Zaonežʹe: istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Sankt-Peterburg
"SPAS" ; "Liki Rossii"
2007
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., russ. - Zsfassung in engl. Sprache Includes bibliographical references (p. 163-166) |
| Beschreibung: | 173 S. zahlr. Ill., Kt. 29 cm |
| ISBN: | 9785903672011 9785874172411 |
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| 246 | 1 | 3 | |a Zaonezhie |
| 246 | 1 | |a Zaonezhʹe | |
| 246 | 1 | 1 | |a Zaonezhie : history and culture ; essays, photographs |
| 264 | 1 | |a Sankt-Peterburg |b "SPAS" ; "Liki Rossii" |c 2007 | |
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| 500 | |a In kyrill. Schr., russ. - Zsfassung in engl. Sprache | ||
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| 650 | 4 | |a Architecture |z Russia (Federation) |z Zaonezhʹe Peninsula | |
| 650 | 4 | |a Building, Wooden |z Russia (Federation) |z Zaonezhʹe | |
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| 651 | 4 | |a Zaonezhʹe Peninsula (Russia) |x History, Local | |
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Datensatz im Suchindex
| _version_ | 1804137774195933184 |
|---|---|
| adam_text | Содержание
Введение
5
Заонежье: Историко-культурный очерк
13
Часть
1.
Кижский остров
34
Часть
2.
Климецкий остров
46
Часть
3.
Великая Губа
58
Часть
4.
Вёгорукса
84
Часть
5.
Яндомозеро
88
Часть
6.
Космозеро
96
Часть
7.
Типиницы, Великая Нива, Кузаранда
108
Часть
8.
Шуньга
122
Часть
9.
Толвуя
134
Авторы фотографий
142
Приложения
ТТ. Н. Рыбников. Этнографические заметки о заонежанах
147
Л. Петтерссон. Иконописная мастерская в Заонежье
152
Несколько слов об авторе и публикуемой статье
161
Справочный раздел
Краткий словарь специальных терминов
162
Библиография
163
Указатели
166
Именной указатель фотографов
166
Места хранения оригиналов
167
Характеристики оригиналов
164
Архивные источники
168
Summary
169
List of plates
170
169
Summary
Summary
Zaonezhie occupies a small peninsula and several adjacent islands
in the Onega lake. Unique for its rich history, culture and wonderful
scenery Zaonezhie is a land of the old and the new. Until recently the
region boasted the last surviving Russian epic» the local population was
still aware of its Novgorodian ancestry; and traditional way of life con¬
tinued with little change.There was no village in Zaonezhie that did
not have a church or a chapel, not a single road without a cross, to say
nothing of unique farm houses that contained living quarters and barns
under one roof. These huge houses
—
called hoshel and richly decorated
with woodcarving
—
were widespread here. Farm houses and churches
together with picturesque wells, fences and mills produced an unfor¬
gettable impression and blonded well with surrounding scenery: rocks,
fields, groves,
small
lakes and the boundless waters of the Onega. It is
here on the barren Kizhi Island that we can still see some remarkable
samples of old wooden architecture that have by lucky chance survived
to our days and are now on the list of the World Cultural Heritage.
No wonder that in the 19th century the best Russian scholars of
folklore flocked to this land, Pavel
Rybníkov,
Alexander Gilferding,
Vsevolod Sreznevski and Elpidifor Barsov among them, to collect and
record old Russian legends
—
byliny,
fairytales and songs. In our days
Zaonezhie continues to attract numbers of art historians, ethnogra¬
phers, architects, palaeographers, artists and ethnographers and it is
to their devoted efforts that we owe many of the photographs published
in this edition.
The two following quotations reveal a great deal about the impor¬
tance of Zaonezhie for Russian culture. In
1903
an outstanding palae¬
ographer, son of a famous philologist, Vsevolod Sreznevski wrote: The
land that I happened to visit abounds in antiquities. It is a marvelous
remnant of old culture that managed to survive almost intact. The re¬
gion is densely forested. There are tar works on lake banks and lakes
are full of fish. People still remember singers of
byliny
(bylinshchiki)
and women weepers. In some
villages
practically in every house you
can find
а
handwritten book, an ancient icon or a painting . Twenty
years later a well-known musicologist and composer, Rimski-
Korsakov s pupil Boris Aaafiev, reinforcing Sreznevski*s observations,
wrote: First of all I was struck by the beauty of
landacapes
that
integrally combined nature (forests, hills, fields, islands, water space
and distant banks of lakes) and architecture (churches, bell towers,
peasants houses, chapels, road-side crosses). Later, when I examined
photographs in various editions I saw that very few of them were worth
notice because they were not artistic enough to show the true beauty of
the place. Even the fantastic Kizhi island was not reproduced as it
should be. In Zaonezhie you can come across a house that may be of
little artistic value but it is so beautifully located that you cannot help
taking a picture of it together with everything that surrounds it. North¬
erners seem to have an in-bred feeling for nature and they always choose
the best place for their houses, churches and road-side crosses making
them the focal point of the surrounding nature .
After the revolution of
1917
the naturally slow process of the de¬
terioration of the traditional way of life was accelerated by the forced
and bloody collectivization of the peasants. An all-out war on reli¬
gion and culture augmented by a ferocious desire of the authorities
to obliterate the achievements of the past as symbols of the old re¬
gime resulted in the destruction of the overwhelming majority of
Zaonezhie s churches and chapels. Some of them were just closed and
stood drooping and neglected, others were razed to the ground. After
the revolution farmers private production drastically declined and
sheds and barns that were no longer needed were taken apart to be
used for
f
ire-wood while living houses slowly decayed. As a result lots
of villages disappeared, and
somo
wore rebuilt to modern designs. It
Is not surprising that local people cannot recognize their own villages
on photographs taken a mere seventy or fifty years ago. And though
several dozens of churches and chapels still remain the losses are ir¬
revocable. The integrity of nature and architecture that Asafiev
admired so much is lost.
The inevitability of the decline of traditional culture was predicted
long ago. As early as the 1860s in his book The notes of a collector
Rybníkov
remarked: I realized that precious epic poems could disap¬
pear any day and wasted no time, trying to write down what had sur¬
vived . With the progress of industry and literacy epic poetry cannot
but die , wrote Gilferding. It is a matter of urgency to make drawings
and photographs of chapels, road-side and churchyard crosses. Most
of them are rotting and falling apart. It is necessary to describe and
put on record everything that is still left , wrote Aaafiev in
1925.
Two
years later a prominent researcher in the field of ancient Russian ar¬
chitecture
Konstantin
Romanov wrote with even greater apprehension:
Age-old artistic traditions are vanishing quickly and irrevocably;
objects of art disappear and the time will come, and come soon, when it
will be pointless to go to the North looking for art, there will be nothing
to collect as there is already nothing for an art historian to do in many
regions of central Russia .
The vast world of peasant culture has been rooted out. It disap¬
peared within one or two generations. The danger of developing a blank
in historical memory of the nation, unimaginable for the above-men¬
tioned authors, has become a reality. To prevent the catastrophy it is
expedient to preserve the image of the past in the consciousness of the
nation
—
the image that is revealed through churches, chapels, houses,
to say nothing of songs,
byliny,
icons, handicrafts... What can be done
to catch historical moments long gone and make them show everyday
life details, faces of people, views of villages and churches? Of course
there are museums and books, and above all the Kizhi architectural
ensemble. But for all its unquestionable excellence, the Kizhi is a chance
collection of various specimens artificially combined and torn from
their natural surroundings. The answer is old photographs. Unlike
museum objects, records of folklore and descriptions of monuments,
they possess the irresistable charm of immediate contact with the past
helping to bridge the time gap.
Unfortunately, many of the destroyed relics of old times were not
reproduced and among them two masterpieces of wooden architecture
that perished long ago: the church of the Holy Trinity of the Klimetsky
monastery, an immediate predecessor of the twenty-two-domed Trans¬
figuration church at Kizhi, and the church of the Nativity of the Virgin
at Kuzaranda. The former is not to be found on extant photographs
(were there any?) and there are only three photographs of the latter
(were there more of them?). In the light of these examples it is not
surprising that we do not know what the wooden churches at Tolvui
burnt in
1845
and stone churches at Shunga destroyed by fire in
1899
looked like when these villages, along with Kizhi, were administrative
and religious centres of Zaonezhie. There are very few extant photo¬
graphs of Paleostrovski and Kamenetski monasteries which played an
important role in the region. Nobody knows what the majority of the
deserted villages (about
260)
looked like.
And yet Zaonezhie is more fortunate than many other regions of
the Russian North thanks to four expeditions that have done a lot of
important field research: in
1899,
headed by M. Krukovski, in
1912
and
1926,
headed by the already mentioned K. Romanov, and in
1942-
1946,
headed by the Finnish researcher L.
Pettersson,
who later be¬
came
α
prominent expert on Karelian, Finnish and Scandinavian ar¬
chitecture.
These expeditions call for particular mention here. The first one
was a trip for ethnographical purpose. As a result Krukovski published
several copies of the album Views and characters of the Olonetskaia
gubernia
depositing original photographs in Moscow and St. Petersburg
libraries.
The second expedition was organised by the ethnographic depart¬
ment of the Russian museum to search for a traditional farmhouse that
could set an example for the production of a model later to be exhibited
in the museum. The researchers found a suitable house that belonged
to the peasant P. Petunov in Velikaia
Guba
and took
33
photographs of
Zaonezhie
170
it. Altogether about
а
hundred first-rate photographs on glass
plßtes,
18
by
24
centimeters, were made by the photographer V. Mashechkin,
α
member of the research team. On the way back the expedition crossed
the Onega lake arriving at Tolvuia and reached Volikaia
Guba
on
horseback, the latter village was given particular attention on
photographs.
Twenty years later a new expedition set out for Zaonezhie, this time
arranged by the sector of peasant art of the State Institute of Art His¬
tory (former Zubovski). When
Konstantin
Romanov was getting ready
this expedition he set himself an unprecedented task of the all-round
study of the principal kinds of the verbal, visual and spatial arts of
pensants
living in this ethnically and historically homogenious region
of Karelia. For this reason the research team consisted of experts in
various fields: folklore, popular theatre, music, fine arts, ethnogra¬
phy, embroidery and weaving. In charge of architecture was the head
of the expedition Romanov. Later when ho summed up the results of
the research ho wrote: The investigation Into the culture of the peas¬
ant world requires simultaneous collection of materials representing
all arts and crafts of the area in question... The
1926
expedition strove
to study all sides of country life as far as art was concerned, examine
the remnants of the past and determine the degree of influence of such
a large city as Leningrad on peasant culture .
It took them only one month to examine
72
settlements, take meas¬
urements of
5
farmhouses and
4
churches that had artistic value, make
about two thousand entries on folklore in their journals and take
250
photographs. A fair amount of this has come down to us unfortunately.
Soon after the Institute was closed in the
1930s
all graphic materials
and scientific reports were lost. As for the priceless glass negatives, I
found a large number of them stored on top of bookcases in the folklore
sector of the Pushkinski
Dom
and persuaded the then director of the
Archaeological linstitute (now the Institute of the History of Material
Culture) to take them for permanent storage in the Institute s archives
where Romanov s archives had already been, transferred.
Soon all research was suspended: a period of great change began
for peasants, and studying of their age-old culture was incompatible
with the ideological goals that rejected the achievements of the past.
Everything connected with the traditional way of life was now consid¬
ered reactionary and unworthy of the brilliant future .
The forth expedition took place when Zaonezhie was occupied by
the Finnish army. A young lieutenant Lars
Pettersson
who began study¬
ing wooden architecture before the war at the Helsinki university and
his friend, sculptor Oiva Helenius, managed to obtain the permission
of the military authorities to register all monuments of architecture
in the battle zone so that some measures could be taken to protect them.
During one and a half years they took measurements of and photo¬
graphed
242
churches and chapels of which only
32
are extant now.
Those
1640
photographs are priceless now as they are sometimes the
only source for the study of Zaonezhie s architectural heritage.
During the war
—
hardly a favourable time for the study of cul¬
tural treasures, especially those located on the enemies territory
—
Lars
Pettersson
not only ascertained their great importance for the
world culture but also did his best to fulfil the task that K. Romanov
started in
1926
of whose endeavours he would not even have heard.
Thanks to their devoted efforts their photographs have saved for us
what we wore not able or did not try hard enough to preserve.These
photographs make up the larger part of those included in this album.
On these photographs the surviving churches and chapels look rather
■strange to a modern viewer, they are shown the way they were before
restoration: log walls boarded up and joints of domes covered with roof¬
ing iron. Looking at these photographs we are reminded of the fact that
for quite a long time the buildings were functioning and they lived their
natural lives changing together with their natural surroundings.
The upper chronological limit of the album is World War II, after
which the degradation of the cultural heritage went on uncheked, and
the lower border is
1809
when Krunovski took his first pictures in
Zaonezhie. In other words the book covers
45
years of Zaonezhie s cen¬
turies-old history.
The photographs in the album
aro
grouped according to the villages
(centres of parishes or volost ) represented on them, enabling the reader
to got a more or less full idea of these settlements. As to the villages
themselves they are grouped according to the administrative division
of the Olonetskaia
gubernia:
the Zaonezhie peninsula was shared between
the Petrozavodsk! and Povenetski uezd (now it is the Medvozh egorsM
district of the republic of Karelia). In the late 19th century its territory
was divided between three volosts: Kizhskaia (it consisted of a number
of church parishes with centres in Kizhi, Sennaia
Guba, Velikaia Guba,
Vegoruksy, landomozero and Kosmozero), Tolvuiskaia (its centre being
Tolvui and church parishes of Foimiguba, Onezhany, Tipinitsy and
Kuzaranda) and Shun gskaia (with the centre in Shun ga). At the be¬
ginning of the century the Kizhskaia volost was transformed into the
Velikogubskaia volost with the center in Velikaia
Guba.
Photographs of the villages are supplemented with plans
—
en¬
larged copies of the maps of General Land-survey done in the 1860s
and from the 1S00 map. Although they are not always accurate they
give an idea of the administrative division of the land as it was then.
Most of the phorographs are published for the first time.
Commentaries contain brief outlines and datings of the architec¬
tural monuments shown. Photographs taken at the end of the
1980s
by
the author of the present book give a chance to see the contemporary
state of the monuments or at least the place where they had originally
been situated.
In the second part of the album one can see the map of Zaonezhie
with the villages of which the photographs are represented and some
brief information is given on the original photoraphs and their present
location.
Supplements contain short biographical data on the photographers,
a list of literature and archival sources used for the preparation of the
album, and Ethnographical notes about the people of Zaonezhie by
Rybníkov
that have not been published since their first publication in
1866.
All this will hopefully give the reader an opportunity to
vizuálisé
the picture of old Zaonezhie, unfortunately not without lacunas and
white spaces...
List of plates
Farming
I. Sowing. Photograph by M. A. Krukovsky.
1899
II. Going to haymaking. By unknown photographer.
1926
III. Making hay with traditional scythe. By unknown photogra¬
pher.
1930s
IV. Hangers for drying grain. M. A. Krukovsky.
1899
r.
V. Making cereal in a mortar. Photograph by
K. K. Romanov,
F. M.
Morozov.
1926
VI. Making flour with hand-mill. Photograph by
K. K.
Romanov,
F. M.
Morozov.
1926
VII.
The village of Ankhimovo. The church of the Intercession of
the Mother of God
1708.
View from the north-west. Photograph by
A. V. Liadov.
1925
VIII.The village of Ankhimovo. The church of the Intercession of
the Mother of God
1708.
View from the south. Photograph by
A. V. Liadov.
1925
I. Kizhi island
The map of the island dating from
1868
(p.
38)
The map of the Volkoatrov island. Detail.
1868
(p.
49)
1.
Pogost. General view from the west (from the ship). Photograph
by K. K. Romanov, V. M. Mashechkin.
1912
2.
Pogost and landing stage. View from the south-west. Photograph
by K. K. Romanov,
F. M.
Morozov.
1926
3.
Pogost. General view from the south. Photograph by
F. M.
Morozov.
1928
|
| adam_txt |
Содержание
Введение
5
Заонежье: Историко-культурный очерк
13
Часть
1.
Кижский остров
34
Часть
2.
Климецкий остров
46
Часть
3.
Великая Губа
58
Часть
4.
Вёгорукса
84
Часть
5.
Яндомозеро
88
Часть
6.
Космозеро
96
Часть
7.
Типиницы, Великая Нива, Кузаранда
108
Часть
8.
Шуньга
122
Часть
9.
Толвуя
134
Авторы фотографий
142
Приложения
ТТ. Н. Рыбников. Этнографические заметки о заонежанах
147
Л. Петтерссон. Иконописная мастерская в Заонежье
152
Несколько слов об авторе и публикуемой статье
161
Справочный раздел
Краткий словарь специальных терминов
162
Библиография
163
Указатели
166
Именной указатель фотографов
166
Места хранения оригиналов
167
Характеристики оригиналов
164
Архивные источники
168
Summary
169
List of plates
170
169
Summary
Summary
Zaonezhie occupies a small peninsula and several adjacent islands
in the Onega lake. Unique for its rich history, culture and wonderful
scenery Zaonezhie is a land of the old and the new. Until recently the
region boasted the last surviving Russian epic» the local population was
still aware of its Novgorodian ancestry; and traditional way of life con¬
tinued with little change.There was no village in Zaonezhie that did
not have a church or a chapel, not a single road without a cross, to say
nothing of unique farm houses that contained living quarters and barns
under one roof. These huge houses
—
called hoshel and richly decorated
with woodcarving
—
were widespread here. Farm houses and churches
together with picturesque wells, fences and mills produced an unfor¬
gettable impression and blonded well with surrounding scenery: rocks,
fields, groves,
small
lakes and the boundless waters of the Onega. It is
here on the barren Kizhi Island that we can still see some remarkable
samples of old wooden architecture that have by lucky chance survived
to our days and are now on the list of the World Cultural Heritage.
No wonder that in the 19th century the best Russian scholars of
folklore flocked to this land, Pavel
Rybníkov,
Alexander Gilferding,
Vsevolod Sreznevski and Elpidifor Barsov among them, to collect and
record old Russian legends
—
byliny,
fairytales and songs. In our days
Zaonezhie continues to attract numbers of art historians, ethnogra¬
phers, architects, palaeographers, artists and ethnographers and it is
to their devoted efforts that we owe many of the photographs published
in this edition.
The two following quotations reveal a great deal about the impor¬
tance of Zaonezhie for Russian culture. In
1903
an outstanding palae¬
ographer, son of a famous philologist, Vsevolod Sreznevski wrote: "The
land that I happened to visit abounds in antiquities. It is a marvelous
remnant of old culture that managed to survive almost intact. The re¬
gion is densely forested. There are tar works on lake banks and lakes
are full of fish. People still remember singers of
byliny
(bylinshchiki)
and women weepers. In some
villages
practically in every house you
can find
а
handwritten book, an ancient icon or a painting". Twenty
years later a well-known musicologist and composer, Rimski-
Korsakov's pupil Boris Aaafiev, reinforcing Sreznevski*s observations,
wrote: "First of all I was struck by the beauty of
landacapes
that
integrally combined nature (forests, hills, fields, islands, water space
and distant banks of lakes) and architecture (churches, bell towers,
peasants' houses, chapels, road-side crosses). Later, when I examined
photographs in various editions I saw that very few of them were worth
notice because they were not artistic enough to show the true beauty of
the place. Even the fantastic Kizhi island was not reproduced as it
should be. In Zaonezhie you can come across a house that may be of
little artistic value but it is so beautifully located that you cannot help
taking a picture of it together with everything that surrounds it. North¬
erners seem to have an in-bred feeling for nature and they always choose
the best place for their houses, churches and road-side crosses making
them the focal point of the surrounding nature".
After the revolution of
1917
the naturally slow process of the de¬
terioration of the traditional way of life was accelerated by the forced
and bloody collectivization of the peasants. An all-out war on reli¬
gion and culture augmented by a ferocious desire of the authorities
to obliterate the achievements of the past as symbols of the old re¬
gime resulted in the destruction of the overwhelming majority of
Zaonezhie's churches and chapels. Some of them were just closed and
stood drooping and neglected, others were razed to the ground. After
the revolution farmers' private production drastically declined and
sheds and barns that were no longer needed were taken apart to be
used for
f
ire-wood while living houses slowly decayed. As a result lots
of villages disappeared, and
somo
wore rebuilt to modern designs. It
Is not surprising that local people cannot recognize their own villages
on photographs taken a mere seventy or fifty years ago. And though
several dozens of churches and chapels still remain the losses are ir¬
revocable. The integrity of nature and architecture that Asafiev
admired so much is lost.
The inevitability of the decline of traditional culture was predicted
long ago. As early as the 1860s in his book "The notes of a collector"
Rybníkov
remarked: "I realized that precious epic poems could disap¬
pear any day and wasted no time, trying to write down what had sur¬
vived". "With the progress of industry and literacy epic poetry cannot
but die", wrote Gilferding. "It is a matter of urgency to make drawings
and photographs of chapels, road-side and churchyard crosses. Most
of them are rotting and falling apart. It is necessary to describe and
put on record everything that is still left", wrote Aaafiev in
1925.
Two
years later a prominent researcher in the field of ancient Russian ar¬
chitecture
Konstantin
Romanov wrote with even greater apprehension:
"Age-old artistic traditions are vanishing quickly and irrevocably;
objects of art disappear and the time will come, and come soon, when it
will be pointless to go to the North looking for art, there will be nothing
to collect as there is already nothing for an art historian to do in many
regions of central Russia".
The vast world of peasant culture has been rooted out. It disap¬
peared within one or two generations. The danger of developing a blank
in historical memory of the nation, unimaginable for the above-men¬
tioned authors, has become a reality. To prevent the catastrophy it is
expedient to preserve the image of the past in the consciousness of the
nation
—
the image that is revealed through churches, chapels, houses,
to say nothing of songs,
byliny,
icons, handicrafts. What can be done
to catch historical moments long gone and make them show everyday
life details, faces of people, views of villages and churches? Of course
there are museums and books, and above all the Kizhi architectural
ensemble. But for all its unquestionable excellence, the Kizhi is a chance
collection of various specimens artificially combined and torn from
their natural surroundings. The answer is old photographs. Unlike
museum objects, records of folklore and descriptions of monuments,
they possess the irresistable charm of immediate contact with the past
helping to bridge the time gap.
Unfortunately, many of the destroyed relics of old times were not
reproduced and among them two masterpieces of wooden architecture
that perished long ago: the church of the Holy Trinity of the Klimetsky
monastery, an immediate predecessor of the twenty-two-domed Trans¬
figuration church at Kizhi, and the church of the Nativity of the Virgin
at Kuzaranda. The former is not to be found on extant photographs
(were there any?) and there are only three photographs of the latter
(were there more of them?). In the light of these examples it is not
surprising that we do not know what the wooden churches at Tolvui
burnt in
1845
and stone churches at Shunga destroyed by fire in
1899
looked like when these villages, along with Kizhi, were administrative
and religious centres of Zaonezhie. There are very few extant photo¬
graphs of Paleostrovski and Kamenetski monasteries which played an
important role in the region. Nobody knows what the majority of the
deserted villages (about
260)
looked like.
And yet Zaonezhie is more fortunate than many other regions of
the Russian North thanks to four expeditions that have done a lot of
important field research: in
1899,
headed by M. Krukovski, in
1912
and
1926,
headed by the already mentioned K. Romanov, and in
1942-
1946,
headed by the Finnish researcher L.
Pettersson,
who later be¬
came
α
prominent expert on Karelian, Finnish and Scandinavian ar¬
chitecture.
These expeditions call for particular mention here. The first one
was a trip for ethnographical purpose. As a result Krukovski published
several copies of the album "Views and characters of the Olonetskaia
gubernia"
depositing original photographs in Moscow and St. Petersburg
libraries.
The second expedition was organised by the ethnographic depart¬
ment of the Russian museum to search for a traditional farmhouse that
could set an example for the production of a model later to be exhibited
in the museum. The researchers found a suitable house that belonged
to the peasant P. Petunov in Velikaia
Guba
and took
33
photographs of
Zaonezhie
170
it. Altogether about
а
hundred first-rate photographs on glass
plßtes,
18
by
24
centimeters, were made by the photographer V. Mashechkin,
α
member of the research team. On the way back the expedition crossed
the Onega lake arriving at Tolvuia and reached Volikaia
Guba
on
horseback, the latter village was given particular attention on
photographs.
Twenty years later a new expedition set out for Zaonezhie, this time
arranged by the sector of peasant art of the State Institute of Art His¬
tory (former Zubovski). When
Konstantin
Romanov was getting ready
this expedition he set himself an unprecedented task of the all-round
study of the principal kinds of the verbal, visual and spatial arts of
pensants
living in this ethnically and historically homogenious region
of Karelia. For this reason the research team consisted of experts in
various fields: folklore, popular theatre, music, fine arts, ethnogra¬
phy, embroidery and weaving. In charge of architecture was the head
of the expedition Romanov. Later when ho summed up the results of
the research ho wrote: "The investigation Into the culture of the peas¬
ant world requires simultaneous collection of materials representing
all arts and crafts of the area in question. The
1926
expedition strove
to study all sides of country life as far as art was concerned, examine
the remnants of the past and determine the degree of influence of such
a large city as Leningrad on peasant culture".
It took them only one month to examine
72
settlements, take meas¬
urements of
5
farmhouses and
4
churches that had artistic value, make
about two thousand entries on folklore in their journals and take
250
photographs. A fair amount of this has come down to us unfortunately.
Soon after the Institute was closed in the
1930s
all graphic materials
and scientific reports were lost. As for the priceless glass negatives, I
found a large number of them stored on top of bookcases in the folklore
sector of the Pushkinski
Dom
and persuaded the then director of the
Archaeological linstitute (now the Institute of the History of Material
Culture) to take them for permanent storage in the Institute's archives
where Romanov's archives had already been, transferred.
Soon all research was suspended: a period of "great change" began
for peasants, and studying of their age-old culture was incompatible
with the ideological goals that rejected the achievements of the past.
Everything connected with the traditional way of life was now consid¬
ered reactionary and unworthy of the "brilliant future".
The forth expedition took place when Zaonezhie was occupied by
the Finnish army. A young lieutenant Lars
Pettersson
who began study¬
ing wooden architecture before the war at the Helsinki university and
his friend, sculptor Oiva Helenius, managed to obtain the permission
of the military authorities to register all monuments of architecture
in the battle zone so that some measures could be taken to protect them.
During one and a half years they took measurements of and photo¬
graphed
242
churches and chapels of which only
32
are extant now.
Those
1640
photographs are priceless now as they are sometimes the
only source for the study of Zaonezhie's architectural heritage.
During the war
—
hardly a favourable time for the study of cul¬
tural treasures, especially those located on the enemies' territory
—
Lars
Pettersson
not only ascertained their great importance for the
world culture but also did his best to fulfil the task that K. Romanov
started in
1926
of whose endeavours he would not even have heard.
Thanks to their devoted efforts their photographs have saved for us
what we wore not able or did not try hard enough to preserve.These
photographs make up the larger part of those included in this album.
On these photographs the surviving churches and chapels look rather
■strange to a modern viewer, they are shown the way they were before
restoration: log walls boarded up and joints of domes covered with roof¬
ing iron. Looking at these photographs we are reminded of the fact that
for quite a long time the buildings were functioning and they lived their
natural lives changing together with their natural surroundings.
The upper chronological limit of the album is World War II, after
which the degradation of the cultural heritage went on uncheked, and
the lower border is
1809
when Krunovski took his first pictures in
Zaonezhie. In other words the book covers
45
years of Zaonezhie's cen¬
turies-old history.
The photographs in the album
aro
grouped according to the villages
(centres of parishes or volost') represented on them, enabling the reader
to got a more or less full idea of these settlements. As to the villages
themselves they are grouped according to the administrative division
of the Olonetskaia
gubernia:
the Zaonezhie peninsula was shared between
the Petrozavodsk! and Povenetski uezd (now it is the Medvozh'egorsM
district of the republic of Karelia). In the late 19th century its territory
was divided between three volosts: Kizhskaia (it consisted of a number
of church parishes with centres in Kizhi, Sennaia
Guba, Velikaia Guba,
Vegoruksy, landomozero and Kosmozero), Tolvuiskaia (its centre being
Tolvui and church parishes of Foimiguba, Onezhany, Tipinitsy and
Kuzaranda) and Shun'gskaia (with the centre in Shun'ga). At the be¬
ginning of the century the Kizhskaia volost was transformed into the
Velikogubskaia volost with the center in Velikaia
Guba.
Photographs of the villages are supplemented with plans
—
en¬
larged copies of the maps of General Land-survey done in the 1860s
and from the 1S00 map. Although they are not always accurate they
give an idea of the administrative division of the land as it was then.
Most of the phorographs are published for the first time.
Commentaries contain brief outlines and datings of the architec¬
tural monuments shown. Photographs taken at the end of the
1980s
by
the author of the present book give a chance to see the contemporary
state of the monuments or at least the place where they had originally
been situated.
In the second part of the album one can see the map of Zaonezhie
with the villages of which the photographs are represented and some
brief information is given on the original photoraphs and their present
location.
Supplements contain short biographical data on the photographers,
a list of literature and archival sources used for the preparation of the
album, and "Ethnographical notes about the people of Zaonezhie" by
Rybníkov
that have not been published since their first publication in
1866.
All this will hopefully give the reader an opportunity to
vizuálisé
the picture of old Zaonezhie, unfortunately not without lacunas and
white spaces.
List of plates
Farming
I. Sowing. Photograph by M. A. Krukovsky.
1899
II. Going to haymaking. By unknown photographer.
1926
III. Making hay with traditional scythe. By unknown photogra¬
pher.
1930s
IV. Hangers for drying grain. M. A. Krukovsky.
1899
r.
V. Making cereal in a mortar. Photograph by
K. K. Romanov,
F. M.
Morozov.
1926
VI. Making flour with hand-mill. Photograph by
K. K.
Romanov,
F. M.
Morozov.
1926
VII.
The village of Ankhimovo. The church of the Intercession of
the Mother of God
1708.
View from the north-west. Photograph by
A. V. Liadov.
1925
VIII.The village of Ankhimovo. The church of the Intercession of
the Mother of God
1708.
View from the south. Photograph by
A. V. Liadov.
1925
I. Kizhi island
The map of the island dating from
1868
(p.
38)
The map of the Volkoatrov island. Detail.
1868
(p.
49)
1.
Pogost. General view from the west (from the ship). Photograph
by K. K. Romanov, V. M. Mashechkin.
1912
2.
Pogost and landing stage. View from the south-west. Photograph
by K. K. Romanov,
F. M.
Morozov.
1926
3.
Pogost. General view from the south. Photograph by
F. M.
Morozov.
1928 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Milʹčik, Michail Isaevič 1934- |
| author_GND | (DE-588)132223066 |
| author_facet | Milʹčik, Michail Isaevič 1934- |
| author_role | aut |
| author_sort | Milʹčik, Michail Isaevič 1934- |
| author_variant | m i m mi mim |
| building | Verbundindex |
| bvnumber | BV023394784 |
| callnumber-first | N - Fine Arts |
| callnumber-label | NA1197 |
| callnumber-raw | NA1197.Z35 |
| callnumber-search | NA1197.Z35 |
| callnumber-sort | NA 41197 Z35 |
| callnumber-subject | NA - Architecture |
| ctrlnum | (OCoLC)191750785 (DE-599)BVBBV023394784 |
| era | Geschichte 1700-1944 gnd |
| era_facet | Geschichte 1700-1944 |
| format | Book |
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| genre_facet | Bildband |
| geographic | Zaonezhʹe (Russia) / Pictorial works Zaonezhʹe (Russia) / History Zaonezhʹe (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) History, Local Zaonez'e (DE-588)4555565-5 gnd |
| geographic_facet | Zaonezhʹe (Russia) / Pictorial works Zaonezhʹe (Russia) / History Zaonezhʹe (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) History, Local Zaonez'e |
| id | DE-604.BV023394784 |
| illustrated | Illustrated |
| index_date | 2024-07-02T21:21:27Z |
| indexdate | 2024-07-09T21:17:38Z |
| institution | BVB |
| isbn | 9785903672011 9785874172411 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016577671 |
| oclc_num | 191750785 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 173 S. zahlr. Ill., Kt. 29 cm |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | "SPAS" ; "Liki Rossii" |
| record_format | marc |
| spelling | Milʹčik, Michail Isaevič 1934- Verfasser (DE-588)132223066 aut Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs M. I. Milʹčik Zaonezhie Zaonezhʹe Zaonezhie : history and culture ; essays, photographs Sankt-Peterburg "SPAS" ; "Liki Rossii" 2007 173 S. zahlr. Ill., Kt. 29 cm txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. - Zsfassung in engl. Sprache Includes bibliographical references (p. 163-166) Geschichte 1700-1944 gnd rswk-swf Architecture / Russia (Federation) / Zaonezhʹe Architecture / Russia (Federation) / Zaonezhʹe Peninsula Architektur Geschichte Architecture Russia (Federation) Zaonezhʹe Architecture Russia (Federation) Zaonezhʹe Peninsula Building, Wooden Russia (Federation) Zaonezhʹe Building, Wooden Russia (Federation) Zaonezhʹe Peninsula Architektur (DE-588)4002851-3 gnd rswk-swf Kultur (DE-588)4125698-0 gnd rswk-swf Zaonezhʹe (Russia) / Pictorial works Zaonezhʹe (Russia) / History Zaonezhʹe (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) History, Local Zaonez'e (DE-588)4555565-5 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Zaonez'e (DE-588)4555565-5 g Architektur (DE-588)4002851-3 s Kultur (DE-588)4125698-0 s Geschichte 1700-1944 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016577671&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016577671&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Milʹčik, Michail Isaevič 1934- Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs Architecture / Russia (Federation) / Zaonezhʹe Architecture / Russia (Federation) / Zaonezhʹe Peninsula Architektur Geschichte Architecture Russia (Federation) Zaonezhʹe Architecture Russia (Federation) Zaonezhʹe Peninsula Building, Wooden Russia (Federation) Zaonezhʹe Building, Wooden Russia (Federation) Zaonezhʹe Peninsula Architektur (DE-588)4002851-3 gnd Kultur (DE-588)4125698-0 gnd |
| subject_GND | (DE-588)4002851-3 (DE-588)4125698-0 (DE-588)4555565-5 (DE-588)4145395-5 |
| title | Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs |
| title_alt | Zaonezhie Zaonezhʹe Zaonezhie : history and culture ; essays, photographs |
| title_auth | Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs |
| title_exact_search | Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs |
| title_exact_search_txtP | Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs |
| title_full | Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs M. I. Milʹčik |
| title_fullStr | Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs M. I. Milʹčik |
| title_full_unstemmed | Zaonežʹe istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs M. I. Milʹčik |
| title_short | Zaonežʹe |
| title_sort | zaonezʹe istorija i kulʹtura ocerki fotografii zaonezhie history and culture essays photographs |
| title_sub | istorija i kulʹtura ; očerki, fotografii = Zaonezhie : history and culture ; essays, photographs |
| topic | Architecture / Russia (Federation) / Zaonezhʹe Architecture / Russia (Federation) / Zaonezhʹe Peninsula Architektur Geschichte Architecture Russia (Federation) Zaonezhʹe Architecture Russia (Federation) Zaonezhʹe Peninsula Building, Wooden Russia (Federation) Zaonezhʹe Building, Wooden Russia (Federation) Zaonezhʹe Peninsula Architektur (DE-588)4002851-3 gnd Kultur (DE-588)4125698-0 gnd |
| topic_facet | Architecture / Russia (Federation) / Zaonezhʹe Architecture / Russia (Federation) / Zaonezhʹe Peninsula Architektur Geschichte Architecture Russia (Federation) Zaonezhʹe Architecture Russia (Federation) Zaonezhʹe Peninsula Building, Wooden Russia (Federation) Zaonezhʹe Building, Wooden Russia (Federation) Zaonezhʹe Peninsula Kultur Zaonezhʹe (Russia) / Pictorial works Zaonezhʹe (Russia) / History Zaonezhʹe (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) Buildings, structures, etc. Pictorial works Zaonezhʹe Peninsula (Russia) History, Local Zaonez'e Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016577671&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016577671&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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