The Ostankino estate is a valuable architectural monument of the 18th century. Green belvedere in Ostankino Park Building for staging performances
While walking around the territory of VDNKh, we decided to turn deeper and take a walk through Ostankino Park. We started our walk behind the Geology pavilion, which is next to the Space pavilion.
The area was improved here: a park recreation area was created, with benches and paths.
Pavilion Oil (Pavilion No. 25), it’s strange that it’s in such a poor state :):)
Construction of Europe's largest Oceanarium is nearing completion. The amusement park project has two levels. In the lower part there will be an aquarium and a theater. A room for dolphin therapy and catering establishments is planned on top. The auditorium capacity is 2,500 people; it will be the largest aquarium in Europe; moreover, it is planned to host not only entertainment events, but also educational ones.
At the end of the alley there is a monument to Ivan Vladimirovich Michurin.
Ivan Vladimirovich Michurin is a Russian biologist and breeder, author of many varieties of fruit and berry crops, Doctor of Biology, Honored Worker of Science and Technology, Honorary Member of the Academy of Sciences.
To the right of the monument to Michurin I.V. stands the Chapel of St. Basil the Great. The chapel in honor of St. Basil the Great was erected on the territory of the All-Russian Exhibition Center on the initiative of his team as part of events to celebrate the 3rd millennium and the 2nd millennium of Christianity. It is no coincidence that the chapel is dedicated to Basil the Great. This saint, who lived in the 4th century, studied many sciences. Philosopher, philologist, lawyer, art critic, he had deep knowledge of astrology, mathematics, and medicine. All-Russian Exhibition Center employees considered that since the All-Russian Exhibition Center unites various branches of knowledge in its activities, Vasily the Great exercises his “trusteeship” over the activities of the All-Russian Exhibition Center.
Spring, beauty, time to bloom
A pear blossomed in the Michurinsky Garden
A high-altitude ropes course has opened behind the football fields
The Sky Town rope park is designed for both children and adults. The park uses professional climbing equipment. A full range of insurance and safety elements ensures confident passage of the route and does not hinder movement, and all fasteners, ropes and cables are certified.
Prices start from 600 rubles for up to three hours. The pricing policy for tickets is varied: there are family tickets, for schoolchildren, and season tickets.
It is logical that the sports town and rope park are located next to pavilion No. 27 “Physical Education and Sports”
Behind the “Physical Education and Sports” pavilion we go down to Kamensky Pond
Here flows the system of ponds of the Main Botanical Garden and VDNKh - Kamensky Ponds, there are four in total
We rise from the ponds and walk along the path, this is already the territory of Ostankino Park
Walking along the path you can see an abandoned tower
The park has a stable and a breeding circle
trash container with a device for extinguishing bulls
The territories of Ostankino Park and VDNKh intersect every now and then, so we wandered into VDNKh again.
Next to the Green Theater stands the former Winemaking pavilion (building 137)
Figures of fairy-tale characters in front of the house
We returned to Ostankino Park again, crossing Okruzhnaya Alley
Park (Garden) pond
The embankment of the pond has been landscaped, everything is clean and tidy
On the pond there is a boat station "On the oars"
Boat rental costs 250 rubles for 30 minutes
Near the Belvedere pond
Belvedere is an Italian word (belvedere), the same as the French bellevue, and means “beautiful view” in Russian translation. This word first came into use in Italy, where it means either a building built exclusively for the purpose of admiring the beauty of the view, or a turret (tower) erected for the same purpose over the roof of a house or palace.
Small stage
For the convenience of visitors, information and support stands have been installed in the park.
Audio Guide to the Park
Police
There is a children's playground on the main alley
At the entrance there is a monument to the people's militia. The inscription on the plate: “1941-1945. Volunteers of the 13th and 6th militia divisions who defended Moscow.”
Don't pass. Stop.
Touch the heart of feat.
Remember these plates forever
Remember forever those who fell
Killed in battle for you and me.
All benches on the territory bear the coat of arms of the park
The central gate to Ostankino Park. By the way, the full name of the park became “Ostankino Cultural and Sports Park Complex”
After leaving the park we went to relax on the Ostankino pond
Benches for one
In a word, you can have a great time walking around VDNKh, Ostankino Park, or just sit by the Ostankino pond, or you can combine everything :)).
Don't sit at home, walk around your favorite city! :)
Not far from the famous television center. In the old days, many special events and holidays were held here.
Today Ostankino is an estate that can be seen in many TV series and films.
Story
Ostankino was first mentioned in documents dating back to 1558. In those days, on the site of the current estate there was a village owned by Alexei Satin. It was called Ostankino. Somewhat later, the keeper of the state seal, clerk Vasily Shchelkanov, became the owner of this settlement. In Ostankino, on his orders, a boyar's house was erected, a church was built, a grove was planted and a pond was dug. However, during the Time of Troubles, most of the buildings were razed to the ground.
Restoration of buildings began in the 17th century. At this time, Prince Cherkassky began to own the lands of Ostankino. On his orders, a stone church was erected on the site of a dilapidated wooden church, a cedar grove was planted, and hunting grounds were set up on the estate. These lands belonged to the Cherkasy princes for almost a century until Varvara Alekseevna Cherkasskaya (the only daughter of the owner of the estate) became the wife of Count Pyotr Borisovich Sheremetyev. Ostankino appeared
Under Sheremetyev, alleys and a garden appeared on the estate, and entertainment pavilions began to be built. By order of the new owner, ornamental and agricultural crops began to be planted in the greenhouses.
Heyday
A new stage in the formation of the history of Ostankino began under Count Nikolai Petrovich Sheremetyev. He was a true connoisseur and connoisseur of the arts, one of the most educated people of that period and a passionate theatergoer. Ostankino is an estate where Sheremetyev was able to fulfill his dream. The count created a theater and palace complex on the estate. Construction work was carried out over six years from 1792. After this, the Ostankino estate acquired its final appearance.
They were built according to designs made by outstanding architects of the 18th century. Among them are V. Brenn, F. Camporesi and I. Starov. The serf architect I. Argunov also took part in the construction.
Wood was used in the construction of the building. After this, the palace was plastered to look like stone. The final architectural ensemble of the estate began to include a theater and a small front courtyard. The decoration of the territory was a pond, as well as landscape and formal gardens.
Building for performances
The best European theaters of those years became models for the design of the palace built by Count Sheremetyev. The auditorium, shaped like a horseshoe, was decorated in pink and blue colors. The layout of this room provided excellent audibility and visibility from all corners. The hall is designed for two hundred and fifty spectators. The stage on which the actors played was one of the largest in Russia. Its depth was twenty-two meters and its width was seventeen. The lower stage, as well as the two-tier upper engine rooms, served the stage. The last of them has partially survived to the present day.
In order to get into the theater hall, it was necessary to go through the right or left entrances. Through the left, the spectators entered the foyer of the stalls, which was located in the western wing of the building. The Italian Pavilion was also located here. Its design in greenish-blue tones resembled a park area. Through the right entrance, visitors entered the upper foyer, the halls of which were located directly next to each other. At the very end there was an art gallery. The Ostankino Theater is interestingly designed. It could be quickly converted into a ballroom.
The theater in the estate of Count Sheremetyev was inaugurated on July 22, 1795. The stage size allowed for the production of operas written by Russian and Western European composers, in which there was a quick change of scenery and there were many mass episodes.
At the opening of the theater they showed the lyrical drama “The Capture of Ishmael”. Moreover, the bulk of the invited guests were direct participants in this event.
Architectural complex
Ostankino is an estate, the construction of which was divided into several stages. After the construction of the main wooden theater building, several more structures were added to it. The construction of the mezzanine foyer was completed, the Egyptian and Italian pavilions, as well as galleries, were located symmetrically. All these structures were a U-shaped complex in plan. At the same time, the general axis of the Sheremetyev estate near Moscow was oriented towards the Kremlin. An interesting decision was made when decorating the front yard and outbuildings. Together they resembled a stage space.
The Sheremetyev estate in Ostankino is distinguished by classical simplicity. Moreover, the latter is combined with an abundance of gilding and mirrors used in the interior design of the premises. The rooms of the palace were decorated with valuable works of art.
Layout
Sheremetyev built the estate for his beloved, the serf actress Praskovya Kovaleva-Zhemchugova, with whom he was secretly married. A Pleasure Garden appeared not far from the estate. When planning it, various types of elements of the park area were combined. Together they made an interesting composition. A rampart was erected around the garden. Behind it, on the eastern side, huts for servants were located, and on the western side - a greenhouse and a horse yard.
The area to the north was turned into the Surplus Garden. Walking paths were laid there, trees were planted and a pond was dug. The area near the Kamenka River flowing nearby was also beautified. A whole cascade of ponds was dug here. In those days, Ostankino was an estate in which the capital's secular society gathered. Various events and celebrations were held here, as well as performances.
New life for the estate
In the 19th century The Sheremetyevs moved to St. Petersburg. From that time on, they began to visit their estate only occasionally. However, despite the absence of the owners, festivities continued to be held here on holidays, during which representatives of the capital’s social circles gathered in the Pleasure Garden. Ordinary people were having picnics on the shore of the pond. Somewhat later, the managers of the Sheremetyev family’s estate near Moscow began renting out estate buildings for dachas. At the same time, the palace could be viewed with a special permit, and then it was completely turned into a private museum.
The fate of the estate after the October Revolution
The Ostankino estate (see photo below) was nationalized after the arrival of Soviet power.
In 1918 it was turned into a state museum. Since 1938, the Sheremetyev estate was renamed the Palace-Museum of the Creativity of Serfs. The estate received a new name in 1992. It became Ostankino.
Ostankino today
Currently, the Ostankino Estate Museum is included in the list of specially protected objects in Russia. The entire territory of the former estate of Count Sheremetyev can be divided into three parts. This is the Pleasure Garden, Palace and Park.
At the Ostankino Estate Museum, visitors can see a rich collection of icons of ancient Rus', as well as wooden sculptures made from the late fifteenth to the early twentieth centuries. An interesting exhibition of graphics and paintings, as well as a collection of furniture dating back to the 14th-19th centuries.
Collecting was a favorite pastime of most noble people. The Sheremetyevs were also keen on this. Their collections are presented in the first hall of the museum. After viewing the unique items collected here, visitors are invited to enter the gallery. On the walls of this room hang various drawings, designs and measurements from the 18th century. All of them are related to the design and construction work carried out during the construction of the palace in the Ostankino estate. Next, visitors move to the Italian Pavilion, which is the most luxuriously decorated in the estate. It contains a corridor leading to Count Sheremetyev's office. However, guests are not allowed to enter. The Italian pavilion is connected to the Engraving Gallery by the Prohodnaya Gallery. This room is an integral part of the lower foyer of the theater. The last pavilion that visitors can enter is the Egyptian one. It is located away from the palace building and is connected to it only by a small passage gallery.
Museum work
Is your final destination on the route Ostankino estate? How to get there? From the station you will need to transfer to tram No. 11 or 17 and get to the final stop. You can walk. From the metro station towards the television center, the journey will take about fifteen minutes. The museum opens to visitors on May 15. The end of the excursion season is September 30. The Ostankino estate, whose opening hours are from 11 to 19, does not accept visitors during rain or high humidity. Days off are Monday and Tuesday.
The ancient Ostankino estate near Moscow is of particular interest to us because its ensemble was formed mainly in a very short period of time - 10 years, although it has existed since the 16th century. Another feature is its “entertainment” purpose, which was reflected in the specific nature of garden compositions. Ostankino is a unique monument of Russian culture of the 18th century, an amazingly perfect example of the creative synthesis of architecture, landscape art, theater, painting, sculpture, works of decorative and applied crafts, which merged into a single artistic whole. It is also of great interest as a monument to the era of serfdom, a museum of the work of serf artists. The estate, palace, park and everything in them were created by the talent and labor of hundreds of peasants, artisans and craftsmen. We know the names of only a few of them. But the information we have, and, of course, the most valuable collections themselves speak of their exceptional talent and selfless love for art. Ostankino gardens are an integral part of this one-of-a-kind ensemble.
At the end of the 16th century. the village of Ostankino (then Ostashkovo) belonged to V.Ya. Shchelkanov. The estate consisted of a boyar mansion, a wooden church, a pond in front of it, and outbuildings. Already in those days, Siberian cedars and an oak grove were planted here, which are partially preserved to this day [Soloviev, 1958]. In 1611, after the village came into the possession of the Cherkasskys, a new period of development of the estate began. By 1646, there were already 37 households here, including 12 of them belonging to falconers, 9 to hounds, 7 to grooms and 3 to gardeners. This speaks to the pronounced entertainment character of the estate, which was preserved later, under other owners (a rather rare example when the main purpose of the estate did not change for almost three centuries). Already in the middle of the 17th century. here, alongside the new mansions, a garden was created. In 1683, serf architect P.S. Potekhin is building a stone church next to the pond - a wonderful monument of Russian architecture from the “Naryshkin” Baroque era, striking even now with its festive attire, light multi-domed silhouette, richness and variety of architectural forms *. From then on to this day, the Ostankino ensemble includes three main components: a palace, a park and a church, which reminds us of the very first period of its creation.
* Information about Ostankino’s gardens is contained in the following works: [Chepurina. 1976; Soloviev, 1958; Elizarova, 1966; Weiner, 1910; Klang, 1927; Vinogradov, 1929; Mikhailov, 1976; Lenskaya 1982; and etc.].
At the beginning of the 18th century. The estate is owned by Prince A.M. Cherkassky. He spent most of his time in the new capital, and later in Siberia, and could do little to decorate the estate. In addition, the population of Ostankino decreased due to recruitment of soldiers and the sending of craftsmen to construction sites in St. Petersburg. Only in 1739 A. M. Cherkassky was again able to start improving his beloved estate near Moscow. Ostankino becomes a venue for festivals, hunting and other entertainment. Even then, concerts, balls and “maskerades” were given here for the Moscow nobility. Attending such a holiday was considered a great honor.
It is known that the regular garden at the palace included linden alleys, a cedar grove, oak and maple plantations, flower beds, and covered circular roads [Chepurina, 1976]. Nearby, apple trees, pears, cherries, red and black currants, gooseberries, and raspberries grew in orchards; melons and watermelons were grown in greenhouses; there was also a large greenhouse that supplied overseas fruits to the festive table.
In 1743, the daughter of A.M. Cherkassky marries Count P.B. Sheremetev - a rich nobleman, the son of a field marshal - a comrade-in-arms of Peter I, the owner of another large estate near Moscow, Kuskovo. The estate is being rebuilt again, but its layout, judging by the general land survey plan drawn up in 1766, remains extremely simple: the road from Moscow passes by the dam of a pond, behind it is a church and an almost square-shaped regular garden, crossed crosswise and along straight diagonals alleys. At the end of the main alley, laid in a northern direction from the church building, is the master's "pleasure" house. The garden is adjoined to the north, west and south by a forest, and to the east by a small settlement of palace employees and artisans. The owner of the estate lives permanently in Kuskovo, and he also undertakes the main construction work there. For him, Ostankino is mainly an economic patrimony; lemons and peaches, pomegranates and almonds, fig and olive trees are grown in greenhouses here. By this time, the garden already had five large greenhouses, a nursery where Siberian cedar was grown, and flower beds.
The main period of formation of the ensemble began in the late 1780s, after the estate was inherited by N.P. Sheremetev.
A number of circumstances contributed to the upcoming blossoming of the Ostankino ensemble. N.P. Sheremetev concentrated countless wealth in his hands, he was the owner of 210 thousand serfs, his estates were located in 17 provinces and totaled 825,000 acres of land [Lepskaya, 1982]. Unlike his father and grandfather, he is not interested in either a military or bureaucratic career; he devotes his free time to music, theater, and the visual arts. The owner of the estate is well educated, has connections with the most advanced people in Russian and Western art, and travels a lot. In Kuskovo and Ostankino, he selects the most capable peasant children to practice all kinds of arts, teaches them singing and dancing, and expands the acting troupe. It is possible that in the desire of N.P. Sheremetev’s decision to turn Ostankino into the best estate near Moscow was also played by personal reasons.
He is not satisfied with the old "pleasure" house; Passionate about theatrical art, he decides to build here a specially equipped palace-theater for a troupe of serf actors. At the same time, Ostankino is clearly preferred to the luxurious Kuskov - an estate that was landscaped and decorated by his father and where a theater was also created ten years ago. According to the assumption of Yu. Shamurin, N.P. Sheremetev chose Ostankino because of the serf actress P.I. Kovaleva, whom he was passionate about and whom he wanted to save from unnecessary humiliation, since in Kuskovo “everything reminded of her humble origins and former life. It is even more likely that the “construction mania,” as Catherine II put it in a letter to Grimm, which gripped the Russians at the end of the 18th century, did not bypass N.P. Sheremetev. Kuskovo was the creation of his father, Pyotr Borisovich, a man of Elizabethan times; the son, brought up in the West by new artistic movements, was hardly satisfied with Kuskov’s ideas...” [Shamurin, 1912. P. 52].
To the design of his Ostankino residence N.P. Sheremetev attracts the best artistic forces, but at the same time he makes the main decisions himself, selects and evaluates projects, gives instructions to the authors, keeping in mind his plan - to create here a kind of palace of arts, a palace-theater, a palace-museum, where a library should be located, scientific offices, an art gallery and at the same time living quarters for numerous guests. This idea itself is very characteristic of the trend of enlightenment that gripped part of the Russian nobility in this era. While remaining in the position of serfdom, Catherine’s nobles at the same time considered it necessary to share some of the views expressed by progressive thinkers, starting with F. Voltaire and J.J. Rousseau. In accordance with this, Ostankino was designed in the spirit of a new artistic direction - classicism with its orientation towards the ideals of citizenship and enlightenment.
After N.P. Sheremetev was not satisfied with the designs of the architects F. Cazne and D. Quarenghi; he entrusted the construction to his serf architects A.F. Mironov and G.E. Dikushin, who previously built a theater in Kuskovo. Later P.I. will join them. Argunov, also a serf N.P. Sheremetev. By 1792, the theater building of the palace was basically ready. Construction continued, and by 1798 it was supplemented with pavilions, outbuildings, passage galleries and extensions on the side of the front courtyard and park.
When you study the complex plan of the palace, consisting of many interconnected elements, you cannot help but notice the close interpenetration of architecture and its external environment. The space of the park is divided into its volume, acquiring a certain semi-interior character between numerous projections-risalits. On the other hand, these projections themselves, for example the rotunda in the western wing of the building, have the appearance of park pavilions. This feature of the ensemble was noticed by I.G. Semenova [Kuskovo. Ostankino. Arkhangelskoye, 1973].
The construction of the new palace-theater entailed the redevelopment and expansion of the old park. In 1793 A.F. Mironov draws up a design for its central part, adjacent to the palace building. The pleasure garden consists of an extensive parterre, bosquets-vegetable gardens behind it and two areas, designed in landscape style and adjacent to the western and eastern wings of the palace. Despite the fact that the landscape areas were planned picturesquely, in the “English taste”, the garden as a whole retains a regular character and most of it is occupied by bosquets with “kitchen greens”, parterres and straight alleys in the old, western part. The green carpet of the parterre, slightly lowered in the central part, is bordered by a circular trellis path. White marble busts and vases stand out well against its background. Behind the “carpet” there is a round open area. In this decision one can feel the author’s idea to create a kind of green hall, clearly defined in the space of the garden and adjacent directly to the theater building. Obviously, the “hall” was intended for theatrical performances and was supposed to complement the small hall in the palace itself. And the entire pleasure garden seems to be A.F. Mironov is a compositional continuation of the palace, organically linked with it, becoming, as it were, a green “foyer” of the theater, on the sidelines for walks during intermissions. The axis of symmetry of the garden was now oriented towards the center of the northern loggia of the palace, the design of the bosquets on both sides of this axis was planned to be the same. At the same time, the landscape areas, although located strictly symmetrically with respect to the axis, are designed differently: in the western one it is planned to arrange a Chinese grove with an amphitheater facing the Italian pavilion, in the eastern one a network of whimsically curved paths and small lawns is being drawn. The entire palace garden is limited by a rampart and a moat with water, which clearly separates it from the rest of the park.
The design of the park is closely connected with the internal layout of the palace - and this is no coincidence, because A.F. Mironov addresses, continuing work on the interiors. In the same way that the stalls are a “continuation” of the theater hall, and the Chinese amphitheater complements the Italian pavilion (which served as a museum of sculpture), the picturesque area in the eastern part of the garden becomes the green sidewalk of the concert hall in the Egyptian pavilion. Moreover, the spatial solution of all these three sections is strictly symmetrical and oriented towards the centers of the corresponding architectural objects. Thus, in the palace garden, three axes appear: one main one, crossing the ground floor and leading into the depths of the park, and two additional ones, continuing the transverse axis of the palace, passing through the main building, galleries and pavilions. Moreover, additional axes of the meridional direction are also outlined, oriented towards the northern entrances to the Italian and Egyptian pavilions and marked by the entrances to each of the two small landscape gardens.
A.F. Mironov strives, if possible, to preserve the old garden with its trellises, alleys and flower beds. This leads to the fact that his project has a somewhat dual character - paying tribute to the newfangled passion for landscape style, at the same time he does not dare to abandon the established regular character of the old garden.
Obviously, this was the reason that N.P. Sheremetev, not satisfied with A.F.’s plan. Mironov, proposed to redo the project of P.I. Argunov.
P.I. Argunov played the most prominent role in the creation of the Ostankino palace and park. He was born in 1768 into the family of the serf Sheremetev, a talented painter I.P. Argunov and from childhood was immersed in the atmosphere of creative activity. In 1788, he and his family moved to Moscow, studied painting with his father, and then architecture at the school and workshop of V.I. Bazhenova. He has been taking part in the construction of the Ostankino ensemble since 1793, performing the most important work.
He designs and carries out the artistic design of a number of pavilions, interiors, extensions, and manages the finishing work. P.I. Argunov was also entrusted with clarifying the sketches of other architects. He penetrated deeper into the essence of landscape techniques of park construction than his senior comrade A.F. Mironov. Before turning to Ostankino Park, he, of course, had already seen new landscape gardens in Tsarskoe Selo, Peterhof, Oranienbaum, in addition, he worked in Gatchina, where landscape compositions around lakes were created during these years.
Project P.I. Argunova is more in line with the spirit of the times, landscape planning techniques are more decisively introduced in it, and although regular elements are preserved, they no longer play a big role.
The design of the bosquets remained the same, but now along the alleys there were young trees, shrubs, and at their intersections - large mature trees. The parterre finally loses its regular character and turns into an elongated clearing, bordered by “free” groups of trees, bushes and a covered path, which by this time had obviously already been built. P.I. Argunov refuses to create a Chinese amphitheater near the Italian Pavilion, but proposes “Parnassus” in the middle of the lawn in the eastern part of the garden. This solution is designed to create a picturesque picture from the side of the loggia. In the center of the garden there is a clearing illuminated by the sun; it is divided by “scenes” of larches, oaks and maples into several visual plans spaced from each other, creating the full effect of deep perspective.
The ruin of Milovzor on top of the Parnassus hill added a romantic note to the landscape, and a little further from it, closer to the moat, a gazebo “like a temple.”
Option P.I. Argunov and was accepted for execution in 1795. The meadow-parterre, Mount Parnassus, majestic statues, larches can be seen here and now.
Ostankino Park, however, extended far beyond the palace area. To the north of it, a large pond was dug, the banks of which were given the “natural” outlines of peninsulas and bays. A walk around the pond, boating, and night fireworks on the water were part of the Ostankino entertainment program of that time. But this is only a small part of the romantic landscape park that was created in this estate. Alleys led walkers to distant oak groves, into the depths of the forest, which previously served as hunting grounds. The forest is intersected by the picturesque valley of the Kamenka River, on which six large and small ponds were built at that time. Along the right, more elevated bank there was a walking road to the river. Yauza, leading to the most expressive viewpoints.
Obviously, the design of the park N.P. Sheremetev pays no less attention than the palace itself, while he takes the best examples as a model. During these years, V.I. Bazhenov and M.F. Cossacks are created by the Tsaritsyn ensemble. Even in its unfinished form, it makes a strong impression on its contemporaries. It is not surprising that N.P. Sheremetev orders the gardeners “to make paths in the same way as they were made in the Tsaritsyn garden, and there should be two types of them: one for pedestrians, and the other could be used in strollers, and the more paths are made in that English garden, the better.” (Scientific archive of the museum, l. 609. Command of 6/VIII 1797).
At this time, the scope of planning included a vast territory, including the villages of Ostankino, Rostokino, Marfino, and the entire forested valley of the river. Kamenki to the river Yauza. In the forest area, which is being turned into a park, decorative deciduous trees such as maple and birch begin to predominate; only along the banks of the Kamenka River is pristine nature preserved - here the tone is set by thickets of willow, alder, and aspen. N.P. Sheremetev even interferes in the choice of planting material, prescribes planting “violet and white lilac, viburnum, bird cherry, hazel, a little alder, rarely rowan, linden, oak and elm, aspen - not necessary, from fruit trees - apple and cherry for spring flowering" [ Chepurina, 1976. P. 66-68]. The general “supervision” of the park is carried out by A. Agapov.
The opening of the theater took place in July 1795, when the play “Zelmira and Smelon, or the Capture of Izmail”, dedicated to the victory of the valiant troops of A.V., was given here in the presence of veterans of the Russian-Turkish war. Suvorov. By 1797, the magnificent interior decoration was completed, and the park was put in order. The pleasure estate of P. I. Sheremetev became widely known not only in Russia, but also far beyond its borders. The palace at that time was an 11-shaped group of interconnected buildings, covering the space of the main courtyard on three sides. The panorama of the ensemble is dominated by the church and the slender, solemn theater building with its six-columned Corinthian portico and round belvedere topped with a dome. They are complemented by galleries, low residential buildings, and the fence of the front yard, decorated with a guardhouse with sculptures of centaurs. Later, in the center of the courtyard, a sculpture of the ancient patron of the arts Apollo will be installed, as if symbolizing the meaning of the entire ensemble.
From the Moscow Road (now Sheremetevskaya Street) there was a hilltop view of a pond, groves and a street lined with houses with richly decorated facades. The thoughtfulness with which the front front of the estate's development is designed shows special care for the visual perception of the panorama of the ensemble. Since its strict symmetry was violated by the church building, to restore visual balance, a grove of tall trees, surrounded by a fence, was planted on the opposite side at the same distance from the central axis (running through the center of the palace portico). Of course, views were calculated not only at the entrances. From the balcony of the palace a reverse panorama opened up. The painting by the artist D. Lifon (1799) shows that exactly opposite the palace behind the pond, the central axis of the ensemble is continued by a special perspective clearing going towards Moscow.
The desire for an organic fusion of the palace with the surrounding park was also expressed in the artistic interpretation of its interiors. The large windows of the Egyptian and Italian pavilions reached the floor plane, and the park seemed to “enter” the interior spaces. A special color scheme contributed to the merging of the interiors with the greenery of the park. Thus, against the background of the light fawn walls of the Egyptian pavilion, the niche leading to the garden stood out with its intense green coloring; the doors were decorated with gilded carvings, which harmonized well with the autumn tones. The walls of the Italian Pavilion were decorated with picturesque balustrades and floral borders, which created the illusion of a large opening open to the garden. Serf craftsmen created unsurpassed examples of artistic interior decoration in the Ostankino Palace - they were decorated with sculpture, painted lampshades, type-setting parquet, chandeliers, vases, and mirrors.
Ostankino Park did not escape the fate of most landscape compositions of the 18th century: it was carefully maintained for several decades, but by the 1830s it began to fall into disrepair - the “golden” era of noble estates was coming to an end. Back in 1810, in the inventory compiled shortly after the death of N.P. Sheremetev, it is indicated that there are 6,000 plants in the Ostankino greenhouses, which was a unique collection even at that time. Later, against the background of the gradual decline of the estate, there were also moments of recovery. So, in 1856-1858. restoration work was carried out in the garden, led by the architect M.A. Bykovsky, creator of the Marfin ensemble.
By the end of the 19th century. the lands of the Ostankino estate are beginning to be built up with dachas; economic needs force the owners of the estate to consider it not only as a unique art museum (private, of course, with limited access), but also as a source of income: flowers are grown in greenhouses for sale, vegetable gardens and dacha plots are rented out .
Ostankino Park became a place for city residents to walk; entry to the palace “pleasure” garden was limited, but crowded holiday festivities were held along the banks and in the oak groves. On the canvases of 18th century artists. depicts cheerful open landscapes of the palace pond, dammed grove, meadows behind the dam, with an audience representing a variety of classes.
The artistic values of Ostankino were truly revealed to the people after the Great October Socialist Revolution. Already in December 1917, the Commission for the Protection of Art and Antiquities of the Moscow City Council took under its guardianship all the assets of the ensemble. The following year it becomes the State Museum of Serf Art and soon after that it opens its doors to the masses of working visitors. At the same time, the boundaries of the park were determined; they included an area of 55 hectares located to the north and west of the palace.
Since 1935, the museum has been conducting scientific research on the palace, its artistic decoration and the park. This made it possible to undertake measurements and then restoration work and restore the original appearance of most of the interior spaces and the façade of the building. Restoration work also affected the palace “pleasure” garden, here according to the project of Professor E.V. Shervinsky in accordance with the plan of M.F. Mironov 1793 the ground floor was restored (1939-1940).
Currently, the entire palace part is separated from the rest of the park and is under the jurisdiction of the Ministry of Culture of the RSFSR. A strict protection regime has been established here, and measures are being planned to recreate the garden - a monument of Russian landscape art.
Back in the 1970s, L.N. Dmitrieva and N.E. Chepurina conducted a field survey, which showed that the plantings in this part of the park are in poor condition. Most of the 90 oak trees, which are more than two centuries old, are dead-topped and in a depressed state. The cedar grove has disappeared. The last two surviving larches, planted near the ground floor in 1795, inspire concern - undoubtedly, the most decorative trees in the palace area, almost the only living “peers” of the palace. The plantings of linden, Norway maple, and Siberian larch in the western part of the garden have been over-compacted, an acacia hedge around the parterre has been neglected, etc. Labor-intensive and time-consuming work remains to put the plantings in order, to recreate the elements of the garden in accordance with the plans of M.F. Mironov and P.I. Argunov, organizing a museum exhibition here of landscape gardening architecture of the late 18th century.
Most of the territory that was previously part of the Sheremetev estate is allocated for Park of Culture and Leisure named after. Dzerzhinsky, All-Union Agricultural Exhibition(later VDNH) and Main Botanical Garden of the USSR Academy of Sciences. From the very beginning, the task was set to ensure the functional unity and territorial interconnection of all these three elements, which form the basis of the large northern garden and park complex of the capital with a total area of about 1000 hectares [Vergunov, 1980]. The Ostankino Palace can no longer be considered as the architectural dominant of this entire zone - huge public buildings have grown nearby: the Cosmos Hotel, the main and other large pavilions of VDNKh, multi-storey residential buildings, a television center, etc. But it continues to have the significance of the historical core garden and park complex, and now this core territorially coincides with its spatial dominant, which is the Ostankino television tower (visible from almost everywhere).
Of course, the Ostankino ensemble has lost its isolation and has now become only an element of a major urban planning formation. A compositional system of completely different scales with different patterns of visual perception is emerging around it, which is especially clearly revealed when looking at the palace, park and all their surroundings from the heights of the viewing platforms of the television tower. At the same time, it becomes obvious that the determining influence that the historically arose architectural elements and park areas that are part of it has on the development of the city. A green highway runs south from the palace pond, which, merging with the boulevards, the ancient park near the CDSA, and the squares around the new Olympic buildings, becomes the northern green ray of Moscow, reaching its central quarters. It is laid along the old road that was built at the end of the 18th century. in connection with the construction of the palace N.P. Sheremetev.
A wide strip of greenery stretches from the palace and the TV tower to Mira Avenue. A whole system of squares and boulevards has now been formed here, having memorial significance and dedicated to the triumph of Soviet space explorers. Further to the east stretch the boundless horizons of Sokolnicheskaya Grove and Pogono-Losiny Island, which connect the capital with its forest park belt. In the north, Ostankino Park merges with the forest of the Botanical Garden and the gardens of the Exhibition of National Economic Achievements. The palace itself and the Trinity Church, the adjacent ground floor, and the pond from the enormous height of the tower seem like toys, precious decorations on the complex “fabric” of the city’s development. But it was precisely this palace and park ensemble, founded three centuries ago, that was the starting point that laid the foundation for the development of the entire northern center of the capital, where its distant past and future so surprisingly visibly meet.
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Moscow, Ostankino park
Monument to Volunteers of the People's Militia in Ostankino
Russia Moscow,
The inscription on the plate: “1941−1945. Volunteers
wikimapia >> Monument “Gates of Memory” (Moscow)
Monument to Volunteers
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Photo: SmolBattle >> Monument to the Volunteers
Alexander Kachalin
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In 2014, after the merger of the territories of VDNKh and Ostankino Park, previously from 1932 to 1991 called the Central Park of Culture and Leisure named after. F.E. Dzerzhinsky. The Green Belvedere, in contrast to the White Stage, which is reminiscent of the Soviet tradition, was rather created in full accordance with traditional French and Italian landscape architecture.
How to get to the belvedere from the Main Entrance of VDNH
From the arch of the Main Entrance, go forward, passing the monument to V.I. Lenin, Central Pavilion, Pavilion No. 19. When you approach the model of the Vostok launch vehicle, turn left towards the Buran spacecraft and Moskvarium. Then turn left again - the “Shashlychok” cafe will appear in front of you. Walk past it along the path, passing the entrance to the Green Theater of VDNKh, and on the left on the hill you will see a green belvedere.
Historical excursion
“I intend to build a theater in Ostankino...”, reported Count Nikolai Petrovich Sheremetev to his manager A. Agapov on February 13, 1790. With this command one could begin the history of the Ostankino Theater-Palace and its beautiful park.
Count Nikolai Petrovich Sheremetev (1751–1809) Artist I.P. Argunov
It was no coincidence that Ostankino was chosen as the site for the construction of the palace. Nikolai Petrovich dreamed of showing his taste and knowledge, performing an act of great social significance and thereby immortalizing his name in Russian history. And it was Ostankino, located not far from Moscow, that was a suitable place for the implementation of such a plan.
By the spring of 1797, the main stage of construction was completed, although work continued in 1798. On April 25, the Ostankino Palace and park appeared before the guests in all their splendor.
Simultaneously with the construction work on the construction of the palace, work was also carried out on laying out the garden. Sheremetev himself planned to surround the palace with a regular park in the French style. Later he created a landscape park. However, the first, regular park formed the basis of the Pleasure Garden, which had a parterre, a cedar grove, “Own Garden”, an embankment “Parnas” with a gazebo “Milovzor”.
Gazebo "Milovzor" in Ostankino Park
The pleasure garden was adjacent to the palace building. The part of the cedar grove located closer to the estate was called the Surplus Garden, but later it was turned into the English Park. All work on its creation was entrusted to the gardener - a real Englishman. Linden and oak, maple and hazel, viburnum and honeysuckle have successfully taken root in the garden. The park area was complemented by five artificial ponds. According to the owner’s idea, the Sculpture Park was located there.
And in our time, in accordance with the best traditions of landscape gardening art, a beautiful belvedere (from the Italian belvedere or from the French belevue - “beautiful view”) is being built in Ostankino Park, annexed to the territory of VDNKh in 2014.
This word first came into use in Italy, where it means either a building built exclusively for the purpose of admiring the beauty of the view, or a turret (tower) erected for the same purpose over the roof of a house or palace. Such belvederes were often found in Rome, for example at the Villa Medici.
In France, a “belvedere” is often called a building in the form of a pavilion or gazebo, located at the end of a garden or park, where you can relax or hide from the scorching rays of the sun or rain, and sometimes simply a raised area in a garden or park, surrounded by a turf rampart, from which there is a beautiful view. Artificial hills were also used for admiring the park (they were poured from earth taken from the beds of ponds). The hill, to the top of which a spiral path led, was often named after the Greek mountain range with its source of inspiration - Parnassus. Such hills can still be seen not only in Ostankino Park, but also in many other estates and palaces of our country near Moscow.
"The art of creating and decorating gardens." Belvedere. P. Boitard (1830)
Belvedere is also the name given to many palaces in Europe located in especially beautiful locations, such as the Belvedere palace and park ensemble in Vienna, built by the architect I.L. Hildebrandt in the Austrian Baroque style as the residence of Prince Eugene of Savoy.
It is interesting that in order to admire the beautiful views in their completeness and integrity, special means were used. Landscape lovers in the 18th century walked over hills and valleys with a concave tinted mirror in their pocket. Having found a suitable scene, they caught the best part of it with a mirror and enjoyed this living picture.
