Istana Raja2 Sekarang?

lizz_7777

The Family Sitting Room
The apartment known as the Family Sitting Room was used by the family of Paul I for spending the evenings in practising different accomplishments: drawing, cameo-cutting, embroidery, etc. Its walls were hung with family portraits executed by prominent Russian and Western European artists of the eighteenth and early nineteenth centuries, such as Vladimir Borovikovsky, Orest Kiprensky, Stepan Shchukin, Johann-Baptist Lampi, Johann Tischbein, Josef Grassi; one of the portraits, a large canvas, is by Gerhard Kugelgen; it was painted in 1800-l.

The Family Sitting Room retains the modest decor given it toward the close of the eighteenth century by Vincenzo Brenna. Its walls, painted a uniform colour, are finished with a frieze of delicate moulded ornaments on a lightly tinted background. The ceiling is done in grisaille. Its central panel has a border of classical scenes, one subject being divided from the other by the introduction of a painted sculpture, the colour of antique bronze, of Apollo and the Nine Muses. The painted decorations are probably the work of Giovanni Scotti.

The furniture is mostly mahogany, of Russian make. The large bureau decorated with architectural motifs: columns and a balustrade of bronze, was made in 1786 in the workshop of David Roentgen. Objects in ivory and amber, carved from the drawings of Vincenzo Brenna and Carlo Rossi, adorn the tables and the low bookcases. Through the French window opening upon the paved terrace built by Giacomo Quarenghi can be seen the walks and flower-beds of the Private Garden.

[ Last edited by  lizz_7777 at 11-12-2008 01:28 AM ]

lizz_7777

The Crimson Room
Next to the Sitting Room is the Crimson Room or Old Study, where Paul I was in the habit of working. The room's architectural decor is restrained: a white moulded cornice in the classical style and a modest marble fireplace with an over-mantel mirror, also in the classical style. The walls of the Crimson Room are hung with large panels, the work of Semion Shchedrin, Professor of the Academy of Arts, one of Russia's pioneers in landscape painting. The panels were done in 1797-1800 on the order of Paul I, for the St Michael Castle; they picture some of the beautiful spots in the park at Gatchina.

The furniture is typical of the late eighteenth century: carved and gilded, upholstered with crimsoh silk. Special mention should be made of such interesting pieces of furniture as the bureau and the card-and checker-table by David Roentgen. The large long-case clock surmounted by a figure of Apollo holding a lyre is the work of David Roentgen, with movement by Peter Kinzing who also fitted it with a musical mechanism which plays a selection of pieces, in sounds resembling the flute and harpsichord.

[ Last edited by  lizz_7777 at 11-12-2008 01:29 AM ]

lizz_7777

The Anteroom and Round Room
The Anteroom is a modestly decorated apartment of irregular shape, with a mezzanine designed for the use of service personnel on duty. In its decor and furnishings, the room is not unlike the interiors of country mansions of the early nineteenth century. The walls are adorned with canvases by Western European landscape painters of the seventeenth to nineteenth centuries. The furniture, mainly of the Jacob type, includes several beautiful pieces from the workshop of Heinrich Gambs: a secretaire and two commodes of mahogany with chased bronze decorations; the large bureau is an early work of Gambs, done in the manner of David Roentgen, his teacher.

The elegant set of mahogany chairs and armchairs with carved and gilded figures of swans is attributed to Voronikhin. Most of the late eighteenth-century watercolours and gouaches that adorn the walls are the work of Semion Shchedrin and Andrey Martynov. They show views of the parks at Pavlovsk, Gatchina and Tsarskoye Selo, and thus provide invaluable information for the historians of these palace and-park complexes.

The Anteroom links the apartments of the central building with those of the southern suite. Initially their architectural and decorative scheme was designed by Vincenzo Brenna; and the first room of the suite, The Round Room, has retained his decor: the moulded door ornaments with lion masks, the cornices, the ceiling painted in imitation of a coffered vault, etc. All the other rooms of the suite, remarkable examples' of early nineteenth-century palace interiors, were decorated by Giacomo Quarenghi and Andrey Voronikhin.

[ Last edited by  lizz_7777 at 11-12-2008 01:35 AM ]

lizz_7777

The Pilaster Room
The Pilaster Room, created in 1800 by Giacomo Quarenghi, was meant to serve as a reception room in the suite of private apartments. Of all of Quarenghi's interiors it is the most impressive. In shape, it is slightly curved, following the contour of the gallery which it adjoins. The walls are rhythmically articulated by pilasters of the Corinthian order, whose golden-yellow stucco facing, closely imitating Siena marble, enriches the general colour scheme. Here Quarenghi allowed himself a departure from his usually severe style, setting into the walls relief panels, coloured in imitation of dark-green antique bronze. The combination of yellow and white stucco with the dark "bronze" decoration gives a monumental quality to this relatively small interior, without destroying, however, its intimate mood. The painting on the ceiling, done from the designs of Giovanni Scotti, also includes motifs reproducing ornaments in patinated bronze, such as antique helmets, acanthus scrolls, or figures of sphinxes, and is subordinated to the colour scheme of the apartment.

The Pilaster Room is one of Quarenghi's best. interiors illustrating the Russian classical style. Its function as a place for the less formal receptions and evening family gatherings determined the choice of furniture, which includes console tables, bureaux, a screen, work-tables, etc.

Most of the pieces were made from the drawings by Andrey Voronikhin at the workshops of Heinrich Gambs. Austere in shape and elegant in decoration, with bronze ornaments and inlays on ebony, his work is distinguished by rare perfection of veneering, and a fine sense of the natural beauty of the wood, which is brought out by excellent polish.

Voronikhin also designed many other objects decorating the Pilaster Room, as, for example, the crystal Atheniennes,- tazzas on tripod stands,- the obelisks of coloured stone, and the vases of Urals jasper, fashioned at Ekaterinburg.

[ Last edited by  lizz_7777 at 11-12-2008 01:39 AM ]

lizz_7777

The Little Lantern
The Little Lantern, one of Voronikhin's best works, is a gem of Russian early nineteenth-century interior decoration. It was created in 1807, in place of a small room that had served as a private library, - a function retained by the newly constructed apartment. Voronikhin replaced the outer wall with a bow-window looking out onto the park, with a coffered semi-dome supported. by four Ionic columns faced with white stucco. Large windows fill in the spaces between the columns, linking the interior with the Private Garden, and creating a sense of unity with nature. The link with the outdoors is further strengthened by the growing flowers in flower stands, which seem to continue the parterre of the garden. Seen against the landscape, the arch stands out in bold silhouette, supported by two graceful caryatids in antique robes, the work of Vasily Demuth-Malinovsky. It emphasizes the contrast between the even luminosity of the bow-window and the darker, shady interior. This effect of contrast is enhanced by the white book cabinets and the black and gold colours of the painted furniture. The dignity of forms and the harmonious combination of the architectural decor and the furnishings give the interior a classical beauty, creating at the same time a mood of comfort and privacy.

Pictures form an important element of the decor. Their choice is characteristic of the palace collections of those days. Most of the canvases are by seventeenth or eighteenth-century Italian painters of the academic school, such as Guido Reni, Carlo Do1ci, Francesco Albani, Francesco Parmigianino and others. There are some works by prominent French painters of the same period, as, for instance, Charles Lebrun, Pierre Mignard, Sebastien Bourdon, and also by Jose Ribera, the celebrated Spaniard.

Displayed on the low book cabinets are vases modelled from the drawings of Voronikhin. Those of green Kalkan jasper come from the Peterhof Stone Works, while the porcelain Atheniennes painted the colour of patinated bronze, with chased ormolu decorations, are the work of the St Petersburg Imperial Porcelain Factory.

The bureaux and writing-tables by David Roentgen, and the smaller tables with tops of bronze, coloured glass and crystal, are provided with writing implements, soufflet cases for letters, with a lock and covers joined by flexible leather sides, boxes and other objects, mostly gifts, characteristic of early nineteenth-century interiors.

[ Last edited by  lizz_7777 at 11-12-2008 01:40 AM ]

lizz_7777

The Dressing Room

The Dressing Room was created in 1800 from the design by Giacomo Quarenghi, who gave it an austerely classical decor. Its walls faced with white stucco panels, with borders of the same material, are finished with a wide painted grey and greenish frieze articulated with moulded corbels. The frieze and ceiling were both done in grisaille by Giovanni Scotti. The classical door cornices emphasize the severe architecture of the interior.

In excellent harmony with the decor of the room is its furniture, made from the designs of Voronikhin. The console table, the Recamier couch, the armchairs and X-frame stools, carved, painted the colour of antique bronze and embellished with gilding, display a variety of forms and decorative motits. The mahogany bureau from the workshop of Heinrich Gambs is provided with containers for flower pots. This type of furniture, made from Voronikhin's drawings, is to be found only at Pavlovsk.

The famous "Voronikhin" washing set, of black, amber-yellow, blue and colourless crystal mounted in chased ormolu, comprises a stand, a flattish basin and a ewer of exquisite beauty. The ewer, made of seven separate parts of blue and colourless crystal, is a mystery of glass making which modern specialists have so far failed to solve.

A keen sense of beauty and a highly developed technique enabled Russian craftsmen to create yet another masterpiece, the Green toilet set of porcelain, made for the Pavlovsk Palace in 1800-1 at the St Petersburg Imperial Porcelain Factory.

This set includes an octagonal mirror in an ormolu frame with an eagle holding a garland, mounted on a porcelain stand with seated female figures in biscuit. Cupids with garlands, also in biscuit, adorn a pair of dainty porcelain candelabra with ormolu stems terminating in roses which conceal the sockets. There are altogether thirty-four pieces including a breakfast service, all delightfully shaped and decorated with dainty grisaille painting in reserved panels, depicting classical subjects. The delicate pistachio-green ground colour is beautifully set off by the excellent gilding displaying a relief design of acanthus in bright gold on a dead ground of the same metal. The Green toilet set is representative of Russian porcelain of the classical period, with its exquisite forms, refined colouring and high quality of finish.

The alabaster lamp suspended on bronze chains is typical of the decor of early nineteenth-century private apartments. It shines with a warm diffused light which gives great charm to the interior.

[ Last edited by  lizz_7777 at 11-12-2008 01:42 AM ]

lizz_7777

The Bedroom

The Bedroom, one of the daintiest apartments in the private suite of the Empress Maria Feodorovna, was decorated in 1805 from the sketches of Andrey Voronikhin.

Polychrome painting is the principal feature of the decor: garlands - of wild and garden flowers and clusters of lilacs-are set off by the white stucco facing of the walls; the ceiling is painted to resemble a blue sky with tiny gold stars in it. The painting was done by Giovanni Scotti from the sketches of Voronikhin. The fireplaces faced with green Kalkan jasper were made from Voronikhin's designs at the Ekaterinburg Stone Works.

The set of furniture with carved decorations painted black, comprising a sofa which was used as a bed, armchairs, and stools of antique shape, was made in the workshop of Friedrich Hagemann, a St Petersburg cabinet-maker. The room also contains a cabinet and small tables from the workshop of Heinrich Gambs, and some excellent examples of French furniture, such as a console table trimmed with bronze, by Pierre Thomire, and the chests of drawers from the workshop of Dominique Daguerre.

[ Last edited by  lizz_7777 at 11-12-2008 01:44 AM ]

lizz_7777

The Oval Boudoir
The small Oval Boudoir adjoining the Bedroom, which once used to be draped in muslin and therefore called the Canopy, was redecorated in accordance with Voronikhin's design to match the Bedroom, with its stucco facing on the walls, its painted garlands of flowers, etc.

Both the interiors are good, examples of the vogue for flowers characteristic of the beginning of the nineteenth century. Floral wreaths and festoons are to be found not only ,in the wall and ceiling painting, but also in the upholstery of the furniture, in the design of draperies and carpets. Growing flowers in jardinieres and cut flowers in vases, used in great profusion, strengthened the effect of floral motifs in interior decoration.

The Oval Boudoir opens onto a portico with six marble columns, also built by Voronikhin, to which Rossi later added a porch with a wrought-iron railing and awning, decorated with flowers and plants and offering a charming view of the flowering shrubs and the paths of the Private Garden.

[ Last edited by  lizz_7777 at 11-12-2008 01:45 AM ]

lizz_7777

The Park
The Pavlovsk park, one of the largest in our country (600 hectares in area), may be called an encyclopedia of landscape architecture. Its layout reflects all the main trends in European eighteenth and nineteenth century garden design. The French regular or formal style is employed in the Palace area; the Italian style, in the Great Circles, Brenna's stairway and the Amphitheatre; the Dutch style, in the Private Garden, and the English landscape style, in the Siavianka valley and other sections.

Ivan Chessky
Fortress at the Town of Pavlovsk, 1800
Pavlovsk Palace Museum

These various types of landscape compositions, each chosen to suit a particular natural setting, are happily combined to form a single harmonious whole. Strict geometry of layout is skilfully used to set of!, by contrast, the beauty of wild, unadorned nature. An effect of rich and constantly changing scene s created, to which the park owes much of its unique, inimitable charm.

The scenery of the Russian north is presented here in an endless diversity of lyrical moods. The slender green firs, the white birches, the clumps of maples and limes, the sturdy old oaks and the silvery willows bathing their supple twigs in the quiet waters of the Slavianka, give a rare enchantment to the landscape. The park pavilions, built in a variety of styles - some severely classical, monumental and dignified, others affecting rural simplicity - are all tasteful and elegant. Decorative sculptures of perfect beauty, enveloped in a mood of pensive sadness, blend with the surrounding scenery. But it is the beautyof Nature herself, - the green lawns and meadows, the shady groves, the sunlit valleys, the winding river with water bubbling over the stones, the gushing cascades, the shining pools, - that links together the creations of the architects, gardeners and sculptors, and lends unity to all.

Perfect harmony of Nature and art, as a source of aesthetic delight - that is the end which all the designers of the Pavlovsk Park sought to achieve. Forming a single architectural and artistic whole with the Palace, the park is closely associated with the names of Charles Cameron, Vincenzo Brenna, Andrey Voronikhin, Carlo Rossi and Pietro Gonzaga, the designers, builders and decorators of this remarkable edifice. In the course of fifty years they shaped all the main park areas, creating unrivalled specimens of garden design. Each left on the park an impress of his personality, but the desire to reveal the beauty of Russian nature was common to them all and his gave unity to their work.

Three periods can be distinguished in the history of the park's formation.

The first, from 1780 to 1787, covers the years when Charles Cameron built a mansion for Paul and laid out the gardens. His work was distinguished by exquisite taste. He aimed at creating an intimate mood, a sense of comfort, and an atmosphere of artistic refinement both within and out of doors.

During the second period, from 1796 to 1800, Vincenzo Brenna laid out the Palace area in the formal style befitting an imperial residence.

The third period, from 1801 to 1828, witnessed the further development and completion of the ensemble by Andrey Voronikhin and Carlo Rossi, and the creation of large landscaped areas by Pietro Gonzaga, a painter decorator and landscape designer of note.

The nazi occupation of Pavlovsk in the war of 1941-45 caused great damage to the park. The bridges and dams were blown up, the pavilions reduced to ruins; many of them, such as the Kriek, the I Old Chalet, the Rose Pavilion, were utterly demolished. Whole areas - the Old Sylvia, the Great Star I and a considerable part of the White Birch - were shorn of trees. Over 70,000 old trees of various species were felled by the fascists. Countless bomb and shell craters, trenches, over 800 bunkers, pill-boxes and dug-outs, mine fields and huge antitank barriers of tree trunks - it seemed that no power on earth could restore to the park its original aspect. And yet the park has been brought back to life. Right after the liberation of Pavlovsk from nazi occupation in the spring of 1944 works in the park were started. The pill-boxes and dug-outs were destroyed, the craters filled with earth, the stumps uprooted, young trees planted, the drainage system repaired, and the walks and avenues surfaced.

The restoration of a historic park on such a scale as that was an absolutely novel experience in the field of museum work. It could be effected solely on a scientific basis. New methods, specially devised for the purpose, were successfully applied. The restoration scheme was based on the study of archival documents collected by the Museum's research staff, notably Nathalie Gromova, Xenia Kurovskaya, Zoe Weiss, and George Kurovskoy. Along with the old plans, drawings, photographs and other material, these documents served as the groundwork for the project worked out by the Lenproekt Institute. The reconstruction of architectural features was carried out under the direction of Sophia Popova-Gunich.

Highly important data for the restoration of the park were provided by the 1935 Area Planting Schemes and Professor Leo Tverskoy's Photographic Index of Landscape Compositions for 1939-40, as well as aerial photographs of the park taken in the pre-war years. These materials made it possible to establish the range, number and disposition of different tree and shrub species required for re-planting. Over 70,000 trees and 68,000 shrubs were planted in the park during the post-war period under the direction of George Kurovskoy, Nikolay Anufriyev and Marina Vliet, experienced landscape gardeners.

During the war years and the post-war period, open spaces were gradually becoming choked with the birch, the aspen, the alder and the willow growing wild, particularly in the areas of the White Birch and the Valley of the Pools. To restore to the clumps and groves their original form and the Gonzaga pattern in the choice and arrangement of the trees, and to open anew the prospects, this undergrowth must be skilfully rarified. Landscaping is conducted in accordance with the plan approved by the State Control Commission for the Preservation of the Artistic Monuments of Leningrad.

The restoration of Gonzaga's landscaping in the White Birch, with its wide expanses of meado..y and its picturesque groves, will complete the reconstruction of the Pavlovsk park, this magnificent monument of Russian culture and one of the most picturesque parks in the world.

During the early years of Pavlovsk's history the banks of the Slavianka were cleared of undergrowth and small gardens were laid out around Paullust and Marienthal. In the dense woods and groves along the sloping river banks the owners placed numerous pleasure houses and pavilions. In line with current fashion there was a Chinese Kiosk with the roof shaped like an umbrella, and a romantic folly meant to resemble the half-ruined barbican of some medieval castle. Of special note were the park's "pastoral" buildings, intended to satisfy the sentimental idyllic whims of the nobility who affected a taste for "simple" life close to nature. These included a Charbonniere (charcoal-burner's hut) hidden from view in the dense woodland, a log building shaped like a saddle roof, and covered over with earth and moss, but with a luxurious stately interior. There was also a Hermit's Cell, a deliberately stark-looking little house faced with tree-bark and with "simple" rustic furnishings inside. The Hermit's Cell stood in a pine-grove on the bank of the Slavianka. Not far away was the Swiss-style Old Chalet, a building with a thatched roof, outwardly plain but fitted inside with magnificent decorations and furniture.

[ Last edited by  lizz_7777 at 11-12-2008 01:48 AM ]

lizz_7777

llllllllllllllllllllllllllllllllllllllllllllll




[ Last edited by  lizz_7777 at 11-12-2008 02:12 AM ]

lizz_7777

lllllllllllllllllllllllllllllllllllllllll

lizz_7777

Three Graces Pavilion

The Three Graces from the pavilion of the same name at Pavlovsk
by Triscorni
Late 18th century
Acquired by Alexander I in 1802 and presented to his mother, Maria Feodorovna.

[ Last edited by  lizz_7777 at 11-12-2008 02:14 AM ]

lizz_7777

Pavlovsk in the Snows of Winter

[ Last edited by  lizz_7777 at 11-12-2008 02:16 AM ]

lizz_7777

Gates of Pavlovsk Palace

Broad and massive, the severe Doric order of the gateway, which is made of painted cast iron, is meant to impress. The portal is the design of Brenna.  It was built in 1826

Immediately upon entering the estate through the gate one senses a different personality at work than at Catherine's palaces, which were meant to impress a visitor with Catherine's culture and intellect. These were the virtues that Catherine preferred to 'broadcast' in her buildings.

Although he was dead when the gate was erected, Paul must have been involved in its design. Clearly, Paul's intent was to impress his visitors with his military attitude and 'strength of will'. On top of the gate stands the Imperial emblem of Russia, the double eagle. The eagles are missing their crowns.

Note: This is page from our old site on Pavlovsk - it is here for those who had bookmarked it.
Bob Atchison

[ Last edited by  lizz_7777 at 11-12-2008 02:17 AM ]

lizz_7777

The Apollo Colonnade and the Cascade

[ Last edited by  lizz_7777 at 11-12-2008 02:18 AM ]

lizz_7777

The Temple of Friendship

totokreturn

bagi aku istana raja melayu neh takder seni halus...

bila dilihat..
istana raja melayu lebih kepada menghormati pemimpin..

istana inggeris plak lebih kepada kebanggan mereka terhadap raja, seni halus yg melambangkan kekuasaan raja tersebut memerintah...

dexa

Originally posted by totokreturn at 11-12-2008 09:50 AM
bagi aku istana raja melayu neh takder seni halus...

bila dilihat..
istana raja melayu lebih kepada menghormati pemimpin..

istana inggeris plak lebih kepada kebanggan mereka terhadap raja, ...

interesting observation -
menghormati pemimpin tu apa maksud totok? -

kalau di europe sana - dari zaman dulu monarch kena ikut cakap church juga -
kalau baca sejarah battle of  hastings - 1066 - banyak juga raja2 yang
memang tak dapat penghormatan dari subject depa -

norman menang pun pergunakan infantry sedahsyat dahsyatnya -
an interesting battle and history - cuma nak stress kat sini
raja2 kat europe sana bukan immune mana pun -

berbalik pada istana raja2 -
ye la.. macam kata totok - istana2 raja kat malaysia ni tak berseni -
kalau tengok kat england sana - ukiran, lambang.. so artistic
dan nampak 'gah' dan prominent -

smma

tapi betul ka sesetengah org ckap org biasa x bleh masuk sembarangan dlam isatana raja2 melayu.. hmm aku dengor2 jela.. btull ka idak tu, aku pun tak tau...

kasmila

Originally posted by unnamed at 18-4-2007 11:48 AM
yg ni istana alam shah kat selangor....

http://i175.photobucket.com/albums/w151/superiorinfinity/selangor_istana_alam_shah.jpg

kaya btul sultan ni...membazir je wat besar2

tak membazir
kalau isteri 4
anak berderet2 ...