The process of working on a thematic picture. Surikov V

Biography of Theodosius (monastic name Theodora) Prokofyevna Morozova (nee Sokovnina) (Borovsk) supreme palace noblewoman, figure of the Old Believers. Daughter of the okolnichy Prokopiy Fedorovich Sokovnin. At the age of 17, she married Gleb Ivanovich Morozov, a representative of the Morozov family, relatives of the ruling Romanov family, the royal sleeping bag and the prince’s uncle, the owner of the Zyuzino estate near Moscow.. Almost all the wealth of G.I. Morozov was given orders by the noblewoman Morozova. According to the memoirs of contemporaries, Morozova made ceremonial trips in a silver carriage, the harness of which included 6 or 12 horses, accompanied by several hundred (up to three hundred) servants. At the royal palace, Theodosia held the rank of riding noblewoman, was close to Tsar Alexei Mikhailovich Borovsk of the Old Believers of the Okolnicheg Gleb Ivanovich Morozov Romanovs uncle Zyuzino Moscow carriage Alexei Mikhailovich Borovsk of the Old Believers of the Okolnichego Gleb Ivanovich Morozov Romanovs uncle Zyuzino Moscow carriage of Alexey Mikhailovich

Activities of Boyarina Morozova Boyarina Morozova was one of the opponents of the reforms of Patriarch Nikon, and closely communicated with the apologist of the Old Believers, Archpriest Avvakum. Feodosia Morozova was involved in charity work and hosted wanderers, beggars and holy fools in her home. Left a widow at the age of thirty, she “pacified the flesh” by wearing a hair shirt. Morozova performed her home prayers “according to ancient rituals,” and her Moscow house served as a refuge for Old Believers persecuted by the authorities. Boyarina Morozova was one of the opponents of the reforms of Patriarch Nikon, and closely communicated with the apologist of the Old Believers, Archpriest Avvakum. Feodosia Morozova was involved in charity work and hosted wanderers, beggars and holy fools in her home. Left a widow at the age of thirty, she “pacified the flesh” by wearing a hair shirt. Morozova performed her prayers at home “according to ancient rituals,” and her Moscow house served as a refuge for Old Believers persecuted by the authorities.reforms of Patriarch Nikon Avvakum the Fool of the Hairshirtreforms of Patriarch Nikon Avvakum the Fool of the Hairshirt

Morozova began to move away from church and secular events.Morozova began to move away from church and secular events. Tsar Alexei Mikhailovich, who fully supported church reforms, tried to influence the noblewoman through her relatives and entourage, as well as by taking away and returning estates from her patrimony. Apparently, the high position of Morozova and the intercession of Tsarina Maria Ilyinichna kept the tsar from taking decisive actions. Feodosia Morozova was repeatedly present at services in the “New Ritual Church,” which the Old Believers viewed as forced “small hypocrisy.” But after secretly being tonsured as a nun under the name of Theodora, which took place according to Old Believer legends on December 6, 1670, Morozova began to withdraw from church and social events. Tsar Alexei Mikhailovich, who fully supported church reforms, tried to influence the noblewoman through her relatives and entourage, as well as by taking away and returning estates from her patrimony. Apparently, the high position of Morozova and the intercession of Tsarina Maria Ilyinichna kept the tsar from taking decisive actions. Feodosia Morozova was repeatedly present at services in the “New Ritual Church,” which the Old Believers viewed as forced “small hypocrisy.” But after secretly being tonsured as a nun under the name of Theodora, which took place according to Old Believer legends on December 6, 1670, Morozova began to withdraw from church and social events. Alexey Mikhailovich 1670 Alexey Mikhailovich 1670

Arrest On the night of November 14, 1671, noblewoman Morozova was arrested by Archimandrite Joachim of the Miracle Monastery and left under house arrest, and her entire fortune was confiscated. A few days later she was transported to the Chudov Monastery from where, after interrogations, she was transported to the courtyard of the Pskov-Pechersky Monastery. However, despite the strict guards, Morozova continued to maintain communication with the outside world; she was given food and clothing. In conclusion, she received letters from Archpriest Avvakum and was even able to receive communion from one of the priests faithful to the “old faith.” Soon after Feodosia's arrest, her son Gleb died. On the night of November 14, 1671, noblewoman Morozova was arrested by Archimandrite Joachim of the Miracle Monastery and left under house arrest, and her entire fortune was confiscated. A few days later she was transported to the Chudov Monastery from where, after interrogations, she was transported to the courtyard of the Pskov-Pechersky Monastery. However, despite the strict guards, Morozova continued to maintain communication with the outside world; she was given food and clothing. In conclusion, she received letters from Archpriest Avvakum and was even able to receive communion from one of the priests faithful to the “old faith.” Soon after the arrest of Theodosia, her son Gleb died. On November 14, 1671, Archimandrite of the Chudov Monastery of the Pskovo-Pechersky Monastery received communion of the priests.

At the end of 1674, noblewoman Morozova, her sister Evdokia Urusova and their associate, the wife of the Streltsy colonel Maria Danilova, were brought to the Yamskaya courtyard, where they tried to convince them of their loyalty to the Old Believers by torture on the rack. According to Morozova’s life, at that time the fire was already ready to burn her, but Theodosia was saved by the intercession of the boyars, outraged by the possibility of executing a representative of one of the sixteen highest aristocratic families of the Moscow state. Also, the sister of Tsar Alexei Mikhailovich, Tsarevna Irina Mikhailovna, stood up for Feodosia. At the end of 1674, noblewoman Morozova, her sister Evdokia Urusova and their associate, the wife of the Streltsy colonel Maria Danilova, were brought to the Yamskaya courtyard, where they tried to convince them of their loyalty to the Old Believers by torture on the rack. According to Morozova’s life, at that time the fire was already ready to burn her, but Theodosia was saved by the intercession of the boyars, outraged by the possibility of executing a representative of one of the sixteen highest aristocratic families of the Moscow state. Also, the sister of Tsar Alexei Mikhailovich, Tsarevna Irina Mikhailovna, stood up for Feodosia.

DeathDeath By order of Alexei Mikhailovich, she and her sister, Princess Urusova, were exiled to Borovsk, where they were imprisoned in an earthen prison in the Pafnutievo-Borovsky Monastery, and 14 of their servants were burned in a log house for belonging to the old faith at the end of June 1675. Evdokia Urusova died on September 11, 1675 from complete exhaustion. Feodosia Morozova was also starved to death and, before her death, asking her jailer to wash her shirt in the river so that she could die in a clean shirt, she died on November 1, 1675. Theodosius Morozova (monastically Theodora) is revered by the Old Believer Church as a saint. By order of Alexei Mikhailovich, she and her sister, Princess Urusova, were exiled to Borovsk, where they were imprisoned in an earthen prison in the Pafnutievo-Borovsky Monastery, and 14 of their servants were burned in a log house for belonging to the old faith at the end of June 1675. Evdokia Urusova died on September 11, 1675 from complete exhaustion. Feodosia Morozova was also starved to death and, before her death, asking her jailer to wash her shirt in the river so that she could die in a clean shirt, she died on November 1, 1675. Theodosius Morozova (monastically Theodora) is revered by the Old Believer Church as a saint. BorovskPafnutevo-Borovsky Monastery was burned in the log house on September 11, 1675, November 1, 1675, Old Believer BorovskPafnutyevo-Borovsky Monastery was burned in the log house, September 11, 1675, November 1, 1675, Old Believer

It often happens that famous people, once on the historical canvas, lose their real features and turn into mythologems, into some solid images created by the artist’s imagination and appear before the eyes every time they are mentioned. Who doesn’t know the noblewoman Morozova? Everyone knows her and at the same time they know very little about Feodosia Prokopyevna Morozova, a real woman, a famous follower of the Old Believers. It often happens that famous people, once on the historical canvas, lose their real features and turn into mythologems, into some solid images created by the artist’s imagination and appear before the eyes every time they are mentioned. Who doesn’t know the noblewoman Morozova? Everyone knows her and at the same time they know very little about Feodosia Prokopyevna Morozova, a real woman, a famous follower of the Old Believers. We, 9th grade students, believe that every person should definitely remember women who became famous on stage and in films, strong and courageous women who actually accomplished a feat, such as Feodosya Prokopyevna Morozova. We, 9th grade students, believe that every person should definitely remember women who became famous on stage and in films, strong and courageous women who actually accomplished a feat, such as Feodosya Prokopyevna Morozova.

Furlova Olga Ivanovna,

MAOU secondary school No. 20

History of Russia, 10th grade

Basic level of studying history (or a lesson in the elective course “Lights of Russia”)

Program:1 . A.N.Sakharov, A.N.Bokhanov, S.I.Kozlenko. History of Russia from ancient times to the end of the 19th century. Course program. 10 grades - M.: “Russian Word”, 2006

Textbook: 1 . History of Russia from ancient times to the end of the 19th century. Grade 10. Ed. A.N.Sakharova, A.N.Bokhanov. At 2 h. , part 2 - M.: “Russian Word”, 2006

Lesson topic:

The face of the schism: Boyarina Morozova. (lesson based on the painting by V.I. Surikov “Boyaryna Morozova”)

The lesson is conducted using ICT; technologies used: critical thinking, design.

Lesson objectives:

Educational - formation of historical knowledge about the causes of the schism in the Russian Orthodox Church and in society (characteristics of the participants in the events - Tsar Alexei Mikhailovich, Patriarch Nikon, Archpriest Avvakum, noblewoman Morozova from the point of view of using different sources; assessment of the church schism by contemporaries and descendants);

Leading students to conclusions about the role of the Orthodox Church in the history of the country; the dangers of schisms in society and the church;

Leading students to understand the role of an individual in history.

Educational - understanding the ambiguity of assessing historical figures, philosophical and historical approaches to assessing the Old Believers; figurative and personal perception of events through the prism of works of artistic culture;

Fostering a tolerant attitude towards various religious and ideological movements;

Forming a respectful attitude towards fighters for ideas and faith .

Developmental - continue to develop the skills to trace cause-and-effect relationships, operate with historical facts, use various sources of historical knowledge, analyze and compare historical sources, independently formulate and express your point of view, work with multimedia sources, presentations, interactive whiteboards;

Continue to develop students’ critical thinking;

Continue to develop the ability to identify supporting knowledge when analyzing such a historical source as a work of art using ICT;

Continue to develop the ability to work on a project.

Equipment:

painting by V. Surikov “Boyaryna Morozova”;

presentation:

The file will be here:/data/edu/files/v1461823193.pptx (Face of Schism) ;

creative reports from project groups:

The file will be here:/data/edu/files/h1461823232.doc (Appendix 4),

The file will be here:/data/edu/files/h1461823258.doc (Appendix 6) ;

textbook for grade 10, ed. A.N. Sakharov; historical sources of the schism era (applications:

The file will be here:/data/edu/files/j1461823295.doc (Appendix 1),

The file will be here:/data/edu/files/a1461823315.doc (Appendix 2),

The file will be here:/data/edu/files/c1461823333.doc (Appendix 3,

The file will be here:/data/edu/files/k1461823364.doc (Appendix 5).

During the classes.

1.Dive.

1. Repetition of the studied material.Conversation.

Introductory words from the teacher: The history of every nation knows epochs of more or less abrupt turning point in the mental life of the nation. In the life of the Russian people, one of the most remarkable eras of this kind was the second half of the 17th century, which began a new period in the history of the country's intellectual development. Why?

There was a need for ideological reforms. And since the main ideologist was the church, it became necessary to reform the church.

1. Why in the 17th century. Is there a need for church reform?

(presentation, frame 3)

1. Reasons and beginning of the split:

a) Reasons for the split (frame 4-5)

Students: The reforms of Patriarch Nikon: replacing double-fingered with triple-fingered, replacing bows with bows to the ground, shortening the service, changing the vestments of the clergy, etc., produced the impression of a bolt from the blue. “We see how winter wants to be: the heart is cold and the legs are trembling,” wrote Archpriest Avvakum.

In the religious life of Russian people, rituals were of paramount importance. This was in accordance with centuries-old tradition. The Russian Orthodox Church has kept its rituals intact since the 10th century; in this case, the Greeks were apostates. Nikon’s reluctance to take into account the national character and traditions of the Russian people, prejudice against everything foreign; the patriarch's penchant for harsh actions (“to tear off, scold, curse, beat an objectionable person - these were the usual methods of his powerful shepherd”); mutual intolerance of supporters of the reform and its opponents; ritualism and theological ignorance shown by both sides; the sincere readiness of the Old Believers to suffer for their faith - all these circumstances gave the conflict a particularly fierce character and led to the fact that the dispute about triplets escalated into a church schism.

1. The Old Believers were afraid of the secularization of the church, the violation of piety.

2. The Old Believers believed that a change in rituals was tantamount to a change in faith (ritual belief); they no longer remembered that faith came “from the Greeks”; the introduced rituals were not new.

3. The rigidity of the methods of carrying out the reform, especially after the departure of Patriarch Nikon, who sought to soften its implementation.

4. The inertia of the clergy, who had difficulty accepting the new service books.

5. Social protest was intertwined with the split.

b) The beginning of the split (frame 7-8)

The schism became a fact after the church council of 1666 - 1667. anathematized all those who persist in preserving the old rituals and old liturgical books. The words of the curse were pronounced and the Old Believers were faced with a choice: to reconcile themselves or to make an unconditional break with the official church, which invalidated the decisions of the Stoglavy Council of 1551, which were highly revered by zealots of Moscow antiquity.

Conclusion: At the heart of the confrontation that split Russian society in the second half of the 17th century was a clash of two ideologies, two views on the future of the Muscovite kingdom, on its role in the establishment of Orthodoxy. It has long been known that many errors crept into the liturgical books, which previously existed only in manuscripts, due to the lack of education and carelessness of the copyists. These mistakes have become a point of contention among people. In 1654, Tsar Alexei Mikhailovich entrusted this correction to Patriarch Nikon... At that time, the first riots occurred on the occasion of new liturgical books printed based on Nikon’s corrections. Many of the clergy considered these books ungodly, did not accept them and used old ones, which is why they received the name Old Believers, Old Believers, and schismatics.

2. What is the essence of the disagreement between Patriarch Nikon and the zealots of ancient piety? To answer this question, it is necessary to know about the main characters in the schism. Who are they?

Nikon, Avvakum, noblewoman Morozova, the state in the person of the tsar.

2. Understanding.

2. The ideology of the split.

Teacher: What were the differences in the ideals of the Nikonians and the Old Believers?

Patriarch Nikon(frame 9)

Student message:

Remember the theory “Moscow is the Third Rome.” The Old Believers were looking for their ideal in the past, trying to find harmony in the Moscow past. Nikon, no less diligently than the Old Believers, tried to rely on tradition, but not Moscow, but universal (or rather, Greek, Byzantine).

With the end of the Time of Troubles, Russia begins to modernize. The Western world with its advanced knowledge, culture, and technological capabilities opens up for her. Western specialists go to Russia, Russians adopt their experience and knowledge. Society begins to stratify into supporters and opponents of innovation. Gradually, the renewal also affects the area of ​​spiritual life - the church. Church ritual reform begins, which has been carried out since 1653 by Patriarch Nikon. But one should not be mistaken about the primacy of the patriarch in the designated reformation. Behind him stood the father of Peter I, the “quiet” Alexei Mikhailovich, who strengthened the autocracy, for which purpose he subjugated the church to his will. As always, the goal of the reform was good - the tsar and patriarch decide to strengthen the church organization in Russia, as well as eliminate all disagreements between regional Orthodox churches, since over time many differences and deviations from the canons have accumulated. The Patriarch set himself the goal of making the Russian Church powerful and raising its prestige. “The third Rome is Moscow, and there will never be a fourth” - he began to put these words spoken before Nikon into practice. Byzantium, as is known, was called the second Rome, from where Orthodoxy came to Rus'. By decree of the patriarch, church texts began to be rewritten according to Greek models. They did this in a hurry, making many mistakes, and all the old texts were declared non-Orthodox. Before Nikon's reforms, two forms of the sign of the cross were accepted in Russia - two-finger and three-finger. Nikon accused the two-fingers of heresy. But the meaning of these symbols is not very different. Both of them are signs of participation in Christianity. Double-fingering should remind us of the dual nature of Christ - divine and human. In the tripartite, the connection of the first three fingers symbolizes the unity of God in three persons, and two fingers pressed to the palm indicate the two natures of Christ. There were other innovations that brought Russian Orthodoxy closer to the Byzantine canons. At the same time, ritual differences were given a fundamental character - like differences in faith. And if the faith of the fathers is declared heresy, rebellion is inevitable.

Working with a source (Appendix 2): - Avvakum’s appeal to Tsar Alexei Mikhailovich

(b) Archpriest Avvakum (1621-1682) (frame 10)

...became one of the founders of the Old Believer movement

Student message:

The son of a village priest, thanks to his preaching gift and zealous piety he was brought close to the tsar and became a priest of the Church of Our Lady of Kazan on Red Square. But the reforms of Patriarch Nikon made him an irreconcilable enemy of the spiritual and secular authorities. Archpriest Avvakum described his long-suffering life in “Life” - a wonderful monument of Russian literature.

Archpriest Avvakum was not even thirty when he led the schismatics.
Neither persuasion, nor torture, nor exile (first to Tobolsk, then to Pustozersk), nor promises could force Avvakum to submit to the patriarchal will. In 1682, for purely political reasons - “for the great blasphemy against the royal house” - the obstinate archpriest was burned. (By the way, he outlived his ideological opponent by a year, who, also for political reasons, was exiled to the North, having lost his high rank.)

1) Avvakum’s whole life, in his own description, is a struggle for the true faith, against Nikon’s reforms, a continuous chain of persecution and torment. In his youth, Avvakum fought against buffoonery, denounced unjust leaders, demanded a righteous life from his parishioners, for which he suffered a lot from both the authorities and his flock.

2) Having opposed Nikon’s reforms, Avvakum doomed himself to countless persecutions, tortures and tortures for 30 years. He was beaten with a whip, imprisoned, exiled to Siberia and finally burned with several of his comrades in Pustozersk, where Avvakum was imprisoned in an earthen prison, on bread and water, for 14 years (in 1682 by royal decree “ for the great blasphemy against the royal house").

Question for students:

What are the differences between the Old Believers and the supporters of Patriarch Nikon?

Do you think the dispute is about faith or about the external, ritual side? Why is it so important for Old Believers?

Students:

Avvakum formulated his position in life as follows: “Although I am an unthinking and very uneducated person, I know that everything handed down by the holy fathers is holy and immaculate; I hold it until death, as if I had received it; ... it’s up to us: lie there forever and ever!”

Is it possible to determine from the text the attitude of Avvakum towards Patriarch Nikon?

Students:

These words of his contain not only the religious, but also the general cultural position of Avvakum - an ardent supporter of traditional medieval culture.

Avvakum sets out and defends the ideological foundations of the Old Believers: “Even though I don’t understand much, an ignorant person, I know that everything in the Church from the saints of the Father is faithful, holy and immaculate. I hold it to death, as I received; I do not change the limit to us it’s supposed to lie like that forever and ever.”

Ruthlessness towards his enemies (Abakkuk is ready to cut through his opponents “in one day” and, above all, Nikon: “that dog would be cut in four”) combines in the author of the “Life” with touching cordiality towards his close like-minded people. Avvakum's favorite students were the noblewoman Feodosia Morozova and her sister Princess Evdokia Urusova. This combination of gratitude and mercy is characteristic of the morals of the late Middle Ages.

Conclusion: Both Nikon and his opponents dreamed of the greatness of Moscow, but for the patriarch it was completely earthly greatness, and for the Old Believers it was spiritual greatness. Nikon sought to recreate a universal empire, in which the throne of the church ruler was located higher than the throne of the secular ruler. The Old Believers hoped that the Kingdom of Moscow would become a kind of empire of the spirit, in which the Orthodox Tsar, first of all, cared about the purity of the faith and protected his subjects from destructive foreign influences.

3. Social forces. Forms of resistance:

a) Social forces (frame 11)

The schism united a variety of social forces that advocated preserving the integrity of the traditional nature of Russian culture.

b) The fate of noblewoman Morozova (frame 12-13)

Our main heroine is “Boyarina Morozova”, it is this picture that we will talk about today. Let me start with a lyrical digression.

“Your days are probably wasted, and you probably don’t realize

Do you remember, in the Tretyakov Gallery, Surikov, “Boyarina Morozova”.

That’s right, which religion, and the schism has already been accepted by the homeland,

There is a beggar there, and he has chains, he is an Old Believer and a holy fool.

He is an ascetic, he does not need fame, he is not a crowned king of the street,

The sleigh jumps over potholes, he is barefoot and undressed, but he won’t catch a cold.

His holy faith burns, he warms himself on the fire of that holy faith,

And with the frenzy of a fanatic, best of all, he crosses himself with two fingers.”

This is Nikolai Glazkov, that’s the name of the poem, “Boyarina Morozova.” This is how we started.

Let's try to imagine what she really was like. It often happens that famous people, once on the historical canvas, lose their real features and turn into mythologems, into some solid images created by the artist’s imagination and appear before the eyes every time they are mentioned. Who doesn’t know the noblewoman Morozova? Everyone knows her and at the same time they know very little about Feodosia Prokopyevna Morozova, a real woman, a famous follower of the Old Believers.

Message: Feodosya Prokopyevna Sokovnina (Morozova) (frame 14)

Wife of Gleb Ivanovich Morozov, brother of B.I. Morozov

Very rich

- “spiritual daughter” of Archpriest Avvakum

Arrested together with her sister Princess Urusova, they were put in an earthen pit on bread and water.

Died in November 1675

One of the most famous schismatics, who did not want to come to terms with the corrections made to the books by Nikon, was the noblewoman Morozova. Historian Sergei Mikhailovich Solovyov in the book “Readings and Stories on the History of Russia” describes the lifestyle of the rich noblewoman: “Boyaryna Fedosya Prokofievna Morozova enjoyed great honor at court: “There were three hundred people serving her at home. There were 8,000 peasants... she rode in an expensive carriage, decorated with mosaics and silver, with six or twelve horses; about a hundred servants, male and female slaves followed her, protecting her honor and health.”

Working with sources:

Let's read an excerpt from Natalya Konchalovskaya's book “The Priceless Gift” (Appendix 3), which tells about the fate of the rebellious noblewoman and characterizes her as a person of extraordinary spiritual strength.

In order to better understand the text you read, let's find out how you understand the meaning of some words.

What do you think the word means? feat? (Feat- this is a heroic, selfless act that a person performs.)

Can the fight of the noblewoman Morozova for the old faith be called a feat? (“It seems to me that this struggle cannot be called a feat, there is nothing heroic in it, Morozova simply did not want to come to terms with church innovations.” “I believe that the noblewoman Morozova accomplished a feat, because not every person is able to defend their convictions and go for them to the end.")

We may have different views on what Morozova believed in (after all, we evaluate her actions from the perspective of her time!), but a person capable of fighting for his beliefs (even if we do not share these beliefs) is worthy of respect. How do you understand: what is beliefs? (Beliefs- this is a firm view of something, a person’s prevailing worldview.)

What do you think the word means? renunciation? (Renounce- i.e. renounce your opinion, your words, your beliefs.) Indeed, to renounce means to renounce what was said earlier. But for Morozova, renunciation means giving up her beliefs, and she does not agree to this.

And the last word is fanaticism. What does fanaticism mean? Let's turn to the dictionary: “Fanaticism is a person’s tendency to follow certain ideas, regardless of anything, sacrificing the lives of people and his own for the sake of their triumph.”

What does the text mean when it talks about fanatical devotion to belief? (Probably, what is meant here is that the noblewoman Morozova is ready to stand up for her faith to the end.)

Working with a source ( Appendix 5, 1):

- Was the noblewoman a fanatic?

Message: V.I.Surikov(frame 15-16)

So, we have learned some facts from the life and work of the artist V.I. Surikov, who painted the painting “Boyarina Morozova,” learned about the historical events of the distant 17th century concerning the religious schism, about the schismatic Morozova. Let's now carefully look at the picture itself and try to understand and feel what the author depicted in it.

Teacher:(frame 17)

17th century It was a tragic time. The flourishing of Russian culture - and the split of the Orthodox Church, when you could pay for your faith with your life. Surikov re-read Archpriest Avvakum’s “Life” more than once. The book exuded the expanse of the Russian land. It was as if a dry, frosty wind, arising over the steppes, carried the smells of dense forests, the distant ringing of bells and the frantic cries of sufferers. The composition of the canvas came together quickly. For the sake of expressiveness, Surikov decided to deviate a little from historical accuracy. In fact, both sisters were sitting in the sleigh. They were chained by the neck to chairs, laid on firewood and, fearing popular unrest, taken out of the Kremlin under the royal passages. But Surikov did not depict the Kremlin, but a Moscow street filled with a motley crowd. He has Urusova walking next to the sleigh, and in the very center of the picture is Feodosya with her hand raised upward in a double-fingered sign. Now let’s remember the “starting point” of the idea - the crow in the snow. The artist thinks in images. Black on white is a strong contrast, a sign of defiance. Note: the figure of the noblewoman is a black spot against the background of white snow and a colored crowd. The hand looks like a broken (“set aside”) wing, the eyes are bulging. Pathetic and majestic. One against all.

Analyzing the picture, we try to answer the logical task:

“But why did Russia choose Morozova, turning her into a symbol of split?”

Conversation on the picture (student):

So, let's repeat again: where and when did the events depicted in the picture take place? (The events took place in the 17th century in Moscow.)

What episode from those distant events did the artist depict? (“Perhaps in the painting the author depicted the moment when the noblewoman Morozova, by order of the tsar, was captured and taken for interrogation.” “Perhaps the painting depicts the noblewoman being taken into exile.”)

The artist really depicted in the picture the moment when the rebellious noblewoman, who had gone through torture, shackled, was taken into exile.

How is noblewoman Morozova depicted? (The boyar is depicted sitting in a sleigh.)

Is she indifferent to what is happening, has she resigned herself to her fate? (She is not indifferent to what is happening, and has not accepted her fate. The artist depicted her with her right hand raised up with a two-fingered sign. She is trying to say something to the people who are crowded around the sleigh.)

How did the artist convey that the two-fingered sign is important for the noblewoman? (The noblewoman raised her hand high with two straightened fingers so that everyone could see that she had not renounced her faith.)

We don’t hear what the schismatic is telling people (we have a painting in front of us, the artist’s language is paint). But I think you and I can understand what she is talking about at this moment. Try this. (“I think she’s telling people to stand up for their faith to the end.” “Or maybe she’s saying that you don’t have to feel sorry for her, don’t cry, you have to believe and stand up for your faith.”)

Do you think the artist was able to show us that this woman was being taken from prison, where she was tortured? What details of her appearance indicate this? (“Yes, the artist was able to show this. Boyarina Morozova has a thin, emaciated, deathly pale face. Sunken cheeks, a pointed nose, deep-set eyes.” “She has a completely bloodless face and the same hand. Her hands and face are thin, it seems that even her rich clothes have become too big for her." “It seems to me that this is emphasized by her clothes: the noblewoman is dressed all in black - the color of mourning.)

We can see from her face that she has suffered. But there is something else in her appearance. Look closely at her face. What does the look of the main character of the picture tell us? (“The look is frenzied, terrible, it seems that it will incinerate everyone.” “This look says that the heroine is not broken, she is convinced that she is right.” “She does not complain, her look speaks of her unbroken will.”)

What does the pose of the heroine of the picture say? (About internal tension: legs stretched out convulsively, a hand clutching the edge of the sled, a right hand tensely raised upward.)

Now let's talk about the other characters in the film.

What is the center of the picture? (In the center of the picture is a sleigh on which the disgraced noblewoman sits.)

Take a closer look at people’s faces: where are there more sympathetic people, and where are there more hostile people towards the noblewoman? (On the right there are more sympathizers, and on the left there are those who are hostile.)

What colors predominate in the picture? (It’s hard to answer. There are a variety of colors in the picture.)

The varied colors and diversity of the crowd, according to Surikov’s plan, should contrast with the black (“monastic”) costume of the noblewoman. Color contrasts also help show people's different emotional states.

The work of a historical painter is special. In order to create a historical canvas, you must have a unique quality - the ability to see through the veil of time, the ability to feel the pulse of a long-gone life. The artist himself said about this: “The essence of a historical painting is guessing.”

Teacher:

You and I will try to guess what feelings are filled with those who crowded around the noblewoman’s sleigh.

Choose one of its characters from the picture, describe him and try to guess his thoughts.

(“In the foreground, closest to the audience, the artist depicted the holy fool (frame 18).

This is a traditional character of old Rus'. The people believed such people and provided them with protection. The holy fool, in the minds of our ancestors, possessed the gift of prophecy. In the painting he is depicted sitting directly on the snow. His shirt - his only clothing - is torn in many places and does not protect him from the cold. On the head there is a piece of some kind of rag, covering the head from the frost. There is a huge chain around his neck. This is the most pathetic character. But at the same time, there is a sense of fortitude (and perhaps madness) in this person, which allows him not only to endure hunger and cold, but also to openly show sympathy. He is the only one in the picture who raises a hand with the same two fingers as hers in response to the noblewoman’s words.”

“Next to the holy fool is a beggar woman. This is an old, emaciated woman who is kneeling, leaning on a stick. She is wearing a dark scarf and dark clothes patched in many places. On her shoulder is a bag in which she collects alms. She extended one hand to the sleigh, as if she wanted to delay them or help the noblewoman in something. There is an expression of pity, sympathy, compassion on her face.”

“My attention was drawn to the girl standing behind the beggar woman (frame 19)

She is dressed in a smart blue fur coat and a bright yellow scarf. She has a beautiful and sad face. She bowed before the noblewoman Morozova in a half-bow. It seems to me that this quiet girl sympathizes with Morozova.”

“Another young hawthorn stands next to a girl in a blue fur coat (frame 20)

She clasped her hands when she saw Morozova, pressed them to her chest and remained standing. She also sympathizes with the disgraced noblewoman, feels sorry for her, almost cries, looking at her.”

“The nun who peeks out from behind people’s backs also attracts attention. Maybe she too is a secret schismatic; fear and anxiety are written on her face”) (frame 21)

You tried to describe people who sympathize with the noblewoman. Are there any among the crowd who do not sympathize with Morozova? (Yes, among people there are those who hesitate which side to take, and there are also those who openly and mockingly laugh at the disgraced noblewoman.)

In what part of the picture did Surikov place Morozova’s opponents? (Basically, the boyar’s opponents are in the picture to the left of the sleigh.)

How do these people react to the appearance of a sleigh with a noblewoman chained in chains? (Some are simply curious what is happening, others have open gloating written on their faces, others laugh at Morozova and grin evilly.) (frame 22)

Are there characters in the picture who simply don't understand what's going on? (The boy running after the sleigh most likely does not understand the tragedy of what is happening. For him, this is just an opportunity to run around, enjoy a good day and frost, and even unexpected entertainment.)

What do you think: why should we today turn to “the affairs of bygone days”? (“It seems to me that this is necessary, because every nation lives not only for today, every nation has its history. You need to know this history, and Surikov’s painting helped us with this.” “When you look at this painting and think about it When you look at its heroes, you understand your people better.”)

For what purpose did the tsar order Morozova to be transported in chains around Moscow? Did you manage to achieve your goal?

The author of the Tale puts significant words into the mouth of Tsar Alexei Mikhailovich regarding his feud with Morozova: “It’s hard for her to brother with me - only one can overcome everything from us.” It is unlikely that these words were ever uttered: in fact, the autocrat of all Rus' could not, even for a moment, admit that he would be “overcome” by the noblewoman, who was rigid in disobedience. But fiction has, in its way, no less historical value than an immutably established fact. In this case, fiction is the voice of the people. The people perceived the fight between the Tsar and Morozova as a spiritual duel (and in the battle of the spirit, the rivals are always equal) and, of course, were entirely on the side of the “combatant.” There is every reason to believe that the king understood this perfectly well. His order to starve Morozova to death in the Borovsk pit, in the “unlighted darkness”, in the “earthly suffocation” strikes not only with cruelty, but also with cold calculation. The point is not even that death is red in the world. The fact is that a public execution gives a person the aura of martyrdom (if, of course, the people are on the side of the executed). This is what the king feared most of all, he was afraid that “the last misfortune would be worse than the first.” Therefore, he doomed Morozova and her sister to a “quiet”, long death. Therefore, their bodies - in matting, without a funeral service - were buried inside the walls of the Borovsk prison: they feared that the Old Believers would dig them up “with great honor, like the relics of holy martyrs.” Morozova was kept in custody while she was alive. She was left in custody even after her death, which put an end to her suffering on the night of November 1–2, 1675.

Human weakness does not detract from the feat. On the contrary, she emphasizes his greatness: in order to accomplish a feat, you must, first of all, be human.

So, you and I have looked at the picture and understood a little about the complex issues that arise before its viewers. Now let's try to answer the question of the logical task.

3. Reflection.

Essay: (Appendix 6)

Poems: (Appendix 4)

Students' opinions:

The picture is very scary, it captures you headlong, plunging you into the world of the past, eternal struggle and suffering. Even looking at the reproduction, it becomes scary, and when you see the original, you are seized with awe, as if it was not Morozova who was being carried on a wooden sleigh in the 17th century, but you!

Surikov’s canvas is not just a painting that opens before us a page of the distant past. She calls for thinking about complex issues: about the feat of life, about people who sacrificed themselves for the sake of an idea, about courage and compassion - those traits that are characteristic of the Russian national character.

- “Boyarina Morozova” ideally embodies the wonderful thoughts once expressed by I.E. Repin: “In the soul of a Russian person there is a trait of special, hidden heroism... it lies under the cover of the personality, it is invisible. But this is the greatest force of life, it moves mountains... She merges completely with her idea, “is not afraid to die.” That's where her greatest strength is: she's not afraid of death."

There is no road in front of the sleigh as such, it is not visible, it is blocked by a crowd, symbolizing a dead end, the absence of a path. Morozova’s “rebellion” is contrasted with the “humility” of a wanderer with a staff, located at the right border of the canvas. In the memory of the people, noblewoman Morozova is a martyr and heroine.

The meaning of schism.

The results of the work in the lesson are summed up. Collective discussion of the problem comes down to the following conclusions:(frames 23-24)

The schism was a manifestation of the spiritual crisis of Russian medieval society, but it did not lead to a significant renewal of cultural life. The most consistent supporters of traditions were the Old Believers. But the official and church remained hostile to innovations and Europeanization. The schism shook the authority of the church and indirectly contributed to the secularization of culture.

In the struggle of two church social forces - and in the 17th century. in the minds of all residents of the Moscow state did not differ - both the Nikonians and the Old Believers suffered defeat. Only the state won, which, under the youngest son of Alexei Mikhailovich Peter the Great, essentially absorbed the church and turned into a powerful empire. This empire, however, did not at all resemble either the universal Orthodox kingdom from Nikon’s dreams, or the reserve of the Moscow true faith, which the Old Believers dreamed of.

Literature:

1. Mordovtsev D. A. The Great Schism. - M.: Sovremennik, 1994.

2. Buganov V.I., Bogdanov A.P. Rebels and truth-seekers in the Russian Orthodox Church. - M.: Politizdat, 1991.

3. Konchalovskaya N. A priceless gift. - M.: Sovremennik, 1998

4. Osipov V.I., Osipova A.I. Borovsk martyrs. - Old Believers: history, culture, modernity, vol. 5. M., 1996.

5. Rumyantseva V. Rebellious noblewoman. - Science and religion. 1975, no. 6.

6. Tikhonravov N.S. Boyarina Morozova. - Russian Bulletin, 1865, No. 9.

Here are Morozova herself, and many other people who have different attitudes to the ongoing event. Here
sympathetic faces: in some one can read anxiety, in others -
compassion, thirdly - sad humility, and faces
indifferent, mocking, curious, and faces
stern, thoughtful.

sketch

sketch

Sketches

Running teenager

Description of the presentation by individual slides:

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Vasily Ivanovich Surikov “Boyaryna Morozova”. Oil. 1887. Presentation prepared by: Nikitushkina G.V. Moscow 2015

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“The essence of a historical picture is guessing,” said Surikov. Vasily Ivanovich entered the history of Russian art as a historical painter. In his paintings he tried to depict history “moved and created by the people themselves.” Surikov first heard the story of noblewoman Morozova in childhood from his godmother O.M. Durandina, who knew about the famous schismatic from the stories of the schismatics who lived there, or from one of the handwritten “lives” about her, distributed in Siberia. This stunning image sank into his soul and artistic memory.

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Among the master’s paintings, “Boyaryna Morozova” occupies perhaps the most important place. The painting was shown for the first time at an exhibition in 1887 in St. Petersburg, when Surikov had already become a famous artist, the author of “The Morning of the Streltsy Execution” and “Menshikov in Berezovo.” Nevertheless, the new work evoked very different responses. Only three people rated the picture positively: writers V. Korolenko, V. Garshin and art critic V. Stasov. General recognition came to it, like almost every masterpiece, much later. When one wants to understand a work of art, three questions are asked. Firstly, they determine what the author wanted to say with the painting. Secondly, how he expressed his thought graphically. Third question: what happened? What is the meaning and significance of the work? So, let’s try to determine Surikov’s task in the film “Boyaryna Morozova”. Let's see what the plot of the picture is?

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Tsar Alexei Mikhailovich and Patriarch Nikon The split in the Russian Orthodox Church is inextricably linked with these two people. Let us first turn to Russian history three hundred years ago. Tsar Alexei Mikhailovich, under pressure from Patriarch Nikon, carried out a church reform, which prescribed some changes, including in church rituals. For example, if earlier people were baptized with two fingers, now they had to be baptized with three. Such innovations caused discontent among the people, which turned into opposition to church reform, often reaching the point of fanaticism. There was a split. Those who did not want to obey the royal decree were called schismatics. Soon they began to be brutally persecuted - they were sent into exile, thrown into earthen pits or basements with rats, and burned alive.

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Church Council of 1654 (Patriarch Nikon presents new liturgical texts) A. D. Kivshenko, 1880

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The books were corrected; for their consideration and approval, Nikon convened a new council in 1656, at which, along with the Russian archpastors, two Eastern patriarchs were present, as “bearers of the true Orthodox faith.” The Council approved the corrected books and decided to introduce them into all churches, and to take away the old books and burn them. Thus, Nikon managed to enlist the support of the Greek (Byzantine) Church, which was considered the “Mother of the Russian Church.” From that moment, in fact, the split in the Russian Orthodox Church began. Old Russian Church Official Russian Orthodox Church Perform divine services only according to the old (mainly Josephine books. Perform divine services only according to the corrected (“Nikon”) books. Cross and bless only with two fingers (index and middle), folded together. Cross and bless only with three fingers (thumb, index and middle), folded in a pinch The cross should be venerated only with eight points. The cross should be venerated only with four points 3. With the procession around the temple, go from east to west. With the procession around the temple, go from west to east. Write the name of the Savior: “Jesus.” Write the name of the Savior: “Jesus.” “Hallelujah” sing twice. “Hallelujah” sing three times. Worship only old icons or those copied from old ones. Worship only icons copied from ancient Greek originals. Serve the liturgy on seven prosphoras. Serve the liturgy on five prosphoras. In the eighth member of the Symbol of Faith one should read: “And in the Holy Spirit of the true and life-giving Lord.” No information.

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Boyarina F.P. Morozova closely linked her fate with the zealots of the old faith, supported the frantic archpriest Avvakum, the main enemy of the Nikonians, and upon the latter’s return from exile in 1662, she settled him with her. By this time, she was widowed and remained the only manager of her husband’s enormous wealth. Her house began to look more and more like a refuge for Old Believers; in fact, it became a kind of schismatic monastery. Boyarina Morozova, a person of extraordinary spiritual strength, became precisely such a schismatic. The Tsar ordered the arrest of the rebellious noblewoman and the confiscation of her estates and lands. He offered her freedom and the return of wealth if she renounced her views, but Morozova was unshakable. Then she was expelled from Moscow and soon killed. Boyarina Morozova visits Avvakum in prison (19th century miniature

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Surikov portrayed the heroine as she was being transported on peasant logs through the streets of Moscow, either for interrogation or into exile. In Russian reality one can find many examples when people sacrificed themselves for the sake of an idea, which was the most important national feature of the people. Morozova’s story provided an opportunity to express and glorify this trait, which is why the master was attracted to her tragedy. Thus, Surikov considered the main task to be the embodiment of the idea of ​​self-sacrifice for the sake of beliefs. He surrounded Morozova with various people - adults and children, men and women, boyars and beggars, wanderers and nuns, merchants and artisans, priests and archers - to show how the people felt about Morozova's feat. The second task became no less ambitious than the first. The combination of two tasks gave rise to a third - to embody the image of the Russian people in a tragic, tense moment of life.

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Just imagine - having to redo and change thirty times not the details, but the basis of the plan! The artist began with a sketch, where the composition was outlined and the main characters of the picture were depicted in sufficient detail. Surikov made the first sketch back in 1881, and began direct work on the painting only three years later. Over the next two years, he completed more than thirty pencil and watercolor sketches in search of the most expressive solution. From sketch to sketch, he changed the direction of movement of the logs (they went frontally, at different angles to the left, and in one of the sketches - to the right), changed the position of Morozova’s figure. In the first sketch she was sitting on a raised platform, but in the painting she is depicted on straw; in the sketch she raised her left hand, and in the painting she raised her right hand; excluded or, on the contrary, added people in the crowd. All this speaks of the rare depth of Surikov’s work, who in the process of creating the picture not only strived for visual perfection, but also clarified his understanding of the event, and most importantly, built the ideological and semantic content of the work.

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Surikov recalled that the key to the image of the main character was given by a crow with a black wing that he once saw, beating against the snow. The image of the noblewoman was copied from an Old Believers whom the artist met at the Rogozhskoe cemetery. The portrait sketch was painted in just two hours.

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From the memoirs of Vasily Ivanovich Surikov: I collected material for her for three years. In the type of noblewoman Morozova - here is one of my aunts, Avdotya Vasilyevna, who was behind Uncle Stepan Feodorovich, an archer with a black beard. She began to lean towards the old faith. My mother, I remember, was always indignant: all of her were pilgrims and pilgrims. She reminded me of the type of Nastasya Filippovna from Dostoevsky. In the Tretyakov Gallery there is this sketch (study “The Head of Boyarina Morozova”, donated to the Tretyakov Gallery in 1910), as I painted it.

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"Boyarina Morozova". The image of a noblewoman. “...I first drew the crowd in the picture, and then later.” Surikov did not find the right subject for a long time, although he completed several sketches - individual heads and figures sitting in a sleigh. Clothes, pose, gesture, position of the figure in the sleigh - everything was determined in the preliminary work, only the face was missing. "... And no matter how I paint her face, the crowd beats. It was very difficult to find her face. After all, for how long I was looking for it. The whole face was small. It was lost in the crowd." And you believe it. The images in crowd, and they pushed Morozova's face away.

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In the village of Preobrazhenskoye, at the Old Believer cemetery - that’s where I found her. I had an old friend, Stepanida Varfolomeevna, from the Old Believers. They lived in Bear Lane - they had a prayer house there. And then they were evicted to the Preobrazhenskoe cemetery. There in Preobrazhenskoye everyone knew me. Even the old ladies and the narrated girls allowed me to draw themselves. They liked that I was a Cossack and didn’t smoke. And then a reader from the Urals, Anastasia Mikhailovna, came to them. I wrote a sketch of it in kindergarten at two o’clock. And when I inserted her into the picture, she conquered everyone. “The fingers of your hands are subtle, and your eyes are lightning fast. You rush at your enemies like a lion... (The words go back to the message of Avvakum to F.T. Morozova, Princess E.P. Urusova and M.G. Danilova in Borovsk: “The fingers of your hands are subtle and effective<...>your eyes are lightning fast<...>"; "everywhere<никонианам>who appeared like a lion to the foxes"; see: Monuments to the history of the Old Believers of the 17th century. L., 1927, book 1, issue 1, stb. 409, 417 (Russian Historical Library, vol. 39). Avvakum’s letters to Morozova were originally published appendix to the article by N. S. Tikhonravov “Boyarina Morozova: An Episode from the History of the Russian Schism” (Russian News, 1865, No. 9). This was Archpriest Avvakum saying about Morozova, and there is nothing more about her.”

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To the right of the noblewoman is her sister, Princess Urusova, wearing a white embroidered scarf flowing from under her cap. At this time, she had already decided to do the same thing (Urusova died soon after Morozova), but the artist deliberately does not highlight this moment, and Urusova is depicted in profile and does not develop her image too much, while much less significant characters are shown in front with a clear characteristic their emotional state.

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Wanderer. It expressed an active, albeit somewhat detached, experience of the tragedy. The wanderer withdrew into himself, deep in thought, perhaps not so much about Morozova herself, but about something in general. This is a type of folk philosopher who does not just observe an event, but seeks to explain it and see the future.

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V. Surikov. "The holy fool sitting in the snow." Sketch for the historical painting "Boyaryna Morozova" 1885. Canvas, oil. The master also took a difficult path to the theme of the Holy Fool. This is also a typical character of old Rus'. The holy fools doomed themselves to severe physical suffering - they starved, walked half naked in winter and summer. The people believed them and patronized them. That is why Surikov gave such a prominent place to the Holy Fool in the picture and connected him with Morozova with the same double-fingered gesture.

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From the memoirs of Vasily Ivanovich Surikov: “And I found the holy fool at a flea market. He was selling cucumbers there. I see him. Such people have such a skull. I say, let’s go. I barely persuaded him. He follows me, keeps jumping over the curbstones. I look around, and he shakes his head - nothing, I won’t deceive you. It was at the beginning of winter. The snow was melting. I wrote it in the snow like that. I gave him vodka and rubbed his feet with vodka. After all, they’re all alcoholics. He’s wearing only a canvas shirt, barefoot He was sitting in the snow with me, his legs even turned blue.

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I gave him three rubles. This was a lot of money for him. And the first thing he did was hire a reckless driver for a ruble seventy-five kopecks. That's the kind of man he was. I had an icon drawn, so he kept making the sign of the cross over it and said: “Now I’ll tell the whole crowd what kind of icons there are.”

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Many of Surikov’s sketches are in no way inferior to his large paintings in terms of expressiveness and pictorial skill.

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From the memoirs of Vasily Ivanovich Surikov: Do you remember the priest in my crowd? This is a whole type I created. This is when I was still sent from Buzim to study, since I was traveling with the sexton - Varsanuphiy, (Varsonofy - Varsonofy Semenovich Zakourtsev, sexton of the Sukhoi Buzim Trinity Church. Captured in the sketch for "Boyaryna Morozova" "Head of a Priest.") - I was eight years old. He has his pigtails tied up here. We are entering the village of Pogoreloye. He says: “You, Vasya, hold the horses, I’ll go to Capernaum.” He bought himself a green damask and there he already pecked. “Well,” he says, Vasya, you rule.” I knew the way. And he sat down on the garden bed, dangling his legs. He will drink from the damask and look at the light... he sang all the way. Yes, I kept looking into the damask. He drank without snacking. Only in the morning I brought him to Krasnoyarsk. We drove like this all night. And the road is dangerous - mountain descents. And in the morning in the city people look at us and laugh.

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HISTORY LESSON PRESENTATION

• Topic: “The split of the church. "Boyaryna Morozova"

• Allows:
• - to activate students’ attention on this historical issue;
• - diversify the cognitive activities of students;
• - create a creative environment.
• Promotes the transfer of disparate knowledge and skills from various disciplines into a single whole.
• Summarizes the knowledge of teachers themselves, who are usually limited by the scope of their subject.

• This is a period of significant emotional, intellectual, moral and volitional changes in early adolescence, caused by the emergence of many important new formations in the sphere of individual consciousness. Consciousness and cognition turn inward and teach you to understand yourself, to correctly perceive and evaluate your own qualities. At this age, criticality and self-criticism intensify, and independence in judgment appears. And this has a positive effect on the development of assessment abilities.

• Goals:
• Education and development of Russian spiritual and moral traditions;
• Generalization and systematization of students’ knowledge on the issue of church schism.
• Tasks:
• To cultivate moral and aesthetic responsiveness to
• beauty, in life and art;
• Cultivate motivation for learning activities through
• use of new pedagogical technologies;
• To develop in schoolchildren the ability to work with additional
• sources;
• To teach comprehension of the material being studied;
• Develop the ability to identify problems and pose questions;
• Improve students' ability to speak in front of
• audience, defend your point of view, argue
• own opinion;
• Develop the ability of comparative analysis and generalization by
• conducting dialogue using interdisciplinary connections;
• Continue developing group work skills through
• creative and critical thinking of adolescents.

• 1. Pedagogical technology “Openwork saw”.
• 2. Information technology - multimedia presentation: “V.I. Surikov “Boyaryna Morozova” in Microsoft Power Point.
• 3. Video “The Artist at Tretyakovskaya”
• gallery. IN AND. Surikov."
• 4. Working with the source.

• Independent study of sources (Research activities).
• Communicative dialogue (Discussion activity)
• Modeling (Game activity).
• Empathy (Creative and applied activities).

• Based on research activities - practical tasks, knowledge exchange, expertise.
• Based on discussion activities - dialogues, disputes.
• Based on gaming activities - games, discussions.
• Based on empathy - student drawings.

• Basic concepts:
• "Priesthood" and "kingdom"
• Church reform
• Split
• Old Believers
• Personalities in history:
• Tsar Alexei Mikhailovich
• Patriarch Nikon
• Habakkuk
• F.P. Morozova
• IN AND. Surikov

• Tsar Alexei Mikhailovich

• Patriarch Nikon

• IN AND. Surikov

• Boyarina Morozova

• “... Look back at our ancestors,
• To the heroes of days past..."
• Natalia Konchalovskaya

• - Goals and objectives of the lesson.
• - Forms of work in the lesson.
• - Basic concepts.
• - Personalities in history.
• - Practical work in groups.

• Criteria for assessing group work:
• Ability to present a source (type of source, title, year, brief historical background about the author);

• Alexei Mikhailovich was born in 1629 and succeeded to the throne after his father in 1645 at the age of sixteen. For the first three years, the state was ruled by his educator Boris Mikhailovich Morozov, who became a temporary worker, and many of his associates turned out to be dishonest people. Morozov strengthened his influence on the tsar by marrying Alexei Mikhailovich with the daughter of his subordinate, the poor boyar Miloslavsky, Maria Ilyinichna, and he himself married her sister. With the help of his father-in-law and his relatives, Morozov began to oppress the people; The head of the Pushkarsky Prikaz, Trakhaniotov, and the judge of the Zemsky Prikaz, Leonty Pleshcheev, incurred special hatred of the people. At the beginning of June 1648, popular displeasure was expressed in a rebellion over the salt tax. Many boyars were killed; the mob demanded Morozov, but he managed to escape. The Tsar personally calmed the people, sent Morozov to the Kirillov Monastery, and Trakhaniotov and Pleshcheev were executed.
• Soon, Patriarch Nikon, whom the Tsar called his “sobrine friend,” acquired a strong influence on Alexei Mikhailovich. Among the unrest of the reign of Alexei Mikhailovich, a split arose related to the name of Patriarch Nikon.

• Unknown artist.
• Portrait of the King
• Alexey Mikhailovich

• Patriarch Nikon (in the world Nikita) was born in 1605 into a peasant family. In his twentieth year he was a priest, but having lost all his children, he entered monasticism and from 1642 to 1646 was abbot of the Kozheozersk Hermitage. Having gone to Moscow on monastery business, Nikon came with a bow to the young Tsar, as all the abbots did then. Alexei Mikhailovich liked the abbot so much that Patriarch Joseph, at the royal request, ordained Nikon to the rank of archimandrite of the Novospassky Monastery in Moscow, where the family tomb of the Romanov boyars was located. Taking advantage of the king's favor, Nikon spoke about all the offended and thereby acquired the fame of a good shepherd among the people.
• After the death of Moscow Patriarch Joseph, Patriarch
• Nikon was elected (July 25, 1652). Having become a patriarch, Nikon secluded himself in the book depository to study old books and controversial texts. Having found a discrepancy, he began to create “his own laws.”
• With the “quiet consent” of the tsar and the Boyar Duma, Nikon proclaimed himself a “great sovereign.”
• In 1653, the church reform of Patriarch Nikon began.

• Artist F. Solntsev.
• Patriarch Nikon with his clergy.

• The teacher prepares material for study, which can be divided into several parts.
• (Kostomarov N.I.. “Russian history in the biographies of its main figures.” Volume two. Rostov-on-Don. 1998)
• Please note that it is divided into meaningful pieces, and not cut randomly.
• "Patriarch Nikon". (Appendix No. 1)
• Part 1. “Breed and wealth were valued above personal merit...”
• Part 2. “Nikita’s childhood.”
• Part 3. “Nikita learned to read, he wanted to experience all the wisdom of divine scripture...”.
• Part 4. “...He was irresistibly attracted to the church and worship...”
• 4 groups are created. (Students divide themselves into groups.) Each group is assigned a number:
• 1,2,3,4 and students within the group are given tokens of different colors (red, blue, green, yellow) respectively
• issued application: part 1 – red, part 2 – blue, part 3 – green, part 4 – yellow). So in
• Each group has all the pieces of one text. Students study the proposed passages of text.
• At the teacher’s signal, students are united into new groups (group 1 - red (part 1), group 2 - blue
• (part 2), group 3 - green (part 3), group 4 - yellow (part 4). So everyone becomes an expert in one of the
• periods of the life of Patriarch Nikon). There is a discussion on the topic in each group.
• The teacher asks the children a question - each group: “Have you become acquainted with a historical source. Who it
• Patriarch Nikon? " (Children answer this question while working in their group).
• Again the teacher’s signal - the guys unite in the initial training
• groups. Each expert introduces the content of his answer to the others,
• justifying it.
• “Speakers” report the results of their groups’ work to the whole class.
• Scheme of an approximate construction of an alternative question:
• He thought….
• developed...
• offered…
• denied...
• claimed...

• 1st group:
• Split
• A religious and social movement that arose in Russia in the mid-17th century. The reason for the schism was the church and ritual reform, which the patriarch began to carry out in 1653 Nikon in order to strengthen the church organization. All members of the influential "Mug of Zealots of Piety" . However, among its members there was no unity of views regarding the ways, methods and ultimate goals of the planned reform. Archpriests Habakkuk , Daniil, Ivan Neronov and others believed that the Russian church had preserved “ancient piety” and proposed unification based on ancient Russian liturgical books.
• Nikon, wanted to follow Greek liturgical models. With the support of the king Alexey Mikhailovich Nikon began to correct Russian liturgical books according to contemporary Greek models and changed some rituals (two-fingered was replaced by three-fingered, during church services “Hallelujah” began to be said not twice, but three times, etc.). The innovations were approved by church councils of 1654-55. During 1653-1656, the Printing Yard produced revised or newly translated liturgical books.
• Dissatisfaction was also caused by the violent measures with which Nikon introduced new books and rituals into use. Some members of the “Circle of Zealots of Piety” were the first to speak out for the “old faith” and against the reforms and actions of the patriarch.
• The clash between Nikon and the defenders of the “old faith” took on drastic forms. Avvakum, Ivan Neronov and other ideologists of the schism were subjected to severe persecution. The speeches of the defenders of the “old faith” received support in various layers of Russian society. society, which led to the emergence of a movement called schism. .

• Group 2:
• Old Believers
• A religious and social movement that arose in Russia in the mid-17th century. in connection with the strengthening of the official state Orthodox Church and the unification of church rites conducted by the patriarch Nikon . The separation of the followers of the Old Believers from the official church took place under the banner of preserving the old rituals, the old faith, and “ancient piety.” The Old Believers, who created their own communities, separate from the “Nikonians,” did not recognize new icons, liturgical books corrected by the official church, or new rituals (for example, three-fingered instead of the previous two-fingered when performing the “sign of the cross,” etc.).

• Group 3:
• Avvakum Petrovich (1620 or 1621 - 14.4.1682)
• Archpriest, one of the founders of the Russian Old Believers, writer. The son of a village priest. In 1646-1647, while in Moscow, he was associated with "a circle of zealots of piety" and became known to Tsar Alexei Mikhailovich. In 1652 he was archpriest in the city of Yuryevets Povolsky, then a priest of the Kazan Cathedral in Moscow. Avvakum sharply opposed the patriarch's church reform Nikon , for which in 1653 he and his family were exiled to Tobolsk, and then to Dauria. In 1663, the tsar, trying to reconcile Avvakum with the official church, summoned him to Moscow. But Avvakum did not abandon his views and continued his persistent struggle against church innovations. In a petition to the king, he accused Nikon of heresy. Inspired speeches against Nikon attracted numerous supporters to Avvakum, including from among the nobility (boyar F.P. Morozova and others). In 1664 Avvakum was exiled to Mezen. In 1666 he was summoned to Moscow and at a church council he was stripped of his hair, anathematized, and in 1667 exiled to the Pustozersky prison. During his 15-year stay in a damp earthen log house, Avvakum did not stop his ideological struggle. Here he wrote his main works: “The Book of Conversations”, “The Book of Interpretations”, “Life” (between 1672 and 1675), etc. By royal decree, together with his closest associates, Avvakum was burned in a log house.

• Group 4:
• Morozova Feodosia Prokofievna
• Russian activist split, associate of the archpriest Habakkuk, noblewoman. Daughter of the okolnichy P.F. Sokovnin, relative of M.I. Miloslavskaya, wife of the Tsar Alexey Mikhailovich. In 1649 she was married to boyar G.I. Morozov, brother of B.I. Morozova. She was widowed in 1662. Around 1670 she secretly became a nun under the name of Theodora. For belonging to the old faith, “resistance” to the Tsar and Patriarch, she was arrested on the night of November 16, 1671; M.'s huge fortune was confiscated. In the winter of 1673, together with her sister, Princess E. P. Urusova and the wife of Streltsy Colonel M. G. Danilova, she was subjected to torture. Later, Morozova, along with her “allies,” was sent to Borovsk, where she was starved to death in an earthen prison. On Morozova’s death, one of the leaders of the Old Believers, Archpriest Avvakum, wrote the heartfelt “A sad word about the three confessors.” At the end of the 70s. 17th century A “Tale” was written about Morozova’s life, the author of which was an anonymous person who secretly visited Morozova in Borovsk imprisonment. Drawings and paintings by V.I. are dedicated to Morozova. Surikov, V. G. Perova, A. D. Litovchenko, K. V. Lebedev and other artists.

• 1652 - Nikon was elected patriarch.
• 1653 - church reform began.
• - Avvakum was exiled to Tobolsk for opposing
• Nikon's church reform.
• 1653-1656 – release of corrected and newly translated
• liturgical books.
• 1654-1655 – Nikon’s innovations were approved by church councils.
• 1658 - break between Tsar Alexei Mikhailovich and Patriarch Nikon.
• 1659 - Nikon renounces the patriarchate.
• 1660 - the council decided that Nikon could not interfere in
• church affairs.
• 1661 - Nikon writes a letter to the Tsar about secular justice.
• 1666 - Nikon's trial.
• 1671 - arrest of noblewoman Morozova.
• 1673 - noblewoman Morozova was subjected to severe torture.
• 1672-1675 - Avvakum creates his main works.
• 1676 - the fall of the Solovetsky uprising, intensifying persecution of schismatics.
• 1675-1695 - “Gary”. About 20 thousand Old Believers died in the fire.
• 1681 - Nikon died.
• 1971 - the persecution of Old Believers until the 20th century was recognized as erroneous, including
• recognized as erroneous "gari".

• What two positions emerged in Russian society during the reforms of Patriarch Nikon?
• Could there not have been a church schism in the 17th century? (Yes. No. Why?).
• Do you think the church schism confirms the characterization of the 17th century as “rebellious” or is that a completely different issue?
• Patriarch Nikon and the prototype Avvakum are two grandiose figures in the history of Russia. What do they have in common and what are the differences? Which of them defended antiquity, the immutability of traditional rituals and ideas, and which demanded their change and renewal?
• Do you think that artists, along with historians, could have reflected these events of the 17th century in their works?

• Ability to compose an answer in accordance with the wording of the task;
• Compositional logic of the answer (three-part structure, the presence of speech connectives between the logical parts of the answer);
• Ability to argue judgments using facts and quotes;
• Correctly introducing a quotation in an answer through direct and indirect speech.

• Watch the video: “The Artist in the Tretyakov Gallery. V.I. Surikov.”
• View presentation: “V.I. Surikov “Boyaryna Morozova” in Microsoft Power Point

• Vasily Ivanovich Surikov

• IN AND. Surikov with his mother and brother.
• Krasnoyarsk.1868

• IN AND. and A.I. Surikovs
• with the artist's daughters
• Olya and Lena

• A.A. Surikova,
• artist's wife. 1880

• 1881-1887

• "Boyaryna Morozova"

• Work process
• above the picture

• 1881-1887

• Sketch. 1881

• Sketch. 1884

• 1st group:
• P.F. and A.I. Surikov Moscow. April 3, 1886
• “... I’m painting a big picture now, “Boyaryna Morozova,” and it will only be ready by next January. Only by next year will I be completely free. And this summer we still need to write sketches for this picture. God, when I see you, I keep putting it off year after year! It’s impossible - I’m taking on big tasks for the picture...”

• Group 2:
• V.V. Mate. Moscow. May 26, 1887
• “Vasily Vasilyevich! I am sending you a photograph of “Morozova”; I don’t know if it will be good for you. I made marks on it where the colors did not match the original. I think I should make it into an engraving in this size, and if the size of “Illustrations” allows, then more can be done...”

• Group 3:
• V.V. Stasov. St. Petersburg Imp. Publ. B-ka. November 16, 1902
• “...You wrote “Morozov”, the subject of my constant surprise and adoration. When I see Evgeniy Petrovich Ponomarev, I always immediately start talking about you and, to my pleasure, I learn something about you, and also at least a little bit about your work. Of course, in the near future we will again enjoy seeing your new paintings. If only they were not insignificant, but would again touch upon some deep and broad Russian ancient tragedy, the roots of old Russian history, as in “Morozova” and in “Streltsy”. This is your real destiny, arena and task! Tragedy, tragedy, tragedy – not something calm and indifferent! This is not for you - as it seems to me and as I am deeply convinced...”

• Group 4:
• An open letter to the trustee of the Tretyakov Gallery. Moscow. September 17, 1913
• “...To the late P.M. Tretyakov simply had no time to engage in systematic placement of paintings. One thing was important to him: that the paintings needed for the gallery would not pass by. And during his lifetime he did not consider it complete. At the same time, he always met the wishes of the artists. I happened to talk to him once about how my painting “Boyarina Morozova” was not clearly visible from anywhere. Then he said: “We need to think about it.” And so they came up with it. They widened the door of the room where the painting was placed, the gallery administration showed it to me from such a distance and in such a light that I had been dreaming about for twenty-five years...”

• Think about it, the story of Boyarina Morozova was told to Surikov in childhood according to oral tradition by his aunt Olga Matveevna! When he subsequently read about Morozova in Zabelin’s book “The Home Life of Russian Tsarinas,” he seemed to remember an old dream. “You know,” he told me, “everything that Zabelin describes was real life for me.” This is where Surikov got his acute sense of feminine charm in old Rus', which was expressed in “Boyaryna Morozova”...
• ... its main theme is Russian sleighs and crows in the snow. Based on the relationship of a bluish-black wing to pink snow - the eternal antithesis of black and white - Surikov developed them in a vibrating mass of thick air. This pictorial theme also determined the historical theme - religious contradictions in the spiritual atmosphere of the Moscow state. But Surikov is not a judge of history - he is its poet. His path did not come from the Slavophiles, but from “Your fingers are subtle, and your eyes are lightning fast,” as Morozov’s prototype Avvakum wrote. From here, through the pattern of sleighs, high roofs, on top of Princess Urusova’s hat, his path went to the sad face of the Grebenskaya Mother of God and from there to the buzzing crowd, in which - the resolution of all picturesque and historical questions. The tragic element, which began from the right corner of the picture from the two-fingered blessed one, developed diagonally in Morozova’s raised hand into the highest tension and scattered in the same direction in the vile laughter of the Moscow priest.

• “... Along with the impressions of a free childhood among free nature, harsh impressions of the life and customs of the 17th century burst into life. There were powerful people. Strong-willed. The scope of everything was wide, and the morals were cruel. Executions and corporal punishment took place publicly in public squares. There was a scaffold not far from the school. There the mare was punished with whips. It used to be that we, children, were leaving school. They shout: “They’re taking me!” They're taking it! We all run to the square behind the chariot. Children loved executioners. We looked at the executioners as heroes. They knew them by their names: which one was Mishka, which one was Sashka. Their shirts are red and their ports are wide. They walked around the scaffold in front of the crowd, straightening their shoulders. Heroism was in full swing. And the strength that people had: they could withstand a hundred lashes without shouting. And there was no horror. More like delight. My nerves withstood everything..."

• ... I conceived “Boyaryna Morozova” even before “Menshikov” - now after “Streltsy”. But then, in order to rest, “Menshikova” began.”
• But he made the first sketch of “Morozova” back in 1881, and began writing in eighty-four, and exhibited it in eighty-seven. I painted on the third canvas. The first one was very small. And I ordered this one from Paris. I spent three years collecting material for it. In the type of noblewoman Morozova - here is one of my aunts, Avdotya Vasilievna, who was behind Uncle Stepan Fedorovich, an archer with a black beard. She began to lean towards the old faith. My mother, I remember, was always indignant: all of her were pilgrims and pilgrims. She reminded me of the type of Nastasya Filippovna from Dostoevsky. In the Tretyakov Gallery there is this sketch, as I wrote it.
• Only I painted the crowd in the picture first, and then later. And no matter how I paint her face, the crowd hits. It was very difficult to find her face. After all, how long have I been looking for him? The whole face was small. I got lost in the crowd.
• In the village of Preobrazhenskoye, in the Old Believer cemetery - that’s where I found her. I had an old friend, Stepanida Varfolomeevna, from the Old Believers. They lived in Bear Lane - they had a prayer house there. And then they were evicted to the Preobrazhenskoe cemetery. There, in Preobrazhensky, everyone knew me. Even the old ladies allowed me to draw themselves, and the girls were bookish readers. And then a reader from the Urals, Anastasia Mikhailovna, came to them. I wrote a sketch of it in kindergarten at two o’clock. And when I inserted her into the picture, she defeated everyone... “The fingers of your hands are subtle, and your eyes are lightning fast. You rush at your enemies like a lion”...this is what the prototype Avvakum said about Morozova, and there is nothing more about her.
• Do you remember the priest in my crowd? This is a whole type I created.
• And I found the Holy Fool at a flea market. He sold cucumbers there. I see him. Such people have such a skull. So I wrote it in the snow..."

• He painted everything from life: the sleigh and the logs. And I kept looking and looking at alleys; and where the roofs are high. And the church in the depths of the picture is St. Nicholas, on Dolgorukovskaya. I caught all the strokes. Remember the staff that the wanderer has in his hands. It was the praying mantis who passed by alone with this staff.
• The girl in the crowd, I wrote with Speranskaya - she was then preparing to become a nun. And those who bow are all Old Believers from Preobrazhensky.
• In 1987 I exhibited Morozova. I remember being at the exhibition. They tell me: “Stasov is looking for you.”
• Emperor Alexander III was at the exhibition. He walked up to the painting. “Oh, it’s the holy fool!” - speaks. I sorted everything out by their faces. And my throat dried up from excitement: I couldn’t speak. And others are like cop dogs all around...

• Artist's tasks:
• Painting a picture is based on the study of nature.
• (Hence the search for prototypes)
• The beauty of the composition should give the impression of naturalness.
• (It is no coincidence that there are 35 sketches of the composition of this painting, reflecting the process of his work)
• Artist's goal:
• “Morozova” reflects not the torture of the noblewoman and not her death in an earthen prison in Borovsk, but transportation through the streets of ancient Moscow among a crowd of people, transportation, which was designed to mock and humiliate the schismatic, but turned into her triumph, showing the shocked crowd the greatness of the spirit and the strength of Morozova’s feat.

• Russian sleigh and crow in the snow.
• Based on the relationship between the bluish-black wing and pink snow - the eternal antithesis of black and white, as a symbol of religious schism.
• In the picture we see the contrasts of luxury and poverty.
• Silk, damage and gems of hawthorns coexist with the rags of beggars, rags and chains of the holy fool.
• The beauty of the Russian “pattern” is also shown.
• The beauty of folk art, folk products: scarves, shawls.
• The length of time of the event in the picture is measured by the movement of the sleigh, the running of the boy among the crowd.
• We see how the facial expressions, feelings, thoughts, experiences of the crowd change as Morozova comes into their field of vision with her two fingers earnestly raised, a pale face and a sparkling gaze.
• Nature and the subject environment are the objective basis of color.
• Some color integrity is provided by climate, weather, lighting.
• From the blessed one’s two fingers diagonally to Morozova’s raised hand, there is a temple ahead, as a sign of the inevitable future. And Morozova’s gaze through Princess Urusova’s laden cap falls to the sad face of the Grebenskaya Mother of God and from there to the buzzing crowd.

• Group 1 - What episode from the history of the schism is depicted in the picture?
• Group 2 - What layers of Russian society are represented in the film?
• Group 3 - How does the film show the drama of the situation, the attitude of different sides of society to what is happening?
• Group 4 - What is the attitude of the crowd towards the noblewoman Morozova?

• Guided by the criteria for assessing the answer:
• Ability to compose an answer in accordance with the wording of the task;
• Compositional logic of the answer (three-part structure, the presence of speech connectives between the logical parts of the answer);
• Ability to argue judgments using facts and quotes;
• Correctly introducing a quotation in an answer through direct and indirect speech.

• 7. Stage of correction of knowledge and methods of action.

• Filling out the table: The main differences in rituals and rules before and after the church reform of the 17th century.

• Self-control material

• 1. Try to revive the picture, fill it with sounds, exclamations, words.
• (Show your feelings through sounds and words. What could each character in V. Surikov’s film say?)
• 2. Using materials (white A3 sheet, felt-tip pens or oil crayons), create an artistic solution to your painting “My attitude to the ongoing events of the church reform of the 17th century”

• One of the completed drawings.

• Students answer the questions:
• What did I learn today? (What new did you learn?)
• What questions do I still have? (What remains unclear and therefore worries me?)
• Each group asks a question about the topic of the lesson to the entire audience:
• Examples from the lesson:
• What is characteristic of the church reform of the 17th century? What did she give to Russia? What are its consequences?
• - Are there Old Believers in Russia, Udmurtia, or our region?
• - What did the event mean to you - the opening of the Cathedral of the Archangel Michael in Izhevsk and the arrival of His Holiness at its opening
• Patriarch of Moscow and All Rus' Alexy 2?

• “We serve our fatherland faithfully,
• You are one of the sons
• Grow so that you are needed
• Dear to your homeland!
• A reward awaits you for your work -
• A beautiful goal in the distance,
• But you have to look around
• On the path that we have passed.
• Nothing is better, more beautiful
• Dear your homeland!
• Look back at our ancestors,
• To the heroes of days past..."

• Everything is very simple!
• Her grandfather is a famous artist - Wanderer V.I. Surikov.
• She wrote books about him: “The Priceless Gift”, “Surikov’s Childhood”
• (books can be found in the library and on the Internet).
• Her husband, Sergei Vladimirovich Mikhalkov, is a famous children's writer.
• Father is an artist, Pyotr Petrovich Konchalovsky.
• Her children are famous film directors: Nikita Mikhalkov, Andrei Konchalovsky.

• A.K. Lebedev, A.V. Solodnikov “V.V. Stasov" Moscow "Art" 1982;
• Kostomarov N.I. Russian history in the biographies of its main figures. in 3 volumes. Volume two - Rostov-on-Don “Phoenix” 1998;
• Sakharov A.N., Buganov V.I. History of Russia from ancient times to the end of the 17th century: Textbook for 10th grade. general education institutions / Ed. A.N. Sakharov.- M.: Education, 1995;
• History of the USSR. From ancient times to the present day, vol. 3, M., 1967;
• Gudziy N.K., History of ancient Russian literature, 7th ed., M., 1966;
• Malyshev V.I., Bibliography of the works of Archpriest Avvakum and literature about him. 1917-1953, in collection:
• Proceedings of the Department of Old Russian Literature, [vol.] 10, M.-L., 1954; Gusev V. E., “The Life” of Archpriest Avvakum - a work of democratic literature of the 17th century, in the same place, [vol.] 14, M.-L., 1958;
• Robinson A.N., Lives of Avvakum and Epiphany, M., 1963.
• Shchapov A.P., Russian schism of the Old Believers, considered in connection with the internal state of the Russian church and citizenship in the 17th century. and in the first half of the 18th century, Soch., vol. 1, St. Petersburg, 1906;
• Sapozhnikov D.I., Self-immolation in the Russian schism. From the 2nd half of the 17th century. until the end of the 18th century, M., 1891;
• Smirnov P.S., Internal issues in the schism in the 17th century, St. Petersburg, 1898;
• Smirnov P.S., History of the Russian schism of the Old Believers, 2nd ed., St. Petersburg, 1895;
• Smirnov P.S., Disputes and divisions in the Russian schism in the first quarter of the 18th century, St. Petersburg, 1909;
• Kapterev N, F., Patriarch Nikon and Tsar Alexei Mikhailovich, vol. 1-2, Sergiev Posad, 1909-1912;
• Plekhanov G.V., History of Russian social thought, vol. 2, [M., 1915];
• Nikolsky N.M., History of the Russian Church, 2nd ed., M. - L., 1931;
• Sakharov F., Literature of history and exposure of the Russian schism. Systematic index of books, brochures and articles about the schism..., c. 1-3, Tambov - St. Petersburg, 1887-1900.
• Tikhonravov N. S., Boyarynya Morozova. An episode from the history of the Russian schism, “Russian Bulletin”, 1865, vol. 59, no. 9;
• Zabelin I. E., Home life of Russian queens in the 16th and 17th centuries, 3rd ed., M., 1901;
• Mazunin A.I., The Tale of Boyarina Morozova (a monument of Russian literature of the 17th century), L., 1965.
• Kapterev N.F., Patriarch Nikon and Tsar Alexei Mikhailovich, vol. 1-2, Sergiev Posad, 1909-12; Ustyugov N.V., Chaev N.S., Russian Church in the 17th century, in the collection: Russian State in the 17th century, M., 1961.

• The material was prepared by teachers: Kosolapova O.V. Murina Z.V.
• MOUSOSH from Pugachevo, Malopurginsky district
• Udmurt Republic

• A detailed presentation of all material has been developed
• lesson for students who missed the lesson for any reason.