Preview:
Head Mukhamedyarova N.A.
E.Volkova gr. MO-32
What are museums for?
In order to talk about the role of historical and cultural heritage in our lives, that is, the role of museums, we will answer the questions: what are so-called museums, why are they needed and what needs to be done with them so that young people start visiting them.
A museum is an institution engaged in collecting, studying, and storing monuments of natural history, material and spiritual culture. At first, this concept meant a collection of exhibits on art and science, then from a certain period of time, we will not go into details, since no one will remember it anyway and will not consider it necessary to remember, it includes the building where these monuments were located. Now there are a lot of museums, such as local history, history, literature, music, natural science, theater, and so on. With the development of computer technology, virtual museums appeared. From this small explanation we can construct our own answer to the question: what are they for?
There are few people who have not visited a museum at least once in their lives, if only because a person has been exposed to culture since childhood. If parents do not do this, then in educational institutions, visiting such institutions is included in the educational program. Sometimes after visiting a museum, children ask the following question: “Why are museums needed?” This question can be forgiven for children, but adults must understand why a museum is needed.
To understand why museums are needed, you need to understand what exactly they are - museums represent memory. Therefore, to answer the question why they are needed, we can only say that they remember, appreciate and know. Museums represent history, so it is necessary to understand that without knowing history, it will be difficult to imagine the future, and therefore difficult to build it.
At a certain period in every person’s life, there is a need to consider the path traveled and understand something. The emergence of museums at the moment is connected with the same thing. Museums arose at a time when humanity and society had a need to look back, as well as a need for self-awareness and self-knowledge. All modern museums have appeared over the past few centuries.
Museums are reliable custodians of historical memory and heritage of past eras. Museums are of great importance in our lives. They reflected the lives of those people who lived a long time ago and beyond.
There are many different thematic museums and exhibitions around the world. Significant and not so significant, they invite their visitors to familiarize themselves with the exhibition and form their opinion about a particular artist, sculptor, period of history or country. Among them there are those who claim unconditional leadership. These are the largest museums in the world, which have enormous influence on others and shape public opinion, as well as being trendsetters.
One of the most famous is the Louvre, located in Paris, the capital of France. Its exhibition is located in the royal palace, built 800 years ago - and it itself can act as one of the exhibits. It represents all eras and peoples; here you can find both Assyrian bas-reliefs and modern art. In London there is its old competitor - the British Museum, which opened in the mid-18th century and has the same collection. Rome, in turn, also seeks to establish itself as the cultural capital of the world. Italy, the cradle of the Renaissance, gave the world such masters as Leonardo da Vinci, Caravaggio, Michelangelo, Raphael. It is their works that are central to the Vatican Museum – Musei Vaticani. In addition, you can find there the art of the Ancient World, as well as the Middle Ages and industrial Europe. Sometimes the administration organizes open-air exhibitions at the Colosseum, and then the ticket price increases significantly. The Metropolitan Museum of Art, unlike the previous two, is no longer in the Old World, but in the New World, or more precisely, in New York. It contains works by artists from Western Europe and America, as well as cultural monuments of the peoples of Africa, Asia, the Far and Middle East. Its exhibition includes not only paintings, but also graphics, sculpture and even decorative and applied crafts. The museum is relatively young, so its exhibits are close to admirers of modern art movements. The Spanish Prado Museum is located in Madrid and is included in the list of the largest museums in the world. The collection is so large that, due to lack of space on the walls, only a small part of it is presented to the public. In addition to paintings, the Prado has sculptures and jewelry.
Do these museums compete with each other? In a way, yes. But cooperation, nevertheless, is put above all else: art does not tolerate pragmatism. To maintain the world's cultural heritage, you need to be truly devoted, first of all, to this cause, and not to commerce.
There are about 2,700 state museums in Russia. They are part of the cultural space in which objects of history, culture, and nature function, considered by society to be valuable and subject to preservation and transmission to future generations as cultural and historical experience. The museum world embraces not only objects to be preserved and included in modern culture, but also the entire set of institutions, people, and ideas that perform these tasks.
There are approximately 444 museums in Moscow. And they are all good. I love painting, so I look at paintings, and it is best to do this in museum halls, where there is a special atmosphere, special silence, smell, interiors. Therefore, when I have free time, I certainly go to the Tretyakov Gallery or the Museum. Pushkin. In general, I like, for example, just to sit in the Borodino Panorama Museum, among the portraits of the Patriotic War of 1812, and when we studied “War and Peace” at school, I often ran there and met people of that era. I was at the Central Museum of the Great Patriotic War. I really liked this museum, I learned a lot about the war. I advise everyone to visit this museum because... Every person is obliged to know the history of his country; without the past there can be no present and future! This museum has a real military dugout and a Red Army headquarters, where you can try on real military uniforms and get acquainted with weapons (MMG - pistols, machine guns, rifles, machine guns). You can take a photo with your class, group, family, etc. Receive a set of artistic photographs in a stylized package to commemorate your visit to the museum. In my opinion, this is all very, very interesting and informative. But most of all I like the museum in Tsaritsyno. It is located in the south of Moscow. They are surprised and attracted by the strange fate of Tsaritsyn, the still unsolved mystery associated with its construction, the very appearance of the huge estate, romantic and somewhat mysterious, similar to a museum of unrestrained inventions of the 18th century, rich in inventions, fantasies and whims, repeated attempts to complete it, slow, over the course of two hundred years, extinction. Fate and time turned out to be merciless to Tsaritsyn. Much perished, was lost, sometimes irretrievably. But these days there has been an almost incredible revival of the failed residence of Catherine the Great near Moscow. And today this is the most popular place in all of Moscow. The flow of people does not dry up either in summer or winter, neither during the day nor in the evening.
If I ever get to Paris or Madrid, or Toledo, or Florence, it’s not difficult to guess where I’ll be on the first day.
I would really like to visit the State Hermitage, go to the Winter Palace, visit the Cinema Museum (The Cinema Museum collects, describes, restores and stores documents and materials on the history of Russian and Soviet cinema, organizes exhibitions based on its funds and collections stored in other museums and archives). In its four cinema halls, the Cinema Museum regularly shows classics of domestic and foreign cinema, retrospectives and thematic series of films that give an idea of the best achievements of film culture of the past and present. The museum has film clubs specialized in themes, types of cinema (animation, non-fiction films, film opera) and countries of the world (France, Germany, Hungary, India, etc.) I would also like to visit the Sergiev Posad State Historical and Art Museum-Reserve. The Historical and Art Museum-Reserve of Sergiev Posad is one of the largest repositories of Russian art. The unique uniqueness of the museum is given by its location - it is located within the walls of the ancient Trinity-Sergius Monastery (Lavra), founded in the first half of the 40s. XVI century the son of the Rostov boyar Sergius of Radonezh.) I dream of going to these museums and would advise everyone to go there and learn many interesting things.
I also visited the Museum of Fine Arts, I really liked this museum, since I am interested in paintings and really like to draw, I also managed to visit the Museum of Photography, this museum really interested me. My hobby is photography, especially nature, and in this museum there are a lot of such beautiful and interesting photographs that this museum has become one of my favorites.
Another interesting museum that our city can be proud of is the Historical and Memorial Museum-Reserve of Podolia. The basis of the museum-reserve is the house-museum of V.I. Lenin, the exhibition of which has existed since 1937. The new status of the museum (since 1991) reflects the process of its growth and expansion of the range of its scientific interests and problems to be solved. The traditional exhibition gives a fairly broad idea of the history, culture, and life of Podolsk in the 19th-20th centuries. The territory includes part of the historical buildings of Podolsk, as well as valuable archaeological monuments in its immediate vicinity; the security zone covers the most intact part of Podolsk within the boundaries of the last century. The museum is located on the landscaped territory of the Pakhra River basin in the trans-river part of the city. The museum was opened as the Memorial House-Museum of V.I. Lenin in Podolsk, where V.I.’s relatives lived in 1900. Lenin: mother - Maria Alexandrovna, sisters Maria Ilyinichna and Anna Ilyinichna, brother Dmitry Ilyich. V.I. came here twice in the summer of 1900. Lenin. The decision to restore Kedrova’s former house was made in January 1934. The museum was created with the direct participation of the Central Museum of V.I. Lenin, relatives and friends of Vladimir Ilyich. The architectural appearance of the house and its everyday furnishings were restored to the form they were at the end of the 19th century. The basis of the exposition of the memorial house is genuine objects. The courtyard with outbuildings and garden adjacent to the house were also recreated. In 1991, by decision of the Podolsk City Council, the historical and memorial museum-reserve “Podolia” was created on the basis of the memorial complex. Further along the street there are five more buildings that represent a Russian hut. The museum complex includes a museum of historical traditions. Today the historical and memorial museum-reserve “Podolie” is a monument to the history and culture of the city and region.
Now I would like to tell you how our group went to the history museum. The museum building is large, ancient and beautiful. There was a Christmas tree in the museum lobby because it was winter holidays and the New Year had just arrived. We went up the stairs into a hall telling about the life of ancient people. Along the walls there were paintings depicting scenes of ancient man hunting mammoths, bears, and buffalos. And the stands displayed spears, arrows, and tools used by people in the Stone Age. All this is very interesting, because people had to fight for their existence, hide from the cold and predators in caves, and learn to use fire. The further we moved through the halls, the more developed human society became. This is already the 16th century. During this period, people already knew the structure of the Universe and the Solar system. Architects learned to build stone structures, beautiful temples appeared in Rus', painted by Theophanes the Greek and Andrei Rublev, and chronicles began to be written in monasteries. When I first visited the museum, I was very interested in seeing the sights and very interesting things from those times. At first we didn't really want to go to the museum. Apparently we are just accustomed to cinemas, clubs and other entertainment centers. When our group entered the museum and stepped on the threshold, we were visited by a strange feeling. A sharp interest gripped us. Some interesting, unusual things that we had never seen appeared right before our eyes. We looked at everything very quickly, we couldn’t get enough of it, it was very interesting. Of course, there was a person there who explained everything, told the history of this item, where and how it was used, but I had no time for that, I moved away from my group with whom I went to this museum. Having seen such interesting exhibits, I walked in circles, trying to capture it all in my memory. Unfortunately, everyone soon began to pack up and the excursion was coming to an end.
Having not seen enough of the exhibits, but with a joyful face that I still managed to look and capture for a long time something that I had never seen, I left. I remembered for a very long time those minutes that I spent in this interesting place. My attitude towards everything immediately changed, I began to visit theaters and museum exhibitions more often. In general, I began to get involved in art. I began my spiritual development, which is what a person should have, first of all, and now I have become a spiritually developed person. This is how I remember this first excursion with the group, thanks to which we became familiar with art, became closer to each other and better understood ourselves and others.
After this event, I decided to find out what my fellow group members thought about museums and conducted a survey. Basically, the answers to my questions pleased me, because... everyone understands the importance of museums in our lives, that we can learn a lot of interesting and useful things in them, that we have the opportunity to see another world by visiting a museum, learn other dimensions and leave communication with this world enriched, enlightened, matured in the spiritual and moral aspect. But there were also such answers: “I don’t like museums. I feel sorry for wasting time going to museums. It doesn't matter at all which ones. I do not like them. I'm bored there. I'm not interested. I'm lazy. Moreover, I don’t like to walk. On weekdays I get tired and have no time for going to museums. I live two hours away from college. Naturally, I have neither the time nor the desire. On weekends I prefer to sleep, eat, listen to music, read books, but not go to museums. I don’t wait until the weekend to go to some museum. I am not attracted to this prospect. I don't like going out. At all. I go to the store with half-hearted grief, and then there’s the museum. Home, silence, book, coffee - this is the key to MY happiness. And I don’t want to change anything in the way of my life. That’s why museums are an empty place for me. Not because there’s anything wrong with it, because many people like it. It's just not my area of interest. I can find everything that interests me in my dad’s library. Old records of The Beatles, Rainbow, Queen, Pink Floy d, Scorpions, Whitesnake. All. I don’t need anything else, I always have it at hand” - this is the most interesting answer, but he is not the only one of this kind, so I present it. What I want to say to such people is that I feel sorry for you... Because the world is beautiful, because we must always strive to learn, and museums are perfect for this. And even in our time of a completely subjective view of life - in the end, do it for your immortal soul, gain invaluable experience for your future life, if there is neither the opportunity nor the strength to make this world even more beautiful with your life.
Then I decided to find out what needs to be done to make my peers want to go to the museum, what needs to be done to make it interesting for them? And this is what I heard: “If I didn’t have the opportunity to learn about my favorite bands, then I would want the following: The Old School Museum. The walls will be made of suede and definitely purple. Guitars to hang on the walls, ones that were in the hands of great musicians in my opinion, drum sets. Projectors that will show videos of old interviews or concert recordings on the walls, without sound. The museum must be dark. And sofas and armchairs, white and leather, would also be nice. There are carpets on the floor and very loud music.
So that there would be an atmosphere.” Another answer that I will give was the following: “I would like the museums to be interactive, that we could touch everything, that characters of that era would meet us, that there would be theatrical performances - it would be very interesting...” I think that such museums have a place in our lives, and as far as I know, there are museums of this kind.
But still, museums are necessary. How to imagine our life without the Museum named after. A.S. Pushkin, without the Tretyakov Gallery, without the Hermitage, without the fact that you can simply stand in front of Vrubel’s “Demon” or Rublev’s “Trinity”. How to understand Russian fairy tales without Vasnetsov’s paintings, how to remove St. Basil’s Cathedral from your life, when your heart skips a beat with indescribable delight when you just stand next to it, how to erase from your memory the first trip with your mother to the Darwin Museum - this has become part of ours and it will remain with us until the end.
Therefore, museums have a place in our lives, because... Only the heritage preserved by museums shapes a person, preserves traditions, and shows the life of our people. Moreover, in our difficult times, when the younger generation so needs material evidence of the path that our people have traveled, the pride of belonging to this people and the happiness that you live here and now - in this beautiful country with such a great past, and an equally wonderful future, and joy that you can continue the traditions of the people.
I also think it’s good that there is a museum in our college, which gives an idea of what kind of people worked and studied there. I think such museums are necessary because... you get acquainted with the profession, are proud of it, proud of your institution and, in the end, of your Motherland, because love for the Motherland begins with love for your “small Motherland” - for your loved ones, for your friends, for your street, for your College. And since we all come from childhood, we will carry this love throughout our lives, and the role of our small college museum in it is not the last, and this circumstance is very pleasing, because thanks to it, you become involved in your people, the Fatherland.
And finally, I will say the following, I advise everyone to visit museums, because they intellectually enrich your inner world, expand your horizons, introduce you to beauty, and allow you to feel involved in the world and time. Probably people visit museums because there is something different there that you don’t see in everyday life. Museums are a separate world, sometimes it even seems that there is a fourth dimension in time. I love going to museums and I advise everyone to do so.
Option 2
My first trip to the museum happened when I was in 3rd grade. I walked past this building to school every day, so it didn't particularly appeal to me.
It was an ordinary day, I came to school. Classes have started. After the second lesson, the teacher announced a trip to the museum and told us to get ready. Since I didn’t want to go there, I slowly collected my briefcase in the hope of stalling for time, but the attempt was unsuccessful.
After 10 minutes, my class and I stood in front of the museum and, with our mouths open, examined its façade. The teacher told the rules of behavior, but no one listened to her. I, in turn, looked at the crows, who were busily walking along the paving stones. At that moment, crows were much more interesting to me than some museum.
Finally, the teacher finished speaking and the whole line of us entered the museum premises. It seemed much larger inside than outside. I was especially struck by the high ceilings then. The area of the hall we entered was simply huge. There was almost nothing in this room, so it seemed very spacious. This room housed a cash register, two beautiful forged benches and a stand with exhibition schedules.
Today we had to visit an art gallery. We were accompanied by a guide, but since I didn’t like all these incomprehensible and boring lectures, I decided to walk among the paintings alone. The art gallery consisted of two halls; the first hall contained portraits. It was the most mysterious and bewitching room. Brown laminate flooring, cream walls with paintings hanging under glass, columns in each corner. I spent a lot of time in this room. The second room was dedicated to seascapes, and mainly contained paintings by Aivazovsky. The hall was furnished in the same way as the first, but in the corner there was a blue cloth depicting the sea. This hall was smaller and I saw half of the paintings that were there, so I stayed there for a while and returned to my class until they started looking for me.
After the whole excursion, I realized that I really liked the museum, and since then I have not missed a single exhibition there.
Why do you think museums are needed?
A.M. Vasnetsov "My Motherland".
S.N. Andriyaka “Apples”, “Birthday Pie”, “Everything for Tea”, “Last Rays”, “Tishkovsky Bridge”
Senior/Pre-K
Set T.N. Doronova “For preschoolers about art”
A.M. Vasnetsov “Church of the Ascension”, “House of the former Archaeological Society on Bersenevka”, “Novgorod Bargaining in the 15th Century”, “In the Shadow of Linden Trees”, “Grey Day”, “Gloomy Day”, etc. S.N. Andriyaka “Apples”, “Birthday cake”, “Rowan berry”, “Still life with watermelon and fruit”, “Viburnum in the snow”, “Bridge in Sukhanovo”, “Dawn in Rastorguevo”, “Yellow lilies”, “Sunflowers in a basket” , “Cherry blossoms”, “Bouquet of pansies”
Work with each museum consists of several stages that have their own specific tasks.
First stage. First excursion: acquaintance with the museum and the artist’s work. Preliminary work is based on the children’s existing experience in familiarizing themselves with reproductions of famous artists (I.I. Shishkin, I.I. Levitan, I.E. Grabar, P.P. Konchalovsky, etc.).
Second phase. In-depth acquaintance with the artist’s work in kindergarten: examination of books, booklets, postcards and other reproductions. Children can slowly, at any time, return to looking at reproductions, choose their “favorite”, and consolidate their knowledge of the genres of fine art (still life, landscape, portrait, etc.). The names of paintings are memorized, ideas about different means of artistic expression (color, light, composition, etc.) are formed.
Third stage. Work in kindergarten. Forming ideas about the work of an artist: why does an artist create his works? Why is he exhibiting them at the exhibition? Why are fine art museums created? Children watch fragments of S.N.’s videos. Andriyaki “The Magic of Watercolor” and “Yellow Lilies”, get acquainted with excerpts from the book about the artist brothers Vasnetsov. This stage involves a close connection with the children’s own artistic activity: when teaching them how to paint on an easel, we remember how Sergei Andriyaka in his film began to apply paint on top - this way it is easier to avoid smudges. To ensure that the paints do not mix, you need to let them dry, and at this time the artist works on another area of the painting, etc.
Fourth stage. Subsequent excursions to the museum. Children look at the artist’s works in a completely new way. They rejoice when they see familiar paintings and almost always say that “the real painting is much more beautiful than the one in the book!” They can highlight and name the artistic features of the painting, the means of expression that the author used: the compositional structure of the painting, the choice of color, the size of the work. In addition, the artist himself becomes an old acquaintance for the children. They already know a lot about his life, about how he wrote his works, so they are much more willing to talk about what and how the painter did, so that we would be happy or sad to look at this picture, why the colors here are so bright, rich, and on the other canvas they are pale and dull.
It has been noticed that the joyful recognition of a work of art, the choice of a “favorite” painting, the desire to have a reproduction is an important indicator of a child’s spiritual involvement in the world of art. Therefore, you should strive to ensure that this process takes place on a high emotional high. Teachers should not spare epithets to describe this or that work of art and must explain to children how they feel when looking at this or that painting. Children certainly develop a feeling of empathy. Even if the child himself has not yet decided, has not chosen his “favorite” painting, he will find the teacher’s favorite work with great enthusiasm. “Here, Nadezhda Konstantinovna, look! I found your favorite painting!” And how much joy, true happiness!
An important condition for the development of artistic perception of works of art in preschoolers was the mini-gallery of the kindergarten, which includes reproductions of famous artists and original works of contemporary painters purchased at the Vernissage in Izmailovo (mainly still lifes and small landscapes). In the “Mini-Gallery” children gain knowledge about still life, landscape, portrait, and get acquainted with the names of V.D. Polenov and K.P. Bryullov. Of particular interest to children is “natural painting” - paintings purchased for kindergarten from professional artists, executed in oil, signed by the authors. The children examine the canvas with interest, carefully touch the convex strokes, and examine the frames. It is from this small exhibition that preschoolers develop an idea of a museum as a place where the most interesting objects created by artists are collected. Children learn to think about what the author wanted to tell in his work, what mood possessed him during the period of creativity.
The richer children's experience with works of art, the more often and stronger they have a desire to create something similar. The most gifted children can use in their works artistic means of expression that they memorized while getting acquainted with the work of artists. For example, when drawing apples, a preschooler used bright yellow and red tones, “like in a painting by Sergei Andriyaka.” Reproducing the autumn landscape, the boy depicted a gray sky, “because it’s sadder, because summer has passed!”
In order to help a child feel more deeply like a true artist, preschool teachers must preserve the tradition of kindergarten - active participation in exhibitions of children's drawings at all levels: in a neighboring school, district, city, etc. But exhibitions in kindergarten are the most significant for children (“ Autumn motives”, “Winter-winter”, “Spring has come!”, “Let’s remember summer”, “My Moscow”, “My family”, etc.). All preschoolers, regardless of their visual skills, go through their “first personal exhibitions” - a small stand with 4-5 drawings, a photograph and an interview with a young artist.
In addition, other exhibitions are regularly organized, for example, creative works done at home with the help of parents or older children. These can be models, handicrafts, crafts made from natural and available materials, photographic portraits, etc. According to the objectives of the academic year, short-term exhibitions, small sculptures, embroidery, lace, metal products and much more are organized. The exhibits are collected “from around the world”: kindergarten employees and parents bring from home everything that meets the objectives of the exhibition, a catalog of exhibits is compiled, and they are photographed.
Today we can say with confidence that museum pedagogy has occupied a very important and necessary place in the educational process of preschool educational institutions. Practice has shown that children are able to perceive the most important thing in a work of art - its emotionality, artistic idea. Children are drawn to the beautiful and bright, and they themselves strive to express their experiences in creativity. And although the child sometimes almost caricaturesly tries to copy a famous work, he penetrates even deeper into the essence of the artist’s intention, carefully examining the canvas and trying to convey its content. To do this, we must try to ensure that the best and most talented paintings, collected in a museum or exhibition hall and even presented in reproductions, sink into the souls of preschoolers as early as possible, at an age when every artistic impression is an event.
Visiting museums and becoming acquainted with the work of an artist very often influences the “professional orientation” of children: some of them express a desire to become an artist in order to also “hang their paintings in a museum.”
But we believe that the main meaning of museum pedagogy is that the question: “Is it possible to completely do without museums, never go there, and not admire works of art?” - all the children answer: “No, of course you can’t!”
LIST OF REFERENCES USED
L.V. Panteleeva. Museum and children. M., 2000.
Report on the topic “Report on a visit to the State Historical Museum”
The Historical Museum was established in February 1872 by order of Emperor Alexander Y. The initiative came from Russian historians and public figures who were convinced that interest in the past should be based on authentic documents - written and material monuments collected in a special repository. This is a museum “where a historian would come for information, a novelist, a theater director, an artist - for the colors he needs, where children could be brought in order to forever imprint in their memory a historical event and historical setting” where an uneducated person could come and endure the desire to find out what once was and what is now, in order to find out that intelligent life in our country did not begin yesterday,” this is what is written in the petition of the initiative group addressed to Tsarevich Alexander Alexandrovich.
Today the light vestibule is decorated with bas-reliefs - portraits of those. who stood at the origins of the museum and built it. Archaeologist Count A.S. Uvarov (1825-1884) - one of the founders of the museum and the first director. It was he who contributed to establishing the status of the Historical Museum as a scientific institution. The famous historian I.E. Zabelin (1820-1908) headed the museum for almost 30 years. Under his leadership, a museum collection of priceless material monuments of the past was formed, no less significant for the study of national history than written sources.
Academician of Architecture V.O. Sherwood designed the museum building, using decorative elements from famous architectural monuments of medieval Russia to decorate its facades and interiors. Engineer AA, Semenov is the main builder of the museum. Thanks to the technical innovations he applied, the building has stood unshakable for more than 120 years.
On the walls of the lobby are immortalized the names of donors and patrons who laid the foundations of the huge collection of the Historical Museum. Currently, it contains 4.5 million material monuments of national history and more than 14 million sheets of archival documents. Museum collections make it possible to study the history of the country from ancient times to the present day, the past, life and culture of all the peoples that inhabited and inhabit it, and to explore any issues related to Russian history.
The Historical Museum is not an ancient repository accessible only to a narrow circle of specialists. Thanks to the exhibition, which displays tens of thousands of the most significant and valuable monuments, any interested person has the opportunity to get acquainted with both the unique collection of the museum and the national history that this collection documents.
The museum's exposition begins with the Front Entrance. The hallway in a Russian house has long been the name given to the room preceding the living quarters. And since this building was built specifically for the National Museum of Russia, everything here had to be reminiscent of the past - both the name of the halls and their decoration.
The front entrance is a high, elegant room (its flaxes and pillars are decorated with grass ornaments. In a similar way, by the 16th-17th centuries, Russian churches, royal and boyar chambers were often painted. On, made by an artel of craftsmen under the direction of the artist F.G. Toropov in May 1883 just before the opening of the museum.
At the base of the tree are depicted the first Christian rulers of Rus' - Princess Olga and Prince Vladimir the Holy. On the trunk and branches, in numerous stamps, there are Russian princes, tsars and emperors, starting from Yaroslav the Wise, who ruled Rus' in the 11th century, and to Alexander III, under whom the museum opened. This painting was designed to help museum visitors plunge into the past and tune in to the perception of monuments of Russian history.
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The front entrance is surrounded on three sides by a suite of halls. The exhibition is arranged in such a way that each room is dedicated to a specific era or historical theme. Moving from room to room, the visitor seems to move in time - this creates a feeling of continuity of history. This impression is further strengthened by the fact that the architectural and picturesque decoration of each room basically corresponds to the time that is represented in it.
The first hall presents the Paleolithic (Old Stone Age) - the earliest and longest period in human history. It is called so because stone served as the material for making the main tools of labor.
The hall is dedicated to the very beginning of the history of human society and the first stages of settlement of the territory of our country by primitive people.
In the niche to the right of the entrance there are sculptural images - reconstructions of portraits of ancient people, made from authentic skulls discovered in cave sites in Africa, Asia and Europe, based on the method of reconstructing a face from a skull, developed by the anthropologist and archaeologist MM. Gerasimov. In the upper row on the left is a sculptural portrait of Australopithecus, who lived in Africa 6-2 million years ago; The world's oldest stone tools were discovered next to his bones. To his right is Pithecanthropus, who lived 1.8-0.2 million years ago. People of this physical type, having left Africa, settled in Asia and southern Europe, and about 200 thousand years ago - in the Caucasus and the Kuban region.
The second hall is dedicated to the life of primitive people during the Great Glaciation. Harsh natural conditions could not prevent human settlement. During this period, it colonizes almost all of Eurasia - except for the territory occupied by the glacier. Materials from sites and unique burials of this time show how people adapted to living conditions in the periglacial steppe, mastered a variety of types of stone raw materials, created new types of tools, learned to work with bone, horn and tusk, built dwellings, and sewed clothes.
The hall's topmast is decorated with a picturesque frieze “Stone Age” created by V.M. Vasnetsov in 1885. The spirit of the era is conveyed in the picturesque images. Everything that is depicted on the canvas reflects the level of knowledge of scientists of the 19th century. about this period. This is exactly how they imagined the homes of ancient people and their daily activities. Particularly impressive is the scene of a collective hunt for a mammoth, which allows you to understand how difficult and dangerous the life of primitive people was, how much effort they required to survive in the harsh conditions of the periglacial steppe. In the space between the windows are genuine mammoth tusks. At the end of the 19th century. Irkutsk merchant I. Gromov found them on the banks of the Yenisei in a layer of permafrost and presented them as a gift to the Historical Museum.
See also: Report on the topic “Art and culture in ancient times”
Next is the new Stone Age, or Neolithic, characterized by the retreat of the glacier, the appearance of dense forests, deep rivers and lakes. Large animals are being replaced by smaller ones, which prompted people to invent bows and arrows for individual hunting. Man acquired new occupations - fishing, pottery, weaving. New methods of stone processing emerged - polishing, grinding, sawing, drilling. All these changes gave the era its name. In the center of the hall is exhibited one of the outstanding Neolithic monuments - a huge, 7.5 m long boat, discovered on the banks of the Don, near Voronezh, by local residents in 1954. The boat was hollowed out of an entire oak trunk with stone axes (their traces are clearly visible on the bottom ). From the inside of the sides you can see paired holes - places for attaching seats for rowers. The loops on the sides of the bow and stern were intended to move the boat through shallow water from one body of water to another or to pull it ashore.
In the 1st millennium BC. A new era begins in the history of human society - iron entered the life and everyday life of people. Unlike copper, the extraction of which was concentrated in a few mining areas, iron in the composition of swamp ore occurs almost everywhere. Therefore, the beginning of iron mining and processing contributed to the rapid development of society and the emergence of distinctive cultures that played an outstanding role in history. The first written sources (mostly Greek) date back to this time, from which one can learn about the tribes and peoples who lived on the territory of our country. In the works of ancient Greek historians, many of them are mentioned for the first time under their own name.
Like the Bronze Age, the Iron Age is distinguished by a noticeable uneven development of the population in different natural and climatic zones. Residents of the forest zone maintained their traditional sedentary lifestyle; their main occupations remained hunting and fishing, cattle breeding and the beginnings of agriculture. The bearers of steppe cultures finally switched to a nomadic lifestyle and were very mobile.
Items from the Ananino burial ground are placed in the center of display case 1.
These weapons are mainly celtic axes, spearheads and short akinac swords, widespread in the Iron Age, as well as women's jewelry. Most of the weapons are made of bronze. At this time, the Ananino culture witnessed an unprecedented flowering of bronze metallurgy, but bimetallic objects made of bronze and iron were already appearing. This is the bronze handle of a dagger with preserved pieces of an iron blade.
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The architecture of the sixth hall reproduces the stepped vault of the crypt from the royal Kul-Oba mound, excavated in Crimea in the 19th century. Above the entrance is a drawing of a relief frieze from a vase from another mound - Chertomylk; The clothes, headdresses and hairstyle of the Scythian warriors are clearly visible. The images of mounted warriors and yurts on the walls of the hall were copied from the Kerch crypts of the first centuries AD, in which the Sarmatian nobility were buried.
In the 3rd century. BC. In the steppes of the Northern Black Sea region, a powerful alliance of nomadic tribes - the Sarmatians - enters the historical arena, to whom the largest section of the hall is dedicated (windows 1-3). In showcase 1 —
objects from numerous burials in the steppes of the Volga-Ural region of the 4th century. BC. - IV century AD The gold plate in the center depicts yon.
The Sarmatians, unlike the Scythians, were armed with long swords, and the burials of the richest and most successful warriors were accompanied by weapons, parts of horse equipment and luxury items, including numerous beads made of glass and chalcedony, which was especially revered in ancient times.
In the center of the hall is the Taman sarcophagus, one of the most famous monuments of ancient culture of the 4th century. BC. It comes from the territory of the Bosporus Kingdom, an ancient Greek state that occupied the Taman and Kerch peninsulas.
The walls of the next hall are decorated with copies of slate slabs from the most ancient Kyiv churches of the 11th-12th centuries. The hall is dedicated to the final stage of the Iron Age and the transition to the era of the early Middle Ages, which received the name of the Great Migration. The reasons for the migration of entire peoples are still unclear; overpopulation and the difficult political situation in the historical homeland of these tribes obviously played a big role. Usually the resettlement took the form of an armed invasion and displacement of the local population from the conquered territories. These processes covered the entire northern part of the Eurasian continent - from the shores of the Pacific Ocean in the east to the coast of the Atlantic Ocean in the west. It seemed that the whole world was in motion. Some peoples disappeared, others mixed with each other, giving rise to new ethnic groups that became the ancestors of modern peoples.
The chronicle tradition clearly records the dates; the birth of the Old Russian state - 862. That is why a monument to the 1000th anniversary of Russia was erected in Novgorod the Great in 1862. The initial period of Russian history - the Old Russian state - covers the time from the 9th to the 12th centuries. The hall presents monuments from the time of the formation of the Old Russian state in the 9th - first half of the 12th centuries.
See also: Report on the topic “Theaters of the city of Yekaterinburg”
The decoration of the hall used elements characteristic of ancient Russian architecture - vaulted ceilings, three-part windows, arched doorways. In the decoration of the platbands and the mosaic of the marble floors, the ornaments of the picturesque headpieces from the oldest Russian books are reproduced - Ostromir's Gospel of 1056 and Svyatoslav's Izbornik of 1073. On the wall opposite the entrance is a copy of the painting of the western tower of the St. Sophia Cathedral in Kyiv, depicting ancient Russian musicians. The hall is decorated with two huge paintings, painted especially for the Historical Museum in 1883 by academician of painting GI. Semi-radsky. Each of them represents in picturesque images the ancient rituals of pagan Rus' and tells about the events of the reign of the first Russian princes. What is depicted on the canvas is not a figment of the artist’s imagination, but is based on Arab and Byzantine written sources of the 10th century.
The plot of the painting “Funeral of a Rus” is taken from travel notes compiled in 922 by the head of the Baghdad embassy to Volga Bulgaria, Ahmed ibn Fadlan. These notes contain a detailed description of the burial ceremony of a wealthy Scandinavian, which he was able to see.
The appearance of large trade, craft and cultural centers - cities - in a given territory always preceded the formation of a state; they become the focus of state power, its economic and ideological support. Icelandic sagas called Rus' “Gardarika” - “Country of Cities.” Urban life was an indicator of the level of development of the country.
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The hall is dedicated to ancient Russian cities of the 11th and first half of the 13th century. - the time of their heyday. In the decoration of the hall, originally called Novgorod, copies of frescoes from the Church of the Savior on Nereditsa, built in this city in 1199, were used. The value of these copies especially increased after the destruction of the temple itself in 1942 during the occupation of the city by fascist troops. Above the entrance to the hall there is a plan of Novgorod, copied from an icon of the 17th century, above the exit - “The Battle of Suzdal with the Novgorodians”, written from the icon “The Sign” of the 17th century.
The exposition of the hall represents the wide geography of the ancient Russian city, as well as different types of cities.
Showcases 1-2 are dedicated to the capital city of Kyiv. The map between the display cases illustrates the rapid growth in the number of cities in Ancient Rus'. Colored icons show the different status of cities - the capital of the state, the capitals of the principalities, princely castles, border fortresses. The screen below the map shows three-dimensional reconstructions of famous architectural monuments of ancient Kyiv.
Of particular interest are the treasure trove of jewelry from Kyiv goldsmiths and their tools, as well as a fragment of a bronze chandelier found near the fence of St. Sophia Cathedral.
XIII-XV centuries. - one of the heroic periods of Russian history. For two and a half centuries, the Russian people resisted not only the foreign yoke, but also Swedish and German expansion. This struggle forced the consolidation of the forces of North-Eastern and North-Western Rus', as a result of which on the world map in the 15th century. The Russian state appeared.
The exhibition in Hall 12 begins with an artistically executed map placed on the wall to the left of the entrance - “Mongol conquests in the 13th century.” In 1206, Khan Temujin, better known as Genghis Khan, united the Mongol tribes of Central Asia into a single state centered in Karakorum. In less than half a century, the Mongol conquest, whose goal was world domination, reached the Pacific Ocean in the east and the Mediterranean Sea in the west. The Mongols conquered Central Asia and the Caucasus. In 1236, the grandson of Genghis Khan, Khan Batu, began the conquest of Europe - in fulfillment of his grandfather’s will to reach “the last sea,” that is, the Atlantic Ocean. By 1237, the Volga region, the North Caucasus, the Crimea, and the Polovtsian steppe were under the rule of the Mongols. On the path of the victorious army lay Rus'.
The materials in display cases 1-4 come from territories that were subject to the Mongol invasion, most of which came under the rule of the Golden Horde. The exhibition presents items from Polovtsian burial grounds (display case 1), tribal settlements of Western Siberia (display case 2). The antiquities of the medieval Caucasian peoples of the Circassians, Kabardians, Circassians, and Ossetians are also presented here (window 3).
The State Historical Museum has a hall that represents the key sectors of the economy for the development of the country - industry and trade.
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The first section is devoted to Russian industry, which existed in the form of handicraft and manufacturing production. Showcase 1 displays products from craft workshops. Traditional crafts, based on centuries-old technologies, continue to develop, but here too, under the influence of growing needs, many new things appear. Thus, Russian potters begin to make glazed tiles and tiles, and master the technology of producing “simmered” ceramics - when a clay object imitates a metal one.
Showcase 2 presents the products of the first Russian manufactories - the Tula ironworks. Armory Chamber, Izmailovo Glass Factory. All (manufactures served state needs. Numerous luxury items were specially manufactured, but ordered by the royal court and used in court life. Among them was a joke cup, from which one could not drink wine without spilling it on oneself - such a cup could be offered to a late guest .
Since the creation of the museum, the eighteenth hall has been dedicated to the reign of Ivan the Terrible, which is why it has such a solemn and majestic appearance. The vault is decorated on a golden background with a herbal ornament, modeled after the paintings in the galleries of the Intercession Cathedral (St. Basil's Cathedral), erected in 1561 by order of Ivan the Terrible in honor of the victory over the Kazan Khanate. The paintings and architecture of the portals of the Intercession Cathedral formed the basis for the design of halls 17 and 19.
The central part of the hall is occupied by a copy of the so-called “Royal Seat” of Ivan the Terrible, made in 1551 for the Assumption Cathedral in the Moscow Kremlin, where it remains to this day. The copy was made specifically for the Historical Museum at the end of the 19th century. and is interesting in that it represents a reconstruction of a unique monument in its original form with the restoration of decorative details, gilding and polychrome painting lost by the original.
See also: Report on the topic “Pink”
The “Royal Place” played the role of a symbol of the autocratic power of the Russian sovereigns. In documents of the XVI-XVII centuries. it is even called the “throne”, i.e. throne. On its door wings there is the text of a legend that tells how in the 12th century, the great Kiev prince Vladimir Monomakh received state regalia as a gift from the Byzantine emperor Constantine Monomakh, among which was the famous Monomakh hat. Three walls of the “Royal Place” are decorated with 12 reliefs illustrating this story. The legend was intended to show the continuity of the political power of the Moscow sovereigns from the Byzantine emperors.
The “Royal Place” is crowned by a double-headed eagle. |This symbol of grand-ducal power, adopted in the 15th century. Ivan III, was placed on princely things, coins, and state seals. Over time, the double-headed eagle began to be perceived as the coat of arms of the Russian state.
The largest section of the exhibition is dedicated to the formation and establishment of the Russian autocracy (windows 1-6). The beginning of the section presents the history of three royal dynasties - Rurikovich, Godunov and Romanov. Showcase 2 displays items from the treasury of the first Russian tsars. The owner's inscription on the silver glass indicates that it belongs to the Tsar and Grand Duke Ivan Vasilyevich and his son, Tsarevich Fyodor Ioannovich. Here you can see a glass that belonged to the stable boyar Boris Godunov: Upon his accession to the throne, Tsar Boris did not leave it in his treasury, but gave it to one of his courtiers - Klaus Sevastyanov. The portrait of Tsar Fyodor Ioannovich comes from the already mentioned collection of funerary portraits of Russian tsars from the Archangel Cathedral of the Moscow Kremlin. The same collection includes a double portrait of the first tsars from the Romanov dynasty - Mikhail Fedorovich and Alexei Mikhailovich.
The strengthening of Russian statehood went hand in hand with the strengthening of the main ideological institution in the state—the Orthodox Church—even to the point of an attempt to place spiritual power above secular power.
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The theme of the hall's exhibition is preceded by showcase 1,
in which the church vestments of that time are presented, and showcase 4 introduces materials related to the establishment of autocephaly - the independence of the Russian Orthodox Church. In the center of the display case is an icon of the Moscow Metropolitan Jonah. Under him, in 1452, the Russian Metropolis gained virtual independence from the Patriarchate of Constantinople. On the right is “The rite of election of Patriarch Job.” In 1589, the largest Russian Patriarchate in the Orthodox world was established, which claimed ecumenical status.
In showcase 2, various documents tell about the life of monasteries, their emergence as major cultural and ideological centers, and their enormous influence on the life of the state.
The portrait of an outstanding church figure of the 17th century deserves special attention. Patriarch Nikon. The portrait immortalizes the moment of worship, when the patriarch blesses those praying (the so-called “small exit”). The name of Patriarch Nikon is inextricably linked with the reform of the mid-17th century. aimed at strengthening church organization, unifying worship and liturgical books. This reform gave rise to opposition, which resulted in the Old Believers movement. It was Nikon who tried to establish the priority of spiritual power over secular power. The Patriarch was defeated, defrocked and exiled to the Ferapontov Monastery.
The portrait of Nikon was created in the 80s. XVII century team of masters of the Armory Chamber under the leadership of the icon painter Ivan Bezmin. The unique technique of this work combined painting and appliqué, made with expensive silk and gold fabrics. The portrait, one of the early monuments of Russian secular painting, at the end of the 17th century. decorated the chambers of Prince V.V. Golitsyn was later in the Moscow VysokoPetrovsky Monastery - until it was transferred to the Historical Museum in 1918.
In the design of the twenty-first hall, authentic monuments of the era were used - for example, in the doorway of the end wall you can see forged iron gates from the village of Purekh near Nizhny Novgorod, the estate of DM. Pozharsky. The Purekh volost was donated to the prince in gratitude for the liberation of Moscow from the Poles in 1612.
On the walls of the hall are three paintings and two portraits donated to the Historical Museum by Emperor Alexander III. Executed by an unknown Polish artist at the beginning of the 17th century, the paintings depict scenes of the betrothal of Marina Mniszek in Krakow, her ceremonial entry into Moscow and the wedding in the Assumption Cathedral of the Kremlin in May 1606. Of particular interest are the ceremonial portraits of Marina Mniszek and False Dmitry I, located on both sides from the entrance to the hall. Marina and False Dmitry are depicted in appropriate attire and in solemn poses. As expected, the portraits are accompanied by explanatory inscriptions in which both are called “Emperors of Moscow”, and it is emphasized that Dmitry is the son-in-law of the Sandomierz governor Yuri Mnishko, which reflects the dependent position of the Pretender. In fact, the enthronement of False Dmitry was organized with money from the Polish nobility and the king himself. The presented collection of paintings is truly unique, as there are no other modern portraits of participants in the events of the early 17th century. simply doesn't exist.
It was my first time at the State Historical Museum and I really liked it. Seeing things from people I've heard a lot about. Feel the spirit of great civilizations. See the weapons of primitive man.
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A “piece” of the past behind glass or why museums are needed
Why are museums needed?
A “piece” of the past behind glass or why museums are needed It’s rare that a person has not been to some museum at least once in his life, if only because a person begins to get accustomed to culture from childhood. If parents do not do this, then in educational institutions visiting museums is included in the educational program. Sometimes children, after visiting a museum, suddenly ask the question: “Why are museums needed?” This question can be forgiven for children, but not for adults, because any sane person should understand the role of museums in our lives.
So, if we take into account that this question is often asked by children and, sometimes, adults, then it needs to be answered, but, first of all, you should first understand what culture is, because museums are part of it.
Experts, in turn, noted long ago that culture is what does not allow a person to sink to the level of animals and what distinguishes a person from an animal. In order to understand this today, it is not at all necessary to be a specialist in the study of people and society. There is culture - there is reason. And vice versa. Reason and culture make a person a rational being. Unfortunately, even today this does not happen to everyone and not always.
Now, in order to understand why museums are needed, let us note what, in fact, they are. And museums are unique repositories of exhibits, be they exhibits from the ancient world or the not-so-distant past, but these are always objects that show the way of life, way of life, traditions, customs, features, events, etc., of the people. This means that museums are memory. Therefore, the question of why museums are needed leads to only one conclusion - to be remembered, to be known, to be valued, to be cherished... Museums are history. Both children and adults must remember that without knowing their past, people - in general and each person - in particular, will not be able to build a good future.
Essay on the topic: HOUSE-MUSEUM OF K. G. PAUSTOVSKY
HOUSE-MUSEUM OF K. G. PAUSTOVSKY
During spring break, our class went on an excursion to the Paustovsky House Museum.
Charm takes over you when you arrive in the small town of Tarusa.
Many pages of the life and work of Konstantin Paustovsky are connected with Tarusa. The house in which he lived was neatly built, one-story, with blue walls. It stands not far from the city center, at the dead end of a short street, near the banks of Tarusa. The house is ordinary.
A tiny courtyard overgrown with greenery, a flower bed, an orchard, a glassed-in gazebo right on the shore, steeply descending to the river. Konstantin Georgievich loved to work in the gazebo. It's cozy and quiet. You can just barely hear the water murmur on the rocky rifts.
The guide told us that here, above the coastal cliff, the writer lived for a long time, if he did not go abroad or to the south, from here he went fishing early in the morning. Fishing was not only a pleasant recreation for the writer. During these hours, new thoughts and themes were born in him. In the vicinity of Tarusa, the writer found what he loved most, what his soul was drawn to: simple, dear Central Russian nature. He spoke enthusiastically about Tarusa as his favorite place on earth.
The house is modest and simple. No luxury, just the essentials. The most interesting thing here is the writer’s study with a window onto the garden. The window is large, facing the river, the fields. There is no painting in the office, the smell of wood, a lot of light. During the writer's life there were always flowers here. Portraits of the rulers of his thoughts looked at him from the walls: Blok, Bunin, Chekhov.
And here is a large portrait of Paustovsky by the artist Sveshnikov. The owner is depicted sitting thoughtfully in front of a desk, against the backdrop of a winter landscape. A dark, weathered face, a high open forehead, a kind, attentive look from under overhanging eyebrows, tired wrinkles around the eyes. The look is thoughtful and sad. The face does not seem Russian at all, but somehow southern, with sharp folds along the edges of the mouth, with dark brown eyes. Aquiline nose. And no wonder. After all, in Paustovsky, according to him, several bloods were mixed.
To the right of the front door and against the opposite wall are shelves with books. Books without notes: Paustovsky did not like underlining or comments in the margins. There is also the ottoman on which he slept and two tables. On the work table are reference books, books, a typewritten manuscript with the writer’s corrections, a figurine of the Egyptian queen Nefertiti, books presented with dedicatory inscriptions.
The impressions from the excursion overwhelmed us for a long time - we discussed what we had seen all the way back.
Essay on the topic: HOUSE-MUSEUM OF K. G. PAUSTOVSKY
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