The wooden hut has long been the most common dwelling of the Russian peasant. Despite the fact that at present there are only huts no older than the 19th century, they have preserved all the traditions of construction and arrangement.
By design, the hut is a square or rectangular frame. The walls consist of horizontal log crowns - rows connected at the corners with cuts. The Russian hut is simple and laconic, and the picturesque symmetry of the buildings carries true Russian comfort and hospitality.
The nanny's cottage is one of the most visited objects in the Mikhailovskoye Pushkin Museum. This is a peasant hut, which is located next to the owner's house, on the left side. Walls and ceilings, in accordance with the traditions of the peasants northern regions, are carved in wood, and the house itself is made up of large wooden logs. The house has its own name, because in the summer, the poet's nurse Arina Rodionovna lived in one of its rooms. At the estate, he was also given a room for her, during which he spent most of the year there.
The porch of the Russian hut
This small cabin, covered with lilac bushes, consists of two rooms of almost the same size. The corridor that runs through the house comes out at one end over the Soro River, this porch was considered "black", and the other - in the owner's estate, this porch was called "red". On one side of the house there was a small room that served as a bathroom. Do you remember how Onegin took "ice baths" during his imprisonment in the rural desert? These lines are inspired by the life of Pushkin himself in Mikhailovsky, here, in the same bathhouse, the poet also took ice baths.
The constituent parts of the peasant hut were: a cage, a canopy, a hut, a basement, a closet and an upper room. The main building was a living room with a stove. Inside there were such inalienable attributes of the master's life as: wide benches, shelves, a cradle, a cupboard, etc. attached to the walls. The absence of unnecessary elements and strict attachment of one thing to the place - these are the main signs of the interior of the hut.
When the building was restored, the creators of the museum reproduced here the full atmosphere of a rural bath of that time. On the other hand, there is the living room in which Arina Rodionovna lived. Inside the house, the walls are covered, unpainted, as in most peasant houses of the time. The interior of a village house in northern Russia is being recreated in a small room. Everything here is simple, old, “breathing”. As usual, in the center, in a place of honor, there is a table covered with a simple home tablecloth. All simple furnishings are made by the servants of the servants, such as chairs, a sofa, and tables.
Particular attention in the hut is focused on the stove, which symbolizes the idea of comfort and home. Therefore, the craftsmen devoted so much time and effort to the manufacture of stoves. The underpants consisted of the released ends of thick bars. In front, it supported the heavy pole of the furnace, and on the side - a stove bench. The stove conic fenced off the pole at the stove column. All these elements were carefully hewn out with an ax.
There are wide benches along the walls, where there is an indispensable rotating wheel with a trailer, the old Pskov clock. There is a stove with a sofa in the corner and a large wooden trunk next to it. This cabin allows itself, almost to see, how the slow rural life of the poet and his beloved nurse flows. He looked after his whole house, Pushkin's friends who visited him in Mikhailovsky always remembered the hospitality and cordiality of Arina Rodionovna.
Apparently, all these houses have nothing in common, but in fact they are images of an entire era in the history of Russia. "Iba", "komunalka" of the 20s of the last century, that is, barracks for workers of colossal Soviet construction sites, a modern one-room apartment - these are examples of the permanent exhibition "My Home is Russia", which opened at the Museum modern history... It was his supporters who had the original idea to tell about the everyday life of the Russian people through the interiors of their houses.
There was often a cooking corner near the stove. It was separated by a wooden paneled brightly painted partition. The partition was usually painted with geometric shapes in the form of the sun or flowers.
Fixed benches were located along the entire perimeter of the room. On the one hand, they were tightly adjacent to the wall, on the other, they were supported by supports made of thick boards, or by carved dotted posts-legs. Usually such columns had a narrowing towards the middle and an applied pattern in the form of an apple. Flat stands, cut from a thick board, usually had a pattern of a chiseled leg.
"Keeper of life" and samovars as a bride are the best dowry. In the center of the iba, there was traditionally a wooden stove. So important that she was called "the guardian of life." All the peasant's activities revolved around a wood-burning stove, says museum employee Daria Kosolapova. This may have belonged to a very wealthy peasant: there are wooden benches, a table and a samovar over it. The samovar was expensive, the price depended on the weight of the container. They were considered the best dowry for a bride.
Another indispensable artifact of peasant labor is the plow, an important assistant in the difficult task of preserving the family. The proletariat, having reached power, made everyone equal. Symbol Soviet Union there were "komunals", that is, apartments owned by several families.
In the huts there were also portable benches with four legs or supports on the sides (benches). The back of the bench could be thrown from one edge to the other (saddle backs). Through or blind backs were often decorated with carvings. In the upper rooms, the benches were covered with a special fabric. There were also benches with one side, on which carving or painting was applied. This sidewall served as a spinning wheel, or support for a pillow.
Shared apartments, curtains with hammers and sickles, and Ilyich cigarettes. "Komunalkami" were huge apartments belonging to the "odious bourgeoisie." For wealthy industrialists, famous doctors and lawyers, the new regime allowed them to stay with one or two rooms of their domicile, while in other circles the families of workers and peasants settled.
The kitchen was the most popular place for neighbors, where they cook, wash and dry their clothes, gossip and discuss the main political events... He fought and made peace, - explains Daria. All families had their own table in the kitchen and a kerosene stove, Primus. The regime even used dishes and cigarettes for communist propaganda.
Chairs in huts began to appear a little later - in the 19th century. They were made in the form of a symmetrical shape, had a plank square seat, a through square back and slightly elongated legs. The chairs were decorated with a wooden fringe or a patterned back. Often the chairs were painted in two colors - blue and crimson.
The dining table was quite large. The top of the table was made of high quality processed boards without knots. The underframe could be of several types: plank sidewalls with a recess at the bottom, connected by a prod; legs connected by two prongs or in a circle; underframe with drawers. The edges of the dining room and the edges of the legs were sometimes covered with carvings.
The new owners did not feel comfortable in the "old stately apartments", with their high and decorated ceilings, huge windows, and solid leather and ebony furniture. It was also difficult to keep such large rooms warm. They built a better future and lived in poorly lit barracks.
Along with other projects of the same size, this made the job easier for tens of thousands of people. Those people who “built a better future” lived in unstable conditions, en masse in dimly lit barracks. One of these barracks is also part of the museum's exhibition. Employees had to pay about 25% of their salaries for living even in those conditions that have not been satisfied until now.
Cooking tables (suppliers) were placed next to the oven. Such tables were higher than dining tables, and at the bottom they had drawers or shelves with doors. Small decorative tables were often found in the huts.
An integral attribute of the Russian hut was a chest in which clothes and other household items were kept. The chests were of different sizes and slight differences in appearance. The lid of the chest could be either straight or convex. The supporting part was made in the form of a support plinth, or in the form of small legs. The chests were upholstered with animal skins with a short pile, and reinforced with metal components. The chests were also decorated with all kinds of drawings and patterns.
By the mid-1930s, attempts were made to improve the living conditions of the workers. For this reason, the newly built apartments were soon baptized as the "Khrushchev steps". Narrow corridor, small bathroom and six square meters kitchen. “Soon there was a joke in which this kitchen squeezed the thighs of a Soviet woman,” the museum says. For such small areas, they need smaller appliances and furniture than usual, and Soviet industry was dedicated to their production.
We started to optimize the use of space: wardrobes that hung on the walls moved bulky chests, beds were used instead of ordinary beds, sofas, and bureaus replaced tables. During this time of intense scarcity, appliances became a sign of prosperity. Today, there is nothing to do with musical equipment, cameras and vacuum cleaners in Russian homes.
The shelves in the hut were fastened tightly. Hanging shelves adjoined the wall along their entire length, and Vorontsov shelves rested only at their ends. Shelves could divide the room into several parts. Leaning with one end on a beam near the stove, with the other end, they could go out between the logs of the wall. Suspended flooring (floor) was attached above the front door.
Over time, cabinets began to appear in the huts. They were of various types and sizes. A through thread was applied to them to ventilate the products.
Studio apartments and Single Room in a hotel that no longer exists. This is a new type of space, not divided by partitions, the surface is divided into areas of the kitchen or living room, etc. their owners are usually wealthy people who can afford to hire an interior designer to decorate their home. The research model is the last sample of the exhibition. It is preceded by an individual habit in the famous Rossiya Hotel. For nearly forty years, this hotel overlooking the Kremlin has been the center of the country's political and social life.
The peasants usually slept on built-in and mobile beds. Such beds were tightly attached to the walls on both sides and had one back, and were placed in the corner. For children, cradles, cradles, decorated with turning parts, carvings or paintings were hung.
Thus, the elements of the interior in the Russian hut were arranged horizontally and were made of wood. The main color scheme was golden-ocher, with the addition of red and white. Furniture, walls, dishes, painted in golden ocher tones, were successfully complemented by white towels, red flowers and clothes, as well as beautiful paintings.
Plan
Introduction
1 Crate
2 Izba
3 Mansions
3.1 Quarter mansions
3.2 Restless mansions
3.3 Outbuildings
4 Podklet
5 Upper room
6 Svetlitsa
7 Canopy
8 Terem
9 Roof
10 Stairs
11 Gate
12 Windows
13 Construction professions
14 Gallery
15 Museums
Bibliography
Introduction
Russian national dwelling - in the Russian traditional culture, which was widely used in late XIX- at the beginning of the XX centuries, it was a building made of wood (hut), built using a log or frame technology. Less often, mainly in the south, there were stone, adobe dwellings. It almost never occurs in its traditional form, but its traditions are preserved in the architecture of rural dwellings, as well as in summer cottage construction.
Basis of Russian national dwelling- cage.
The cage is a rectangular structure made of wood or stone. Used for summer residence. The heated cage was called a hut.
Wealthy homeowners called a large crate a grill. In the gridnitsa, feasts were given to boyars, gridis, centurions, etc. Gridnitsa is the reception. At a later time, instead of the word gridnitsa, they began to use the name povalush, canteen hut. The inner walls of the tumblers in rich houses were painted. Povalusha was placed at a distance from the living quarters, usually in front of the mansion.
The bedroom was called a liar, or odrina. Bozhnitsa is a home church.
Logs contacted in a screech , in the undercut , in the paw , to the castle , in a mustache... Cant contacted in a mustache , in a bar , in the joint , into the corner... One row of logs or beams is a crown. The height of the stand was measured in rims, for example, "the height on the fifth rim".
The cage was installed on the sole, i.e. directly on the ground, on poles, cuts and stumps. Dir and stumps are a prototype of the foundation.
The logs were laid with moss, such a structure was called "in moss". Rich people insulated their mansions with low-quality flax, hemp, and tow. Walls and ceilings were upholstered with linen or felt.
The floors were laid on luggage, or beds. In basements, the floor could be log. The ceiling (ceiling) was laid on the mat. The ceiling is made of split logs or beams.
The interior decoration of the cage was called "decorate the insides". The inner walls were sheathed with planks, or lime planks. The ceiling was covered with clay. Sifted earth was poured over the ceiling for insulation.
Hut (istba, firing, grydnya) - a heated cage. The hut was heated in black. The smoke came out through a wooden chimney (chimney), or through open windows and doors.
Poor people's huts were black and underground, i.e. installed directly on the ground.
The windows at the black hut are from 6 to 8 vershoks in length, 4 vershoks in width - designed to release smoke. They were located almost under the ceiling, they did not have frames. Such windows were called drag windows - they were covered with a board or a special cover. For wealthy people, a cage with drag windows was installed opposite the hut - a summer dwelling. The covered passage between the hut and the cage is the canopy. Under the cage there was a deaf basement (bryozoan), in which livestock were kept, or a pantry was arranged.
Rich people have white huts - with a chimney.
Mansions are a collection of buildings in one yard. All buildings were erected in separate groups, which were connected by passageways or passages. Thus, the mansions consisted of several mansions.
Tsars (princes) lived on the upper floors. The lower floors were initially called logs, and then the basement.
The mansions were built without a definite plan. Huts, rooms, porches, porches were added to existing buildings as needed and where it was convenient for the owner. No attention was paid to the symmetry of the building.
Large mansions were reinforced with iron: brackets, squares, bases, etc.
The mansions were divided into:
3.1. Quiet mansions
Quiet (bed) mansions - living quarters. Usually there are three or four upper rooms: the front vestibule, the cross or prayer room, and the bed room. In addition to these rooms, there could also be: a front room, a back porch and others. Often the rooms did not have special names, but the third (after the front porch and the front hall), the fourth, etc. were called. The soap-room (bathhouse) was often located in the basement of the detainees in a chorus.
The princess's half, the mansions of children and relatives were set apart from the owner's choir, and were connected by passages and entryways.
Quarter mansions were set in the back of the courtyard.
3.1. Quiet mansions
Restless mansions - non-residential premises for ceremonial meetings, receptions, feasts, etc. The resting mansions consisted of large rooms. They were arranged in the front part of the chorus, in front of the residential mansions. The premises of the non-combatants were called the chorus, the canteen hut, the tumbled down, the upper room.
For about 200 years, the 495 m² hall of the Faceted Chamber remained the largest hall in Russian architecture.
3.3. Outbuildings
The third part in chorus - outbuildings: stables, barns, port wash, armory, cooking huts, etc. For drying clothes, open fenced towers were built over the port washrooms.
4. Sub-base
Basement - the lower floor of the house, in chorus. Servants, children, courtyard servants lived in the basement. Cellars were located in the basements. The cowgirl is a pantry with a treasury, i.e. property. Princes and kings arranged the treasury in the basements of stone churches.
Residential basements with trailing windows and stoves, non-residential ones with blank walls, often without doors. In this case, the entrance to the basement was arranged from the second floor.
5. Upper room
The upper room was located on the second floor - above the basement. Gorenka has been mentioned in written sources since 1162. Gorenka comes from the word gorny, i.e. high.
The upper room differed from the hut by red windows. The red window is a large window with a frame, or deck. Red windows could be combined with drag windows. The upper room also differed from the hut with a stove. The stove in the upper room is round, quadrangular, with tiles, like a Dutch one, in the hut there is a Russian stove.
The upper rooms were divided by walls into rooms - closets (from the word bedchamber) and closets.
6. Svetlitsa
The Svetlitsa is a room with red windows. There were more windows in the room than in the upper room. The Svetlitsa is the lightest, lightest room in the dwelling. The windows in the parlor were cut through in all four walls, or in three. In the upper room, the windows were arranged in one or two walls. And in the light room, in contrast to the upper room, there is no stove, more precisely, the furnace part of the stove. Only a warm stove side or chimney, plastered and whitewashed, or painted.
Svetlitsa were most often arranged in the female half of the house. They were used for handicrafts, or other works.
The canopy is a covered space (passages) between cages, huts, rooms. The canopy was an integral part of the princely choir, therefore, in ancient times, the prince's palace was often called the canopy, the sennitsa. In the 16th and 17th centuries, the expression "at the sovereign in the entryway" was widespread.
Sennik is an unheated entrance with a small number of drag windows. V summer time used as a bedroom. No earth was poured onto the roof of the sennik, as was done in heated rooms. Senniki were used for arranging a marriage bed. The ground overhead was not supposed to remind of impending death.
On the women's side of the house, the canopy was arranged in a larger size. They were used for girls' games and entertainment.
Storerooms were arranged in the entryway, towers were set up above the entryway, and below the entryway.
A canopy located outside the common roof, not covered, or covered with a canopy was called a walkway or porch.
Terem (attic, tower) - the third (or higher) floor in chorus, located above the upper room and basement. In the towers, red windows were arranged in all the walls. Towers were attached to the towers - watchhouses. The epithet “high” has always been applied to the tower. Around the towers, gulbis were arranged - parapets and balconies, fenced with railings or trellises.
The roof was connected by a longitudinal beam - a prince (prince) or a horse (ridge). The trunks of trees with hooks - hens - were attached to this bar. Overhangs and gutters were laid on chicken hooks. The roof was battened and covered with boardwalk and birch bark.
In the mansions, the roof was arranged with a tent - with slopes on four sides. A bull was installed under the prince. Also, the roofs were reduced in the form of barrels and cubes. Often all types of roofs were combined in one mansion. Roofs were often made with a kink at the bottom - with policemen. The police could also be located between floors, they were made of boards with a figured ending. The roof was covered with a small lattice, and from above it was covered with "scales". Scaled roofs were usually painted green. At the top of the roof, a ensign - a weather vane was set up, carved ridges were installed on the prince.
The upper attics were built not only on four, but also on six and eight walls.
10. Ladders
The porch for the stands were installed on logs, or on hems. Ladders were laid on a bowstring, on which steps were set. The ladder was broken - i.e. arranged rests (playgrounds). The stairs were almost always fenced with balusters or railings. In large mansions under the stairs, a locker was arranged.
11. Gate
The yard was surrounded by a fence - a padlock. The zaplot was made of hewn logs. The gates were installed on pillars, or pillars. Gates in one shield, in rich houses - in two shields with a wicket. Sometimes triple gates were arranged - with two wickets. The gate was covered with a small roof with policemen (gutters). The prince of the roof was decorated with turrets, tents, barrels, carved ridges. The richly decorated gates were used to judge the wealth of the owner of the house.
Icons or a cross were installed above the gate from the outside and inside. For example, above the Spassky Gate of the Spasskaya Tower there is a niche with an icon of the Savior Not Made by Hands.
The frames of the red windows were painted with paint. A bag of fish was pulled over the frames (from where pressed caviar) - such a window was called a bag of fish. Also used was a bull's bubble, mica (such windows were called mica endings), oiled cloth. Until the 18th century, glass windows (glazed windows) were rarely used. Sliding and swinging red windows, swinging and sliding siding windows.
The frame of the mica ends consisted of four metal rods. In the center of the window, in a lead binding, the largest piece of mica was placed in the form of a circle, around there were small pieces of mica of various shapes and small scraps. In the 17th century, mica windows began to be painted. Glazed windows were made in the same way as mica ones: in a metal frame and lead binding. Painted colored glass was also used.
Inserts or shutters were used to protect against cold and wind. Insert covered with cloth, they could be deaf, or with mica windows. At night and in cold weather the windows were closed from the inside bushings... The bushing is a shield with the same size as the window. Upholstered with felt and cloth. Shields are just crammed in, or hung on hinges and closed.
There are usually three windows on one wall. The windows were curtained curtains from taffeta, cloth and other fabrics. The curtains were suspended from a wire on rings. Often, all three windows on the same wall were pulled back by the same curtain.
13. Construction professions
Carpenters were often called cutters. The head of the carpenter's artel is the carpenter's headman. An apprentice for stone affairs, and a murol is an architect. The fictitious engineer.
14. Gallery
M.P. Klodt. "Terem of the princesses". 1878
· A. Ryabushkin "The exit of the hawthorn with the nannies in the garden." 1893.
Carved ridges were installed over the princes' roofs.
· A. Vasnetsov. “Messengers. Early morning in the Kremlin. The beginning of the 17th century. " 1913.
· A. Vasnetsov. "Princely yard." We tower on the right.
· A. Vasnetsov. "The Moscow Kremlin under Dmitry Donskoy". In the foreground is a port shop. Furnace smoke comes out of the drag windows.
· A. Vasnetsov. “Old Moscow. Street in Kitay-gorod at the beginning of the 17th century ”.
· V. Vasnetsov. "In the Moscow Kremlin." Before the fire in 1696, the Red Porch was covered with a hipped roof.
· V. Vasnetsov. "Skomorokhs in Moscow".
· V. Vasnetsov. "The princess at the window (Tsarevna Nesmeyana)". 1920. Mica ending.
· A. Maksimov. "In the prince's estate". 1907 year.
Samples of Russian national architecture are presented in museums:
· Vitoslavlitsy - Veliky Novgorod;
· Irkutsk architectural and ethnographic museum "Taltsy";
· Museum-reserve "Kizhi" (Official site) - Karelia;
· Architectural and Ethnographic Museum "Khokhlovka" - Perm;
· Malye Korely - Arkhangelsk;
· Ethnographic Museum of the Peoples of Transbaikalia - Ulan-Ude.
Literature
· Ivan Zabelin Domestic life of Russian tsars in the 16th and 17th centuries. - M .: Transitkniga, 2005. - ISBN 5-9578-2773-8
Bibliography:
1. Buzin, V.S. Ethnography of the Eastern Slavs. - SPb: Petersburg University Publishing House, 1997.
2. Podolskaya, O.S. The light of our home documentary, Ministry of Culture of the Russian Federation.
