chronicle we learn about where the East Slavic tribes settled and what they did, how Rurik appeared in the Slavic lands, how Oleg conquered Kyiv, how the Drevlyans dealt with Igor and how Olga avenged the death of her husband and much more. The main idea of “The Tale of Bygone Years” is the idea of the unity of the Russian land.
In Novgorod, chronicle writing began with the Novgorod ancient chronicle.
In addition to chronicles, lives were created in Rus' - descriptions of the lives of people canonized as saints. One of the first Russian lives - “The Life of Boris and Gleb”
Hilarion is considered the first writer of Rus'. He wrote works in the genre of words - a solemn and instructive address - “The Word on Law and Grace.”
“The Instruction” of Vladimir Monomakh became the first work in Rus' in which the author reflects on how to raise children.
4.From ancient times, the Slavs composed songs and fairy tales. Russian epics - poetic tales of the past - also have very ancient roots. Favorite heroes of epics have become peasant son, the fearless and mighty warrior Ilya Muromets, the sensible and fair Dobrynya Nikitich and the cheerful Alyosha Popovich.
The people sang not only the exploits of the heroes, but also the hard work of the farmer. Several epics are dedicated to the plowman - the hero Mikula Selyaninovich.
Name and briefly describe the historical monuments that testify to the presence of the Polovtsians in our region.
Russian chronicles first mention the Polovtsians in 1054.
The Polovtsians led a nomadic lifestyle; in the warm season, the Polovtsians roamed the steppe, and in the cold season, they made winter huts from yurts and wagons.
The horse accompanied the Polovtsians even after death. The dead were buried in mounds. Men were given a saber, a bow and several arrows, and women were given jewelry. Gold and silver bracelets, round mirrors, pendants, and expensive dishes are found in rich burials. Such burials were found near the village of Novoivanovka, Amvrosievsky district, and near Yasinovataya.
The Polovtsians have long had the custom of installing stone images of the dead - women - on mounds and high places. . The name of the sculptures comes from the Turkic words “balbal” or “babai”, which meant strong, respected. Stone figures served the Polovtsians as places for celebrations and rituals.
Gifts were brought to the women, they were asked for protection and patronage
One of these sanctuaries was excavated by archaeologists near Donetsk. In total, up to 600 stone figures are known in the Azov region.
To the question “do you know your country well,” many answer that, of course, you have traveled to every hidden corner, visited a ton of museums and attached a lot of bright magnets to your refrigerator. But cultural heritage Russia is so rich that it is impossible to physically record it in your head and memory. Therefore, listing even the 10 most famous monuments or sculptures seems an impossible task for the average person.
We consider it our duty to enlighten the younger generation and present in such a concise form 10 cultural finds that our Mother Russia can be proud of. All of them were erected on the occasion of an important historical event or personify the rich and broad soul of the Russian people. These are not body drawings or installations of empty air in modern museums art. Take care of cultural heritage and stop any attempts at vandalism, because it has not been rewritten true story– the key to a healthy and thinking society.
Monument “The Motherland Calls” Volgograd
The popular design is marked by the center of the whole ensemble, dedicated to the heroes battles near Stalingrad, which proudly rises on Mamayev Kurgan. The sculpture looks impressive and intimidating, as if demonstrating to enemies that with bad intentions on native land It's better not to meddle. The “Motherland Calls” monument confidently took eleventh position in the Guinness World Records list as one of the highest on the planet. At night, the statue is illuminated by numerous spotlights, which creates a visual picture no worse than the notorious Eiffel Tower. It reaches a height of about 85-87 meters. For this it even received a military “nickname” - “Height 102”. By the way, in the years famous battle The most brutal battles took place here, and the feat of the heroes was immortalized in the monument.
Monument "Millennium of Russia"Velikiy Novgorod
The cultural monument was created in the 60s of the 19th century, timed to coincide with the anniversary of the existence of the great Russian state. Agree, not every country celebrates a thousand years, so the monument has enormous cultural, historical and tourist significance. Outwardly, it imitates a huge bell (represented at the top with a spherical shape, which symbolizes the power - the emblem of monarchical power). Great monument Russian Federation reaches fifteen meters in height.
Monument-obelisk “To the Conquerors of Space” Moscow
The structure was erected in the capital in the 60s of the 20th century and personifies the successes of Soviet researchers in the conquest of outer space. The powerful obelisk reaches a height of 107 meters, weighs about 250 tons, and its cladding used specially made titanium panels, which were personally proposed by S. Korolev. Externally, the structure depicts a rocket that leaves a powerful trail behind it. The type of construction “leaning tower” is almost unique (an analogue is the famous Leaning Tower of Pisa). A couplet of a poem glorifying our cosmonauts is engraved in metal on the facade. The structure was erected in a vacant area, not far from the entrance to the exhibition of national economic achievements. The monument is dedicated to active technological development in 1957, when the USSR launched the first artificially created satellite on the planet.
Monument to St. George the Victorious Moscow
A very symbolic statue, as St. George destroys a snake with the tip of a spear - a symbol of human vices, lies, cunning and betrayal. That is why the design is one of the main ones among memorial complex capitals on Poklonnaya Hill. The cultural monument is located on the territory of Victory Park and is a granite fountain surrounded by multi-tiered smaller fountains that shoot jets straight up. Around the monument there are tiles that list the stations of the destinations and the capital.
Monument "Bronze Horseman" Saint Petersburg
A beautiful bronze statue was erected on Senate Square in St. Petersburg. The official opening took place in 82 of the 18th century - it was the first city monument. Initially it was assumed that it was dedicated to the great Russian King Peter. But later the name “Bronze Horseman” was given, which was inspired by poem of the same name beloved people's writer Pushkin. The sculpture was erected by Etienne Falconet on behalf of reigning Catherine II. The sculptor was inspired by Colonel Peter Melissino (outwardly resembling Tsar Peter), who held a horse on a rack. The head of the bronze “Peter” was created by Falcone’s student, and the Russian sculptor Gordeev sculpted a snake - a symbol of enemy strength.
Monument "Alyosha"Leninsky district of Murmansk
The memorial complex is dedicated to the soldiers who defended the Soviet Arctic during the Second World War. The basis of the design is a statue of a soldier in a raincoat, who has a machine gun over his shoulder. The height of the monument is just over 35 meters plus 7 meters for the pedestal. The weight of the hollow figure reaches more than 5 thousand tons! The size of the statue of “Alyosha” is second only to the “Motherland”. You can see it in the Leninsky District - a place that attracts the attention of compatriots and tourists.
Monument "Worker and Collective Farm Woman" Moscow
The monument is considered a symbol of the USSR era, as well as a favorite tourist attraction. Externally, it is a sculpture of two statues (a worker and a collective farmer), which are raised above the head famous hammer and sickle The author of the project is Mukhina Vera, and the concept was laid by the architect Iofan Boris. Initially, it was planned to display the monument in Paris, for which it was transported in parts in 28 or more carriages. The structure is made of chromium-nickel stainless steel and reaches a height of about 25 meters. Located on Prospekt Mira. The first assembly took 1 month (employees worked 3 shifts, resting only 3 hours a day). It was assembled again in Paris in 11 days. By the way, this particular building is the famous symbol of Mosfilm.
Monument to mammoths Khanty-Mansiysk
It opened for the first time 11 years ago in Khanty-Mansiysk. The statue was erected in honor of the anniversary - 425 years of the capital of the district. It is located on the territory of the famous Archeopark. The design includes eleven small sculptures (the large mammoth is more than eight meters in size, and the small one is about three). They are made of bronze, due to which total weight reaches 70 tons. Engineers achieved the installation of life-size monuments.
Monument to Peter I Moscow
The construction is dedicated to the anniversary of three hundred years Russian fleet. Author of the project – famous architect Zurab Tsereteli. They installed a cultural masterpiece on an artificial island in the area where the Obvodny Canal connects with the Moscow River (next to the confectionery factory). The opening of the monument coincided with a grandiose holiday - the anniversary of the 850th anniversary of the capital. The total height of the composition is 98 meters (one of the highest on the planet and in the Russian Federation in particular).
Monument to the Sunken Ships Sevastopol
Erected on the central embankment of Primorsky Boulevard (Sevastopol Bay), the monument annually attracts many tourists and compatriots who are proud of the warlike exploits of the inhabitants of the hero city. The monument is also marked on the Soviet coat of arms of Sevastopol, is an honor and symbol of the city, its calling card. The height of the sculpture exceeds 16 meters.
These are the amazing historical monuments that the Russian land preserves. The younger generation should know their history, respect the country's heroes and ordinary hard workers, with whose hands the now majestic cities and cultural centers were erected.
Architectural monuments are objects that were created, usually in honor of a significant event or important person. The age of some is estimated at tens of years, while others remember the Egyptian pharaohs. This review contains the most famous architectural monuments about which the history of mankind can be written.
1. Kaaba (Masjid al-Haram) 
The Kaaba (Masjid al-Haram) is a cube-shaped building located in Mecca
The Kaaba (Masjid al-Haram) is a cube-shaped building located in Mecca, Saudi Arabia. It is considered the most sacred place in Islam, and the oldest and most famous cultural monument in the world. 
Muslim shrine of Kaba.
The Qur'an states that the Kaaba was built by Abraham (Ibrahim in Arabic) and his son Ismail after the latter settled in Arabia. A mosque, Masjid al-Haram, was built around this building. All Muslims around the world face the Kaaba during prayers, no matter where they are. 
Pilgrims at Kaba.
One of the five fundamental laws of Islam requires that every Muslim perform the Hajj, the pilgrimage to Mecca, at least once in his life. In this case, you need to walk around the Kaaba seven times counterclockwise (when viewed from above).
2. Taj Mahal 
White marble mausoleum located in Agra, India.
The Taj Mahal ("Crown of Palaces") is a white marble mausoleum located in the city of Agra, India. It was built by the king of the Mughal Empire, Shah Jahan, in memory of his third wife Mumtaz Mahal. The Taj Mahal is widely known as "the jewel of Muslim art in India and one of the world's recognized masterpieces world heritage." The area of the Taj Mahal is about 221 hectares (38 hectares are occupied by the mausoleum itself and 183 hectares of protected forest around it).
3. Egyptian pyramids 
Egyptian pyramids.
A total of 138 pyramids have been discovered in Egypt. Most of them were built as tombs for pharaohs and their wives during the Old and Middle Kingdoms. These are some of the oldest famous cultural monuments. 
View of Egyptian pyramids above.
The earliest known Egyptian pyramids were found at Saqqara, northwest of Memphis. And the oldest of them is the Pyramid of Djoser, built in 2630 - 2611 BC. e., during the third dynasty. This pyramid and its surrounding complex were designed by the architect Imhotep and are generally considered to be the world's oldest monumental brick-faced structures.
4. The Great Wall of China 
The great Wall of China.
The Great Wall of China is a series of fortifications made of stone, brick, rammed earth, wood and other materials built along the historical northern borders of China to protect the country from invasions by various warlike peoples. 
Sculptures on the Great Wall of China.
Several walls were built back in the 7th century BC, and later they were completed, combining into what is today known as Great Wall. Particularly famous is the part of the wall built between 220-206 BC. the first emperor of China, Qin Shi Huang (very little remains of her).
By the way, in the Celestial Empire there are still many beautiful and interesting places China, which are worth seeing with your own eyes.
5. Angkor Thom (Greater Angkor) 
Capital of the Khmer Empire
Angkor Thom is a 3 square kilometer walled royal city that was the last capital of the Khmer Empire. After Jayavarman VII recaptured Yashodharapura (the previous capital) from Champa invaders in 1181, he built a new imperial capital on the site of the destroyed city. He started with existing surviving structures such as Baphuon and Phimeanakas and built a magnificent walled city around them, adding an outer wall with a moat and some of Angkor's greatest temples. There are five entrances (gates) to the city, one for each cardinal direction and a Victory Gate leading to the area Royal Palace. Each gate is topped with four giant faces.
6. Acropolis of Athens 
Acropolis of Athens
The Acropolis of Athens, also called "Cecropia" in Athens, is the most important site of the city and one of the most recognizable monuments in the world. This is the main landmark ancient greek culture, as well as a symbol of the city of Athens itself, since it represents the apogee of artistic development in the 5th century BC.
7. National Chiang Kai-shek Memorial Hall 
Chiang Kai-shek Memorial
The National Chiang Kai Shek Memorial Hall is famous monument and a local landmark erected in memory of Generalissimo Chiang Kai-shek, former president Republic of China. It is located in the Chinese city of Taipei. The monument, surrounded by a park, was built in the eastern part of Memorial Square. To the north is the National Theater, and to the south is the National Concert Hall.
8. Potala Palace 
Potala Palace
The Potala Palace is located in the city of Lhasa in Tibet. It is named after Mount Potalaka, the mythical abode of Chenrezig or Avalokiteshvara. The Potala Palace was the main residence of the Dalai Lama until the 14th Dalai Lama fled to Dharamsala, India, during the Chinese invasion of Tibet in 1959.
Ngawang Lobsang Gyatso, the fifth Great Dalai Lama, began construction of the Potala Palace in 1645 after one of his spiritual advisors, Konchog Chopel, noted that the site between the Drepung and Sera monasteries and the old city of Lhasa was an ideal location for the government. The Potala was eventually built on the remains of an earlier fortress called the White or Red Palace, built by King Songtsen Gampo of Tibet in 637. Today the Potala Palace is a museum.
9. Statue of Liberty 
Statue of Liberty in the USA.
The Statue of Liberty was a gift of friendship from the people of France to the people of the United States of America, and it is universal symbol freedom and democracy. The Statue of Liberty was dedicated on October 28, 1886, and was designated a National Monument in 1924.
10. Sultan Ahmed Mosque 
Sultan Ahmed Mosque is a historical mosque in Istanbul, largest city Turkey and capital Ottoman Empire from 1453 to 1923. It is also popularly known as the Blue Mosque because of the blue tiles that line its walls. 
Mosque interior.
The mosque was built from 1609 to 1616 during the reign of Ahmed I. Although it is still used as a mosque, the site has also become a popular tourist attraction.
Church of St. Catherine - Armenian Temple apostolic church in St. Petersburg. Located at Nevsky Prospekt, 40-42.
The building was built by the architect Yu. M. Felten in the depths of the site, in the alignment of houses No. 40 and 42, which he also designed, the facades of which are stretched along the line of Nevsky Prospekt (the construction of the northern wing was carried out a decade later, possibly by Felten’s assistant, architect Egor Sokolov). Because of this, the main facade of the church inevitably had to be oriented towards Nevsky, and main entrance to the temple - not from the west, as is customary, but from the south. Given that the only apse of the church is oriented to the east, the interior space of the church acquires a rather complex character.
The architect based the architectural design of the facade on the same principles that guided him when creating the Lutheran Church of St. Catherine on Vasilievsky Island a little earlier, but at the same time noticeably strengthened it decorative design, and the portico itself received a stronger projection and additional side walls, decorated with pilasters at the ends. In order to give greater variety to the wall surface, different shapes of openings are used: rectangular and arched in the first tier and small round windows (combined with square panels) in the second. Instead of strict capitals of the Tuscan order, here in the columns of the portico and double pilasters securing the corners of the facade, Felten used ionic capitals“with pendants”, and on the walls between the window openings of the first and second tiers there are bas-reliefs reproducing a typical Baroque motif - putti heads in the clouds. The angels erect a cross over the entrance door to the temple. The field of the pediment is filled with a multi-figure composition: “Catholicos Gregory the Illuminator performs the baptism of King Trdat III.”
4. Tell us about the role of the city’s first architects in creating it architectural appearance. (page 255 1000V)
The first architect of St. Petersburg was D. Trezzini, a native of Switzerland. At the invitation of Peter I, in the fall of 1703, he came to Russia, where he found his second homeland. The architect creatively embraced the traditions and features of Russian national architecture.
During the 30 years that Trezzini lived on the banks of the Neva, he participated in solving major urban planning problems (Kronstadt and the Alexander Nevsky Lavra were founded according to his designs) and erected a number of remarkable structures. This Summer Palace Peter I (1710-1714), Peter and Paul Fortress (stone bastions and curtains were built under the leadership of Trezzini), Peter and Paul Cathedral (1712-1733), Peter's Gate Peter and Paul Fortress(1717-1718), the building of the Twelve Colleges (1722-1742), the Church of the Annunciation (1717-1735) and the Spiritual building of the Alexander Nevsky Lavra (1717-1735; dismantled in 1910-1914), as well as a large number of buildings that have not survived ( Gostiny Dvor, second Winter Palace and etc.).
On the instructions of Peter I, Trezzini developed a series of “exemplary” (standard) houses for various segments of the population - “eminent”, “prosperous”, vile” (people of the tax-paying class) and comfortable dachas. The architect's buildings were typical for early stage Russian Baroque and were distinguished by the modesty of decorative decoration.
5. The main stages in the formation of the architectural appearance of the city. Tell us about the architectural ensembles that developed in the 18th, 19th, 20th centuries. What is an “architectural ensemble”?
Architectural ensemble (from the French ensemble - integrity, coherence, unity) - according to TSB definition, “harmonious unity spatial composition buildings, engineering structures (bridges, embankments, etc.), works of monumental painting, sculpture and landscape art.” The image of an architectural ensemble depends on changes in lighting, time of year, and the presence of people. An important element The ensemble can serve as a landscape. In this case, the key role can be played by the terrain (for example, churches that were built on the high bank of the Volga). Very often architectural ensembles include ponds.
Architectural ensembles arise under the condition of a unified spatial solution for the complex.
There are architectural ensembles created at the same time, according to a single plan, and ensembles that take shape over the years, through the efforts of many architects, carefully complementing the emerging composition so that new elements are organically combined with old ones. Classic examples of such ensembles are St. Mark's Square in Venice and Palace Square in St. Petersburg.
Often the composition of an architectural ensemble includes not only buildings and landscape elements, but also sculptures and monuments. An example of such ensembles is Senate Square with the figure of the Bronze Horseman and Isaac's Square monument to Nicholas I (St. Petersburg).
Over three centuries, St. Petersburg has developed as one of the most beautiful cities peace. The remarkable architectural ensembles, numerous works of architecture, landscape art, bridges, granite embankments, outstanding engineering structures, monuments and works of sculpture, which are so rich in St. Petersburg and its suburbs - Petrodvorets, Pushkin, Pavlovsk, Gatchina, Lomonosov, enjoy deserved fame. Unlike many other prominent European cities, St. Petersburg is a vast complex of connected a certain system architectural ensembles - squares, streets, embankments, parks. The construction of the city was carried out in harsh natural conditions, in swampy areas, using piles and extensive drainage work. Almost simultaneously, the most important structures of the future city center were laid out and built on the banks of the Neva: the Peter and Paul Fortress, the Admiralty and others. These buildings gave the city its characteristic appearance, which has survived to this day. Following them, a number of other remarkable buildings were also erected near the Neva; gradually the central ensemble was created, which is a recognized example of urban planning art of world significance. Extant to this day and now receiving its due further development the historically formed planning structure of the city is the result of skillful use natural conditions in planning and construction. Thus, already in the first half of the 18th century, a three-ray system of Nevsky, Voznesensky and Gorokhovaya Streets, bounded by the Neva and the Gulf of Finland, merged with the developed city center, was formed. The most significant in its planning and architectural and artistic qualities is the central group of ensembles of the city, created along the banks of the Neva in the part where it is divided into two branches - the Big Neva and the Small Neva - the complex of the Peter and Paul Fortress, the Birzhevaya Strelka of Vasilievsky Island, the Palace, the Admiralty and University embankments and associated squares - Dvortsovaya, Dekabristov and St. Isaac's, Field of Mars, Nevsky Prospekt and others. The layout of St. Petersburg and the formation of its architecture were greatly influenced by natural and climatic conditions, which largely determine the modern development of the city.
The predominance of cloudy, cloudy weather and the usual absence of sharp shadows required the widespread use of building colors in the architecture of St. Petersburg to best identify their architectural forms and details. Varied, thoughtful coloring of residential and public buildings, often using quite bright tones - yellow, turquoise blue, green, dark red and contrasting light, mostly white, tones for architectural details, enlivens the appearance of architectural structures, giving the city a unique, typically Russian flavor and picturesqueness.
6. What is the peculiarity and urban planning significance of the creation of the Neva embankments?
In Peter's time, it was also practiced to connect different houses with one facade, which gave the building as a whole a more monumental appearance. This architectural technique was intended to decorate, first of all, the embankments of the Neva and had important urban planning significance. Entry into the courtyard could be from the alley or from the street: a through passage was installed at the ground floor level. The plots allocated for development generally had the shape of an elongated rectangle with a short side of ten fathoms along the facade, on which the house was to be built, the rest of the space was allocated to the courtyard, surrounded along the perimeter by outbuildings.
Decrees of 1714 (on the prohibition of stone construction in all cities except St. Petersburg; on the forced relocation of some residents from the provinces to the capital; on the prohibition of wooden buildings on Gorodov Island, Admiralty Island, along the banks of the Neva and their replacement with huts)5 significantly contributed to the expansion of stone construction. Additional requirements to build houses on Vasilyevsky Island based on the number of serfs6 and the approval of the “exemplary projects” of Trezzini and Leblon, mandatory for execution within the specified time frame, were supposed to ensure the rapid imparting of a metropolitan appearance to the “paradise” city.
Stone typical buildings of the 1720s. best represented in the preserved houses on the embankment. Lieutenant Schmidt. D. Trezzini, who was responsible for the planning and development of Vasilievsky Island, created a stepped composition of houses along the Bolshaya Neva embankment, in which he applied a large number of modifications to the model project for both ten, twelve, and even twenty fathoms. Own house Trezzini (Universitetskaya embankment, 21; 1723-1726) in two apartments on high cellars (“above the income water” by one arshin), with a front spitz (mezzanine), was built according to the design of van Zwieten7 and had eleven axes. Apparently, his composition went back to the Wedding Chambers of D. Trezzini (1712). Pilasters of a large composite order formed the central part of three windows and the corners of the building. Between the windows of the first and second floors there are rectangular panels with corners cut in a semi-circle. The windows had complex figured platbands of two types. The entrance was centered on a front two-flight porch and a massive second-floor balcony. Despite repeated reconstructions (adding six pilasters, a superstructure on the sides of the mezzanine, changing the portal, the appearance of a classical entablature and platbands), the original appearance of the house is easily recognizable. The same facade layout scheme could be used in an abbreviated form (seven axes): the courtyard of the Pskov bishop, the house of N.Yu. Trubetskoy and others.
We can say that developers often combined in their houses the features of two different exemplary projects: Leblon - with rustication at the corners and a centered entrance and Trezzini - with large pilasters, a mezzanine and a three-axis composition of the central projection.
Leblond’s exemplary design of a house “for the eminent” on seven axes (ten fathoms), in particular, found an interesting application in the composition of the palace of Praskovia Feodorovna (1720s), becoming two connecting links between richly decorated risalits.
Over time, a more complex volumetric-spatial composition with three risalits became widespread. The starting point in this case is the layout of the Menshikov Palace with a large assembly hall in the central projection and a symmetrical division of the house into “halves”. The same pattern is repeated in the Wedding Chambers (D. Trezzini, 1712), Kikin Chambers (A. Schlüter, 1714), the house of F.M. Apraksin (A. Leblon, F. Vasiliev, 1716), the Upper Chambers of Peterhof (I. Braunstein, 1714), Yaguzhinsky’s house on the Neva embankment (I. Mattarnovi, N. Gerbel, 1715-1722), etc. Thus, the adopted layout And general scheme turned out to be more stable than the creative solutions of individual architects with origins in various national traditions.
7. What was the reason for the creation of a network of canals in the city?
It was not only floods that worried the city's builders. Numerous branches of the Neva needed strengthening. Many of them needed to be straightened, the water level in them had to be adjusted, and their water had to be made to work for the needs of the city.
St. Petersburg needed canals for draining the city as much as roads, embankments and bridges. By digging canals, it was achieved both by lowering the groundwater and by filling up the area with earth taken out of the canals.
Peter the first sought to locate the most important structures and enterprises closer to the water; according to his plans, the canals could become cheap water roads along which goods were delivered to the city. Construction Materials, on the boats communication was carried out between in separate parts cities. The network of canals of the young city could be compared to the circulatory system that nourishes the human body.
8. Name and briefly describe the most significant buildings of the following architects: Trezzini, Rastrelli, Quarenghi, Stasov, Montferrand.
9. Which bridges in St. Petersburg are the longest and widest?
The longest bridge on the Neva is the Alexander Nevsky Bridge (909 m, including ramps)
The total length of the cable-stayed bridge is 995m. (so-called channel section, cable-stayed part - without overpasses)
The longest drawbridge - the recently reconstructed Liteiny Bridge in St. Petersburg has the longest drawbridge in the world - 67 meters.
The widest bridge is across the sink - Blue
10. When and by whom was the Neva Flotilla, which marked the birth of sailing in Russia, organized? Tell us about the development of sports in St. Petersburg. Name the most significant athletic facilities cities.
In 1718, Peter I created the so-called “Neva Flotilla” “for the entertainment of the people, especially for better training in art across the waters and courage in swimming.” This flotilla had its own flag and charter, personally written by its founder.
141 government-owned vessels were distributed to admirals, dignitaries, bishops and other noble residents of St. Petersburg: yachts, trashcoats, rowing barges, ryabiki and ropes. Ivan Potemkin was appointed to command this motley flotilla. On certain days and hours, rowing and sailing ships set out on trips up the Neva to Ladoga and along the Neva Bay to Kronstadt. At the same time, races of ships under sail often took place. More than once Peter took command of the campaigns. The vessels of the flotilla had to be in exemplary condition. According to Peter’s instructions, “on those ships, nothing heavy, namely: bricks, lime, firewood and other things that can cause harm, should not be carried and should be kept free of dirt and uncleanliness, for this is why they are repaired more than from water. Also keep the vessel under the roof so that it does not get wet and does not get torn by the sun, for these vessels are given to be used like carriages and carriages on a dry road, and not dung carts.” The founded “Neva Flotilla” can be considered the first yacht club in Russia. But the life of the Neva Flotilla was short. After Peter's death it ceased to exist. Only in 1846 the St. Petersburg Sailing Yacht Club was created in the capital. Its honorary members were outstanding sailors and naval commanders F. F. Bellingshausen, M. P. Lazarev, P. S. Nakhimov, V. A. Kornilov, F. P. Litke and others.
