Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (1989)

47

Iljian MOHyiweHTajibHoň nponarau^w

K 3BOJHOIJI1H JieHMHCKOM M^eií

(fOpMyjIMpOBKa HOBOM OÖmeCTBeHHOM tjjyHKIJMM MCKyC-
CTBa naxoflMT cBoe oTpaJKCHne BCKopee nocjie OktbSpc-
KOM peBOJIKHJMM — y>KC BCCHOM 1918 FOfla — B JI6HMHCKOM
Mflee MOHyMCHTajitHoň nponaraHflbí. Ona flOJUKna Sbijia
npn6jiM3MTB M306pa3MTejiBH0e MCKyccTBO MaccaM, nepe-
hcctm ero Ha yjiMpbr m njioipaflM, ero nocpeflCTBOM npo-
naraHflnpoBaTB peBOJnopMOHHbie Mflen. Ilpeflnojiarajiocb
nOCTpOHTb naMSTHMKM BMflaiOIUMMCÍI JIMHHOCTUM, KOTOpblC
bhccjim KpynHbíM BKJias b nporpecc HejiOBenecTBa m y-
TBep>K/(enMc npas npcjrcTapnara. HcKyccTBO flojoiciio Sbijio
Beran, na cjiyjKÔy peBOJiiopMM, nponaraHflMpoBaTB ee
MfleM, npHBJíeKaTB jnoflCM. floaTOMy noflnepKMBajiocB, Tpe-
SoBaHne BOcnMTMBaTB Maccbi. Kitioaenbte acneKTBi njiana
Sbíjím bkjiiohchbi b Heicpei' o naivuiTHMKax pecnyÖJiMKM ot
12-ro anpejia 1918 roua, npeflnojiarajiocb oSmbmtb koh-
Kypcbi Ha naivMTHMKM no cjiynaio «3HaHMTejibHBix flar pyc-
CKOM COflMajIMCTMHeCKOM pCBOJHOflMM», Ha npa3flHMHHOC
yKpaineHMe ropoflOB. no MHMpMaTMBe JICHMHa Sbiji co-
CTaBJICH CnMCOK JIMIJ, KOTOPBIM CJICflOFWIO nOCTpOMTb na-
mbthmkm b Mockbc M flpyrnx ropoflax PCďCP. Tpebosa-
JIOCB yflCJIÍITB BHMMaHMC TOMy, HTOSbl na.MÍITHMK xopomo
anncbiBajica b cpefly ropová m Jiaiiflniacbi'a. Bopbßa 3a
MCKyccTBO aaBTpaniHero coqwajiMCTMqecKoro fliiít 6 biji a
ÆpaMaTMHHa M npOTMBOpCHMBa. WCKyCCTBO HanOJIHajIOCb
peBOJMOpMOHHblM COflCpMCaHMCM, OflHaKO OHO npMflepXCM-
BaJIOCB TpaflMIJMOHHBIX Bbipa3MTCJIbHBIX CpeflCTB. Ho OflHO-
BpeMeHHO OHO MCKaJIO HOBbie Bbipa3MTejIBHbie CpCflCTBa,
JIOMaJIO TpaflMIJMM: KpynHbíM SBOJHOflMOHHblM npbPKOK
MCKyccTBa b nanajie 20-ro BCKa yBOflMJi MCKyccTBO ot na-
FJIJIflHOCTM, OT M3O6pa>KeHMSr COflMaJIBHOM fleMCTBMTCJIb-
hoctm, oflHaKo MM6HH0 HOBbie aBaHrapflHBie HanpaBjíeHMa
MCKyCCTBa CMMB0JIM3MP0B3JIM HOBOC pCBOJIlOpMOHHOe flBM-
XeHMC. 3Ta flBOMCTB6HHOCTb BOCnpMHTMa MMpa MCKyCCTBOM
iio3>kc nepepocjia b otkpmtbim kohiJjjimkt, kotopbim npo-
aBMJica y>i<e npM nposeflCHMM njiana MOHyMCHTajibHOM
nponaraHflbí.
MoHyivieHTaJibHaa nponaraH.ua KOCHyjiacb Bcex oójiac-

tcm M3o6pa3MTejibHoro MCKyccTBa, naHMHaa njiaKaTOM, ne-
pe3 KHMJKnyio m raacTiiyio rpacjoMKy m Konnaa yKpame-
HMCM TOpOflOB, arMTapMOHHBIMM n0e3flaMM M KOpaSjíaiVIM.
Hacrynaji yHMKajibHbiň cmhtcs M3o6pa3MTCJibHoro mc-
KyccTBa, My3BiKM, cjtoBa, cpeHMHecKo-flpaMaTMHecKoro mc-
KyccTBa. Hanöojiee afleKBaTHbíM BBipa>KeHMeM MOHyMCH-
TajibHOM iiponaran/ibi /[ojukhbi Sbíjím cthtb naiviaTHMKM,
Ohm nacTO B03HMKajiM Ha xofly, hcbhojihc coapeBinne Mflen
BOHJIOmajIMCB B flOCTyHHBIX M BCCBMa HeflOarOBpeMeHHBIX
MaTepnajiax. noaTOMy Sojibihmhctbo 3tmx naMaTHMKOB
ne coxpanMjiocb. PICKJiioqeHMe npeflCTaBJíaeT, nanpMMep,
aeHMHrpaflCKMM naiviaTHMK repoaM pcbojhoijmm Ha Map-
COBOM HOJÍC, CO3flaHHBIM b 1917—1920 rr. (apXMTCKTOp
PyflneB, TCKCTBi JlyHanapcKMM), BHyniMTejibHO CBa3BiBaio-
iijmm soeflMHO SaaropoflHBie (ÿopivibi c noaTMHCCKMM tck-
CTOM. BOJIBHIMHCTBO HaMaTHMKOB MCXOflMJIO M3 KJiaCCMHCC-
koto TMna SiocTa mjim <J>Mrypbi na nocTaMCHTe. Abtop pa-
6otbi KpaTKo anajiMSMpyeT hckotopbic t3kmm oöpaaoM
KOHpMHMpOBaHHBie naMHTHMKM M OTMCHaeT MX paSHOOÖ
pasné (JjopMbi, niKajiy, npocTMpaiomyioca ot TpaflMpMOH-
Hbix cpeflCTB k aBaHrapflHbíM npoeKTaivi. JleHMHCKaa M^ea
MOHyMCHTaabHOM nponaraH^bi, /(exTCJii.H0CTi> JlyHanap-
CKoro b Bonpocax co3/(aHMa OKpyxcaioineM cpe^bi m 3a-
BCTBi coBeTCKOro apxMTCKTypHoro aBaHrap.ua cocTaBJíaiOT
OCHOBHbie JIMHMM pa3BMTMa HOBOM MOflCJIM 06pa30B3HMa
cpeflbl, BO3HMKIHMC B COpMaJTMCTMHCCKOM 06lI|eCTBe.
B aaKJMOMMTCjiBHOM M3CTM aBTop 3a;(yMi>iBacTca Hafl 3a-
bctom MflCM MonyMeHTajibHOM nponaraHflbí, Hafl ee cbb-
3BK) C COBpeMCHHOCTblO. BblfleJlaeT ee BpeMeHHBie M BHe-
BpeMeHHbie acneKTM. PIflea MOHyivieHTajibHOM nponaraHflbí
opraHMHecKM BKJiionaeTca b nporpaMMy acTCTMHecKoň op-
raHM3aijMM copMajiMCTMuecKoro oSnjecTBa. Pojh> M3o6pa-
3MTejibHoro MCKyccTBa b OKpyjKaiomeM cpefle flM(J>(i>epeH-
UMpyeTca, paspacraeTca ero bmaobom m jKanpoBOM Sasnc,
coflepjKaHMe m <J>opMa. Oho BhinojinaeT b >km3hm hčjio-
BeKa KOMnjieKCHBie saflann.

Pian of a Monumental Propaganda — On the Evolution of the Leninist Idea

The formulation of a new social function of art found
its reflection shortly after the October révolution —
already in spring of 1918 — in the Leninist idea of
a monumental propaganda. It was meant to bring fine
art doser to the masses at large, to introduce it to the
streets and squares, to propagate by it revolutionary
ideas. Monuments should be erected to Personalities
responsible for the advancement of mankind and the
rights of the prolétariat. Art was to join in the service
of the révolution, to propagate its ideas, to Win over

the people. Hence, stress was laid on its comprehensi-
bility, on the necessity to educate the masses. Key as-
pects of the plan were expressed by the Decree on the
Republic’s Monuments dated April 12th, 1918. Contests
were to be published for monuments to “significant
days of the Russian socialist révolution”, for décoration
of towns on feast days. On Lenin’s initiative, a list was
drawn of persons to whom monuments were to be
erected in Moscow and in other towns of the RSFSR.
Attention was to be paid to setting the monuments into