Magazine Russian resurrection on the altar of the fatherland of the Maltsev. On the altar of the fatherland. And there is neither the Minister of Culture Medinsky, nor other official and semi-official persons here. Are they all sympathetic to the fact that now business is sacred? Vlo man

The graves of noble boyar families are adjacent to the mass grave of the homeless and poor people - the skudelnitsa. The victims of the Bolshevik terror of the 1920s are also buried here. They were brought here in wagons (there is a railway nearby), shot and thrown into pits.
At Soviet power the cemetery was razed to the ground. A Bolshevik concentration camp was set up in the monastery, and later a shooting gallery and a barbecue house were built. In the dashing 90s, resourceful people owned these objects, none of them were left alive. Their place was taken by new owners, who, in turn, are trying to build their "happiness" on the ancient churchyard.

Three years ago, the old burnt shooting gallery was demolished, and in its place, under the guise of reconstruction, a new capital building with completely different dimensions was built. The builders pulled out soil mixed with bones with excavators and wanted to take it out, but the parishioners of the temple turned 15 loaded KAMAZ trucks and forced them to pour the earth into the cemetery. The territory of the cemetery in the 90s was transferred to the department of the church, and the temple-chapel of Dmitry Donskoy has already been built here, but this does not stop the builders. They are guided by their personal master plan. Not knowing what they are doing, they continue to tempt fate. The Old Testament prophet Hosea noted that the Lord punishes people for lack of knowledge.

Now the soil is scattered over the territory of the cemetery, members of the community collect and dig up human bones, bury them in the ground according to all church canons.
When the next burial ceremony was going on, the owner of the barbecue literally raged. He jumped into the grave and interfered with the burial of the remains. After all, these burials interfere with the implementation of his "Napoleonic" plans - to select through the courts the land adjacent to his building, to roll up the cemetery in asphalt, and to demolish the temple-chapel.
Spaso-Andronnikov Monastery is still the Central Museum of Ancient Russian Culture and Art. Andrei Rublev, but since 1990, the oldest surviving Moscow Cathedral of the Savior Not Made by Hands, which was consecrated by St. Sergius of Radonezh, has been operating here again. In the arches of the altar windows, details of frescoes from the time of St. Andrei Rublev have been preserved.

In 1989, the icon painter Archpriest Vyacheslav Savinykh was appointed rector of the Cathedral of the Savior.
In 1993, during an excavation in the altar of the Spassky Cathedral, six relics were found. According to eyewitnesses, the relics exuded a wonderful fragrance. Studies of the relics showed that two of the deceased were icon painters. Subsequently, it was established that these were the relics of Andrei Rublev and
Daniil Cherny, they were laid to rest in this temple in 1430.
Andronikov Monastery arose with the blessing of St. Alexis, Metropolitan of Moscow. In 1356 he was returning from Constantinople, where the Patriarch of Constantinople blessed him with an icon of the Image of the Savior Not Made by Hands. A terrible storm began, and, praying before the Image of the Savior presented by the Patriarch, Metropolitan Alexy of Moscow made a vow that if he was saved in this storm, he would erect a church. He descended to earth on the day of the celebration of the Image of the Savior Not Made by Hands!
Andronik, a disciple of St. Sergius of Radonezh, was appointed hegumen of the new monastery. Saint Sergius also participated in the consecration of the Church of the Image of the Savior Not Made by Hands, and visited the monastery of his disciple more than once. To this day, a kilometer from the Spaso-Andronikov Monastery stands the Forgiveness Chapel, built in 1890 on the site of the parting of St. Sergius and Andronik.
The walls of the current cathedral are a stone chronicle of our Fatherland. The Second Rome still shone with grandeur - the millionth Constantinople, and Russia was under the yoke, but already unbent its back. And the symbol of this Russian renaissance was the erection of a monastery cathedral, the main shrine of which was a miraculous icon brought from the Second Rome, which is fading into history, as a gift to the future Third Rome!
Even the Golden Horn stream, which flows into the Yauza at the Andronikov Monastery, was named so by Metropolitan Alexy after the name of the Golden Horn Bay in Constantinople. It is so symbolically imprinted forever that EXACTLY HERE IS THE SOURCE OF ROME THE THIRD!
The then white-stone Kremlin has not yet taken the shape familiar to us. But then Constantinople fell, the thousand-year-old Byzantine Empire disappeared, and Moscow became Rome III. The current Kremlin ensemble, rebuilt by Ivan III, visibly confirmed the greatness of Russia.A monastery was also built, the refectory of the monastery is a sister and the same age as the Faceted Chamber.

In the basement of the refectory, the inflexible archpriest Aaavkum languished, and, according to legend, an angel appeared to him here.
The bell tower of the monastery rose almost on a par with Ivan the Great, but in Soviet period the Hammer and Sickle cultural center was built from its bricks.
Now it is important that spiritual life be revived here, a living flow of human souls is needed. It is important to make an effort, to work with your heart. Come to bow to the relics of Andrei Rublev, to honor the memory of our ancestors, warriors of the Kulikov field, Muscovites of all classes, who laid down their lives for the Fatherland. We are now because they were then.
Through the central channels they talked about the problems of the Andronikov Monastery, but one of the philosophers said that the over-organization of our social life results in the organization of thoughtlessness.

The central channels appeal to everyone at once and to no one personally.
Russian people are compassionate, but busy with the bustle of life within their "treadmill". If they talk about a problem on the central channel, then the person thinks that the authorities are already dealing with the solution of the current situation. But in life there is always a place for our feasible feat. A lot depends on personal diligence without looking back. As the apostle James said, “ships, no matter how big they are and no matter how strong winds are carried, are guided by a small rudder” (3:4).
What we saw in the Andronikov Monastery of the Savior is the state of Russia as a whole, presented in miniature.

The hardest burden fell on the lot of our ancestors, they built, defended, created our Fatherland and the city of Moscow for centuries. They worked so successfully that Moscow became a huge metropolis, one of the capitals of the world. The price of Moscow land is the highest, and now they themselves have nowhere to rest. And for the sake of this land and temporary possession of it, some people are ready for anything.
For the fifth generation of Russian people is cursed for desecration of the Fatherland, for rebellion and regicide, cursed with historical amnesia. Although in Russia and abroad on various platforms and in the media they are already talking and talking about the Russian world, about the importance of preserving the value of our special civilization ... about the special path of Russia ... And now, on the graveyard of an ancient monastery, in the center of Moscow, bones crunch underfoot builders of this Russian World. Russian people of different eras and classes, saints, their remains are mixed together, their ashes are one whole, this is the people's cathedral of previous generations - the altar of the Fatherland. According to research, the density of burials here is 10 people per square meter.

What do you think about when you walk on the ground strewn with bones? About the frailty and brevity of our vain life. What will we leave behind? How will we raise the next generation, and how will they treat our remains?
How many fates, books of life, plots known only to God and the souls of the dead, how many strong feelings were experienced by these people?
They lived, hoped, believed, loved. Their souls are already with the Lord. The Lord will not ask anything from them, they have already passed their test of life, He will ask us.
The holy fathers and heroes of the past are coming for us, but we act, and they believe in us. Not only do we believe in God, but the Lord is in us.
Once, Sergius of Radonezh, ascetic in the forest, cut down a cell for himself and, standing in prayer, saw hordes of demons around him, surrounding him and yelling - get off this place!
- Why are you driving me? - asked Sergius.
- No, you're driving us out of here!
A storm swept in and scattered the trees around the cell, but Sergius only intensified his prayer: everything around was swept away, but he remained intact.
Now the lamp of faith has been lit again in the Andronnikov Monastery, but so far there is a museum, and the community of the temple is on the bird's rights. The community keeps all-round defense, at the same time it is involved in a number of conflicts with the owners of the shooting gallery. There is an exhausting litigation with the owner of the former barbecue building.

The director of the museum, Mindlin, strikes with the scope of his ideas.He decided to significantly rebuild and modernize a number of buildings, including the Church of the Archangel Michael, in which dozens of representatives of the Lopukhin family rest, and at the same time to demolish the iconostasis in the Spassky Cathedral, where the Divine Liturgy is now celebrated, so that tourists can see the altar of the temple. This is nothing but sacrilege and a criminally punishable insult to the feelings of believers.

A Russian person who has risen to pray is again shouted - get off this place!
So, a storm that suddenly swept over Moscow knocked down trees around the temple of Dmitry Donskoy, but the temple remained intact and unharmed.

And there is neither the Minister of Culture Medinsky, nor other official and semi-official persons here. Are they all sympathetic to the fact that now business is sacred? A person has invested money, but he must recapture it, build a shooting range, and bowling, a sauna, billiards, fitness, a restaurant to it to increase turnover ...

It seems that the best thing that the owners of a shooting gallery and a barbecue house can do is to demolish their buildings and spend the rest of their lives in repentance. But they continue to go against the grain and experience the greatness of God, and whoever experiences the greatness of God will be crushed by Him. Let us remember how in 1941 the Lord bowed the almighty Stalin, he then opened churches and released priests from prisons.
The previous owner of the "barbecue" at the last moment realized that the business on the bones is terrible sin, and began to build a temple, but did not have time.
Nevertheless, the temple was completed, and on June 2, on the Day of Remembrance of the Grand Duke, in the temple-chapel of Dmitry Donskoy, located on the ancient necropolis, the Divine Liturgy and the procession took place near the walls of the monastery.
Near the monastery on May 28, 2017, the Pokloniye Cross, installed
at the source, which was discovered by the founder of the monastery Andronicus. They desecrated the Cross, and a few hours later a hurricane passed through Moscow. He claimed the lives of people, injured many, damaged property. We remember how in Kyiv the possessed sawed off the cross. The people of Kiev then, for the most part, did not show zeal, did not consolidate in order to protect the shrine from desecration. The cross was gone, and the infernal forces were not slow to show their strength - a political hurricane broke out over Kyiv.
We went to inspect the cross cut by the vandal, and then the bell rang. It is reported that the owner of the shooting gallery arrived, he was outraged by the installation of a monument stone. It turned out that the desecration of the Poklonny Cross is just the tip of the iceberg.
It’s good that Alexei Toporov, a journalist from the Tsargrad TV channel, was with us. We began to record the conflict on video, it was noticeable that the co-owner of the shooting range was not ready for this. A person devoid of the fear of God does not realize that he is incurring the curse of Ham, which will echo through many generations. The current capitalists, whom God did not take away in the 90s, are no less terrible in their essence than the “faithful Leninists” of the 20s. Without showing off, pomp and pathos, they destroy everything that can be destroyed, snip off everything that can be snatched. Blinded by the irrepressible passion for profit, they undermine the pillars of Russian civilization. They cannot act otherwise. After all, the one who does not give in to the training of the "golden calf" is quickly culled by him and leaves the arena of a fierce struggle for the blessings of life.

On June 3, on Parents' Saturday, we, representatives of public organizations of Greater Novorossiya, helped the community by working at this ancient cemetery, put the paths and graves in order, and prepared the territory for the opening of the foundation stone with the inscription:

“The necropolis of the Spaso-Andronnikov Monastery will be recreated here. In this holy land, the heroes who fell in the Battle of Kulikovo, in the battles of the Northern War, the Seven Years' War, the Patriotic War of 1812, the victims of the Red Terror, the prisoners of the Androniev camp (1919-1922) united in their repose. Representatives of glorious families that have become a symbol of selfless service to Russia: the Bakhmetievs, Baratynskys, Volkonskys, Golovins, Lopukhins, Musin Pushkins, Naryshkins, Orlovs, Stroganovs, Rimsky-Korsakovs, Tolstoy, Trubetskoy; monks, many ordinary people, prayer books, pilgrims of the Russian land.

The next day, on the feast of the Holy Trinity, a divine service was held in the Spassky Cathedral of the Spaso-Andronikov Monastery, and then the procession and the opening of the foundation stone of the future monument to all Muscovites, warriors, monks and representatives of ancient aristocratic families buried on this site for 660 years of existence ancient Moscow monastery necropolis. The stone was consecrated by the rector of the cathedral, Archpriest Vyacheslav Savinykh.
The image of Russia is inextricably linked with the image of the Trinity, which was seen and transferred to the icon by the brilliant icon painter Andrei Rublev, his work and asceticism is the glory of Russia, its national treasure. Works are written about it, dissertations are defended.

Together with Daniil Cherny, Rublev painted the cathedral of the Andronikov Monastery.
It was in this monastery that the jubilant Muscovites solemnly welcomed the holy noble Prince Dmitry, who became Donskoy after the Battle of Kulikovo. Here, his warriors marched in formation, having won a great victory over the enslavers, they are now forever inscribed in the historical memory of our people.
The image of the Blessed Prince helped to win more than once in subsequent eras. To the Great Patriotic War tank column named after Dmitry Donskoy smashed the fascist beast. The beginning of the Russian spring in Kharkov on March 1, 2014 is also associated with the image of the Don Icon of the Mother of God. Volunteers from Moscow went to the first fight at Donetsk airport on May 26, 2014 on the day of memory of Dmitry Donskoy according to the old style on May 19, 2014.
It is no coincidence that there were many representatives of Novorossia and political emigrants from Ukraine at the opening of the monument. The assembly point of the Russian people cannot be changed!
The public figures, historians, archaeologists and parishioners who spoke at the ceremony were unanimous in that it was necessary to stop the desecration of the necropolis and return our all-Russian shrine - the Andronikov Monastery - to the Church!
The church community of the Andronikov Monastery has been in a state of siege for many years. The head of the Moscow public movement "Restoration of the Andronikov Monastery" Sergei Karnaukhov is fighting on this site almost alone, but reinforcements have arrived today.

We hope that the people of Moscow will come out to defend the ALL-RUSSIAN HOLY !!!

We naively thought that the greater Novorossiya would return to Russia, raising an uprising in Kharkov in March 2014, but in three years our illusions were dispelled. We saw that there is not yet that Russia to which we want to return. It turned out that there is no end to the work.
Tarkovsky's film "Andrei Rublev" ends with an episode in which the boy boldly undertook to cast a bell, telling the prince that the father had given him the secret of casting. The bell was cast. The prince was amazed, the people rejoiced, and the overseas guests were amazed by the marvelous sound of the Russian blagovest.
And the lad fell, crying sobbing. Andrei Rublev picks it up: saying why are you so? Do you see what a holiday you made for people!? And the lad to him: the father did not convey the secret, he took it with him to the grave.

But what happened? God, who trusts in him, will not be put to shame and revealed to the youth the secret of casting the bell anew.
After decades of historical forgetfulness, we will have to rediscover the secret of Russia's greatness in today's struggle.
It is necessary to DEFEND THE ALTAR OF THE HOMELAND and expel the merchants from the Temple!

Sergey Moiseev
Chairman of the Board
Kharkiv regional
public organization
"Rus Triune"

photo by Elena Stepanova, Sergey and Mikhail Moiseev

"What a country! How it grinds everything and everyone, transforms, absorbs."

From the word about Russia Grand Duchess Alexandra Iosifovna

(wife of Grand Duke Konstantin Nikolaevich Romanov)

To all appearances, one of the most important and acute demands of our time is interethnic and interfaith peace. In this regard, Russia has a huge historical and spiritual experience of the peaceful life of Russians with their large multinational relatives.

The peaceful coexistence of a multinational family was based on the Christian idea set forth by the Apostle Paul: for Christ there is "neither a Jew, nor a Greek, nor a slave, nor a free man, neither a male nor a female." Therefore, the problem of nationality has never been raised in Russia, and even in the passport, as is well known, there has never been such a column. Only the religion of the Russian subject mattered. Therefore, there is nothing surprising in the fact that Russified French (K. Bryullov and N. Ge), Germans (V .I.Gau and V.G.Perov), Armenians (I.Aivazovsky and Martiros Saryan,), Kalmyk Alexei Yegorov and Greek Arkhip Kuindzhi and others. All of them grew up on Russian soil, in the original atmosphere of the Russian world, on the deep development of the foundations and traditions of Russian culture.

Many foreigners who came to Russia became so familiar with Russian life that over time they began to recognize themselves as Russians, and some even accepted Orthodoxy. But even those who continued to be citizens of their country, nevertheless, began to live in the interests of Russia, making their own, at times, significant contribution to the history of Russian art.

Just one example. Auguste Montferan - the author of St. Isaac's Cathedral in St. Petersburg, having learned that Emperor Nicholas 1 wants to invite foreign painters to paint it, was unusually indignant. Having achieved an audience with the Sovereign, he began to argue with fervor: “Why do we need foreigners? - said Montferan, - when WE have our own! “Who, who? the emperor asked with a smile. “Own, Russians!”, - without hesitation, the Frenchman Montferan answered with the same vehemence. Thanks to his perseverance, such famous masters as V. K. Shebuev, F. A. Bruni, P. V. Basin and the first among them, the outstanding Russian artist K. P. Bryullov, adorned the walls of the cathedral with their talent.

His distant ancestors were French Huguenots. Fearing persecution, they fled to Germany, where they adopted Lutheranism, and subsequently moved to Russia. Here, their original surname Brulello changed to Brullo, and then simply Russified, taking the form familiar to Russians. A Lutheran who remained faithful to the faith of his fathers, Karl Bryullov, was buried in Italy according to the Lutheran rite. But how much he did to glorify Russian art.

His famous painting "The Last Day of Pompeii", presented at the exhibition in the Paris Salon, leaving far behind all its competitors, received the Grand Prix and the Gold Medal.

It was Bryullov who, for the first time, not only in Russian, but also in world art, creates an image of the collapse of the pagan world and the birth of a new world - the Christian one. Bryullov's historicism is also manifested in the fact that the images of each of these religions occupy their place in the composition, allotted to them by history: dying paganism is in the background, and young Christianity is in the foreground. By such a compositional decision, Bryullov ideologically connects with Pushkin, fully sharing his thought, but embodying it in his own way: “In Christianity, ... this sacred element,” the poet wrote, “the world disappeared and was renewed.” The figure of a Christian priest in the picture became a symbol of such a religious renewal of human consciousness. We recognize this man as a minister of the church, not only by the pectoral cross, but also by the objects that the artist put into his hands: a chalice and a censer. This is not just church utensils, but temple shrines, without which there can be no worship, much less its sacrament and holiness. One of the symbols of incense is the blessed breath of the Holy Spirit, which unites everyone: the parishioners and the priesthood, led by Christ. With its conciliar meaning, the censer turns out to be directly connected with the chalice - the cup from which Christians take communion, individually uniting with God not only spiritually, but also bodily, but through Him with all people, as brothers and sisters in Christ. Thus, the artist, preaching the idea of Christian brotherly love, for the first time reveals the nature of the transfiguration of spiritual love into its spiritual hypostasis. Having become an expression of the most important Christian values, this figure grows in its generalization to the collective image of the Church of Christ. And it is precisely here, in the direction of the priest, that the author begins to turn the movement of a crowd of fleeing, fleeing people. And then the very idea of salvation acquires not only physical meaning as the salvation of life, but also spiritual as the salvation of the soul. Without suspecting it, Bryullov entered into a kind of polemic with his contemporaries. Although they assessed their age in different ways, they always had a negative connotation. And if, in particular, Pushkin in “his cruel age glorified ... freedom”, then Bryullov “in the present painful time”, which Metropolitan Filaret considered similar to “the last”, “glorified” Love. And the one of the heart, by which this world is held, and the one, the spiritual one, by which it is saved. European art has never known anything like it. And therefore it is no coincidence that at the Academy of Arts at the triumphant meeting of Bryullov, who returned from abroad, the master of historical painting, the same Kalmyk Alexei Yegorov, with whom Bryullov studied, enthusiastically said with tears in his eyes: “You praise God with a brush, Karl Pavlych.”

Aleksey Yegorov himself, who converted to Orthodoxy, was a deeply religious person and in his work he paid most attention to religious painting, although he was also a good portrait painter who knew how to bring a high, sublime mood into the work. When he was once asked why he had so few portraits, he answered: “I don’t paint portraits of people. I paint portraits of saints." We leave aside the analysis of this statement. What is important in this case is the very fact of the religious orientation of the art of the master, who turned out to be able to educate such a talented student.

The work of both Egorov himself and K. Bryullov not only does not fall out of the context of Russian art, but is its natural and consistent development. Their predecessors were artists of the 18th century. and, above all, historical painters - representatives of the leading genre from the very beginning preached in their works the ideas of Christian love, Christian brotherly love, the triumph of spiritual forces over the passions of man. It was then that the spiritual connection between the young, professional secular art and the art of the Russian Middle Ages, destroyed since the time of Peter the Great, was restored. And throughout the 19th century. Russian art did not change its spiritual foundations, its ontological nature.

Vasily Perov, whose father was a Russified German, entered upon an independent creative way at the turn of the 50s - 60s, in the era of critical realism, when everything was criticized: both the past and the present, way of life, traditions, foundations. And since the church stood at the head of the manifestation of all these forms of national life, it was she who took the brunt of the opposition. 20-year-old Perov, who still has nothing behind his soul: neither the prevailing worldview, nor life and artistic experience, turned out to be subject to the trends of the time. And only in France, where he was sent for an internship, as a medalist of the Academy of Arts, did the young artist awaken somehow immediately, suddenly dozing latently, an awareness of himself as a Russian person. It was there, far from Russia, that the Russian roots of Perov on the maternal side finally absorbed and dissolved the German blood of his father, Baron G.K. Kridener. It is possible that the deacon, from whom Perov received his first school knowledge, who stood at the origins of the formation of his personality, planted seeds in his soul that, many years later, only in a foreign land, sprouted with an awareness of his own involvement in his country and his people. It was there, in Paris, that he finally formulated the concept of "everyday genre" as "a reflection of the character and moral way of life of the people." A follower of the ideas of Venetsianov, who created the spiritual image of Russia in his cycle "The Seasons", the heir to P. Fedotov's "moral-critical scenes", which caused laughter through tears, Perov was the first to start talking about tears invisible to the world. In the center of his artistic attention is not the humiliated and insulted, but the moral image of people who are in humiliation and insult.

It was Perov who, in the painting “Seeing the Dead Man” (1865), was the first to touch the most intimate - what is called the “secret of the Russian soul”. And with all the figurative structure of his picture, he reveals it as a humble bearing of his cross. That's the whole secret!

It was Perov who in the canvas “The Last Tavern at the Outpost” for the first time in Russian art raised and brilliantly solved the problem of a person’s moral choice of his life path: either to destruction - to a tavern, or to salvation - to the church. It is difficult to overestimate the master's contribution to Russian art. He is the creator of a psychological portrait, and the pinnacle of his portrait art is a spiritual portrait that reflects the spiritual essence of a person. In the “Portrait of Dostoevsky”, the artist follows the writer, who believed that it was the spiritual essence of a person that determined the “main idea of the face” in the portrait. And therefore, it is no coincidence that Perov’s thought is born: “Happiness has only one eye on the top of its head, directed to Heaven, where God lives.”

In this regard, it is quite natural and even natural for the artist to turn to religious painting. In his painting “Christ in the Garden of Gethsemane”, having deliberately denied himself the use of the most fertile, most expressive element in the psychological characterization of the image - the face of Christ, Perov thereby narrows the circle of his possibilities as much as possible. It leaves aside philosophical reflection inner world Christ. And then the perception of Him as a person, which was inherent in Ivanov, and then will become characteristic of Kramskoy, Ge, Polenov, and others, recedes into the background. And although the human nature of Christ is preserved, His other hypostasis becomes a priority - His Divinity. Thus, for the first time, not only in Russian, but also in European secular art, the dual nature of Christ was reflected. And as a consistent development of this sacred theme, for the first time in this picture, an image of the boundary line between matter and spirit, between heaven and earth, between time and eternity appears.

The work of Ivan Aivazovsky, the first marine painter in Russian art, does not fall out of the ontological nature of Russian art. His works, devoid of a story, narrative, are very dynamic, filled with the life of the sea, the state of being of the sea element. Aivazovsky also did not change his Gregorian faith, but just like all academicians, he knew the language of Christian symbolism very well. And just as they, skillfully using the language of allegory, preached Christian ideas and values, testifying to how the religious consciousness of an artist who does not profess Orthodoxy is saturated, permeated with the spiritual beginning of the Russian world.

The artist increasingly turns to the language of Christian symbolism, with the help of which, especially in the painting The Wave (1889, Russian Museum), he achieves extraordinary spiritual heights.

Aivazovsky gives the entire vast field of the canvas to the sea, leaving not even a millimeter for the image of the sky. And thus the artist removes the narrative character in the image of the raging sea, which sucked the whole ship into the formed funnel, threatening death and that handful of people who are trying to resist the sea element. But the image of a powerful wave approaching from the top of the head, so to speak, in close-up, which filled the entire artistic space of the picture, suggests its religious basis. After all, according to Christian symbolism, water is the sea of life, i.e. the world of our passions that overwhelm both our consciousness and our soul. And just like this sea funnel, drawing them in, suppressing and destroying them. But the light that has broken through out of nowhere surrounds the funnel with its whiteness, being associated in Christian symbolism with the Light of Christ, which gives strength in resisting the sea of life, strengthening in the struggle of passions and bringing hope for salvation. And then the plot, filled, at first glance, with tragedy, losing its worldly meaning, is filled with a completely different content, which is based on the gospel idea of salvation.

The “profound Greek,” as Kramskoy called Arkhipa Kuindzhi, was born and raised on Russian soil, lived and thought like an Orthodox person, and this alone turned out to be familiar with those spiritual roots, those life-giving juices that nourished both the Russian soul and Russian thought, and Russian art. He was a follower of Venetsianov, in whose landscapes contemplation appears not only as a spontaneous manifestation of the mentality of the people, but above all as a special, SPIRITUAL state of his soul. A state that is born only in a symphony, only in the unity of man and God, who opens the spiritual eyes with which one contemplates the world like God's creation. The peculiarity of Kuindzhi's work, whose works are characterized both by contemplation and the integrity of the perception of the world, its planetary scale, was also determined by the fact that, going his own way in art, Kuindzhi "incessantly grew out of the framework of the dominant realistic aesthetics." His "religious soul" protested against a purely worldly perception of life, did not allow him to cling to, hold on to the earth. She also dictated to him the ascending rhythm in his compositions, as an aid to his take-off. “After all… all his life he actually “flyed” - in his work - over the expanses of the earth, across the boundless expanses of heaven, which he conveyed with such love and skill.” Hence this predominance of "heavenly expanses" in his paintings, this view from heaven and on "earthly expanses". Hence this originality, this epic scope of his canvases, but also that special atmosphere that reigns in them - bright, magical, spiritualized.

The originality of the art of the second half of the nineteenth century. defines its confessional character. The very same high confessional note sounded for the first time in A. Ivanov's brilliant work “The Appearance of Christ to the People”. Having chosen the gospel story for himself, the artist, unlike his predecessors, does not even try to interpret it, but uses it as an opportunity to express his religious thoughts, feelings, experiences. Moreover, not about the plot, but brings them into the picture as a revelation of his religious soul. That is why the confessional note was heard and accepted by artists of all other genres, i.e. acquired a universal character, becoming one of the main features of Russian art of that time.

This period in Russian art is extremely complex and controversial. It was then that the search for God in one's heart, as the Lord commanded, was opposed to the search for Him on the paths of an enlightened mind. At the same time, confessionally, the nature of each person's faith was revealed: what kind of Christ does a person confess - the Divine-human Christ or His human-Godliness. Leo Tolstoy, whom Nikolai Ge considered his spiritual mentor, wrote then: “If there is no higher reason (and there is none, and nothing can prove it), then reason is the creator of life for me.” But such a conclusion did not bring clarity, but only led to a dead end even more. In search of a way out, Tolstoy, and after him the entire de-churched intellectual elite, nevertheless strove for such an understanding, “so that every inexplicable situation would appear to me,” he wrote, “as a necessity of reason, and not as an obligation to believe.” On the humanistic soil of worldview, cultivated " scientific science”, as Tolstoy called the church, Nikolai Ge’s perception of Christ as a Man-God was finally formed. So he is present in the picture "What is truth?". And although the artist places his hero outside the worldly light, nevertheless, he does not have that supermundaneness that determined not only the bodily, but, above all, the spiritual connection of the Savior with the earth. His hero appears to be persecuted not for his eternal word, which illuminated the world with the light of divine grace and truth, but for convinced dissent. The same rational principle underlies the image of the pagan Pilate, behind whom is not only the state and military power of Rome, but also the high ancient culture with the unquestioned authority of the great thinkers of the era. In their philosophical revelations, they recreated a logically coherent and clear picture of the world. In speculative images born of analytical thought, the very truth was revealed that was carved like a spark on a philosopher's stone, illuminating everything around with its unfading light of rational knowledge. For the enlightened Pilate, everything else is superstition and sectarianism. Thus, both the dissent of Christ and the enlightened mind of Pilate were equalized in Ge by their very rational basis. Thus, the artist, without suspecting it, exposed the nerve of a moral illness, made an accurate diagnosis of his agonizing time: in the light of reason, God is not visible! It is difficult to find it on the paths of an enlightened mind that recognizes only and exclusively rational, worldly knowledge.

The consequence of this nature of the religious worldview was the images of demons that appeared for the first time in Russian art in the work of M.A. Vrubel, also starting from 1890, which testifies not only to the internal rift, but also to the spiritual disorganization of the then Russian society.

And, as if in opposition to this, another line develops, represented, in particular, by the work of I. Levitan. He was a student of Savrasov, a great master, the founder of the landscape class at the School of Painting, Sculpture and Architecture. For the first time, it was Savrasov who filled the landscape images with his emotional experiences, which was perceived not only as a novelty in this genre, but also as its ultimate goal. It was Savrasov who recreated in his paintings of Russian nature an image-mood, and later, as evidence of increased skill, an image-state. And more than once he admonished his students with the words: "The artist is the same poet."

Levitan, who, judging by the latest research, even accepted Orthodoxy, turned out to be a worthy student of his teacher. He knew how to see poetry in the most ordinary, everyday. "This is such a huge, original, original talent," his friend Anton Chekhov said about Levitan. It is Levitan, who walked the path laid by his teacher, who holds the primacy in creating a lyrical landscape. Incorporating the artistic experience of his predecessors, Levitan became a master of landscape painting, able to turn a simple motif into a typical image of Russia. His well-known paintings: "Above Eternal Peace", " gold autumn”, “Vladimirka”, “Evening Bells” are filled with the artist’s thoughts about the transience of time, about human destinies, about the transient and at the same time eternal beauty of nature at any time of the year, about the blissful state of the soul, pacified by the bell ringing, floating after the clouds in the evening sky. “I have never loved nature so much, I have not been so sensitive to it,” wrote Levitan, “I have never felt so strongly this divine something, poured into everything, ... it does not lend itself to reason, analysis, but is comprehended by love. Without this feeling, there can be no true artist…”.

All those masters that we managed to talk about made their own significant contribution to the treasury of Russian art, an integral part of which is the work of each of them. Despite their national and religious affiliation, they all considered themselves Russian and carried their creativity to the altar of Russian art, which they served sincerely, devotedly and with love.

Marina Petrova, research associate of the State Tretyakov Gallery

At the walls of the Spaso-Andronikov Monastery in the ancient cemetery, the soldiers of the Kulikovo field are buried. Over the years, Muscovites of various classes, warriors of four wars of Russia, have found their last refuge here. The graves of noble boyar families are adjacent to the mass grave of the homeless and poor people - the skudelnitsa. The victims of the Bolshevik terror of the 1920s are also buried here. They were brought here in wagons (there is a railway nearby), shot and thrown into pits.
Under Soviet rule, the cemetery was razed to the ground. A Bolshevik concentration camp was set up in the monastery, and later a shooting gallery and a barbecue house were built. In the dashing 90s, resourceful people owned these objects, none of them were left alive. Their place was taken by new owners, who, in turn, are trying to build their "happiness" on the ancient churchyard.

Now the soil is scattered over the territory of the cemetery, members of the community collect and dig up human bones, bury them in the ground according to all church canons.
When the next burial ceremony was going on, the owner of the barbecue literally raged. He jumped into the grave and interfered with the burial of the remains. After all, these burials interfere with the implementation of his "Napoleonic" plans - to select through the courts the land adjacent to his building, to roll the cemetery into asphalt, and to demolish the temple-chapel.
Spaso-Andronnikov Monastery is still the Central Museum of Ancient Russian Culture and Art. Andrei Rublev, but since 1990, the oldest surviving Moscow Cathedral of the Savior Not Made by Hands, which was consecrated by St. Sergius of Radonezh, has been operating here again. In the arches of the altar windows, details of frescoes from the time of St. Andrei Rublev have been preserved.

Daniil Cherny, they were laid to rest in this temple in 1430.
Andronikov Monastery arose with the blessing of St. Alexis, Metropolitan of Moscow. In 1356 he was returning from Constantinople, where the Patriarch of Constantinople blessed him with an icon of the Image of the Savior Not Made by Hands. A terrible storm began, and, praying before the Image of the Savior presented by the Patriarch, Metropolitan Alexy of Moscow made a vow that if he was saved in this storm, he would erect a church. He descended to earth on the day of the celebration of the Image of the Savior Not Made by Hands!
Andronik, a disciple of St. Sergius of Radonezh, was appointed hegumen of the new monastery. Saint Sergius also participated in the consecration of the Church of the Image of the Savior Not Made by Hands, and visited the monastery of his disciple more than once. To this day, a kilometer from the Spaso-Andronikov Monastery stands the Forgiveness Chapel, built in 1890 on the site of the parting of St. Sergius and Andronik.
The walls of the current cathedral are a stone chronicle of our Fatherland. The Second Rome still shone with grandeur - the millionth Constantinople, and Russia was under the yoke, but already unbent its back. And the symbol of this Russian renaissance was the erection of a monastery cathedral, the main shrine of which was a miraculous icon brought from the Second Rome, which is fading into history, as a gift to the future Third Rome!
Even the Golden Horn stream, which flows into the Yauza at the Andronikov Monastery, was named so by Metropolitan Alexy after the name of the Golden Horn Bay in Constantinople. It is so symbolically imprinted forever that EXACTLY HERE IS THE SOURCE OF ROME THE THIRD!
The then white-stone Kremlin has not yet taken the shape familiar to us. But then Constantinople fell, the thousand-year-old Byzantine Empire disappeared, and Moscow became Rome III. The current Kremlin ensemble, rebuilt by Ivan III, visibly confirmed the greatness of Russia. A monastery was also built, the refectory of the monastery is a sister and the same age as the Faceted Chamber.

In the basement of the refectory, the inflexible archpriest Aaavkum languished, and, according to legend, an angel appeared to him here.
The bell tower of the monastery rose almost on a par with Ivan the Great, but in the Soviet period, the Hammer and Sickle cultural center was built from its bricks.
Now it is important that spiritual life be revived here, a living flow of human souls is needed. It is important to make an effort, to work with your heart. Come to bow to the relics of Andrei Rublev, to honor the memory of our ancestors, warriors of the Kulikov field, Muscovites of all classes, who laid down their lives for the Fatherland. We are now because they were then.
Through the central channels they talked about the problems of the Andronikov Monastery, but one of the philosophers said that the over-organization of our social life results in the organization of thoughtlessness.

What do you think about when you walk on the ground strewn with bones? About the frailty and brevity of our vain life. What will we leave behind? How will we raise the next generation, and how will they treat our remains?
How many fates, books of life, plots known only to God and the souls of the dead, how many strong feelings were experienced by these people?
They lived, hoped, believed, loved. Their souls are already with the Lord. The Lord will not ask anything from them, they have already passed their test of life, He will ask us.
The holy fathers and heroes of the past are coming for us, but we act, and they believe in us. Not only do we believe in God, but the Lord is in us.
Once, Sergius of Radonezh, ascetic in the forest, cut down a cell for himself and, standing in prayer, saw hordes of demons around him, surrounding him and yelling - get off this place!
- Why are you driving me? - asked Sergius.
- No, you're driving us out of here!
A storm swept in and scattered the trees around the cell, but Sergius only intensified his prayer: everything around was swept away, but he remained intact.
Now the lamp of faith has been lit again in the Andronnikov Monastery, but so far there is a museum, and the community of the temple is on the bird's rights. The community keeps all-round defense, at the same time it is involved in a number of conflicts with the owners of the shooting gallery. There is an exhausting litigation with the owner of the former barbecue building.

The director of the museum, Mindlin, strikes with the scope of his ideas. He decided to significantly rebuild and modernize a number of buildings, including the Church of the Archangel Michael, in which dozens of representatives of the Lopukhin family rest, and at the same time to demolish the iconostasis in the Spassky Cathedral, where the Divine Liturgy is now celebrated, so that tourists can see the altar of the temple. This is nothing but sacrilege and a criminally punishable insult to the feelings of believers.

A Russian person who has risen to pray is again shouted - get off this place!
So, a storm that suddenly swept over Moscow knocked down trees around the temple of Dmitry Donskoy, but the temple remained intact and unharmed.

And there is neither the Minister of Culture Medinsky, nor other official and semi-official persons here. Are they all sympathetic to the fact that now business is sacred? A person has invested money, but he must recapture it, build a shooting range, and bowling, a sauna, billiards, fitness, a restaurant to it to increase turnover ...

It seems that the best thing that the owners of a shooting gallery and a barbecue house can do is to demolish their buildings and spend the rest of their lives in repentance. But they continue to go against the grain and experience the greatness of God, and whoever experiences the greatness of God will be crushed by Him. Let us remember how in 1941 the Lord bowed the almighty Stalin, he then opened churches and released priests from prisons.
The previous owner of the "barbecue" at the last moment realized that the business on the bones is a terrible sin, and began to build a temple, but did not have time.
Nevertheless, the temple was completed, and on June 2, on the Day of Remembrance of the Grand Duke, in the temple-chapel of Dmitry Donskoy, located on the ancient necropolis, the Divine Liturgy and the procession took place near the walls of the monastery.
Near the monastery on May 28, 2017, the Pokloniye Cross, installed
at the source, which was discovered by the founder of the monastery Andronicus. They desecrated the Cross, and a few hours later a hurricane passed through Moscow. He claimed the lives of people, injured many, damaged property. We remember how in Kyiv the possessed sawed off the cross. The people of Kiev then, for the most part, did not show zeal, did not consolidate in order to protect the shrine from desecration. The cross was gone, and the infernal forces were not slow to show their strength - a political hurricane broke out over Kyiv.
We went to inspect the cross cut by the vandal, and then the bell rang. It is reported that the owner of the shooting gallery arrived, he was outraged by the installation of a monument stone. It turned out that the desecration of the Poklonny Cross is just the tip of the iceberg.
It’s good that Alexei Toporov, a journalist from the Tsargrad TV channel, was with us. We began to record the conflict on video, it was noticeable that the co-owner of the shooting range was not ready for this. A person devoid of the fear of God does not realize that he is incurring the curse of Ham, which will echo through many generations. The current capitalists, whom God did not take away in the 90s, are no less terrible in their essence than the “faithful Leninists” of the 20s. Without showing off, pomp and pathos, they destroy everything that can be destroyed, snip off everything that can be snatched. Blinded by the irrepressible passion for profit, they undermine the pillars of Russian civilization. They cannot act otherwise. After all, the one who does not give in to the training of the "golden calf" is quickly culled by him and leaves the arena of a fierce struggle for the blessings of life.

On June 3, on Parents' Saturday, we, representatives of public organizations of Greater Novorossiya, helped the community by working at this ancient cemetery, put the paths and graves in order, and prepared the territory for the opening of the foundation stone with the inscription:

The next day, on the feast of the Holy Trinity, a divine service was held in the Spassky Cathedral of the Spaso-Andronikov Monastery, and then the procession and the opening of the foundation stone of the future monument to all Muscovites, warriors, monks and representatives of ancient aristocratic families buried on this site for 660 years of existence ancient Moscow monastery necropolis. The stone was consecrated by the rector of the cathedral, Archpriest Vyacheslav Savinykh.
The image of Russia is inextricably linked with the image of the Trinity, which was seen and transferred to the icon by the brilliant icon painter Andrei Rublev, his work and asceticism is the glory of Russia, its national treasure. Works are written about it, dissertations are defended.

Together with Daniil Cherny, Rublev painted the cathedral of the Andronikov Monastery.
It was in this monastery that the jubilant Muscovites solemnly welcomed the holy noble Prince Dmitry, who became Donskoy after the Battle of Kulikovo. Here, his warriors marched in formation, having won a great victory over the enslavers, they are now forever inscribed in the historical memory of our people.
The image of the Blessed Prince helped to win more than once in subsequent eras. During the Great Patriotic War, the tank column named after Dmitry Donskoy smashed the fascist beast. The beginning of the Russian spring in Kharkov on March 1, 2014 is also associated with the image of the Don Icon of the Mother of God. Volunteers from Moscow went to the first fight at Donetsk airport on May 26, 2014 on the day of memory of Dmitry Donskoy according to the old style on May 19, 2014.
It is no coincidence that there were many representatives of Novorossia and political emigrants from Ukraine at the opening of the monument. The assembly point of the Russian people cannot be changed!
The public figures, historians, archaeologists and parishioners who spoke at the ceremony were unanimous in that it was necessary to stop the desecration of the necropolis and return our all-Russian shrine - the Andronikov Monastery - to the Church!
The church community of the Andronikov Monastery has been in a state of siege for many years. The head of the Moscow public movement "Restoration of the Andronikov Monastery" Sergei Karnaukhov is fighting on this site almost alone, but reinforcements have arrived today.

We hope that the people of Moscow will come out to defend the ALL-RUSSIAN HOLY !!!

We naively thought that the greater Novorossiya would return to Russia, raising an uprising in Kharkov in March 2014, but in three years our illusions were dispelled. We saw that there is not yet that Russia to which we want to return. It turned out that there is no end to the work.
Tarkovsky's film "Andrey Rublev" ends with an episode in which the boy boldly undertook to cast a bell, telling the prince that the father had passed on the secret of casting to him. The bell was cast. The prince was amazed, the people rejoiced, and the overseas guests were amazed by the marvelous sound of the Russian blagovest.
And the lad fell, crying sobbing. Andrei Rublev picks it up: saying why are you so? Do you see what a holiday you made for people!? And the lad to him: the father did not convey the secret, he took it with him to the grave.

But what happened? God, who trusts in him, will not be put to shame and revealed to the youth the secret of casting the bell anew.
After decades of historical forgetfulness, we will have to rediscover the secret of Russia's greatness in today's struggle.
It is necessary to DEFEND THE ALTAR OF THE HOMELAND and expel the merchants from the Temple!

Sergey Moiseev
Chairman of the Board
Kharkiv regional
public organization
"Rus Triune"

Russian culture at all times was built on feeling and heart, on a free conscience and unconstrained prayer, which, in fact, allowed it to gain amazing strength. Patronage played a huge role in the formation of Russian culture.

In past centuries, there were two clans on the land of our region, which transformed our area beyond recognition. And the life of the ancient noble family Yusupovs, and the life of the new elite that emerged after the abolition of serfdom of the Kharitonenko merchants was devoted to serving the Fatherland. Two human races, regardless of their different origins, were guided in their lives by one immutable truth: “Whoever clothed the naked, fed the hungry, visited the prisoner, he clothed Me, fed Me, visited Me” (Gospel of Matthew 25: 34-46). St. Isaac the Syrian wrote that “nothing can bring the heart closer to God like alms”, and benefactors, according to St. John Chrysostom, always “gave it with joy, thinking that they themselves receive more than they give.” After all, according to John Chrysostom, “indeed, water by its nature does not wash the impurities of the body, as alms by its power wipes the impurities of the soul.” Perhaps that is why the words of the ecumenical saint Basil the Great remain so important for us today, “there is no benefit from charity, which is blown with a trumpet,” because “those who do alms in order to be glorified by people take a bribe; he is no longer a benefactor, he is generous.”

The Yusupovs were engaged in educating the Russian people through the collection of their collections, and financially supported talented artists. The new elite is following the same path. Both the Yusupovs and Kharitonenko create new estates, attracting the best artists, sculptors, and architects.

I have already mentioned that my acquaintance with Viktor Ivanovich Ivanchikhin took place when he worked in the city employment service and helped restore work at many enterprises in the region. The closer I got to know this man, the more I admired his talents, his wide heart. It was a discovery for me that in the late 90s of the last century, Viktor Ivanovich issued postcards of pre-revolutionary Belgorod on his personal savings, spoke on the regional radio with stories about his past. Such a devoted love for the glorious history of our land attracted me to this infinite warmth and kindness to a person. Friendly trusting relations between us quickly grew, I think, also because the enterprise where I worked at that time was connected with the history of our region: before the revolution it belonged to the famous Yusupov family.

Here, in the area where I worked, the Yusupovs at one time built sugar and brick factories, mechanical agricultural workshops, enterprises for dressing leather and sheepskin, cloth, lace and two carpet factories, wind and mechanical mills, forges, laid railways and built six railway stations. They opened parochial and railway schools, a zemstvo hospital, built residential buildings in the settlement of Rakitnaya and at the Gotnya railway junction, erected in 1840 a palace complex with a magnificent park and three cascading ponds, and in 1832 - the Assumption Church and St. Sloboda Rakitnoe. This settlement was the center for managing estates in the Kursk, Voronezh, Kharkov and Poltava provinces. St. Nicholas Church, the palace complex, the building of the agricultural administration and the railway station on Gotna, together with the house of the manager of the brick factory, made in the classical style, with four massive columns holding the protruding pediment, in which everyone arriving at the Yusupovs always stopped, were the hallmarks of the villages Rocket and Proletarian.

When the plant finally began to breathe and began to produce ceramic bricks, I decided to invite Ivanchikhin to Gotnya. I thought carefully about every detail of the upcoming meeting: I wanted to tell him, the minister of the muses, about artists and musicians, about writers and poets, whose names were closely associated with the famous family, who did everything possible for the prosperity of my land.

As a child, from old people who lived out their lives on my native farm, I heard more than once stories about the customs that reigned in the economy of the Yusupov princes. If the manager of the economy, approaching in a cart, who worked in the field noticed a vacationer, he should in no case jump up and create the appearance of an industrious worker, otherwise he might not be counted by the evening. But the entire old guard of Basov's farm workers considered their labor activity in the economy as a great trust placed in them, and recognized the work in the fields of the famous Yusupov princes as a great honor.

I knew a lot about Nikolai Borisovich Yusupov Sr. from previously read books. He often traveled abroad, met in Europe with prominent writers and philosophers, with famous artists and sculptors. Yusupov was a distinguished nobleman and a benevolent person, very educated and hardworking. The acquisition of the Arkhangelsk estate, in the opinion of the prince himself, "finally made him a Muscovite." Under the guise of an elderly high-ranking nobleman, he skillfully concealed the extraordinary abilities of a psychologist and the sharpened mind of a practical politician, a talented organizer and a diligent owner with a good spiritual outlook, who influenced many things in his era, because he knew more than one "secret button" of the domestic state machine.

Pushkin, the first poet of Russia, and Yusupov, the surviving "fragment of the golden age of Catherine", spent a lot of time in frank conversations. The poet with wonderful impulses of the soul and the wise conservative statesman, who always advocated the progressive movement of non-revolutionary reforms, found a common language and enjoyed spending time in smart solitary conversations. Therefore, the appearance of the sincere words “my Yusupov” in one of Alexander Sergeevich’s letters was no accident - here, most likely, there was a manifestation of his closeness to a person who was kindred to him in spirit. Yusupov captured Pushkin's rebellious moods better than many, realizing that his state of mind was more a manifestation of the disease of youth than a conscious political choice. It was to him that the poet dedicated the poem "To the nobleman."

The Yusupovs in all ages not only actively manifested themselves in the public service, but also considered an important part of their lives to be a hobby for collecting and patronage. All the best of European schools was concentrated in the collections of these subtle connoisseurs of art. In Russia, they got acquainted with the advanced theatrical and musical culture not without the help of the rich Yusupov family. But to be a philanthropist meant to have a special gift of intuition, activity and enterprise, to see and promote in the national culture that which had enduring significance. Yusupov's professionalism from this point of view was equal to talent. Russia was rich in such talents.

Here, for example, the artist Yu. M. Vasnetsov spoke approvingly of the philanthropist Savva Mamontov, noting his vein to ignite the environment disposed to him with energy. God gave him a special gift to stimulate the creativity of others. Contemporaries of P. M. Tretyakov noted in him, at first glance, a simple person, a special talent as a patron of the arts. He, not having a special education, had an amazing instinct to find talented artists and on his shoulders alone carried the entire school of the Wanderers. When the artists followed his coffin, everyone was silent. Words were superfluous, there was deep sorrow: a faithful assistant left them, giving them the opportunity to do their favorite business with material support.

The life of such people, according to the ministers of the church, was entirely devoted to serving their Fatherland. The artist Valentin Serov, who painted a portrait of Princess Zinaida Yusupova in Arkhangelsk, once complimented her: “If all rich people, princess, were like you, then there would be no place for injustice.” Many patrons of the arts, including the Yusupovs, looked at their passion as fulfilling a special mission entrusted to them by God and fate. God gave wealth to use, but he will require an account on it. Patronage was assigned a special role in the public life of the state, because art lovers did not just support a person in poverty - they supported his natural talent, his outstanding abilities. The musician, artist, writer and scientist had the opportunity to create.

Inviting Viktor Ivanovich to Gotnya, I met with him to discuss the time and details of our trip. On that day, Viktor Ivanovich not only did not let me go with his conversations about the creation of the Yusupov estate Arkhangelskoye, but also told a lot about the Kharitonenko family of large sugar producers, who played an equally important role in the development of our Fatherland. A merchant, in the spirit of his profession, he must be light and open, in all matters he must be a great connoisseur, knowing the moves and exits in everything, and for this you need to be heard about a lot and be aware of a lot. Only such people and cards in their hands. Talking about the emergence of a new elite in the 19th century, Viktor Ivanovich referred to an article by Stasov dedicated to the philanthropist P.I. any absurd waste of life; there was an attraction to everything scientific and artistic. And these people are looking for permanent comrades and acquaintances in an intelligent, truly educated and talented environment, they spend a lot of time with writers and artists, they are interested in the creations of literature, science and art. Viktor Ivanovich also recalled the statements of the historian MP Pogodin that “our merchants did not count their donations and thus deprived the folk chronicle of beautiful pages. But if you count what they did in that century, then they amounted to a figure that all of Europe should bow to.”

Ivan Gerasimovich Kharitonenko was such a patron. As a noble man, he did not flaunt his donations and did not like to be honored on this occasion. Much later, I read about him at the Kharkov Archbishop Ambrose: “The deceased was of humble origin, but the more striking is the convergence of the first and second half of his life - poverty and simplicity, wealth and splendor ... In his life there was a feature that distinguished him from the rest. He did not receive a scientific education. But the development of the mind and the various information acquired through self-education amazed him. He decently loved the Fatherland and had the right ideas about the means of arranging its well-being. Ivan Gerasimovich passionately loved commercial activities, as a scientist loves his science, as an artist loves his art. He rejoiced that his institutions were beautiful, that his fields were well-groomed, that the thousands of peasants who worked in his fields had no government arrears. His fortunes were extensive. He was wary of vanity and had no taste for worldly pleasures. He divided his time into work and quiet rest with his family. Commoner Ivan Gerasimovich Kharitonenko educated his son in Germany and made him a patriot of his country.

The artist Mikhail Nesterov, who knew the Kharitonenko family well, wrote the following words about this man: “He enriched himself with his enormous mind and managed to find a reasonable use for the accumulated millions: shelters, hospitals, almshouses, civil and military schools grew up in Sumy one after another. Thousands of people near Kharitonenok found a comfortable existence.

Generosity and kindness have always reigned in the monastery of Kharitonenko, sheltered in a picturesque forest area on the banks of the Merchik River in the Bogodukhovsky district of the Kharkov province. Here, at the Natalevka estate, everything was carefully planned and lovingly executed. Kharitonenko, who proved to everyone that one can be known throughout Russia and in the deep provinces, naturally had good taste. He never skimped on inviting the best masters of the Russian Empire into his possessions for the sake of the beauty they created, which delighted the human eye. The famous sculptor S. K. Konenkov, who earned the name of the Russian Rodin, and the architect A. V. Shchusev worked here. Appeared in the middle of a picturesque park in 1913, a church of rare beauty designed by A. V. Shchusev became a real decoration of the Kharitonenko estate. Its dome was crowned with a large dome, harmoniously combined with a four-hundred-year-old oak, the dominant patriarch of the forests, and slender golden columns of mast pines. The architecture of the church echoed the ancient Russian religious architecture. For Kharitonenko, it was important that such works of art were created, at the sight of which thoughts appeared about the memory of ancestors, about the unity of the people, inseparable at all times. Russian emigrants, who found themselves in exile after the events that shook Russia, created a counterpart of this truly swan song by A. V. Shchusev in France on the Cote d'Azur in the city of Nice as a symbol of eternal longing for the Motherland.

I heard about the extraordinary beauty of the Natalevka estate from my friends during the years of my studies at the Aviation Institute of the city of Kharkov. The students who visited this corner unanimously claimed that this estate is a real paradise created by human hands. What was the cost of the orchard, laid out on the slopes of the ravine! Five semi-circular terraces oriented south, reinforced with solid brickwork with copper drains, performed a miracle. The heat of the sun, accumulated during daylight hours by brick walls, did not allow plants to die at night. A kind of amphitheater protected the trees from the northern winds and provided natural watering by gravity. But the most important thing was that he accumulated sounds: in spring - the buzz of bees and bumblebees over a flowering garden, the singing of birds; summer and before late autumn- rustle of foliage, melodies of rain; in winter - the whisper of snowfall. All these earthly sounds intensified, merging into mellifluous melodies. The orchard was called "singing terraces". The garden was decorated with sculptures of lions, made by the Russian Rodin S.T. Konenkov, and a water tower in the Gothic style. There were rumors that during its construction, Pavel Ivanovich Kharitonenko rejected the entire batch if three out of a thousand bricks falling from a two-meter height broke. In addition to a rare church and an orchard, the estate had beautiful stables and an arena - Kharitonenko loved horses and was an excellent rider. He gave his magnificent horses, who won at the Moscow hippodromes, to friends and acquaintances.

Pavel Kharitonenko was talented in everything. He and his wife were passionate lovers of Russian painting and never spared funds for the purchase of paintings. They visited exhibitions of Wanderers and bought their works. The family collections included paintings by such artists as Lemokh and Somov, Polenov and the Vasnetsov brothers, Surikov and Serov, Korovin and Kiprensky, Shishkin and Vereshchagin, Repin and Aivazovsky, Malyavin and Vrubel. Here was the most complete collection of Nesterov's works: "Quiet Life", "Silence", "Autumn Day", "Evening Ringing". But the pearl of the collection, without a doubt, was the famous painting by I. Kramskoy "Unknown". The collection of a large sugar factory also had a rich collection of icons, which was considered the third largest in Russia.

Pavel Ivanovich Kharitonenko provided the peace and quiet of his estates to artists and musicians, writers and actors, creating conditions for their creativity. Writer Anton Pavlovich Chekhov and opera singer Fyodor Chaliapin constantly visited the estate Natalevka. Here is what Chekhov left in his notebook about the Kharitonenko family: “It would be good if each of us left a school, a hospital, at least a well or something like that, so that life would not pass and go into eternity uselessly.” Pavel Ivanovich Kharitonenko was one of the first to respond to the request of Vladimir Ivanovich Tsvetaev for help in building and maintaining the Museum of Fine Arts.

The Kharitonenko family was friends with the artist Nesterov and often visited him. Nesterov spoke warmly about their family: "They were kind, attentive to people, spent a lot of money on their Sumy, on dozens of institutions they created ...". He recalled that “when they reported to Pavel Ivanovich that such and such had robbed you of a hundred thousand, he complacently answered:“ From whom should they take, if not from us ?!” What else can you say…”

In the Yusupov estate Arkhangelskoye, one could feel the wide scope of the old nobility, its attraction to earthly goods, its alienation from the surrounding bustle, its narcissism, and above all this, like a crown, its subtle aesthetic culture. Here is what the famous historian of those years N. M. Karamzin wrote about him in the book “Journey around Moscow”: “Russians feel the beauty of nature, they even know how to decorate it. For example, the village of Arkhangelskoye, 18 versts from Moscow, can surprise the British lord himself with the taste and splendor of its gardens; happy, rare location still exalts their beauty.

The open house of the Yusupovs warmly welcomed writers and poets, artists and musicians; the writer Karamzin, the poets Pushkin and Vyazemsky, the artists Serov and Repin, Korovin and Benois, and many others often found inspiration here. The Yusupov estate was not bypassed by important royal persons: Alexander I and Nicholas I, Alexander II and Alexander III. Not once honored to visit hospitable hosts Nicholas II.

We also owe the Yusupov family for the Roman Hall - one of the richest halls of the Rumyantsev Museum of Fine Arts (now the State Museum fine arts named after A.S. Pushkin). Here is what was recorded in the diary of Vladimir Ivanovich Tsvetaev on August 2, 1898: “Prince Yusupov, having arrived in Moscow in August, at the first meeting with me, took on behalf of Princess Zinaida Nikolaevna a hall worth 46,650 rubles. The name Yusupovskaya is justified in a worthy way.

Listening to Ivanchikhin's stories, I was amazed at how similar in their views on life were these two enlightened people of their century - Princess Zinaida Yusupova and a large sugar producer Pavel Kharitonenko. They belonged to different social groups: the Yusupovs - to the nobility, the ruling class, and Kharitonenko - to the merchant class, which, unlike the nobility and clergy, was not privileged, it was subject to the "sovereign tax" and all taxes and duties. In all other respects, they were similar: both received an excellent secular education, both surrounded themselves with intellectuals, both passionately loved their Fatherland, patronized artists, musicians, writers and actors, giving them the opportunity to create. The people are different, but the spirit is the same.

It is necessary to note the courage of these enlightened people of their age in illness.

Princess Zinaida Nikolaevna Yusupova fell seriously ill at the age of 23, and the best doctors of that time could not help her. But she, in her illness, did not grumble at her fate and did not fall into despair, but completely submitted to the Providence of God. One of the sleepless nights she wished to see Fr. John of Kronstadt, not at all hoping for a miracle of his healing. Father John, having learned about her illness, immediately arrived, and she remembered how he prayed. A few days later, he communed Princess Yusupova, and for the first time she fell asleep calmly, and when she woke up, she felt healthy.

Pavel Ivanovich Kharitonenko, who increased his father's fortune six times, at the age of 62 fell ill with consumption, an incurable disease at that time. He, like Princess Zinaida Nikolaevna Yusupova, without any grumbling about his fate, resigns himself to what is happening to him, does not fall into despair. As before, he travels around all his estates by car, still solves urgent matters at his advanced production facilities at that time.

Why did the disease happen to them at the very start? Maybe because God, according to St. Theophan the Recluse, sometimes with illness shelters others from misfortune, which they could not escape if they were healthy.

No one will remember today's people, endowed with wealth, but who lived their lives for the sake of amusing spectacles and fleeting pleasures, for the sake of sea yachts purchased at a fabulous price and European football clubs. But the names of patrons who laid down their lives on the altar of the Fatherland will remain for centuries. will remain works of art and pictures, because they are an eternal delight, reflecting our quickly elusive time.

The age-old question, which all caring people ask, does not let me go: will we be able to preserve the beauty of our native Fatherland, its priceless soul, created by our great powers?

... I'm afraid, I'm afraid, like a free strong bird,

Break your wings and see no more miracles!

I'm afraid that there will be no mysterious power over us,

That, having sailed on a boat, I will get it everywhere with a sixth,

That, understanding everything, without sadness I will go to the grave ...

Fatherland and will - stay, my deity!

(N. Rubtsov)

Petr Maltsev

Editorial Board: R. Luneva, V. Opoikov, E. Steblina, L. Tumanova

The publication was financed by state support allocated as a subsidy in accordance with the Agreement with the Committee of Public Relations of the City of Moscow No. 71 Sot 06/13/2012 for the implementation of the project "Descendants, be worthy!"

Foreword

“There is no greater love than if a man lays down his life for his friends”

Gospel of John, Jn. 15.13.

The 20th century, irrevocably gone into the past, was full of dramatic events: the First World War of 1914–1918, Civil War 1918–1922, which began shortly after the victory of the Great October Socialist Revolution. Famine in the USSR 1930-1934. The Second World War of 1939–1945 was preceded by a number of local wars and armed conflicts initiated by Japan, Italy and Germany.

Territorial disputes, the struggle for the redivision of the world were one of the reasons for the outbreak of the Great Patriotic War of 1941-1945, the most terrible, savage crime against humanity: it claimed several tens of millions of lives. The exact number of losses is unknown and will never be established - the scale of both the soldiers and the civilian population, adults, children, women is huge ...

The post-war famine of 1946-1947 also left a deep mark on the history of our state... The people rose from their knees, holding the ruined country on their shoulders like a Greek Atlas.

The winners of the Great Patriotic War - valiant warriors who won the Great Victory - "one for all", are the main characters of the almanac "Altar of the Fatherland". Now many different political interpretations of the Second World War are being offered, and behind them the most important thing is sometimes “overwritten” in memory - the feat of Soviet soldiers and soldiers of the Allied countries. Those who saved the world from fascism with their blood. They, interpretations, sound on different languages, they are of different ideologies, but they talk about suffering, humiliation, horrors, senseless destruction of Man. And let the world never forget: VICTORY BROUGHT THE SOVIET SOLDIER! With the assistance of allied countries, and not vice versa.

The Almanac is the memoirs of the front-line soldiers themselves, those who, fortunately, are still alive, their relatives and friends about those who reached the great and holy day or froze forever at their military post ... When mortal danger hung over the country, there were huge " “live” lines of volunteers: then our men - fathers and grandfathers, our boys and girls rushed to the front in order to destroy the enemy as soon as possible. About some of them there is not a single line or trace left on earth, but we must honor and remember their feat, self-sacrifice in the name of continuing the life of others. Poems and songs have been written about them, stories and essays have been written, and many films have been made. But it is unrealistic to show ALL the heroes, and TO KNOW THEIR NAMES AND REMEMBER ALL IS OUR DUTY. Memory is sacred and is never superfluous.

The book contains rare family heirlooms: letters from the front, photographs. There are few of them: not every family managed to keep the thinnest thread with the past. But without the seed of the past, the tree of the future will not sprout...

Each year takes the Great Patriotic War of 1941-1945 deep into history, further and further away from the participants and witnesses of the tragic events. Sadly, but the day will come when we will not be able to name a single name of the still living front-line soldiers. That is why every word, every line, every memorable thing about that time is precious. The children of war are already “telling” stories about their relatives to us. The time has come to give the floor to the grandchildren and great-grandchildren of the Victory... The "division" of the authors of the memoirs, of course, is conditional. It is not so much important who told, but what has been preserved and reached us.

In "Waltz of Oblivion" (Volume 1), the emphasis is placed on the unacceptably careless attitude of the living to the memory of the fallen on the fronts of the war, on the desolation of the military memorial complex of the city of Kislovodsk. (Such a situation is not only in this city, alas!). The shock that shook me when I first visited this memorial more than twenty years ago prompted me to write the first poem, "Let there be no graves of the unknown." It was set to music by composers E. Storozhev (Kaliningrad) and A. Lomovitskaya (Moscow).

In 2007, with the sponsorship of the 1ITAlliance Company, the site of the Ivan da Marya Para-Art Center http://www.paraartiada.com/ was launched and is still being promoted.

Funds received in the form of a grant from the State Institution of the City of Moscow "Houses of Public Organizations" (Center for Relations with Public Associations) were also used to fill the "Altar of the Fatherland" section of the site - under the project "Internet Gallery Altar of the Fatherland" - within the framework of the Festival of Artistic Creativity disabled people - "ParaArtiada-2006-2007". For these purposes, financial “state support funds allocated as a grant were also used - Projects: “Life, like a shot bird, wants to rise - and cannot ...” in accordance with the order of the President Russian Federation dated April 14, 2008 No. 192-rp" and "Let the candle not go out in the wind" in accordance with the order of the President of the Russian Federation dated March 16, 2009 No. 160-rp". One of the headings of the site is “Altar of the Fatherland”. Her materials form the basis of the almanac.

The poems of M. Gettuev, Yu. Drunina, E. Yevtushenko and literary and musical works of the members of the Para-Artistic Center "Ivan da Marya" are used: Ya. Pichugin, V. Voznesensky (Russia-Ukraine), A. Voskoboynikov, I. Gambarova, N. Pazelskaya, V. Sokolsky, M. Strelova, Yu. Subbotina A. Tolcheva and the author-compiler).

E. Veselovsky, S. Eliseeva, T. Maksimenko, V. Opoikov and V. Rezchikova helped in preparing the manuscript for publication, for which I express my heartfelt gratitude to everyone.

We will gratefully accept comments, suggestions, new materials and documents for their placement in the Internet gallery and publication in future almanacs.

Magazine Russian resurrection on the altar of the fatherland of the Maltsev. On the altar of the fatherland. And there is neither the Minister of Culture Medinsky, nor other official and semi-official persons here. Are they all sympathetic to the fact that now business is sacred? Vlo man

A Russian person who has risen to pray is again shouted - get off this place! So, a storm that suddenly swept over Moscow knocked down trees around the temple of Dmitry Donskoy, but the temple remained intact and unharmed.

On June 3, on Parents' Saturday, we, representatives of public organizations of Greater Novorossiya, helped the community by working at this ancient cemetery, put the paths and graves in order, and prepared the territory for the opening of the foundation stone with the inscription:

We hope that the people of Moscow will come out to defend the ALL-RUSSIAN HOLY !!!

A Russian person who has risen to pray is again shouted - get off this place!
So, a storm that suddenly swept over Moscow knocked down trees around the temple of Dmitry Donskoy, but the temple remained intact and unharmed.