What institutions are involved in the preservation of cultural monuments? Necessity and main aspects. Arguments "Historical memory" to the composition of the Unified State Exam

Already in ancient times, the rulers were well aware of the influence of monumental structures on the consciousness and psyche of people. Monuments with their grandeur give an emotional charge, inspire respect for the history of their country, help preserve a significant past. They are designed to instill in citizens a sense of pride in their ancestors. Sometimes monuments are erected to living people who have distinguished themselves with something good. Very little time will pass, and eyewitnesses of the Great Patriotic War will not survive. The presence of the monument, which tells about the feat of the Russian people, will allow the descendants not to forget about these years. In any locality in our country, you can find stone evidence of this cruel pore. There is an invisible connection between monuments and society. The historical and cultural environment, of which the monuments are a part, influence the formation of the world outlook of each inhabitant. In addition, historical and cultural monuments are information that is needed to predict future processes. Science, using such archaeological material as monuments, not only reconstructs what happened in the past, but also makes predictions. Architecturally, monuments help to organize the space, play the role of a visual center of public space. For an objective understanding of cultural and historical processes in society, it is important to preserve monuments. The attitude towards them is determined by the position of society towards its past and can be manifested by ignorance, care and deliberate destruction. It depends on many factors - on the level of education and culture of the population, the dominant ideology, the position of the state towards its cultural heritage, the political structure, and the economic state of the country. The higher the education, culture, economy of a society, the more humane its ideology, the more consciously it relates to its historical and cultural heritage.

There are so many monuments in the world! Grateful humanity has erected magnificent structures in honor of the deceased just rulers, brilliant musicians and poets. In the prehistoric era, heads of state did not want to wait for their own death and erected monuments to themselves during their lifetime. Monuments are erected in cemeteries and in the center of city squares. Why do people in all countries and at all times do this?

Humanity began to bet at the dawn of civilization. Scientists still find the oldest stone statues, created by primitive sculptures and still causing questions and controversy about who or what they are. One thing does not cause controversy - all images of fictional or real creatures had a cult significance. The first monuments were created as objects of worship, they were attributed to magical supernatural powers. Later, deceased leaders and respected members of tribes and ancient communities began to be endowed with magical powers. People began to create monuments for perpetuation and exaltation. This function is saved and. Statues depicting military leaders, rulers of states or great writers can be seen in any country. The grateful pay tribute to the talents or heroism of their great compatriots. But in the history of mankind, monuments were erected not only to the dead, but also to living people. The cult of a living person and his deification were especially pronounced in ancient Egypt. Pharaohs built tombs for themselves and erected theirs next to the statues of their many. This tradition was later taken up by emperors in the ancient world. Monuments to them were erected during their lifetime, and emperors could enjoy divine honors and glorifications of their merits even before the inevitable departure to another world. However, the passion for exaltation of their own person among the greats of this world can be observed even today. Lifetime monuments were erected to Kim Ser In, Stalin, Turkmenbashi Niyazov, Mao, and the full list is not limited to these names. As a rule, the initiative to erect monuments to the glorified person came from that person himself or his faithful associates. Many sociologists consider the presence of monuments to healthy people as one of the proofs of an unhealthy society and a totalitarian system in the country. With the development of society, monuments became more and more diverse. Not only people, but also animals began to receive the honor of being immortalized in bronze and marble. There are monuments to rescue animals who died in the service. For example, in Paris there is a monument to St. Bernard Barry, who saved the lives of people caught in an avalanche. In Japan, you can see a monument to dog loyalty. It was erected in honor of the dog Hachiko, who for several years came daily to

Even at the dawn of civilization. Scientists still find the oldest stone statues, created by primitive sculptures and still causing questions and controversy about who or what they are. One thing does not cause controversy - all images of fictional or real creatures had a cult significance. The first monuments were created as objects of worship, they were attributed to magical supernatural powers. Later, deceased leaders and respected members of tribes and ancient communities began to be endowed with magical powers. People began to create monuments for perpetuation and exaltation. This function is saved and. Statues depicting military leaders, rulers of states or great writers can be seen in any country. The grateful pay tribute to the talents or heroism of their great compatriots. But in the history of mankind, monuments were erected not only to the dead, but also to living people. The cult of a living person and his deification were especially pronounced in ancient Egypt. Pharaohs built tombs for themselves and erected theirs next to the statues of their many. This tradition was later taken up by emperors in the ancient world. Monuments to them were erected during their lifetime, and emperors could enjoy divine honors and glorifications of their merits even before the inevitable departure to another world. However, the passion for exaltation of their own person among the greats of this world can be observed even today. Lifetime monuments were erected to Kim Ser In, Stalin, Turkmenbashi Niyazov, Mao, and the full list is not limited to these names. As a rule, the initiative to erect monuments to the glorified person came from that person himself or his faithful associates. Many sociologists consider the presence of monuments to healthy people as one of the proofs of an unhealthy society and a totalitarian system in the country. With the development of society, monuments became more and more diverse. Not only people, but also animals began to receive the honor of being immortalized in bronze and marble. There are monuments to rescue animals who died in the service. For example, in Paris there is a monument to St. Bernard Barry, who saved the lives of people caught in an avalanche. In Japan, you can see a monument to dog loyalty. It was erected in honor of the dog Hachiko, who for several years came every day and waited for the arrival of his deceased master. In many European cities, there has recently been a tendency to erect unusual and funny monuments. In Washington, there is a monument to people standing in line, in Bratislava, you can see a monument to a plumber sticking his head out of a sewer manhole, and in Paris, take a picture next to a monument to a finger. Such structures do not carry any important social function, they are made to mood, decorate the city and attract the attention of tourists. Human memory is short, life goes on as usual and new ones are constantly appearing. Monuments do not allow humanity to forget about the most important milestones in its history, about people and events that we would like to always remember.

Every person should know about the place where he was born, lives. In a large country, every person has a small corner - a village, a street, a house where he was born. This is his little homeland. And our common great homeland consists of many such small native corners.

We live in a small town, but do we know our city? How do we relate to its cultural heritage?

There are many monuments in our city, but people know little about their history, that not all monuments are known to the inhabitants of our city and they know even less about the events in honor of which these monuments were erected. Why?Why are monuments erected in cities?What is the significance of the monument in our life?

People pass by, rush on business. It's just that the townspeople do not notice things that seem common to them, but in fact are fraught with tremendous cultural and historical value. Our city is associated with many great events and interesting people. There are many structures that keep the memory of these events and people. These include sculptural monuments, busts, pedestals, memorial plaques and steles that immortalize the heroic efforts and sacrifices of soldiers on the fronts and home front workers in the years of past wars, and theirwe have a considerable amount.

People should know and remember the history and heroes of their city in order tolearn to respect ancestors and remember what, in turn, will be needed for their descendants. Everyone begins to learn responsibility - moral responsibility to the people of the past and at the same time to the people of the future. "

All these objects can have a category of federal, regional or local historical and cultural significance.

Our monuments

There are many historical buildings in our city that are attraction his.

The building of the Spassky garrison officers' assembly, built in 1906-1907.

Trading house Gervas and Savchenko

Z giving to the Spassk mixed gymnasium

http://www.timerime.com/en/timeline/3258748/+/

Conclusion. During the work, we learned that our city has a large cultural heritage, represented by architectural monuments. They give a special look and historical flavor to the city.

Only by learning a little more about the city, architecture and society, we will be able to form a competent society capable of taking responsibility for the urban space and by joint efforts will preserve our cultural heritage.

Without knowing the past or neglecting it, one can live life without becoming a real person, conscious of responsibility for the past and future of the Earth.

Paradoxical as it sounds, but it is precisely by meeting with the culture of the past that we can feel the breath of the future. That future, when the value of art and humanity will be clear and unquestionable for everyone.

Why are monuments needed? Probably to understand and appreciate your country, its history, to respect yourself for being a part of something big, important, to value and protect our common achievements.

Why are monuments needed? In order to educate citizens, especially young people, a sense of pride in their ancestors, for their state, the willingness to defend it with arms in hand in the event of an enemy attack. Monuments should give rise to pride in ancestors ...

The Romans said that art is eternal and life is short. Fortunately, this is not entirely true, because immortal art is created by people. And it is in our power to preserve the immortality of mankind.

It must be remembered thatwaste of cultural property is irreplaceable and irreversible.

Arguments for an essay in the Russian language.
Historical memory: past, present, future.
The problem of memory, history, culture, monuments, customs and traditions, the role of culture, moral choice, etc.

Why Preserve History? The role of memory. J. Orwell "1984"

In George Orwell's novel 1984, the people are devoid of history. The homeland of the protagonist is Oceania. It is a huge country waging continuous wars. Under the influence of violent propaganda, people hate and seek to lynch their former allies, declaring yesterday's enemies as their best friends. The population is suppressed by the regime, it is unable to think independently and obeys the slogans of the party that governs the inhabitants for personal purposes. Such enslavement of consciousness is possible only with the complete destruction of the memory of people, the absence of their own view of the history of the country.
The history of one life, like the history of an entire state, is an endless series of dark and light events. We need to learn from them valuable lessons. The memory of the life of our ancestors should protect us from repeating their mistakes, serve us as an eternal reminder of everything good and bad. There is no future without memory of the past.

Why remember the past? Why do you need to know history? An argument from the book by D.S. Likhachev "Letters about good and beautiful".

Memory and knowledge of the past fill the world, make it interesting, significant, spiritualized. If you do not see its past behind the world around you, it is empty for you. You are bored, sad, and ultimately lonely. Let the houses we walk past, let the cities and villages in which we live, even the factory where we work, or the ships we sail on, be alive for us, that is, with a past! Life is not a one-moment existence. We will know history - the history of everything that surrounds us on a large and small scale. This is the fourth, very important dimension of the world. But we must not only know the history of everything that surrounds us, but also keep this history, this immense depth of the environment.

Why does a person need to keep customs? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Please note: children and young people are especially fond of customs, traditional festivities. For they master the world, master it in tradition, in history. Let us more actively defend everything that makes our life meaningful, rich and spiritual.

The problem of moral choice. An argument from the play by M.A. Bulgakov's "Days of the Turbins".

The heroes of the work must make a decisive choice, the political circumstances of the time force them to do this. The main conflict of Bulgakov's play can be described as the conflict between man and history. In the course of the development of the action, the heroes-intellectuals each in their own way enter into a direct dialogue with History. So, Alexey Turbin, realizing the doom of the white movement, the betrayal of the "headquarters crowd", chooses death. Nikolka, spiritually close to his brother, has a presentiment that a military officer, commander, a man of honor, Alexei Turbin, will prefer death to the shame of dishonor. Reporting about his tragic death, Nikolka sadly says: "They killed the commander ...". - as if in full agreement with the responsibility of the moment. The elder brother made his civil choice.
Those who remain will have to live with this choice. Myshlaevsky, with bitterness and doom, states the intermediate and therefore hopeless position of the intelligentsia in a catastrophic reality: "In front are the Red Guards, like a wall, behind are speculators and all sorts of rags with the hetman, and am I in the middle?" It is close to the recognition of the Bolsheviks, "because the peasants are a cloud behind the Bolsheviks ...". Studzinsky is convinced of the need to continue the struggle in the ranks of the White Guards, and rushes to the Don to Denikin. Elena leaves Talbert, a man whom she cannot respect, by her own admission, and will try to build a new life with Shervinsky.

Why is it necessary to preserve monuments of history and culture? An argument from the book by D.S. Likhachev "Letters about good and beautiful".

Each country is an ensemble of arts.
Moscow and Leningrad are not just different from each other - they contrast with each other and, therefore, interact. It is no coincidence that they are connected by a railway so straight that, having traveled in the train at night without turns and with only one stop and getting to a station in Moscow or Leningrad, you see almost the same station building that accompanied you in the evening; the facades of the Moscow railway station in Leningrad and the Leningradsky railway station in Moscow are the same. But the similarity of the stations emphasizes the sharp dissimilarity of the cities, the dissimilarity is not simple, but complementary to each other. Even art objects in museums are not just stored, but constitute some cultural ensembles associated with the history of cities and the country as a whole.
Look in other cities. The icons are worth seeing in Novgorod. This is the third largest and most valuable center of ancient Russian painting.
In Kostroma, Gorky and Yaroslavl one should see Russian painting of the 18th and 19th centuries (these are the centers of Russian noble culture), and in Yaroslavl there is also the “Volga” 17th century, which is presented here like nowhere else.
But if you take our whole country, you will be surprised at the diversity and originality of cities and the culture stored in them: in museums and private collections, and just on the streets, because almost every old house is a jewel. Some houses and whole cities are roads with their wooden carvings (Tomsk, Vologda), others - with an amazing layout, embankment boulevards (Kostroma, Yaroslavl), others - with stone mansions, and others - with intricate churches.
Preserving the diversity of our cities and villages, preserving their historical memory, their common national and historical originality is one of the most important tasks of our city planners. The whole country is a grandiose cultural ensemble. He must be preserved in his astounding wealth. It is not only the historical memory in one's city and in one's village that fosters up, but also the country as a whole fosters a person. Now people live not only in their "point", but throughout the country and not only in their own age, but in all centuries of their history.

What role do historical and cultural monuments play in human life? Why is it necessary to preserve monuments of history and culture? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Historical memories are especially vivid in parks and gardens - associations of man and nature.
Parks are valuable not only for what they have, but also for what was in them. The temporal perspective that opens up in them is no less important than the visual perspective. "Memories in Tsarskoe Selo" - this is how Pushkin called the best of his earliest poems.
The attitude to the past can be of two kinds: as a kind of spectacle, theater, performance, scenery and as a document. The first relation seeks to reproduce the past, to revive its visual image. The second seeks to preserve the past at least in its partial remnants. For the first in gardening art, it is important to recreate the external, visual image of the park or garden as it was seen at one time or another in his life. For the second, it is important to feel the evidence of time, documentary is important. The first says: this is how he looked; the second testifies: this is the one, he was, perhaps, not like that, but this is truly the one, these are the lime trees, those garden structures, the very sculptures. Two or three old hollow linden trees among hundreds of young ones will testify: this is the same alley - here they are, old-timers. And you don't need to take care of young trees: they grow quickly and soon the alley will return to its former appearance.
But there is another significant difference in the two relations to the past. The first will require: only one era - the era of the creation of the park, or its heyday, or something significant. The second will say: let all epochs, significant in one way or another, live, the whole life of the park is valuable, memories of different eras and of various poets who glorified these places are valuable, and restoration will require not restoration, but preservation. The first attitude to parks and gardens was discovered in Russia by Alexander Benois with his aesthetic cult of the time of Empress Elizabeth Petrovna and her Catherine Park in Tsarskoe Selo. Akhmatova poeticly polemicized with him, for whom Pushkin was important in Tsarskoye, not Elizabeth: "Here lay his tricorne hat and a disheveled volume of Guys."
The perception of a monument of art is only full when it mentally recreates, creates together with the creator, and is filled with historical associations.

The first relation to the past creates, in general, teaching aids, training models: look and know! The second attitude to the past requires truth, analytical ability: it is necessary to separate age from the object, it is necessary to imagine how it was here, it is necessary to investigate to some extent. This second attitude requires more intellectual discipline, more knowledge from the viewer himself: look and imagine. And this intellectual attitude towards the monuments of the past sooner or later arises again and again. It is impossible to kill the true past and replace it with a theatrical, even if the theatrical reconstruction destroyed all the documents, but the place remained: here, in this place, on this soil, in this geographical point, it was - it was, it was, something memorable happened.
Theatricality also penetrates into the restoration of architectural monuments. Authenticity is lost among the supposedly restored. Restorers trust random evidence if this evidence allows the restoration of this architectural monument as it could be of particular interest. This is how the Evfimievskaya chapel was restored in Novgorod: it turned out to be a small temple on a pillar. Something completely alien to ancient Novgorod.
How many monuments were destroyed by restorers in the 19th century due to the introduction of elements of aesthetics of the new era into them. Restorers sought symmetry where it was alien to the very spirit of style - Romanesque or Gothic - they tried to replace the living line with a geometrically correct, mathematically calculated, etc. This is how the Cologne Cathedral, Notre Dame in Paris, and the Abbey of Saint-Denis were dried. ... Whole cities in Germany were dried up, mothballed, especially during the period of idealization of the German past.
The attitude to the past forms its own national identity. For every person is a bearer of the past and a bearer of a national character. A person is a part of society and a part of its history.

What is memory? What is the role of memory in human life, what is the value of memory? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Memory is one of the most important properties of being, of any being: material, spiritual, human ...
Individual plants, a stone on which traces of its origin remain, glass, water, etc. have memory.
Birds possess the most complex forms of ancestral memory, allowing new generations of birds to fly in the right direction to the right place. In explaining these flights, it is not enough to study only the "navigation techniques and methods" that birds use. The most important thing is the memory that makes them look for winter quarters and summer quarters - always the same.
And what can we say about "genetic memory" - a memory laid down in centuries, a memory that passes from one generation of living beings to the next.
Moreover, memory is not at all mechanical. This is the most important creative process: it is a process and it is a creative one. What is needed is remembered; through memory, good experience is accumulated, a tradition is formed, everyday skills, family skills, work skills, social institutions are created ...
Memory is opposed to the destructive power of time.
Memory is overcoming time, overcoming death.

Why is it important for a person to keep the memory of the past? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

The greatest moral significance of memory is overcoming time, overcoming death. A "forgetful" is, first of all, an ungrateful, irresponsible person, and, consequently, incapable of good, disinterested deeds.
Irresponsibility is born of the lack of consciousness that nothing passes without a trace. A person who commits an unkind act thinks that this act will not remain in his personal memory and in the memory of those around him. He himself, obviously, is not used to preserving the memory of the past, to feel a feeling of gratitude to the ancestors, to their work, their cares, and therefore thinks that everything will be forgotten about him too.
Conscience is basically a memory, to which a moral assessment of the perfect is added. But if the perfect is not preserved in memory, then there can be no evaluation. There is no conscience without memory.
That is why it is so important to be brought up in the moral climate of memory: family memory, folk memory, cultural memory. Family photographs are one of the most important "visual aids" in the moral education of children and adults. Respect for the work of our ancestors, for their labor traditions, for their tools, for their customs, for their songs and entertainment. All this is dear to us. And just respect for the graves of ancestors.
Remember Pushkin:
Two feelings are marvelously close to us -
In them, the heart finds food -
Love for the native ashes,
Love for fatherly coffins.
Life-giving shrine!
The earth would be dead without them.
Our consciousness cannot immediately get used to the idea that the earth would be dead without love for paternal coffins, without love for native ashes. Too often, we remain indifferent or even almost hostile to disappearing cemeteries and ashes - two sources of our not-too-wise gloomy thoughts and superficially heavy moods. Just as a person's personal memory forms his conscience, his conscientious attitude towards his personal ancestors and loved ones - relatives and friends, old friends, that is, the most faithful ones with whom he is associated with common memories - so the historical memory of a people forms a moral climate in which the people live. Perhaps one could think about whether to build morality on something else: completely ignore the past with its, at times, mistakes and difficult memories and be completely directed into the future, build this future on "reasonable grounds" by themselves, forget about the past with its dark and light sides.
This is not only unnecessary, but also impossible. The memory of the past is, first of all, "bright" (Pushkin's expression), poetic. She educates aesthetically.

How are the concepts of culture and memory related? What is memory and culture? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

Human culture as a whole not only possesses memory, but it is memory par excellence. The culture of humanity is an active memory of humanity, actively introduced into the present.
In history, every cultural upsurge was in one way or another associated with an appeal to the past. How many times has humanity, for example, turned to antiquity? At least, there were four large, epoch-making conversions: under Charlemagne, under the Palaeologus dynasty in Byzantium, during the Renaissance, and again at the end of the 18th - beginning of the 19th centuries. And how many "small" references of culture to antiquity - in the same Middle Ages. Each appeal to the past was "revolutionary", that is, it enriched modernity, and each appeal understood this past in its own way, took from the past what it needed to move forward. I am talking about the appeal to antiquity, but what did the appeal to its own national past give for each people? If it was not dictated by nationalism, a narrow desire to isolate oneself from other peoples and their cultural experience, it was fruitful, for it enriched, diversified, expanded the culture of the people, its aesthetic sensitivity. After all, each appeal to the old in new conditions was always new.
She knew several references to Ancient Rus and post-Petrine Russia. There were different sides to this appeal. The discovery of Russian architecture and icons at the beginning of the 20th century was largely devoid of narrow nationalism and was very fruitful for the new art.
I would like to demonstrate the aesthetic and moral role of memory using the example of Pushkin's poetry.
In Pushkin, Memory plays a huge role in poetry. The poetic role of memories can be traced from children's, youthful poems by Pushkin, of which the most important is "Memories in Tsarskoe Selo", but later the role of memories is very great not only in Pushkin's lyrics, but even in the poem "Eugene".
When Pushkin needs to introduce a lyrical beginning, he often resorts to recollections. As you know, Pushkin was not in St. Petersburg during the flood of 1824, but nevertheless, in The Bronze Horseman, the flood is colored by a memory:
"It was a terrible time, a fresh memory of it ..."
Pushkin also paints his historical works with a share of personal, ancestral memory. Remember: in "Boris Godunov" his ancestor Pushkin acts, in "Arapa of Peter the Great" - also an ancestor, Hannibal.
Memory is the basis of conscience and morality, memory is the basis of culture, “accumulations” of culture, memory is one of the foundations of poetry - the aesthetic understanding of cultural values. To preserve memory, to preserve memory is our moral duty to ourselves and to our descendants. Memory is our wealth.

What is the role of culture in human life? What are the consequences of the disappearance of monuments for humans? What role do historical and cultural monuments play in human life? Why is it necessary to preserve monuments of history and culture? An argument from the book by D.S. Likhachev "Letters about the good and the beautiful"

We take care of our own health and the health of others, we monitor proper nutrition, so that the air and water remain clean, unpolluted.
The science that deals with the protection and restoration of the surrounding nature is called ecology. But ecology should not be confined only to the tasks of preserving the biological environment that surrounds us. A person lives not only in the natural environment, but also in the environment created by the culture of his ancestors and himself. The preservation of the cultural environment is a task no less important than the preservation of the surrounding nature. If nature is necessary for a person for his biological life, then the cultural environment is no less necessary for his spiritual, moral life, for his “spiritual settledness”, for his attachment to his native places, following the precepts of his ancestors, for his moral self-discipline and sociality. Meanwhile, the question of moral ecology is not only not studied, but also not posed. Certain types of culture and remnants of the cultural past, issues of restoration of monuments and their preservation are studied, but the moral significance and influence on a person of the entire cultural environment as a whole, its influencing force are not studied.
But the fact of the educational impact on a person of the surrounding cultural environment is not subject to the slightest doubt.
A person is brought up in the cultural environment that surrounds him imperceptibly for himself. He is brought up by history, the past. The past opens a window to the world for him, and not only a window, but also doors, even a gate - a triumphal gate. To live where the poets and prose writers of the great Russian literature lived, to live where the great critics and philosophers lived, to absorb daily impressions that were reflected in one way or another in the great works of Russian literature, to visit apartment-museums means to gradually enrich spiritually.
Streets, squares, canals, individual houses, parks remind, remind, remind ... Impressions of the past enter the spiritual world of a person unobtrusively and unstably, and a person with an open soul enters the past. He learns to respect ancestors and remembers what, in turn, will be needed for his descendants. The past and the future become their own for the person. He begins to learn responsibility - moral responsibility to people of the past and at the same time to people of the future, for whom the past will be no less important than for us, and perhaps with a general rise in culture and the multiplication of spiritual demands, even more important. Caring for the past is at the same time caring for the future ...
Loving your family, your childhood impressions, your home, your school, your village, your city, your country, your culture and language, the entire globe is necessary, absolutely essential for a person's moral settledness.
If a person does not like at least occasionally looking at old photographs of his parents, does not appreciate the memory of them left in the garden that they cultivated, in the things that belonged to them, then he does not love them. If a person does not like old houses, old streets, even if they are inferior, then he has no love for his city. If a person is indifferent to the monuments of the history of his country, it means that he is indifferent to his country.
Loss in nature is recoverable up to certain limits. It is quite different with cultural monuments. Their losses are irreparable, because cultural monuments are always individual, always associated with a certain era in the past, with certain masters. Every monument is destroyed forever, distorted forever, wounded forever. And he is completely defenseless, he will not restore himself.
Any rebuilt monument of antiquity will be devoid of documentary evidence. It will only be "visibility."
The "stock" of cultural monuments, the "stock" of the cultural environment is extremely limited in the world, and it is being depleted at an ever-increasing rate. Even the restorers themselves, who sometimes work according to their own, insufficiently tested theories or our contemporary ideas about beauty, become more destroyers of the monuments of the past than their guardians. Monuments and city planners are destroying, especially if they do not have clear and complete historical knowledge.
The land becomes cramped for cultural monuments, not because there is little land, but because builders are attracted to old places that are inhabited, and therefore seem especially beautiful and tempting for city planners.
Urban planners, like no one else, need knowledge in the field of cultural ecology. Therefore, local history should be developed, it should be disseminated and taught in order to solve local environmental problems on the basis of it. Local history fosters love for the native land and gives the knowledge, without which it is impossible to preserve cultural monuments in the field.
We should not place full responsibility for neglect of the past on others or simply hope that special state and public organizations are engaged in preserving the culture of the past and “this is their business,” not ours. We ourselves must be intelligent, cultured, educated, understand beauty and be kind - precisely kind and grateful to our ancestors, who created for us and our descendants all that beauty that not anyone else, namely, we sometimes do not know how to recognize, accept in their moral world, to preserve and actively defend.
Each person is obliged to know among what beauty and what moral values ​​he lives. He should not be self-confident and arrogant in rejecting the culture of the past indiscriminately and “judgment”. Everyone is obliged to take all possible part in the preservation of culture.
We are responsible for everything, and not someone else, and it is in our power not to be indifferent to our past. It is ours, in our common possession.

Why is it important to preserve historical memory? What are the consequences of the disappearance of monuments for humans? The problem of changing the historical appearance of the old city. An argument from the book by D.S. Likhachev "Letters about good and beautiful".

In September 1978, I was at the Borodino field with the wonderful restorer Nikolai Ivanovich Ivanov. Have you paid attention to what kind of dedicated people are found among the restorers and museum workers? They cherish things and things pay them in love. Things, monuments give their keepers love for themselves, affection, noble devotion to culture, and then a taste and understanding of art, an understanding of the past, a heartfelt attraction to the people who created them. True love for people, for monuments never goes unanswered. That is why people find each other, and the land, well-groomed by people, finds people who love it and itself responds to them in the same way.
For fifteen years Nikolai Ivanovich did not go on vacation: he cannot rest outside the Borodino field. He lives for several days of the Battle of Borodino and the days that preceded the battle. Borodin's field is of colossal educational value.
I hate the war, I endured the Leningrad blockade, Nazi shelling of civilians from warm shelters, in positions on the Duderhof heights, I was an eyewitness to the heroism with which Soviet people defended their Motherland, with what incomprehensible staunchness they resisted the enemy. Perhaps that is why the Battle of Borodino, which always amazed me with its moral strength, acquired a new meaning for me. Russian soldiers repulsed eight fierce attacks on the Raevsky battery, which followed one after another with unheard-of stubbornness.
In the end, the soldiers of both armies fought in total darkness, by touch. The moral strength of the Russians was multiplied tenfold by the need to defend Moscow. And Nikolai Ivanovich and I bared our heads in front of the monuments to heroes erected on the Borodino field by grateful descendants ...
In my youth I came to Moscow for the first time and accidentally came across the Church of the Assumption on Pokrovka (1696-1699). She cannot be imagined from the surviving photographs and drawings; she should have been seen surrounded by low ordinary buildings. But then people came and demolished the church. Now there is a wasteland in this place ...
Who are these people who are destroying the living past - the past, which is also our present, for culture does not die? Sometimes these are the architects themselves - one of those who really want to put their "creation" in a winning place and are too lazy to think about something else. Sometimes these are completely random people, and we are all to blame for this. We must think about how this does not happen again. Cultural monuments belong to the people, and not only to our generation. We are responsible for them to our descendants. We will be in great demand in a hundred and two hundred years.
Historic cities are inhabited not only by those who live in them now. They are inhabited by great people of the past, whose memory cannot die. The channels of Leningrad reflected Pushkin and Dostoevsky with the characters of his "White Nights".
The historical atmosphere of our cities cannot be captured by any photographs, reproductions and models. This atmosphere can be revealed, emphasized by reconstructions, but it can also be easily destroyed - destroyed without a trace. It is unrecoverable. We must preserve our past: it has the most effective educational value. It fosters a sense of responsibility towards the Motherland.
This is what the Petrozavodsk architect V.P. Orfinsky, the author of many books on the folk architecture of Karelia, told me. On May 25, 1971, a unique chapel of the early 17th century in the village of Pelkula, an architectural monument of national importance, burned down in the Medvezhyegorsk district. And no one even began to find out the circumstances of the case.
In 1975, another monument of architecture of national importance burned down - the Church of the Ascension in the village of Tipinitsy, Medvezhyegorsk District - one of the most interesting hipped-roof temples in the Russian North. The reason is lightning, but the real root cause is irresponsibility and negligence: the high-rise hipped pillars of the Ascension Church and the bell tower interlocked with it did not have elementary lightning protection.
The tent of the Nativity Church of the 18th century fell in the village of Bestuzhev, Ustyansky District, Arkhangelsk Region - the most valuable monument of hipped-roof architecture, the last element of the ensemble, very accurately placed in the bend of the Ustya River. The reason is sheer neglect.
And here is a small fact about Belarus. In the village of Dostoyevo, where Dostoevsky's ancestors came from, there was a small church of the 18th century. Local authorities, in order to get rid of responsibility, fearing that the monument would be registered with the guarded, ordered to demolish the church with bulldozers. Only measurements and photographs remained from her. It happened in 1976.
Many such facts could be collected. What can you do so that they do not repeat? First of all, one should not forget about them, pretend that they did not exist. Not enough and prohibitions, instructions and boards with the indication "Protected by the state." It is necessary that the facts of a hooligan or irresponsible attitude to cultural heritage are rigorously examined in courts and the perpetrators should be severely punished. But this is not enough. It is absolutely necessary to study local history already in secondary school, to study in circles on the history and nature of your region. It is youth organizations that should first of all take patronage over the history of their region. Finally, and most importantly, high school history teaching programs need to include lessons in local history.
Love for one's homeland is not something abstract; it is love for their city, for their locality, for the monuments of its culture, pride in their history. That is why the teaching of history at school should be specific - on the monuments of history, culture, and the revolutionary past of their area.
One cannot only call on patriotism, it must be carefully nurtured - to cultivate love for one's native places, to cultivate a spiritual settledness. And for all this, it is necessary to develop the science of cultural ecology. Not only the natural environment, but also the cultural environment, the environment of cultural monuments and its impact on humans must be thoroughly studied scientifically.
There will be no roots in the native area, in the native country - there will be many people similar to the steppe tumbleweed plant.

Why do you need to know history? The relationship of the past, present and future. Ray Bradbury "And Thunder Came"

The past, present and future are interconnected. Every act we do is reflected in the future. So, R. Bradbury in the story "" invites the reader to imagine what could happen if a person had a time machine. There is such a machine in his imaginary future. Thrill-seekers are offered time safaris. The main character Eckels embarks on an adventure, but he is warned that nothing can be changed, only those animals that must die of disease or for some other reason can be killed (all this is specified by the organizers in advance). Once in the age of the dinosaurs, Eckels is so frightened that he runs away from the permitted terrain. His return to the present shows how important every detail is: there is a trampled butterfly on his sole. Once in the present, he found that the whole world had changed: the colors, the composition of the atmosphere, the person, and even the spelling rules had changed. Instead of a liberal president, a dictator was in power.
Thus, Bradbury conveys the following idea: the past and the future are interconnected. We are responsible for every act that we have done.
Looking into the past is necessary in order to know your future. Everything that has ever happened has influenced the world in which we live. If you can draw a parallel between the past and the present, then you can come to the future you want.

What is the cost of a mistake in history? Ray Bradbury "And Thunder Came"

Sometimes the cost of a mistake can cost the life of all mankind. So, in the story "" it is shown that one minor mistake can lead to disaster. The protagonist of the story, Eckels, steps on a butterfly during a journey into the past; with his oversight, he changes the entire course of history. This story shows how carefully you need to think before doing anything. He had been warned of danger, but the thirst for adventure was stronger than common sense. He could not correctly assess his abilities and capabilities. This led to disaster.

Indeed, for what? It would seem that such a question is easy to answer. From childhood we were taught that literature and art help to understand the meaning of life, make us smarter, more receptive, spiritually richer. All this is true, of course. But it happens that even a correct thought, having become habitual, ceases to disturb and excite a person, turns into a common phrase. Therefore, before answering the question “For what?” And answering it in an adult way, seriously, you need to think about a lot and understand a lot anew.

On the banks of the Nerl River near the city of Vladimir stands the Church of the Intercession. Very small, light, lonely on a wide green plain. It is one of those buildings that the country is proud of and which are usually called “architectural monuments”. In any, even the shortest book on the history of Russian art, you will find a mention of it. You will learn that this church was built by order of Prince Andrei Bogolyubsky in honor of the victory over the Volga Bulgarians and in memory of the prince Izyaslav who died in battle; that it was placed at the confluence of two rivers - the Klyazma and the Nerl, at the "gates" of the Vladimir-Suzdal land; that on the facades of the building there are whimsical and magnificent stone carvings.

Nature is also beautiful: ancient dark oaks sometimes enchant our eyes no less than works of art. Pushkin never tired of admiring the "free element" of the sea. But the beauty of nature hardly depends on a person, it is constantly renewed, new cheerful shoots are growing to replace dying trees, dew falls and dries, sunsets are extinguished. We admire nature and try to protect it to the best of our ability.

However, the centenary oak, which remembers the times long gone, was not created by man. He does not have the warmth of his hands and the thrill of his thoughts, as in a statue, painting or stone building. But the beauty of the Church of the Intercession is man-made, all this was done by people whose names have long been forgotten, people, probably very different, who knew grief, joy, longing and fun. Dozens of hands, strong, careful and skillful, folded, obeying the thoughts of an unknown builder, a white-stone slender miracle. There are eight centuries between us. Wars and revolutions, brilliant discoveries of scientists, historical upheavals, great changes in the destinies of peoples.

But here there is a small, fragile temple, its light reflection in the calm water of the Nerl swaying slightly, gentle shadows outline the outlines of stone animals and birds above the narrow windows - and time disappears. Like eight hundred years ago, excitement, joy is born in the human heart - this is what people worked for.

Only art is capable of this. You can perfectly know hundreds of dates and facts, understand the causes and consequences of events. But nothing can replace a live encounter with history. Of course, the stone arrowhead is also a reality, but it lacks the main thing - a person's idea of ​​good, evil, harmony and justice - about the spiritual world of a person. And in art there is all this, and time is not able to prevent it.

Art is the memory of the heart of the people. Art not only does not lose its beauty, it keeps evidence of how our ancestors looked at the world. Birds and lions, slightly angular human heads on the walls of the church - these are the images that lived in fairy tales, and then in people's imaginations.

No, the Church of the Intercession on the Nerl, like hundreds of other buildings, is not just an architectural monument, but a bunch of feelings and thoughts, images and ideas that make the past and the present akin. Precisely relatives in the truest sense of the word, because the white-stone church near Vladimir has absorbed the features of Russian, national culture, in all its uniqueness. People want to understand each other, strive to comprehend the main, the most essential in the spiritual life of each country.

A single church, built many centuries ago, can make you think about a lot, it can stir up thousands of thoughts that a person did not even suspect before, can make each of us feel our indissoluble connection with the history and culture of the Motherland. In art, generations pass on to each other the most valuable, intimate and sacred - the heat of the soul, excitement, faith in the beautiful.

How can you not preserve the priceless heritage of the past! Moreover, among all types of arts, it is the fine arts and architecture that are unique and inimitable. Indeed, even if one of the million copies of War and Peace survives, the novel will live on, it will be printed again. The only score of Beethoven's symphony will be rewritten and played again, poems, poems and songs are remembered by people by heart. And paintings, palaces, cathedrals and statues, alas, are mortal. They can be restored, and even then not always, but it is impossible to repeat them the same way.

This is partly why they cause tremulous excitement, a sense of uniqueness. Museum workers carefully peer at the readings of the instruments - is the air dry, the temperature has dropped by a degree; new foundations are brought under the ancient buildings, ancient frescoes are carefully cleaned, statues are renewed.

When reading a book, you are not dealing with the author's manuscript, and it is not so important what ink “Eugene Onegin” was written in. And in front of the canvas, we remember - it was touched by Leonardo's brush. And for painting or architecture no translation is needed, we always "read" the picture in the original. Moreover, to a modern Italian, Dante's language may seem archaic and not always clear, for us he is just a foreign language, and we must use translation. But the smile of "Madonna Benoit" touches both us and Leonardo's compatriots, it is dear to a person of any nation. And yet the Madonna is undoubtedly Italian - the elusive lightness of gesture, golden skin, cheerful simplicity. She is a contemporary of her creator, a Renaissance woman, with a clear gaze, as if trying to discern the mysterious essence of things.

These amazing qualities make painting an especially precious art. With its help, peoples and epochs speak with each other in a friendly and simple way, they are getting closer to the century and the country. But this does not mean that art easily and without difficulty reveals its secrets. Often, antiquity leaves the viewer indifferent, his gaze slides dispassionately over the stone faces of the Egyptian pharaohs, so equally motionless, almost dead. And, perhaps, someone will have a flash of thought that the rows of dark statues are not so interesting, that it is hardly worth getting carried away with them.

Another thought may arise - yes, science needs historical values, but why do I need them? Respectful indifference impoverishes a person, he will not understand why people sometimes save works of art at the cost of their lives.

No, don't go quietly! Peer into the granite faces of cruel, forgotten despots, do not be confused by their outward monotony.

Think about why the ancient sculptors of their kings portrayed such twins, as if asleep in reality. After all, this is interesting - people, probably, have not changed so much in appearance since then, what made the sculptors make statues exactly like this: indifferent flat eyes, a body filled with heavy force, doomed to eternal immobility.

How amazing is the combination of completely specific, unique facial features, the cut of the eyes, the pattern of the lips with detachment, with the absence of any expression, feeling, excitement. Look at these portraits, leaf through the books. And even small grains of knowledge will throw a new light on the stone statues that seemed boring at first. It turns out that the cult of the dead forced the ancient Egyptians to see in statues not just images of a person, but the abode of his spiritual essence, his vitality, what was called "ka" in Ancient Egypt and which, according to their ideas, continued to live after the physical death of people.

And if we imagine that these sculptures existed even when even Ancient Greece was still in the future, that they are not one thousand years old, and their stone eyes saw Thebes, the floods of the Nile at the foot of completely new pyramids, the chariots of the pharaohs, the soldiers of Napoleon. .. Then you will no longer ask yourself what is interesting in these granite figures.

Statues, even the most ancient ones, are not always kept in museums. They "live" on city streets and squares, and then their fates are closely and forever intertwined with the fates of the city, with the events that took place at their pedestals.

Let us recall the monument to Peter I in Leningrad, the famous "Bronze Horseman", created by the sculptor Falconet. Is the glory of this monument, one of the best monuments in the world, only in its artistic merit? For all of us, the "giant on a galloping horse" is a source of complex and exciting associations, thoughts, and memories. This is both an image of the distant past, when our homeland “matured with the genius of Peter,” and a magnificent monument to a political figure who “reared up” Russia. This monument has become the personification of old St. Petersburg, built up with low houses, which did not yet have granite embankments, and did not acquire its full grandeur. Only one bridge, temporary, pontoon, then connected the banks of the Neva, just opposite the Bronze Horseman. And the monument stood in the very center of the city, its most lively place, where the Admiralty side was connected to Vasilievsky Island. A crowd flowed past him, carriages rushed with a roar, in the evenings the pale light of lanterns barely illuminated the formidable face of the tsar "he is terrible in the surrounding darkness ...". The sculpture has become a single whole with Pushkin's poem and, together with it, the symbol of the city. The flood glorified by the poet, the terrible rumble of December 1825 and much that is famous for the history of St. Petersburg took place here - at the Thunder - a stone, a pedestal of a statue. And the famous white nights, when foggy transparent clouds slowly stretch across the bright sky, as if obeying the gesture of Peter's imperiously outstretched hand, how can you, thinking about them, not remember the "Bronze Horseman", around whom many generations saw so many poetic and unforgettable hours!

Art accumulates the feelings of hundreds of generations, becomes a receptacle and source of human experience. In a small room on the first floor of the Parisian Louvre, where awe-inspiring silence reigns at the statue of Venus de Milo, you involuntarily think about how many people were given happiness by contemplating the perfect beauty of this dark marble.

In addition, art, be it a statue, cathedral or painting, is a window into an unfamiliar world, separated from us by hundreds of years, through which you can see not only the visible appearance of the era, but also its essence. How people felt about their time.

But you can look deeper: in the thoroughness of the brushstroke of the Dutch painters, in their sensitivity to the charm of the material world, to the charm and beauty of "inconspicuous" things - love for an established way of life. And this is not a petty philistine love, but a deeply meaningful, lofty feeling, both poetic and philosophical. Life was not easy for the Dutch, they had to win back land from the sea, and freedom from the Spanish conquerors. That is why a sunny square on a waxed parquet floor, a velvety apple skin, a thin chasing of a silver glass in their paintings become witnesses and exponents of this love.

Just look at the paintings of Jan van Eyck, the first great master of the Dutch Renaissance, at how he writes things, microscopic details of life. In every movement of the brush there is a naive and wise admiration for what the artist depicts; it shows things in their original and surprisingly attractive essence, we feel the aromatic elasticity of the fruit, the slippery coolness of dry rustling silk, the cast weight of a bronze shandal.

This is how the spiritual history of mankind passes before us in art, the history of the discovery of the world, its meaning, and not yet fully cognized beauty. After all, each generation reflects it anew and in its own way.

There are many things on our planet that have no utilitarian value, that are not able to feed or warm people, or cure a disease, these are works of art.

People, as they can, protect them from the merciless time. And not only because "useless" works cost millions. This is not the point.

People understand that cultural monuments are the common heritage of generations, which allows us to feel the history of the planet as our own and dear.

The art of the past is the youth of civilization, the youth of culture. Without knowing it or neglecting it, you can live your life without becoming a real person, conscious of responsibility for the past and future of the Earth. Therefore, we are not surprised that they spend energy, time and money on the restoration of ancient buildings, that pictures, like people, are treated, given injections and X-rayed.

A museum, an old church, a picture that has darkened with time - for us this is the past. Is it only the past?

Many years will pass. New cities will be built; modern jet planes will become funny and slow-moving, and a train ride will seem as amazing as a trip in a mail carriage is to us.

But the Church of the Intercession on the Nerl will remain the same as eight centuries ago. AND . And the statue of Venus de Milo. All this belongs to the future today. To the grandchildren of our grandchildren. This is what we must not forget. The fact that cultural monuments of distant eras are an eternal torch passed on to each other by different generations. And it depends on us that the flame in it does not shake for a minute.

Paradoxical as it sounds, but it is precisely by meeting with the culture of the past that we can feel the breath of the future. That future, when the value of art and humanity will be clear and unquestionable for everyone. The Romans said that art is eternal and life is short. Fortunately, this is not entirely true, because immortal art is created by people. And it is in our power to preserve the immortality of mankind.