History of the Primorsky Branch of the Union of Artists of Russia. Some trends in the formation of artistic trends in the Far East The history of the emergence of art in the Far East
The first university in Russia that combined three types of art - music, theater, painting- was established as the Far Eastern Pedagogical Institute of Arts. In the year of its 30th anniversary (1992), it was renamed the Far Eastern State Institute of Arts, in 2000 the institute became an academy, and in 2015 it was again renamed the Far Eastern State Institute of Arts.
In the joint training of musicians, artists, drama artists and directors, it was supposed to find many points of contact: common or related disciplines, wide opportunities that open up in the field of synthetic arts, for example, opera, where music, painting and theater are combined, creative mutually enriching communication.
The Ministry of Culture took seriously the creation of a new university. Appropriate orders were issued to entrust the patronage of the Faculty of Music to the Moscow State Conservatory. Tchaikovsky; over the theatrical faculty - to the State Institute of Theatrical Art. Lunacharsky; over the art faculty - the Institute of Painting, Sculpture and Architecture. Repin.
In addition, these educational institutions were ordered to donate from their funds easels, books on art, academic works, casts of ancient heads for drawing, musical instruments, books for the library. Secondary educational institutions - to provide a sufficient number of applicants for the Far Eastern Pedagogical Institute of Arts.
The creation of the Institute of Arts became an event in the cultural life of Primorsky Krai and the entire Far East. It became possible to train highly qualified personnel for theaters, orchestras, teachers for schools and colleges, and artists.
Capitals helped
The foundation for higher education in the field of art in the Far East was laid by excellent teachers, graduates of central universities: the Moscow Conservatory: V.A. Guterman (student of G.G. Neuhaus), M.R. Dreyer, V.M. Kasatkin, E.A. Kalganov, A.V. Mitin; Leningrad Conservatory - A.S. Vvedensky, E.G. Urinson; Ural Conservatory - A.I. Zhilin, Odessa Conservatory - S.L. Yaroshevich, GITIS - O.I. Starostin, GITIS B.G. Kulnev, Leningrad Institute. Repina V.A. Goncharenko and others. The music department began to study according to the usual plan of conservatories, the art department - according to the plan of the Institute. Surikov, theatrical - according to the plan of the school. Shchepkin.
Rectors of the Far Eastern State Institute
1962–1966. A cellist was appointed the first rector German Vladimirovich Vasiliev - graduate of the Moscow Conservatory (class of S.M. Kozolupov).
1966–1973. DVPII was headed by Honored Art Worker of the RSFSR and TASSR, Professor Vladimir Grigorievich Apresov, graduate of the Moscow Conservatory (class of M. V. Yudina).
1973–1993. Rector of the DVPII - Honored Art Worker of the RSFSR, Professor Veniamin Alekseevich Goncharenko graduate of the Leningrad Art Institute. Repin (workshop of Professor B.V. Ioganson) .
1993–2008. Head of the university - candidate of art history, professor Igor Iosifovich Zaslavsky. ( In 1991, under the leadership of L.E. Gakkel defended his Ph.D. thesis "Clavier performance and pedagogy in England in the second half of the 18th century").
FROM 2008 the rector is Andrey Matveevich Chugunov- University graduate, laureate of international competitions, professor of folk instruments department.
Andrey CHUGUNOV, rector of the Far Eastern State Institute
Material base
Educational building No. 1 on st. Peter the Great, 3a includes a concert hall for 260 seats, a small hall for 72 seats, 70 classrooms for group and individual lessons; workshops, priming, wardrobe, dressing room, audio library and sound recording rooms, information center, art fund, editorial and publishing base. The first floor has been converted for classes of students with disabilities in accordance with the state program "Accessible Environment".
Educational building No. 2 on st. Volodarskogo, 19 is located in a building that is a monument of history and culture of federal significance - "People's House. A.S. Pushkin. Together with this building, the academy acquired a unique concert hall for 400 seats with excellent acoustics, 19 classrooms for group and individual lessons.
Music library and video library institutes have the largest fund of audio and video recordings in the Far East. These are concert performances of teachers, graduate students, students, invited musicians, recordings of all international competitions, performances by students of the theater department, opera studio.
The library of the Institute is connected to the electronic library systems "KnigaFond" and "Lan". The library has a computer program for the blind and visually impaired - NVDAI. In 2012, work was carried out on the integrated automation of library activities (SCABD) of the scientific library of the Institute, with pre-installed software. Has its own Electronic Library System (ELBS) FGBOU VO FESAI on AIBS platform Marc SQL.
Tools: all classrooms and halls are equipped with keyboard musical instruments (85 pianos and grand pianos, including concert grand pianos Steinway & Sons, Yamaha, Bechstein, Forster). Orchestras are provided with wind, string and percussion instruments, Russian folk instruments. The concert hall has an electric organ "Rodgers 968".
The institute has a 4-storey dormitory building, which has a gym, a tennis hall. There is a sports ground for outdoor activities. Students, teachers and staff eat in the dining room located in the academic building. It has its own medical center.
Education
Currently, the Far East State Institute of Arts is the center of professional musical, theater and art education in the Far East. The Institute has created a three-level system of art education (children's art school - college - creative university):
children's aesthetic center "World of Art", children's art school;
College of Music;
university: specialist's, bachelor's, master's, postgraduate and assistant-internship programs; additional programs for advanced training and professional retraining.
The Institute includes three faculties: music(Conservatory) theatrical and art, in 1998 a foreign branch was established.
Every year, the Institute issues an average of 90 people different specialties and thus solves the issue of providing the entire Far East with highly professional personnel in the field of musical, theatrical and artistic arts. Institute graduates work in drama and opera theaters (including the Primorsky branch of the Mariinsky Theatre), philharmonic societies, symphony orchestras, music and art colleges, universities, and children's art schools. Among them are laureates and diploma winners of international competitions, the All-Russian competition "Young Talents of Russia"; scholarship holders of the President and the Government of the Russian Federation, the Governor of the Primorsky Territory. Many of the graduates have honorary titles of the Russian Federation.
Education at the institute represents the unity of educational, scientific and creative processes. All students and graduate students are involved in the concert and creative life of the Institute, Vladivostok, Primorsky Territory: as part of various orchestras (Far East State Institute of Fine Arts, TSO, Pushkin Theater, Pacific Fleet Headquarters, M. Gorky Theater, VMU), academic choir, ensembles, as soloists. Students of the theater faculty are engaged in the performances of the Primorsky Academic Regional Drama Theater. M. Gorky, "Cruisers", "Memorial Prayer", "Three Sisters", "Comrade", "Jester Balakirev", "Wall". The best students and graduates of the Faculty of Music work at the Primorsky Branch of the Mariinsky Opera and Ballet Theatre.
Scientific activity
For 55 years, the Institute has formed an original research school, based on the tradition of in-depth study of written musical and theoretical monuments thanks to the efforts of the famous scientist E.V. Gertsman and the activities of Yu.I. Sheikina, R.L. Pospelova, who worked at the academy for a long time. The results of fundamental research of university teachers are reflected in the monographs of V. Fedotov "The Beginning of Western European Polyphony", E. Alkon "Musical Thinking of the East and West: Continuous and Discrete", O. Shushkova "Early Classical Music: Aesthetics, Style Features, Musical Form", G. Alekseeva "Problems of adaptation of Byzantine singing in Russia", I. Grebneva "Violin concerto in European music of the XX century"; in numerous publications by S. Lupinos.
Among the areas of scientific work of the academy teachers are the study of ancient, medieval and modern musical traditions of the East and Asia (Japan, China, Korea, India), archaic folklore, musical art of the European Middle Ages, Baroque, Renaissance, early classicism, Russian and Western European paleography, the history of theoretical musicology, music of the XX century.
Unique material has been accumulated - the pride of the university - translations into Russian of Latin, German, English treatises of Western European scientists of the 9th-18th centuries.
Topics of dissertation research: the canon in the musical heritage of Japan (S. Lupinos), the methodology of musicology (T. Kornelyuk), the musical and liturgical practice of Catholic parishes in the Asian part of Russia (Yu. Fidenko), the traditional musical writing of East Asia (S. Klyuchko), theory and the practice of the late Renaissance (E. Polunina), "mythological" in the musical thinking of C. Debussy (O. Perich), national piano schools of the Far East region (S. Aizenshtadt), poetic creativity of Arrigo Boito (A. Sapelkin), issues of the history of musical performance and methods of musical education (I. Zaslavsky, P. Zaslavskaya).
Far Eastern State Institute of Arts - member of the joint dissertation council D 999.025.04 at the Far Eastern Federal University in the specialties 17.00.02 - Musical art(art history) and 24.00.01 - Theory and history of culture(art history and cultural studies).
Scientific conference is held annually "Culture of the Far East of Russia and Asia-Pacific countries: East - West".
Creative activity
Competitions and creative projects are held at the Far East State Institute of Arts with the support of the Ministry of Culture of the Russian Federation and the Federal Target Program "Culture of Russia"
IandIIAll-Russian Music Competition (regional stages). In the Far Eastern Federal District, the competition is held in two cities: Vladivostok and Yakutsk.
international competitionyoung musicians-performers "Musical Vladivostok"- the only such competition in the Far East region, which is held in the following specialties: piano, string instruments, wind and percussion instruments, folk instruments, solo singing, choral conducting. Soloists and ensembles take part in the competition, and a video competition for ensembles and orchestras is held. More than 350 participants from Russia, China, Korea and Japan take part in the competition. World-famous musicians were invited as chairmen of the jury: People's Artists of the Russian Federation A. Sevidov, V. Popov, I. Mozgovenko, S. Lukin, V. Zazhigin, A. Tsygankov; Honored Artists of the Russian Federation Yu. Slesarev, Sh. Amirov, A. Mndoyants, B. Voron and many others.
Organizers of the competition: Vice-Rector for International Relations A. Smorodinova, Vice-Rector for Creative Work, Honored Artist of the Russian Federation, Professor A. Kapitan, Dean of the Music Department, Honored Artist of the Russian Federation, Professor F. Kalman.
"Art Vladivostok" - International exhibition-competition of creative works of students and young artists from the Far East, Russia and the APEC countries. Participants present works in several categories (painting, graphics, arts and crafts) and several age groups. About 150 people from Russia, China, Korea, Japan, Vietnam take part in the competition. The jury was invited: Vice-President of the Russian Academy of Arts A. Yastrebenetsky (Moscow), Honored Artists of the Russian Federation. N. Chibisov (Moscow), S. Cherkasov, Chairman of the All-Korean Association of Artists of Korea, Professor of the University of Dong-A Jang Gab Ju (Busan, Republic of Korea), Honored Art Worker of the Russian Federation, Professor V. Goncharenko, K. Bessmertny (Portugal) .
All-Russian Olympiad in Musical Theoretical Subjects "Masterpieces of World Musical Culture" for students of professional educational institutions and children's art schools. The theme of the Olympiad determines its main goal: to master the necessary basic minimum of knowledge during training in the primary and secondary levels, to stimulate the development of the horizons of students.
Students of performing specialties also take an active part in the Olympiad. The total number of participants is about 80 people from Primorsky Krai, Sakhalin Region, Amur Region, Khabarovsk Territory, Republic of Sakha (Yakutia).
Regional creative school "Theatrical Surf" for students of secondary schools, students of theater studios and art schools, students of secondary and higher educational institutions of the Far East region and Western Siberia. The project includes master classes and open lessons, allowing young actors to show their abilities in various areas of theatrical education: acting, stage speech, stage movement and plasticity.
"The debut of young musicians-performers, laureates of international competitions - residents of cities and towns of the Far East". The project was implemented as a series of tours around the cities and towns of Primorsky Krai. The concerts were attended by students, trainee assistants, and graduates of the Far Eastern State Institute of Fine Arts.
povqualification of teachers educational institutions in the field of culture and art and secondary schools "Academy of Arts". Such projects are especially relevant for the Far East region, remote from the central universities of culture and art, and are aimed at preserving and developing the system of art education, improving the professional level of teachers, and supporting young talents in the field of culture and art. This project usually involves from 200 to 400 people from Nakhodka, Vladivostok, Blagoveshchensk, Khabarovsk; Petropavlovsk-Kamchatsky, Yuzhno-Sakhalinsk, Yakutsk. Artem, Ussuriysk, Dalnerechensk, Arsenyev, Raychikhinsk, Spassk, Komsomolsk-on-Amur, Belogorsk, Partizansk, Amursk, Shakhtersk, Yuzhno-Sakhalinsk.
DVGII projects
The first Far Eastern competition-festival of pop music. The emergence of the competition-festival was initiated by the Department of Wind and Percussion Instruments and is associated with the development of education in the field of pop art in the Far East region. In 2014, the first enrollment of students in the direction of training "Musical Variety Art", profile "Variety Orchestra Instruments" was made at the Far Eastern State Aviation Institute. So it became possible to receive higher education in this area in the Far East. Competition-festival is the successor of the traditional festival "Saxophone Day", which since 2006 annually on November 6 was held by the Honored Art Worker of Russia, Professor V. Kolin (Head of the Department A. Yeshchenko).
Regional festival of children's creativity. The Children's Aesthetic Center "World of Art" has been operating at the Institute for more than 20 years. This is a kind of "academy of arts for children", who attend lessons in music, painting, rhythm, ensemble, art of communication and game creation. The most talented continue their studies in Children's Art School of the Far East State Institute of Arts which has been in operation for four years. To date, 73 people are studying in it in pre-professional programs in the specialties: Piano, String instruments, Wind and percussion instruments, Folk instruments, Choral singing, Painting. School students have already become winners of competitions and festivals at various levels: city, regional, international. School student Liza Elfutina (bayan) became a participant in the Blue Bird contest.
The annual festival of children's creativity is aimed at preserving and developing the cultural environment and identifying talented children capable of receiving professional education in the field of musical, theatrical and artistic arts (Director of the Children's Center T. Razuvakina, Director of the Children's Art School - Candidate of Art History, Associate Professor E. Polunina).
Far East Winter Festival of Arts and Review of Young Talents are held annually in December. The best teams and soloists of the Far East State Institute of Arts, as well as creative teams of educational institutions of Vladivostok, the Sakhalin Region, Khabarovsk and Primorsky Territories take part in it. Festival events are held in the Concert Hall of the Institute of Arts and attract a large number of professionals and lovers of music, painting and theater. Since Vladivostok is already the largest cultural center in the Asia-Pacific region today, the Far East Winter Arts Festival can be called the hallmark of the city.
"Golden Key" - Far Eastern competition of performing skills of teachers of children's music schools and children's art schools named after. G.Ya. Nizovsky. The competition is held once every two years and is designed to stimulate creative activity and the exchange of experience among music teachers, the expansion of the pedagogical repertoire; identify and support talented teachers, promote various forms of collective music-making. During the competition, refresher courses are held.
The First International Russian-Chinese Children's Arts Festival "Eastern Kaleidoscope". The festival is designed to strengthen cooperation between China and Russia in the field of art education, stimulate creative activity and exchange of experience between the two countries in the field of culture and art, and identify talented young people for further education in Russian educational institutions. Support talented Chinese and Russian teachers, promote Chinese and Russian music, painting, and various forms of collective creativity. More than 100 participants took part in the first festival.
Far Eastern competition of readers "My love is my Russia" - an annual competition that brings together more than 200 participants from the Far East region: from students of secondary schools to young theater actors.
Regional Competition of Performers of Contemporary Music - successor to a similar competition, which has been held at the Faculty of Music of the Far Eastern State Academy of Arts annually since 1966.
Competition for the best performance of works by composers of the second halfXXcentury - conducted by the Department of General Piano. This competition stimulates students' studies, activates their interest in modern music, promotes the disclosure of students' creative abilities (Head of the Department - Associate Professor E. Bezruchko).
"Tkachev's Readings" competition of readers. People's Artist of the Russian Federation L. Tkachev, permanent long-term leader stage speech departments theater department. It is held together with the Primorsky branch of the Union of Theater Workers of the Russian Federation. Participants - graduate students of higher educational institutions of art and culture of the Far East, young artists of the Far Eastern theaters (Dean - Honored Artist of the Russian Federation, Professor A. Zaporozhets, Head of Department - Professor G. Baksheeva)
"Theatrical Hope" - the competition of independent works on acting skills bears the name of the Honored Art Worker of the Russian Federation S. Grishko, who has served at the theater department for over 30 years. The competition is supported by the Primorsky branch of the Union of Theater Workers of the Russian Federation (head of the department - People's Artist of the Russian Federation, Professor A. Slavsky)
"Plein Air"– an annual exhibition-competition of paintings and graphic works by students of the art faculty. Exhibitions are held in the halls of the Primorsky State Art Gallery and the Primorsky branch of the Union of Artists of the Russian Federation. For young artists, this is the first opportunity to express themselves and communicate with visitors to the exhibition - residents of Vladivostok and Primorsky Krai. Over the years, students worked in the open air in Venice, Florence, St. Petersburg. During the plein air in Italy, students became laureates of the International Competition for Young Artists "Venetian Opening Day" (Dean of the Faculty of Art - Associate Professor N. Popovich).
Remote master classes using Disklavier: Vladivostok - Moscow. As part of the project on cooperation between the Far Eastern State Academy of Arts and the Association of Laureates of the International Competition. P.I. Tchaikovsky (general director A. Shcherbak) regular lessons were held using the Disklavir installed in the Far East State Institute of Fine Arts. The lessons were conducted by professor of the Moscow State Conservatory named after I.I. P.I. Tchaikovsky A. Vershinin. The final stage of the project is a joint concert of musicians from Moscow and Vladivostok, dedicated to the 175th anniversary of P.I. Tchaikovsky. The concert took place on April 27, 2015. After the successful experience of conducting systematic classes, it became possible to develop a distance learning program using innovative technologies.
« From the history of creative schools of the Institute of Arts: origins, traditions, outstanding teachers…”. The teachers of the Institute of Arts - graduates of central universities - the Leningrad Conservatory - professors G. Poveshchenko (piano), L. Borshcheva (viola), L. Vaiman (violin), associate professor V. Bukach (piano); GMPI them. Gnesins - Professor R.E. Ilyukhin (piano), Novosibirsk Conservatory - Doctor of Arts, Professor S.A. Eisenstadt (piano).
Festivals and concerts are held annually: International Music Day, Saxophone Day, Alto Festival, Chamber Assemblies, Balalaika - the Soul of Russia, Bayan, Accordion and Accordion, Evening of Plastics, Bayan Knights.
Master classes, exchange of experience
Improving the quality of education, the interest of students contribute to creative meetings, open lessons and master classes of famous artists. The most significant events of recent years have been the following projects: "Domra XXI century", which included a scientific and practical conference and master classes by the People's Artist of Russia, Professor S. Lukin and the soloist of the "Mosconcert" N. Bogdanova (piano); workshops "Music Pedagogy: Theory, Methods, Practice" Doctor of Art History, Professor of the Russian Academy of Music. Gnesins M. Imkhanitsky); “Learning to create” by T. Tyutyunnikova; "Stage movement and fencing" B. Domnina;
Master class by Pavel MILYUKOV
Master classes by invited experts: American actress Maud Mitchell, participants of the Rachmaninov Trio and Friends project V. Yampolsky, N. Savinova, M. Tsinman, N. Kozhukhar, J. Kless, E. Coelho, K. Minzi, O. Khudyakov , S. Delmastro;
Creative schools: “Domra. Perfect masters” by A. Tsygankov and “Masters of accordion performing arts and pedagogy” by Y. Shishkin, master classes by professor of the St. Petersburg Conservatory N. Seregina.
Master classes organized by the Mariinsky Theater and the Saint Petersburg House of Music, held by People's Artist of the Russian Federation, Professor of the St. Petersburg Conservatory S. Roldugin, Honored Artist of the Russian Federation, Professor of the Moscow Conservatory A. Diev, laureate of international competitions P. Milyukov, Honored Artist of the Russian Federation E. Mirtova, Honored Artist of the Russian Federation, Professor of the St. Petersburg Conservatory N. Seryogin, Honored Artist of the Russian Federation, Associate Professor of the Moscow Conservatory A. Koshvanets; associate professor of the St. Petersburg Conservatory B. Taburetkin; laureate of international competitions, soloist of the Mariinsky Theater Orchestra D. Lupachev.
Sergey Roldugin, Alexandra Tishchenko, master class
Laureates
For the first time, young musicians from Vladivostok made themselves known at festivals in Leningrad (1967, 1971), Saratov (1969), since the 1990s they have won prizes at various Russian and international competitions (Moscow, St. Italy, etc.).
Orchestra of Russian Folk Instruments of the Far Eastern State Aviation Institute- Winner of the Grand Prix of the V All-Russian Competition. Kalinin (St. Petersburg).
Symphony Orchestra of the Far Eastern State Aviation Institute- Laureate of the Grand Prix of the VII Far Eastern competition of instrumental music "Metronome".
Academic Choir of the Far Eastern State Aviation Institute- Laureate of the Grand Prix of the VI International Competition "Musical Vladivostok".
Students of the Faculty of Music have won awards at the international competitions "Contemporary Art and Education" (Moscow), "Prize of the City of Lanciano" (Italy), the B.T. Shtokolov (St. Petersburg), competition "Hope" (Krasnoyarsk); International festival-competition "Play, button accordion" (Rzhev), XIX International competition "Bella voce" (Moscow, 2013), Review-competition of vocalists-graduates of musical universities of Russia (St. Petersburg), International competition of bayan-accordionists "Harbin summer" (China, Harbin).
Students of the Faculty of Arts became laureates of the International Exhibition-Competition “Russia-Italy. Traditions and Innovation” (Florence), II International Competition of Contemporary Art “My Yugra” (Khanty-Mansiysk), I International Festival-Competition of National Fine Arts “Soul of the Motherland… Motherland of the Soul…” (St. Petersburg).
International activity
Since the 1990s, the international relations of the Institute have been intensively developing in various areas and activities.
The Institute is the organizer of a number of international projects: "Days of the Stuttgart Opera", "The Magic Flute in Vladivostok", "Figaro in the Far East", "Don Giovanni in the Pacific Ocean" (with the assistance of the German-Russian Forum, the State Opera of Stuttgart, Goethe Institute (Moscow), Ministry of the Land of Baden-Württemberg (Germany).
Among the projects of the Far East State Institute of Geology are: a joint Russian-American project for the production of the musical "Company" (Stephan Sondheim - George Furth); Russian-Japanese musical meetings in collaboration with Reiko Takahashi Irino (JML Music Institute Yoshiro Irino); art exhibitions: "Modern Painting in Russia: Artists of Vladivostok" (Busan, Republic of Korea); “East meets East” (State Museum of Heilongjiang Province, Harbin); VIII International Exhibition "Seven Seas" (South Korea); exhibition of the countries of the South-Eastern region (Shanghai) and others.
As part of an earlier agreement between the Far Eastern State Institute of Arts and the Tokyo Concert Company
BELCANTOJAPAN L.L.C. on cooperation in the field of culture and art, tours of teachers to Japan are held.
International project "Figaro in the Far East"
Creative teams
Symphony Orchestra - laureate of the Grand Prix of the VII Far Eastern competition of instrumental music "Metronome".
Orchestra of Folk Instruments conducts active concert activity in the Far East. Over the years, well-known musicians have performed with the orchestra: People's Artists of the USSR Zurab Sotkilava, People's Artist of the Russian Federation Valery Zazhigin, conductors Honored Artist of the Russian Federation Boris Voron, Honored Artist of the Russian Federation Ivan Gulyaev, as well as teachers and students of the Academy. The orchestra is the winner of the first prizes of the IV and V International competitions for young musicians-performers "Musical Vladivostok" 2005-2007, winner of the Grand Prix of the V All-Russian Competition. N.N. Kalinina (St. Petersburg, 2009).
Head of the symphony and folk orchestras - Honored Artist of the Russian Federation, Professor S. Watermelon.
Academic Choir. The choir took part in the international projects The Magic Flute in Vladivostok and Figaro in the Far East. In 2010, the choir became a laureate of the regional competition "Singing Ocean", in 2012 - the owner of the Grand Prix of the VI International Competition "Musical Vladivostok" (video competition).
Head - Associate Professor L. Shveikovskaya.
Academic Choir of the Far East State Institute of Arts
Chamber Music Ensemble "Concertone" has existed since 1990. The ensemble is a laureate of the International Competition. Shenderev (1997, 3rd prize), 2nd International Competition in Beijing (1999, 2nd prize). "Concertone"- a team with incredible opportunities to cover the repertoire palette. The secret of this is in the composition of the ensemble: violin, button accordion, clarinet, cello, piano, and sometimes flute, which allows musicians to perform music of various directions and styles.
Credo "Concertone" - constant search, new musical discoveries. For the first time in the Far East, the ensemble performed such works as "Revision Tale" by A. Schnittke, "Silenzio" by S. Gubaidullina, works by I. Stravinsky, S. Slonimsky and A. Piazzolla.
Russian instrumental trio "Vladivostok" has been performing in the same line-up since its foundation in 1990: Honored Artists of the Russian Federation Nikolay Lyakhov(balalaika), Alexander Captain(accordion) Sergey Arbuz(balalaika-contrabass). This is one of the leading groups in the Far East, working in the folk instrumental genre. The trio gives concerts in Russia (Primorsky and Khabarovsk Territories, the Jewish Autonomous Region, the Republic of Sakha (Yakutia), Chita, Sakhalin, Kamchatka Regions) and abroad (Japan, China, USA, Thailand). Participates in international, all-Russian and regional festivals in the cities of Ise, Sakata (Japan), in Nanjing (PRC), in the Northwest folklife festival (USA, Seattle), "On the Amur expanses" (Khabarovsk), "Singing strings of Yakutia ”, “Transbaikal Harmonica” (Chita), “Musical Review-2004”, “Far Eastern Spring” (Vladivostok).
The team is a laureate of the International Competition. G. Shendereva (Russia, Vladivostok, 1997 - Silver Diploma); XVII International Competition "Grand Prix" (France, Bischwiller, 1997 - Grand Prix and Gold Medal); II International Bayan-Accordion Competition (China, Beijing, 1999 - 1st prize); 38th International Bayan Accordion Competition, (Germany, Klingenthal, 2001 III prize).
opera studio- Laureate of the 1st Prize of the International Competition "Musical Vladivostok" (2014, 2016) for productions: Sokolovsky. Scenes from the opera "The Miller, the Sorcerer, the Deceiver and the Matchmaker", Purcell - "Dido and Aeneas", Mozart - "Bastienne and Bastienne". The leader is the Honored Art Worker of the Russian Federation, Professor V. Voronin.
Trio "Expecto" - laureate of international competitions for accordion players in Harbin (China, 2014, 1st prize), in Castelfidardo (Italy, 2015, 1st prize, gold medal).
Quartet "Collage" - laureate of international competitions for bayan-accordionists in Harbin (China, 2016, 1st prize).
Trio "Orient" Artem Ilyin (accordion), Evgenia Zlenko (piano), Anna Zvereva (violin) - laureate of the international competition in Lanciano (Italy, 2014, 1st prize).
Outstanding graduates of the FEGU
For half a century, many musicians, now widely known in Russia and in the world, have graduated from the Far Eastern State Institute of Arts. Among them:
musicologists, doctors of art history: Professor of the Russian State Pedagogical University named after Herzen E. Gertsman, Professor of the St. Petersburg Conservatory, Honored Art Worker of Karelia U Gen-Ir, Professor of the Moscow State Conservatory named after P.I. Tchaikovsky R. Pospelova, professor of RAM them. Gnesins E. Alcon, Professor of the Department of Fine Arts of the School of Art of Culture and Sports of the Far Eastern Federal University G. Alekseeva, Professor of the Moscow State Institute of Culture N. Efimova, professor, acting head Department of Philosophy, History, Theory of Culture and Art of the Moscow State Institute of Music. A.G. Schnittke A. Alyabeva, Professor of the Far Eastern State Institute O. Shushkova, Y. Fidenko;
performers: Honored Artist of the Russian Federation, head of the ensemble "Jang" N. Erdenko, Honored Artist of the Russian Federation, Head of the Department of Orchestral Conducting, Professor of the Russian Academy of Music. Gnesins B. Raven, laureate of the international competition, Honored Art Worker of the RS (Y), Professor of the Department of Orchestral String Instruments of the Higher School of Music of the RS (Y) (Institute) named after. V.A. Bosikova O. Kosheleva;
actors: People's Artists of the Russian Federation A.Mikhailov, S. Stepanchenko, Yu. Kuznetsov, S. Strugachev, laureate of the State Prize V. Priekhov, Honored Artist of the Russian Federation V. Tsyganova; People's Artists of the Russian Federation, actors of the Primorsky Regional Drama Theater. Gorky, professor of the department of actor's skill A. Slavsky, V. Sergiyakov, People's Artist of the Russian Federation, laureate of the State Prize of the Russian Federation, artistic director of the Primorsky Regional Academic Theater named after M. Gorky E. Zvenyatsky;
well-deserved painters RF S. Litvinov, S. Cherkasov, I. Dunkay.
Home > DocumentDmitry Borovsky, May 1998
Art: Far East Overview
The vast region, conventionally referred to as the Far East, includes China, Japan, Korea, Mongolia and Tibet - countries that have a number of similarities, but at the same time significant differences in culture.
All countries of the Far East were influenced by the ancient civilizations of China and India, where as early as the 1st millennium BC, philosophical and religious teachings arose that laid the foundation for the concept of nature as a comprehensive Cosmos - a living and spiritualized organism that lives according to its own laws.
Nature turned out to be at the center of philosophical and artistic searches of the entire medieval period, and its laws were considered universal, determining the life and relationships of people. The inner world of man was compared with the diverse manifestations of nature. This influenced the development of the symbolic method in the visual arts, defining its allegorical poetic language. In China, Japan and Korea, under the influence of such an attitude to nature, types and genres of art were formed, architectural ensembles closely connected with the surrounding landscape were built, landscape gardening art was born, and, finally, landscape painting dawned.
Under the influence of ancient Indian civilization, Buddhism began to spread, and Hinduism also began to spread in Mongolia and Tibet. These religious systems brought not only new ideas to the countries of the Far East, but also had a direct impact on the development of art. Thanks to Buddhism, a previously unknown new artistic language of sculpture and painting appeared in all countries of the region, ensembles were created, the characteristic feature of which was the interaction of architecture and fine arts.
Features of the image of Buddhist deities in sculpture and painting evolved over many centuries as a special language of symbols that expressed ideas about the universe, moral laws and the destiny of man. Thus, the cultural experience and spiritual traditions of many peoples were consolidated and preserved. The images of Buddhist art embodied the ideas of the confrontation between good and evil, mercy, love and hope. All these qualities determined the originality and universal significance of the outstanding creations of the Far Eastern artistic culture.
Art: Japan
Japan is located on the islands of the Pacific Ocean, stretching along the east coast of the Asian mainland from north to south. The Japanese islands are located in an area prone to frequent earthquakes and typhoons. The inhabitants of the islands are accustomed to constantly being on their guard, being content with a modest life, quickly restoring their homes and households after natural disasters. Despite the natural elements that constantly threaten the well-being of people, Japanese culture reflects the desire for harmony with the outside world, the ability to see the beauty of nature in big and small. In Japanese mythology, the divine spouses, Izanagi and Izanami, were considered the ancestors of everything in the world. From them came a triad of great gods: Amaterasu - the goddess of the Sun, Tsukiyomi - the goddess of the Moon and Susanoo - the god of storm and wind. According to the ideas of the ancient Japanese, the deities did not have a visible appearance, but were embodied in nature itself - not only in the Sun and the Moon, but also in mountains and rocks, rivers and waterfalls, trees and grasses, which were revered as kami spirits (the word kami means in Japanese divine wind). This deification of nature persisted throughout the entire period of the Middle Ages and was called Shinto - the path of the gods, becoming the Japanese national religion; Europeans call it Shinto.The origins of Japanese culture are rooted in antiquity. The earliest works of art date back to the 4th to 2nd millennium BC. The longest and most fruitful for Japanese art was the period of the Middle Ages (6..19th century).
Art: Japan: Architecture: Traditional Japanese House
The design of a traditional Japanese house developed by the 17th-18th centuries. It is a wooden frame with three movable walls and one fixed. The walls do not carry the functions of support, so they can be moved apart or even removed, serving as a window at the same time. In the warm season, the walls were a lattice structure, pasted over with translucent paper that let in light, and in the cold and rainy season they were covered or replaced with wooden panels. With high humidity in the Japanese climate, the house must be ventilated from below. Therefore, it is raised above ground level by 60 cm. To protect the support pillars from decay, they were installed on stone foundations.
The light wooden frame had the necessary flexibility, which reduced the destructive force of the push during frequent earthquakes in the country. The roof, tiled or reed, had large canopies that protected the paper walls of the house from rain and the scorching summer sun, but did not hold back the low rays of the sun in winter, early spring and late autumn. Under the canopy of the roof was a veranda.
The floor of the living rooms was covered with mats - tatami, which were mostly sat rather than stood. Therefore, all the proportions of the house were focused on a seated person. Since there was no permanent furniture in the house, they slept on the floor, on special thick mattresses, which were put away in the closets during the day. They ate, sitting on mats, at low tables, they also served for various activities. Sliding internal partitions, covered with paper or silk, could divide the internal premises depending on the needs, which made it possible to use it more diversely, however, it was impossible for each of its inhabitants to completely retire inside the house, which affected intra-family relations in the Japanese family, and in a more general sense - on the features of the national character of the Japanese.
An important detail of the house - a niche located near a fixed wall - tokonama, where a picture could hang or a composition of flowers - ikebana could stand. It was the spiritual center of the house. In the decoration of the niche, the individual qualities of the inhabitants of the house, their tastes and artistic inclinations were manifested.
The continuation of the traditional Japanese house was garden. He played the role of a fence and at the same time connected the house with the environment. When the outer walls of the house were moved apart, the boundary between the inner space of the house and the garden disappeared and a feeling of closeness to nature, direct communication with it was created. This was an important feature of the national attitude. However, the Japanese cities grew, the size of the garden decreased, often it was replaced by a small symbolic composition of flowers and plants, which served the same role of contact between the dwelling and the natural world.
Art: Japan: Ikebana
The art of arranging flowers in vases - ikebana (flower life) - dates back to the ancient custom of laying flowers on the altar of a deity, which spread to Japan along with Buddhism in the 6th century. Most often, the composition is in the style of that time - rikka (delivered flowers) - consisted of a branch of pine or cypress and lotuses, roses, daffodils, installed in ancient bronze vessels.With the development of secular culture in the 10th-12th centuries, flower compositions were installed in palaces and residential quarters of representatives of the aristocratic class. At the imperial court, special competitions in arranging bouquets became popular. In the second half of the 15th century, a new direction in the art of ikebana appeared, the founder of which was the master Ikenobo Senei. The works of the Ikenobo school were distinguished by their special beauty and sophistication, they were installed at home altars and presented as gifts.
In the 16th century, with the spread tea ceremonies a special type of ikebana was formed to decorate a niche - tokonoma in the tea pavilion. The requirement of simplicity, harmony, restrained colors, presented to all objects of the tea cult, extended to the design of flowers - tyabana (ikebana for the tea ceremony). famous tea master Senno Rikyu created a new, freer style - nageire (carelessly arranged flowers), although it was in the seeming disorder that the special complexity and beauty of the images of this style lay. One of the types of nageire was the so-called tsuribana, when the plants were placed in a suspended vessel in the shape of a boat. Such compositions were presented to a person who took office or graduated from school, as they symbolized "an exit to the open sea of \u200b\u200blife."
In the 17th-19th centuries, the art of ikebana became widespread, and the custom of obligatory training of girls in the art of making bouquets arose. However, due to the popularity of ikebana, compositions were simplified, and strict style rules had to be abandoned. rikka in favor nageire from which another new style emerged seika or shoka (Natural flowers). At the end of the 19th century the master Ohara usin created a style moribana, the main innovation of which was that the flowers were placed in wide vessels.
In the composition of ikebana, as a rule, there are three obligatory elements, denoting the three principles: Heaven, Earth and Man. They can be embodied as a flower, branch and grass. Their correlation with each other and additional elements creates works of different style and content. The task of the artist is not only to create a beautiful composition, but also to most fully convey in it his own thoughts about a person’s life and his place in the world. The works of outstanding ikebana masters can express hope and sadness, spiritual harmony and sadness.
According to the tradition in ikebana, the season is necessarily reproduced, and the combination of plants forms symbolic good wishes well-known in Japan: pine and rose - longevity; peony and bamboo - prosperity and peace; chrysanthemum and orchid - joy; magnolia - spiritual purity etc.
Art: Japan: Sculpture: Netsuke
Miniature sculpture - netsuke became widespread in the 18..19 centuries as one of the types of arts and crafts. Its appearance is due to the fact that the national Japanese costume - kimono - has no pockets and all the necessary small items (pipe, pouch, medicine box etc) are attached to the belt with the help of a keychain-counterweight. Netsuke, therefore, necessarily has a hole for a lace, with the help of which the desired object is attached to it. Trinkets in the form of sticks and buttons were used before, but since the end of the 18th century, well-known masters have already worked on the creation of netsuke, putting their signature on the works.
Netsuke is the art of the urban class, mass and democratic. According to the plots of netsuke, one can judge the spiritual needs, everyday interests, mores and customs of the townspeople. They believed in spirits and demons, which were often depicted in miniature sculpture. They loved the figurines of the "seven gods of happiness", among which the god of wealth Daikoku and the god of happiness Fukuroku were the most popular. The constant plots of netsuke were the following: a cracked eggplant with many seeds inside - a wish for a large male offspring, two ducks - a symbol of family happiness. A huge number of netsuke are dedicated to everyday topics and the daily life of the city. These are wandering actors and magicians, street vendors, women engaged in various activities, wandering monks, wrestlers, even the Dutch in their exotic, from the point of view of the Japanese, clothes - wide-brimmed hats, camisoles and trousers.
Distinguished by thematic diversity, netsuke retained their original function of a key ring, and this purpose dictated to the craftsmen a compact shape without fragile protruding details, rounded, pleasant to the touch. The choice of material is also connected with this: not very heavy, durable, consisting of one piece. The most common materials were different types of wood, ivory, ceramics, lacquer and metal.
Art: Japan: painting and graphics
Japanese painting is very diverse not only in content, but also in form: these are wall paintings, screen paintings, vertical and horizontal scrolls, executed on silk and paper, album sheets and fans.
About ancient painting can only be judged by references in written documents. The earliest surviving outstanding works date from the Heian period (794-1185). These are illustrations of the famous "The Tale of Prince Genji" by the writer Murasaki Shikibu. The illustrations were made on several horizontal scrolls and supplemented with text. They are attributed to the brush of the artist Fujiwara Takayoshi (first half of the 12th century).
A characteristic feature of the culture of that era, created by a rather narrow circle of the aristocratic class, was the cult of beauty, the desire to find in all manifestations of material and spiritual life their inherent charm, sometimes elusive and elusive. Painting of that time, later called yamato-e (literally japanese painting), conveyed not an action, but a state of mind.
When the harsh and courageous representatives of the military class came to power, the culture of the Heian era began to decline. In painting on the scrolls, the narrative principle was established: these are legends about miracles full of dramatic episodes, biographies of preachers of the Buddhist faith, scenes of battles of warriors.
In the 14th-15th centuries, under the influence of the teachings of the Zen sect, with its special attention to nature, landscape painting began to develop (initially under the influence of Chinese models).
For a century and a half, Japanese artists mastered the Chinese art system, making monochrome landscape painting the property of national art. Its highest flowering is associated with the name of the outstanding master Toyo Oda (1420..1506), better known under the pseudonym Sesshu. In his landscapes, using only the finest shades of black ink, he managed to reflect the entire multi-colored nature of the natural world and its countless states: the moisture-saturated atmosphere of early spring, the invisible but felt wind and cold autumn rain, the motionless stillness of winter.
The 16th century opens the era of the so-called late Middle Ages, which lasted three and a half centuries. At this time, wall paintings became widespread, decorating the palaces of the rulers of the country and large feudal lords. One of the founders of the new direction in painting was the famous master Kano Eitoku, who lived in the second half of the 16th century. Wood engraving (xylography), which flourished in the 18-19 centuries, became another type of fine art of the Middle Ages. Engraving, like genre painting, was called ukiyo-e (pictures of the everyday world). In addition to the artist who created the drawing and wrote his name on the finished sheet, the engraving was created by a carver and a printer. At first, the engraving was monophonic, it was painted by hand by the artist himself or by the buyer. Then printing in two colors was invented, and in 1765 the artist Suzuki Harunobu (1725..1770) first used multi-color printing. To do this, the carver placed a tracing paper with a pattern on a specially prepared longitudinal sawn board (from pear, cherry or Japanese boxwood) and cut out the required number of printed boards, depending on the color scheme of the engraving. Sometimes there were more than 30 and. After that, the printer, choosing the right shades, made prints on special paper. His skill was to achieve an exact match of the contours of each color, obtained from different wooden boards.
All engravings were divided into two groups: theatrical, which depicted the actors of the Japanese classical Kabuki theater in various roles, and everyday writing, dedicated to the depiction of beauties and scenes from their lives. The most famous master of theatrical engraving was Toshyushay Syaraku, who depicted the faces of the actors in close-up, emphasizing the features of the role they played, the characteristic features of the person reincarnated as the character of the play: anger, fear, cruelty, deceit.
Such outstanding artists as Suzuki Harunobu and Kitagawa Utamaro became famous in everyday life engraving. Utamaro was the creator of female images that embodied the national ideal of beauty. His heroines seem to have frozen for a moment and will now continue their smooth graceful movement. But this pause is the most expressive moment when the tilt of the head, the gesture of the hand, the silhouette of the figure convey the feelings they live in.
The most famous engraver was the brilliant artist Katsushika Hokusai (1776-1849). Hokusai's work is based on the centuries-old pictorial culture of Japan. Hokusai made over 30,000 drawings and illustrated about 500 books. Already a seventy-year-old man, Hokusai created one of the most significant works - a series of "36 Views of Fuji", which allows him to be put on a par with the most outstanding artists of world art. Showing Mount Fuji - the national symbol of Japan - from different places, Hokusai for the first time reveals the image of the motherland and the image of the people in their unity. The artist saw life as a single process in all its diversity of manifestations, starting from the simple feelings of a person, his daily activities and ending with the surrounding nature with its elements and beauty. The work of Hokusai, which absorbed the centuries-old experience of the art of his people, is the last peak in the artistic culture of medieval Japan, its remarkable result.
Art: Japan: sources of information
Microsoft Encarta 97 Encyclopedia World English Edition. Microsoft Corp., Redmond, 1996;
Internet resources (Worldwide Web);
"Encyclopedia for Children", Volume 6 ("Religions of the World"), Part Two. Publishing house "Avanta +", Moscow, 1996;
"Encyclopedia for Children", volume 7 ("Art"), part one. Publishing house "Avanta +", Moscow, 1997;
Encyclopedia "Myths of the peoples of the world". Publishing house "Soviet Encyclopedia", Moscow, 1991.
Art: Japan: Glossary
Engraving- view charts, in which the image is a printed print of a drawing applied to a board made of wood, linoleum, metal, stone; the image itself on wood, linoleum, cardboard etc.
Ikebana("living flowers") - the Japanese art of arranging bouquets; the bouquet itself, composed according to the principles of ikebana.
Kondo(Golden Hall) - the main temple of the Buddhist Japanese monastery complex; later became known as Hondo.
Kaizuma- in Japanese architecture, a massive gable roof of a Shinto shrine; It was made from straw or cypress bark, later from tiles.
Woodcut - engraving on the tree.
H´ etsuke- a miniature figurine made of ivory, wood or other materials; served as a keychain with which small objects (for example, a wallet) were attached to the belt; belonging to the Japanese national costume.
Pagoda- in the Buddhist architecture of the countries of the Far East and Southeast Asia, a multi-tiered memorial tower - reliquary with an odd (lucky) number of tiers.
R´ impa- School of Japanese painting 17..18 centuries; gravitated towards literary subjects of past centuries; conveyed the lyrical experiences of the characters.
Reliquary- a repository for storing relics.
Tyaniva("tea garden") - in the architecture of Japan, a garden associated with the tea ceremony - pulling; makes up a single ensemble with a tea pavilion - chashitsu.
Tyano´ Yu("tea ceremony") - in the spiritual life of Japan, a philosophical and aesthetic ritual of uniting people, helping them to switch off from the hustle and bustle of life.
Ukiyo-e("pictures of the everyday world") - a school of Japanese painting and woodcuts 17..19 centuries, reflecting the life and interests of the urban population; inherited the traditions of genre painting of the 15th-16th centuries.
Haniva("clay circle") - ancient Japanese funeral ceramics; named after the manufacturing method: hand-sculpted clay rings are laid one on top of the other; dawn period - 5..6 centuries.
Yamato-´ uh("Japanese painting") - in the fine arts of Japan since the 10th - 11th centuries, an independent direction, opposed to Chinese painting; plots of medieval Japanese stories, novels and diaries were reproduced; silhouettes, bright color spots, interspersed with gold and silver sequins were expressively combined.
Art of Japan, page 7 of 7
The official history of the organization began in October 1938 on the initiative of V. V. Bezrodny. Artist, teacher and public figure Vasily Vasilyevich Bezrodny graduated from the St. Petersburg Academy of Arts. I. E. Repin, Department of Theatrical Design. According to contemporaries, he was a modern-minded person with knowledge and high artistic culture.
In Vladivostok of those years, higher art education was a rare occurrence. V. V. Bezrodny’s professional skills and vision of art were formed in the former Imperial Academy of Arts, where A. P. Ostroumova-Lebedeva, I. I. Brodsky, M. P. Bobyshev, B. V. Ioganson, D. N. Kardovsky.
The atmosphere at the academy of those years can be judged by a special hall opened in 2013 at the Research Museum of the Russian Academy of Arts (NIM RAH) in St. Petersburg. This is a hall dedicated to the Academy of Arts in one of its difficult periods - the 1920s and early 1930s, when there was an unusual, colorful picture of various, sometimes mutually exclusive directions. This influenced the formation of the artist.
One of the qualities of V. V. Bezrodny, formed at that time, can be called the versatility of his creative nature. This affected the atmosphere in the newly created organization in Primorye, and the nature of the activities of V. V. Bezrodny himself, who was engaged not only in the affairs of the local union of artists, but also striving to establish art education.
About the first steps of the Primorye Organization of Artists, V. I. Kandyba wrote the following: “On October 10, 1938, for the first time in the history of the region, artists from different parts of Primorye got together.
This meeting became the founding one. Its result was the formation of the organizing committee of the Union of Primorye Artists, which on August 1, 1939 was registered by the organizing committee of the Union of Soviet Artists in Moscow.
V. V. Bezrodny was elected chairman, V. F. Inozemtsev was elected deputy chairman and chairman of the exhibition committee, and T. G. Aleshunin was elected technical secretary. The famous "Thursdays" at N. I. Kramskoy with drawing, talking about art were transformed in Vladivostok into an advanced training studio for artists. There were regular meetings, work on yourself. Here reigned studio, unique spirit of camaraderie, solidarity, enthusiasm and creative aspirations. Not without reason, already in 1939, according to the plan of the organizing committee, a joint exhibition of works by artists of Primorye was opened. It was attended by 18 people with 120 works.
The creative organization included I. A. Zyryanov, P. V. Muldin, O. I. Bogashevskaya-Sushkova, S. S. Serezhin, M. A. Tsyganov, V. M. Fomin, N. A. Mazurenko, V. M. Sviridov, F. I. Rodionov, S. P. Kolabukhov, D. S. Budrin, D. P. Pravednikov, A. V. Zevin, T. I. Obrazkov, I. F. Palshkov (Suchan, p. 1972 - Partizansk), P. P. Medvedev (Artem), V. M. Zotov (Ussuriysk), S. P. Chaika (Ussuriysk), I. S. Dereka (Ussuriysk), S. F. Arefin (Ussuriysk) , Y. L. Ars (Ussuriysk), G. K. Aslanov (Ussuriysk).
Members of the first composition of the organization had different educational levels and different professional experience. So, M. A. Tsyganov graduated from the club-instructor department of the technical school in Rostov, then he worked in the club of the regiment as an artist during his service in the Red Army (1932-34), P. V. Muldin began his career as a student of the artist of the Ussuri cinema . S. F. Arefin received training at the Studio of War Artists. I. F. Palshkov (1887-1954) graduated from the Central School of Technical Drawing of Baron Stieglitz in 1912 and had experience of working at the calico-printing factories of Serpukhov, Ivano-Voznesensk, as well as the experience of participating in exhibitions of the Society of Non-Party Artists in St. Petersburg (1914- 1915) and won recognition for landscapes, studies and drawings. In 1916, I. F. Palshkov took part in the construction of a church at the school of folk art of Empress Alexandra Feodorovna, for which he was awarded a precious pin with the image of the state emblem. But, despite these differences, the artists were united by one thing: their work reflected the nature and multifaceted life of Primorsky Krai.
In 1939, the Organizing Committee of the Association of Primorye Artists worked at V. V. Bezrodny's house at Pushkinskaya, 12. This house has not been preserved. V. V. Bezrodny moved to Vladivostok from Ussuriysk in 1936.
He begins to work in the theater of the Pacific Fleet, creates sketches of scenery and costumes. At the same time, the artist comes up with educational initiatives: he creates the "Studio of Naval Artists" at the Sailor's Club, which was located at that time in the building of the Lutheran church, where the Red Navy and Red Army soldiers are engaged.
In 1939, in the Club of Sailors (today the Pushkin Theater, Pushkinskaya St., 27), on the initiative of Bezrodny, a school-studio was created, in which they studied according to the program of the secondary art school. Consciousness of the need for professional (rather than studio education) prompts V. V. Bezrodny to persevere in the matter of creating the Vladivostok Art School. In 1943, the People's Commissariat of Education of the USSR approved the decision to open an art school in Vladivostok, the director of which was T. G. Aleshunin (later transferred to the Far Eastern Pedagogical Institute of Arts, organized in 1962, to the position of Vice-Rector for Economic Affairs). In 1944, the first enrollment of students was made, by the next academic year 1945-1946, the school had two courses in painting and theater departments and one in sculpture.
In 2014, the Vladivostok Art School celebrated its 70th anniversary, and material is currently being compiled to create an album dedicated to the history of the school and its role in the formation and development of art education in the Primorsky Territory and the Far East. In this article, I would like to emphasize the connection between the creative organization and the school: the teachers of the VCU of that period V. V. Bezrodny, B. F. Lobas, V. S. Zdanovich, G. M. Tsaplin, F. N. Babanin, K. I. Shebeko, V. I. Prokurov, A. M. Rodionov, M. A. Kostin, N. P. Zhogolev, D. P. Kosnitsky, Yu. I. Gerasimov, N. M. Timofeev, E. E. Makeev, L. A. Kozmina, A. A. Obmanets, M. V. Kholmogorova, A. P. Zhogoleva, V. V. Medvedev and others were and are members of the Primorsky organization of the Union of Artists of Russia.
Over time, the organizational and creative work of the Primorsky Organization of Artists reached a qualitatively new level: regional art exhibitions became regular, graduates of the Vladivostok Art College came to artistic life. In 1959, the Primorsky organization moved into a new building on the street. Aleutskaya, 14-a.
A new, bright stage began in the life of the Primorsky Union of Artists in the mid-1950s. These are the years of professional formation of I. V. Rybachuk, K. I. Shebeko, K. P. Koval, N. A. Mazurenko, S. F. Arefina, V. N. Gerasimenko, T. M. Kushnareva, V. M. Medvedsky, V. M. Sviridov, B. F. Lobasa, A. V. Teleshov, etc. During these years, the first reviews of the work of Primorye artists appeared in the journal "Khudozhnik". A general description of this decade was formulated by V. I. Kandyba: “... it is rather a period of formation and accumulation of strength, rooting on the coastal soil of a young growth of pioneering artists.” The role of pioneering artists in the artistic development of the Far Eastern reality is great.
At the end of the 1950s, those features were laid that made it possible to call seaside art at subsequent zonal exhibitions. This is the predominant role of the landscape, the desire to master the genre of the plot-thematic picture associated with the history of the region, the nature of labor in it (Primorsky Krai is the territory of sailors, fishermen, miners), interest in the theme of the North, Chukotka, Kamchatka, the Kuriles.
I. V. Rybachuk, K. I. Shebeko are considered to be the discoverers of the northern theme not only in the Far East, but also in Soviet art. The exhibition "Three Masters" in the halls of the Primorsky branch of the VTOO "Union of Artists of Russia" in 2014 with the participation of I. V. Rybachuk and K. I. Shebeko made it possible to look at this material from the point of view of the modern vision of the theme in art and once again appreciate the scale of what has been done . The North attracted V.M. Medvedsky, I.A. Ionchenkova, N. D. Volkova (Ussuriysk) and other artists, prompting them to search for special artistic means to adequately reflect the nature and man of the North.
Another no less significant theme in the art of Primorye artists was the Shikotan theme. Having become the subject of the latest research in connection with the attention to the domestic art of the 1960s in general, this topic turned out to be associated with the work of more than two dozen artists of the Primorsky Territory and lasted for decades, giving impetus to the existence of the Shikotan group. The first period of the existence of the group is associated with the names of Y. I. Volkov, I. A. Kuznetsov, V. S. Rachev, E. N. Korzha. The history of the creation of the group is connected with the personality of O. N. Loshakov, after graduating from the Moscow Art Institute. V. I. Surikov, who came to Vladivostok to teach at an art school. Landscape, portrait, plot-thematic picture - these genres were embodied in dozens of canvases, the main content of which was "the nature of the Far East, then - a person in a simple and strong relationship with her." In the works of the Shikotans, a severe style was realized - a trend in the art of the 1960s, short in time, but, despite this, influenced the subsequent attitude of Soviet artists until the end of the 1980s. Group exhibitions were held in Vladivostok, Moscow.
O. N. Loshakov participates in the autumn exhibition of 2014 as an honored guest.
The period of the 1960s, V. I. Kandyba and art critics from the capital, are associated with the development of the plot-thematic painting: “The second half of the 1960s was marked by an event of great importance for seaside painting - the formation of the plot-thematic painting. From a rare but always welcome guest, she has become an obligatory regular in most of our exhibitions.
The acute deficit for it has clearly subsided.” V. I. Bochantsev, Y. I. Volkov, V. N. Doronin, N. P. Zhogolev, K. I. Shebeko, S. A. Litvinov and others are among the “artists”. hero of the time ”and positively evaluated by critics, was a portrait. The most important theme of the exhibition "Soviet Far East", which opened in 1965 in Vladivostok, was a story about a contemporary: "sailors, whalers, fishermen, builders, reindeer herders - these are golden placers of amazing characters." I. V. Rybachuk, K. I. Shebeko, V. A. Goncharenko, V. N. Doronin, A. V. Teleshov, M. I. Tabolkin work in this genre. This period is distinguished by the desire for a wide coverage of topics that reflect all aspects of the life of Primorye and the Far East. Successes in this area are associated with important events in artistic life.
In 1962, the Far Eastern Pedagogical Institute of Arts was organized with music, theater and art faculties (it was called that until 1992, from 1992 to 2000 - the Far Eastern State Institute of Arts, since 2000 - the Far Eastern State Academy of Arts). This step was due to the situation with personnel in creative organizations, which the first rector of the institute, G. V. Vasiliev, in a memorandum to the Minister of Culture of the RSFSR A. I. Popov, called "catastrophically bad." V. A. Goncharenko, dean of the institute, and from 1973 to 1993 rector, writes that the opening of the university in Vladivostok was perceived by artists (including) as “a gift of fate, an unexpected, unexpected chance. And, I must say, everyone used it to the fullest extent of their abilities. Out of them (students of the first graduation - author's note) came out bright artists and wonderful teachers: Yu.I. Volkov, O. P. Grigoriev, I. A. Ionchenkov, D. P. Kosnitsky, P. J. Rogal, V. A. Snytko, Y. V. Sobchenko, V. N. Starovoitov, G. M. Tsaplin. I especially single out S. A. Litvinov, who grew up in our Academy, the first professor of painting in the Far East, wholly and completely shaped by the artistic life of Primorye.”
The graduates of the art universities of Leningrad and Moscow, V. A. Goncharenko, K. I. Shebeko, V. I. Kandyba (art critic) came to the newly formed institute to teach - Institute of Painting, Sculpture and Architecture. I. E. Repina, V. N. Doronin, V. I. Bochantsev - Moscow Art Institute. V. I. Surikov. In 1967, S. A. Litvinov and Y. V. Sobchenko, from among the graduates of the institute of the first graduation, set foot on the pedagogical path.
In 1977, N. P. Zhogolev (Institute of Painting, Sculpture and Architecture named after I. E. Repin) became one of the teachers. Their pedagogical and creative work, participation in exhibitions, creativity of their students made the artistic life of the region "an organic, equal, creatively original part of all-Russian life." Not only graduates of the Vladivostok Art College, but also schools of Siberia and central Russia (Irkutsk, Kemerovo, Blagoveshchensk, Novoaltaisk, Ivanovo, Ryazan, etc.) began to enter the painting faculty at the Far East State Institute of Art.
The second factor that influenced the development of artistic life was the organization of the Far East zone.
In 1960, the Union of Artists of the Russian Federation was created. In 1960, the 1st republican exhibition "Soviet Russia" was held in Moscow, and before it, local organizations held zonal exhibitions in which all members of creative teams participate. The serious work of exhibition committees contributes to a great professional return, and artists also get the opportunity to correlate their work with the work of artists from other territories. Based on the results of the zonal exhibitions, works were selected for the All-Russian level. This system was preserved for many years, allowing you to enter the general artistic life of the country, and remains today. By the way, Vladivostok was three times the venue for the zonal exhibition - in 1967, 1974 and 1985.
Traditions established in the 1960s continued until the late 1980s. Solo exhibitions of Primorye artists are held in Moscow, albums of reproductions by K. I. Shebeko and K. P. Koval are published in the series “Artists of the Russian Federation”. The success of Primorsky artists is not only in painting, but also in easel and book graphics, poster art (the most notable artist in this direction was E. I. Datsko, who participates in this exhibition as a guest of honor), sculpture, arts and crafts and monumental art.
So, for the Far Eastern Book Publishing House, the Far Eastern State University Publishing House, the Dalnauka Publishing House, a group of artists who have made a remarkable contribution to the development of book graphics in the Primorsky Territory, V. S. Chebotarev, S. M. Cherkasov, F. G. Zinatulin, E. I. Petrovsky, V. I. Vorontsov, V. G. Ubiraev, S. V. Gorbach and others. “The art faculty has become an exclusively painting faculty,” training in the field of graphics was given by the Vladivostok Art School. Here, since 1960, V. S. Chebotarev, who graduated from the Institute of Painting, Sculpture and Architecture named after V.S. I. E. Repin (workshop of A. F. Pakhomov, majoring in graphic artist). V. S. Chebotarev participates in exhibitions with graphic works. Works for book publishers of the Far East. The rise of seaside graphics, which is associated with the name of the artist, means that many of his graduates began to work in this area of art.
In 1978, a section of arts and crafts appeared in the Primorsky organization, it brought together artists from Vladivostok, Artem, Nakhodka, the village. Kavalerovo. In connection with the opening of a carpet factory and a porcelain factory in Artyom, a souvenir factory and a porcelain factory in Vladivostok, a factory of artistic ceramics in Spassk-Dalniy, young, creatively active artists arrived in Primorsky Krai, who graduated from the Moscow Higher School of Industrial Art, Odessa Art School. M. Grekova, Leningrad Higher School of Industrial Art, Moscow Institute of Technology, Leningrad Higher School of Industrial Art. V. Mukhina, Irkutsk School of Arts.
At the exhibitions of arts and crafts, the artists of the section exhibited artistic textiles (tapestry, batik, macrame), porcelain, ceramics, decorative items made of metal, wood, stone with Far Eastern motifs. In different years, the section included A. V. Katsuk, P. F. Fedotov, A. S. Pesegov, O. P. Grigoriev, O. G. and A. G. Kalyuzhny, A. P. Onufrienko, V. F. . Kosenko, V. K. Zakharenko (Nakhodka), T. G. Matyukhina (Artem), T. G. Limonenko, G. M. Maksimyuk, G. G. Dobrynina, T. M. Suslova and others. E. V. Barsegov, N. M. Shaymordanova, V. G. Nenazhivin.
In publications dedicated to the Primorsky organization of the Union of Artists of Russia, they note the balance of different genres of painting, in a large number of works of graphics, sculpture, arts and crafts and monumental art. The artists of Primorye are the authors of a good level of easel works, actively participate in regional, republican, all-Russian exhibitions, contribute to the formation of the image of the city (mosaic panels, art forms in various parts of the city, interior design and facades of public buildings). On the whole, the 1960s-80s can be considered the period of the formation of a multifaceted seaside art with its own face.
In the 1990s, the changes that took place in the socio-political life of the country are reflected in the artistic life. The main thesis of this time, the artists who came to art in the late 1980s, formulated in the booklet of the exhibition “Generation of the 80s”: “The generation of the 80s had a time in which, as a pioneer, they were allowed to create outside of any ideology, on their own… Complete freedom of expression, which, however, still needs to get used to. The generation that grew up in one time and is obliged to live in another is the most difficult. The strongest survive here, or rather, the obsessed, for whom painting is life. The main problem is, on the one hand, the search for opportunities through art to express the problematic vision of modern life, on the other hand, the desire for individuality, which determines the place of the artist in the general series. During this period, young artists play a special role. Their exhibitions point to “the existence of diametrically opposed tendencies and directions in art, the incompatibility of attitudes and tastes, mutually exclusive approaches to depicting a person. The palette of aesthetic quests of young painters… has become more complex,… several ways of interpreting reality claim to be the leading principle at once – from the unconditional disclosure of nature and direct statements about the world to allegorical images and symbolic constructions, as well as a whole conglomerate of techniques borrowed from the technical arsenals of modern modernism.” This thesis is revealed by the exhibitions of the creative groups Vladivostok, Shtil, Lik, whose activity falls on the late 1980s and early 1990s.
One of the landmark exhibitions of this time can be considered the 2nd exhibition of young artists of the Far East "Territory of Hope" (1995, Vladivostok). Analyzing the presented material, V. I. Kandyba writes: “We are now painfully talking a lot about the difficulties of an artist's life in Russia. But how I wish that despite them, in spite of everything, our Far East would become a blessed territory of hope for creativity. Just like this exhibition is for us, radiating the light of youth and hope.” What motivates one of the leading art critics of the Far East to look to the future with optimism? In addition to the general forecast, he notes the works of L. A. Kozmina, I. G. and O. G. Nenazhivina, E. A. Tkachenko, A. G. Filatova, I. I. Butusova and others, although considering them not accessible to everyone, but noting the work with form and color, meanings and associations. From the point of view of today's artists, whose names were named in his article by V. I. Kandyba, responded to the challenges of the time, their work is an unconditional confirmation of this.
But in the 1990s, these challenges became acute. The problem of new forms, put forward by technological progress, was topical: in artistic life, actual art is formed, not associated with the traditional skills of the artist. The crisis also occurred in the field of art criticism, which previously analyzed and generalized the phenomena of artistic life, and in the new conditions began to resemble art journalism, although contributing to the creation of a picture of the day, but not capable of reflecting the situation as a whole.
If we talk about a creative union as an economic organism, cardinal changes have also affected this sphere of life: the art fund, as a form of organizing the artist's employment, ceases to exist in the Primorsky Territory. Of course, the 1990s can be called a crisis period for the art of the region.
At the same time, life encourages us to look for new forms of relationships with society. In 1992, Vladivostok loses its status as a closed port city, contacts with artists from other countries become possible and develop. Primorye residents are beginning to participate in major art events in the Asia-Pacific region and enter the art market. Non-state galleries "Artetage" (founder and director A. I. Gorodniy), "Arka" (founder and director V. E. Glazkova) appeared. Thanks to them, a primary understanding of the figure of the curator is formed, who puts forward the idea of the exhibition in accordance with his own vision of the artistic process, the theme and ensures their implementation. It should be noted the efforts of A. I. Gorodny in the formation of collective exhibitions with a large number of participants, members of the Union of Artists, giving a cross-section of one or another artistic phenomenon: "110 self-portraits", "Children's portrait", "Vladivostok: landscapes and faces", "Artists in Andreevka” and others. The experience of working at these sites, which made it possible to get acquainted with the art of artists from other regions of Russia and abroad, representing contemporary art, photography, certainly needs in-depth research and generalization. In this article, we note the following: both the Artetage Museum and the Arka Gallery have worked and continue to work with artists who are members of the Union of Artists of Russia. "Artetage" is a constant partner of the Primorsky branch in holding large-scale exhibitions (the Primorsky organization of the VTOO "Union of Artists of Russia": 70 years, "Far Eastern State Academy of Arts: 50 years", "Artists to the Fleet", etc.)
By the 2000s, a modern picture of artistic life was taking shape. Members of the creative union actively participate in exhibitions of various levels in Russia and abroad, in the largest art fairs in the Asia-Pacific region (KIAF, Guangzhou Art Fair, etc.). Major art exhibitions with the participation of Vladivostok artists were held as part of the APEC 2012 summit, the Vladivostok Biennale of Visual Arts, etc. Artists initiate various actions. Among the most significant are the series of art cruises organized by S. D. Gorbachev on the Allegro yacht in the mid-1990s.
The idea of creating in 2001 the movement "House of Prishvin" (headed by Honored Artist of the Russian Federation V. I. Oleinikov), which united writers, artists, local historians in connection with the creative rethinking of M. Prishvin's stay in Primorye, led not only to a number of exhibitions, but also a series creative meetings in the libraries of Primorsky Krai.
In 2006 V. F. Kosenko, A. P. Onufrienko and a number of other artists, designers and architects came up with the idea of the Harmony of the Environment project, which included a number of exhibitions. The most striking of them was the exhibition "City, Sea, Wind, Sail" (it was timed to coincide with the birthday of Vladivostok). Monumental art, painting, graphics, arts and crafts, architectural and design projects were presented. The idea of the exhibition is to determine the artist's place in the urban environment. By the time the exhibition was formed, there had already been a positive experience of restoring the railway station and the Tsesarevich Arch in Vladivostok by members of the Primorsky Organization of the Union of Artists of Russia. The project was accompanied by a series of publications in periodicals, which speaks of attempts not only to create an actual artistic product, but to form public opinion (this idea has been continued at the present stage: in September 2014, the Alliance Francaise Vladivostok presented the educational project "Contemporary Art in Architecture city”, which caused great enthusiasm among students studying architecture and design). In a sense, in 2006, Primorye artists were ahead of their time. And in 2013, the continuation of the project was the design of the Vladivostok cinema with a series of ceramic panels by G.G. Dobrynina and V.F. Kosenko.
Another interesting initiative was the creation of the non-profit Foundation for Visual Arts "MOST" in 2009, the author of which was A. L. Arsenenko and V. N. Starovoitov. The main activity of the organizers called the activity in the field of art. One of the actions of the "Gifts of the Magi" fund is a charity exhibition of works by Primorye artists in the museum and exhibition complex of the P.I. V. K. Arseniev on the street. Peter the Great, 6 - according to the plan of the organizers, it was carried out for the subsequent transfer of funds from the sale of paintings to create an appropriate space in the museum for people with limited mobility.
These examples indicate that at the present stage the field of the artist's creative search has been expanded.
The Far Eastern State Academy of Arts is also expanding its usual scope of activities. By 2009, a new staff of teachers was formed at the Department of Painting. The renovated department declares itself with an exhibition in the halls of the Primorsky State Art Gallery "Painted", which in itself is an extraordinary step. In the introductory article to the exhibition catalog, V.I.Kandyba writes that for almost half a century of the existence of the academy, there was no idea for a collective exhibition of teachers of the faculty. The exhibition was a milestone, signifying a change of generations not only in the workshops, but also in the classrooms of the Academy, where in 2009 I. I. Butusov, A. V. Glinshchikov, A. A. Enin, E. E. Makeev, V V. Medvedev, I. B. Obukhov, N. A. Popovich, who "becoming members of a single team, artists and teachers in one person, together embody both the creative potential of the faculty and the main path of its development in the future."
In 2009, for the first time, on the initiative of the Far Eastern State Academy of Arts, an international competition for young artists "ArtVladivostok" was held, which ended with an exhibition based on the results. Exhibitions in the halls of the Primorsky branch of the VTOO "Union of Artists of Russia" and the Primorsky State Art Gallery following the results of plein-airs and the 2nd and 3rd competitions "ArtVladivostok" become annual. In the list of exhibitions and artistic events, young artists, recent graduates of the academy, indicate plein-airs in St. Petersburg, Florence, participation in all-Russian art events (the exhibition “It's great!” at the Artetage museum in preparation for the 2014 Olympics).
During the period of work as chairman of A. A. Pyrkov, through the efforts of the dean of the painting faculty N. A. Popovich, a youth section of the Primorsky branch of the VTOO "Union of Artists of Russia" was formed.
Currently, the Primorsky branch of the Union of Artists of Russia VTOO has 124 people, including art critics: Doctor of Art History V. M. Markov, Candidate of Art History O. I. Zotova, Honored Worker of Culture of the Russian Federation L. I. Varlamova, Honored Worker of Culture of the Russian Federation N. A. Levdanskaya. Also a member of the Union of Artists is the director of the museum "Artetazh" A. I. Gorodniy.
Until 2003, the Nakhodka branch (today N AKHODKA CITY BRANCH VTOO "UNION OF ARTISTS OF RUSSIAN"). The Nakhodka Group of Artists was founded in 1980 on the initiative of the leaders of the city of Nakhodka. Graduates of the country's art universities were invited and provided with housing: V. V. Zakharenko, V. K. Zakharenko - graduates of the Moscow Higher School of Industrial Art, V. E. Ezhkov - a graduate of the Institute of Painting, Sculpture and Architecture. I.E. Repina, Y. A. Reznichenko, N. P. Saunin are graduates of the Far Eastern Institute of Arts. In 1982, a member of the Union of Artists of the USSR, laureate of the Primorsky Komsomol Prize V. P. Lakhansky was invited. Since 1982, he was elected a member of the board of the Primorsky organization and headed the creative group of Nakhodka. At the same time, the artists N. M. Kublov, V. P. Vodnev, V. A. Gorban, V. P. Popov, Y. I. Tukhov, G. A. Omelchenko and others worked in the city. work back in the 1980s. Olga P. Kozich (a graduate of the Far Eastern Institute of Arts) declared herself. Kozich's graphics are distinguished by the accuracy of the compositional solution, a confident pattern, and a complex color scheme. A great contribution to the art of graphics was made by V. P. Bykov (in Soviet times, artists traveled a lot around Chukotka, capturing the North in a series of graphic sheets) and F. F. Konyukhov. The work of G. A. Omelchenko is connected with Nakhodka. In the 1st zonal exhibition "Soviet Far East" the artist participated in the graphic series "Fishing Weekdays" and "Far Eastern Frontiers", but then he devoted himself entirely to painting. The discovery became one of the main subjects of the poster artist V. A. Gorban. A notable phenomenon was the work of the landscape painter N. P. Saunin. Since 1964 N. M. Kublov lived and worked in Nakhodka, the main theme of his works was the theme of love for a small homeland, embodied in canvases rich in color. Since 1983, the sculptor E. K. Sambursky has been living and working in Nakhodka (he graduated from the Frunze Art College, workshop of N. I. Ladyagin). In 1987, graduates of the Far Eastern Institute of Arts V. K. and N. S. Usov were invited to Nakhodka.
The 1980s were a creative period. The core of the group - young artists and members of the Union of Artists V. P. Lakhansky and G. A. Omelchenko, actively worked in painting, graphics, arts and crafts. Annual city exhibitions (from 1980 to the present) - in the halls of the Museum and Exhibition Center, in which artists of different generations participate, attract the attention of city residents. Also, artists participate in regional, zonal, republican and all-Union exhibitions, establish international relations. So, V. P. Lakhansky, V. V. Zakharenko, V. P. Bykov became participants of the international project in the city of Otaru (Japan), G. A. Omelchenko, V. P. Lakhansky, V. P. Bykov were participants of the exhibition in the city of Maizuru (Japan), exchange exhibitions were held between the artists of the city of Nakhodka and the artists of the cities of Maizuru and Otaru (Japan). Creative trips to the academic dachas of the Union of Artists are carried out, plein-airs are held, meetings are organized between artists and spectators, meetings with students of art schools of the city, competitions are held. Artists V. V. Zakharenko, V. K. Zakharenko, V. P. Bykov, F. F. Konyukhov, N. P. Saunin, Y. A. Reznichenko, V. E. Ezhkov, O. P. Kozich, V. K. Usov, N. S. Usova. Thanks to the leadership of the city, almost all members of the Union of Artists were provided with creative workshops.
The 1990s turned out to be the same crisis for the artists of Nakhodka as for others. Due to the territorial remoteness of the city of Nakhodka from Vladivostok (180 km) and the composition of the members of the Union of Artists in the city of Nakhodka, more than 10 people, on the initiative of Konstantin R. Avarsky, it was decided to establish the Nakhodka branch of the Union of Artists. Registration by the Office of Justice for the Primorsky Territory took place in June 2003.
Until 1990, the Primorsky organization included the Ussuri branch of the Union of Artists of Russia (today U SSURI CITY ORGANIZATION VTOO "UNION OF ARTISTS OF RUSSIAN"). Ussuriysk is the second artistic center of Primorsky Krai. Artistic traditions were established here in the 1940s. The Ussuri organization of the VTOO "Union of Artists of Russia" was formed on June 20, 1943 as a branch of the Primorsky organization of the Union of Artists of Russia. On March 12, 1944, the organization opened the 1st exhibition of Ussuri artists.
An important role in the creation of the creative group of Ussuri artists was played by the Studio of Military Artists, which was founded in January 1940 by the graduates of the Academy of Arts of St. Petersburg, the Fridman brothers - Ovsey Isakovich, artistic director of the studio of military artists, teacher of the battle painting department at the Academy of Arts, and Rafail Isakovich, director of the studio and art workshop. For the studio and the work of artists in Ussuriysk, a special building was built on the street. Volodarsky, 42. During the war years, the studio at the house of officers was directed by A. N. Romashkin.
In the 1950s, art and production workshops began to work. The Ussuri organization was not numerous: 10-15 people made up its creative core. The life of a small organization always has its positive and negative aspects. In this situation, it was positive that a compact team could be captivated by the idea of one person - the leader. In the 1950s, S. F. Arefin, who began participating in regional exhibitions starting in the 1940s, was considered the leader. S. F. Arefin grew up in Ussuriysk, during the Great Patriotic War he served at the headquarters of the Far Eastern District, where he completed courses for military artists. Returning to Ussuriysk, he joined the Union of Artists, actively engaged not only in creative work, but also in social work in the organization. In 1966, the artist moved to Vladivostok and practically abandoned easel painting for many years, becoming a theater artist.
Undoubtedly, K. P. Koval played a leading role in creative development. His works appeared at all-Union and republican exhibitions in the late 1950s. A graduate of the Studio of military artists in Ussuriysk, he considered the main school for himself the Academic Dacha named after. I. E. Repina. Thanks to creative visits to Academician K. P. Koval was well known in Moscow and was called "Koval from Ussuriysk". He was a wonderful teacher, continuing the tradition of studio education in Ussuriysk, and in some way continued the pedagogical line of V. V. Bezrodny on the Ussuri land. The pupils of his studio were called "farriers". K. P. Koval devoted all his generous, strong talent to the seaside landscape, the merits of which were noted by the master landscape painter A.A. Gritsai. Natural talent, great capacity for work allowed K. P. Koval to become a highly professional artist, a person with a “creative beginning”. Thanks to him, the definition of the “Ussuri school of painting” appeared at exhibitions in the Far East region and all-Russian. The captivating power of his talent rallied and inspired the Ussuri artists. The editor of the Ussuriysk city newspaper M. Dubranov writes about this: “There are people who are destined by fate to leave a deadline in human history. From ... the history of Ussuriysk, the artist Kim Petrovich Koval can be attributed to such people without any exaggeration.
In the 1940s, S. F. Arefin, G. K. Aslanov, Yu. In the 1950s-1970s they were joined and became members of the Union of Artists of Russia by N. P. Borisov, B. A. Vyalkov, K. P. Koval, V. M. Medvedsky, N. Ya. Gritsuk, P. Ya. German, A. V. Tkachenko, B. N. Loshkarev, V. A. Lutchenko, N. D. Volkov, V. A. Serov, G. G. Lagerev, A. A. Usenko, in the 1980s - Yu P. Galyutin, O. K. Nikitchik, I. T. Nikitchik, A. V. Pikhtovnikov. In the 1990s, new members joined the organization: Y. P. Larionov, M. R. Pikhtovnikova, E. A. Pikhtovnikov, N. N. Kazantsev, S. V. Gorbach, M. P. Sobolevsky.
On March 18, 1985, the building of the House of Artists built by the efforts of Ussuriysk artists was opened. A.V. Pikhtovnikov, who headed the commission on culture in the city council of deputies. For their contribution to the development of the art of Russia and the Far East, the artists of the organization were awarded the title of Honored Artist of the Russian Federation and Honored Artist of the Russian Federation (K. P. Koval), Honored Artist of the Russian Federation (A. V. Tkachenko, V. A. Serov, N. D. Volkov , O. K. Nikitchik, I. I. Dunkay).
The theme of the Creative Dacha in Andreevka is closely connected with the Ussuri organization. Andreevka, referred to in the artistic environment as the "artists' dacha", turned out to be a surprisingly attractive place not only for recreation and fishing. Here, on the lands of the Khasansky district of Primorye, the traditions of the houses of creativity of the central strip of Russia were continued. One of them is Academic Dacha. I. E. Repin in Vyshny Volochek served both as a place of communication and a place of learning for Primorye residents, where both venerable artists of Moscow, Leningrad and other cities of the Soviet Union, and those who still had to become a master, were participants in creative races.
Primortsy paved a permanent road to Vyshny Volochek. In the primordially Russian lands, in close contact with the famous artists of the sixties A. A. Gritsai, V. N. Gavrilov, A. D. Romanychev, A. P. and S. P. Tkachev, there was a comprehension of the depths of the artist’s profession. Everyone in their creative luggage has a sketch from the Academician, where, by the way, they are still today, despite the radically changed circumstances of artistic life.
In the 1970s, after a series of long trips, it was decided to make their own creative dacha: “several Primorye painters K. Koval, A. Tkachenko, A. Teleshov, V. Prokurov, V. Medvedsky first came to Andreevka. Andreevka is a small village in the south of Primorye in the Khasansky district, located on the coast of the Troitsa Bay of the Sea of Japan. The place is amazingly beautiful. Here is now the creative dacha "Andreevka". It contains the Ussuri organization of the Union of Artists of Russia. Artists from the Far East come here to work and rest - Primorye, Khabarovsk, Blagoveshchensk, and in good times, artists from Moscow, Leningrad, the Baltic states, and Central Russia came, ”writes R. P. Kosheleva, referent of the Union of Artists of Russia VTOO. The editor of the newspaper found a place for a publication about Andreevka on the page with the heading "In the houses of creativity" next to the material about the Academic Dacha in Vyshny Volochek, which is not accidental. Andreevka was a place of inspiration and work for dozens of artists of different generations and at the same time a kind of link with the center of Russia.
In 1990, with a staff of 10 people, the Ussuri branch separated from the Primorsky branch and acquired the status of an independent organization.
Today, the Primorsky branch, the Nakhodka city and Ussuriysk city organizations of the VTOO "Union of Artists of Russia" closely cooperate in organizing art exhibitions and plein airs in Russia and abroad.
Olga ZOTOVA
member of the VTOO "Union of Artists of Russia",
executive secretary of the Primorsky branch
VTOO "Union of Artists of Russia",
Ph.D. in History of Arts,
Associate Professor, FEFU School of Humanities
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Currently, there are twelve creative organizations of artists in the Far East: the Primorsky branch of the VTOO "Union of Artists of Russia" is the second largest.
The activity of the organization is closely connected with the history of fine arts not only of Primorye and the Far East, but of the whole of Russia.
- Features of the formation of culture, science and education in the Far East region.
- The contribution of the peoples of the region to world culture and science.
- Monuments of history and culture.
Features of the formation of culture, science and educationin the Far East region
The discovery and economic development of the Far East was accompanied by cultural development. The development of the culture of the Far East region took place under the influence of all-Russian factors, in line with the national (Russian) culture. In the history of the development of the culture of the Far East, modern researchers chronologically distinguish several periods. The first is the 17th century. - until the 80s of the XIX century. - this is the period of the birth and formation of Russian culture in the Far East and Russian America, the establishment of cultural and historical contacts with the indigenous peoples of the region. The second period - the 80s of the XIX - the beginning of the XX century. - characterized by the emergence and development of professional artistic culture, the development of science and education. The third period falls on the decades of Soviet power (from 1917 to the 1990s) and is associated with the creation and development of Soviet, socialist culture. Let us consider some characteristic features of these periods.
Discovery and development of the Russian people of the Far East in the XVII century. was accompanied by the spread of Russian culture in new lands and the establishment of contacts with the aboriginal population. Russian explorers, moving to the east “meet the sun”, carried with them not only household belongings, tools, but also the language of their homeland, its traditions and customs. Russian culture manifested itself in everything - in buildings created on new lands, and in faith, and in everyday life, and in education, and in everything else that represented the essence of a Russian person.
In the period from the 80s of the 17th century to the middle of the 19th century, due to the loss of the Amur region under the Nerchinsk Treaty (1689), the cultural development of the Far Eastern region proceeded mainly in its northern part (Okhotsk coast, Kamchatka, Russian America). The Russian Orthodox Church and its ministers played a leading role in spreading Russian culture in the new lands and familiarizing the indigenous population with Russian culture. This was explained, firstly, by the fact that the Orthodox religion remained the main moral pillar of the Russian people. Secondly, the professional culture here took its first timid steps. In addition, the basis of the Orthodox religion was humanism, the universal principle. Its commandments, its requirements were guided by Russian pioneers who came into contact with the indigenous inhabitants of the Far East. The ministers of the church, as the sources testify, both ordinary and invested with a high rank, spared neither strength nor life to fulfill their high mission. They were already in the first detachments of pioneers. The priests had to escort the brave explorers in a Christian way on a long journey and support Orthodox piety and Russian culture in them in the new lands. In addition, while implementing state policy on open lands, church ministers had to build churches, monasteries, and carry out the Christianization of the aboriginal population. The first clergy arrived in the Far East in 1639 together with the governors of the newly formed Yakutsk district. Already in 1671, two monasteries were founded in Albazin and Kumar prison by the priest Hermogenes. In 1681, the Selenginsky Trinity and Posolsky Spaso-Preobrazhensky monasteries were created - centers for the development of Russian Orthodoxy and Russian culture in the east of the country. In the 70s. 17th century almost every prison had a church. Dozens of churches, prayer houses, chapels were created in Kamchatka and in Russian America. So, by 1850 in North America and the Aleutian Islands there were 9 churches, 37 prayer houses and about 15 thousand believers. From the 18th century Orthodox missionaries began to actively work to Christianize the local population. By 1762, the Kamchatka Spiritual Mission converted the bulk of the natives (Itelmens) of Kamchatka to Christianity. The next mission was assigned in 1793 to Russian America for the baptism of the Aleuts and Indians. From 1794 to 1796 she christened 12,000 native Alaskans. Modern researchers note that the conversion of aborigines to Orthodoxy and the spread of Russian culture among them was carried out by peaceful means. However, there were also elements of violence in this progressive process. In 1796, the "wild inhabitants" of Alaska killed Hieromonk Yuvenaly, not because he baptized them, they accepted baptism voluntarily, but because he demanded that they renounce polygamy and persuaded them to send their children to school.
With the advent of Russian explorers in the Far East, enlightenment began to be born: schools began to be created, and literacy appeared. Schools have become one of the links in the development of Russian culture in the Far East. The construction of schools is developing especially intensively with the creation of settlements on new lands, with the formation of cities and other settlements. It is characteristic that literacy schools were created not only at churches, monasteries, but also on the initiative of explorers and seafarers. Children of both the Russian and the aboriginal population studied there. So, the spiritual mission in Kamchatka from 1750 to 1760 opened schools at churches in Meshursky, Elovsky, Parashunsky, Klyuchevskaya, Shemyaginsky prisons. In schools, children were taught the alphabet, the book of hours, the hymnal. In general, in the 1760/61 academic year, there were already 14 schools in Kamchatka with about 300 students. In this regard, Kamchatka looked in the middle of the 18th century. the most educated corner of Russia. In 1740, a member of the Second Kamchatka Expedition, G.V. Steller, opened a literacy school at his own expense in the Bolsheretsky prison in Kamchatka. A similar school was opened in 1740-1741. in the bay of St. Peter and Paul on the initiative of V. Bering and A.I. Chirikov.
In the first quarter of the XVIII century. In the course of the reform of education carried out by Peter I, professional educational institutions arose on the outskirts of the Russian Empire to train specialists for industry and the navy. Mining schools were the first to emerge in the Far East. In 1724, such a school was opened at the Nerchinsk plant. Children of exiled convicts, factory masters and apprentices studied there. They were taught arithmetic, geometry and other sciences. School graduates worked at the factories of Nerchinsk. In 1732, the Navigation School was opened in Okhotsk to train personnel for the emerging Pacific Fleet. In 1754 F.I. Soymonov created the Navigation School of 35 boys in Nerchinsk. In Russian America, industrial and commercial people opened schools and educational institutions with the aim of training personnel for the Russian-American Company. In 1805, on Kodiak Island, N.P. Rezanov created a school for the training of clerks, artisans, where children were accepted without distinction of class. In the 30s. 19th century in Novoarkhangelsk (modern Sitka) there was a school for boys, which accepted the children of employees of the Russian-American Company. In 1839, a school for the Aleuts was established there, where 50 boys and 43 girls studied.
In the XVII - the first half of the XIX century. Literature also originated in the Far East. Its formation was influenced by books that came to the eastern outskirts from Russia in various ways: with expeditions, immigrants, spiritual missions, and private individuals. These were books of religious, reference, legal, artistic content; handwritten and printed books. Already in the XVII century. libraries began to appear at prisons, monasteries, schools, and educational institutions. The library of the Resurrection Church of Albazin had a rich liturgical literature. Among the inhabitants of Albazin there were literate people who knew not only the book, but also published them. These include the priest Maxim Leontiev, the governor of Albazin Alexei Tolbuzin, the merchants Ushakovs and Naritsin-Musatovs.
The members of the Second Kamchatka Expedition had a fairly extensive library of scientific literature. The Academy of Sciences of Russia provided travelers with literature on history, geography, medicine and other branches of knowledge. Historians know a rich library in almost all European languages of the Russian-American Company in Novoarkhangelsk.
In the XVIII century. notes, memoirs, letters devoted to the history of the region, its nature and population, new settlements, etc. appear on the Far Eastern outskirts. Among them, one should mention the notes of “the Russian merchant Grigory Shelikhov, wandering from Okhotsk along the Eastern Ocean to the American shores from 1783 to 1787” (published in 1791). The book aroused great interest among readers. The poet Gavriil Derzhavin called G.I. Shelikhov "Columbus of Russia".
Decembrists, talented writers N.A. Bestuzhev, D.I. Zavalishin, V.L. Davydov and others, who left numerous notes and memoirs. The creativity of the Decembrists, their high citizenship, protest against oppression and serfdom, their faith in a bright future, had a great influence on the young literature of Siberia and the Far East. A well-known figure among the writers of the XVIII century. in the Far East there was an exiled and then Siberian governor F.I. Soymonov (1692-1780), who in his works gave a detailed description of Nerchinsk, Kyakhta, the Okhotsk coast, Kamchatka, as well as about the peoples of the Far East and the rich beaver trades in islands of the Pacific.
An important component of the spiritual life of Russian explorers, settlers of the Far East were songs, epics, legends. For example, among the Russian Cossacks in folklore, the legends “Terrible misfortune” (about the difficult trials that befell the Cossacks who mastered Transbaikalia in the 17th century), “About how life used to be” (about the construction of the first prisons and the conquest of the Buryat and Tungus tribes ). The song occupied a special place in the spiritual life of the pioneers and settlers. In the songs performed from Transbaikalia to Russian America, wherever the Russian people lived, the history of the discovery and development of the Far East was reflected. In this regard, the historical songs "In the Siberian, in Ukraine, in the Daurian side" are of great interest. This song is about the siege of the Kumar fortress by the Manchurian-Chinese army in 1655. The successful defense of the Russian fortress is shown as an event of national significance. The most famous was the “Song of the Resettlement to the Amur”, which tells about the rafting of troops and cargo along the Amur. The song lyrics were especially rich. Almost all varieties of lyric song were found in the Far East. In love lyrics, they sang: the expectation of a date, unrequited love, separation, jealousy, etc. The basis of family and everyday lyrics were songs about the difficult female lot in a strange family, overwork from morning to evening, the tragedy of life with the "hateful". An extensive layer was made up of comic works that served as an accompaniment to a round dance or dance. Round dance songs “I will sow a swan on the shore”, “We were in a round dance”, etc. were distributed throughout the Far East. Many old songs were perceived as an essential component of historical memory. For example, the spring round dance “What is near Kyiv, near Chernigov” reminded the peasants of their distant homeland. In general, folklore layers - songs, ditties, non-ritual lyrics, incantations, legends - were common to the Cossacks and the peasantry, they formed the core of their spiritual culture, and thus helped to keep in touch with the former life.
A characteristic feature of the formation of culture in the Far East was the interaction and mutual influence of cultures - Russian Orthodox Christianity and pagan - natives. Russian people, finding themselves not only in a specific natural and climatic environment, but also in an unusual ethnic environment, were forced to adapt to new conditions, to adopt material and spiritual culture from the local aboriginal population. It should be noted that in the Far East the cultures of different peoples were not opposed to each other. During the development of the Far Eastern lands, there was an active process of interaction between two cultures: Russian culture with the pagan culture of the natives. The forms, ways and means of interaction between cultures were influenced by the stages, the direction of Russian colonization and the intensity of economic development, as well as the cultural policy of Russia in relation to the natives. Russia was interested in maintaining peaceful relations with all the natives, and consequently, in the peaceful spread of Russian culture among them, the rapprochement of the Far Eastern peoples with Russians and their gradual cultural assimilation.
The interaction of cultures occurred gradually and in stages. At the initial stage of the development of the Far Eastern lands (mid-end of the 17th century), the first ethnic and cultural contacts between Russians and the aboriginal population were episodic and had a minimal impact on the culture of the aborigines. At that time, Russian explorers carried out exchange and trade transactions with them (exchanged Russian goods for furs, food, etc.), carried out episodic baptisms of individual representatives of the indigenous population, introducing them to Orthodox culture. As we moved to the east, expanding and deepening the economic development of the region, the direction, forms and methods of intercultural interaction changed. According to researchers, the zones of the most active mutual influence of cultures in the XVIII - until the middle of the XIX centuries. there were areas of Kamchatka, Russian America. From the second half of the 19th to the beginning of the 20th century, the center of intercultural interaction moved to the Amur region, Primorye. Schools, libraries, monasteries, churches, which were created in the region by pioneers, navigators, merchants, industrialists and church ministers, became the main cells of influence of the Russian culture of the natives.
Considering the influence of Russian culture on the culture of aborigines, scientists note that the sphere of traditional material culture of aborigines experienced the greatest changes as a result of cultural contacts, it was enriched with new elements. The indigenous peoples of the Far East borrowed from the Russians new agricultural crops, farming techniques, some ethnic groups in the southern part of the region moved to a settled way of life and adopted a peasant way of life. Animal husbandry began to develop in the aboriginal economy, riding and draft horses appeared. Gradually, all the peoples of the Far East mastered the technique of Russian log house building, Russian stoves appeared, and in place of the cans they began to install wooden plank beds, and later beds. By the beginning of the 20th century, the Russian hut had become the main type of housing. The influence of Russian culture was reflected in the addition to the national food in the form of flour, cereals, potatoes, vegetables. The natives borrowed from the Russians ways of preparing food: salting, frying; began to use earthenware and metal utensils. Very soon, the indigenous peoples of the region began to adopt Russian clothes, shoes, and the most prosperous of them (Nanais, Negidals) began to wear shirts-shirts, boots, caftans, caps, like Russian merchants. For tailoring and decorating clothes, materials such as fabrics, threads, and beads were widely used.
Under the influence of Russian culture, the decorative art of all indigenous peoples of the Far East became in the second half of the 19th - early 20th centuries. a little richer. The influence of Russians in the art of the Itelmens and Aleuts was especially strong. These nationalities widely used satin stitch embroidery, Russian factory fabrics, and Russian beads in decorative art. Evenk and Even craftswomen very skillfully used Russian colored fabric and colored threads to decorate clothes, bags, belts. From the middle of the 19th century, Russian influence became noticeable in the art of the Amur and Sakhalin peoples. So, the Nanais began to wear Russian-style shirts, and on traditional women's dressing gowns one could see a border of Russian lace braid. In home production, carpentry and joinery tools began to be used, which had an impact on the improvement of woodcarving. The Russian cultural tradition was assimilated most deeply by the indigenous peoples as a result of their Christianization and through the system of school education. The creation of schools of various types contributed to the penetration into the traditional spiritual cultures of the natives of a complex of European scientific (mathematical, historical, geographical, religious) knowledge. Christianization contributed to the familiarization of the natives with the foundations of Russian culture, the creation of mixed marriages and the formation of new ethnic groups - Kamchadals (Okhotsk coast, Kamchatka), Creoles (Russian America).
Assessing the results of intercultural contacts, it must be emphasized that during the studied historical period, valuable experience was accumulated in the respectful attitude of Russian people towards the aboriginal population, which was at a lower socio-cultural stage of development. In turn, the Russian population, communicating with indigenous peoples, absorbed their cultural experience necessary for life in new historical conditions. They learned from the natives to master new ways of hunting, fishing, sea fishing using rotary harpoons, use a dog team, wide skis, build outbuildings - booths, hangers for canning and storing fish; they learned how to make and use bats, as well as use medicinal herbs and wear aboriginal clothes that correspond to difficult natural and climatic conditions. The foregoing allows us to say that in the Far East already in the 19th century. a new socio-cultural environment began to take shape, based on Russian national culture.
In the second half of the 19th century, qualitative changes took place in the development of the culture of the Far Eastern region, associated with the level of socio-economic development and the nature of the formation of the population of the region, as well as its geopolitical position. First, the geography of cultural construction has changed. In contrast to the initial stage of the development of the Far East, when cultural processes took place mainly in Kamchatka, the coast of the Sea of Okhotsk and in Russian America, from the middle of the 19th century. the southern regions became the centers of culture: the Amur, Primorsk and Trans-Baikal regions. This was explained by the fact that the Amur Region and Primorye, on the basis of the peace treaties concluded with China (Aigun in 1858, Beijing in 1860), were annexed to Russia. In 1867 Russian America (Alaska) was sold by Russia to the United States of America. The tasks of the economic development of the Far East region required the settlement of new Russian lands and ensuring their socio-economic and cultural development.
Secondly, the construction of the Trans-Siberian Railway (1891-1916) and the CER (1897-1903) was of great importance for the cultural development of the region. Since 1893, the sea route from Odessa to Vladivostok was opened. The establishment of a railway and sea connection between the Far East and Siberia and European Russia accelerated the state migration of the population from the western provinces to the Far East and the socio-economic and cultural development of the region. The population of the Far East has grown. In 1905 it amounted to 1 million 200 thousand people. Of these, the urban population by the end of the 19th century in the Primorsky region amounted to 22.7%, in the Amur region - 29.7% (for comparison: in the European part of the country, the townspeople accounted for only 12.8% of the population). The number of settlements has increased: villages, villages, Cossack villages, towns, stations, cities. The largest cities were Blagoveshchensk (founded in 1856), Khabarovsk (founded in 1858), Vladivostok (founded in 1860). They became the administrative, economic and cultural centers of the Far East at the turn of the 19th and 20th centuries.
Thirdly, the peculiarities of the socio-economic development of the region also influenced the formation of the cultural environment. First of all, not only the government and local authorities played a significant role in cultural construction, but also the growing numerically Far Eastern intelligentsia - the core, the basis of the regional cultural environment. It was precisely the intelligentsia that particularly acutely expressed the public need to meet the cultural needs of the population. Thanks to her initiative, all kinds of professional art are born in the region.
A feature of the cultural development of the Far Eastern region in the second half of the XIX century - early XX century. there was a simultaneous development of all areas of culture and art: education, science, artistic and musical culture, theatrical business, that is, there was an active formation of the socio-cultural space of this region. It should be noted that one of the main features of the Far East is the high level of literacy of its population in comparison with Siberia and European Russia. According to the population census of 1897, the percentage of literates in the Primorsky, Amur regions and on Sakhalin was 24-27%, and in Siberia - 11.5%, in European Russia - 22.5%. This situation, first of all, can be explained by the fact that there were many literate people among the settlers.
At the same time, public education in the region developed relatively slowly. By the mid 90s. 19th century throughout the Far East there were about 400 schools with 14 thousand students, and by the beginning of the twentieth century. the number of schools increased to 726, students - up to 26.5 thousand. Educational institutions (schools, colleges, etc.) were opened mainly in cities and large towns. At the same time, ministerial and private, Cossack and parochial, settlement and city schools functioned, educational institutions of various types were opened. In the cities, educational institutions of the lower and middle levels were opened (city public schools, gymnasiums, real schools); in the villages - one- and two-class and parochial schools; and for indigenous children, missionary schools.
Developed secondary and higher specialized education. Here in the Far East, as well as in the center of the country, the following were created: the Naval School - in Nikolaevsk-on-Amur; river - in Blagoveshchensk; railway - in Khabarovsk. In 1899, in Vladivostok, the first in all of Eastern Siberia and the Far East, the Oriental Institute, was established. Women's educational institutions began to be created. In the 60s of the XIX century. the first women's schools arose in Troitskosavsk (Kyakhta), Verkhneudinsk, Nikolaevsk-on-Amur, Blagoveshchensk, Vladivostok. By the end of the XIX century. there were seven of them in the region.
Difficulties in the formation of public education were associated with a lack of not only schools, but also teachers. Suffice it to say that among all the teaching staff in the region, only 4% had a special education. There was not a single professional teacher on Sakhalin. Children were taught by Russian explorers, navigators, former political exiles (especially on Sakhalin), and also graduates of religious schools and missionaries were involved in pedagogical work. The need for teachers was enormous. In the second half of the XIX century. pedagogical educational institutions were established in the cities: in 1892, the first teacher's seminary in the Far East was opened in Chita, in 1897 - in Blagoveshchensk, later - in Vladivostok, Khabarovsk, Nikolsko-Ussuriysky. At the same time, by 1914, the percentage of literacy of the population increased slightly - by only 1%, despite the fact that the number of schools increased to 1708.
The development of industry, railway and naval construction, mass migration of the population to the Far East from the middle of the 19th century. accelerated the development of science. The prerequisites for the development of science in the Far East were created in the 18th century. - early 19th century Even then, the first hydrometeorological and hydrographic studies were carried out in the seas of the Far East (expeditions of A.I. Chirikov, V.I. Bering, F.P. Litke, I.F. Kruzenshtern, V.M. Golovnin, O.E. Kotzebue) . But they were temporary: the expeditions left, and the research stopped. The systematic study of the region for the purpose of its economic development begins in the 80s of the XIX century. A significant role in the study of the Far East was played not by state research institutions (which practically did not exist in the Far East), but by public organizations, such as the Society for the Study of the Amur Territory, created in Vladivostok in 1884, headed by F.F. Busse; Khabarovsk Scientific Medical Society (1886), Society of Doctors of the South Ussuri Territory (1892), Amur Department of the Imperial Russian Geographical Society in Khabarovsk (1894) with branches in Chita (1894), Kyakhta (1894) .), Blagoveshchensk (1896). Scientific societies were engaged in the collection, processing and dissemination of information about the region. For this purpose, research was carried out, dozens of expeditions were equipped, and materials were published. In the 50-60s. organized several scientific expeditions to the Siberian Department of the Russian Geographical Society. Geologists N.P. Anosov, G.M. Permikin, paleontologist and botanist F.V. Schmidt, biologist R.K. Maak, geographer M.I. Venyukov. N.P. Anosov discovered a gold deposit in the upper reaches of the Dzhalinda and Selemdzhi rivers, near the mouth of the Gilyui, in the upper reaches of the Niman. G.M. Permikin compiled the first petrographic map of the banks of the Amur in Russian science, collected large geological collections. M.I. Venyukov made a topographic survey of the villages on the left bank of the Amur, crossed the Sikhote-Alin ridge and made a geographical description of the Ussuri region between the Ussuri basin and the coast of the Sea of Japan.
In 1867-1869. Russian traveler, scientist-geographer N.M. Przhevalsky traveled around the Ussuri region and wrote a book about its geography, flora and fauna, history, and ethnography. This work brought N.M. Przhevalsky world fame.
Of the largest expeditions of that time, it is necessary to name the geological studies of the mining engineer D.V. Ivanov in 1889 and 1895. for the development of coal deposits in the South Ussuri region, L.F. Batsevich in 1890 and 1907. for exploration of oil fields. A.I. Chersky, N.A. Palchevsky, V.L. Komarov, M.I. Yankovsky did a lot on the study of the fauna of the Far East. Of great scientific importance were the expeditions of V.P. Margaritov and V.F. Linder in 1897 to study Kamchatka, the Amur expedition of 1910-1911. under the direction of N.L. Gondatti and others.
In the second half of the XIX century. - the beginning of the twentieth century. considerable attention of scientists was paid to the study of the peoples of the Far East. In the development of the ethnography of the Far East, the role of L.Ya. So, during the expeditions of V.K. Arsenyev in 1908-1910. work was carried out on topography, geology, archeology and ethnography (archaeological monuments were discovered, an Orchi dictionary was compiled, a collection of shamanic cult was assembled). Local history museums, created on the initiative of the Society for the Study of the Amur Territory, made their contribution to the study of the region, its nature and population. On September 30, 1890, the opening of the first local history museum in the Far East took place in Vladivostok. In 1894, the same museums were created in Chita, Troitskosavsk, Nerchinsk, in the village. Aleksandrovsky on Sakhalin, in 1896 - in Khabarovsk. Far Eastern museums of local lore among the few scientific and educational institutions occupied a priority place. Many scientists and cultural workers considered it an honor to contribute to the formation of museum collections. In a short time, the Far Eastern museums significantly replenished their funds. This made it possible to start publishing guidebooks. So, in 1898 in the village. Aleksandrovsky on Sakhalin published the Catalog of the Sakhalin Museum, in 1900 in Blagoveshchensk - the Catalog of the Annunciation Museum, in 1907 in Vladivostok - the Catalog of the Museum of the Society for the Study of the Amur Territory. The distribution of catalogs containing descriptions of museum collections contributed to the wide awareness of the population of the region about the wealth of museum funds and the attraction of visitors, which naturally increased the scientific, cultural and educational role of museums in the life of the Far East.
The Oriental Institute, opened in 1899 in Vladivostok, had a positive influence on the development of Far Eastern science. Famous Russian professors A.V. worked in it, taught students and conducted scientific research. Grebenshchikov, N.V. Küner, A.V. Rudakov, G.U. Tsibikov and others. Exploring the culture and languages of the peoples of Asia, they laid the foundations of Russian oriental studies in the Far East. A printing house was created at the institute, the only one in Russia that had various fonts of oriental languages - Mongolian, Manchu, Kalmyk, Japanese, Korean. The Oriental Institute had the largest library in the Far East. For 20 years, its fund has increased from 1500 to 12 thousand copies. Thus, in the Russian Far East, branches of science related to its economic development - geography, geodesy, geology, meteorology, hydrography, etc., as well as branches related to the study of the territory - archeology, ethnography, history, have developed.
A distinctive feature of the Far East was a large number of periodicals. It testified to the socio-economic and cultural development of the region, and that a detachment of professional journalists, writers was formed in the region and a large readership appeared. The periodical press covered all the most populated and developed regions of the region, and reflected the interests of all segments of the population. This is confirmed by the names of some newspapers: "Priamurskiye Vedomosti" - the official organ of the Priamursk General Government (since 1894, Khabarovsk); "Vladivostok" (since 1883); "Peter and Paul list of announcements" (since 1912), "Sakhalin Bulletin" (since 1917); "Amurskaya Gazeta" (since 1895), etc. It should be noted that since the mid-90s. 19th century until 1917, the periodical press in the Far East developed in an ascending fashion. For comparison: in 1895-1904 there were 29 of them, in 1908-1917. 200 newspapers and magazines were published. In terms of the quantity and quality of newspapers, magazines, as well as brochures and books, the Far East from the end of the 19th century. until 1917 he occupied a leading position in Siberia. In the 90s. 19th century Simultaneously with the growth in the number of newspapers and magazines, the number of printing houses also increases. Large publishing centers were established in a number of cities. In Blagoveshchensk, the printing house of Mokin and K0, Churin and K0, A.I. Motyushensky; in Vladivostok - the printing house of the Oriental Institute, the Maritime Department, N.M. Matveeva, P.N. Makeeva and others. The following indicators testify to the development of book publishing in the Far East: if in 1900 6 books were published in Khabarovsk, 11 in Blagoveshchensk, 19 in Vladivostok, then in 1916 in Khabarovsk and Blagoveshchensk - 20 each and in Vladivostok - 58 books. The highest number of printed materials was published in 1913: 19 books were published in Blagoveshchensk, 37 in Khabarovsk, and 68 in Vladivostok.
A characteristic sign of the formation of the culture of the Far East during this period is the emergence and development of professional artistic culture. However, unlike the artistic culture of Russia, it was created in the form of amateur associations (musical, theatrical, etc.). This can be explained, first of all, by the late entry of the Far East, in comparison with other regions of the country, into Russia. The remoteness of the region from European Russia, the lack of funding for culture and professional personnel also affected.
The birth of theater in the Far East began in the 1960s. XIX century with amateur performances for soldiers and officers. On December 24, 1860, in one of the barracks of Blagoveshchensk, the lower ranks of the line battalion and the artillery team presented the play “The Stationmaster” (based on A.S. Pushkin) and the vaudeville “Much Ado About Nothing” by A.A. Yablochkin. The first mention of amateur theatrical performances in Vladivostok dates back to the early 1870s. In 1873, the reserve paramedic Bakushev, with the clerks of the naval crew and the garrison, as well as female convicts, presented to the audience a performance based on the play by A.N. Ostrovsky Poverty is not a vice. In Khabarovsk, the first amateur performance was staged at the City Public Assembly in 1873. Professional theater troupes in the Far East were formed in the early 1990s. 19th century Permanent theaters are being created in the cities of Vladivostok, Blagoveshchensk, Khabarovsk. At the beginning of the XX century. Vladivostok already had three theater buildings. The first - "Pacific Ocean" for 775 seats, with stalls, benoir, boxes, was built in 1899 by the merchant A.A. Ivanov. Opera troupes played in the theater, but dramatic performances were also staged. So, the "Troup of Russian dramatic actors of Moscow and St. Petersburg theaters", invited by A.A. Ivanov presented a brilliant repertoire for the spring and summer of 1900: The Government Inspector, Hamlet, Uriel Acosta, Vanyushin's Children, Mad Money, The Seagull, Ivanov, Three Sisters, Power darkness”, “Idiot”, “Dowry”. Famous actors I.M. played in the theater. Arnoldov, N.A. Smirnova and others. The performances were a huge success, they gathered a lot of spectators and testified that the classics are loved on the outskirts of Russia. October 18, 1903 in Vladivostok, the opening of a new theater "Golden Horn" (for 1000 spectators) took place by the merchant and famous cultural figure I.I. Galetsky. In addition, the First Public Theater created by M.N. Ninina-Petipa. Artists E.F. Bour, V.V. Istomin-Kastrovsky, A.A. Lodina, V.D. Muravyov-Svirsky, F.A. Norin, E.A. Ryumshina (pupil of the Moscow Theater School). Theater director A.I. Tunkov, artists A.A. Quapp and M.A. Kuvaldin. Researchers note that in terms of its artistic principles, the Public Theater was a follower of the Stanislavsky Moscow Art Theater. In Blagoveshchensk, performances and concerts were held on the stage of the Public Assembly, opened in 1882. At the end of the 19th century. The New Theater (or the Rozanov Theater) was also built there on Amurskaya Street (for 900 spectators) with two tiers, side galleries and a balcony. In Khabarovsk, performances by professional local and touring theater troupes and individual artists were staged at the Public and Officers' Meetings. In Nikolaevsk-on-Amur, the stage of the Public Assembly was used for performances (since 1888). From the beginning of the 1890s. in three large cities of the Far East (Vladivostok, Khabarovsk, Blagoveshchensk) theatrical seasons are constantly held, which indicates the stability of theatrical business in the eastern outskirts of Russia. However, in time they did not coincide with the all-Russian ones. The Russian concept of "theatrical season" is September-October before the start of Lent. In the cities of the Far East, for example, in Vladivostok, the holding of the theatrical season depended largely on the period during which the largest concentration of ships in the harbor fell. In Blagoveshchensk, it lasted from autumn to December; before the departure of gold miners and gold diggers to the taiga for the mines.
Musical culture in the Far East, like theatrical culture, developed from amateur to professional. The origin of musical art began with naval bands. In 1860, a military orchestra with a staff of 51 people was established in Nikolaevsk-on-Amur, and in 1862 - in Vladivostok. In the 80s. In the 19th century, musical circles appeared in Blagoveshchensk, Vladivostok, Chita, Khabarovsk, which began to play a significant role in meeting the musical needs of urban residents. In July 1889, the Naval Assembly of Vladivostok hosted celebrations dedicated to the 40th anniversary of Admiral G.I. Nevelskoy. The musical circle and touring artists warmly responded to the idea of building a monument to G.I. Nevelsky. In particular, not only the funds received from the concerts of the musical circle, but also the funds from one of the concerts of the famous Russian flutist, Professor A. Tershak, were transferred to the fund of the Committee for the Construction of the Monument. A significant event in the development of musical culture in the Far East was the opening in 1909 of the Vladivostok branch of the Imperial Russian Musical Society. His small orchestra received the status of a professional one, began to arrange concerts of symphonic music for the townspeople. The musicians constantly turned to the works of Russian composers: Tchaikovsky, Rubinstein, Scriabin, Borodin and others.
Of great importance for the emergence of professional musical culture in the region, as well as the entire artistic culture, was the touring and concert activity of artists from Siberia and European Russia. Since the mid 90s. Until the beginning of the 20th century, touring became an integral part of the cultural life of the region. The system of touring and concert practice influenced the musical life of the Far Eastern cities, raised the cultural level of the population, shaped the tastes of the Far Eastern public, facilitated the adaptation of newcomers, and stimulated the development of the region. Numerous touring artists and theatrical corpses introduced the Far East to the latest achievements in the arts. The first to explore the distant outskirts were Siberian neighbors, dramatic artists from Irkutsk. The appearance of Siberian drama groups in the Far East is natural. Siberian theaters since the 70s. were included in the all-Russian provincial system, lived according to the laws characteristic of that time. By the 90s. in Irkutsk, two or three professional theaters were constantly operating. In the same years, tour groups from other Russian cities visited the Far East. Famous musicians performed before the residents of Vladivostok: Russian violinist K. Dumchev, domestic vocalists L.V. Sobinov, A.D. Vyaltseva, Czech cellist B. Sikora. On the theatrical stages of the cities of the Far East, famous Moscow and St. Petersburg artists played - V.K. Komissarzhevskaya, P.N. Orlenev, V.I. Davydov and others.
According to the researchers, the appearance of the Far Eastern literature was preceded by the formation in the all-Russian literature of the theme of the discovery and development of this region by Russian people. In 1859 N.A. Dobrolyubov wrote that a whole branch of literature about the Far East had been created in the Russian press. In the 19th century books by S.V. Maksimova "In the East", I.A. Goncharov "Frigate" Pallada "", N.M. Przhevalsky "Journey to the Ussuri Territory", A.P. Chekhov "Sakhalin Island". A great contribution to the emergence of Russian fiction in the Far East was made by political exiles: V.G. Bogoraz, I.F. Yakubovich, S.S. Sinegub, I.P. Mirolyubov.
At the end of the XIX century. the Far East has its own poets and writers: A.Ya. Maximov publishes his stories and essays about life in Primorye. His most famous books are Around the World. Sailing of the corvette "Askold" and "In the Far East". In 1896 N.L. Matveev published a book of essays "From the Past of the Ussuri Taiga", then the book "Ussuri Tales" and "A Brief Historical Sketch of Vladivostok". L.Volkov, N. Tatarinov, V.Ya. Coconuts. In the Far East, the literary work of V.K. Arseniev, whose works “Across the Ussuri Territory”, “Dersu Uzala” are still widely known and enjoyed by readers.
Fine arts originated in the region, as well as literature, due to the great social need for it and largely due to the asceticism of Russian artists who visited this region and gave it their heart and creativity. Among them, the most famous are K. Gunn, A. Pannemaker, P. Barenovsky, F. Bagrants. In the 90s. 19th century fine arts began to be created in Khabarovsk, Blagoveshchensk, Vladivostok. At the beginning of the XX century. in Vladivostok, the first group of local artists was formed, among which A.N. Klementeev, K.N. Kal, A.A. Lushnikov, V.A. Batalov. The creation of the "Society for the Encouragement of Fine Arts" in February 1900 testified to the successful development of the fine arts in Vladivostok. Art exhibitions had a positive impact on the development of fine arts. In 1886 (from 17 to 21 April) the first exposition of fine arts in the Far East region was opened in Vladivostok. It consisted of almost a thousand different works of ancient times. On March 5, 1902, an exhibition of Khabarovsk artists opened in Vladivostok. Two artists from Blagoveshchensk took part in it: V.G. Shelgunov (graduate of the St. Petersburg Academy of Arts, student of Shishkin and Kuindzhi) and P.N. Kirillov (a graduate of the Stroganov School), two artists from Khabarovsk - Vekeniev and Potekhin, and artists from Vladivostok - Nikolin and Pilipenko.
The artists P, N. Ryazantsev and A.A. Sakharov. Pyotr Nikolaevich Ryazantsev is the founder of professional fine arts in the Far East. He was born in Nerchinsk in 1829. In 1887 he moved to Blagoveshchensk, where he died in 1897, leaving behind a huge number of paintings and icons made at a high professional level. His large-scale pictorial landscape works were bought up by art connoisseurs from high-ranking figures - Metropolitan Innokenty of Moscow and Kolomna, Governor-General Baron Korf - to merchants and gymnasium teachers. A.A. Sakharov is the first marine painter of Primorye, a graduate of the Academy of Arts. He worked in Vladivostok, the Shantar Islands, Blagoveshchensk, Khabarovsk, Port Arthur. In June 1904, at his exhibition in Vladivostok, he presented paintings on military-historical themes: “The Battle of Chemulpo “Varyag” and “Korean” with 14 Japanese ships”, “Japanese attempts to block the entrance to the inner roadstead of Port Arthur with fire-ships " and etc.
Thus, a feature of the cultural development of the Far Eastern region in the pre-revolutionary period of its development was the simultaneous development of all areas of culture and art: education, science, artistic and musical culture, theatrical business, that is, the socio-cultural space of this region was actively forming. However, cultural achievements were not available to the general population. Most of the country's population remained illiterate.
A new period in the history of national culture began with the victory of October 1917, when the creation of a proletarian socialist culture was proclaimed. Cultural construction was based on the Leninist attitude to cultural heritage and the Leninist theory of two cultures: the culture of the "tops" - the bourgeoisie and landowners, and the culture of the "bottom" - the working people. IN AND. Lenin repeatedly emphasized the priority importance of culture for the successful building of socialism in Russia. A distinctive feature of the Soviet period in the history of culture is the great role of the party and the state in its development. The cultural policy of the Soviet state was carried out under the slogan: "All the achievements of culture - to the working people!" In the very first months of the revolution, creative work began in the field of cultural construction. A.M. Gorky noted, summing up the results of the year's work, that cultural and historical creativity has acquired "sizes and forms unprecedented in the history of mankind." At the same time, it should be emphasized that cultural construction in the center and in the regions was complex and contradictory. Soviet power in the center and locally began cultural construction in difficult economic conditions. Difficulties were also due to the illiteracy of the majority of the country's population, lack of funds and a small number of personnel. The Russian intelligentsia, as V.I. Lenin, for the most part, did not accept the October Revolution and its proclamation of the construction of socialism. Only an insignificant part of the intelligentsia joined the ranks of supporters of the construction of socialism. Others, not accepting the revolution, fled the country to Siberia, the Far East, and then, after the end of the civil war, fled to China and other countries. And still others hid, waited, looked closely in the hope that the new government would not last long.
The Soviet government faced the complex tasks of educating a new man, the builder of a socialist society. To achieve this goal, it was necessary: to destroy the previous system of public education and education, to create a fundamentally different one, which will lay the foundations for the formation of a new Soviet person; reorganize on the basis of the socialist worldview all areas of artistic culture, above all, art and literature, which will complete the education of a person worthy of a communist future, and also develop the broadest propaganda of the superiority of the values of socialism.
One of the most important directions of the cultural policy of the Soviet state was the elimination of illiteracy of the population, because literacy is the basis of the cultural development of man and society. Until 1917, the literacy of the country's population was ~70-80%. In the Far East, the proportion of literate people among the population did not exceed 40%, among indigenous peoples it was 2-3%. The number of available schools did not meet the needs of the region in the coverage of education for all children of school age. With the establishment of Soviet power in the Far East, party, Soviet, public organizations launched work to familiarize the working people with education and culture. By decision of the Dalburo of the Central Committee of the RCP (b), from January to April 1923, a shock three-month period for the elimination of illiteracy was held, and in April 1923 an Extraordinary Commission for the Elimination of Illiteracy and Illiteracy was created. New schools began to be created, especially primary ones, thanks to which, already in the 1923/24 academic year, the school network was approaching quantitatively the one that was registered on the eve of the First World War (in the 1913/14 academic year). Schools were opened for national minorities (Korean, Polish, Tatar, etc.). The problem of teacher training was also solved: on the basis of the existing 9 teacher's seminaries, 3 pedagogical technical schools and 2 pedagogical courses were formed, admission to which was carried out strictly according to the class principle (children of workers and peasants were accepted). To raise the general level of pedagogical work, they began to publish a monthly journal, Questions of Education in the Far East. The material base of schools was strengthened. High school teachers were trained at the State Far Eastern University. The old teaching cadres were involved in the work, who accepted the Soviet power, the new ideology. Thanks to general efforts, by 1930, illiteracy and semi-literacy of the adult population of the Far East had been largely eliminated. In 1930, the Far East joined the struggle for the introduction of universal primary education. The number of schools increased sharply, and the problem of teaching staff was solved. By 1930, there were 1783 primary schools in the region that provided a 4-year level of education, 170 schools with a 7-year education, 938 first-aid posts, 348 illiterate schools. In February 1939, at the first Primorsky regional party conference, it was noted that universal primary education was carried out in the region, and universal seven-year education in the cities. However, there were many shortcomings: almost 40 percent of schools were taught in two shifts, and in Vladivostok, two shifts were maintained in all schools, and there were not enough teachers. A similar situation was typical for other regions of the Far East.
The most important direction of the cultural policy of the Soviet government was the creation of a wide network of educational institutions of professional, secondary specialized education. Dozens of factory schools (FZU) were opened in districts, regions, factories and factories to train workers of various specialties. In the 1927/28 academic year, 20 such schools were created (there were 9 before the revolution), and in the 19236/37 academic year there were already 27. vocational education. By December 1, 1940, more than 40 vocational and railway schools and FZU schools were already operating in the Far East. They accepted thousands of students. Along with the assimilation of practical skills, much attention was paid to professional theoretical training.
Significant progress was also made in the development of secondary and higher education. If in the early 1920s in the Far East there were 10 technical schools and schools of secondary specialized education, then by the beginning of the 40s. - more than 50. They trained mid-level specialists in all major sectors of the national economy and culture. Higher educational institutions were also created. By the time the civil war ended, there were 4 state universities in the Far East (two in Vladivostok - a university and a conservatory, two in Chita - an institute of public education and a conservatory), and by the beginning of the 40s. there were 8 of them. The largest of them: the Far Eastern State University, the Khabarovsk Medical Institute (founded in 1930), in 1938 the Teachers' Institute in Khabarovsk was transformed into a pedagogical one, and in 1939 the Institute of Railway Transport Engineers was created. The most important indicator of the development of education and culture in the Far East in the 20-30s. was the creation of writing among the indigenous peoples of the North, and then the emergence and development on this basis of their professional artistic culture. In 1934, a northern department was opened at the Khabarovsk Teachers' Institute to train teachers for the schools of the peoples of the North.
The further development of secondary and higher specialized education in the Far East is associated with the post-war period, although there were some cases of opening educational institutions during the war. For example, in 1944 the Vladivostok Art School was opened in Vladivostok. In the 50-80s. secondary and higher educational institutions were created in all territories and regions of the Far East region. By the beginning of the 90s. there were 40 universities alone in the region, hundreds of schools of secondary general education and vocational training, more than a hundred technical schools and schools of secondary specialized education were operating.
During the years of Soviet power, a huge step forward was made in the development of science in the Far East. In the 1920s and 1930s, the Far Eastern Soviet science was born and established. The Far East Research Institute of Local Lore, founded in 1929, became the main center of the scientific life of the region. In addition to it, geodetic, meteorological and marine observatories, departments of the Geological Committee, the Pacific Research and Trade Station, the Far Eastern Book Chamber, branches of the Association Oriental Studies and the Society for Local Lore. The largest higher educational institutions, where the main scientific forces were concentrated, were then the Far Eastern State University and the Far Eastern Polytechnic Institute. The main task that both state and public scientific forces solved during this period was the development of practical recommendations for industry, transport and agriculture. The scientists of the region successfully coped with the task. Let's take one fact. In 1926, at the Dalzavod plant, Doctor of Technical Sciences, Professor V.P. Vologdin created the first electric welding workshop. Under his leadership, the foundations of the theory of electric welding of metals were tested, the first welded tanks for oils and fuels, and bridge trusses were created. In 1930, under his leadership, a towing boat with a welded boat was built in the building of the electric welding shop - the first all-welded ship in the USSR. In 1932, an academic institution was created - the Far Eastern Branch of the USSR Academy of Sciences. The organizer and its first leader was an outstanding world-famous scientist Vladimir Leontyevich Komarov. In the post-war period - 50-70s. The Far East, like the whole country, experienced a real rise in science and culture. In 1957, the Far Eastern Branch of the Siberian Branch of the USSR Academy of Sciences was established. In the Far East Branch, new areas of scientific research and new departments and laboratories were opened, on the basis of which institutes grew. So, in 1959, the Far Eastern Geological Institute was opened in Vladivostok, in 1962 - Biological and Soil Institute, in 1964 - the Institute of Biologically Active Substances, later renamed the Pacific Institute of Bioorganic Chemistry. Research institutes were established: in Khabarovsk - the Research Institute of Forestry, in Blagoveshchensk - the All-Russian Research Institute of Soybeans, in Magadan - the Research Institute of Gold and Rare Metals.
Science and education in the Far East in the 50-80s. solved three main, traditional for the region, tasks: firstly, the study of the Far Eastern zone (nature, climate, minerals, adjacent sea space); secondly, the scientific development of the most important branches of production for the Far East - defense, mining, forestry, fishing; training of specialists for the entire complex of the national economy of the region. Actively developed both academic and sectoral. At that time, a whole galaxy of talented scientists was growing up in the Far East, of whom domestic science is now proud. This is A.I. Krushanov - academician, E.A. Radkevich, B.P. Kolesnikov, F.K. Shipunov (became corresponding members of the Academy of Sciences of the USSR), N.E. Kabanov, A.I. Kurentsov, V.T. Bykov, L.N. Vasiliev, P.G. Oshmarin, I.. Belikov, A.V. Stotsenko and many others, whose works have not lost their significance even today.
In the 70-80s. Far Eastern science has reached the world level. A notable event in the scientific life of the Far East was the XIV Pacific Scientific Congress (Khabarovsk, August - September 1979). More than 2,000 delegates and guests from 46 countries of the world, representatives of international public organizations (UNESCO, WHO, UNEP), international scientific societies, leaders of the Soviet state, the Communist Party, leading scientists of the USSR and the Far East took part in it. The general theme and motto of the congress is "Natural resources of the Pacific Ocean - for the benefit of mankind." The participants of the congress held a general symposium "Scientific foundations of the rational use and protection of the environment of the Pacific region", 14 problem committees worked, about 1500 theses of scientific reports were published. The Congress ended with the adoption of a resolution "For cooperation in the Pacific region in the use of natural resources for the benefit of mankind." However, not all ideas and undertakings of the congress were developed.
Today, the Far Eastern Branch of the Russian Academy of Sciences is the largest scientific complex, which has its own scientific centers in the cities of the region - Vladivostok, Khabarovsk, Blagoveshchensk, Magadan and Petropavlovsk-Kamchatsky. All major areas of technical, natural and social sciences are represented in the department. The institutes are headed by scientists whose names are known not only in Russia, but also abroad, academicians G.B. Belyakov, V.P. Myasnikov, M.D. Ageev, Yu.S. Ovodov, S.A. Fedotov, corresponding members V.P. Korobeinikov, N.V. Kuznetsov, P.G. Gorovoy, Zh.N. Zhuravlev, O.G. Kusakin and others. Nevertheless, the contribution of science to the development of the economy and culture of the region is clearly insufficient. The qualitative development of science was hindered, first of all, by the fact that not all scientific developments were in demand.
The most important direction of the cultural policy of the Soviet government was the development of the mass media. The press took precedence. According to Lenin's plan, the press was supposed to perform the functions of a "collective propagandist, collective agitator and collective organizer" of the masses, to affirm the ideals of communism in the minds. These fundamental factors determined its development both in the center and in the regions. Since 1922, more than 20 Soviet newspapers have been published in the Far East (on the territory from Lake Baikal to the shores of the Pacific Ocean): in Vladivostok - "Red Banner", "Red Star", "Primorsky Peasant", "Primorsky Worker"; in Khabarovsk - "Pacific Star", "Working Way"; in Blagoveshchensk - "Amurskaya Pravda", "Red Youth of Amur"; in Petropavlovsk-Kamchatsky - "Polar Star"; in Chita - "Zabaykalsky Rabochiy", the magazine "Young Spartak", etc. According to the content of the newspaper, as in the European part of the country, they were divided into party-Soviet, trade union, youth and Komsomol newspapers. Depending on the level of socio-economic and cultural development, some regions (for example, Kamchatka) had fewer publications, while others had more. So, in Vladivostok, in addition to those mentioned, the evening working newspaper Krasnaya Zvezda (1923-1924), the pioneer newspaper Children of October (1924) were also published. The highest peak in the quantitative development of large-circulation printing in the Far East fell on the 30s. In the same years, district and city newspapers were created - the organs of local district party committees and district councils. Following them, a network of large-circulation newspapers is being formed - organs of party committees of various industrial enterprises and machine and transport stations. By the beginning of the 90s, more than 100 newspapers were published in the Far East - regional, city, district and large-circulation. More than 100 primary journalistic organizations united about 2,000 professional journalists, members of the Union of Journalists of the USSR.
Cinema was a mass and favorite art of the population. Already in 1924 there were 30 film installations in the region. Among the films released by Soviet cinema during this period were films that gained world fame, such as "Strike", "Battleship Potemkin" by S. Eidenstein, "Mother" by V. Pudovkin, etc.
Radio played an important role in familiarizing the working masses with culture and broadening their horizons. Regular radio broadcasting in the region began in September 1927 - in the cities of Vladivostok and Khabarovsk. In 1937, 6 radio points operated in the Far East. Radio programs covered all aspects of public life, issues of socio-economic and cultural development of the country.
In the post-war period, in the 1950s, TV journalism appeared in the Far East. The first television studio appeared in Vladivostok, followed by it in other regional and regional centers. Radio committees are transformed into Committees on Television and Radio Broadcasting. In the 60s in Vladivostok, under the Primorsky Regional Committee for Television and Radio Broadcasting, the studio "Daltelefilm" was established to create documentaries about the life and work of the Far East. In the 1960s and 1980s, radio and television entered literally every home. As you know, in 1960, regular broadcasting of Central Television programs via the Orbita system began. Territorial and regional television studios were created in the regions, preparing programs based on local material.
The increase in the culture of the population directly affected the development of artistic culture. Theatrical art was born in the 1920s. It developed within the framework of state cultural programs. In the Far East, professional theaters are being opened in large industrial centers. In 1926, a musical comedy theater was opened in Khabarovsk; in Vladivostok - a drama theater; in Komsomolsk-on-Amur - a drama theater (1932), etc. Theaters were created not only in the regional centers, but also in the outback. Thus, the Peasant Theater appeared in Spassk; in Suchan - Workers' Theatre. In 1937 nine major drama theaters in the Far East staged 1,750 performances attended by 736,000 spectators. Numerous amateur musical, literary, theater studios worked in the region; a network of art education was formed, consisting of 4 music schools and one art school.
In the postwar years, the culture of the Far East grew immeasurably. Everywhere there were new objects of social and cultural purpose: clubs, cinemas, libraries, palaces of culture. One of the striking examples of the effectiveness of cultural work among the population was the numerous creative groups - dance ensembles, choirs, drama clubs that arose at the Houses and Palaces of Culture. An active theatrical life continued, professional concert ensembles, symphony orchestras, choreographic and vocal groups appeared, whose activities were coordinated and directed by regional and regional philharmonics.
Hundreds of professional artists and talented self-taught artists have reached a high level in painting, drawing, and sculpture. By 1990, only the Primorsky organization of the Union of Artists of the RFSR consisted of 74 members. In the 70-80s. the canvases of Y. Rochev, A. Usenko, V. Doronin, K. Shebeko became famous. Artists V. Vysotsky, A. Shishkin, A. Dyatelo, A. Geiker, sculptors Ya.P. Milchin, I. Gorbunov created their works in the Khabarovsk Territory.
Far Eastern musicians have achieved great success. Of great interest was the work of composers: Y. Vladimirov, who wrote a number of significant musical works (cantatas, oratorios, a symphony in memory of Sergei Lazo, songs for children, etc.), a collector of musical folklore throughout the Far East. Widely known throughout the Far East was the Far Eastern Symphony Orchestra, whose artistic director and conductor for a number of years is V.Tits.
The literature of the Far East, like all art, developed in line with the Soviet culture of the country. The main subjects in the work of Far Eastern writers, as before, were: the nature of the region, the history of its development and settlement, the life of people in the distant outskirts of Russia. In the post-war years, works devoted to the military theme appeared. Such significant literary works as "Far from Moscow" by V. Azhaev, "Sungarian Notes" by D. Nagishkin, "Infantry Soldiers" by G. Markov should be mentioned.
New names appeared in literature and art: writers V. Efimenko, G. Guk, O. Shcherbakovsky, N. Zadornov, N. Ryzhykh, L. Knyazev, V. Kolykhalov, A. Tkachenko, N. Navolochkin, I. Basargin; poets S. Smolyakov, A. Pavlukhin, A. Kosheida, V. Korzhikov, G. Lysenko, L. Korolev and others. The journals "Far East" (Khabarovsk), the almanac "Pacific Ocean" (Vladivostok) were published in the region. The main character of the works of Soviet writers becomes a man of labor. Convincing evidence of the achievements of Far Eastern literature is the constant attention to it abroad. A. Fadeev's novel "The Rout" was published in Japanese 7 times (for the first time in 1929). At 60 to ser. 80s literature about the Far East was actively translated into European languages: more than 130 editions were published in German, 110 in Czech, 90 in Polish, etc. Thus, novels were published in French, German, Polish, Czech, Bulgarian, Hungarian, Japanese N. Zadornova; A. Fadeev's books were reprinted more than 100 times; V. Arseniev and V. Azhaev - 50 times.
However, not all the possibilities of socialism were used to the full extent for the cultural development of the country. Formed in the 30s. the administrative-command system deformed many principles of socialism, hindered the process of revolutionary upsurge in culture and the democratization of the spiritual life of society, which began in the early years of Soviet power. The party-state leadership of cultural construction took the form of an administrative dictate. Mass repressions of the 30s - early 50s. led to irreparable losses in the field of culture, reflected in the moral state of society. The continuity of the generations of the domestic intelligentsia was broken. And in the following decades, the administrative-command system continued to put pressure on the cultural life of society. The contradictions between the needs of social development and the methods of the country's leadership became especially acute in the period of the 70s - the first half of the 80s.
A negative impact on the progress of national culture was its isolation from the world cultural and historical process. From the world cultural experience, both of the past centuries and of the twentieth century, very little was selected, mainly what fit into the framework of the materialistic worldview. As a result, a huge part of world culture remained unfamiliar not only to the people, but also to the intelligentsia.
The contribution of the peoples of the region to world culture and science
Far Eastern science originates from travels, from the inquisitive human mind. The Far East has seen many people whose passion was the desire to know the world, to travel. Chekhov said beautifully about such people-ascetics: “Their ideological spirit, noble ambition, based on the honor of the motherland and science, their perseverance, no hardships, dangers and temptations of personal happiness, an invincible desire for a once intended goal, the wealth of their knowledge and diligence, the habit of heat, cold, homesickness, debilitating fevers, their fanatical faith ... in science - make them in the eyes of the people as ascetics, personifying the highest moral force ... ". From afar, from the very depths of history, a chain of geographical discoveries of explorers, navigators and scientists in the Pacific Ocean stretches. Consider the seventieth century. It is famous for the campaigns and discoveries of Russian explorers - Moskvitin, Dezhnev, Khabarovsk, Poyarkov, Atlasov. Through their work, will, courage, and intelligence, the Far Eastern lands were discovered and annexed to Russia. The 18th century is the century of Russian Columbuses, navigators and scientists, this is the century of great geographical discoveries. The Kamchatka expeditions of the 18th century were of exceptional importance for geographical science, for our state. It was they who initiated the development of the Far Eastern outskirts of Russia, enriched science with discoveries. The 2nd Kamchatka (Great Siberian, 1733-1743) expedition was attended by titled scientists of the Academy of Sciences - Adjunct Steller, astronomer de la Kreyer, historian G. Miller and others. But none of them left such a mark in science as the unknown " mister student" Krasheninnikov. This is how the “student” of the Moscow Greek-Slavic-Latin Academy Stepan Krasheninnikov was called in official papers. It was he (Krasheninnikov), who, having lived for four years in Kamchatka in severe hardships and worries, tireless labors and searches, worked as a geographer, botanist, zoologist, ichthyologist, ethnographer, historian, linguist, studied in detail the nature of the distant peninsula, the life of the peoples inhabiting it and created the immortal monument of Russian scientific thought - the book "Description of the Land of Kamchatka", which had no equal in the geographical literature of the 18th century. For many sailors and travelers, it was a reference book and guide. The work of a remarkable Russian scientist and traveler of the XVIII century. Stepan Petrovich Krasheninnikov enjoys well-deserved fame and world fame. (Krasheninnikov Stepan Petrovich (1711-1755), Russian traveler, explorer of Kamchatka, academician of the St. Petersburg Academy of Sciences (1750).
It is rich in numerous expeditions and discoveries of the 19th century. This is the century of Russian round-the-world travels in the first half of the century. (expeditions of F.P. Litke, I.F. Kruzenshtern, V.M. Golovnin, O.E. Kotzebue). Scientist A.F. Liddendorf, navigator G.I. Nevelskoy, naturalist L.I. Shrenk, officer N.M. Przhevalsky, naturalists R.K. Maak, K.I. , scientist L.A. Shternberg and others. But the first scientist who discovered the Far East to the world was Vladimir Klavdievich Arseniev. He devoted thirty years of his life to the study of nature and the population of the region he loved. Thus, we can assume that science received a permanent residence here from him. During this time, V.K. Arseniev rode horses, walked and boated tens of thousands of kilometers through unknown areas of the Ussuri Territory, sailed along the Amur, explored lakes, the river network of Primorye, part of Sakhalin and the Commander Islands, collected and described the richest natural historical and ethnographic collections. The role of V.K. Arseniev in the development of ethnography, archeology and history of the Far East is great. He has written more than 50 scientific and popular science papers, numerous reports and other materials. VK Arseniev is one of the creators of the local history direction in the domestic scientific literature. VK Arseniev (1872-1930) - researcher, ethnographer, writer. His works - "Across the Ussuri Territory" (1921), "Dersu Uzala" (1923), "In the Sikhote-Alin Mountains" (1937) - are known throughout the world. The Museum of Local Lore in Vladivostok bears his name. A monument to V.K. Arseniev was created in the city of Arsenyev.
The Far East, with its unique nature, rich mineral and biological resources, and the uniqueness of indigenous peoples, has attracted many researchers. The first information about its vegetation, living world, subsoil treasures and nationalities was given by scientists of the 18th-19th centuries. But the complex scientific development of the region began only during the years of Soviet power. And it is connected with the name of Vladimir Leontievich Komarov, a Soviet scientist, academician of the Russian Academy of Sciences (since 1920), chairman of the USSR Academy of Sciences (since 1936). VL Komarov did a lot to study the eastern regions of the country and organizations of scientific research in the Far East. Even before the revolution, a young scientist, full of a thirst for discoveries, travels to the Far East. He explored the lower reaches of the Ussuri River, the Tunguska and Bira basins, the plains of the Amur region, the Lesser Khingan where the Amur cuts through it. V. Komarov undertook travels to Manchuria, Korea, Mongolia, Kamchatka and Primorye, which resulted in the capital works "Flora of Manchuria", "Flora of Kamchatka". Already a venerable scientist, Vladimir Leontievich visited the Far East more than once in the 1930s, conducted research in the Ussuriysk region, in the vicinity of Khabarovsk, on Zeya and in the Kedrovaya Pad nature reserve. Together with the botanist E.N. Klobukova-Alisova, he created the “Key to Plants of the Far Eastern Territory”, which is a reference book for many generations of scientists.
A great contribution to the study of the past and present of the Far East, the history and culture of the indigenous peoples of the region, the ethnography of the Slavic population of the region, the monuments of history and culture of the Far East was made by famous historians, archaeologists, ethnographers - A.I. Krushanov, N.N. Dikov, E .V.Shevkunov, Zh.V.Andreeva, N.K.Starkova and many others. Here we will talk about the creation of the great scientist, archaeologist, ethnographer, academician Alexei Pavlovich Okladnikov, on whose initiative archaeological work began in the Far East, which was considered a land without deep roots.
A.P. Okladnikov made an invaluable contribution to the world treasury of science. A.P. Okladnikov’s passion for history, archeology and ethnography, which originated in his school years, was finally determined during his studies at Irkutsk University. A.P. Okladnikov devoted most of his life to the study of Siberia. In the 1920s and 1930s, he conducted his first archaeological searches in Transbaikalia, opened the forgotten Shishkinskaya gallery of ancient rock paintings. In the 1930s and 1940s, he led the Angarsk archaeological expedition of the Irkutsk Museum of Local Lore, continues research on the Angara, discovering a series of burial grounds, settlements, sites, monuments of primitive art; he made a number of significant discoveries in Uzbekistan. His expeditions in 1947-1958. work in Kyrgyzstan, Turkmenistan and Tajikistan. Searches are crowned with discoveries of Stone Age monuments. In 1940-1945. A.P. Okladnikov discovered dozens of monuments from the Paleolithic era to the 17th century in Yakutia, which made it possible to take a fresh look at the world of hunters, fishermen and cattle breeders who lived in the vast northeastern expanses of Asia, as it turned out over many millennia. In the late 40s - early 50s, under the leadership of A.P. Okladnikov, research was launched in Transbaikalia, in the Buryat ASSR, the Chita region and in the Baikal region. Since 1953, A.P. Okladnikov has been carrying out extensive excavations of sites of different ages in Primorye and the Amur Region, which made it possible to solve the problems of the development of Neolithic and early metal cultures, the formation and development and flourishing of the first Tungus states of Bohai and the Jurchen Empire. A.P. Okladnikov’s contribution to the development of various aspects of primitive art, an interest in which he carried throughout his life, is enormous. Based on the results of extensive research by A.P. Okladnikov, more than 600 works were created. The most famous of them, which entered the treasury of Russian and world science and culture: "Neolithic and Bronze Age of the Baikal Region" (1950,1955), "Russian polar sailors of the 17th century. off the coast of Taimyr" (1948), "The distant past of Primorye" (1959), "Shishkin's petroglyphs" (1959), "Petroglyphs of the Angara" (1966), "Deer Golden Horns" (1964), "Faces of Ancient Amur" (1968) , "Petroglyphs of the Middle Lena" (1972), "Paleolith of Mongolia" (1981), "Petroglyphs of Mongolia" (1981) and many others.
A.P. Okladnikov was a participant in many international congresses and conferences, was elected a foreign member of the Academy of Sciences of Mongolia, an honorary member of the Hungarian Academy of Sciences, a corresponding member of the British Academy, an honorary doctor of Poznan University in Poland.
For a huge contribution to science, the scientist, organizer of science and teacher A.P. Okladnikov was awarded the title of Hero of Socialist Labor by the party and the Soviet government, he was twice awarded the State Prize of the USSR, he was awarded three Orders of Lenin, three Orders of the Badge of Honor and medals.
Monuments of history and culture
The Far East is a unique region. It is rich in its natural resources, the history of the peoples inhabiting it; it is full of various monuments of history and culture. All historical monuments known in the region are of great value, most of them are of national significance and are protected by the state.
It is impossible to talk about each of them in a small tutorial. We will tell only about individual monuments of ancient culture, about historical, historical and revolutionary monuments, about famous historical figures who contributed to the discovery and development of the region and about the architectural monuments of three cities - Khabarovsk, Blagoveshchensk and Vladivostok.
Monuments of spiritual culture
The most remarkable monuments of ancient art are rock carvings (petroglyphs, or petroglyphs, as they are also called). On the territory of the Amur region and Primorye, several locations of rock carvings left by ancient masters on pliable stone are known. This is on the Amur River near Sikachi-Alyan, on the rocky bank of the Ussuri River above the village of Sheremetyevo and in the Kiya River valley on the road from Khabarovsk to Vladivostok.
The largest center of rock paintings is Sikachi-Alyan. The oldest Nanai village of Sikachi-Alyan is located 90 kilometers from Khabarovsk. Near the village, along the rocky shore of the Amur, blocks of basalt are piled up in long shafts - the remains of destroyed rocks. They have ancient drawings. In total, there are about 150 drawings in Sikachi-Alyan. The Sikachi-Alyan images-masks are diverse and unique. They are like masks, and each of them has its own characteristics. The masks are very expressive. A wide upper part, huge round eyes, an open mouth with two rows of large sharp teeth, a narrow rounded chin - such masks resemble the head of a monkey. There are ovoid and oval masks, some of them have slanting eyes with round pupils clearly carved in stone, a wide blurry nose. On the cheeks and chins of many of the disguises, parallel arcs are visible - possibly a tattoo. In the upper part, many masks are surrounded by a halo of diverging rays. Formidable power emanates from the images-masks, and it is as if the mysterious soul of ancient unknown tribes is looking at us through their eyes. Next to the frightening faces on blocks of basalt, you can see images of animals: animals, birds, snakes. The most famous figure of the animal from the drawings of Sikachi-Alyan is the elk. An elongated torso, barely visible legs, a long neck and a small head - everything is ready for a swift run. The proud collapse of the horns is emphasized by the primitive master with airy lightness. Inside the body of the animal there are several concentric circles - signs associated with the sun. This is a heavenly elk, the hero of myths, legends and traditions of many peoples. With him they associated a good hunt, and hence their well-being.
An interesting drawing depicts a giant snake or mudura dragon in the form of a wide zigzag, filled inside with the finest carved net. The Mudur of the Nanai legends is a powerful creature, sometimes beneficent, sometimes terrible, unkind - an indispensable character in many rituals. The mythical serpent was carved in a place that could only be reached by water in a light fishing boat.
The drawings near the village of Sheremetyevo are no longer placed on separate blocks of stone, but on the even and smooth surfaces of the rocks, at the very foot of which the Ussuri splashes. Among them stand out large masks, similar to the heads of anthropomorphic monkeys, with a huge rounded forehead and the same large round eyes. Above the square chin is a terrible mouth with a palisade of sharp teeth. A little higher on the rock are placed even more fantastic masks. Narrow-eyed, like the images-masks of Sikachi-Alyan, with the outer tips of the eyes bent upwards, they are very reminiscent of the conditional masks of the ancient Japanese theater. There is also a figure of a snake in the form of a spiral, above which the head of a poisonous creature rises vertically, and a brightly executed figure of a deer. Wonderful images of boats and birds. The boats look like arched lines, above which vertical, thin sticks stick out, depicting rowers or just people sitting in the boat. Birds are similar to geese: massive bodies, long necks, some figures have wings raised up.
The images on the Kiya River bear the closest resemblance to the rock paintings of Sikachi-Alyan and the Sheremetyevsky rocks. The first common plot for them is masks. They have similar outlines. The eyes are shown by circles, transverse stripes are embossed on the forehead. The figure of a deer in Kyiv, for example, is very similar to Sikachi-Alyanskaya and Sheremetyevskaya. What is the origin of "written stones" or petroglyphs? Here is what, for example, an ancient Nanai myth tells about the Sikachi-Alyan petroglyphs: “It was a long time ago, three people lived at the beginning of the world. And there were three diving swans. Once people sent three swans to the bottom of the river to get stones and sand for the earth. The birds dived. Seven days were under water. And when they came out, they saw that the earth was blooming like a carpet, fish were swimming in the Amur River. Then three people made a man named Kado and a woman Julchu. Then a maiden named Mamilji. The people multiplied and populated the whole land along the Amur. Kado said: “There are three suns in the sky. Live too hot. I want to shoot two suns!”. And he went to the sunrise. He dug a hole and hid in it. He saw the first sun rise and shot him. Shot at the second sun, but missed. Third, killed. One middle left. The water boiled - it became a mountain. The mountain boiled - it became a river. And while the stones were warm, Mamilji painted birds and animals on them. Then the stones became hard. After that, life became good ... ".
So says the legend. And what do scientists say about this? Who and when carved these strange images on basalt blocks and sheer cliffs? The answer to these questions was obtained when systematic excavations of ancient settlements on the banks began.
Thanks to modern scientific methods, it is now possible to determine when these amazing masters lived on the Amur. Thus, the age of the Voznesenovsky vessel dates back to the 4th-3rd millennium BC. In other words, he lay in the ground for at least five thousand years!
Petroglyphs of Pegtymel
Pegtymel petroglyphs are a unique cultural monument of the Far North-East of Asia. They are carved on 12 rocks on the right bank of the Pegtymel River, 50-60 kilometers from its confluence with the Arctic Ocean. At a height of 20-30 m, 104 groups of images have been preserved. This "picture gallery" was created during the first millennium BC. - the first millennium AD Older images are partially overlapped by later drawings. Rock carvings reflected the main occupations of the ancient inhabitants of the North of the Far East - sea hunting and hunting for wild deer. Most often, images of deer are found on the Pegtymel rocks. Among them are real masterpieces of craftsmanship, for example, the following story is repeated with amazing persistence on the Pegtymel rocks: a deer, followed by a boat with a man who plunged a spear or harpoon into the animal. In ancient times, there were seasonal crossings (floods) of wild deer near these rocks, going to new pastures across the river. The ancient artist very skillfully conveyed the characteristic movements of a swimming deer: the head is stretched forward, light as a float, swollen torso with legs immersed in water seems to be floating in a state of weightlessness, hooves are spread out like crow's feet, and although the water is not marked by anything, you feel that the animal is swimming.
The hunter himself in the boat is often depicted with one broad stroke. The drawings of the boats are interesting: multi-seater with high bows and small, resembling unsinkable, high-speed kayaks of the Eskimos, Chukchi, Aleuts covered with leather. Hunting scenes often include dogs. They furiously attack running and swimming deer, driving them into the water. Not so often, but all there are images of sea hunting scenes. Various marine animals - whales, killer whales, bearded seals, seals - are drawn clearly and expressively. Sometimes among these animals there is also a polar bear.
On the Pegtymel rocks you can find images of such animals as arctic foxes and wolves. The latter are mostly drawn chasing deer. There are figurines of waterfowl. Various humanoid images.
The Pegtymel petroglyphs reflect what interested the primitive hunter the most. The dream of plentiful food determined the meaning of the Pegtymel rock art. Kill more wild deer, sea animals - that's what brought this art to life. But the images of the wolf and killer whale are not associated with hunting magic. These animals were not hunted. The Chukchi and Eskimos have long believed that these animals are useful for humans, they should not be killed. According to a widely held belief, the wolf and killer whale are one person, a werewolf. In the guise of a killer whale in the summer, he drives the whales to the shore and forces them to throw themselves ashore, which helps the hunters. In winter, in the guise of a wolf, attacking deer and destroying the weak among them, he also does a useful job. Deer feed the wolf, but the wolf makes them strong. But the images had more than just a ritual meaning. They are very realistic. The drawings carved on the rocks are sometimes real, very expressive works of art. They feel the vigilance and observation of the hunter. And, of course, they are a source from which we can learn a lot about the life and life of the people of that distant era.
Historical, historical-revolutionary monuments
Majestic monuments to the fallen heroes during the harsh years of the Civil War were erected in various cities of the Far East. The most expressive of them is located in Khabarovsk, on Komsomolskaya Square. The grand opening of the monument took place on October 26, 1956 in the presence of more than 300 partisans from the Far East, among whom were former commanders of partisan detachments, active participants in the revolutionary movement. The authors of this majestic and at the same time mournful monument (sculptor A.P. Faydysh-Krendievsky, architect M.O. Barits) sang the heroism of the harsh years of the Civil War. The height of the monument is 22 meters, and the height of the sculptural group is 3 meters. The center of the monument is a four-sided obelisk made of gray hewn granite (blocks), crowned with a five-pointed star cast in bronze in laurel branches. The obelisk is a kind of compositional vertical (axis) of the entire monument. At the foot of the obelisk, on a tetrahedral pedestal, there is a bronze sculptural group: under the unfolded banner there are courageous figures of a commissar, a Red Guard and a partisan. In the sculptural group, the author conveys folk images of a commissar baring his head in grief, a Far Eastern partisan in a sheepskin coat and ichigs, dragging his Maxim machine gun through the taiga thickets, and the image of a Red Guard with a rifle and with a banner, rushing into the future that opens before him.
The obelisk is installed on a high pedestal, consisting of three parts: the upper one serves as the base of the obelisk, the middle one is a cubic volume and the lower one is the three-stage base of the pedestal, which, like the obelisk, is made of blocks of gray granite. On the northeastern edge of the pedestal, on a ledge, there is an inscription in superimposed letters: “To the heroes of the civil war in the Far East. 1918-1922". On the back side of the pedestal is a bas-relief composition made of bronze. In the center of the composition, a sickle and a hammer are on a shield, and on the sides are three half-mast banners. Above the bas-relief is a five-pointed star. On the southeastern edge of the pedestal are carved the words from the famous partisan song (“Through the valleys and the hills”): “And they will remain, like a fairy tale, like beckoning lights, the assault nights of Spassk, Volochaev days.” The surrounding area is landscaped, broken lawns.
The monument has high artistic merit, has great historical significance, therefore, back in 1960, by the Decree of the Council of Ministers of the RSFSR, it was taken under state protection as a monument of republican significance. It became the first protected object of this rank in the Far East.
Monument to the Fighters for Soviet Power in the Far East in 1917-1922 installed on the central square of Vladivostok on April 28, 1961. Authors: sculptor A. Teneta, engineers A. Usachev and T. Shulgina. The largest monument in the city. It consists of three separate compositions - two group and central sculpture of a Red Army trumpeter, towering over the square at a height of thirty meters. It is the central figure who is "guilty" of the appearance of unofficial names of the monument among the local informal and bohemian public: "The trumpeter in his own juice" and "Vasya Trubachev and comrades." The right sculptural group depicts participants in the events of 1917 in Vladivostok. Left - Red Army soldiers of the NRA FER, who liberated Vladivostok in 1922.
A vivid and demonstrative example of how the seemingly irreconcilable is reconciled in history is Memorial section of the Sea Cemetery in the city of Vladivostok. It arose in 1905 during the Russo-Japanese War of 1904-1905. The memorial section of the Sea Cemetery is a vivid and demonstrative example of how the seemingly irreconcilable is reconciled in history. People of different eras, ideologies and religions are buried here. Next to the veterans of the "red" partisan movement during the Civil War lie English and Canadian soldiers and officers, Czech legionnaires who died in the same years, but professed completely different values.
Veterans of the Tsushima battle, the sailors of the cruiser "Varyag" side by side with the soldiers of the Red Army. The sailors of the "Varyag" fought and died in battle on January 27, 1904 in the Korean port of Chemulpo with the ships of the Japanese squadron. Soldiers of the Red Army died in the summer of 1938, defending the border of the Soviet Union from Japanese troops in the area of Lake Khasan. The "Varyag" was commanded by the captain of the 1st rank V.F. Rudnev, who was the son of a Russian nobleman, the Soviet troops - Marshal of the Soviet Union V.K. Blucher, the son of a peasant. The maritime cemetery also became the burial place of famous state and public figures of Primorye.
A group of monuments associated with the events of the Great Patriotic War (1941-1945)- one of the most numerous. The Great Patriotic War against the Nazi invaders, which raged on the territory of the USSR for four years from the borders with Poland to the Urals, was part of the Second World War (1939-1945). This war became the biggest tragedy in the history of the world civilization of the 20th century, when millions of people in Europe and the United States of America were involved in the fight against fascism.
In those terrible years for the Soviet Union, thousands of patriots of the Far East took up arms. Many of them never returned to their homes. Their memory is sacred to the modern generation. In the region there is not a single city, not a single village, wherever there is a monument to fellow countrymen who died in the fight against fascism.
In Khabarovsk, on the high bank of the Amur, there is the youngest square of the city - Glory Square, opened on the 30th anniversary of the Victory in the Great Patriotic War of 1941-1945. A 30-meter obelisk of three pylons rises in the center of the square. The Memorial Square of Glory appeared in Khabarovsk in 1985. On its plates are the names of the Far East, who died in the Great Patriotic War. The names of 47 thousand people are engraved on the granite slabs of the local memorial - all those who were called to the front from the Khabarovsk Territory. They bear the names of Khabarovsk residents - Heroes of the Soviet Union, Heroes of Socialist Labor and full cavaliers of the Order of Glory. The search party worked for several years to perpetuate the memory of each one by name. By the 40th anniversary of the Great Victory, the construction of the second stage of the square was completed. The central structure of the memorial complex is the Memorial Wall, enclosing in a semicircle a platform - a podium, in the center of which the Eternal Flame was lit. Over time, pylons appeared here, where the names of the inhabitants of the region who did not return from the war were carved. On the contrary - a monument to the fallen in local wars and military conflicts, opened recently. Three black pylons in the form of tulip petals rise on a granite podium, on which are located the names of the residents of the Khabarovsk Territory who died in the “hot spots”. In the center, at the base of the petals, there is a hemisphere about 2 m in diameter, on which, like on a globe, the lights mark the conflict zones where the Far East fought. Around the hemisphere there is an inscription: "To fellow countrymen who fell in local wars and military conflicts." 143 names of Far Easterners are immortalized on the memorial.
In 1982, in Vladivostok, during the celebration of the 50th anniversary of the Red Banner Pacific Fleet, the Memorial Ensemble "Battle Glory of the Red Banner Pacific Fleet"- in memory of the Pacific people who died during the Great Patriotic War and the war with imperialist Japan, it was solemnly opened in July 1982 during the celebration of the 50th anniversary of the Red Banner Pacific Fleet. Team of authors: architect A.V. Sandoka, sculptors: V.G. Nenazhivin, N.P. Montach, engineers: G.M. Braunagel, I.P. Yablonsky.
The memorial ensemble is a detailed spatial composition, consisting of a ship-museum - the S-56 submarine, a forum of memory with an Eternal Flame and the Wall of Glory of Heroes. The main element of the composition is the S-56 guards submarine, which during the Second World War destroyed 14 enemy ships in the polar seas, for which it was awarded the Order of the Red Banner. It is installed on a pedestal and turned into a museum. To the right of the boat-museum there is a forum in the form of two terraces connected by wide memorial stairs. The upper terrace from the rear is bounded by a wall with a high-relief composition dedicated to the exploits of Pacific sailors. In the center of the high relief is a cast-iron memorial plaque depicting the Order of the Red Banner and the text of the Decree of the Presidium of the Supreme Soviet of the USSR on awarding the Pacific Fleet with this order. Between the stairs on an inclined ramp in the center of the bronze star, the Eternal Flame is lit. In the niches on the upper platform of the ramp are stored capsules with the earth of the heroes of Moscow, Leningrad, Volgograd, Sevastopol, Odessa, Kyiv, Novorossiysk, Minsk and Kerch. The upper terrace of the forum is flanked by 2 pedestals, on one of which a gun from the Voikov destroyer is installed, on the other - a tower from the B-304 armored boat. On the rear side of the submarine, on a raised terrace paved with concrete slabs, a wall of Glory was built, folded in the form of marble banners, on which 20 bronze plates with the names of 192 Heroes of the Soviet Union and 37 full holders of the Orders of Glory are fixed. In front of the submarine, 45 low rectangular steles with memorial plaques are installed in a row, on which the names of ships, units and formations of the KTOF, awarded government awards and distinctions during the Second World War, are immortalized.
In the city of Komsomolsk-on-Amur on June 23, 1972, a grand opening of a unique Memorial monument to heroes-Komsomol members, who died in 1941-1945. The author of the project of the monument is the artist N.S. Ivleva, the sculptor is S.V. Nikolin.
The territory on which the monument is located is bounded on the northwest side by Dzerzhinsky Street, on the northeast side by Oktyabrsky Prospekt, and on the southeast side by Amursky Prospekt. The architectural and planning solution of the space allows convenient approaches to the monument and its perception from different points. The idea of creating a monument is reflected in its spatial composition. The general solution of the complex is based on a combination of vertical pylons, focusing the attention of the viewer, but at the same time carrying the ideological decoding of the monument and the horizontal composition of the reliefs of the faces of the heroes - Komsomol members, 3.5-6 meters high, powerful vertical pylons 12.5 meters high, emerging from the planes of the earth create a feeling of monumentality of strength and express the invincibility, resilience and unity of the whole people during the Second World War. The monument completed the composition of the memorial complex located on the embankment of Komsomolsk. The complex also includes the "Eternal Flame", three high columns with the dates of the beginning and end of the Second World War, as well as the Heroes' Square, where the names of Komsomol soldiers who did not return from the war fields are carved on both sides of the stone crossings.
Monuments dedicated to historical figures
Monumental sculpture has become a specific phenomenon of the culture of the Far East. Monuments to historical figures have become landmarks of cities. It is characteristic that all the sculptural monuments were united by one big theme: the development and protection of the Far Eastern lands of Russia. The main purpose of the sculptures is to affirm the positive, the heroic in the minds of contemporaries, and then their descendants. All created monuments were the result of social activity.
Monument to E.P. Khabarov For 40 years now, there has been a monument to Erofey Pavlovich Khabarov in the city of Khabarovsk, erected on the centenary of the city. The monument was opened on May 29, 1958 in a solemn atmosphere. The author of the monument is the Khabarovsk sculptor Ya.P. Milchin. The monument to Yerofey Pavlovich Khabarov reminds of his famous campaigns, of his great contribution to the development of the outlying Russian lands. We see Khabarov climbing a rock and peering into the Amur distance. In his left hand is a scroll with records, and his right hand supports the half of a fur coat that has slipped off his shoulder. An inscription is carved on the front side of the pedestal: “To Yerofei Pavlovich Khabarov”, and just below the words are inscribed: “On the day of the 100th anniversary of the city of Khabarovsk. 1858-1958". The height of the sculptural figure is 4.5 meters, and the total height of the monument (including the pedestal) is 11.5 meters.
There can be no question of a portrait resemblance to Khabarov, because neither portraits nor even descriptions of Yerofei Khabarov's appearance have been preserved. Therefore, the monument that adorns the forecourt of the city is a kind of collective image of those brave Russian explorers who were the first to reach these remote lands.
In 1891, on a cliff in the city garden of Khabarovsk, a monument to Nikolai Nikolaevich Muravyov-Amursky with carved names of participants of all alloys of the Amur expedition: G. Nevelsky, N. Boshnyak, M. Venyukov, K. Budogossky, L. Shrenko, R. Moake, K. Maksimovich and others. the author of monuments to Pushkin in Moscow and Lermontov in Pyatigorsk. The monument was cast in St. Petersburg in the art workshop of Gavrilov. In January 1891, the statue was exhibited in the Mikhailovsky Palace to familiarize the residents of the capital. It received the approval of the emperor himself, and then sent through Odessa and Vladivostok to Khabarovsk, where a pedestal was already ready with bronze plaques attached to it with the names of Muravyov-Amursky's associates. On May 30, 1891, the solemn opening and consecration of the monument took place in the presence of the heir-prince.
In 1925 the monument was demolished. In 1992, the monument was restored according to the preserved working model by the St. Petersburg sculptor L. Aristov. On May 30, 1992, on the birthday of the city of Khabarovsk, with a huge gathering of citizens, the bronze count (governor general) returned to his native pedestal on the banks of the Amur River. The monument appeared in its original form, in which it existed for about thirty-five years, personifying the glorious history of the Far Eastern Territory. In a short time, not only the pedestal and sculpture were restored, but the entire complex: ramps, a retaining wall, a mound was filled, which made the pedestal higher, and a fence of thirteen cannons. Eleven of them, instead of the lost ones, were made at the Daldiesel plant, and two were made back in the nineteenth century. A crystal capsule with a message to posterity is immured in the pedestal of the monument. The monument to Muravyov-Amursky is an outstanding work of Russian monumental art. This is one of the best creations of Opekushin belongs to the golden fund of monumental art.
Monument, dedicated to the outstanding Russian officer, admiral G.I. Nevelsky stands in a cozy park on Svetlanskaya street in the city of Vladivostok. The name of this person is widely known and very revered in Russia. The work of the Amur Expedition headed by him (1851-1855) played a decisive role in the formation of Russian statehood in Primorye. The monument to G.I. Nevelsky and his associates was opened on October 26, 1897. It is made of gray granite, specially delivered for this purpose from Russky Island. The author of the project is a marine engineer, architect A.N.Antipov. The sculptural part of the monument was made by the famous Russian sculptor R.R. Beck. It was cast in bronze at the Werfel company in St. Petersburg. The monument is distinguished by strict beauty and grace of form. Its top is crowned with a bronze eagle. It was created by subscription to the funds of the lower ranks of the fleet and residents of the city and became one of the main attractions of Vladivostok. From the day it appeared to the present day, the monument to Nevelskoy is considered one of the most impeccably functional and at the same time beautiful monuments in Russia.
A monument dedicated to G.I. Nevelsky was also built in the city of Nikolaevsk-on-Amur. A monumental obelisk made of granite with a relief and copper plates with inscriptions was opened on August 31, 1813.
And in Khabarovsk over the Amur, the bronze Nevelskoy stands just as naturally as in Nikolaevsk. The monument to this famous navigator and explorer of the Russian Far East was erected in 1951 in the Central Park of Culture and Leisure. With his head uncovered, with a telescope in his hand, he stands on a high bank and follows the waves of the Amur with his eyes, running towards the expanses of the Pacific Ocean. The author of this expressive sculpture is A.Bobrovnikov from Khabarovsk.
In the city of Arsenyev, in the area of the Uvalnaya hill, a monument was erected to V.K. Arsenyev, a famous explorer, archaeologist, ethnographer, and writer. It reaches a height of about four meters. In a small distance from it, a huge stone block is installed. Part of its facade is occupied by the Dersu-Uzal bas-relief. Udege ornaments are carved on the reverse surface. The monument was erected in honor of the 100th anniversary of the researcher's birth. It was built with the money of the inhabitants of the city of Arsenyev and the scientific intelligentsia of Russia.
Architectural monuments
Among the wide variety of cultural heritage, a special place is occupied by architectural monuments - a kind of chronicle of the world. Architectural monuments, silent witnesses of the past, studying them, we simultaneously know ourselves, because in the monuments there are the deeds of our ancestors. Architectural monuments, embodied in wood and stone, reflect the social and economic state of cities at different stages of development, the level of culture and education. In the Far Eastern cities, despite the fact that they developed far from cultural centers, there are many beautiful buildings. Their construction used different architectural styles: classicism, eclecticism or modern.
One of the most beautiful architectural sights of Khabarovsk is considered to be House of city government, well known as the Palace of Pioneers. The author of the project is civil engineer P.V. Bartoshevich. On November 26, 1909, the grand opening of the City House took place with a prayer service and the consecration of the new building. Built in the Russian style, the City House reflects the artistic merits and features of this architectural phenomenon. An unusually expressive silhouette of the building is given by a high roof with a metal decorative ridge along the ridge and high tetrahedral tents crowning the corner tower and flank projections of the main volume of the building. Juicy and diverse decorative elements on two street facades form a plastically saturated composition in which every part, every detail is expressive and valuable in itself. There is no other similar building in the city. As the most attractive building in the city, the City House "saw" many outstanding personalities within its walls. In June 1913, the world-famous artist of the Imperial St. Petersburg Opera (bass) Lev Mikhailovich Sibiryakov performed before the residents of Khabarovsk in the City House. And in the same 1913, but already in the fall, Fridtjof Nansen, also a world-famous explorer, spoke here, talking about his travels. A few years ago, the facades of the building were reconstructed, which made it possible to present the decorative details in their full glory. Cleaned from multiple layers, they have become juicy, expressive. The former City House has now found a new life and is rightfully considered one of the most beautiful buildings in Khabarovsk.
May 23, 1884 was founded Assumption Cathedral. The temple was built according to the project of the architect S.O. Bera. The construction was supervised by military engineer-colonel V.G.Mooro. The cathedral was consecrated on December 16, 1890 by His Grace Bishop Gury of Kamchatka. In subsequent years, the improvement of the temple continued. So, at the end of 1891, a chapel was added, consecrated in the name of St. Nicholas the Wonderworker in memory of the visit to our land by Tsarevich Nicholas (later Emperor Nicholas II, glorified by the Church in the guise of martyrs). The parishioners also took care of the education of their children, so on November 26, 1895, a parochial school was opened at the cathedral, which was supported by money from the sale of candles and private donations. In January 1897, the church warden of the Assumption Cathedral, merchant Vasily Plyusnin, donated to the temple a list of the Albazin Icon of the Mother of God, known in our region, “The Word Flesh was”. In January 1902, with the blessing of the ruling bishop of the Annunciation diocese, the construction of a stone bell tower began, then two more side chapels were added to the temple, it was expanded into the chapel of St. photographs and postcards. The Blagoveshchensk Diocesan Vedomosti magazine reported at the end of 1905: “In its new form, the Khabarovsk Cathedral became majestic and beautiful and, without exaggeration, it can be said that it has become the best church not only in the Blagoveshchensk diocese, but also in the Amur Territory, not excluding, according to eyewitnesses , and the Vladivostok Cathedral. On January 8, 1930, a team of ten volunteers held the first community work day to dismantle the building, urging other citizens to follow their example through the newspaper. The cathedral was demolished. In June 1936, an excavator leveled a wide hill that served as the foundation of the temple, and this was the last thing that reminded of the Assumption Cathedral that had recently risen above the city. In 1996, by order of the mayor of Khabarovsk, the Assumption Cathedral was included in the plan for restoring the historical memory of the city, and a memorial plaque was erected in its place. “At this place was the Grado-Khabarovsk Cathedral of the Assumption of the Mother of God, the spiritual shrine of Orthodoxy, a symbol of Russia on the banks of the Amur, a monument of Russian architecture.” The laying of the new temple was completed on October 19, 2000. The design of the temple was made by the architect Yuri Viktorovich Podlesny. October 19, 2002 officially began the second life of the Cathedral of the Assumption of the Mother of God. On this day, its solemn consecration took place. Metropolitan Sergius of Solnechnogorsk, one of the highest hierarchs of the Russian Orthodox Church, came to the consecration from Moscow.
In 1868, the first wooden church was built in Khabarovsk, and two years later the first wooden church was consecrated. Innokentievskaya in honor of St. Innocent, the first Bishop of Irkutsk - the patron saint of Siberia and the Far East, canonized after death as a saint. After 30 years, instead of it, a new, stone one was built, which has survived to the present day, having undergone significant changes. The stone church was erected with funds donated by the merchants Plyusnin and Slugin, as well as with modest contributions from parishioners. The authors of the project of the temple were engineer-colonel V.G.Mooro and engineer-captain N.G.Bykov.
Settling among modern buildings, the Innokentievskaya Church has a picturesque and expressive silhouette. Today, the church has lost its earlier role as an architectural dominant, but it has great historical and cultural significance due to its architectural and artistic qualities. In connection with the liquidation of the church parish at the end of 1931, the church was transferred to the military department. The building housed the radio-telephone workshop of the border troops, and in 1964 it was adapted for a planetarium. In October 1992, the building was handed over to the newly formed parish of the Innokentievskaya Church. In 1998, the temple was revived, its domes shone with gold, and the ringing of newly cast bells rang out.
From 1899 to 1901 a beautiful building was being built - the Public Assembly. The building was built according to the project of the Irkutsk architect V.A. Rassushin. The building turned out to be really beautiful, and for more than a hundred years it has been decorating Khabarovsk with its unusual architecture. Numerous rooms on the two main and semi-basement floors ensured the operation of the theatre, restaurant, library and other club institutions. During the tour, many celebrities gave concerts here, and during the months of the theatrical off-season, local theater troupes staged performances, various themed evenings were held that did not allow the townspeople to get bored, especially in winter. In December 1922, the building of the Public Assembly was municipalized, a year later it was leased to the theater of I.V. premises. Since January 1945, the Theater of the Young Spectator has been successfully and fruitfully working in the building of the former Public Assembly for more than 50 years.
A significant and unique building of pre-revolutionary Khabarovsk - three-kilometer railway bridge, built in 1916. It has been called "the miracle of the 20th century". This is the longest railway bridge in the Old World. Until today, the Amur Bridge is a model of engineering art. The bridge project (like the Eiffel Tower) was awarded the gold medal of the World Exhibition in Paris. Project authors: L.D. Proskuryakov, G.P. Perederiy. A.V.Liverovsky supervised the construction. The reconstruction of the bridge began in the 1990s. Thanks to the original and complex solution, which made it possible to use the bridge supports for the superstructure of the second tier, vehicular traffic was opened along it.
The city of Blagoveshchensk is notable for the wealth of historical and cultural monuments: there are eighty-three monuments on its territory that are under state protection: fifty monuments of architecture and urban planning, four monuments of archeology, twenty monuments of history and monumental art. The most significant of them is the Amur Regional Theatre. It was built in 1889, the facade was completed according to the project of the engineer Krause, and the dome was designed by the engineer Waskeer. Before the revolution, the theater of the public meeting was located here. During the days of the revolution of 1905 and the February revolution of 1917, mass social and political events were held in the theater. In the year of the centenary of Blagoveshchensk, 1958, columns were built from the facade of the building. Nowadays, it is a theater restored in 1908, which still wins the hearts of many spectators with the talent of its actors. The Amur Regional Theater is located at the intersection of two streets - Lenina and Komsomolskaya. It is located next to the city park of culture and recreation, surrounded by many trees and shrubs. The townspeople are proud that Blagoveshchensk has a theater with a long tradition and a beautiful building.
A remarkable building is the building of the Blagoveshchensk railway station. It was built in 1908-1912. in the traditions of ancient Russian architecture of Novgorod and Pskov.
Interesting history of the building Blagoveshchensk Regional Museum of Local Lore. This is a national monument. The building was built in 1911 by the Far Eastern trade and industrial company Kunst and Albers Trading House to house its department store in Blagoveshchensk. During the construction of the building, the architect combined the Russian architecture of the seventeenth century and the European of the same time. Motifs of Russian architecture: double arched windows with kokoshniks and window sills, faceted rustication of pilasters and piers on the first floor, barrel-shaped kokoshniks in the eaves. The building is stone, two-story, L-shaped - signs of the European style. The main facade faces Lenin Street (Bolshoy). The main entrance is highlighted by a portal with a semicircular arch and a balcony above it. The corners of the building are highlighted by tetrahedral towers crowned with hipped roofs and high spiers. There is a clock on the corner tower, which symbolizes the tireless passage of time outside and the frozen history inside.
In Vladivostok, the largest center of Primorye, there are more than two hundred monuments. The architecture of the city is a mixture of old and new. Buildings of the late 19th - early 20th century are adjacent to buildings built at the end of the 20th century. Very interesting in terms of architecture is the station square, the central place of which is railway station building. Its architectural and artistic image is designed in the style of old Russian architecture and resembles the palaces-terems of Russian tsars of the 17th century. The building was built in 1894 by the architect A. Bazilevsky. In 1908, it was expanded and partially reconstructed by the architect N.V. Konovalov.
One of the beautiful and original buildings in the city of Vladivostok is the building of a department store Trading house Kunst and Albers, which embodied the high skill and flight of fantasy of the architect G.R. Jungkhendel. It was built in 1907 by order of the directors of the company. Now it is GUM.
Interesting monuments have been preserved on the quiet Pushkinskaya street. Here are the buildings of the very first educational institution in the Far East - Oriental Institute(now it is the Far Eastern State Technical University). The institute was built in 1896-1899 by the architect A.A. Gvozdiovsky. The building is distinguished not only by the dark red color of the old brick, but also by the original stone statues of lions sitting in front of the main entrance to the university.
The religious buildings of Vladivostok - cathedrals, churches, churches, synagogues - attract with their unusual emotionally expressive architecture, richness of forms and decor. In pre-revolutionary years, the panorama of the city of Vladivostok was decorated Cathedral Assumption Orthodox Cathedral. It was founded in the city on August 14, 1876. The design of the cathedral was developed by engineer V. Shmakov, later a new project was developed by architect L. Miller with military engineer I. Zeegitrondtu. It was a five-domed tent-domed temple of a cubic shape with a three-part altar apse, a refectory and a two-tier hipped bell tower. It was famous for the beauty and elegance of its interior decoration, beautiful carved iconostasis, and valuable icons. The Cathedral was consecrated in December 1889 by Bishop Gury of Kamchatka and Amur. The cathedral functioned until 1932, and in 1935 it was dismantled. Later, in 1947, on its foundations designed by the architect A.I. Poretskov, a four-story building was built, which now houses the Vladivostok Art School. A modern tourist can imagine the location of the Assumption Cathedral, if from the square of the monument to the dead sailors on Svetlanskaya Street and look towards Pushkinskaya Street: through the branches of the trees of a small square that used to surround him, he will see the whitening walls of the school building, crowned with a small cylindrical rotunda tower. This turret, as it were, replaced the hipped top of the bell tower of the cathedral.
The second cult building of Vladivostok was wooden Lutheran church, consecrated in 1882. It was located at the corner of Svetlanskaya and Klyuchevaya streets, opposite the building of the Naval Assembly. In 1909, after the construction of a new brick church, it was also dismantled. In its place is now a square in front of the building of the Far Eastern Technical University. And the stone building of the new Lutheran church, consecrated in 1909 in the name of the Apostle Paul, tourists can see a little to the east of this square. It was built according to the project of the famous Vladivostok architect at the beginning of the 20th century. G. R. Jungkhendel and solved in the forms of late Germanic Gothic, characteristic of the architecture of Lutheran churches of the 18th-19th centuries. This is a single-nave temple with a pointed-vaulted covering, completed on the eastern side with a five-sided altar apse, and on the western side with a bell tower in the form of a tetrahedral dome with a high hipped roof and a spire. The first rector of this church was a well-known public figure in the region, a researcher, a member of the Society for the Study of the Amur Territory, Pastor Karl August Rumpeter, whose grave is preserved in the memorial site of the Sea Cemetery.
According to its original purpose, the church building was used until 1930. Since 1951, it has housed the Military History Museum of the Pacific Fleet. The building itself is an architectural monument. And in 1992, the revival of the Lutheran community of Vladivostok began - when priest Manfred Brockmann came here from Germany and became rector of all Lutheran parishes in the Far East. His persistent efforts to return the church to the community bore fruit: in 1997, the solemn transfer of the building of the Evangelical Lutheran Church took place. The first pastor of the revived Lutheran church was ... a young girl who came from Germany, Zilke Kuk.
Vladivostok fortress- a unique monument of military-defensive architecture. It (the fortress) is one of the two Russian sea fortresses built in the late 19th and early 20th centuries. in accordance with the new for those years fortification concepts that developed after the Franco-Prussian war of 1870. It was built to protect the port of Vladivostok, as the main base of the Siberian flotilla. The structure of the Vladivostok fortress is unique in that it consists of two independent complexes of defensive structures. One of them represents the inner line built in 1894-1896. under the guidance of famous Russian military engineers K.I. Velichko and K.S. Chernoknizhnikov. The inner line is analogous to the fortifications of Port Arthur. The outer line of defense was created in 1910-1914. under the guidance of the outstanding master of fortification A.P. Shoshin, who, during the construction, took into account the experience of the Russian-Japanese war of 1904-1905. Fortifications are represented by coastal and mountain batteries that defended the city both from land and from the sea.
Among them, the most valuable as part of the historical and cultural heritage are: Nameless Battery No. 11 on the Nameless Sopka - the oldest coastal battery that protected the city from the Amur Bay, modernized in 1900; Tokarevskaya upper battery on the Shkota peninsula built in 1901; fortification No. 1 in the area of Dneprovskaya Street, built in 1902, a well-preserved analogue of the fortifications of the Port Arthur fortress; sapper redoubt No. 4 between the streets of Lumumba and Neibut built in 1903, a powerful center of resistance, consisting of the redoubt itself and two batteries; fortification No. 4, known as the "Pospelov Fort", which protected the entrance to the one built in 1904 and was a powerful center of resistance that protected the entrance to the East Bosphorus Strait.
Part of the forts of the outer line of defense were forts of the latest type, anticipating the fortifications of the Second World War with their decisions.
The history of the Vladivostok fortress is not over. The unique architectural and landscape ensemble of the fortress with monumental fortifications organically inscribed in the terrain, ideally, as a whole, can become a historical and architectural museum-reserve. Now, on the basis of the Nameless Battery, located in the very center of Vladivostok, a museum of the Vladivostok Fortress has been created.
Press release
V Far Eastern Winter Festival dedicated to
55th anniversary of the Far Eastern State Institute of Arts
In 2017, the Far Eastern State Institute celebrates its 55th anniversary.
The first university in Russia that combined three types of art - music, theater, painting - was established as the Far Eastern Pedagogical Institute of Arts. In the year of its 30th anniversary (1992), it was renamed the Far Eastern State Institute of Arts, in 2000 the institute became an academy, in 2015 it was again renamed the Far Eastern State Institute of Arts.
In the joint training of musicians, artists, drama artists and directors, it was supposed to find many points of contact: common or related disciplines, wide opportunities that open up in the field of synthetic arts, for example, opera, where music, painting and theater are combined, creative mutually enriching communication.
The Ministry of Culture took seriously the creation of a new university. Corresponding orders were issued: on the assignment of patronage over the Faculty of Music - to the Moscow State Conservatory. Tchaikovsky; over the theatrical faculty - to the State Institute of Theatrical Art. Lunacharsky; over the art faculty - the Institute of Painting, Sculpture and Architecture. Repin. In addition, these educational institutions were ordered to donate from their funds easels, books on art, academic works, casts of ancient heads for drawing, musical instruments, notes, books for the library. Secondary educational institutions - to provide a sufficient number of applicants for the Far Eastern Pedagogical Institute of Arts.
The creation of the Institute of Arts became an event in the cultural life of Primorsky Krai and the entire Far East. It became possible to train highly qualified personnel for theaters, orchestras, teachers for schools and colleges, and artists.
The foundation for higher education in the field of art in the Far East was laid by excellent teachers, graduates of central universities: the Moscow Conservatory: V.A. Guterman, M.R. Dreyer, V.M. Kasatkin, E.A. Kalganov, A.V. Mitin; graduates of the Leningrad Conservatory: A.S. Vvedensky, E.G. Urinson; Ural Conservatory - A.I. Zhilin, Odessa Conservatory - S.L. Yaroshevich, GITIS - O.I. Starostin and B.G. Kulnev, a graduate of the Leningrad Art Institute. Repin V.A. Goncharenko and others. The music department began to study according to the usual plan of conservatories, the art department - according to the plan of the Institute. Surikov, theatrical - according to the plan of the school. Shchepkin.
From the very beginning to the present, the Far East State Institute of Arts has been the center of professional musical, theater and art education in the Far East. The Institute has created a three-level system of art education (children's art school - college - creative university):
children's aesthetic center "World of Art", children's art school;
College of Music;
university: programs of specialty, bachelor's, master's, postgraduate and assistant-internships; additional programs for advanced training and professional retraining.
The Institute includes three faculties: music (conservatory), theater and art, a foreign department has been created (since 1998).
Far Eastern State Institute of Arts - member of the Joint Dissertation Council D 999.025.04 at the Far Eastern Federal University (specialties 17.00.02 - Musical Art (art history) and 24.00.01 - Theory and History of Culture (art history and cultural studies).
The scientific and creative activity of the Institute is extensive and varied. Here are just a few of the most significant projects:
"Culture of the Far East of Russia and the countries of the Asia-Pacific Region: East - West" - an annual scientific conference
I and II All-Russian Music Competition (regional stages).
International competition of young musicians-performers "Musical Vladivostok"
"Art Vladivostok" - International exhibition-competition of creative works of students and young artists from the Far East, Russia and the APEC countries.
All-Russian Olympiad in Musical Theoretical Subjects "Masterpieces of World Musical Culture" for students of professional educational institutions and children's art schools.
Regional creative school "Theatrical surf"
"The debut of young musicians-performers, laureates of international competitions - residents of cities and towns of the Far East".
Professional development of teachers educational institutions of the branch of culture and art of culture and general education schools of the "Academy of Arts".
I Far Eastern competition-festival of pop music.
Regional festival of children's creativity.
Far Eastern Winter Arts Festival
Far Eastern competition of performing arts "Golden Key" for teachers of children's music schools and children's art schools named after. G.Ya.Nizovsky.
I International Russian-Chinese Children's Arts Festival "Eastern Kaleidoscope".
Far East competition of readers "My love is my Russia"
Regional Competition of Performers of Contemporary Music.
Competition for the best performance of works by composers of the second half of the 20th century
"Tkachev readings" - competition of readers. People's Artist of the Russian Federation L.A. Tkachev, "Theatrical Hope"
"Plein Air"
Remote master classes using the Disklavier. Vladivostok - Moscow.
« From the history of creative schools of the Institute of Arts: origins, traditions, outstanding teachers…”.
CURRENT CREATIVE TEAM:
Symphony Orchestra - laureate of the Grand Prix of the VII Far Eastern competition of instrumental music "Metronome".
Orchestra of Folk Instruments- winner of the first prizes of the IV and V International competitions for young musicians-performers "Musical Vladivostok" 2005–2007, winner of the Grand Prix of the V All-Russian Competition named after. N.N. Kalinina (St. Petersburg, 2009)
Academic choir - Laureate of the regional competition "Singing Ocean", winner of the Grand Prix of the VI International Competition "Musical Vladivostok".
Ensemble of chamber music "Concertone" - Laureate of the International Competition Shenderev (1997, III prize), II International Competition in Beijing (1999, II prize).
Russian instrumental trio "Vladivostok" in the same composition since its foundation in 1990: Honored Artists of the Russian Federation Nikolai Lyakhov (balalaika), Alexander Kapitan (button accordion), Sergey Arbuz (double bass balalaika).
Laureates: International Competition G.Shendereva (Russia, 1997 - Silver Diploma); 17th International Competition "Grand Prix" (France, Bischwiller, 1997 - Grand Prix and Gold Medal); II International competition of bayan-accordionists (China, Beijing, 1999 - 1st prize); 38th International Bayan Accordion Competition, (Germany, Klingenthal, 2001 - 3rd prize).
opera studio- Laureate of the 1st Prize of the International Competition "Musical Vladivostok" (2014, 2016)
Trio "Expecto" - laureate of international competitions for bayan-accordionists in Harbin (PRC, 2014, 1 prize), in Castelfidardo (Italy), 2015, 1 prize, "gold medal".
Quartet "Collage" laureate of international competitions for bayan-accordion players in Harbin (PRC, 2016, 1 prize).
Trio "Orient" laureate of the international competition in Lanciano (Italy, 2014, 1 prize).
Graduates who have made a significant contribution to the development of culture,
arts and arts education
Musicologists, Doctors of Art History: Professor of the Russian State Pedagogical University. Hercena E.V. Gertsman, Professor of the St. Petersburg Conservatory, Honored Art Worker of Karelia U Gen-Ir, Professor of the Moscow State Conservatory. P.I. Tchaikovsky R.L. Pospelova, Professor of the Russian Academy of Sciences. Gnesinykh E.M. Alkon, Professor of the Department of Fine Arts of the School of Art of Culture and Sports of the Far Eastern Federal University G.V. Alekseeva, professor of the Moscow State Institute of Culture N.I. Efimova, professor, acting Head of the Department of Philosophy, History, Theory of Culture and Art, Moscow State Institute of Music. A.G. Schnittke A.G. Alyabiev, professor of the Far East State Institute of Arts O.M. Shushkova, Yu.L. Fidenko.
Performing musicians: Honored Artist of the Russian Federation, head of the ensemble "Jang" N.I. Erdenko, Honored Artist of the Russian Federation, Head of the Department of Orchestral Conducting, Professor of the Russian Academy of Music. Gnesinykh B.S. Raven, Honored Artist of the Russian Federation, Professor F.G. Kalman, Honored Artist of the Russian Federation, Professor A.K. Captain, Laureate of the international competition, Honored Artist of the RS (Y), Professor of the Department of Orchestral String Instruments of the Higher School of Music of the RS (Y) (Institute) named after. V.A. Bosikova O.G. Koshelev.
Actors: People's Artists of the Russian Federation A.Mikhailov, S. Stepanchenko, Yu. Kuznetsov, S. Strugachev, Laureate of the State Prize V. Priemykhov, Honored Artist of the Russian Federation V. Tsyganova; People's Artists of the Russian Federation, actors of the Primorsky Regional Drama Theater. Gorky, professor of the department of skill of the actor A.P. Slavsky, V.N. Sergiyakov, People's Artist of the Russian Federation, laureate of the Russian Government Prize in the field of culture, artistic director of the Primorsky Regional Academic Theater named after M. Gorky E.S. Zvenyatsky, honored artists A.I. Zaporozhets, S. Salakhutdinova.
Honored Artists of the Russian Federation S.A. Litvinov, S.M. Cherkasov, I.I. Dunkay.
We invite everyone to concerts
V Far Eastern Winter Arts Festival,
Information about concerts - on the website www.dv-art.ru
