Great Soviet Encyclopedia What are Memorial Structures, what does it mean and how to spell it correctly. Memorial structures What is a memorial complex

The significance of memorial monuments and parks around them in master plan The city's development is very high. They play an important role in shaping the city's skyline. Depending on the monument, the corresponding territory is selected. For example, a monument of ceremonial content should be placed on an elevated place, clearly visible from various points of the city. Large memorial complexes with mourning content should not dominate.

As practice shows, many memorial parks owe their appearance to the events that took place on this territory at one time or another historical time. If a park is designated as a historically designated area, a thorough analysis must first be carried out to determine the historical and aesthetic value of the remaining memorial structures and other elements. This will make it possible to determine how possible it is to use them in the architectural and planning composition of the park. If objects do not fit the theme and do not represent historical value, then it is better to get rid of them. Need to study natural features, give a landscape aesthetic characteristic of the landscape, identify those objects of living nature that have independent historical value. In this case, one should take into account the degree of picturesqueness of the area, its attractiveness, and the nature of spatial connections. The architectural and planning composition will depend on the nature of those memorial structures that have been preserved or that are supposed to be located on the territory. These can be memorial objects of mourning content (tombstones and obelisks, monuments expressing sadness, grief, memorial ruins, etc.) and objects of ceremonial content, symbolizing victory, the conquest of space, labor feats etc. (museum, fortifications, preserved weapons, models spaceships and much more).

According to the ideological and thematic plan, memorial parks are divided into:

I. Parks created in honor of outstanding people, generals, scientists, writers, artists, composers, etc.

II. Parks dedicated to significant historical events (victory, liberation, reunification, space exploration, anniversaries, friendship and peace, etc.). If the main motive for creating the park is a tribute to the heroes of the struggle, then on its territory you can find mourning monuments, tombstones, eternal flames on mass graves, walks of fame, memory, in which individual trees are unique monuments to those who did not return.

III. Parks mixed type. Here are the memorials and structures at the most different topics, and in time they can relate to different historical events (historical-revolutionary, military-patriotic, military and labor glory, memorial-ethnographic, parks with museums and outdoor exhibitions).

The layout of memorial parks and complexes should reflect the nature of their maintenance. Flat, calm terrain requires regular planning techniques; mountainous, rugged terrain requires the organization of near and distant perspectives, free routing of alleys and roads. If the area has slopes or hills, then it is advisable to place memorial objects so that they are in the path of visitors on the rising side. The path to the memorial should be marked with green spaces.

In memorial areas, it is better to limit the number of functional zones. The focus on arranging recreational areas leads to a reduction in the role that memorials should play. As for memorial parks with mourning objects, the placement of spectacular structures and devices on their territory is excluded. The memorials themselves should be given a calm, flat terrain, so that it would be possible to locate a site here for holding mass rallies and ceremonies.

Green spaces, together with elements of engineering improvement, form a unique image of the memorial and ensure its harmonious inclusion in the landscape of the surrounding area. In memorial parks, plants carry a “semantic” meaning. The oak represents the strength and power of the people. Birches have long become a symbol of Russia. Young apple trees speak of youth. Cypress trees, spruce trees, boxwood, yew - companions of sadness, sorrow, mourning. Even the trees themselves can play the role of memorial objects. To emphasize the solemnity of the memorial, columnar-shaped green spaces are used. If it is necessary to focus on mourning intonations, then it is more appropriate to plant purple-leaved plantings, mourning - weeping ones. Variegated plantings create a festive mood.

Great importance is also paid to the floral decoration of memorial parks. If we're talking about about mourning objects, they use flowers of predominantly white color (roses, carnations, chrysanthemums, tulips). For monuments to the revolution, red flowers (carnations, cannas, roses, begonias) are more appropriate.

The texture and color of the material used in the design of the parks also matter. Stone is more common - it is durable, easy to process, and goes well with greenery, flowers, water, and earth. Bronze and cast iron represent strength, power, eternity.

Speaking about those forms that have an emotional impact on a person, it is necessary to remember water. Reservoirs can also carry semantic load or be independent monuments. The water device system can be used as compositional basis of the entire memorial park. Water can increase the perspective towards the memorial site, draw attention to the most beautiful corners of the park, and show them as if in a mirror. Water can affect your mood. In the mourning area, fountains such as glass jets or with water flowing from bowl to bowl are used.

The special solemnity and monumentality of the structure are emphasized by the illumination of the complex or the most important compositionally details.

November 7, 1918 in Leningrad on the anniversary of the Great October revolution one of the impressive monuments was opened - the Monument to the Victims of the Revolution. The Champ de Mars is a small green area surrounded by urban areas, but many who come to the city certainly come here to pay tribute to the fallen revolutionaries. In terms of its impact and laconicism, this is one of the best memorial complexes.

Among the memorial parks, the large one deserves special attention memorial Complex“V.I. Lenin’s Siberian exile, created in the area of ​​the village of Shushenskoye. The memorable places where V.I. Lenin lived and worked are relics. The central complex, covering an area of ​​30 hectares, includes the old restored village of Shushenskoye. A new park has been created around the village, in which the Celebration Square is located. The Shushensky Bor forest area is divided into three zones: reserve - with an area of ​​1847 hectares, forest park - with an area of ​​1609 hectares and forest zone - with an area of ​​810 hectares. The protected area includes memorable places where V.I. Lenin visited. The movement of visitors is strictly organized along routes. From the memorable place of the Crane Hill there are wonderful views of the endless expanses, the snowy peaks of the Sayan Range and the water surface of the Yenisei. These views were admired by V.I. Lenin and N.K. Krupskaya. For sequential inspection of memorable places, a well-maintained road and path network of free outline with a length of over 100 km has been created.

Creating a highly artistic memorial, unique in its power of expressiveness, is possible only if all the components are interconnected, if each and every one clearly fulfills their role, the architectural and planning solution will be combined with the correct selection of an assortment of trees, shrubs, flowers, their compositional solution will take into account the volume of structures, water surfaces, the entire landscape of the area, and modern engineering facilities.

This article was written with the aim of introducing some memorial complexes located in our country and abroad.

What is the memorial complex?

As a rule, we are talking about parks with certain demarcation lines and a clear layout. There are often large parterres and wide alleys. In addition, it is surrounded by numerous green spaces and trees, preferably with a weeping or pyramidal crown.

Memorial complexes are a certain territory with monumental architectural structures, such as:

1. Pantheons.
2. Sculpture groups.
3. Mausoleums.
4. Monuments.
5. Obelisks, etc.

All of these monuments listed above are dedicated to outstanding historical events from the history of the state and the people inhabiting it.

Eternal flame

One of the most outstanding attractions Nizhny Novgorod is the memorial complex “Eternal Flame”. It is located on the territory of the Nizhny Novgorod Kremlin. This monumental ensemble was founded in 1965, then locality was called Mr. Gorky. The monument is dedicated to the military feats and merits of the heroes of the Second World War. This place is of great importance for the residents of the city, because many people laid down their lives for a peaceful sky for their children and great-grandchildren. On May 9, 1970, a T-134 tank was installed on the territory of the memorial. In 1980, a guard of honor consisting of schoolchildren was organized near it.

In the center of the monumental ensemble is Eternal flame. The memorial complex itself consists of two black steles. Near the first, the height of which does not exceed one and a half meters, there are many gilded wreaths. This is a kind of symbol of missing soldiers. The second stela depicts two fighters. The dates of the beginning and end of the war are also written on it. On the back there is an inscription about glory to the Gorky residents who died in the battles for the independence and freedom of our Motherland.

Opening of the first Eternal Flame

The constantly burning Eternal Flame symbolizes the memory of some significant event or person. Continuous combustion of the flame is maintained by supplying gas to a specific location. Very often the Eternal Flame is included in memorial complexes; it is practically a permanent neighbor of this monumental structure.

The first such complex with the Eternal Flame was architectural monument, built in Paris (France) in 1921. This is one of the first memorials dedicated to soldiers killed in battle.

Memorial complex of Glory

It was opened on the eve of the 65th anniversary of Victory in the war - May 8, 2010. This is the largest structure of its kind in the North Caucasus. It is located in the center of Grozny. Construction of the monument took about 6 months.

The famous building occupies more than 5 hectares of area. At the entrance to the memorial there is a monument to the former commander, hero Soviet Union, Movlid Visaitov. The monument is quadrangular in shape and consists of 2 levels. The first underground is the museum of the first president of the Chechen Republic A. Kadyrov. The upper level, which the memorial complex has, contains various retrospectives with images revealing key episodes of the Second World War. In the same part there are portrait bas-reliefs of forty heroes as well as people of various nationalities who lived on the territory of the republic during this period of time.

The upper level is topped by a huge glass dome. A gilded spire 40 meters high is installed above the central part of the memorial. It is stylized as a military medieval throughout the entire perimeter architectural ensemble there is a park - the Walk of Fame. There are forty memorial plaques installed here. The names of residents of Chechnya who participated in the Great Patriotic War are written on them. Patriotic War.

On the highest tier of the structure there is an Eternal Flame, which burns in memory of the heroes who defended the independence and freedom of our Motherland. On special occasions, more than 15 thousand people will be able to simultaneously visit and honor the memory of the heroes. The monument is equipped with two television screens on which various videos are broadcast. Unfortunately, not all memorial complexes are of such a large scale.

The largest memorial complexes dedicated to the Second World War

The largest cultural sites our country, dedicated to the Second World War in memory of the victory of the Soviet people over Nazi Germany:

1. Mamayev Kurgan in Volgograd.
2. Memorial complex of Glory named after A. Kadyrov in Grozny.

Are memorial complexes and monuments necessary in our time? less and less interested in stories. However, the current generation should not forget about significant dates, heroes and various exploits performed in the name of peace throughout the world. It is the memorials with the Eternal Flame that will remind us of this.

What's happened " Memorial structures"? How to spell this word correctly. Concept and interpretation.

Memorial structures V in a broad sense- any works visual arts and architectures created in memory individuals And historical events: Monument, Monument, Pyramid, Tomb, Tombstone, Mausoleum, Mazar, Triumphal Arch, Column, Obelisk, Temple; in modern practice - architectural and sculptural complexes (sometimes including works of other types of art) or works of architecture (mausoleums, Memorial museums), suggesting spatially developed, ensemble solution image. On the emergence of M. s. In modern times, the idea of ​​a “secular temple” (dedicated to the glorification of the ideal human personality), which received special development in the Age of Enlightenment, with its characteristic cult of genius; in art of the 18th - 1st half of the 19th centuries. In place of the traditional portrait statue, an architectural monument associated with wildlife or a landscape park [utopian projects of French (E. L. Bulle), German (F. Gilly) architects, numerous mausoleums], mass structures arise in which the cult function or tasks of glorifying a victorious monarch or commander recede into the background before the idea perpetuating the memory of soldiers - national heroes fallen in battle (project of a temple-monument in honor of the victory in the Patriotic War of 1812, 1815, architect A. L. Vitberg, see illustration; memorial to the heroes of the War of Liberation of 1813 near Kelkheim, Hesse, 1842-63, architect L. von Klenze and Fr. von Gärtner). Throughout the 19th century. in the appearance and design of M. s. Empire style is replaced by eclecticism and pseudo-styles, often M. s. acquire a pompous, falsely solemn appearance (the monument to Victor Emmanuel II in Rome, 1885-1911, architect G. Sacconi, see illustration; the monument to the Battle of the Nations near Leipzig, 1898-1913, architect B. Schmitz, sculptor F. Metzner). Numerous M. s. 10-30s 20th century (dedicated mainly to the victims of the 1st World War 1914-18), associated with the traditions of “Modern” and national-romantic movements, are distinguished by viscous, ponderous rhythms, a predilection for metaphorical interpretation of the motive human body, a stone solidifying in the dead matter or freed from it, sometimes using elements of folk architecture (project of the monument to “World Suffering”, 1915, sculptor I. D. Shadr; ensemble Fraternal Cemetery in Riga, 1924-1936, sculptor K. Zale, architect A. Birzeniek and others, see illustration; Monument to the Unknown Soldier on Mount Avala near Belgrade, 1934-38, sculptor and architect I. Mestrovic, see illustration; complex in Targu Jiu, 1937-38, sculptor and architect C. Brâncuşi, see illustration). Memorial buildings and museums of this period are predominantly neoclassical in nature (memorials of A. Lincoln, 1914-22, architect G. Bacon, see illustration; and T. Jefferson, 1939-41, architect J. R. Pope et al.; both - in Washington). Particularly diverse are the construction sites erected after World War II (1939–45), the construction of which is increasingly taking on the character of a national undertaking. Dedicated to fallen soldiers and victims of fascist terror, as well as various events national history, they represent complex complexes of architecture and organized landscape, sculpture and monumental and decorative painting, built on symphonically diverse contrasts and consonances of spatial plans, creating either a depressed-mournful or sublimely pathetic mood; The role of inscriptions, figuratively commenting on the main theme of the M. s., increases significantly. If in numerous M. s., designing cemeteries American soldiers(cemetery near Florence, 1959, architect F. McKim, W. Mead and S. White, sculptor E. Waugh and others), a cold and somewhat abstract idealization prevails, then the best of the complexes created by European masters (the complex on Via Appia near Rome, 1951, architect G. Aprile and others, sculptors F. Coccia, Mirko; memorial to the fallen liberator soldiers in Mostar, 1960-1965, architect B. Bogdanovich on site; fascist concentration camps in the GDR: in Buchenwald, 1958, sculptors F. Kremer, V. Grcimek and others, see illustration; in Sachsenhausen, 1956-60, sculptors R. Graetz, V. Grcimek, stained glass author V. Womack; in Ravensbrück, 1956-59, sculptors W. Lammert and others; all - architects L. Deiters, H. Kutzat and others; Parisian underground memorial to those killed in concentration camps, 1961, architect A. Pengusson), not only evoke grief for the victims, but, giving rise to the illusion of the immediate proximity of the tragic events, foster an active and conscious attitude to history. In a new type of historical memorial (except for M. sites associated with the last war, - monument to Silesian rebels near Katowice, 1949-52, sculptor K. Dunikowski; memorial on the field Battle of Grunwald 1410, 1959-60, sculptor E. Bandura) the main significance is not the museum exhibition itself (although it can be included in the complex), but the expressiveness of architectural and plastic masses, organically connected with the tectonics of the natural relief, and in the urban environment - with the patterns of development .

) or works of architecture (,), suggesting a spatially developed, ensemble image. The emergence of memorial structures in modern times was greatly influenced by the idea of ​​a “secular temple” (dedicated to the glorification of humanity), which received special development in the Age of Enlightenment, with its characteristic cult of genius; in the 18th - 1st half of the 19th centuries. in place of the traditional portrait statue is increasingly being put forward, associated with wild nature or a landscape park [utopian projects of French (E. L. Bulle), German (F. Gilly) architects, numerous, Memorial structures arise in which the cult function or tasks of glorifying the victorious the monarch or commander recede into the background before the idea of ​​perpetuating the memory of soldiers - national heroes who died in battle (project of a memorial church in honor of the victory in the Patriotic War of 1812, 1815, architect, see ill.; memorial to the heroes of the War of Liberation of 1813 near Kelkheim, Hesse, 1842-63, architect L. von Klenze and Fr. von Gärtner). Throughout the 19th century. in the appearance and design of Memorial structures, the Empire style is replaced by pseudo-styles; often Memorial structures acquire a pompous, falsely solemn appearance (the monument to Victor Emmanuel II in Rome, 1885-1911, architect G. Sacconi, see ill.; monument to the Battle of the Nations near Leipzig, 1898-1913, architect B. Schmitz, F. Metzner). Numerous memorial structures of the 10-30s. 20th century (dedicated mainly to the victims of the 1st World War 1914-18), associated with traditions and national-romantic movements, are distinguished by viscous, ponderous rhythms, a predilection for metaphorical understanding of the motif of the human body, a stone freezing in dead matter or being released from it, sometimes - the use folk elements (project “To World Suffering”, 1915; ensemble of the Fraternal Cemetery in Riga, 1924-1936, sculptor, architect A. Birzeniek and others, see ill.; Monument to the Unknown Soldier on Mount Avala near Belgrade, 1934-38, sculptor and architect, see ill.; complex in, 1937-38, sculptor and architect, see ill.). Memorial buildings and museums of this period are predominantly neoclassical in nature (memorials of A. Lincoln, 1914-22, architect G. Bacon, see ill.; and T. Jefferson, 1939-41, architect J.R. Pope et al.; both in Washington). Particularly diverse are the memorial structures erected after the Second World War of 1939-45, which are increasingly taking on the character of a national matter. Dedicated to fallen soldiers and victims of fascist terror, as well as various events of national history, they represent complex complexes of architecture, both organized and monumental-decorative, built on symphonically diverse and spatial plans, creating either depressed-mournful or sublimely pathetic; the role of inscriptions that figuratively comment on the main theme of Memorial structures increases significantly. If in numerous Memorial structures decorating the cemeteries of American soldiers (near Florence, 1959, architect F. McKim, and S. White, sculptor E. Waugh, etc.), cold prevails and somewhat abstract idealization, the best of the complexes created by European masters (the complex on Via Appia near Rome, 1951, architect G. Aprile and others, sculptors F. Coccia, Mirko; memorial to the fallen liberating soldiers in Mostar, 1960-1965, architect; Memorial structures on the site of fascist concentration camps in the GDR: in Buchenwald, 1958, sculptors, V. Grcimek and others, see ill.; in Sachsenhausen, 1956-60, sculptors R. Graetz, V. Grcimek, author of stained glass; in Ravensbrück, 1956-59, sculptors W. Lammert and others; all - architects L. Deiters, H. Kutzat and others; Parisian underground memorial to those killed in concentration camps, 1961, architect A. Pengusson), not only evoke grief for the victims, but, giving rise to the illusion of the immediate proximity of the tragic events, foster an active and conscious attitude to history. In a new type of historical memorial (except for memorial structures associated with the last war - a monument to the Silesian rebels near, 1949-52, sculptor; memorial on the field of the Battle of Grunwald 1410, 1959-60, sculptor E. Bandura), the main thing is not the museum exhibition itself ( although it can be included in the complex), and the expressiveness of architectural and plastic masses, organically connected with the tectonics of the natural relief, and in the urban area - with the patterns of development.

Memorial structures play an important role in patriotic Soviet people, figurative, bright emotional form reminding of major milestones history of peoples. TO the best examples Early Soviet memorial structures are in Leningrad (1917-23, architect) and (1924-30, architect, co-author I. A. French) on Red Square in Moscow. In the post-war period, the creation of memorial structures crowned the mass movement to perpetuate memory Soviet soldiers and victims of fascist terror. Along with ensembles built on the alternation of epic-narrative monumental-sculptural images, Soviet masters create complexes where the leading role is played by expressive, symbolically generalized elements, the so-called. monumental signs. Among the most significant are the Soviet Memorial buildings of the 1940-60s. memorials: to the heroes of the storming of Königsberg in Kaliningrad (1945-1946, B. Pundzyus, architect S. S. Nanushyan, I. D. Melchakov), soldiers Soviet army in Treptower Park in Berlin (1946-1949, sculptor, architect, etc., see ill.), in Leningrad (1960, V.V. Isaeva and others, architect A.V. Vasiliev), to victims of fascist terror in (1960, architect V. Gabrynas, see ill.) and (1961-67, etc., architect, etc., see ill.), on Mamayev Kurgan in Volgograd (1963-67, sculptors, etc., architect, see ill.), “To the Unknown Soldier” in Moscow (1967, architect, V. A. Klimov), in (1968-69, architects, see ill.), the gigantic complex “Green Belt of Glory” around Leningrad (see article), the “Brest Hero Fortress” complex in Brest (1966-71, etc., architect, etc.). In addition to Memorial buildings dedicated to the Great Patriotic War of 1941-45, the best Soviet Memorial buildings include: in Ulyanovsk (1967-70, architect, etc.), to the victims of the Armenian genocide of 1915 in Yerevan (1967, architects S. Kalashyan, A. Tarkhanyan) , a monument in honor of the battle of Sardarapat (1918) in the Oktemberyan region of the Armenian SSR (1968, architect, etc.; see ill.), “26 Baku Commissars” in (1968, architects G. Aleskerov, A. Huseynov, sculptors I. Zeynalov, N. Mamedov; see ill.), a monument to the victims of fascism in Abling (Lithuanian SSR; wood, 1972, sculptors V. Majoras, J. Ushkurnis and others, architect D. Juhnevichiute).

Lit.: Historical and revolutionary monuments. Kratky, M., 1972; of our days, [collection], M., 1973.

Belgrade. Mount Avala. Cenotaph.

F. Kremer. Group of the Monument to the Fighters of the Resistance to Fascism in Buchenwald. Bronze. Fragment. 1958.

G. Yokubonis. "Mother" (fragment). The sculptural part of the monument to the victims of fascism in the village of Pirchyupis (Varensky district). Granite. 1960.

A. L. Vitberg. Project of a memorial church in honor of the victory in the Patriotic War of 1812.

Memorial complex Khatyn (Belarusian SSR). 1968-69. Architects Yu. M. Gradov, V. P. Zankovich, L. M. Levin.

"Stand to death!" Reinforced concrete. Fragment of the monument-ensemble to heroes Battle of Stalingrad on the Mamayev Kurgan in Volgograd (1963-67, sculptors E.V. Vuchetich and others, architects Ya.B. Belopolsky and others).

C. Brancusi. "Gate of the Kiss" Memorial complex in Targu Jiu. 1937-38.

Memorial to the victims of fascism in Abling (Lithuanian SSR). Tree. 1972. Sculptors V. Majoras, J. Uškurnis and others, architect D. Juhnevičiute.

Museum-monument to the military partnership of the Soviet Army and the Polish Army in the village. Lenino (Belarusian SSR). 1968. Architects Ya. B. Belopolsky and V. I. Khavin, sculptor V. E. Tsigal.