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Estates and lands of the landowner Aivazovsky. Ivan Konstantinovich Aivazovsky gave each of his four daughters an estate in the Crimea

Description of the surrounding area

STASH ARCHIVED BY AURORA BOREALIS PROBLEM CACHE MODERATOR

THE BASIS - THE CASH IS OUT OF OPERATION FOR MORE THAN THREE YEARS

ANDVIOLATION OF P.P.4.1. " The hiding place must be confined to a natural, architectural, cultural, historical, man-made landmark or implement some kind of original and exciting search task. " .

Aivazovsky's estate

Cache from the series "Estates of Taurica"

The village of Aivazovskoye is an ordinary, unremarkable village in the steppe Crimea. However, it is unremarkable only at first glance. And if you look at history...
It was in this village that the estate of the famous artist Aivazovsky was once located (quite detailed information about him - http://aivazovsky.info/)
Hoping to find this estate, we headed to Aivazovskoye. However, from the very first minutes they realized that there was hardly anything left of the estate. Driving along the main street of the village, we could not find anything that would resemble an old manor. We contacted the locals. Thanks to them, they learned that only one well remained from the estate. (coordinates of the well N 45,06,602 / E 35.04.673). And it's full of rocks. Nothing else was found. Nevertheless, we decided to try to look for more detailed information about the estate. As it turned out, the estate was quite large and united, in addition to the village of Aivazovskoye, three more surrounding villages. This estate is mentioned in connection with the wonderful gift presented by Aivazovsky to the city of Feodosia.
“When the Crimea became part of the Russian Empire, the Genoese water supply system of Feodosia was completely forgotten. Of the 33 fountains and reservoirs, only 5 remained by 1820, their condition was deplorable. By 1886, there was a real water famine in Feodosia: 11 thousand people had 3-4 thousand buckets of water per day.
“Not being able to continue to be a witness to the terrible disaster that the population of my native city suffers from lack of water from year to year, I give him 50 thousand buckets a day of clean water from the Subash source that belongs to me,” he wrote in his appeal to the City Duma Ivan Aivazovsky in 1887.
The Subash spring was located in the Shah-Mamai estate, not far from Stary Krym. In 1887, work began on laying a water pipe, thanks to which water came to Feodosia. A fountain was built in the city, from which local residents received water for free.
In one of his letters, Aivazovsky wrote: "An oriental-style fountain is so good that neither in Constantinople nor anywhere else do I know of such a successful one, especially in proportions." The fountain was an exact copy of the fountain in Constantinople. The fountain had a silver mug with the inscription "For the health of Aivazovsky and his family."
The first conduit, through which Subashskaya water came to Feodosia, was built in 1888. In 1940, a reconstruction was made: the existing cast-iron pipes were replaced with larger pipes. The length of the Subash water conduit is 29 km!
Despite the fact that the Subashsky water pipeline has not been operating for several years, the memory of Aivazovsky's gift has been preserved. There is still a fountain in Feodosia (we highly recommend visiting it). And the village where the estate of Shah-Mamai was once located is now called Aivazovskoye.
We immediately clarify that information about the exact location of the estate and about the estate itself is still being developed, so over time the cache will be finalized.

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Aivazovskoye(until 1945 Sheikh Mamai; Ukrainian Aivazovsky, Crimean. Şeyh Mamay, Sheikh Mamay) is a village in the Kirovsky district of the Republic of Crimea, is part of the Privetninsky rural settlement (according to the administrative-territorial division of Ukraine - the Privetninsky village council of the Autonomous Republic of Crimea).

1 Population
2 Geography
3 History
4 Population dynamics
5 Aivazovsky's estate
6 Persons associated with the village
7 Notes
8 Literature
9 Links

Population

The All-Ukrainian census of 2001 showed the following distribution by native speakers

Language	Percent
Russian	80.86
Crimean Tatar	15.79
Ukrainian	3.35

Geography

Aivazovskoye is a village in the center of the district, in the northern spurs of the eastern part of the Inner Ridge of the Crimean Mountains, in a shallow valley of the Toksan-Su River, the height of the center of the village above sea level is 134 m. The nearest villages are Abrikosovka, 0.5 km to the east and Privetnoye, at 0 .5 km to the west. The district center Kirovskoe is about 19 km away, the nearest railway station is Kirovskaya (on the Dzhankoy - Feodosia line).

Story

Folk legend connects the history of the village with the grave of the Horde temnik Mamai, allegedly located on the outskirts and found and excavated by the artist Aivazovsky. According to a more reliable version, Mamai was buried near the walls of Solkhat. Scientific excavations of the burial mounds were carried out by archaeologist A.V. Gavrilov in the 2000s, according to his information (findings of coins), the village area was part of the ancient choir of Feodosia from the 60s of the 3rd century BC. uh..

The first documentary mention of the village is found in the Cameral Description of Crimea ... in 1784, judging by which, in the last period of the Crimean Khanate, Shik Mamai was part of the Shirinsky Kadylyk of the Kefin Kaymakanism. After the annexation of Crimea to Russia (8) on April 19, 1783, (8) on February 19, 1784, by personal decree of Catherine II to the Senate, the Tauride region was formed on the territory of the former Crimean Khanate and the village was assigned to Levkopolsky, and after the liquidation of Levkopolsky in 1787 - to the Feodosia district of the Tauride region. After the Pavlovsk reforms, from 1796 to 1802, it was part of the Akmechetsky district of the Novorossiysk province. According to the new administrative division, after the creation of the Taurida province on October 8 (20), 1802, Shik-Mamai was included in the Bayrach volost of the Feodosia district.

According to the Statement of the number of villages, the names of these, in them yards ... consisting in the Feodosia district of October 14, 1805, in the village of Shik-Mamai there were 28 yards and 169 inhabitants of the Crimean Tatars. On the military topographic map of Major General Mukhin in 1817, the village of Shik Mamai is marked with 22 courtyards. After the reform of the volost division of 1829, Shik Manak, according to the Statement of the State Volosts of the Tauride Province of 1829, was assigned to the Uchkuy volost (renamed from Bayrachskaya). On the map of 1842, Shik Mamai is marked with a symbol "small village", that is, less than 5 households.

In the 1860s, after the Zemstvo reform of Alexander II, the village was assigned to the Salyn volost. According to the "List of populated places of the Tauride province according to the information of 1864", compiled according to the results of the VIII revision of 1864, Shik-Mamai is an owner-owned Russian and Greek village with 16 courtyards and 30 inhabitants at the fountain. On a three-verst map of 1865-1876, 14 households are indicated in the village of Shik-Mamai. In 1871, the artist Aivazovsky acquired the land in the district, and in the Memorable Book of the Tauride Province of 1889, the village is no longer listed, but on the verst map of 1890, the master's yard Sheikh-Mamai is indicated on the site of the village.

After the zemstvo reform of the 1890s, the village was assigned to the Zurichtal volost. "... The memorial book of the Tauride province for 1892" in the list of economies and devastated villages, whose inhabitants live in different places, Sheikh-Mamai is also recorded. According to the "... Memorable book of the Tauride province for 1902" in the economy of Sheikh Mamai, there were 41 residents in 6 households.

After the establishment of Soviet power in the Crimea, by a decree of the Krymrevkom of January 8, 1921, the volost system was abolished and the village became part of the newly created Vladislavovsky district of the Feodosia district, and in 1922 the counties were named districts. On October 11, 1923, according to the decision of the All-Russian Central Executive Committee, changes were made to the administrative division of the Crimean ASSR, as a result of which the districts were liquidated and the Vladislavovsky district became an independent administrative unit. Decree of the All-Russian Central Executive Committee of September 4, 1924 "On the abolition of some areas of the Autonomous Crimean S. S. R." The Staro-Krymsky district was abolished in October 1924, the district was transformed into Feodosia and the village was included in it. According to the List of settlements of the Crimean ASSR according to the All-Union census on December 17, 1926, the village of Sheikh-Mamay was the center of the Sheikh-Mamay village council of the Feodosia region. By the Decree of the All-Russian Central Executive Committee “On the reorganization of the network of regions of the Crimean ASSR” dated October 30, 1930, the Staro-Krymsky region was separated (recreated) from the Feodosia region (according to other sources, September 15, 1931) and the village was included in it.

In 1944, after the liberation of the Crimea from the Nazis, according to the Decree of the State Defense Committee No. 5984ss of June 2, 1944, on June 27 the Crimean Armenians and Greeks were deported to the Perm region and Central Asia. On August 12, 1944, Resolution No. GOKO-6372s “On the resettlement of collective farmers in the Crimean regions” was adopted, and in September of the same year, the first settlers, 1268 families, arrived in the village from the Kursk, Tambov and Rostov regions, and in the early 1950s followed second wave of immigrants. Since 1954, various regions of Ukraine have become the places of the most massive recruitment of the population. By a decree of the Presidium of the Supreme Soviet of the RSFSR of August 21, 1945, Sheikh-Mamai was renamed Aivazovsky and Sheikh-Mamaysky village council - Aivazovsky. Since June 25, 1946, Aivazovskoye was part of the Crimean region of the RSFSR, and on April 26, 1954, the Crimean region was transferred from the RSFSR to the Ukrainian SSR.

In the period from 1954 to 1968 Romanovka was attached to the village. On September 24, 1959, the Starokrymsky district was abolished and Aivazovsky was included in the Kirovsky district. By the Decree of the Presidium of the Supreme Council of the Ukrainian SSR “On the consolidation of rural areas of the Crimean region”, dated December 30, 1962, the Kirovsky district was abolished and the village was annexed to Belogorsky. On January 1, 1965, by decree of the Presidium of the Supreme Court of the Ukrainian SSR "On Amending the Administrative Division of the Ukrainian SSR - in the Crimean Region", it was again included in the Kirovsky. The time of the liquidation of the village council has not yet been established, apparently, this happened in the process of the 1962 enlargement campaign. Since March 21, 2014 - as part of the Republic of Crimea of Russia.

Population dynamics

1805 - 166 people. (all Crimean Tatars)
1864 - 30 people. (Russians, Greeks)
1887 - 69 people.
1902 - 41 people.
1926 - 273 people. (165 Armenians, 71 Russians, 22 Ukrainians, 13 Greeks)
1939 - 487 people.
1989 - 181 people.
2001 - 210 people

Aivazovsky's estate

People associated with the village

I. K. Aivazovsky
Mamai
On July 21, 1888, A.P. Chekhov visited the Shah-Mamai estate

Yesterday I went to Shah-mamai, Aivazovsky's estate, 25 miles from Feodosia. The estate is luxurious, somewhat fabulous; such estates can probably be seen in Persia. Aivazovsky himself, a vigorous old man of about 75, is a cross between a good-natured Armenian woman and a bored bishop; full of dignity, his hands are soft and serve them like a general. Not far away, but the nature is complex and worthy of attention. to himself alone he combines both a general, and a bishop, and an artist, and an Armenian, and a naive grandfather, and Othello. He is married to a young and very beautiful woman, whom he keeps in hedgehogs. Familiar with sultans, shahs and emirs. He wrote Ruslan and Lyudmila together with Glinka. He was a friend of Pushkin, but he did not read Pushkin. He has not read a single book in his life. When offered to read, he says: “Why should I read if I have my own opinions?” I stayed with him all day and dined. Lunch is long, viscous, with endless toasts.

Notes

This settlement is located on the territory of the Crimean peninsula, most of which is the object of territorial disputes between Russia and Ukraine. According to the administrative-territorial division of the Russian Federation, which actually controls Crimea, the subjects of the federation of the Republic of Crimea and the federal city of Sevastopol are located on its territory. According to the administrative-territorial division of Ukraine, the Autonomous Republic of Crimea and the city with a special status of Sevastopol are located on the territory of Crimea.
According to the administrative-territorial division of Russia
According to the administrative-territorial division of Ukraine
within the administrative division of the Republic of Crimea
within the administrative division of the Autonomous Republic of Crimea
1 2 Population census 2014. The population of the Crimean Federal District, urban districts, municipal districts, urban and rural settlements. Retrieved September 6, 2015. Archived from the original on September 6, 2015.
Rossvyaz Order No. 61 dated March 31, 2014 “On Assigning Postal Codes to Postal Objects”
Ukraine. Population census 2001. Retrieved September 7, 2014. Archived from the original on September 7, 2014.
Destroyed the population behind my native land, Autonomous Republic of Crimea (Ukrainian). State Statistics Service of Ukraine. Retrieved 2015-06-245.
1 2 Map of Betev and Oberg. Military topographic depot, 1842. Archaeological map of the Crimea. Retrieved November 10, 2015.
Weather forecast for s. Aivazovskoe (Crimea). Weather.in.ua. Retrieved 6 November 2015.
Temnik Mamai. 763 - 781 A.H. / 1362 - 1380. Money Museum. Retrieved 20 November 2015.
The team of authors. Sugdey collection. - Kyiv-Sudak.: Academician, 2008. - T. III. - 679 p. - ISBN 978-5-94067-330-9.
Lashkov F.F. Kaimakans and who is in them. // Cameral description of Crimea, 1784. - News
Grzhibovskaya, 1999, Manifesto on the acceptance of the Crimean Peninsula, the island of Taman and the entire Kuban side under the Russian state. 1783 p. 96
Kireenko G.K. On the orders of Prince Potemkin ..., p.13. - Izvestia of the Taurida Scientific Archival Commission, 1888. - T. 6.
Grzhibovskaya, 1999, Decree of Catherine II on the formation of the Tauride region. February 8, 1784, page 117
On the new division of the State into Provinces. (Nominal, given to the Senate.)
Grzhibovskaya, 1999, From the Decree of Alexander I to the Senate on the creation of the Taurida province, p. 124
Lashkov F.F. Statement of the number of villages, the names of these, in them courtyards ... consisting in the Feodosia district of October 14, 1805. Page 126 // Proceedings of the Tauride Scientific Commission, vol. 26 .. - Simferopol: Tauride Provincial Printing House, 1897.
Mukhin's map of 1817. Archaeological map of the Crimea. Retrieved November 9, 2015.
Grzhibovskaya, 1999, Bulletin of state-owned volosts of the Tauride province, 1829, p. 133
M. Raevsky. Taurida province. List of populated places according to 1864. Page. 85. St. Petersburg. Central Statistical Committee of the Ministry of Internal Affairs. Printing house of Karl Wolf. Retrieved November 12, 2015.
Three-verst map of Crimea VTD 1865-1876. Sheet XXXIII-14-d. Archaeological map of Crimea. Retrieved November 12, 2015.
Romanyuk A. On the most merciful grant of land to I. K. Aivazovsky. Page 73 // Proceedings of the Tauride Scientific Commission, vol. 38 .. - Simferopol: Tauride Provincial Printing House, 1905.
Layout of the Crimea from the Military Topographic Depot.. EtoMesto.ru (1890). Retrieved November 19, 2015.
Boris Veselovsky. The history of the Zemstvo for forty years. T. 4; The history of the land. - St. Petersburg: O. N. Popova Publishing House, 1911.
Taurida Provincial Statistical Committee. Calendar and memorial book of the Tauride province for 1892. - 1892. - S. 93.
Taurida Provincial Statistical Committee. Calendar and memorial book of the Tauride province for 1902. - 1902. - S. 148-149.
Statistical reference book of the Taurida province. Part II-I. Statistical essay, issue of the seventh Feodosia district, 1915
Grzhibovskaya, 1999, Statistical handbook of the Tauride province. Ch.I-I. Statistical essay, issue of the seventh Feodosia district, 1915, p. 284
History of cities and villages of the Ukrainian SSR. / P. T. Tronko. - 1974. - T. 12. - S. 521. - 15,000 copies.
1 2 A.V. Belsky. Culture of the peoples of the Black Sea region. - 2011. - T. 207. - S. 48-52.
population and industry. I.M. Sarkizov-Serazini, 1925. Retrieved June 8, 2013. Archived from the original on June 8, 2013.
1 2 3 Administrative-territorial division of Crimea. Retrieved April 27, 2013. Archived from the original on April 30, 2013.
On the abolition of some areas of the Autonomous Crimean S. S. R.
History of cities and villages of the Ukrainian SSR. / P. T. Tronko. - 1974. - T. 12. - S. 473. - 15,000 copies.
Grzhibovskaya, 1999, List of settlements of the Crimean ASSR according to the All-Union census on December 17, 1926, p. 36
Decree of the All-Russian Central Executive Committee of the RSFSR of October 30, 1930 on the reorganization of the network of regions of the Crimean ASSR.
Decree of the State Defense Committee of June 2, 1944 No. GKO-5984ss "On the eviction of Bulgarians, Greeks and Armenians from the territory of the Crimean ASSR"
Decree of the State Defense Committee of August 12, 1944 No. GKO-6372s "On the resettlement of collective farmers in the regions of Crimea"
How the Crimea was Settled (1944–1954). Elvina Seitova, post-graduate student of the Faculty of History, TNU. Retrieved June 26, 2013. Archived from the original on June 30, 2013.
Decree of the Presidium of the Supreme Soviet of the RSFSR of August 21, 1945 No. 619/3 "On the renaming of rural Soviets and settlements of the Crimean region"
Law of the RSFSR dated 06/25/1946 On the abolition of the Chechen-Ingush ASSR and on the transformation of the Crimean ASSR into the Crimean region
Law of the USSR of April 26, 1954 On the transfer of the Crimean region from the RSFSR to the Ukrainian SSR
Panasenko M.M. (comp.). Crimean region. Administrative-territorial division on January 1, 1968. Page 118. "Crimea", Simferopol. 1968 Retrieved 20 November 2015.
Grzhibovskaya, 1999, From the Decree of the Presidium of the Supreme Soviet of the Ukrainian SSR On Amendments to the Administrative Division of the Ukrainian SSR in the Crimean Region, p. 442
Grzhibovskaya, 1999, Decree of the Presidium of the Supreme Court of the Ukrainian SSR "On Amending the Administrative Division of the Ukrainian SSR - in the Crimean Region", dated January 1, 1965, p. 443
Efimov S.A., Shevchuk A.G., Selezneva O.A. Administrative-territorial division of Crimea in the second half of the 20th century: experience of reconstruction. - Taurida National University named after V. I. Vernadsky, 2007. - T. 20.
Federal Law of the Russian Federation dated March 21, 2014 No. 6-FKZ "On the admission to the Russian Federation of the Republic of Crimea and the formation of new subjects within the Russian Federation - the Republic of Crimea and the federal city of Sevastopol"

Literature

Administrative-territorial transformations in the Crimea. 1783-1998 Handbook / ed. G. N. Grzhibovskaya. - Simferopol: Tavria-Plus, 1999.
Privetnensky village council // Cities and villages of Ukraine. Autonomous Republic of Crimea. City of Sevastopol. Historical and local history essays. - Glory of Sevastopol, 2009.

Links

from Aivazovsky Autonomous Republic of Crimea, Kirovsky district (Ukrainian). Verkhovna Rada of Ukraine. Retrieved 4 November 2015.
Map of the Kirovsky region of Crimea.
Aivazovskoye on the maps

Settlements of the Kirovsky District
cities:	Old Crimea
town:	Kirovskoe
villages:	apricot Aivazovskoye Babenkovo Vasilkovoe Vidnoe Vladislavovka Revival Dobrolyubovka Valley Pearl of Crimea Zhuravki Golden Field Abundant Izyumovka Klyuchevoe Krasnovka Krasnoselskoe Krinichki Lgovskoye Makovskoye Matrosovka Novopokrovka Novofedorovka Orekhovka Brave Partisans Pervomayskoe Privetnoye Ponds Sadovoe Sinitsyno Sofievka Spasovka Tokarevo Trudolyubovka Tutovka Shubino Bright Field
see also:	Disappeared villages of the Kirovsky district

Aivazovskoye (Crimea) Information About

In 1837, at an academic exhibition, Ivan Aivazovsky showed six pictures, highly appreciated by the public and the Council of the St. Petersburg Imperial Academy of Arts, which decided: “As an academician of the 1st degree, Ivan Gaivazovsky, he changed his surname to Aivazovsky in 1841, was awarded the gold medal of the first degree for excellent success in painting marine species, with which the right to travel to foreign lands for improvement is associated”. In the spring of 1838, from St. Petersburg, Ivan Aivazovsky, for his youth, was sent to the Crimea for two years for independent work.

During his two-year stay in the Crimea, Aivazovsky painted a number of paintings, among which were beautifully executed things: "Moonlight Night in Gurzuf" (1839), "Seashore" (1840) and others.

Arriving in the Crimea, Aivazovsky took a close look at the artist's hills in the picturesque surroundings of Feodosia and Kerch. It seemed to Aivazovsky that the hills of Kerch and Feodosia were clearly of artificial origin, and he organized archaeological excavations at his own expense, and built the building of the Archaeological Museum. During excavations in one of the estates of Ivan Aivazovsky, Sheikh Mamai village, remains were found that could be considered the burial place of Mamai, but this has never been proven, but sensations about the finds still appear today.

In the village of Sheikh-Mamai, on the site of a possible grave of the Horde temnik Mamai, Ivan Aivazovsky built an arbor in order to “think about the frailty of human life” in it, but in 1917 the artist’s estate burned down along with the arbor. Modern archaeological research has shown that the settlement called Sheikh-Mamai, from the 60s of the 3rd century BC, was part of the ancient choir of Theodosius. Now this village is called Aivazovskoye.

In 1839 the young artist took part in a naval campaign to the shores of the Caucasus, during the campaign he not only painted seascapes, but also engaged in battle painting. On board the warship, he met the famous Russian naval commanders: M. P. Lazarev and the heroes of the future defense of Sevastopol, young officers V. A. Kornilov, P. S. Nakhimov, V. N. Istomin. Aivazovsky watched from the shore the military operations on the coast of Circassia, the landing of Russian troops in the valley of the Shahe River, and made sketches for the painting "Landing of the detachment in the valley of Subashi".

At the end of the summer of 1839, Aivazovsky returned to St. Petersburg, and on September 23 he received a certificate of graduation from the Imperial Academy of Arts in St. Petersburg, his first rank and personal nobility.

In the century of Aivazovsky, five emperors were replaced. It is sometimes said that he I was on good terms with everyone.", which is not entirely fair. Aivazovsky was not introduced to Emperor Alexander I, and he really was on good terms with the rest of the royal people. It is not known how Aivazovsky's relations with the Russian emperors would develop if Aivazovsky did not leave Petersburg. Perhaps it was much easier for him to build relations with the authorities while in Feodosia, and not in St. Petersburg.

Ivan Aivazovsky in Feodosia arranged in fact " Aivazovsky's country» where he lived and created his amazing masterpieces for the benefit of the empire. With funds raised by Aivazovsky, a monument to the Russian Emperor Alexander III in gratitude for the patronage of the emperor in creating in Feodosia trading port, which allowed the city to successfully develop economically.

Ivan Aivazovsky was a very hospitable and generous host. He loved to receive guests in his house, his guests were very different in origin, social status, occupation, he cordially met and received everyone. Once, the famous violinist Venyavsky and a dishonest businessman, whom Venyavsky refused to meet, were visiting Aivazovsky's house at the same time. However, guests of all ranks and classes could not stay long in Aivazovsky’s house, and a few days later the friendly host reported at dinner that he had ordered the horses to be laid down ... And not at all because he was tired of the guests, he simply needed solitude to work, silence for inspiration and focus on the picture. They say that at such moments some guests felt offended, but it's time and "an honor to know."

Aivazovsky knew how to surprise guests with dessert. Often the artist, together with the cook, thought over the menu for receptions and banquets. Champagne was often served in his house, which the maestro loved very much. In place of the factory label, Aivazovsky pasted a label made with his own hands with the sea seething like champagne.

A magnificent banquet was organized for the artist's 50th birthday. Toward its end, Aivazovsky addressed his guests with a speech: “ Gentlemen, I apologize to you. My chef forgot about dessert! Therefore, you will have to taste the dish of my preparation.” The guests were served small trays, on each of which lay a small landscape from Aivazovsky.

DEVYATKO Lyudmila Nikolaevna (b. 1963) (Feodosia)
Head of the archival sector of the Feodosia Art Gallery. I.K. Aivazovsky

Remembrance is a property of human memory to return to the past. Fixed for transmission in time, it becomes a material object, a document resurrecting distant events and people who have already passed the earthly path. Memories excite, make you think and experience. Like everything irretrievably gone, they cause a poignant feeling of sadness when they concern our loved ones, and constant interest when it comes to outstanding people. A special thrill in Feodosia is experienced at the mention of the name of Ivan Konstantinovich Aivazovsky and everything connected with him.

Seventeen sheets of slightly yellowed paper in the size of a student's notebook are covered in an even, neat handwriting. These are the memoirs of Yuri Andreevich Galabutsky (1863-1928) “I.K. Aivazovsky. According to personal memories”, stored in the funds of the Feodosia Art Gallery. Their author, a native of Odessa, knew the name of the great marine painter from his youth. In 1886, at the age of twenty-three, he was appointed teacher of Russian language and literature at the Feodosiya Men's Gymnasium, whose honorary trustee from the day of its foundation was the famous painter. Then an acquaintance took place, which lasted for eleven years.

As a rule, the authors of memoirs about Aivazovsky devote much space to assessing the artist's work, his individual works. In this series, Galabutsky's essay is a rare exception. It is interesting primarily because it is a memory of Aivazovsky - a man, a citizen, a city dweller.

The manuscript is not dated, but there are indications of the time of its writing in the text itself - the beginning of the 1920s. The memoirs cover the last decade of the long life of the great Feodosian, they are proof that even in his declining years Ivan Konstantinovich was very energetic, his activities are diverse and always aimed at economic prosperity, cultural development and improvement of his native city. The pages of memoirs are another confirmation of the enormous influence the artist enjoyed in the highest circles of St. Petersburg and the boundless trust of the Theodosians, who placed hope in him in solving the most important issues - public and personal. Both were used by Aivazovsky exclusively for the benefit of Feodosia and its inhabitants.

Galabutsky describes the way of life of Ivan Konstantinovich, his appearance, gait, manner of speaking, notes the clairvoyance, liveliness and sharpness of mind, kindness and cordiality that he retained to a ripe old age, and at the same time, his temper, some inconsistency and changeability of his nature. Noting all this, the author helps the modern reader to plunge into the atmosphere of Feodosia at the end of the 19th century, recreates the image of a man who played a major role in the life of the city in those years, a man whose fruits of labor will be used by more than one generation of his fellow countrymen.

The unconditional value of the memoirs of Yuri Galabutsky is not only in their informativeness. They reflect the personal attitude of the author - a contemporary and a participant in the events, they are comprehended in accordance with his individuality.

Lyudmila DEVYATKO.

Extensive quotations from the memoirs of Yu.A. Galabutsky with reference to the author (and sometimes without them) were used by N.S. Barsamov, a researcher of the life and work of the marine painter, in many publications about Aivazovsky and his gallery. Independently and in full, the text of the memoirs is published for the first time - according to the manuscript stored in the Feodosia Art Gallery. I.K. Aivazovsky. Spelling and punctuation are the author's.

The "first man" in old Feodosia was Aivazovsky. It was as if the old Theodosia also died with him, having completely changed her former appearance over the past 20 years. Yes, he himself was the main culprit of this change, because the construction of the port and the construction of the railway in Feodosia is almost exclusively due to his energetic insistence, connections and influence in high spheres.

I remember how worried and indignant the people of Sevastopol were, who, of course, wanted to keep the port outside their city, how deputations were sent to St. from the feuilletons, Aivazovsky himself was ridiculed, depicted as something like Malburg, who was going on a campaign against Sevastopol; but nothing helped: the dispute was resolved in favor of Theodosius, and the Sevastopol people had to put up with it. In memory of this victory, Aivazovsky painted a large painting, which he presented to the Feodosia Public Assembly.

A raging sea was depicted on a wide canvas: huge waves rush furiously against a high rock, but, breaking against it, powerlessly roll down; on the top of the rock stands a tall figure of a woman with a developing banner in her hand, the other hand is victoriously stretched forward, some ominous birds are hovering over the woman’s head; the sky is all covered with a heavy cloud; but a ray of the sun had already cut through her, illuminated the white figure of the woman, and played on the crest of the calming waves. The storm has passed... This picture hung in the concert hall of the city club and perished along with the building, which burned to the ground during a fire that broke out from arson on one of the stormy October days of 1905.

Another monument to the victory of Theodosius was the monument to Alexander III, erected again on the initiative of Aivazovsky and on donations collected by him, as well as on funds raised by arranging dance evenings, concerts, etc. Taking advantage of the arrival in Feodosia N. and M. Fignerov, Aivazovsky invited the artistic couple to give one concert in his gallery. The concert gathered a large audience, and the entire amount of the collection went to the construction of the monument, and the concertgoers received a picture as a gift; these paintings were exhibited on the stage during the concert.

The port and the railway gave Feodosia a new life, and if the “grateful Theodosia” were finally going to erect a monument to Aivazovsky, then the glorious artist could be depicted, like Pushkin’s Peter, standing on the banks of the “desert waves” and dreaming about how “ in spite of the haughty neighbor”, i.e. Sevastopol, a new city will arise here, and how here, “on new waves of them, all the flags will visit us ...”

Sometimes it seems that Aivazovsky, as a marine painter, perhaps, should have been more pleasant with the old Feodosia, to whom the sea, flowing almost into the city itself, gave a peculiar and pretty color. Obviously, this time the citizen took precedence over the artist: Aivazovsky guessed the new needs of life and went to meet them. Generally speaking, Aivazovsky was not a new man, in the sense in which we are talking about people, even old in age, but quickly assimilating the characteristic features of the new time: on the contrary, he was one of the most typical representatives of old Russia.

At the end of the last century, there were still such strong and indestructible old people, like living monuments of the memorable Nikolaev era - an era, on the one hand, rough and inert, marked by the official seal of formalism and soldiery, and on the other, by a strange whim of fate, full of internal movement living thought and rich in diverse talents in the field of literature and art. Among these talents, the rare talent of the then young and full of strength artist flourished, and what a long, interesting and varied life fate opened before him!

It's no joke to say that he personally knew Zhukovsky, Pushkin, Gogol; he was patronized by "grandfather" Krylov; he was known and loved by Turgenev's "galaxy"; writers, artists, artists gave him their works with handwritten inscriptions and their portraits, from which he made a whole collection for his art gallery; finally, he was caressed by the Court of four Russian emperors!.. What a pity that Aivazovsky, the great master of the brush, did not pick up a pen and did not love it! In the memoirs recorded from his words and published in Russkaya Starina, if I am not mistaken, of the 1970s, there is much that is curious and valuable both for his biography and for the time he lived through; but this is only a small fraction of what he could still tell, and what he sometimes told as a recollection that accidentally came to mind.

The name of Aivazovsky as an artist was familiar to me at school. I don’t remember exactly in what year, I was at an exhibition of Aivazovsky’s paintings arranged in Odessa, and here I first got acquainted with his famous marinas. I remember that as an Odessa citizen, accustomed to the green or brown color of sea water, I was struck by the blue, transparent, turquoise sea in these pictures. I even doubted whether such a thing actually happens; but someone explained to me that on the southern coast of the Crimea such a blue, bright, gentle sea, as Aivazovsky depicts it. Indeed, later I saw at Sevastopol exactly the same sea as I saw on the marinas of the famous artist.

In 1886, I was appointed teacher at the Feodosiya Gymnasium, whose honorary trustee was I.K. Aivazovsky. Since then, I observed Aivazovsky as a trustee of the gymnasium and a Feodosian for many years, until my departure from Feodosia in 1897.

In Feodosia, Aivazovsky was "the king and God." Without his knowledge and instructions, nothing was done in the city. Whether any public enterprise was started, whether a petition was initiated, whether city elections were held, etc., for everything, they first of all turned to him. Whatever Ivan Konstantinovich says, so be it. Public opinion was formed in his living room, and in his study all more or less important city affairs were subjected to a preliminary discussion. Yes, and on private matters, especially those that need to be "worried about" in St. Petersburg, they went to him, in the belief that if I.K-ch would treat the request favorably, then the matter was in the bag. The townsfolk began their holiday visits with him, and no one, impudent, would have dared on New Year's Day or Easter not to pay his respects to him.

When Aivazovsky walked through the streets with his slow but cheerful gait, every layman respectfully took off his hat and bowed low. It cannot be said that this respect was paid to Aivazovsky as a great artist, for the Feodosians were by no means special connoisseurs and admirers of art, here the circumstance that Aivazovsky was a privy councilor, dignitary and influential person played almost the main role.

“After all, here,” one simple-hearted Theodosian once told me, “you will come to Yves. K-chu in the evening, you sit at his place, chatting about this and that, you play cog with him, all this is easy; and you should have looked at him in Petersburg! There the nobles go to bow to him! At court, he is his own man!

“I know the ministers, I go to the palace!” - this is what mainly supported the charm of his name among the Theodosians. I. Aivazovsky always and everywhere used his influence for the benefit of his native city. He loved Theodosia and did a lot for her. He gave the thirsty city to drink fine water from his Subashsky source, contributed to the opening of a classical gymnasium in the city, a drama circle and, as already mentioned above, actively worked in favor of the construction of the port, which completely transformed Feodosia. His art gallery always attracted many tourists, and he left the collection of entrance fees to the local charitable society, and bequeathed the gallery to the city.

Aivazovsky cared a lot about the splendor of the city. When the port was allowed and a building fever began in Feodosia, Aivazovsky vigilantly watched all the newly erected buildings and made sure that they did not "spoil" the city. Thanks to his influence, he managed in this respect very energetically and categorically, as if all the buildings were his own.

There was, for example, such a case. Once, in the winter, Aivazovsky, as usual, left for a while in St. Petersburg. When he returned, he was usually met two or three stations from Feodosia by those closest to him and immediately reported all the city news that Iv. K-ch listened with lively curiosity. And now he finds out that inhabitant N is building a house on the main street, Italianskaya, a house: construction has already begun in the absence of I. K-cha, and the house will one-story. I. K-ch became terribly agitated: one-story home on the main street! Immediately upon arrival, not having had time to rest from the road, he calls the man in the street N. He, of course, immediately appears. “Are you building a one-story house? Shame on you? You are a rich man! What are you doing? You to me ruin the street! And the layman dutifully changes the plan and builds a two-story house.

The general pattern of Aivazovsky's life in Feodosia resembled a typical landowner's life of the "good old days." His vast house-cottage was always full of guests, and on his estate Shah-Mamai, 25 versts from Feodosia, where he spent the summer, a special wing was built for visitors, called in a monastic way a hotel. Aivazovsky's city house was built according to his own plan. The great artist was a very mediocre architect: his house is replete with many corridors that are not needed for anything. The well-known storyteller Weinberg, having once visited Aivazovsky in Feodosia and examined his house, said: “You, I. K-ch, are a great artist and a great ... corridor worker!”

Actors, artists, writers who came to Feodosia, certainly came to Aivazovsky, and some stayed with him for a long time. An open and hospitable lifestyle did not, however, prevent Aivazovsky from working. The huge number of paintings he painted, most of which are huge canvases, is sufficient evidence of the intensity and productivity of his work. Departing for the spring and summer to his beloved Shah-Mamai, Aivazovsky did not leave his brush there either and every day he carefully worked in his workshop. But he liked to spend his evenings in society and was bored if there were no guests; therefore, he joyfully met everyone who came from Feodosia to visit him. His artistic nature, however, required a constant change of impressions, and the same faces soon bored him. If these were people close to him, then Aivazovsky, without ceremony, sent them home. “Going to visit I. K-chu,” one of his close acquaintances told me, “I just can’t determine in advance when I’ll be back.” Why? “Yes, I’ll come to him with my family, he runs out to meet him with open arms, kisses him, doesn’t know where to plant him, and takes care of him terribly all day. And a few days will pass, and I begin to feel that it is time to go home; if I do not have time to guess, then I. K-ch will remind himself. So calmly, as if it was prearranged between us; he will come in in the morning for tea and say: “I have ordered that a carriage be harnessed to you after dinner.” Well, then, pack up and leave!”

Thanks to Aivazovsky's open hospitality, he had a lot of all sorts of people: here sometimes you could meet such people who, perhaps, would not have a place in the living room of a glorious artist. He himself was not at all greedy for money, having not amassed a single penny in an unclean way, Aivazovsky, due to some strange contradiction of nature, admired the big rich and treated them with a hint of even some respect, not paying attention to how they acquired their wealth .

A typical anecdote in this regard was told to me by the grandson of the late artist, N.M. L<амп>si . One day, some rich Armenian came to Aivazovsky, who, as they said, became rich with the so-called "bear money", that is, fake papers, which were once manufactured in huge quantities in Nakhichevan. At this time, the famous violinist Venyavsky was visiting Aivazovsky. Aivazovsky certainly wanted to introduce Venyavsky to this Armenian, but Venyavsky, who had already heard about the guest, stubbornly refused this honor. “Do you know that he has more rubles in his pocket than you took notes on the violin in your life!” - Aivazovsky spoke with fervor. “Perhaps,” Venyavsky replied calmly, “but while I learned to play, I took a lot false violin notes!

Aivazovsky willingly put his art gallery at the disposal of the smaller brethren, small artists, locals and visitors who copied his paintings. Between them, a certain Lysenko, a local art teacher, had a positive copyist talent. His copies from Aivazovsky's paintings were so good that, they say, even Aivazovsky himself sometimes made mistakes, taking them, at first sight, for his originals. No wonder, therefore, that Lysenok had no shortage of orders, and he made decent money on copies. Subsequently, Lysenko began to write originals, sending them to exhibitions, and one of his paintings at an exhibition in Paris received an honorable mention. This irritated Aivazovsky, who saw plagiarism in Lysenka's works. Therefore, he forbade Lysenok to write copies of his new paintings and did not let him into the gallery.

According to the story of Lysenka himself, Aivazovsky, meeting him on the street, told him: “You are not doing well: in your paintings, the sky, air, sea - this is all mine, you stole all this from me!” To this Lysenko objected: “I. Wh! Invite an expert from the Academy, and with him I will paint a picture completely on my own! And he would have written, of course, because from many years of practice he had become so full of copies that he wrote completely a la Aivazovsky, even if he closed his eyes. Moreover, in the paintings it is very difficult to separate the original from the copy - at least from the formal side: you turned the ship wrong, added a stone on the shore or set up a rock - that's the original!

From the day the Feodosia Gymnasium was founded, Aivazovsky was its honorary trustee for many years. In this position, he showed no particular activity: he was rarely in the gymnasium, only on especially solemn occasions, and never - at least when I was - was not in the classroom, or at the meetings of the pedagogical council. He annually contributed a certain amount to the cash desk of the Society for the Assistance to Gymnasium students in need of it and gave the poorest of them allowances for the purchase of clothes, shoes, etc. This, in fact, limited his trusteeship. But on the other hand, in the person of him, the Feodosiya gymnasium had a very influential trustee, who “in case of emergency” could render her a very significant service, because he was a friend and even “you” with the Minister of Education Delyanov. Aivazovsky loved and respected the late director of the gymnasium V.K. Vinogradov, who was modest and therefore little known, but a rare teacher at that difficult time for our secondary school; he was also very friendly with the family of the head of the women's gymnasium, M.F. Kotlyarevskaya.

Both gymnasiums, men's and women's, lived very amicably at that time, diversifying the monotonous course of their lives by organizing small festivities and entertainments, in which Aivazovsky often took part. Sometimes he arranged refreshments for the whole gymnasium and was always very amiable and hospitable. Gymnasium students, about 200 people, passed by him in pairs, and he shook hands with each, and then seated everyone and treated them. His wife, Anna Nikitichna, to whom he was married a second marriage, a young and beautiful woman, was also always extremely sweet and friendly, and therefore the youth felt completely at ease visiting.

Having once invited the students of the graduating class of the women's gymnasium to dinner, Aivazovsky wrote in advance of each of them a small drawing with a pen: it, of course, was all the same sea in its infinite variety. These drawings were a surprise: having come to the table, each student saw a present on her napkin! Needless to say, Aivazovsky, both in the gymnasium and in the city, enjoyed the same, if not more honor: behind him, the gymnasium felt like behind a stone wall, capable of sheltering and protecting from all sorts of troubles and misfortunes, which, as you know, the life of an educator is so exposed.

He was a real general in a small gymnasium army, and once he even played the role of a military general properly, in a full military situation. Here is how it was. It is known that in the 90s our gymnasiums were fond of the so-called "military gymnastics". Under the guidance of teacher-officers, the gymnasium students did all sorts of "military walks", on which the gymnasium performed to the sounds of a military march, with its own banner; there were even cases when directors prancing ahead on greyhound horses, like real battalion commanders. Our gymnasium was also fond of paradomania.

On the day of the coronation, May 14, 1896, the gymnasium took part in the general military parade along with the troops of the local garrison. Before the celebration, I remember, the question arose: who will "receive" our parade? It was decided that Aivazovsky would be our parade general. It seems to him that this invention seemed amusing, and he agreed. So they did. When the troops passed in front of their brigadier general, the gymnasium also moved in a ceremonial march, to the sounds of its own orchestra, past Aivazovsky, who greeted those passing through the classes, receiving in response: “We wish you good health, Your Excellency!” When the last “preparations” passed, rhythmically beating the step and squinting in the direction of the authorities in a military way, Aivazovsky laughed and said: “There was a lot of strange and unexpected things in my life, I saw and experienced a lot and stopped being surprised by a lot; but if anyone had told me that I would ever host a parade in my life, I would never have believed it!”

In November 1894, the gymnasium celebrated the 50th anniversary of Krylov's death. The anniversary celebration took place in the city concert hall, where both gymnasiums were assembled, in the presence of a fairly large audience.

I read a speech about Krylov. When I finished, suddenly, quite unexpectedly for everyone, Aivazovsky, who was sitting in the front row of seats, got up in a place of honor. Everyone turned to him. His figure stood out very impressively from those present. He was not tall, but very strong build; his bureaucratic face, with a shaved chin and gray sideburns, was enlivened by small brown, lively and penetrating eyes; He spoke about Krylov.

Aivazovsky was not a master of speech at all. A non-Russian accent was noticeable in his speech, he spoke somewhat difficultly and not smoothly, drawing out his words and making rather long pauses; but he spoke with the calm gravity of a man who cares not about how to say, but only about what to say. Of course, I cannot literally convey his speech, but its general content was as follows: “I consider it my duty to say here that I personally owe a lot to the famous fabulist. There was a difficult moment in my life. I was slandered, and Tsar Nikolai Pavlovich, who had been very merciful to me, suddenly became angry with me. I learned that all this happened on the slander of a French professor who did not like me. Of course, this saddened me deeply: the disgrace of the sovereign lay like a heavy stone on my heart. Once, at the evening at the Olenins, I.A. approached me. Krylov. He put his hand on my shoulder and said: “Why are you so sad, Aivazovsky? I heard that you were slandered by a Frenchman. Nothing, do not be sad and do not be afraid: we will justify you!” And indeed, soon Krylov, along with some other persons, interceded for me before the sovereign, the injustice of the slander was proved, and the sovereign again became merciful to me. I have not forgotten this and never will. I remember well the features of the fabulist, his large figure (he was very fond of eating! - Aivazovsky added with a smile) and a lion's head. I will paint his portrait for the gymnasium.”

This fact was known to the Feodosian intelligentsia from the biographical sketch of Aivazovsky, compiled on the occasion of his 50th birthday, nevertheless, all those present once again listened with great interest to this story from the lips of I.K-cha himself, who thus testified to his grateful memory about the fabulist. From conversations with I.K. I endured the conviction that he had a lively and sharp mind and a good heart. But vast life experience apparently taught him to put up with many things that he did not share in his convictions and did not sympathize with in the depths of his soul.

Last winter, according to people close to him, he felt very good. He was in St. Petersburg and returned from there vigorous, healthy and cheerful. On May 1, he planned to move to his place in Shah Mamai, he often went there to make the necessary arrangements. On the day of his death, he also went to the estate in the morning, returned at five o'clock in the afternoon, very pleased and cheerful, and, feeling completely healthy, he himself persuaded his wife and his wife's sister to go to their relatives. Until now, I.K-cha's wife has not gone anywhere alone, being afraid to leave I.K-cha. At seven o'clock in the evening, I.K-ch himself accompanied them to the station, where acquaintances gathered, with whom he joked merrily, and they say that they rarely saw him in such a wonderful and cheerful mood. After the departure of the train, he went on foot from the station to his relatives Mazirov, who lived quite far from the station, played cards there, had dinner, and at twelve o'clock, completely healthy, went home. At two o'clock in the morning, his footman heard the bell. Thinking that they were ringing at the main entrance, the footman went there, but, not finding anyone, he went up to I.K-cha's room, whom he found lying across the bed, almost without signs of life. There was a soaked compress on the table: obviously, feeling unwell, I.K. put compresses on his head, and when that didn't help, he called. I.K. was already dead.

Aivazovsky left a glorious name for himself. Whatever art critics say about him, from the point of view of certain trends in art, his enormous talent is beyond dispute and doubt. This is a talent born in the Crimea, as bright and lush as the nature of this region. Aivazovsky was created by the sea, as it created Ayu-Dag, coastal cliffs, folk legends and songs. Everything that, merging, lives in the imagination and memory of the masses.

In his hometown, Aivazovsky is now almost forgotten. Few of the Feodosians will indicate the house where Aivazovsky was born, tell his biography, and rarely anyone knows at least his main paintings. Meanwhile, among the simple, working people, somewhere on Forstadt, or in a mountainous Tatar village, you will now hear from some old Tatar man, not devoid of poetry, a legend about a glorious artist.

So, a few years ago, the late director of the Feodosia Museum L.P. Colli wrote down a poetic story preserved among the Tatars about how the famous Crimean robber Alim came to congratulate Aivazovsky after his wedding. When Aivazovsky, immediately after the marriage (we are talking about Aivazovsky's first marriage), was driving to his place, to the Shah-Mamai estate, at night, almost to the very doors of the carriage, a slender rider, on a beautiful horse, jumped up, stopped the carriage, congratulated the newlyweds and disappeared into the darkness. It was Alim.

Involuntarily, the sad lines of Pushkin are recalled:

Singer of love, singer of the gods
Tell me what is glory?
Grave rumble, laudatory voice,
From generation to generation the sound running,
The traditional name of the old district in the southwest. parts of Feodosia; topographically matched. one of the suburbs of the Middle Ages. Kaffa, which was located outside the city walls on the slopes of Mithridates Hill and along the modern. streets R. Luxembourg.
Kolli Ludwig Petrovich (1849-1917), scientist, local historian, teacher, taught for almost 30 years at the Feodosia Men's Gymnasium, since 1900 the custodian of the Feodosia Museum of Antiquities.
Foreword, publication and notes by Lyudmila Devyatko.

The famous artist Ivan Aivazovsky, whose life and work are inextricably linked with the Crimea, left warm memories of himself and the Crimean Tatars. We invite you to familiarize yourself with little-known facts from the biography of the great marine painter.

The artist was fluent in the Crimean Tatar language.
Aivazovsky did a lot to spread the culture of Crimean Tatar music. He played Crimean Tatar folk songs for Mikhail Ivanovich Glinka, which the composer then used for the opera Ruslan and Lyudmila.
He transferred the water from his estate Subash to the ownership of the city and defended the construction of a water pipe to the city. At that time it was a very important event.
The Crimean Tatars dedicated the song "Aivazovsky's Cheshmesi" to Aivazovsky:

Aivazovsky put a fountain,
Made of pure marble,

See how the water runs

Drink some water please

Aivazovsky put a fountain,
Made of pure marble,
From your fast source.
See how the water runs
Hear how the stream murmurs
Drink some water please
Remember Ivan Konstantinovich"

The Crimean Tatars called Aivazovsky Hovhannes-agha (as you know, at birth the artist was given the name Hovhannes - his ancestors were from the Galician Armenians).
There is information about Aivazovsky's acquaintance and communication with the Crimean Tatar Robin Hood Alim Aydamak. The artist himself told the local historian Colli about this. According to Aivazovsky, Alim Aydamak, having heard about the paintings of the famous marine painter, came to his estate to see them with his own eyes. This is how it is described in the “Izvestia of the Tauride Scientific Archival Commission”: “Once the artist’s assistant reported that a young Tatar had come, asking for a meeting with Ivan Konstantinovich.

– What do you need? - the artist asked a thirty-year-old man with "gray smart and pretty eyes" who entered.

I am Alim. Yes, the same one. Heard a lot about you, Hovhannes-aga. Everyone knows and appreciates you. Can I see your paintings?

Inspection of paintings ended at the table. Sipping coffee, Alim asked:

– Are you still single, Hovhannes-aga?

Yes, but I'm thinking of getting married soon.

- I'll be at your wedding! I want to see your bride!

And the robber did not deceive: when the wedding procession drove up to the estate of Aivazovsky Sheikh-Mamai, a rider appeared on the road. Jumping up to the carriage, Alim nodded to Aivazovsky: “Congratulations, your bride is really good!”, And threw a silk Turkish scarf on the newlywed’s knees.