Architectural park ensemble. Palace-Park Ensemble

The famous ensemble in Arkhangelsk emerged in the period of heyday in Russia, classicism style drawn the basic concepts, about beauty in the art of antiquity. Artistic order - strict logic and equilibrium in the architecture and composition of the park Rodnat Arkhangelsk with Italian gardens of the Renaissance and French parks in regular style, and its landscape groves seem to be sketched by the workshop of the English landscape architect.

The entrance to the manor opens the imperial alley leading from the Moscow road to the Palace. This perspective becomes the rod of the entire ensemble. Clamped with pines, birchings and freshers, it brings to the massive entrance arch of the front yard, in the opening of which the portico is visible.

The closed courtyard space with a colorful flower club in the center of Oboyano powerful colonnades and produces a solemn impression. This effect was previously intensified by a picturesque scenery on the stone walls of the Kulis, closing the facades of the outbuilding: the colon showed here visually continued the real columns with a park behind them. In the summer in front of the columns, orange trees brought from greenhouses in the tubs, and the biggest tree were placed in the center. At this place at the end of the XIX century. A sculptural group "Meneli with the body of Patrole" appeared (a copy from the ancient original).

Palace complex: a big house, two flaghels, colonnades and an entry arch - serve as the core of the whole ensemble. A blonde portico with a fronton, smooth oath-yellow walls with high first-floor windows, a wide strip of an enclosed building of the Antablement, a slim belvedere make the main facade of the majestic.

Inbound Arch, connecting the fluel, as a castle stone, supports the architectural unity of the front courtyard. Erected shortly after Russia's victory in the war of 1812. It is similar to a triumphal arch and is more suitable for its scale, rather than a country manor. Above archives depicted flying glory. Pig-iron gate, whose openwork patterns are torn to the Ampire style, were performed in 1896 on the project of architect N.V. Sultanova.

The side facades of the Palace are richer and picturesque: three of the portico standing close to each other and the figures of marble lions on the parks in the park emphasize the plasticity of the composition. The park facade is designed to perceive from distant points, and green "walls" from old larchs framed this picture. The center of the facade, accented by the half-dollar hall, Belvedere and the flagpole above it, becomes dominant ensemble.

The desire to create summer organically associated with nature house defined the internal planning of the palace. If from the oval hall - the center of the composition of the Big House - to take a glance at any end of Anthiladies, then in the opening prospects of the green wall, the trees of the park are visible.

The palace stands on a low white-chain base, and only a few wide steps separate it from the green gladies of lawns. Cascade Terraces descends down to the Moscow River. The proximity of the park is felt everywhere, and where there is no direct visual connection with it, it is created illusory, with the help of wall paintings.

A place to break the park was selected very successfully and largely facilitated the task of the garden architect. The Arkhangelsk Park was born simultaneously with the construction of a large house, and after the acquisition of the estate N. B. Yusupov was constantly improved. In its composition and harmonic beauty, it is almost flawless and reflects the tastes of different eras, the influence of various traditions. At the same time, we are one of the best works of the gardening and park art of Russia con. XVIII - NCH. XIX centuries.

The hill on which the palace is standing in the late XVIII century. The architect of Jacomo Trombaro was turned into a series of terraces, similar to those used in the Italian gardens of the XVI century. The main part of the park is a network of alley and prospectuses with short trees on bosets and in the trellis, numerous marble sculptures that follow their whiteness of living architecture. All these are characteristic features of the garden in regular, or French, style.

The upper terrace, lying in front of a large house from the park, along its composition resembles a parade courtyard, but on finishing closer to the palace interior.

Marble Germes depicting antique gods, clear silhouettes stand out against the background of dark trees. In the center of the terrace - the sculptural group "Hercules and Antei", the work of the Master of the XVIII century, ascending to Michelangelo. Its dynamic forms contrast with cold static GEM.

Marble vases are placed on the top terrace balustrade. From here there is a picturesque view of the large partner and the lower terrace of the park, covering the upper on three sides. The staircase descending to the lower terrace has sculptural design in the form of female figures, lions and dogs. It leads to a small fountain "Amur with Dolphins" of the Italian master D. Gyrhirhello.

The combination of strict parters of the regular park with birchings, firing and bushes of lilac gives special charm to the glades of the lower terrace. On both sides of the fountain - marble benches, behind them - two sculptures "Amur, cutting onions from the Gerkla's cloth", and closer to the landscape park - a copy of the ancient statues of Artemis with Lanu and Apollo Belvedere.

The staircase leading from the second terrace to the Big Parter, rightfully can be considered one of the best decorations of the park in Arkhangelsk. Her marches disagree on the parties to, reaching half of the retaining wall, turn towards each other and go down to the ground. The sculpture accompanies a person walking along the steps: Busts Caesar and August on the parapet of the upper platform coexist with marble lions, four allegory parts of the world stand on an edging descent with a wide barrier, the pair "Egyptian" Germs seek the entrance to the grotto with the statue of Venus Medica inside.

The sculptural decor of the monumental retaining wall (its length is 150 m) of the lower terrace: it seems that numerous busts of the Roman emperors, commander and mythological heroes are narrated by the antiquity of the genus of the estate owners. From the scenery of the Golitsynsky period in its edges of the walls, small ruin arches from "wild stone" are preserved, reminiscent of the strugnures of the world represented by "marble heroes".

Park sculpture in Arkhangelsk, made in con. XVIII - NCH. XIX centuries, there are about 200 works and is a unique assembly equal to which is difficult to find in our country. This collection is extremely diverse: workshops copies of famous antique monuments, decorative garden figures of the middle of the XVIII century. With a noticeable influence of baroque traditions, strict on the composition of the sculpture of the era of classicism. Many works are created from the marble ordered by N. B. Yusupov in Carrara, in the Moscow workshops S.P.Kompioni and the Briskorn brothers in St. Petersburg. One of the most significant parts of the park is a large partner. The scale of this landscape picture is worthy to be an essay of the best garden architects of the Lenotra school. A huge rectangle (240x70 m), surrounded by green trellis, rhymes and rhythmic alternating marble statues (in restoration), forms free space, amazing on nobility and power. Before even flower beds in the park of Arkhangelsky corresponded to the overall style: majestically, they simply framed the smooth planes of the parquets, forming a bright border on green carpets.

The southern border of a large parquet is determined by two statues of "Boregis Fighters" (copies with ancient originals), until the mid-1930s. At the site behind the parquer there was a flower garden with a fountain and two huge statues of Hercules and Flora, later transferred to another place.

On the parties from a large parquer, a network of bosets - small groves from green lawns made by rows of Lipa spread. Terminated in the form of an oval or rectangle, these limes alternately alternately, they grieve with crowns, fascinating visitors walking around the garden with a variety of compositions. One of the bosets near the retaining wall of the lower terrace with N. B. Yusupov was turned into an aviary with pheasants, peacocks, rare rocks of chickens and turkeys. Bosets near Orangers on a hill near the Moscow river decorated with a flower "school": located in the southern garden they were suitable for growing seedlings for other parts of the park. In the Bosket near the Small Palace "Caprice" staged an open playpen with a winding track for horses treated and saw the greens with a niche niches for relaxing riders in the shade.

Fountains in the Arkhangelsk Park were not numerous: for their existence, a large stock and a good water pressure was required. Even at the end of the XVIII century. Prince N.A.Golitsyn built a hydraulic machine on the project and under the leadership of Swedish engineer F.E.Norberg. N.B. Yusupov improved the water supply system by building a steam machine on the hotmer river.

The Arkhangelsk landscape park was much more extensive regular and consisted of several groves. The trees of various deciduous and coniferous breeds were connected here in the picturesque compositions, reminding the landscape canvases in the front halls of the Big House. In the west of the estate, in the princeboris grove, lawns were decorated with rosary ribbons, in the center of the Apollon star there were tracks to the author of the patron of the music. On the edge of the fishing line, descending to the Gorya Ponds, there were dozens of greenhouses, in which, at any time of the year, rinse fruits were grown - dicks and pineapples, strawberries and cucumbers. In the place of the fields north of the palace, Bykov, Prussian, Raspberry groves with alleys for walking riding were located.

Large greenhouse in Arkhangelsk included Lavrovaya and lemon greenhouses on a high hill near Moscow River (destroyed during the construction of sanatorium buildings in the 1930s). Each of them resembled a real winter garden and was flanked by residential three-storey filtigels. To the east of Laurel was the "Roman gate" - monumental, as if departed half into the ground, Arch (disassembled around 1960). On the sides of the Orangers, Architect V.G.Dregalov built two arbors - "Milovida" (not preserved, in the 1970s. One of them was reconstructed). Hill stood on the southern slope of the hill "Podgorny" Oranges were intended to save trees in the winter.

In 1827, Botanical Garden was bought between the Razumovsky Botanical Garden between the Prince of Park and an old village.

According to those who retained from the XVIII century. Fashion in the spirit of sentimentalism in Arkhangelsk contained a farm with English and Tyrolesk cows, carrying the names of ancient goddesses - Diana, Artemis, Hera, Ceres ... selected not only for use, but also for beauty, they were picturesquely grazed in the river.

An integral part of the ensemble was pavilions, arbors, memorable columns. In 1819, a small, similar to the ancient portico, a monument to Catherine II, was built in the western part of the regular park on the project E.D.Tyurin. The Empress appeared here in the appearance of the ancient Roman goddess of the davemis justice. The statue is executed according to the model of the sculptor M.I. Kozlovsky. On the wall behind the figure - the words from the poet of the great poet of the revival of Torquato Tasso "liberated by Jerusalem": "You sent the sky and granted fate to desire just and achieve the desired."

In the middle of the XIX century, among the bosets east of the large parquet, an original pink fountain appeared - a small rotunda of a pink marble column with elegant floral bouquets drawn inside a light wooden dome. In her center there was a sculptural fountain "Boy with Gusem".

Of the five memorial columns, which kept until the middle of the XX century. The memory of visits to the estate of Russian sovereigns, three were preserved: in honor of the emperors Alexander I, Nicholas I and Alexander III. The columns of Alexander 11 and Nicholas II standing on the axis of a large parquer were destroyed in the 1930s.

In the eastern part of the park, near the lower terrace, there are two later in the Arkhangelsk monument. The bronze figure of the young man with a fading torch is the "Sorrow" allegory, the only work of the German master K.G. Bart, established here in 1908.

K.G.Bart. "Sorrow", 1905

In the Alley, decorated with busts of the ancient gods and philosophers, is a monument to A.S. Pushkin, the ensemble of Pushkin Alley was created by architect N.V. Sultanov in the era of neoclassicism and organically supplemented the image of the front part of the estate. On the pedestal of the monument - the stanza of the poet:
.... I will see this palace,
Where the zirkul of the architect, palette and cutter,
Choir whims were obeyed
And inspired, in magic competed.

Manor Marfino

Anastasia Chereshneva, editor heading "Life", photographer.

May holidays are an opportunity not only to relax, but also change the situation.

In a daily bustle, we notice the surrounding beauty, and what to talk about the one that is outside our "everyday" path. There are dozens of unique historical sites around the city, which for centuries are waiting for their guests.

Travels open a new one, refresh the mind, expand borders. And for this it is not necessary to leave far. Discover for yourself Manor "Marfino"which is located on 39 km of Dmitrovskoye highway.

On the high bank of the river, the manor complex is located, whose history begins with the XVI century. Among the owners of the estate was the teacher of Peter I, subsequently his associate - Prince Boris Alekseevich Golitsyn, whose heirs sold the estate Saltykov.

With Saltykovy, a magnificent architectural and park ensemble was created in Marfino, in which the greatness and beauty characteristic of the artistic tastes of that time. The creators of the Marfin ensemble were talented fortress masters V. Belozerov, F. Tugarov and an outstanding Russian architect M. Bykovsky, who demonstrated the multi-faceted tank and outstanding skills.

The end of the XVIII century is considered the highest colors of the manor. There were often many lovers of art, given organ concerts, well-known European artists and musicians who came to tour in Moscow were performed. Glory about the Marfin celebrations, pith hunting and theatrical performances thundered throughout the country.

Toggwors, pointed turrets, the stroke windows make the central palace of the estate look like a medieval castle.

The palace is a huge pond, around which the main buildings of the estate are grouped. To the left of the palace is an unusual bridge with braces, followed by two churches. And the scenic park with arbors spread on the right. The emergence of this unique architectural and park ensemble was preceded by a three-hundredth history of the estate.

Marianna Petrenko, interior designer, head of the architectural bureau MpDesign

Are you ready to rush with the easy spring wind in thoughts to a meeting for adventures or a picnic among the stunning beauties of Russian estates?

That is exactly what I propose to hold one of the many festive May days! "Cool!", - You say. No, in our forever young hot hearts always burns curiosity and unknown travel!

You will not regret if you find the time to go to the Tver province not far from the city of Torzhok and visit the estate of Znamenskoye-Rajak. This classic paradise was built at the end of the XVIII century by architect N. A. Lvov and is one of the most famous examples of Russian palladianism. In the plan, the manor forms a necklace, and when you stand inside the yard, something likes the Saint Peter's Square in the Vatican.

Somehow, with a friend, we rolled into the Rajak at the weekend, just in the May holidays, because there for many years there is a restoration of the complex, a decent mini-hotel has opened, and in the afternoon there is almost always a classical music from somewhere.

This is some kind of surrealism - wake up in the estate of the XVIII century and have breakfast in nature, away from the urban bustle, ride horses, and when the legs are tardy, go slowly walk to the park, breathe fresh air and listen to the murmur of the stream.

Museum-Reserve Montrepo

Lykhovidova Julia, Editor of the Design section, Architect

For those who in the May holidays decided to visit our northern capital, I recommend going to the Vyborg and straight to go to the pearl of the city - the Museum-Reserve Montrepo - Truly Amazing Place! The distance from St. Petersburg to Vyborg approximately equals 130 km, and the Skandinavia route has to travel the quality of the road covering and the visual natural component.

By the way, the weather in this beautiful city Promises to be better than in Moscow, although little rain can not spoil the impression of a walk, rather will create an atmospheric mystical mood, because the park is a completely unusual place!

Translated from the French Montrepo means "the place of my privacy", and indeed, falling into these lands, we cease to feel the urban bustle, there is a calm around, allowing you to enjoy the surrounding beauty. MONREPO, the area of \u200b\u200bwhich is about 161.5 hectares, is unique, because it combines the pristine splendor of nature and the creation of human hands!

The historical core of the reserve is the estate-park ensemble of the late XVIII - early XIX centuries, which includes monuments of the wooden architecture of classicism (the main manor house and the liberal outline) and the landscape rock of the romantic style - a unique monument of garden and park art.

MONREPO is unique in nature! To fully enjoy a walk, dress comfortable and warm, then you will not hurt anything to walk to the meeting with a huge boulder covered with moss and lichen; pass through green areas that are over 200 years; Climbing on the rocks, enjoying the view on the coast of the Bay of Protective Vyborg Bay.

The architectural and park ensemble Kuskovo is one of the wonderful monuments of Russian art. Created in the XVIII century, he fully absorbed the achievements of the manor construction of the era. A peculiar architectural ensembles near Moscow are distributed at the end of the first third of the XVIII century, when a notable nobility is returned to ancient generic tricks. From the surviving near Moscow estates of Kuskovo, the most early, giving an idea of \u200b\u200bthe type of Elizavtian estates. She was in 7 versts from Moscow, between Vladimir and Ryazan roads.

The first mention of the near Moscow Votchin Boyar Sheremetev belongs to the beginning of the XVI century. A small patrimony with land, no easy for processing, has not represented economic interest, but the swampy forests often served "ocual fun." In a later period, this place was called Spassky because of the church of the Savior of the Unclean, which was located at the place of the present greenhouse. At the beginning of the XVIII century. Here, aside from Bolshakov, there was no modest manor to which a country road was led.

Since 1715, these lands belonged to the companion of Peter I - a prominent commanders, the hero of the Poltava battle of Field Marshal B.P. Sheremetev. The graph was one of the most educated and advanced people of his time. At the end of his life, he conceived the construction of a country palace, but did not have time to fulfill its plan. The organizer of the estate rightly is his son PB. Sheremetev (1713-1788), which, giving tribute to new forms of life - solemn receptions, lush assemblies, crowded holidays, turns cusary to "Summer Country Melting House". Park in Kuskov was formed towards Vyshnyakov and held a central place in possession. From the early structures in the estate, the church was preserved, erected in 1737, and built in 1749. Dutch house in memory of the Petrovskaya era and to accommodate the collection of Dutch monuments [Shamurin, 1912].

Couscovo ensemble was created for several decades. In 1755, a large pond was burned here, which allowed to dry out the lowland and swampy place. A total of 17 ponds appeared, but there were 3 big, and they were called mirrors. In addition to the ponds, the channels, cascades were created, a picturesque river appeared, which, wriggling and divided into ducts, formed islands [Ledadsky, 1880].

It seems that the manor is created in one reception - it is so holored by artistic design. However, Kuskovo built not one architect. Until 1754, all the works were led by Yu.I. Colorptions, who has lived in Italy for a long time and well-known Italian architecture. After his death, construction was driving fastened F.S. Argunov. From 1765 to 1780, the famous Moscow architect Karl Ivanovich Blank was in Kuskov "Watching". Other architects, gardeners are mentioned - "his own beings" and free.

The Lord's House (1770) and the church are located on the bank of the pond, as if separating from the water the most well-groomed, saturated paths, trimmed and decorated part of the park. This is the most capital construction of the estate built of wood - the traditional material of Russian masters, but in compliance with the proportions of stone architecture and even decorated under stone forms. And at the same time, some park pavilions were performed in brick and stone.

The house is deprived of a large front access door, but his finish, an elegant church, a kitchen outlander, decorated with curly platbands on the windows, a bell tower with a gilded spire, symmetrically located on the sides of the central door Radus create an atmosphere of parade, solemnity. The palace is somewhat raised over the adjacent territory due to the stone "tweak" floor with extensive wine cellars.

Barsky house answered the tastes of the era, was richly separated from the inside. In it, elegant interiors are preserved to this day, luxurious atmosphere. Each room has a special finish and decorated with tapestries, bronze, porcelain, marble. Not only artistic items, vintage paintings, paintings-deckures, rare books, unique weapons, but also historical relics are collected.

Palace, his decoration and the park are a single complementary ensemble. Lobby or Paradinary Songs of the Palace create the impression of solemnity. In Nizhny Yarusa - Niche with monumental vases in the form of Greek amphorous, in the upper - picturesque panels on antique topics, imitating sculptural portraits-reliefs. Walls and pilasters are painted under marble.

The lobby opens the enfilade of the front rooms, which were mandatory belonging to the estate houses of the XVIII century. Each of them has its own purpose, dimensions, illumination, emotional system. Moreover, we will then find a kind of repeat in the park compositions, it's like the development of the topic that the palace rooms are set. Gradually, the viewer creates the impression of theatrical action, where one decoration is replaced by another, every time new and unexpected. The principle of decorations is applied in the park.

A large role in creating a figurative building plays color. The solution of the color gamut of the Palace is directly dependent on the shades of the surrounding park, ponds, solar illumination. The most elegant room is the raspberry, called silk color, which are covered with walls and furniture. The combination of white and raspberry flowers gives it a special painting. Gradually, from the living room to the living room, the sound of solemnity is growing. Parquet in ornaments, crystal rain of high floor lamps, furniture on thin, elegantly expedited legs, mirrors in carved gilded frames, front portraits, painted plaffones, creating the impression of the heartless blue sky. And this is how the highest chord before meeting with the nature itself, which surrounds the palace, looks at his huge windows, is a dance hall. The lush splendor is striking the visitor. The mirrors due to the repeated reflection of trees, ponds, long-distance perspectives were spuning the space of the hall to infinity, tied with picturesque nature. The park as it were to room. One wall of the hall with all the windows goes into the garden, the other completely in the mirrors. Due to this, it seems that the hall is open to the park on both sides. A drawing of a colored parquet made from the flowing one in other circles, this movement seems to increase. In many respects, lighting contributes. Two huge chandeliers, almost weightless, in this "infinite" hall, focus on their attention. They seem to multiply in the crystal of wall scaves, majestic chandeliers in the form of female figures draped into the ancient clothes with gilded branches of lamps in their hands. It is not difficult to imagine how Emphetant was the hall with a lit candelea, when the light played in a crystal with all the colors of the rainbow, and the mirrors were called infinitely sparkling lights scattering in the perspective of the park.

The composite axis of the ensemble passes through the center of the palace, removing from the facade through the pond on the canal in the direction of the village of Veshnyaki, and on the other hand, on the main alley of the regular garden to the greenhouse and on the north past the labyrinth. Strict symmetry of all garden elements only apparent: its parts located on both sides of the parquer are unequal in size and shape. Western less, but there are much more diagonal alley. Thanks to this, it seems to impress the depths of space, and the walking was easier to flog in the side "Alley of Games". The opposite part of the garden was intended for a quiet rest, there were a green theater here, an aviary with singers and mena firing.

The pond was leaving the channel, marked by two columns, which bearing on the capitals of lighthouse lamps, a sliding bridge was created between them. The channel ended with a lush decorated with a white-stone wall with fountains "cascades".

The big pond strengthened the expressiveness of the landscape, reflecting in his mirror the main construction of the manor - the palace. From its windows on the days of the festivities, a picture of theatrical ideas taking place on the pond opened. Wine flotilla slid on the water: Stericed six-step yacht, boats, "Chinese vessel", Barka, Gondolas, Talks, Clamps, Boots, degraded with multi-colored lanterns, with rowes, dressed in national clothes.

Among the wide water stroit, a green oasis was standing out. Picnic, intricate fireworks, which were reflected in the water. On the shore were picturesquely scattered ruins, fishing huts, stylized arbors.

In accordance with the fashion of the late XVIII century. In the manor, the "English Garden" appears, in which natural effects are created: streams, ponds and waterfalls, piles of stones, dark ages, scenic mountains and ravines.

A large number of archival material has been preserved: documents, plans, engravings, allowing to make an idea of \u200b\u200bthe gloomy manor during his heyday. The most interesting should include drawings of A. Mironov, serfs P.B. Sheremeteva, who fulfilled a whole series of work, in particular the drawing of 1782. "Plan with an entertainment house and the garden of the village of Kuskovo", which presents the main central part estate. Return us to the past estate and a series of engravings P. Laurent, made according to the drawings of M. Makhaeva (a native of Kuskovo), and archival papers, revealing the activities of Yu.I. Cologryvova, F.S. Argunova, the authors of many buildings in the estate, which were erected in 1750-1770s.

It is this period, about the 80s of the XVIII century. The phase of the highest flourishing of the estate should be considered when the main monuments of architecture and gardening art appeared. Behind the house we see the parter dismembered on separate boss, decorated with marble sculpture and flower carpet - Boulengrin. It was the most solemn part of the park. It is fenced, as if walls, smooth lines of a steller, facades of the palace and greenhouse, he produces today the impression of a huge open-air hall.

In the distance left the prospect of trimmed trees, forming endless labyrinths of green walls, the smooth of lawn and numerous white statues along the web of the paths on a green carpet. But legend, some of the antique marble statues deployed among the greenery are donated to Catherine II. Other - copies - were performed by Moscow masters. Park statues had theatrical postures and became as part of the participants of the played pantom representations. The viewer experienced a sense of movement created by sculptures due to their expressive silhouette, dynamic outlines, location against the background of naturally fluctuating foliage, from the game of light and shadow with candles. In the estate there were facilities of a memorial nature. A column was preserved at the solemn parquet parter, who was crowned with the statue of Minerva - Catherine in the memory of visiting Kuskov by Empress.

Nevertheless, the cask was created primarily as an entertainment manor, with fudges and curious undertakes, fed and exotic structures. In the park there were dozens of original "funny" chorus, arbors, pavilions, labyrinths, bridges, carousels, trailing, ruins, made, as a rule, serfs. On the venture, it was spent working and money more than "serious" facilities. Celling alleys ended with mirrors or drawn by the prospects for cheating that hiding the real space. On the alley there were painted wooden figures of elegantly dressed people. Many facilities in accordance with their "gaming" appointment were given fantastic forms, their appearance was imposed by Chinese, Indian, Turkish buildings, at that time, the seemingly top exotic. Unfortunately, numerous "ventiy", almost all, not survived, only stone buildings reached our days.

On holidays, an elegant crowd in powdered wigs, rustling silks, filled the park. They were hit by unprecedented beasts, flowers of richery plants made from greenhouses. Rare birds sang, the air is fraud. In one grove, the park thundered music, in others - the ballet was put, sang the choir, playing horn music. Laughter and fun rushed with a boat sliding on the pond, from alley games. Everyone became participants in this theatrical extravagania, falling into a special fantastic world. And in the evening - garlands of colored lights and lanterns, flickering light from a firefire, candles, lighted channels, ponds, obeliski, columns, sculpture, highlighted greens and final fantastic fireworks, which was a favorite spectacle of guests. And there were a lot of them, because it was not in vain on the road from Moscow stood a pillar, who invited everyone to fun in the cask. From the documents it is known that up to 50,000 people gathered on holidays in the garden and its surroundings. The only guests were up to 2000, and the trick chain was stretched to Moscow [Pertsov, 1925].

In 1783 PB Sheremetev is elected by Moscow nobles in the leaders and does not regret the means and forces on the device of their country estate. Soon the marble obelisk appears in front of the house: "Catherine II complained Count PB Sheremetev in 1783. " In addition to the empress, many noble individuals visited Kuskov, not only Russians, but also foreign, including the Roman emperor Joseph II [Lyubetsky, 1880].

Poksovo attracts the unique combination of the frontal luxury and intimate simplicity. This is achieved in many ways that all structures are harmoniously included in the planning, the park architecture complements the picturesque environment. Each landscape in the park is perceived finished not only due to the fact that it is closed among trees and sculptures, but also because it is distinguished by the design characteristic only. Here and Ostrhetic Chinese Pagoda, gazebos, obeliski, a multicolored coating of alley and playgrounds (marble crumb, sand), and a calm smooth of ponds. Flower parquet patterns repeat the pattern of parquet in the palace. The unity of architecture and nature was that each pavilion or construction was the compositional center of his microanSamba, which, in turn, was part of more complex ensemble. Despite the fact that parts of the manor are varied in style, they all obey the overall architectural and planning solution of the park.

Simultaneously with the main house near him, a stone structure was built, imitating the natural grotto. His architecture (the project belongs to F. Argunov) picturesque, dynamic and resembles the Tsarskoyell grotto, built by V.V. Rastrelli. Supplemented by white-named parts, eaves, columns and pilasters, frontones with stucco, balustrade, it acquires the features of the "very expressive baroque" [Circle, 1925b].

In addition to abundantly decorated facades, white-stone statues were installed in the grotto niches. The round lines of the stylobate as it were smear the building, and it fills its reflection in the pond mirror. For rest on hot days, the grotto created a fabulous "Neptunovo Kingdom". The walls of its cabinets are lined with sinks from different shape and size. Plugging glass, small pieces of minerals and small shells on color plaster create fantastic drawings with underwater plants and animals.

Not far from the grotto, he was located like a small Palace of the Italian house (built under the leadership of Yu.I. Cologryvov, finished F. Argunov).

The Italian house was surrounded by a small stylized garden in the "Italian taste" with a variety of checks. On the shore of the pond on the hill, the statue of sirens over the fountain rose, and marble vases and sculptures were placed around the house.

From the Italian house, the bridge led to the menagera - five elegant houses for birds with gates, lattices and columns. Here were keen, American geese, pheasants, pelicans, near outwargo Channel Swamp swans.

Five small houses on the eastern bank of the pond, standing by a semicircle, were divided into five sectors with each other radius. Elegant stone fences, houses with pilasters, acquired by a gilded fence, represent one of the most elegant miniature compositions of the manor.

Two small ponds, Italian and Dutch, who received their names from houses on their shore, become the compositional centers of the southeastern and southwestern parts of the garden. The house under the high tiled roof is a peculiar decoration of the corner of the old Holland. This is one of the early estate buildings, as evidenced by the date on the front -1749. Its inner walls were decorated with tiles and decorated with paintings of the Flemish school. This house surrounded flower beds from carnations and tulips. From the "Dutch Garden" a staircase led to water. On the shores of the pond were two gazebos: Pagodenburg, built in the "Chinese" style, and a pillars, which is an open colonnade.

From the Dutch house, it was possible to get into the Persian or Chinese tents, scattered only in the summer, and, finally, in Hermitage - a monumental two-story pavilion. This is an original structure with busts in niches and the statue originally flora, and then the car named on the roof was considered one of the main Dicks of Kuskov. He, as if imagined the elegance of classicism and baroque pomp. The pavilion balconies opened a view of the park magnificence: cut-down labyrinths, long-range perspectives, dark canals, a gilded yacht on a large pond. Cozy and at the same time unusually decorated luxury premises were intended for intimate conversations, meetings. The upper floor of the guests raised the lift. A special device made it possible to do without servants. Diva rose sofas, table for 16 persons. Hermitage was separated from the garden of a birch grove, and six tracks were conducted in it from six different sides.

From the Hermitage along the bypass canal, an alley with carousels was led to the departure of the garden, with all sorts of gaming devices. Before leaving the garden, there was a cave of the fire dragon, whining a tree with two small "gadines". Not far from the cave in two shalades were wax figures, striking their resemblance to live people (especially the "girl with a mushroom dish").

The air theater has great success in the eastern part of the regular garden of its outlines well preserved. Everything here was made of earthen embankments, coated with turf, and a shrub shrub. Scene in it served a small lawn, scenery - live trees. The theater was illuminated by garlands of colored lanterns and plates. Often the presentation ended with fireworks.

The park was famous for green decoration. Among the plantings were rare for the suburbs, types of shrubs and trees. Still still alive larchs and fir. A genuine decoration of the estate was a greenhouse (master - F. Argunov). In it, laurels, lemon, orange and even coffee trees achieved the same sizes as in their homeland (according to legend, in the event of a spherical of the trees in Kuskov, a kind of consilium was gathered from the best gardeners of the entire Moscow district). In 1786, on the occasion of the arrival of the Empress, the Orangery was addressed to the "station" in which the dance ball was passed.

Park Kuskovo is largely obliged to its glory to greenhouses. The art of Kuskov gardeners P. Bessonov called "an important period for the history of botany and gardening in Russia." In the oranges they grown a huge number of trees and flowers for the park.

The assortment of woody rocks was commonly for the gardens of the middle of the XVIII century. Conducted mainly a lamp. An Italian house has been planted birch. The topium haircut also accounted for a garden pride. Buxus and Tisi due to the skill of gardeners turned into wonderful animals, birds, people. The image of these green sculptures on engravings of P. Laurent was preserved, and archival documents confirm their existence. So, there is a "register available in the village of Kuskovo trees" 1761, representing a curious listing of green sculptures.

Of great interest is the territory of the park, placed behind the pond. A real decoration of the landscape was a century-old forest with overgrowns. Here were the "ruins", obeliski. In the forest there was a beast with a stone three-kilometer fence and 600 beasts. In the center of the star, there was a round gazebo with columns.

Next to the star was placed stable, livestock and sorry, built in the form of an extensive castle.

In the early 1780s, a number of new clauses appear in the estate near the estate: English Garden, Labyrinth, Privacy House (built in 1782-1786), Philosophical House, Tishina Temple, Lacasino Pavilion, Exemplary Schomoir Courtyard with Wax pieces of dolls that saw at the table, a poultry house. In the grove stood the Chinese tower with bells.

At the end of the grove, a small lake was sparkled, connected to other lakes with artificial channels. Their shores were decorated with high samples, and semicircular bridges with ripped lattices and carved races led to the depth of the grove, to the shelter of philosophers - a cozy house with mirror walls, floors and painted flappon.

At the border of the grove stood the famous Sheremetevsky Theater.

Son PB Sheremeteva N.P. Sheremetev lived for a long time and studied abroad and was already a representative of a new generation, another worldview. With it, the Kuskov Theater became the best in Russia. 1792 was the year of Zenit of the glory of the manor and the beginning of her sunset. N.P. Sheremetev lost interest in Kuskov: "He ceased to impose the fame of the organizer of the holidays for numerous people with fellows, songs, fried bulls and cannonish. Two years later, he will begin the construction of the Palace-theater in Ostankin. The focus of arts and entertainment, designed for connoisseurs and expert expert, is now attracted by N.P. Sheremetyeva ... "[Kuskovo, Ostankino, Arkhangelsk, 1976. P. 15].

Starting to create Ostankino, where soon the Kuskovsky Theater, N.P. Sheremetev scored sorrows.

Since 1799, Kuskovo was empty and slowly destroyed. Alley bred, destroyed and burned the buildings. Interestingly, the nucleus of the manor created in the middle of the century remained significantly better than the latest innovations of the end of the century. So, the house of privacy was disassembled, the theater burned, the landscape park was given to the construction of cottages. The rains were washed off paints, the remains of gilding, the time was washing the fiction of artists who turned into a miserable butafory - incomprehensible and unnecessary. Also, the estate came to the larger after it was looted during the Patriotic War of 1812 by the French.

For almost two centuries, restoration work periodically conducted in Kuskov. It is known that in 1850 they were held under the leadership of Bykovsky, and in 1870, Sultanova.

In 1958-1968 Under the leadership of L. Sobolev, a large stone greenhouse was restored. This restoration was essential for the whole estate, as the partner - the central part of the park - is broken between the palace and the greenhouse and the prospect of the Palace clearly lost, closing the dilapidated rebuilt building. The new stage of the restoration work was launched in 1976, when they again turned to the greenhouses, which reached our time in a very destroyed form. The drawing of A. Mironova "The type of greenhouses in the garden of the village of Kuskov", found in the State Museum of Creativity of Fortuette in Ostankina, largely helped by scientists. Thanks to him, it was possible to confirm the size and location of the greenhouses that completely coincided with the size on the plan.

Help and other documents, rare books, revealing the secrets of the seventures of the greenhouse art of the XVIII century, in particular the book of Engelman "a new way of dispersion of greenhouses and greenhouses, based on the experiments and observations of physical in the kingdom of plants," published in Moscow in 1821

Currently restoration work in the estate was headed by O.S. Gorbacheva and N.V. Siberians (since 1985). Based on the preserved records, drawings, drawings, using the works of modern researchers [Circle, 1924, 1925; Stanyukovich, 1927; Sarsat, 1931; Louis, 1940b; Prokhorov, 1940; Rostovtseva, 1958; Glosman, Tyman, 1966; Arianson, 1979; Kricchko, 1982; etc.], restorers recreate the primordial appearance of this pearl of the Garden Art of Russia.

At one time, the estate on a par with St. Petersburg ensembles provided big influence For the subsequent development of garden-park art in Russia. And today, being a unique monument, it refers to the number of outstanding works of Russian architecture of the middle of the XVIII century.

Architectural and Park Ensemble 02.05.2017

Manor Belkino is a unique monument of architectural and park arts of the XVIII century, the pearl of Russian provincial architecture. The main work on the creation of a classic architectural and park ensemble of the estate was carried out by the Count Ivan Illarionovich Vorontsov in the 70s - the first half of the 80s of the XVIII century. The name of the architect before us did not reach, however, according to art historians, the well-known Moscow architect Karl Ivanovich Blank participated in the design of the temple, which Count Vorontsov constantly attracted to construction in his estates.

The manor was created in the period of early classicism, and in its unique appearance, many characteristic features of this style focused on the ancient heritage and ideas of philosophical rationalism were reflected. At that time, the head of the corner was put on the idea of \u200b\u200buniversal reasonable patterns, sublime simplicity and strict harmony, natural, but refined in nature. Manor park In Belkyino, mainly preserved, it is declared by specialists an outstanding masterpiece of landscaped art of the late XVIII century.

In the layout of the classic park traditionally combine the regular and landscape parts. The sublime right slope of the Zaitsevsky ravine, descending to a large pond, was terraced, and small artificial ponds, connecting with each other, were arranged on each of the three gentle-step terraces. In the aggregate, four small ponds formed a grandiose cascade - the most important compositional element of the manor architecture of the period of classicism. A regular lime park was divided into cascading terraces. In general, the composition of the architectural and park ensemble was built on a single axis passing through the main house: this axis dishes the ensemble from top to bottom, from the north to south, perfectly traced on the manor plan.

At the highest point of the top terrace of the Regular Park, on the mainstream height, the main house was stood, surrounded by two pairs of symmetrical outbreaks. Not far from the mansion is the temple of St. Boris and Gleb, south of the transition to the Landscape Park notes the Park Pavilion Riga.

Main House

The main house was erected by Count I.I. Vorontsov in the 70s - early 80s of the XVIII century, refers to the number of outstanding monuments of early classicism. Unfortunately, the name of the architect has not saved the story. To date, the main house has turned into ruins. The three-storey mansion from a large-earth brick is distinguished by a monolithic, almost cubic volume, not complicated by either columns nor pilasters. Since such buildings in the provincial estates are extremely small, the house does not correspond to our idea of \u200b\u200bthe typical "noble nest", primarily due to the number of floors and plane external design.

The strict laconide of the external decoration created the impression of noble simplicity and integrity, majestic monumentality. This integrity was not disturbed by two modest porchs with balconies on the main and park facades. The expressiveness of the design of the facades was achieved by applying the embossed rust. The lower floor, sharply stacked by the protruding eaves, is covered with rustically, which increases the sensation of the massiveness of the building; The centers of the front and rear facades and rounded corners are also highlighted by RUST from top to bottom. The texture of the walls is revived and intermediate fillets between the second and third floors. The game of light and shadow on the convex-concave, as if the inlaid surfaces attached facades the visibility of palace luxury. This effect increased the color in the classic white and yellow gamut, inherent in all stone buildings of the manor. The building covered canopy four-tie green roof.

Internal layout of the building was reconstructed by art historians. The wide staircase led from the entrance directly to the second floor, the main part of which was a major imfilade of three rooms, viewed through arched openings from the end to the end.

In general, all the rooms were passing, and through them the whole floor could be circumvented around the perimeter. Half Anfiladers occupied a high double room, exciting and level of the third floor to the roof, with windows in two rows. The two-lounge hall is a unique feature of the manor of Belkino, it can be called the "heart" of the mansion and the whole manor. Similar "Palace" layout - exceptional rarity for the province.

The interiors of the mansion at the beginning of the XIX century described in his notes Mikhail Buturlin, noting that the situation was preserved from the Count Ivan Vorontsov. According to his memories, the two-lounge hall "was painted al-fresco, musical emblems and various ornaments, and on the ceiling was painting in a large circle, which represented mythological scene." These unusual frescoes with a complex ornament, depicting musical instruments and theater masks, partially preserved and understood. The main luxury in the Twilight Hall was a delightful set of parquet: the details of its ornament were scored from the plates of the valuable wood, differing in color and texture. The hall covered the candles in porcelain candelabra in the form of floral branches, and a large fireplace could be warm in a cold time (there were no furnaces in the house at first, they were arranged at Obninsky). On the wooden choras with balustrade, located between the floors, played the fortress orchestra, and, under his music, languid young ladies turned out in menuets with brave cavaliers.

Ansfilada. Beginning of the XX century	Living room. Beginning of the XX century
Twilight hall. The beginning of the twentieth century	Cabinet. Beginning of the XX century

From the hall, the guests went to the living room, where there was a large hard sofa and the same armchairs, a striped canvas. The walls in the living room were covered with dark yellow gantry wallpaper, which were stuck in three rows of pronounced engravings with species of Venice. Next, Anfiladu continued the office with white tald walls, also covered with engravings with Italian landscapes. Anfilade adjoined the front bedroom with a lush alcove. On the third floor of the guests were not invited, because there were no longer parade, and residential rooms with an imperious intimate decoration, including children's and library.

Children's The beginning of the twentieth century	From the parquet. The beginning of the twentieth century

Going to the first floor, we would detect the premises of the utility nature, including with an unusual vaulted ceiling, as in the ancient Russian chambers. In one of them, the largest, the arch relied on the massive central pillar (as art historian notes L.B. Sorokina, it is typical for the style of V.I. Bazhenova). Below is a large vaulted basement, also with single-bulk premises.

At the time, such a situation was considered quite modest. However, this manor was originally intended not for solemn techniques, but for a quiet privacy in a rustic wilderness. After all, for Count Vorontsov, a mansion in Belkino served primarily "hunting house", where he came from time to time he came to the season of autumn hunting.

Two pairs of symmetric lateral outlines were attached to the main house: two-storey and followed by one-story, curved in the form of the letter "g". They joined the patterned cast-iron fence. Now the eastern pair has been preserved: two-storey flaghel which remained from the same time, and restored one-storey Flegene . In general, this architectural ensemble formed a closed parade courtyard with a gate, to which an accessed alley once led. It was here that at that time was the only entrance to the estate (now this territory is built up). On a round flowerbed in the center of the courtyard, around which the crews were drove around, there were a sun clock on a marble pedestal.

Church of St. Boris and Gleb

The church of the holy princes of Boris and Gleb stands near the main house, on one of the composite axis along the Borisoglebskaya Street. Stone Temple It was consecrated with the column I.I. Vorontsov on July 13, 1773, and the inscription about this event was maintained on its wall until the end of the XX century (now the inscription is reproduced again). Before this place was a wooden tent temple, delivered by the boyar Boris Godunov and consecrated in the name of his saints of patrons.

The temple building has a fairly typical composition with a longitudinal orientation on the East-West axis. The volumetric building "Gighting in the Chetserik" building also corresponds to the classic type. Since the Chetverik almost does not protrude beyond the verge of the oct. The generally formed an unusually narrow, compressed side silhouette. A special embedded from the south side of the temple was attached only in 1815, with rusturines.

There are two ancient tombstones near the south of the temple: burial I.I. Trojanovsky and the burial of the priest Fedor Tikhomirov. Right at the wall is located the burial of Obninsky, discovered in 2013, when underground crypt opened during the repair work. As specialists identified, the last owners of the estate are buried here: Narczz Antonovich Obninsky, Peter Narcovich Obninsky and his wife Lydia Pavlovna. In 2015, a granite tombstone with a cross was installed at the site of this burial.

Consider the architectural decoration of the temple, in which the features of baroque and classicism be bugged. The stylistic features of the building are characteristic of the work of architect Karl Blanc, who, according to art historians, was engaged in its design. Baroque elements are manifested in such details as small oval windows of second light. In general, the plane exterior design, built on an innumerable repetition of the same pilasters in the simplicity between narrow windows, is very characteristic of early classicism. With its humble, but elegant appearance in the white-yellow gamma, the temple resembled a park pavilion, which was fully consistent with the traditions of the estate architecture of the Catherine era. However, by the beginning of the twentieth century, after repair work, the walls received a snow-white color. The elegant slender silhouette of the temple still creates an impression of air lightness.

The interior of the temple initially fully corresponded to its appearance. A small premises of the church covered painting in the art of Griezail: Porticists with pilasters and frontones and elegant stucco decorations with floral ornaments were depicted on the walls. It is known that the temple interior decoration in June 1772 was engaged in an assistant architect V.I. Bazhenova, young painter decorator Ivan Dmitrievich Nekrasov. This is the only name that is documented by us in connection with the construction of the manor. The remains of those painters were lost during modern buildings of the building.

In 1930, in the height of collectivization, the temple was closed, the last priest Father John Zhukov was sent to the camps, and a collective farm warehouse was arranged in the building. In 1988, the temple was transferred to the Kaluga Diocese and after repair again opened for the parishioners. Now the interior of the temple is decorated with remarkable frescoes performed by the famous Obninsky artist Sergey Galitsyn.

Not far from the temple is located park Pavilion Riga. All major buildings in the Belkino estate, forming an architectural ensemble, were decorated in a single white-yellow front range. In general, these buildings, located quite compact, visually connected with each other, especially since the mansion and the temple were reflected in the largest cascade ponds. Initially, the ensemble complemented the building of the equestrian yard, which was standing in some distance in the eastern part of the manor, but by the end of the twentieth century, the destroyed construction was lost.

Regular park

The planning of the regular estate park is distinguished by strict symmetry, according to the canons of classicism. It is based on the intersection of two composite axes. One of them was the road to the village of Krivo (now Borisoglebskaya Street), which restricts the estate from the north, and at the right angle to her right through the mansion, the main longitudinal axis is held, which the main linden alley designated. Starting from the facade of the mansion, the main alley dissects the entire territory of the regular park, right up to a large pond, into two symmetrical halves. From the northern side of the mansion, from the front gate, the main alley at that time was continued direct drive alley, moving on the road towards the village of Kabitsino, and then on the old Kaluga road. Now this "line" does not exist, but at the same time they approached the estate precisely on it, and the front door of the mansion was already visible from afar.

The main linden alley is crossed by perpendicular side, passing along the edges of the three terraces. All alleys were planted exclusively with lime trees. At that time, Lipa was the most popular park culture, since its plastic crown is easier to handle. With Vorontsov and Bourning trees in a regular park, carefully trimmed, giving them a spherical shape. The park still stands a lot of two-year-old Lipov, planted by the Count Vorontsov, on the branches of which can notice explicit traces of the same haircut. Geometrically the right areas formed by the intersection of alleys are occupied by lawns, which were previously framed by bosets from a furry shrub. The main large lawn is adjacent to the southern facade of the mansion, the so-called parter (he also served as a "crocket platform"). Nearby was specially equipped with a platform on the spot, where he had long exalted "Godunovsky Elm" . "Only fountains and statues lacked in order to give this part of the garden with palace grandiosity," Mikhail Busurlin wrote.

Cascade of Ponds and Big Pond

The magnificent classic cascade of the ponds, created by the Count Ivan Vorontsov, is the main decoration of the Manor Belkyino. A cascade of four small ponds, descending along the terraces to a large pond parallel to the main alley, limits the regular part of the park from the West. The ponds were divided by earthy dams with bypass devices through which elegant bridges were thrown into narrow places. All parts of the cascade were communicated to each other, and the lower cascade pond was posted in the Big Pond.

The big pond was arranged by Boris Godunov in the 70s of the XVI century for economic needs, for which the stream flowing into the Zaitsevsky ravine was blown by dams. In the graph I.I. Vorontsov is a big pond, which became the basis of the landscape ensemble, significantly expanded. The second pond adjacent to the largest side of the dam (the so-called "top") was arranged after the founding of the city; Now these reservoirs are united by Belkinsky ponds called.

By the end of the XX century, a large pond and cascade ponds dried and thicket. The pond system was fully restored by the Belkino Manor Foundation in 2003-2005. Now in the Belkin ponds in abundance there is a fish, ondatras live here, and the flocks of white choles are circling over the water. Behind the chain of cascade ponds, similar to a sparkling necklace - the main jewel of the manor Belkino - the regular part of the park smoothly flows into the landscaped, which in the old days was organically merged with the surrounding landscape. On the east side, the park border is indicated by a park fence with The main goal which is made according to the sample of the former.

Landscape park

The creators of landscape parks have always sought to restore the illusion of virgin nature. But this "naturalness" was achieved as a result of painstaking work, and all landings, to the last village, were carefully placed on the plan and on the ground. If direct linear tracks were laid in the regular part of the park, sprinkled by gravel, then in the landscape they were replaced by whimsically curved paths, which, as it were, accidentally detected to magnificent views. The main idea was a change of carefully thought-out landscape paintings, each of which was "configured" at some time or another day.

First, with the column of I.I. Vorontsov, the landscape park occupied about the same area as regular: he began from the cascade of ponds, and from the West he limited the natural barrier - the lateral branch of the Big Pond (initially it was a stream in a Popsky ravine, flowing in Zaitsevsky ravine). Then, Count D.P.Buturlin significantly expanded the landscape park, having equipped his new part of the Popov ravine. The composition of the new part of the park Count Buturlin built on the skillful disclosure of landscape species to create the impression of a natural pristine landscape. The composition was based on a system of passing one to another pollasts, which were divided among themselves "freely" growing groups of trees and shrubs of various breeds. The steep slopes of Popov ravine were planted with decorative shrubs, and a small cozy grotto was hidden in these thick thickets. Now you can see the stone bridge But before the streams, light log bridges were thrown over the stream, one of which was captured by the photo of the beginning of the twentieth century.

Spacious South Polyana, stretched from north to south and hollow descending to a large pond, got a name polyana "show" . At the edge of the glade, the Count Buturlin put two large greenhouses with lemon and orange (orange) trees. In good weather, they were put on a special open platform, the so-called "exhibition", where a long alley of two hundred trees in the tubs arose - quite tall, with the right spherical crown. Every day, in the eighth hour of the evening, a society for tea drinking was gathered here. Nearby, the "Botanical Garden" was broken down by flower beds, an objected by a fence, where Graph Dmitry Petrovich and the Countess Anna Artemyevna grown rare varieties of colors. This Polyana is preserved, although nothing left of the greenhouses, grottoes, arbors and other light buildings.

At the turn of the XVIII-XIX centuries, when the cult of sentimentalism and melancholy dominated art, and a special attitude towards nature was. Landscape species were built with the calculation of a certain impact on the soul of a person: privacy and silence inclined to plunge into themselves, to donate from the bustle of the surrounding world, think about the trust of all the earth. Dmitry Petrovich perfectly disassembled in these subtle nuances, and therefore according to his plan, each site in the new part of the park was focused on lighting at a certain time of the day. For example, show, "tuned" to the West, for the sunset, was considered the "evening" clearing. The park smoothly flowed into the surrounding landscapes, and its boundaries were marked with the moat and low shafts, the remains of which can be noticed now.

After leaving Busurlin from Russia, botanical experiments in the manor stopped. The haircut of trees in the XIX century came out of the fashion, besides, new owners did not possess funds in order to maintain the park in the previous exquisite form. At the Obninsky, the launched park rather quickly bored, as in most other landlords. However, traces of the initial layout are well traced so far. As before, the architectural landscape ensemble of the estate is characterized by harmonious inner unity, artfully expressed interconnection with the surrounding terrain. Here you can still feel the spirit of the left era, the captivating charm of the special secluded world of the "noble nest".

The traditional garden-park art of China, which aims to recreate the natural landscape in the miniature, today can be the best illustrated by the example of nine gardens in historic city Suzhou. They are generally accepted masterpieces of such a genre. Gardens dated by the XI-XIX centuries., His thorough development confirm the importance of support for natural beauty in Chinese culture.

China's garden-park architecture, having a long history, is unique in garden-park art. The first palace garden in China appeared during the Zhou dynasty (1122 - 249 BC). Following this in the capitals and large cities of China began to create garden and park ensembles. A variety of city gardens and parks of China take a worthy place among the three systems of the Garden and Park Culture of the World.

Garden and park architectural ensembles of China possess a flexible concept. In them merged with a manual beauty with natural grace, a wonderful original synthesis was formed. The architectural garden-park ensemble meets all the laws of nature and even surpasses them. In it, the beauty of nature stands on the first, main place.

Chinese garden-park ensembles are divided into two fairly different Schools: Majestic Imperial Park and Small Private Gardens. The structure of the Chinese Park ensemble is usually included by Terem, Tower, Arbors, Pavilions, Galleries, Artificial Slides, Lakes and Ponds. The Chinese garden is usually divided into three perspectives: the upper (possession of the world), the average (the limit of the celestial) and the lower (natural limit).

The Great Sage of China Confucius in his views called on to proceed from the real reality and sense of social responsibility, paid much attention to an important role and political importance of moral ethics. In his teaching, Confucius also made a big focus on understanding the idea of \u200b\u200b"possession of the world" when creating a garden-park ensemble. The prospect of "possession of the world" is present in many imperial gardens, for example, in the famous Imperial Park in Beijing - Yuanminuan.

The prospect of the "Limit of Consists" meets the ideas of Chinese Taoism, that is, the idea of \u200b\u200bstaying alone and indifference. This form is present in the imperial parks. For example, Park Yuanminyuan in Beijing, Taochy Temple of Guczan on Mount Zinchen in Sichuan province, etc.

Under the influence of an arbitrary style of painting "Sees" (free style) in garden-park compositions, the painting art was all the more significant place - this is the "naturalness limit", that is, what is manifested mainly in the parks of ancient writers, such as Park gazebo "Canlantin" Sud Schuncin and Dulueuan Garden Suma Guana.

Chinese garden-park ensembles, differing from classic European with their geometrically correct shapes and rays of Alley, strive for unity with nature so that man-made and natural beauty merge into an inseparable integer.

Garden-park ensembles Suzhou, which in 1997 were included in the list of worldwide cultural heritage UNESCO, fully reflect the artistic style of China gardening architecture. Tens of old parks and Suzhou gardens reached this day. Especially known such Suzhou gardens like Zhojeneuan, Lyuan and Schitzylin. In Suzhou, the parks are organically connected into a single arbor, pavilions, terches and towers, as well as artificial roller coaster, reservoirs, flower beds and trees. Suzhou Garden and Park Art has reached a high level in the ornament of residential buildings, and in combination of architectural beauty with the natural nature of nature. These creations belong special place In the development of not only gardening art of China, but also around the world.