The image of the Russian estate. Modern estates

Landscaping is becoming more and more popular not only among the owners of mansions, but also among amateur gardeners. It can be quite difficult to make your few acres cozy, elegant, and at the same time practical. The most difficult task sometimes becomes to decide on the design ideas of the site. Inspiration for garden landscape design can be found in Russian estates of the 19th century.

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

The 19th century in Russia is associated with light luxury, pictures of gentlemen slowly strolling in the shade of the green alleys of parks appear before your eyes. Often, such parks adjoined the territory of noble estates. The passion for landscape design, which began at the end of the 18th century, grew into a separate branch of art in the 19th century. Despite the fact that geographically Russia covers many climatic zones, landscape architects of that time managed to create magnificent parks and gardens. Any backyard area was divided into zones: for walking, for rest, for work.

Russian design was originally based on a regular style, that is, all elements had clear boundaries and correct forms. This style was taken from Europe and combined various architectural eras: from baroque to renaissance. And only in the 19th century did the oriental fashion for the landscape landscape come to Russia. At that time, the design began to change, plants were planted in such a way as to seem part of nature, slightly casually, but absolutely harmonious.

They were very popular among wealthy gentlemen. Required attribute The design of the garden was laid out paths that passed under the arches of trees and led to the house itself. The connection between housing and the site was carried out with the help of the construction of terraces or gazebos. Such structures were made spacious and bright, so that they could spend time without fuss.

Despite the fact that the Russian style borrowed a lot of ideas from other cultures, it has its own individual trait. Also inIn the 19th century, usable area was allotted on personal plots. It grew seasonal vegetables. There was also such a thing as a "pharmacy garden" - a small area on which medicinal herbs were planted.

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

The appearance of such a concept as a dacha is one of the latest turns in the development of Russian landscape design. To apply the Russian style in the garden, it is not necessary to be the owner of a summer cottage in a hectare. All the main ideas of this direction in design can be harmoniously located on several acres of a summer cottage. The main zones of the Russian style include:

• The main element is always the house. It comes from him central road through other design elements.
• front part of the garden. Flower beds are traditionally located here: in the 19th century, hyacinths and tulips were popular.
• Rest area is a must. Here you can build a small gazebo.
• The traditional feature of the Russian style is garden area. At the dachas of the end of the 20th century, the garden began to occupy almost the entire area of ​​​​the site.
• front garden. On the territory of this zone, you can plant trees and lay out a path.
• Economic zone.

Each element in the Russian style carries a design load, several main features can be distinguished:, borders from, small architectural forms, paths laid out in a non-strict line.

For the garden, you can choose both annual plants and. On the territory in front of the house, annual flowers are usually planted in flower beds. Well suited daffodils, tulips, marigolds, asters. Such flowers, planted in a chaotic manner, will set the tone for the house, as well as visually expand the area.

Interesting! In the 19th century, the mistresses of manor houses in the warm season planted plants on the site not in flower beds, but in pots. And with the onset of cold weather, the flowers were brought back into the house.

Of the trees in the summer cottage, fruit species (cherry, apple, pear) and evergreen (spruce, pine) will also look advantageous. Do not forget about linden, willow and birch. From such trees you can plant a magnificent cascade, creating a shady alley. Under the trees, it is recommended to plant plants that do not require a lot of sun, for example, or lily of the valley.

It is best to plant fragrant plants near the recreation area. Thyme, mint, oregano will give the air a unique aroma of freshness and help create an atmosphere for relaxation.

A great idea for your garden, if the area allows, would be. The reservoir can be decorated with decorative architectural elements in the form of small sculptures.

Russian country in interior and landscape design

Rustic style or Russian country is gaining more and more popularity. Many ideas for the garden and home can be taken not only from the design of the XIX century, but also from other eras. Country style means slight carelessness, chaotic. At the same time, the whole design looks absolutely harmonious. Particular attention should be paid to the tracks. Even if the path is tiled, it is best to leave small gaps so that the grass breaks through them. Such a path will be in harmony with the mood of nature. You can revive the summer cottage with the help of various decorative elements made by yourself. New ideas for summer cottages and gardens can be found in the photo:

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

This photo explains a bit what makes an English garden and a Russian estate of the 19th century related - some melancholy and at the same time dignity, respectability.

“Wild” moments can be played in different ways, but in any case, thick, rich, slightly careless and mysterious greenery is one of the hallmarks of the Russian style.

The interior in Russian country is also rich in different ideas. You can start with appearance Houses. Not required to build wooden hut. To give a rustic style, you can use facing material in the form of bars. Carved shutters on the windows are well suited for the interior in the Russian style. The interior design of the house depends on the preferences of the owners. The dacha can be furnished with solid wood furniture. Or vice versa, the decoration can be light and lacy. Decoupage of furniture, the use of lace, for example, on a tablecloth, is suitable for Russian country music. Fresh flowers and wooden utensils as decor will always look advantageous.

Need to remember! Country style does not imply a chaotic warehouse of everything unnecessary. Russian country is just the appearance of negligence.

How not to create a fake Russian style

It is easy to get confused in all the variety of beautiful landscape ideas of the Russian style. Most importantly, you should avoid common mistakes when creating your own garden:

• Russian style does not tolerate heaps, its main feature is space. If the summer cottage does not allow you to create all the elements of the Russian style, it is better not to use them all. In such cases, only those that are more pleasing to the owners are left.
• The main mistake when creating a Russian style in the country is the use of a lawn. It should be completely abandoned.
• Shouldn't be used sharp corners and strict forms.
• The color scheme of the Russian style is always harmonious. Do not use a combination of too bright colors in one area.

Modern style "Russian estate" in the landscape

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

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

Particular attention is also paid to coniferous trees . If there are none on the territory of the site, then the designers propose to land large-sized ones. For a complete picture of the manor plot, designers add modern light gazebos and benches that look harmonious in the recreation area, next to the central flower garden.

Reconstruction of an abandoned garden

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

In cases where there are climbing plant species in abandoned areas, they will make a great pergola. Old household utensils can be used as decorative elements for the garden. The abandoned site should be diluted with new planted flowers in the same color scheme like wild plants.

Flower garden in country style

A small detail can make the whole look. Such a bright flower garden will add color to an ordinary summer cottage and will not require special investments.

Homestead as a basis noble life, economy and culture Russian Empire was a vivid expression of national genius and a point of contact between the elite and folk culture. The disappeared world of the Russian estate left a lot of literary and documentary evidence. Equivalent, from a historical point of view, although not equal in artistic qualities, photographs recreate a bygone poetic world family nests and paintings privacy large noble and merchant families. Observing the disappearance of the estate culture A.N. Grech argued that after 1930 it should be perceived only with the "eyes of memory". Visualizing the memory of several pre-revolutionary generations, photographic images reveal this phenomenon of Russian life visibly and fully. The manor appears at the exhibition from several angles: from front views of large estates and amateur photographs from family albums to artistic images of ancient parks and abandoned estates.

The exposition opens with custom-made ceremonial views of estates, made by masters of the largest ateliers. The plot of the estate views, the features of printing, and sometimes the composition were determined not only by the views of the photographer himself, but also by the wishes of the customer. The photographs show architectural complexes and landscapes, the owners were taken in their favorite estates. The glorified, Ilyinsky, Porechye are depicted in a similar way. To unique examples of early manor photography of the 1860s. include stereo daguerreotypes of the studio “T. Schneider and Sons" with Maryin's interiors, photographs taken by M.N. Sherer, and created by M.B. Tulinov.

Amateur photographs, the authors of which are the owners and guests of the estates themselves, are distinguished by the immediacy of the plots and the liveliness of the composition. The subjects of the photographs are diverse: genre scenes (picnics, boating, hiking), portraits of servants and guests, private rooms, secluded corners of the park and surroundings that are dear to the heart. At the turn of the 19th and 20th centuries, photography became an accessible form of artistic activity. Summer leisure in Russian society is traditionally associated with the estate, so images of everyday pleasurable life on the estate have become widespread. The appearance of amateur photographs is not related to the aesthetic or historical value of the estate, they were born by the harmonious atmosphere of the estate life, common family activities.

Documentary photographs reflect the emerging in the 1890-1910s. great interest in the study and preservation of the Russian estate with its artistic and historical artifacts. The estate began to be perceived as a unique synthetic phenomenon of art and a place of ancestral memory. Photographers recorded the features of the architectural ensemble and the interior complex of the estates. P.P. Pavlov, N.N. Ushakov, A.A. Ivanov-Terentiev.

At the beginning of the XX century. the myth of the Russian estate took shape in literary and artistic form, and an idea was formed of it as a symbol of the outgoing noble culture. The author's view of photographers was attracted by landscapes and details that conveyed the special passionist mood of estate life - the poetry of dying, the outgoing grandeur. The main objects of the image - the manor nature and the park - became spiritualized, emotionally colored. The artistically transformed image of the estate, as if hidden by a light haze of memories, corresponds to the techniques of pictorial photography. The idea of ​​the estate was embodied in the iconic images of photography - the young lady and the alley. Most of the works come from the fund of the Russian Photographic Society - the pearl of the photo collection of the Historical Museum. Photos by A.S. Mazurin, N.A. Petrova, N.S. Krotkova, V.N. Chasovnikova, V.N. Shokhin were shown at competitions and were selected for the future Museum of Light Painting.

The 1920s is the last significant period in the development of the estate theme. Interest in the study of the estate's heritage and the poetry of ruined nests attracted leading Soviet photo artists. Having become exclusively a phenomenon of the past, the estate acquired the possibility of new interpretations. Photo studies of outstanding domestic masters embody not the beautiful outgoing Silver Age, but the former, irretrievably lost, dead past. Most of the photographs were shown at the famous exhibition "Soviet photography for 10 years" in 1928. Later, the disappearance of the estate culture as a living and powerful tradition led to the absence of the image of the estate in Soviet photography.

A bit of history
A manor in the Russian tradition is a separate settlement, a complex of residential, utility, park and other buildings, as well as, as a rule, a manor park that make up a single whole. The term "estate" refers to the possessions of Russian nobles of the 17th - early 20th centuries, it is believed that it originated from the Russian verb "sit down".
The first mention of the estate in documents dates back to 1536. In a separate book in June 1536, the division of the patrimony of the Obolensky princes between relatives in the Bezhetsk district is recorded. From the text it turns out that there was an estate near the village of Dgino.
So the history of the Russian estate has almost six centuries. According to researchers, the estate took root on Russian soil because it invariably remained for the owner a corner of the world, mastered and equipped for himself.
A family homestead is not just a country house and the land adjacent to it, but also a spiritual territory where the most diverse events of family life are collected and captured. everyday worries, happy holidays, family celebrations, time of work and rest - all this was imprinted and passed through the centuries, recalling the history of the family. homestead like small homeland a man where several generations of his ancestors lived.

Our present with you
Unfortunately, now the concept of "estate" is almost lost. We live in city apartments, being citizens in the second or third generation, and if we leave the city for a site, it can hardly be called "homestead". But more and more often modern people come to understand what the history of a kind means to them. The construction of a "family nest" is the first step towards restoring the former role of a family homestead, preserving and respecting the history of one's ancestors.

The modern suburban construction is dominated by the so-called "cottage villages", which are actively built up with houses made of stone, glass, metal and plastic. Yes, it is practical, spectacular, stylish, but, as they say, the Russian spirit does not live there and does not smell of Russia there. Not to mention the insufficient environmental friendliness of such buildings.

However, not so long ago, wooden construction in the Russian style experienced the first stage of a revival.

Fortunately, already at the end of the past century and with the advent of the new millennium, the traditions of the Russian estate began to revive among those who like to lead a country lifestyle, surrounded by nature, among peace and quiet. And the very environment in such housing is conducive to peace and tranquility.

What can be a modern manor?
The meaning of a modern estate can be formulated as a separate land ownership with a complex of residential, utility, park and other buildings, including a manor park - a single whole (family) estate that has absorbed all the triumph of progress, and at the same time, not forgetting the traditional values ​​of Russian architecture .

So, the estate is a complex system of buildings on a plot of at least 30 acres. Central house, outbuildings, guest houses, sauna, garage, gazebos, boiler room, autonomous power plant, garden, squares, pond, etc...

Of course, there are special requirements for the central residential building. Being the center of the estate and the family estate of future generations, this house should be quite expressive from the point of view of the exterior, reliable and durable from a constructive point of view.

Life in a family estate, as mentioned, involves a change of generations of its owners, but it may also be that three families will live in good harmony under one roof at once. Such a task, of course, is successfully solved by a verified design of the central building.

Naturally, on the same level with the design of the estate buildings is the issue of its operation - the availability of life support systems. The homestead must be provided with power supply, heating and sewerage systems in such a way that the owners of the house would think about them as little as possible, and the maintenance staff would take over the daily operation.

Summing up, we can say that today the "family nest" is a fairly large land plot with the master's house, a place for recreation and various outbuildings. Modern suburban villages are being built with a well-thought-out infrastructure, their residents have access to all the benefits of civilization, but one thing remains unchanged - life in harmony with nature and with oneself. Endless expanses, green or snow-covered fields, natural reservoirs, horseback riding and boating do not cease to be in demand.

The Russian estate was the basis of the economy and culture of the Russian Empire. Description of the estate way of life of the nobility we find in the works of Pushkin, Dostoevsky, Tolstoy. Beautiful mansions with gardens, parks and ponds have been captured by painters of more than one generation, including Kandinsky and Sudeikin. The ROSPHOTO exposition shows another side of estate life - photographs from the collection of the State Historical Museum, allowing you to plunge into the atmosphere of our country's past, to see professional and amateur photographs of long-forgotten or abandoned estates.

The exhibition opens with custom-made views of estates, made by masters of the famous photography studio in the 19th century. As a rule, these photographs are reminiscent of today's advertising shoot, as they are intended to show the estate at its best both in terms of architecture and landscape. They are also of a somewhat presentational nature, since they are portraits of the owners against the backdrop of their own estates. The estates of Ostafyevo, Arkhangelskoye, Ilyinskoye and others are depicted in a similar way.

Peasants at the manor house in Nikolsko-Prozorovsky. Photo by Mikhail Tulinov. Mid 1860s

View of the main house in Islavsky. Unknown photographer. 1914

Waiting for the horse. Photo by Nikolai Krotkov. 1899

On the contrary, the amateur photographs presented at the exhibition are distinguished by the immediacy of the plot and the liveliness of the composition. The authors of these pictures are usually the owners of the estates or one of their guests. These shots taken from family albums the best way convey the atmosphere of manor life - picnics on the grass, boating, hiking, secluded corners of the park and the surrounding area that are dear to the heart.

Interior in Pokrovsky. Atelier "Photograph of the Resurrection Monastery of Hierodeacon Diodorus". 1878

Portrait of Princess Zinaida Nikolaevna Yusupova in Arkhangelsk. Photo by Daniil Asikritov. Around 1900

Girl with roses. Photo by Nikolai Petrov. 1900s

The photographs of the beginning of the 20th century do not so much convey the atmosphere as they try to preserve the phenomenon of the Russian estate for history. This is not an artistic or staged shoot, but rather a photographic documentation of a passing history for future generations. And already in the 1920s, photographers were photographing the estate as a culture that had been lost and irretrievably sunk into the past.

Address: St. Petersburg, st. B. Morskaya, 35. Showroom Front building, 2nd floor.

We thank ROSPHOTO for the provided photos.

The image of the noble estate

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

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

Form of conducting: lesson-dialogue

teacher's word

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

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

We get acquainted with the estate already at the beginning of the novel, through a letter from the headman, who is clearly deceiving his master. Note that the nobles quite often found themselves cut off from their possessions and entrusted the economy to the headman or manager. We can recall what we wrote about in the introductory article to the rubric: sometimes only childhood and old age were associated with a nobleman's native estate. The years of adolescence and youth fell on teaching, and maturity - on the service. At this time, people came to the family nest infrequently. It also happened, as N. A. Nekrasov describes in The Forgotten Village:

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

A nobleman could not live on his estate for various reasons. There are two main ones: public service and love for urban (secular, cultural) life. However, none of these reasons for Oblomov exists. In the first part, we see the hero's attitude to metropolitan life, and it is obvious that he does not like it, it seems to be full of meaningless fuss. He defines each of his guests with a summary word - "unfortunate". At the same time, Oblomov is not connected with the service. In addition, it is obvious that the economy requires his intervention.

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

It is also important here how any journey seems to the hero of the doomsday (even moving to another apartment in the city), and the fact that he first needs to make a plan (he tells Stolz about this). We are familiar with this plan in the eighth chapter of the first part.

Let's reread the passage. We will answer problematic issues:

- What is the plan?

- What is its main part?

- Why does the “fundamental articles” of the management of the Oblomov estate run through the mind only in passing?

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

- How useful and fruitful are Oblomov's projects?

- What other character of Russian literature does Oblomov remind you of here?

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

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

CONCLUSIONS (summary of students' judgments)

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

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

- What does Oblomovka appear in this dream?

- What characteristic features, details do you remember?

What is the tone of the story?

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

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

Consider at least a small piece of text in more detail in terms of style. Questions (possible in groups):

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

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

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

- Why is the whole fragment based on negation?

- What is the style of this landscape?

- What unites him with the dreams of Oblomov from the eighth chapter?

You can show students one or two pictures of a sentimental plan, which are idyllic in nature (slides 1-2). Let's pay attention to how people and nature are connected in the paintings, how nobles and peasants are depicted.

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

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

Discussion of lead task issues

- What is the similarity between the childhoods of Nikita, Nikolenka Irtenev and Ilyusha Oblomov? How do they differ?

This is where illustrative material will help us. Let's compare the illustrations of different authors: E. Bem, Yu. Gershkovich, I. Konovalov, V. Taburin, T. Shishmareva, N. Shcheglov, P. Estoppe.

Questions for slides:

Slide #3. What mood does the illustration evoke? Imagine that you are driving into Oblomovka. What emotions do you have?

Slide #4. Why is the house near the ravine “honored” with a separate illustration? What additional meaning does the illustration acquire due to the figure of a child?

Slide #5. Compare illustrations by T. Shishmareva and V. Taburin. What do they have in common? (Pay attention to the composition). What does Ilyusha's pose express in both pictures? By what means does each of the authors convey the atmosphere of Oblomovka and the state of Ilyusha? Are these illustrations similar or different in concept?

SUMMARY OF ANSWERS

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

Slide #6. Compare the illustrations by Yu. Gershkovich and I. Konovalov. What moment of the text does each picture illustrate? How are these illustrations similar and how do they differ (pay attention to the composition, the poses of the characters, the setting, the details)? How do the authors show the presence or absence of contact between Ilyusha and the nanny at this moment? What is each illustration about? What thought does the proximity of these two illustrations lead us to?

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

On the second - one of the winter evenings, when the nanny tells stories and fairy tales to Ilyusha. Here, on the contrary, the relationship between the child and the nanny is emphasized: the characters are in close enclosed space, Ilyusha eagerly absorbs stories, after which "he always has the disposition to lie on the stove, walk around in a ready-made, unearned dress and eat at the expense of a good sorceress."

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

Slide number 7. Compare illustrations by E. Bem and N. Shcheglov. What do these images have in common? What principle underlies their construction?

The illustrations show the same moment: when the nanny falls asleep and Ilyusha seizes the moment and sets off to explore on his own. the world. Both images, which differ in technique and style, are based on the contrast between the static figure of the nanny and the dynamic figure of the child. But if with Bem everything turns out to be, like a frame, closed by the boundaries of the dovecote, then with Shcheglov, the child opens up a spacious world with the height of the skies and running clouds, towards which he joyfully stretches out his hands. The contrast between Oblomovka and big world emphasized in this illustration with light and shadow: the nanny is sitting in the shade of the house, while Ilyusha ran out into the sun-drenched space.

Slide #8. What is unusual illustration french artist? What impression does she make on you? What idea is expressed by the composition of the picture? What mood do the figures of people create?

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

Summing up the conversation about illustrations, let's say that there is a lot of love in the life of little Ilyusha: everyone adores and pampers him. But this atmosphere of love, which we emphasized as something purely positive, speaking of the childhood of Nikolenka or Nikita, here becomes cloying and somehow distorted: he barely had time to wipe off the traces of uninvited kisses. After that, feeding him with buns, crackers, cream began. Then his mother, after caressing him more, let him go for a walk in the garden, around the yard, on the meadow, with strict confirmation to the nanny not to leave the child alone, not to allow him to horses, to dogs, to the goat, do not go far from home, and most importantly, do not let him into the ravine, as the most terrible place in the neighborhood, which had a bad reputation.

So, we see that in childhood Ilya Ilyich was a lively and receptive child, but unlike Nikolenka or Nikita, he grows up under constant care, he is actually not allowed to do anything himself. In addition, in his life there is no that cultural atmosphere that we saw in Tolstoy (music, reading). From this point of view, it is interesting to compare the description winter evening in "Nikita's Childhood" and in "Oblomov's Dream".

Goncharov believed that the impressions of early childhood are decisive in human life.: “Not a single trifle, not a single feature escapes the inquisitive attention of a child; the picture of domestic life indelibly cuts into the soul; the soft mind is imbued with living examples and unconsciously draws a program of his life from the life around him.

What are adults doing, what does little Ilyusha absorb?

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

- What are these classes, how does the author talk about them, how does he relate to them?

- What is the activity of Oblomov's mother?

- Around what does the life of all the inhabitants of the estate revolve?

The activities of Ilya Ivanovich are absolutely meaningless: he looks out the window all day and distracts all the workers with unnecessary questions. His wife is focused on what is the main thing for the Oblomovites, around which their world revolves - on food.

“Perhaps Ilyusha has long noticed and understood what they say and do in his presence: like his father, in plush trousers, in a brown woolen fleece jacket, all day and day he knows that he walks from corner to corner with his hands folded back, sniffing tobacco and blowing his nose, and mother goes from coffee to tea, from tea to dinner; that a parent will never even think of believing how many kopecks are beveled or squeezed, and to recover for an omission, but if you don’t give him a handkerchief soon, he will scream about riots and turn the whole house upside down, ”concludes Goncharov.

Such is the world of the estate in the childhood memories of Ilya Ilyich - the image of his "golden age", the ideal (idealized) past.

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

Let us reread this text carefully with a parallel making a table.

	Fragment from sleep / childhood (idealized past)	Dream Breaker (ideal future)
Characteristic features and details of life
The main occupations of the heroes, turning points in the course of life
atmosphere, mood

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

- Does Oblomov's ideal look like what surrounded him in childhood? How?

- What is the difference that Oblomov so ardently defends?

- What a great offer“The house was already lit up with lights; in the kitchen knock on five knives; a pan of mushrooms, meatballs, berries... there is music... Casta diva... Casta diva! » - how does it characterize the Oblomov idyll?

One of the reasons that keeps Oblomov from going to the village, in his own words, is that he wants to come there not alone, but with his wife. Note that Oblomovka is the edge family idyll. However, having become Olga's fiancé and realizing that he had nowhere to take his young wife, Oblomov would not arrange things on the estate.

- What's stopping him?

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

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

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

APPLICATION

“Ilya Ilyich began to develop a plan for the estate. He quickly ran through his mind several serious, fundamental articles on dues, on plowing, came up with a new measure, stricter, against the laziness and vagrancy of the peasants, and proceeded to organize his own life in the countryside.

He was occupied with building country house; he stopped with pleasure for several minutes at the location of the rooms, determined the length and width of the dining room, the billiard room, and thought about where his study would be facing with windows; even remembered the furniture and carpets.

After that, he arranged the wing of the house, having realized the number of guests that he intended to receive, set aside a place for stables, sheds, human and various other services.

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

Here a seductive thought about future fruits flashed through him so vividly that he was suddenly transported several years ahead to the village, when the estate was arranged according to his plan and when he lives there without a break.

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

An idle domestic sits at the gate; cheerful voices, laughter, a balalaika are heard there, girls play burners; all around him his little ones frolic, climb on his knees, hang on his neck; behind the samovar sits ... the queen of everything around, his deity ... a woman! wife! Meanwhile, in the dining room, decorated with elegant simplicity, welcoming lights shone brightly, a large round table; Zakhar, promoted to majordomo, with completely gray whiskers, sets the table, arranges crystal with a pleasant clang and lays out silver, constantly dropping first glass, then fork on the floor; sit down for a hearty supper; here sits his childhood friend, his unfailing friend, Stolz, and others, all familiar faces; then they go to sleep...

Oblomov's face suddenly flushed with a blush of happiness ... "

“The Lord of that side did not punish either Egyptian or simple ulcers. None of the inhabitants has seen and does not remember any terrible heavenly signs, no balls of fire, no sudden darkness; there are no poisonous reptiles; locusts do not fly there; there are no roaring lions, no roaring tigers, not even bears and wolves, because there are no forests. Only munching cows, bleating sheep and clucking chickens roam the fields and the village.

God knows if a poet or a dreamer would be content with the nature of a peaceful corner. These gentlemen, as you know, love to stare at the moon and listen to the clicking of nightingales. They love the coquette moon, which would dress up in pale-yellow clouds and mysteriously see through the branches of trees or pour sheaves of silver rays into the eyes of its fans.

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

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

“The whole corner of fifteen or twenty versts around presented a series of picturesque sketches, cheerful, smiling landscapes. Sandy and sloping banks of a bright river, a small bush creeping up from the hill to the water, a twisted ravine with a stream at the bottom and Birch Grove- everything seemed to be deliberately tidied up one to one and masterfully drawn.

A heart tormented by worries or completely unfamiliar with them asks to hide in this corner forgotten by everyone and live in happiness unknown to anyone.