Професійна діяльність Вільяма Ґульда та створення з його ініціативи Богоявленського парку в 1790–1792 роках

Abstract

На основі літературних джерел, архівних даних та досліджень садово-паркових композицій авторства Вільяма Ґульда розглянуто загальні принципи та особливості авторських прийомів створення парків пейзажного типу з метою реконструкції втраченого парку в селищі Богоявленськ (нині частина обласного центру міста Миколаєва). Досліджено особливості місцевості, що вплинули на паркову композицію, історичні умови, та суб’єктивні фактори, що відобразилися на цьому творінні майстра. Запропоновано кілька рекомендацій, що дадуть змогу реконструювати парк максимально близько до оригіналу.

На основе литературных источников, архивных данных и исследований садово-парковых композиций авторства Уильяма Гульда рассмотрены общие принципы и особенности авторских приемов создания парков пейзажного типа с целью реконструкции утраченного парка в поселке Богоявленск (ныне часть обласного центра города Николаева). Исследованы особенности местности, повлиявшие на парковую композицию, исторические условия и субъективные факторы, отразившиеся на данном творении мастера. Предложено несколько рекомендаций, которые дадут возможность реконструировать парк максимально близко к оригиналу.

Considering the literary sources, archive data and researches of the park and garden complexes made by William Gould, the general principles and author’s specific methods of making landscape parks in order to reconstruct the ruined park in Bohoyavlensk (now the suburbs of Mykolaiv) are analyzed. The specific features of the area which influenced the park’s composition, historical conditions and subject factors reflected in the artist’s works are under investigation. The actuality of the research is connected with the plan of reconstructing works of Bohoyavlensk park that was built in the XVIII century but now is lost. The attention of the public and local history researchers is closely drawn to that monument of the garden art in order to reconstruct it. To make that task successful it is necessary to study thoroughly the archive documents, literary sources (scientific papers, memoirs, contemporaries’ recollections), graphic materials (maps, plans, drawings) etc. The analysis of the literary sources enabled us to outline three main trends closely connected with the theme of our investigation: the works devoted to historical, geographical and geological features of the territory as the resolution as for the park location was stipulated by them; the studying of English landscape park phenomenon from the art criticism point of view; the works dedicated to the personalities who assisted the construction of the park and William Gould himself as the author of the ensemble. As William Gould worked for many years in the Russian Empire and make a great number of gardens and parks, designed a lot of infields, improved the territories in the cities and town of the country in spite of the fact that the majority of his works were ruined some of them still saved and it made possible to define the artist’s peculiar style. Firstly, it is the role of the reservoirs in his parks which differs from the one used by his teachers and predecessors; secondly, the practical function of planting reflected in a great number of fruit trees in the parks; thirdly, the importance of the greenhouse in the park by Gould. The compositional analysis of Bohoyavlensk park and comparative analysis with other famous parks of the artist confirmed some common features. According to those ones and with the help of archive documents (scientific papers, memoirs, and contemporaries’ recollections) it is possible to reconstruct the park closely to its original view. The analysis revealed unique compositional peculiarities which are specified for that park. It should be noted that the information of them has been never given before. But during thorough analysis there arose some questions the answers on which will help to make reconstruction better. Those specific features enable researchers for the further investigations. The recommendations for the future reconstructors of the park are connected, first of all, with the keeping the general principles of park construction of William Kent’s school, formed in the work by Humphry Repton and perfectly created by Gould; and the features specified the individual artist’s style which have been defined in our research.