What are architectural monuments for? Why are memorials needed?
Indeed, for what? It would seem that this question is easy to answer. From childhood, we were taught that literature and art help to understand the meaning of life, make us smarter, more receptive, spiritually richer. All this is true, of course. But it happens that even the right thought, having become familiar, ceases to disturb and excite a person, turns into a common phrase. Therefore, before answering the question “For what?”, and answering it in an adult, serious way, you need to think about a lot and understand a lot anew.
On the banks of the Nerl River near the city of Vladimir stands the Church of the Intercession. Quite small, light, lonely on a wide green plain. It is one of those buildings that the country is proud of and which are usually called "architectural monuments". In any, even the most brief book in the history of Russian art you will find a mention of it. You will learn that this church was built by order of Prince Andrei Bogolyubsky in honor of the victory over the Volga Bulgarians and in memory of Prince Izyaslav who died in battle; that it was placed at the confluence of two rivers - the Klyazma and the Nerl, at the "gates" of the Vladimir-Suzdal land; that on the facades of the building there are bizarre and magnificent stone carvings.
Nature is also beautiful: ancient dark oaks sometimes enchant our eyes no less than works of art. Pushkin did not tire of admiring the "free element" of the sea. But the beauty of nature hardly depends on man, it is forever renewed, new cheerful shoots grow to replace dying trees, dew falls and dries, sunsets fade. We admire nature and try to protect it as much as we can.
However, a hundred-year-old oak tree that remembers times gone by is not man-made. It does not have the warmth of his hands and the trembling of his thoughts, as in a statue, a picture, or a stone building. But the beauty of the Church of the Intercession is man-made, all this was done by people whose names have long been forgotten, people, probably very different, who knew grief, joy, longing and fun. Dozens of hands, strong, careful and skillful, folded, obeying the thought of an unknown builder, a white-stone slender miracle. Between us - eight centuries. Wars and revolutions, brilliant discoveries of scientists, historical upheavals, great changes in the destinies of peoples.
But here stands a small, fragile temple, its bright reflection slightly sways in the calm water of the Nerl, gentle shadows outline the outlines of stone animals and birds above the narrow windows - and time disappears. Just like eight hundred years ago, excitement is born in the human heart, joy is what people worked for.
Only art can do this. You can perfectly know hundreds of dates and facts, understand the causes and consequences of events. But nothing can replace a live encounter with history. Of course, a stone arrowhead is also a reality, but it does not contain the main thing - a person's idea of good, evil, harmony and justice - about the spiritual world of a person. And in art there is all this, and time is not able to interfere with it.
Art is the memory of the heart of the people. Art not only does not lose its beauty, it keeps evidence of how our ancestors looked at the world. Birds and lions, slightly angular human heads on the walls of the church - these are the images that lived in fairy tales, and then in the imagination of people.
No, the Church of the Intercession on the Nerl, like hundreds of other buildings, is not just an architectural monument, but a bunch of feelings and thoughts, images and ideas that make the past and present related. Precisely related in the truest sense of the word, because the white-stone church near Vladimir absorbed the features of Russian, national culture, in all its uniqueness. People want to understand each other, they strive to comprehend the main thing, the most essential in the spiritual life of each country.
One can make you think about many things - the only church built many centuries ago, it can stir up thousands of thoughts that a person did not suspect before, it can make each of us feel our indissoluble connection with the history and culture of the Motherland. In art, generations convey to each other the most valuable, intimate and sacred - the warmth of the soul, excitement, faith in beauty.
How can you not protect the priceless legacy of the past! Moreover, among all types of arts, it is precisely art and architecture are unique and unrepeatable. Indeed, even if only one out of a million copies of War and Peace survives, the novel will live on, it will be printed again. The only score of Beethoven's symphony will be rewritten and played again, people remember poems, poems and songs by heart. And paintings, palaces, cathedrals and statues, alas, are mortal. They can be restored, and even then not always, but it is impossible to repeat them the same.
This is partly why they cause quivering excitement, a feeling of uniqueness. Museum workers carefully look at the instrument readings - is the air dry, is the temperature lowered by a degree; new foundations are being laid under ancient buildings, ancient frescoes are being carefully cleared away, and statues are being renewed.
When reading a book, you are not dealing with the author's manuscript, and it is not so important with what ink "Eugene Onegin" is written. And in front of the canvas, we remember - it was touched by Leonardo's brush. And for painting or architecture, translation is not needed, we always “read” the picture in the original. Moreover, to a modern Italian, Dante's language may seem archaic and not always understandable, but for us it is just a foreign language, and we must use translation. But the smile of Madonna Benois touches both us and Leonardo's compatriots, it is dear to a person of any nation. And yet the Madonna is undoubtedly Italian - with an elusive lightness of gesture, golden skin, cheerful simplicity. She is a contemporary of her creator, a woman of the Renaissance, with a clear look, as if trying to discern the mysterious essence of things.
These amazing qualities make painting a particularly precious art. With its help, peoples and epochs speak to each other in a friendly and simple way; centuries and countries become closer. But this does not mean that art easily and without difficulty reveals its secrets. Often the antiquity leaves the viewer indifferent, his gaze dispassionately glides over the stone faces of the Egyptian pharaohs, so equally motionless, almost dead. And, perhaps, someone will have a thought that the ranks of dark statues are not so interesting, that it is hardly worth getting carried away by them.
Another thought may arise - yes, science needs historical values, but why do I need them? Respectful indifference impoverishes a person, he will not understand why people sometimes save works of art at the cost of their lives.
No, don't go easy! Peer into the granite faces of cruel, forgotten despots, do not let their outward monotony confuse you.
Think about why the sculptors of antiquity depicted their kings as such twins, as if sleeping in reality. After all, this is interesting - people, probably, have not changed so much in appearance since then, what made the sculptors make the statues exactly like that: indifferent flat eyes, a body filled with heavy strength, doomed to eternal immobility.
How amazing is the combination of completely specific, unique facial features, the shape of the eyes, the pattern of the lips with detachment, with the absence of any expression, feeling, excitement. Look at these portraits, look through the books. And even small grains of knowledge will be thrown New World on stone statues that seemed boring at first. It turns out that the cult of the dead made the ancient Egyptians see in the statues not just images of a person, but the abode of his spiritual essence, his life force, what in ancient Egypt was called "ka" and that, according to their ideas, continued to live after the physical death of people.
And if you imagine that these sculptures already existed when even Ancient Greece was still in the future, that they were not one thousand years old, but their stone eyes saw Thebes, the floods of the Nile at the foot of the still new pyramids, the chariots of the pharaohs, the soldiers of Napoleon. .. Then you will no longer ask yourself what is interesting in these granite figures.
Statues, even the most ancient ones, are not always kept in museums. They "live" on city streets and squares, and then their fates are closely and forever intertwined with the fate of the city, with the events that took place at their pedestals.
Let us recall the monument to Peter I in Leningrad, the famous "Bronze Horseman", created by the sculptor Falcone. Is the glory of this monument, one of the best monuments in the world, only in its artistic merit? For all of us, the "giant on a galloping horse" is a source of complex and exciting associations, thoughts, and memories. This is both an image of the distant past, when our homeland "married with the genius of Peter", and a magnificent monument to a politician who "raised" Russia. This monument became the personification of the old St. Petersburg, built up with low houses, which did not yet have granite embankments, which did not acquire its full grandeur. Only one bridge, temporary, pontoon, then connected the banks of the Neva, just opposite the Bronze Horseman. And the monument stood in the very center of the city, its busiest place, where the Admiralty side connected with Vasilyevsky Island. A crowd flowed past him, carriages roared past him, in the evenings the pale light of lanterns barely illuminated the formidable face of the king "he is terrible in the surrounding darkness ...". The sculpture has become one with Pushkin's poem and together with it - a symbol of the city. The flood sung by the poet, the menacing rumble of December 1825 and much that the history of St. Petersburg is famous for, happened here - at the Thunder - stone, the pedestal of the statue. And the famous white nights, when foggy transparent clouds slowly stretch across the bright sky, as if obeying the gesture of Peter’s imperiously outstretched hand, is it possible, thinking about them, not to recall the “Bronze Horseman”, around which so many generations saw the sight of so many poetic and unforgettable hours!
Art accumulates the feelings of hundreds of generations, becomes a receptacle and source of human experiences. In a small hall on the first floor of the Louvre in Paris, where reverent silence reigns at the statue of Venus de Milo, one involuntarily thinks about how many people were given happiness by contemplating the perfect beauty of this swarthy marble.
In addition, art, be it a statue, a cathedral or a painting, is a window into an unfamiliar world, separated from us by hundreds of years, through which one can see not only the visible appearance of the era, but also its essence. The way people felt about their time.
But you can look deeper: in the thoroughness of the stroke of the Dutch painters, in their sensitivity to the charm material world, to the charm and beauty of "inconspicuous" things - love for an established way of life. And this is not petty philistine love, but a deeply meaningful, lofty feeling, both poetic and philosophical. Life was not easy for the Dutch, they had to win land from the sea, and freedom from the Spanish conquerors. And that is why the sunny square on the waxed parquet, the velvety skin of an apple, the fine chasing of a silver glass in their paintings become witnesses and expressions of this love.
Take a look at the paintings of Jan van Eyck, the first great master of the Dutch Renaissance, how he paints things, the microscopic details of being. In every movement of the brush - a naive and wise admiration for what the artist depicts; he shows things in their original and surprisingly attractive essence, we feel the fragrant elasticity of fruits, the slippery coolness of dryly rustling silk, the cast heaviness of a bronze chandelier.
Thus, in art, the spiritual history of mankind passes before us, the history of the discovery of the world, its meaning, and not yet fully known beauty. After all, each generation reflects it anew and in its own way.
There are many things on our planet that have no utilitarian value, that can neither feed nor warm people, nor cure diseases, these are works of art.
People, as best they can, protect them from merciless time. And not only because "useless" works cost millions. It's not about that.
People understand that cultural monuments are the common heritage of generations, which allows us to feel the history of the planet as our own and dear.
The art of the past is the youth of civilization, the youth of culture. Without knowing it or neglecting it, you can live your life without becoming a real person, conscious of responsibility for the past and future of the Earth. Therefore, we are not surprised that they spend energy, time and money on the restoration of ancient buildings, that paintings, like people, are treated, they are given injections and shine through on x-rays.
A museum, an old church, a picture darkened by time - for us this is the past. Is it just the past?
Many years will pass. New cities will be built; modern jet planes will become funny and slow, and a train ride will seem as amazing as a journey in a mail coach to us.
But the Church of the Intercession on the Nerl will remain the same as eight centuries ago. AND . And a statue of Venus de Milo. All this already today belongs to the future. To the grandchildren of our grandchildren. This is something that should not be forgotten. The fact that the cultural monuments of distant eras are an eternal torch that is passed on to each other by different generations. And it depends on us that the flame in it does not waver even for a minute.
As paradoxical as it sounds, it is by encountering the culture of the past that we can feel the breath of the future. That future, when the value of art and humanity will be clear and undeniable for everyone. The Romans said that art is eternal and life is short. Fortunately, this is not entirely true, because immortal art is created by people. And it is in our power to preserve the immortality of mankind.
Every person should know about the place where he was born and lives. IN big country each person has a small corner - a village, a street, a house where he was born. This is his little home. And our common great Motherland consists of many such small native corners.
We live in a small town, but do we know our city? How do we treat it cultural heritage?
There are many monuments in our city, but people know little about their history, that not all the monuments are known to the inhabitants of our city, and they know even less about the events in honor of which these monuments were erected. Why?Why are monuments erected in cities?What is the significance of the monument in our life?
People are passing by, rushing about. It's just that the townspeople do not notice things that seem ordinary to them, but in fact are fraught with great cultural and historical value. Our city is associated with many great events and interesting people. There are many structures that keep the memory of these events and people. These include sculptural monuments, busts, pedestals, memorial plaques and steles that commemorate the heroic efforts and sacrifices of soldiers on the fronts and home front workers in the years of past wars, and theirwe have a large number.
People should know and remember the history and heroes of their city in order tolearn to respect the ancestors and remember what in turn will be needed for their descendants. Everyone begins to learn responsibility - moral responsibility to the people of the past and at the same time to the people of the future.
All these objects may have the category of federal, regional or local historical and cultural significance.
Our monuments
There are many historical buildings in our city that are attraction his.
| The building of the Spassky garrison officers' assembly, built in 1906-1907. | Trading house Gervas and Savchenko | Z given to the Spassk mixed progymnasium |
http://www.timerime.com/en/timeline/3258748/+/
Conclusion. In the course of work, we learned that our city has a great cultural heritage, represented by architectural monuments. They give a special look and historical flavor to the city.
Only by learning a little more about the city, architecture and society, we will be able to form a competent society that can take responsibility for urban space and, together, preserve our cultural heritage.
Without knowing the past or neglecting it, one can live life without becoming a real person, conscious of responsibility for the past and future of the Earth.
As paradoxical as it sounds, it is by encountering the culture of the past that we can feel the breath of the future. That future, when the value of art and humanity will be clear and undeniable for everyone.
Why are monuments needed? Probably, to understand and appreciate your country, its history, to respect yourself for being a part of something big, important, to appreciate and protect our common achievements.
Why are monuments needed? To instill in citizens, especially among young people, a sense of pride in their ancestors, for their state, a readiness to defend it with weapons in their hands when the enemy attacks. Monuments should give rise to pride in the ancestors...
The Romans said that art is eternal and life is short. Fortunately, this is not entirely true, because immortal art is created by people. And it is in our power to preserve the immortality of mankind.
It must be remembered that thethe waste of cultural values is irreplaceable and irreversible.
Already in ancient times, the rulers were well aware of the influence of monumental structures on the consciousness and psyche of people. Monuments with their greatness give emotional charge, inspire respect for the history of their country, help to preserve a significant past. They are designed to instill in citizens a sense of pride in their ancestors. Sometimes monuments are erected to living people who distinguished themselves by something good.
Quite a bit of time will pass, and there will be no survivors of the Great Patriotic War. The presence of a monument that tells about the feat of the Russian people will allow descendants not to forget about these years. In any locality in our country, you can find stone evidence of this cruel time. There is an invisible connection between monuments and society. The historical and cultural environment, of which monuments are a part, influences the formation of the worldview of each inhabitant.
In addition, historical and cultural monuments are information that is needed to predict future processes. Science, using such archaeological material as monuments, not only restores what happened in the past, but also makes predictions. In architectural terms, monuments help to organize space, play the role of a visual center of public space.
For an objective understanding of cultural and historical processes it is important for society to preserve monuments. Attitude towards them is determined by the position of society towards its past and can be manifested by ignorance, care and deliberate destruction. It depends on many factors - on the level of education and culture of the population, the dominant ideology, the position of the state towards its cultural heritage, political structure, the economic state of the country. The higher the education, culture, economy of a society, the more humane its ideology, the more consciously it relates to its historical and cultural heritage.
Throughout our country, in view of its heroic past, monuments of military antiquity are scattered. Enough to name Arc de Triomphe on Victory Square and the equestrian monument to M.I. Kutuzov near the museum-panorama "Battle of Borodino", Monument-chapel to the grenadiers - the heroes of Plevna as a reminder of one of Russian-Turkish wars the last century. And about the Great Patriotic War and there is nothing to say. In any settlement you can find stone evidence of that cruel time. Let's take Volgograd, one of those cities that suffered the most in World War II. The gratitude of the country for the resilience of Stalingrad was embodied in the world-famous monument to the Motherland and the sculptural ensemble "Mamaev Kurgan", which since those turbulent times have become a symbol of the city.
Be that as it may, but from any monument it breathes something grave and fatal. Moreover, this applies not only to military monuments, obelisks and tombstones, but also to sculptures installed to perpetuate the good deeds of cultural and politicians. Monuments, with rare exceptions, are erected in memory of people who have already died. And it doesn’t matter when a person went into eternity: a week, a month, 10 years or 200 years ago, anyway, his stone or bronze statue breathes the past.
No one says that it is necessary to consign the exploits of the ancestors to oblivion and demolish all the monuments to the ground. No way: this is our history, our culture. It is about simply giving universal and timeless cultural values.
In Volgograd, for example, the first steps towards this have been taken. In 2005, 3 new monuments were erected in the shortest possible time: bronze sculpture Guardian Angel, a monument to the Lovers and a monument to the Doctors of Tsaritsyn - Stalingrad - Volgograd. They differ from all other monuments and sculptures of the hero-city by their non-personality, aspiration to the future and to spiritual values. In particular, the sculpture of the Guardian Angel is designed to protect the townspeople from harm.
The words "Holy angel, pray to God for us" are carved on the pedestal. And the sculpture itself is bronze angel with open wings, standing on a granite hemisphere. His soulful and kind face is turned to the Volga, his hands are folded in a majestic prayer for all the townspeople.
But, like any cultural phenomenon, there were both supporters and opponents. Some saw in the Angel a resemblance to a demon, more loyal critics simply emphasized the alienness of the monument to the Russian consciousness due to the fact that the sculptural image of an angel is not characteristic of Orthodoxy.
A capsule with innermost desires and dreams of Volgograd residents was placed at the base of the statue. After the erection of the monument, a sign was born that if you make a wish and touch the wing of an Angel, then it will certainly come true. Like it or not, history is silent. But the residents of the city still enjoy it. After all, it is widely known how quickly any cultural points are overgrown with myths and legends and how pleasant it is for people to believe in them. Even complete skeptics rub the dog's nose to a shine in Moscow and the muzzle of a gun on Revolution Square in the metro, and in the hero city, stretching for many tens of kilometers along the Volga in defiance of the circular laws of city formation, they now rub Angel's wings.
The monument "Medics of Tsaritsyn - Stalingrad - Volgograd" is installed in front of the main entrance to the Volgograd State Medical University. The unveiling of the statue was timed to coincide with the celebration of the 70th anniversary of the university. The monument itself was erected in honor of all medical workers who selflessly fight for the life and health of their patients. sculptural composition represents a pair of hands carved in granite and connected in the form of a heart, from which a "sprout of life" breaks out against the background of a cardiogram. The author of this composition, as well as the sculpture of the Guardian Angel of Volgograd, is the Honored Architect of Russia Sergey Shcherbakov.
Hurrying about their business, the inhabitants of the city now and then peer with bewilderment at this "creation" of human hands. In this abstract sculpture, some are depressing by its excessive intricacy. Like, if it were not for the inscription on granite, it would be impossible to guess who this monument is dedicated to. But there is an inscription, the location of the monument speaks for itself, a granite slab, crossed arms and a cardiogram symbolize a vital organ - the heart, and therefore life itself.
Even less enthusiastic reviews of the townspeople refer to the monument to the Lovers, the author of which is no longer a Russian architect, but a Florentine sculptor Silvio Bellucci. However, the preferences of Volgograd residents are determined not at all by a sense of patriotism, but by aesthetic views. The Monument to the Lovers, or the fountain of love, consists of two bronze nude figures of a man and a woman, for some reason turned their backs to each other (people say it even more simply - see photo). There is nothing vulgar and vulgar in this sculpture, but something is still missing. Lovers who at all times love to date in "cult" places, this dubious place was immediately put on the "must date" list, but this is unlikely to add romance to their meetings. However, there is no dispute about tastes.
These are the new monuments of the new time ... And as for the speculation regarding the connection between the rapid "planting" of monuments with the change in the city's leadership, as well as the dubious aesthetic merits of the above "troika", so let them remain speculation. Despite all the apparent and real shortcomings attributed by harsh critics and ordinary citizens to the new Volgograd monuments, the very idea of putting the universal and spiritual on a pedestal cannot be condemned.
Arguments for an essay in the Russian language.
Historical memory: past, present, future.
The problem of memory, history, culture, monuments, customs and traditions, the role of culture, moral choice etc.
Why should history be preserved? The role of memory. J. Orwell "1984"
In George Orwell's 1984, people are devoid of history. The homeland of the protagonist is Oceania. This is a huge country waging continuous wars. Under the influence of cruel propaganda, people hate and seek to lynch former allies, declaring yesterday's enemies to be their best friends. The population is suppressed by the regime, it is unable to think independently and obeys the slogans of the party that controls the inhabitants for personal gain. Such enslavement of consciousness is possible only with the complete destruction of the memory of people, the absence of their own view of the history of the country.The history of one life, like the history of a whole state, is an endless series of dark and bright events. We need to learn valuable lessons from them. The memory of the life of our ancestors should protect us from repeating their mistakes, serve as an eternal reminder of everything good and bad. Without the memory of the past, there is no future.
Why remember the past? Why do you need to know history? Argument from D.S. Likhachev "Letters about the good and the beautiful".
Memory and knowledge of the past fill the world, make it interesting, significant, spiritualized. If you do not see his past behind the world around you, it is empty for you. You are bored, you are dreary, and you end up alone. Let the houses we walk past, let the cities and villages in which we live, even the factory we work at, or the ships we sail on, be alive for us, that is, having a past! Life is not a one-time existence. Let us know the history - the history of everything that surrounds us on a large and small scale. This is the fourth, very important dimension of the world. But we must not only know the history of everything that surrounds us, but also keep this history, this immense depth of our surroundings.Why does a person need to keep customs? Argument from D.S. Likhachev "Letters about the good and the beautiful"
Please note: children and young people are especially fond of customs, traditional festivities. For they master the world, master it in tradition, in history. Let us more actively protect everything that makes our life meaningful, rich and spiritual.The problem of moral choice. Argument from M.A. Bulgakov "Days of the Turbins".
The heroes of the work must make a decisive choice, the political circumstances of the time force them to do so. The main conflict of Bulgakov's play can be designated as a conflict between man and history. In the course of the development of the action, the heroes-intellectuals enter into a direct dialogue with History in their own way. So, Alexei Turbin, understanding the doom white movement, betrayal of the "headquarters mob", chooses death. Nikolka, who is spiritually close to his brother, has a presentiment that a military officer, commander, a man of honor Alexei Turbin will prefer death to the shame of dishonor. Reporting on his tragic death, Nikolka mournfully says: "They killed the commander ...". - as if in full agreement with the responsibility of the moment. The elder brother made his civil choice.Those who remain will have to make this choice. Myshlaevsky, with bitterness and doom, states the intermediate and therefore hopeless position of the intelligentsia in a catastrophic reality: “In front are the Red Guards, like a wall, behind are speculators and all kinds of riffraff with the hetman, but am I in the middle?” He is close to the recognition of the Bolsheviks, "because behind the Bolsheviks there are a cloud of peasants ...". Studzinsky is convinced of the need to continue the fight in the ranks of the White Guard, and is rushing to the Don to Denikin. Elena is leaving Talbert, a man whom she cannot respect, by her own admission, and will try to build new life with Shervinsky.
Why is it necessary to preserve historical and cultural monuments? Argument from D.S. Likhachev "Letters about the good and the beautiful".
Each country is an ensemble of arts.Moscow and Leningrad are not only dissimilar, they contrast with each other and therefore interact. It is no coincidence that they are connected by a railway so direct that, having traveled in a train at night without turns and with only one stop, and getting to the station in Moscow or Leningrad, you see almost the same station building that saw you off in the evening; the facades of the Moscow railway station in Leningrad and Leningradsky in Moscow are the same. But the similarity of the stations emphasizes the sharp dissimilarity of the cities, the dissimilarity is not simple, but complementary. Even art objects in museums are not just stored, but constitute some cultural ensembles associated with the history of cities and the country as a whole.
Look in other cities. Icons are worth seeing in Novgorod. This is the third largest and most valuable center of ancient Russian painting.
In Kostroma, Gorky and Yaroslavl, you should watch Russian painting XVIII and XIX centuries (these are the centers of Russian noble culture), and in Yaroslavl also the "Volga" XVII century, which is represented here like nowhere else.
But if you take our entire country, you will be surprised at the diversity and originality of cities and the culture stored in them: in museums and private collections, and just on the streets, because almost every old house is a treasure. Some houses and entire cities are expensive with their wooden carvings (Tomsk, Vologda), others - with amazing layout, embankment boulevards (Kostroma, Yaroslavl), others - with stone mansions, and fourth - with intricate churches.
Preserve the diversity of our cities and villages, preserve in them historical memory, their common national-historical identity is one of the most important tasks of our urban planners. The whole country is a grandiose cultural ensemble. It must be preserved in its amazing wealth. It is not only historical memory that educates a person in his city and in his village, but his country as a whole educates a person. Now people live not only in their "point", but in the whole country and not only in their century, but in all the centuries of their history.
What role do historical and cultural monuments play in human life? Why is it necessary to preserve historical and cultural monuments? Argument from D.S. Likhachev "Letters about the good and the beautiful"
Historical memories are especially vivid in parks and gardens - associations of man and nature.Parks are valuable not only for what they have, but also for what they used to have. The temporal perspective that opens up in them is no less important than the visual perspective. "Memories in Tsarskoye Selo" - this is how Pushkin called the best of his earliest poems.
The attitude to the past can be of two kinds: as a kind of spectacle, theater, performance, scenery, and as a document. The first attitude seeks to reproduce the past, to revive its visual image. The second seeks to preserve the past, at least in its partial remnants. For the first in landscape art it is important to recreate the external, visual image of the park or garden as it was seen at one time or another of his life. For the second, it is important to feel the evidence of time, documentation is important. The first says: this is how he looked; the second testifies: this is the same one, he was, perhaps, not like that, but this is truly the one, these are those lindens, those garden buildings, those very sculptures. Two or three old hollow lindens among hundreds of young ones will testify: this is the same alley - here they are, the old-timers. And there is no need to take care of young trees: they grow quickly and soon the alley will take on its former appearance.
But there is another essential difference in the two attitudes to the past. The first will require: only one era - the era of the creation of the park, or its heyday, or something significant. The second will say: let all epochs live, one way or another significant, the whole life of the park is valuable, memories of different epochs and different poets who sang these places are valuable, and the restoration will require not restoration, but preservation. The first attitude to parks and gardens opened in Russia Alexander Benois with its aesthetic cult of the time of Empress Elizabeth Petrovna and her Catherine's Park in Tsarskoe Selo. Akhmatova argued poetically with him, for whom Pushkin, and not Elizabeth, was important in Tsarskoye: “Here lay his cocked hat and a disheveled volume of Guys.”
The perception of a monument of art is only complete when it mentally recreates, creates together with the creator, is full of historical associations.
The first relation to the past creates, in general, study guides, training layouts: watch and know! The second attitude to the past requires truth, analytical ability: one must separate age from the object, one must imagine how it was, one must explore to some extent. This second attitude requires more intellectual discipline, more knowledge from the viewer himself: look and imagine. And this intellectual attitude to the monuments of the past sooner or later arises again and again. It is impossible to kill the true past and replace it with a theatrical one, even if theatrical reconstructions destroyed all the documents, but the place remains: here, in this place, on this soil, in this geographical point, it was - it was, it, something memorable happened.
Theatricality also penetrates into the restoration of architectural monuments. Authenticity is lost among the presumably restored. Restorers trust random evidence if this evidence allows them to restore this architectural monument in such a way that it could be especially interesting. This is how the Evfimievskaya chapel was restored in Novgorod: a small temple on a pillar turned out. Something completely alien to ancient Novgorod.
How many monuments were destroyed by restorers in the 19th century as a result of introducing elements of the aesthetics of the new time into them. The restorers sought symmetry where it was alien to the very spirit of the style - Romanesque or Gothic - they tried to replace the live line with a geometrically correct one, calculated mathematically, etc. Cologne Cathedral, Notre Dame in Paris, and the Abbey of Saint-Denis are dried up like that . Entire cities in Germany were dried up, mothballed, especially during the period of idealization of the German past.
Attitude to the past forms its own national image. For each person is a bearer of the past and a bearer of national character. Man is part of society and part of its history.
What is memory? What is the role of memory in human life, what is the value of memory? Argument from D.S. Likhachev "Letters about the good and the beautiful"
Memory is one of the most important properties of being, of any being: material, spiritual, human…Memory is possessed by individual plants, stone, on which traces of its origin remain, glass, water, etc.
Birds have the most complex forms of tribal memory, allowing new generations of birds to fly in the right direction to the right place. In explaining these flights, it is not enough to study only the "navigational techniques and methods" used by birds. Most importantly, the memory that makes them look for winter quarters and summer quarters is always the same.
And what to say about genetic memory”- a memory laid down for centuries, a memory passing from one generation of living beings to the next.
However, memory is not mechanical at all. This is the most important creative process: it is the process and it is creative. What is needed is remembered; through memory, good experience is accumulated, a tradition is formed, everyday skills, family skills, work skills, social institutions are created ...
Memory resists the destructive power of time.
Memory - overcoming time, overcoming death.
Why is it important for a person to remember the past? Argument from D.S. Likhachev "Letters about the good and the beautiful"
The greatest moral significance of memory is the overcoming of time, the overcoming of death. “Forgetful” is, first of all, an ungrateful, irresponsible person, and therefore incapable of good, disinterested deeds.Irresponsibility is born from the lack of consciousness that nothing passes without leaving a trace. A person who commits an unkind deed thinks that this deed will not be preserved in his personal memory and in the memory of those around him. He himself, obviously, is not used to preserving the memory of the past, feeling gratitude to his ancestors, to their work, their cares, and therefore thinks that everything will be forgotten about him.
Conscience is basically memory, to which is added a moral assessment of what has been done. But if the perfect is not stored in memory, then there can be no evaluation. Without memory there is no conscience.
That is why it is so important to be brought up in a moral climate of memory: family memory, national memory, cultural memory. Family photos are one of the most important "visual aids" for the moral education of children, and adults as well. Respect for the work of our ancestors, for their labor traditions, for their tools, for their customs, for their songs and entertainment. All this is precious to us. And just respect for the graves of ancestors.
Remember Pushkin:
Two feelings are wonderfully close to us -
In them the heart finds food -
Love for native land
Love for father's coffins.
Living shrine!
The earth would be dead without them.
Our consciousness cannot immediately get used to the idea that the earth would be dead without love for the coffins of the fathers, without love for the native ashes. Too often we remain indifferent or even almost hostile to the disappearing cemeteries and ashes - the two sources of our not too wise gloomy thoughts and superficially heavy moods. Just as the personal memory of a person forms his conscience, his conscientious attitude towards his personal ancestors and relatives - relatives and friends, old friends, that is, the most faithful, with whom he is connected by common memories - so the historical memory of the people forms a moral climate in which people live. Maybe one could think about building morality on something else: completely ignore the past with its sometimes mistakes and painful memories and be directed entirely to the future, build this future on “reasonable grounds” in themselves, forget about the past with its dark and light sides.
This is not only unnecessary, but also impossible. The memory of the past is primarily "bright" (Pushkin's expression), poetic. She educates aesthetically.
How are the concepts of culture and memory related? What is memory and culture? Argument from D.S. Likhachev "Letters about the good and the beautiful"
Human culture as a whole not only has memory, but it is memory par excellence. The culture of mankind is the active memory of mankind, actively introduced into modernity.In history, every cultural upsurge was in one way or another associated with an appeal to the past. How many times has humanity, for example, turned to antiquity? There were at least four major, epoch-making conversions: under Charlemagne, under the Palaiologos dynasty in Byzantium, in the Renaissance, and again at the end of the 18th - early XIX century. And how many "small" appeals of culture to antiquity - in the same Middle Ages. Each appeal to the past was "revolutionary", that is, it enriched the present, and each appeal understood this past in its own way, took from the past what it needed to move forward. I am talking about turning to antiquity, but what did the turning to its own national past give for each people? If it was not dictated by nationalism, a narrow desire to isolate itself from other peoples and their cultural experience, it was fruitful, for it enriched, diversified, expanded the culture of the people, its aesthetic susceptibility. After all, every appeal to the old in the new conditions was always new.
Knew several calls to Ancient Rus' and post-Petrine Russia. There were different sides to this appeal. The discovery of Russian architecture and icons at the beginning of the 20th century was largely devoid of narrow nationalism and very fruitful for the new art.
I would like to demonstrate the aesthetic and moral role memory on the example of Pushkin's poetry.
In Pushkin, memory plays a huge role in poetry. The poetic role of memories can be traced from Pushkin's childhood, youthful poems, of which the most important is "Memories in Tsarskoye Selo", but in the future the role of memories is very great not only in Pushkin's lyrics, but even in the poem "Eugene".
When Pushkin needs to introduce a lyrical element, he often resorts to reminiscences. As you know, Pushkin was not in St. Petersburg during the flood of 1824, but still in " The Bronze Horseman» the flood is colored by remembrance:
“It was a terrible time, the memory of it is fresh ...”
Their historical works Pushkin also colors the shares of personal, ancestral memory. Remember: in "Boris Godunov" his ancestor Pushkin acts, in "Moor of Peter the Great" - also an ancestor, Hannibal.
Memory is the basis of conscience and morality, memory is the basis of culture, the "accumulations" of culture, memory is one of the foundations of poetry - an aesthetic understanding of cultural values. Preserving memory, preserving memory is our moral duty to ourselves and to our descendants. Memory is our wealth.
What is the role of culture in human life? What are the consequences of the disappearance of monuments for humans? What role do historical and cultural monuments play in human life? Why is it necessary to preserve historical and cultural monuments? Argument from D.S. Likhachev "Letters about the good and the beautiful"
We care about our own health and the health of others, we make sure that we eat right, that the air and water remain clean and unpolluted.The science that deals with conservation and restoration surrounding nature is called ecology. But ecology should not be limited only by the tasks of preserving the biological environment around us. Man lives not only in the natural environment, but also in the environment created by the culture of his ancestors and by himself. The preservation of the cultural environment is a task no less important than the preservation of the natural environment. If nature is necessary for man for his biological life, then the cultural environment is no less necessary for his spiritual, moral life, for his "spiritual settled way of life", for his attachment to his native places, following the precepts of his ancestors, for his moral self-discipline and sociality. Meanwhile, the question of moral ecology is not only not studied, but it has not been raised either. Individual types of culture and the remnants of the cultural past, issues of restoration of monuments and their preservation are studied, but the moral significance and influence on a person of the entire cultural environment as a whole, its influencing force, is not studied.
But the fact of the educational impact on a person of the surrounding cultural environment is not subject to the slightest doubt.
A person is brought up in the cultural environment surrounding him imperceptibly. He is brought up by history, the past. The past opens a window to the world for him, and not only a window, but also doors, even gates - triumphal gate. To live where the poets and prose writers of great Russian literature lived, to live where the great critics and philosophers lived, to absorb daily impressions that are somehow reflected in the great works of Russian literature, to visit museum apartments means to gradually enrich yourself spiritually.
Streets, squares, canals, individual houses, parks remind, remind, remind... Unobtrusively and unobtrusively, the impressions of the past enter into spiritual world man, and a man with an open mind enters the past. He learns respect for his ancestors and remembers what in turn will be needed for his descendants. The past and the future become their own for a person. He begins to learn responsibility - moral responsibility to the people of the past and at the same time to the people of the future, for whom the past will be no less important than for us, and perhaps even more important with the general rise of culture and the increase in spiritual demands. Caring for the past is also caring for the future...
To love one's family, one's childhood impressions, one's home, one's school, one's village, one's city, one's country, one's culture and language, the whole globe is necessary, absolutely necessary for a person's moral settledness.
If a person does not like to look at least occasionally at old photographs of his parents, does not appreciate the memory of them left in the garden that they cultivated, in the things that belonged to them, then he does not love them. If a person does not like old houses, old streets, even if they are inferior, then he does not have love for his city. If a person is indifferent to the historical monuments of his country, then he is indifferent to his country.
To a certain extent, losses in nature are recoverable. Quite different with cultural monuments. Their losses are irreplaceable, because cultural monuments are always individual, always associated with a certain era in the past, with certain masters. Each monument is destroyed forever, distorted forever, wounded forever. And he is completely defenseless, he will not restore himself.
Any newly built monument of antiquity will be devoid of documentation. It will only be “appearance.
The "reserve" of cultural monuments, the "reserve" of the cultural environment is extremely limited in the world, and it is being depleted at an ever-increasing rate. Even the restorers themselves, sometimes working according to their own, insufficiently tested theories or modern ideas of beauty, become more destroyers of the monuments of the past than their protectors. Destroy monuments and city planners, especially if they do not have clear and complete historical knowledge.
On the ground it becomes crowded for cultural monuments, not because there is not enough land, but because the builders are attracted to old places, inhabited, and therefore seem especially beautiful and tempting for city planners.
Urban planners, like no one else, need knowledge in the field of cultural ecology. Therefore, local history should be developed, it should be disseminated and taught in order to solve local issues on the basis of it. ecological problems. Local history brings up love for native land and gives the knowledge, without which it is impossible to preserve cultural monuments in the field.
We must not lay full responsibility for neglecting the past on others, or simply hoping that special state and public organizations are engaged in the preservation of the culture of the past and “this is their business”, not ours. We ourselves must be intelligent, cultured, educated, understand beauty and be kind - namely, kind and grateful to our ancestors, who created for us and our descendants all that beauty that no one else, namely we are sometimes unable to recognize, accept in mine moral world, store and actively protect.
Each person must know among what beauty and what moral values he lives. He should not be self-confident and impudent in rejecting the culture of the past indiscriminately and "judgment". Everyone is obliged to take a feasible part in the preservation of culture.
We are responsible for everything, and not someone else, and it is in our power not to be indifferent to our past. It is ours, in our common possession.
Why is it important to preserve historical memory? What are the consequences of the disappearance of monuments for humans? The problem of changing the historical appearance of the old city. Argument from D.S. Likhachev "Letters about the good and the beautiful".
In September 1978, I was on the Borodino field together with the most wonderful restorer Nikolai Ivanovich Ivanov. Have you paid attention to what kind of people dedicated to their work are found among restorers and museum workers? They cherish things, and things repay them with love. Things, monuments give their keepers love for themselves, affection, noble devotion to culture, and then a taste and understanding of art, an understanding of the past, a penetrating attraction to the people who created them. Real love to people, to monuments whether never remains unanswered. That is why people find each other, and the earth, well-groomed by people, finds people who love it and itself responds to them in the same way.For fifteen years, Nikolai Ivanovich did not go on vacation: he cannot rest outside the Borodino field. He lives for several days of the Battle of Borodino and the days that preceded the battle. The Borodin field has a colossal educational value.
I hate war, I have endured Leningrad blockade, Nazi shelling civilians from warm shelters, in positions on the Duderhof heights, I was an eyewitness to the heroism with which they defended Soviet people their homeland, with what incomprehensible steadfastness they resisted the enemy. Perhaps that is why the Battle of Borodino, which always amazed me with its moral strength, acquired for me new meaning. Russian soldiers beat off eight fiercest attacks on Raevsky's battery, which followed one after another with unheard-of persistence.
In the end, the soldiers of both armies fought in complete darkness, by touch. The moral strength of the Russians was multiplied tenfold by the need to defend Moscow. And Nikolai Ivanovich and I bared our heads in front of the monuments to the heroes erected on the Borodino field by grateful descendants ...
In my youth, I first came to Moscow and accidentally came across the Church of the Assumption on Pokrovka (1696-1699). It cannot be imagined from the surviving photographs and drawings, it should have been seen surrounded by low ordinary buildings. But people came and demolished the church. Now this place is empty...
Who are these people who destroy the living past, the past, which is also our present, because culture does not die? Sometimes it is the architects themselves - one of those who really want to put their "creation" in a winning place and are too lazy to think about something else. Sometimes these are completely random people, and we are all to blame for this. We need to think about how this doesn't happen again. Monuments of culture belong to the people, and not only to our generation. We are responsible for them to our descendants. We will be in great demand in a hundred and two hundred years.
Historic cities are inhabited not only by those who now live in them. They are inhabited by great people of the past, whose memory cannot die. Pushkin and Dostoevsky with the characters of his "White Nights" were reflected in the canals of Leningrad.
The historical atmosphere of our cities cannot be captured by any photographs, reproductions or models. This atmosphere can be revealed, emphasized by reconstructions, but it can also be easily destroyed - destroyed without a trace. She is unrecoverable. We must preserve our past: it has the most effective educational value. It instills a sense of responsibility towards the motherland.
Here is what the Petrozavodsk architect V. P. Orfinsky, the author of many books on the folk architecture of Karelia, told me. On May 25, 1971, a unique chapel burned down in the Medvezhyegorsk region early XVII century in the village of Pelkula - an architectural monument of national importance. And no one even began to find out the circumstances of the case.
In 1975, another architectural monument of national importance burned down - the Church of the Ascension in the village of Tipinitsy, Medvezhyegorsk region - one of the most interesting tent churches of the Russian North. The reason is lightning, but the true root cause is irresponsibility and negligence: the high-rise tent pillars of the Ascension Church and the bell tower interlocked with it did not have elementary lightning protection.
The tent of the Nativity Church of the 18th century in the village of Bestuzhev, Ustyansky district, Arkhangelsk region, fell down - the most valuable monument of tent architecture, the last element of the ensemble, very accurately placed in the bend of the Ustya River. The reason is complete neglect.
And here is a little fact about Belarus. In the village of Dostoevo, where Dostoevsky's ancestors came from, there was a small church of the 18th century. Local authorities, in order to get rid of responsibility, fearing that the monument would be registered as protected, ordered to demolish the church with bulldozers. All that remained of her were measurements and photographs. It happened in 1976.
Many such facts could be collected. What to do so that they do not repeat? First of all, one should not forget about them, pretend that they did not exist. Prohibitions, instructions and boards with the indication “Protected by the state” are also not enough. It is necessary that the facts of a hooligan or irresponsible attitude towards cultural heritage are strictly examined in the courts and the perpetrators are severely punished. But even this is not enough. Absolutely necessary in high school study local history, engage in circles on the history and nature of their region. It is youth organizations that should first of all take patronage over the history of their region. Finally, and most importantly, secondary school history curricula need to include lessons in local history.
Love for one's Motherland is not something abstract; it is also love for one's city, for one's locality, for the monuments of its culture, pride in one's history. That is why the teaching of history at school should be specific - on the monuments of history, culture, and the revolutionary past of one's locality.
One cannot only call for patriotism, it must be carefully educated - to educate love for one's native places, to educate spiritual settledness. And for all this it is necessary to develop the science of cultural ecology. Not only natural environment, but also the cultural environment, the environment of cultural monuments and its impact on humans should be subjected to careful scientific study.
There will be no roots in the native area, in home country- there will be many people similar to the steppe plant tumbleweed.
Why do you need to know history? Relationship between past, present and future. Ray Bradbury "The Thunder Came"
Past, present and future are interconnected. Every action we take affects the future. So, R. Bradbury in the story "" invites the reader to imagine what could happen if a person had a time machine. In his fictional future, there is such a machine. Thrill-seekers are offered a safari in time. Main character Eckels embarks on an adventure, but he is warned that nothing can be changed, only those animals that must die from diseases or for some other reason can be killed (all this is specified by the organizers in advance). Caught in the Age of Dinosaurs, Eckels becomes so frightened that he runs out of the allowed area. His return to the present shows how important every detail is: on his sole was a trampled butterfly. Once in the present, he found that the whole world had changed: the colors, the composition of the atmosphere, the person, and even the spelling rules had become different. Instead of a liberal president, a dictator was in power.Thus, Bradbury conveys the following idea: the past and the future are interconnected. We are responsible for every action we take.
It is necessary to look into the past in order to know your future. Everything that has ever happened has affected the world we live in. If you can draw a parallel between the past and the present, then you can come to the future you want.
