Architectural and Ethnographic Museum "Khokhlovka". Architectural and ethnographic open-air museum "Khokhlovka". My photos Khokhlovka history museum

The Architectural-Ethno-Graphic Museum of Wooden Architecture "Khokhlovka", a branch of the Perm Museum of Local Lore, is the first open-air museum in the Urals.

The museum was conceived in 1966 and began to be created in 1969, and was opened to visitors in September 1980. The museum complex of 23 monuments of wooden architecture fits harmoniously on a high cape above the Kama Sea, which washes it on three sides. Here, on an area of ​​35 hectares, a thoughtful selection of buildings and structures brought from other places is presented and provides a comprehensive picture of the wooden architecture of the Kama region, the best examples of traditional and religious architecture.

The museum complex is divided into parts in accordance with the main cultural and ethnographic zones of the region and thematic complexes.

In the very center of the open-air museum is the Church of the Transfiguration, built in 1702. in the north of the Kama region - in the village of Yanidor, which is translated from Finno-Ugric as “God’s place”. The church has a covered gallery - a “gulbishche” - which was made so that people who came to the service from distant villages would not freeze or get wet in bad weather. The Yanidor Church is also unique with a “christened barrel” under the dome and a ploughshare roof.

The church is empty inside, but when you enter it, you imagine the “Perm gods” who probably once adorned it. Also included in the “Northern Kama Region” sector is a second building from the Cherdynsky district. This is a Russian manor with paintings from the village of Gadya (1880s).

Closer to the top of the hill, the Watchtower of the Torgovishchensky fortress was erected: the 8-tower fortress was cut down in 1663 and covered the approaches to Kungur, which was then the center of the Southern Kama region.

In 1671 and 1708, the Torgovishchensky fort withstood Bashkir raids. In 1899, the tower of that fortress burned down, and the residents themselves erected an exact copy of it in 1905 (which is now in the museum).

At the very top of the hill, among the fir trees, there is a “pearl” of Kama wooden architecture, the Mother of God Church from the village of Tokhtarevo, Suksun district - the oldest object in the museum (1694). The temple is tall, stands on a basement - a utility room and is very bright - festive inside. Two rows of windows in the temple part provide a lot of light.

Church of the Virgin Mary (1694)

The temple is remembered for its elegance, the plowshare roof of the church is just like in the North and the platbands that are most characteristic of the Urals. Next to the church there is a Bell Tower from the village of Syra, Suksun region (1781), the peaked tent of which is visible from afar. The belfry and the tent are surrounded by “red planks” - the ends of the boards have cuts in the shape of bird feathers or sun rays.

Estate V.I. Igosheva from the village of Gribany, Uinsky district (mid-19th century) and the Rural Fire Station from the village of Skobelevka, Perm region (first third of the 20th century), represent characteristic rural buildings of the 19th - 20th centuries. All these structures belong to the “Southern Kama” sector.

From the fire station the path leads down, and you don’t even notice how you find yourself in the taiga. The “Hunting Camp” complex demonstrates commercial hunting buildings of the Northern Kama region of the 19th century. Forest twilight, the smell of pine needles, silence - you get the feeling that this is really a deep forest, and not a grove of 100x100 meters. A hut (these stood in the taiga and everyone could use them), a shelter for spending the night and a storage shed, that is, a small barn on a leg for protection from animals.

And leaving the taiga, you find yourself near the “Salt Industrial Complex” - an ensemble of industrial buildings of the Ust-Borovsky salt plant - the Brine-lifting tower, the Salt Chest, the Varnitsa and the Salt Barn - revealing the secrets of the ancient craft that existed in the Kama region since the beginning of the 15th century. Since the 16th century, Perm salt, or “Permianka,” has become famous. Although these buildings are a little over 100 years old, exactly the same saltworks were built 500 years ago. Permian salt was mined in wells and boreholes. The salt chest, that is, the settling tank where the brine stood for several days until the sand settled, the salt chest was brought to Khokhlovka entirely, without disassembly, on a barge along the Kama. The wood of the chest is corroded by salt, and at the same time it is salted so that it does not rot. From the salt-working buildings comes a completely indescribable but pleasant smell of salted wood.

Varnitsa is the main link in the salt production cycle. Under the brewhouse there was a brick firebox, which consumed up to 10 cubic meters of firewood per day. On the firebox lay a tsiren, or chren, a giant iron frying pan into which brine was poured. The moisture evaporated, the salt settled. The steam went up a wooden pipe, and the salt workers scooped out the salt with special rakes. It was a nightmare of work - the temperature in the brewhouses was about 80 degrees, with 100% humidity.

The last link is the barn. The length of the salt barn is 28 m. The barns were placed on “ryazhi” - log cages that protected the salt from getting wet during the river flood - and were divided into compartments - bins, where salt was loaded from above. The salt was carried over the top via a carriage or ladder (this barn has a ladder in the tower). Salt harvesting is a job no less hellish than a salt maker: for a woman, the norm was a 3-pound bag, for a man, a 5-pound bag (that is, 45 and 65 kg, respectively), and they carried up to a thousand bags a day. Hence the “Permyak - salty ears” - from sweat, salt settled on the body, corroded the skin, and the back, back of the head, and ears became covered with non-healing scabs.

Sector "Northwestern Kama region". Estate P.I. Kudymov (mid-19th century) from the Yusvinsky district, the Svetlakov Estate (1910-1920) from the Kochevsky district, the Bayandin-Botalov Estate (late 19th century) from the Yusvinsky district of the Komi-Permyak district - represent the traditional architecture of the Komi-Permyaks - indigenous population of the Perm region. This is a Pomeranian-style house-yard, but some of the buildings still stand separately. The Komi-Permyaks learned to build huts from the Russians. The interiors of the rooms are almost the same, only the stove is of a different shape. But most striking are the doors, which are more like hatches in size. And a little to the side there is a building that from the outside can be mistaken for a utility room, but inside it is very interesting - it is a combined threshing floor and barn with an exhibition of implements of Komi-Permyak peasants.

The “Agricultural Complex” includes a Windmill (mid-19th century) from the village of Shikhiri, Ochersky district, a Grain Storage Barn (early 20th century) from the village of Khokhlovka, and a Gumno with a barn (1920s) from the village of Oshib, Kudymkarsky district.

“Khokhlovka” gives visitors the opportunity not only to learn new things about ancient architecture, but also to enjoy communication with nature and take a break from the bustle of the city. The main secret is in the harmony of architecture and nature: from the top of the hill there is a view of a landscape of rare beauty - the expanses of the river surface, wooded hills, rocks along the bay; The spruce forest alternates with birch groves, juniper thickets are adjacent to mountain ash, bird cherry, and viburnum. And in winter you can take a break from the bustle of the city, enjoying the most beautiful landscape, seeing the icy expanses of the Kama River, snow-covered roofs of churches, the winter sun in a thick, weightless haze on the white expanses...

Architectural and Ethnographic Museum Khokhlovka Perm

Hello, dear friends! Today our story is about a unique Architectural and Ethnographic Museum Khokhlovka, which is located 43 km. from the city of Perm near the village of Khokhlovka, on the picturesque shore of the Kama Reservoir.

Khokhlovka- an open-air museum of wooden architecture of the Perm region, containing more than 20 masterpieces of wooden architecture in the region. The museum was founded in 1969. The museum was opened to the public on September 17, 1980.

Since the wooden architecture of the Kama region in each region had its own unique features, the museum is divided into several different sectors: Komi-Permyatsky, Northern and Southern Kama region, as well as the architecture of salt industrial complexes.

The first place on the route was “Estate P.I. Kudymova» 18th century brought from the village of Yashkino, Yusvinsky district. The estate includes the main house and courtyard. The residential part is divided into three zones “hut-canopy-hut”. In the courtyard there was a barn, a stable, a barn, and a bathhouse. The hut contains some objects from everyday life of that time.

Estate P.I. Kudymova

Svetlakov estates

Church of the Transfiguration, 1707 brought from the village of Yanidor, Cherdyn region. Unique monument wooden architecture designed in the form of a “ship”. The church is divided into three parts: the refectory, the temple and the altar.

Church of the Transfiguration

Watch tower, XVII century brought from the village of Torgovishche, Suksun district. A copy of the original. The tower burned down in 1899. It was restored by local peasants.

Watch tower

Bell tower, 1781 brought from the village of Syra, Suksun region. The height of the bell tower together with the cross is about 30 meters. The only structure of this type preserved in the region.

Bell tower

Church of the Virgin Mary, 1694 brought from the village of Tokhtarevo, Suksunsky district. Pearl Prikamsky wooden architecture, also divided into three parts and raised to a high basement.

Church of the Virgin Mary

Igoshev's hut, end of the 19th century brought from the village of Gribany, Uinsky district.

Igoshev's hut

1930s brought from the village of Skobelevka, Perm region.

Nikolskaya saltworks, 1880s brought from the city of Solikamsk.

Nikolskaya saltworks

Grain barn, 1906, village of Khokhlovka, Perm region.

Grain barn

Bayandin-Botalov estate, end of the 19th century A copy of the original from the village of Dmitrievo, Yusvinsky district. The estate of a wealthy Komi-Permyak peasant. The two-story residential part is a feature of this estate. On the ground floor there was a warm hut with a Russian stove, a crate for wounding household utensils, a trading shop and a blueprint workshop for painting canvases. On the second floor there was an upper room with "Dutch" oven, kitchen, cellar.

Bayandin-Botalov estate

Also on site Khokhlovka Museum you can see: Mikhailovsky salt chest, 1880, Solikamsk; Windmill, 19th century. Shikhari village, Ochersky district; Brine lifting tower, 19th century. Solikamsk; Nikolsky salt barn, 1880, Solikamsk; Hunting camp.

It is worth noting that on the territory Khokhlovka Museum Various ethnic and cultural festivals and holidays take place, one of the most massive " International festival of modern ethnic cultures KAMWA"

In 2016 " KAMWA International Festival"will take place on August 5-7. You can read more about the festival here: http://www.kamwa.ru/projects/international-festival-kamwa-2016.html

Address of the architectural and ethnographic museum "Khokhlovka":

Perm region, Perm district, village. Khokhlovka

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Coordinates: 58°15′40″ n. w. 56°15′40″ E. d. /  58.26111° N. w. 56.26111° E. d. / 58.26111; 56.26111(G) (I)

Architectural and Ethnographic Museum "Khokhlovka"
Date of foundation
Location	Perm region, Perm district, village. Khokhlovka
Director	Kokoulin Valery Vitalievich
Website

K:Museums founded in 1969

Khokhlovka- architectural and ethnographic museum in the Perm region, founded in 1969. Opened to visitors on September 17, 1980. The museum is located on the picturesque bank of the Kama River, 43 km from Perm, near the village of Khokhlovka. This is the first open-air museum of wooden architecture in the Urals. It includes 23 unique monuments from the late 17th - first half of the 20th centuries. On an area of ​​35-42 hectares, according to various sources, there are various wooden buildings and structures brought here from other places and representing the best examples of folk construction and artistic culture of the region. Many monuments have ethno-stylized interiors and exhibition complexes. AEM "Khokhlovka" is a branch of the Perm Regional Museum.

In the photo - the Church of the Transfiguration (1707) and the watchtower (XVII century).

Museum objects

• Church of the Transfiguration, 1707 from the village. Yanidor, Cherdynsky district
• Church of the Virgin Mary, 1694 from the village. Tokhtaryovo, Suksunsky district
• Watch tower, XVII century from the village Merchant of Suksun district
• Bell tower, 1781 from the village of Syra, Suksun region
• Izba Kudymov, XVIII century from the village of Yashkino, Yusvinsky district
• Barn with barn, 1920 from the village. Error Kudymkarsky district
• Fire station, 1930s from the village of Skobelevka, Perm region
• Grain barn, 1906 from the village. Khokhlovka, Perm region
• Mikhailovsky salt chest, 1880s from Solikamsk
• Nikolsky salt barn, 1880s from Solikamsk
• Windmill, XIX century from the village of Shikhari, Ochersky district
• Brine lifting tower, XIX century from Solikamsk
• Nikolskaya saltworks, 1880s from Solikamsk
• Svetlakov's estate house, 1920 from the village of Dyoma, Kochevsky district
• Igoshev's hut, con. XIX century from the village of Gribany, Uinsky district
• Hunting camp, 1996

Events at the museum

Various ethnic and cultural festivals and holidays are regularly held on the territory of the museum.

2006

2007

2008

year 2009

2010

2011

2015

• August 1-2 - VIII All-Russian Festival of Historical Reconstruction “Great Maneuvers on the Khokhlov Hills”

In addition to Khokhlovka, in the Perm region there are various open-air museums presenting exhibitions of architectural, ethnographic and local history content.

see also

• Ludorvay »
• Architectural and Ethnographic Museum "Taltsy"

Write a review about the article "Khokhlovka (museum)"

Links

• - announcements of events at AEM “Khokhlovka”

Notes

Literature

• Monuments of history and culture of the Perm region / comp. L. A. Shatrov. 2nd ed., revised. and additional Perm: Book. publishing house, 1976.
• Kantorovich G. D. An open-air museum as a form of preserving monuments of wooden architecture in the Kama region // Konovalov readings. Berezniki, 1995. Issue. 1.
• Terekhin A. S. Architecture of the Kama region of the 16th-19th centuries. Perm, 1970.

Museums of Russian wooden architecture

An excerpt characterizing Khokhlovka (museum)

Pierre was in such a state of confusion of thought that when he heard the word “blow,” he imagined the blow of some body. He looked at Prince Vasily, perplexed, and only then realized that a blow was a disease. Prince Vasily said a few words to Lorren as he walked and walked through the door on tiptoe. He could not walk on tiptoes and awkwardly bounced his whole body. The eldest princess followed him, then the clergy and clerks passed, and people (servants) also walked through the door. Movement was heard behind this door, and finally, with the same pale, but firm face in the performance of duty, Anna Mikhailovna ran out and, touching Pierre’s hand, said:
– La bonte divine est inepuisable. C"est la ceremonie de l"extreme onction qui va commencer. Venez. [God's mercy is inexhaustible. The unction will begin now. Let's go.]
Pierre walked through the door, stepping on the soft carpet, and noticed that the adjutant, and the unfamiliar lady, and some other servant, all followed him, as if now there was no need to ask permission to enter this room.

Pierre knew well this large room, divided by columns and an arch, all upholstered in Persian carpets. The part of the room behind the columns, where on one side stood a high mahogany bed under silk curtains, and on the other a huge icon case with images, was red and brightly lit, as churches are lit during evening services. Under the illuminated vestments of the icon case stood a long Voltairean armchair, and on the armchair, covered at the top with snow-white, apparently uncrumpled, pillows, covered to the waist with a bright green blanket, lay the majestic figure of his father, Count Bezukhy, familiar to Pierre, with the same a gray mane of hair, reminiscent of a lion, above a wide forehead and with the same characteristically noble large wrinkles on a beautiful red-yellow face. He lay directly under the images; both of his thick, large hands were pulled out from under the blanket and lay on him. In the right hand, which lay palm down, between the thumb and forefinger, a wax candle was inserted, which, bending over from behind the chair, was held in it by an old servant. Above the chair stood the clergy in their majestic shiny robes, with their long hair hanging out, with lighted candles in their hands, and slowly solemnly served. A little behind them stood two younger princesses, with a scarf in their hands and near their eyes, and in front of them was the eldest, Katish, with an angry and decisive look, never taking her eyes off the icons for a moment, as if she was telling everyone that she was not responsible for herself if looks back. Anna Mikhailovna, with meek sadness and forgiveness on her face, and the unknown lady stood at the door. Prince Vasily stood on the other side of the door, close to the chair, behind a carved velvet chair, which he turned back to himself, and, leaning his left hand with a candle on it, crossed himself with his right, each time raising his eyes upward when he put his fingers to his forehead. His face expressed calm piety and devotion to the will of God. “If you don’t understand these feelings, then so much the worse for you,” his face seemed to say.
Behind him stood the adjutant, doctors and male servants; as if in a church, men and women were separated. Everything was silent, people were crossing themselves, only the church reading, restrained, thick bass singing and, in moments of silence, the rearrangement of feet and sighs could be heard. Anna Mikhailovna, with that significant look that showed that she knew what she was doing, walked across the room to Pierre and handed him a candle. He lit it and, amused by his observations of those around him, began to cross himself with the same hand in which the candle was.
The younger, rosy-cheeked and laughing Princess Sophie, with a mole, looked at him. She smiled, hid her face in her handkerchief and did not open it for a long time; but, looking at Pierre, she laughed again. She apparently felt unable to look at him without laughing, but she could not resist looking at him, and in order to avoid temptation she quietly moved behind the column. In the middle of the service, the voices of the clergy suddenly fell silent; the clergy said something to each other in a whisper; the old servant, who was holding the count's hand, rose and addressed the ladies. Anna Mikhailovna stepped forward and, bending over the patient, beckoned Lorren to come to her from behind with her finger. The French doctor, standing without a lit candle, leaning against a column, in that respectful pose of a foreigner, which shows that, despite the difference of faith, he understands the full importance of the ritual being performed and even approves of it, with the silent steps of a man with all the strength of his age, approached the patient, took his free hand from the green blanket with his white thin fingers and, turning away, began to feel his pulse and thought. They gave the sick man something to drink, they stirred around him, then again they parted ways, and the service resumed. During this break, Pierre noticed that Prince Vasily came out from behind his chair and, with the same look that showed that he knew what he was doing, and that it was all the worse for others if they did not understand him, did not approach the patient , and, passing by him, he joined the eldest princess and together with her headed deeper into the bedroom, to a high bed under silk curtains. The prince and princess both disappeared from the bed through the back door, but before the end of the service, one after the other they returned to their places. Pierre paid no more attention to this circumstance than he did to all the others, having once and for all decided in his mind that everything that happened before him that evening was so necessary.
The sounds of church singing stopped, and the voice of a clergyman was heard, who respectfully congratulated the patient on receiving the sacrament. The patient lay still lifeless and motionless. Everything around him began to stir, steps and whispers were heard, of which Anna Mikhailovna’s whisper stood out most sharply.
Pierre heard her say:
“We definitely need to move it to the bed, there’s no way it’s going to be possible here...”
The patient was so surrounded by doctors, princesses and servants that Pierre no longer saw that red-yellow head with a gray mane, which, despite the fact that he saw other faces, did not leave his sight for a moment during the entire service. Pierre guessed from the careful movement of the people surrounding the chair that the dying man was being lifted and carried.
“Hold on to my hand, you’ll drop me like this,” he heard the frightened whisper of one of the servants, “from below... there’s one more,” said the voices, and the heavy breathing and stepping of the people’s feet became more hasty, as if the weight they were carrying was beyond their strength .
The carriers, among whom was Anna Mikhailovna, drew level with the young man, and for a moment, from behind the backs and backs of the people’s heads, he saw a high, fat, open chest, the fat shoulders of the patient, raised upward by the people holding him under the arms, and a gray-haired, curly, lion's head. This head, with an unusually wide forehead and cheekbones, a beautiful sensual mouth and a majestic cold gaze, was not disfigured by the proximity of death. She was the same as Pierre knew her three months ago, when the count let him go to Petersburg. But this head swayed helplessly from the uneven steps of the carriers, and the cold, indifferent gaze did not know where to stop.
Several minutes of fussing around the high bed passed; the people carrying the sick man dispersed. Anna Mikhailovna touched Pierre's hand and told him: “Venez.” [Go.] Pierre walked with her to the bed on which the sick man was laid in a festive pose, apparently related to the sacrament that had just been performed. He lay with his head high on the pillows. His hands were laid out symmetrically on the green silk blanket, palms down. When Pierre approached, the count looked straight at him, but he looked with a look whose meaning and meaning cannot be understood by a person. Either this look said absolutely nothing except that as long as you have eyes, you must look somewhere, or it said too much. Pierre stopped, not knowing what to do, and looked questioningly at his leader Anna Mikhailovna. Anna Mikhailovna made a hasty gesture to him with her eyes, pointing to the patient’s hand and blowing her a kiss with her lips. Pierre, diligently craning his neck so as not to get caught in the blanket, followed her advice and kissed the big-boned and fleshy hand. Not a hand, not a single muscle of the count’s face trembled. Pierre again looked questioningly at Anna Mikhailovna, now asking what he should do. Anna Mikhailovna pointed him with her eyes to the chair that stood next to the bed. Pierre obediently began to sit down on the chair, his eyes continuing to ask whether he had done what was necessary. Anna Mikhailovna nodded her head approvingly. Pierre again assumed the symmetrically naive position of an Egyptian statue, apparently regretting that his clumsy and fat body occupied such a large space, and using all his mental strength to appear as small as possible. He looked at the count. The Count looked at the place where Pierre's face was while he stood. Anna Mikhailovna in her position showed an awareness of the touching importance of this last minute of the meeting between father and son. This lasted two minutes, which seemed like an hour to Pierre. Suddenly a tremor appeared in the large muscles and wrinkles of the count’s face. The shuddering intensified, the beautiful mouth became contorted (only then Pierre realized how close his father was to death), and an indistinct hoarse sound was heard from the contorted mouth. Anna Mikhailovna carefully looked into the patient’s eyes and, trying to guess what he needed, pointed first to Pierre, then to the drink, then in a questioning whisper called Prince Vasily, then pointed to the blanket. The patient's eyes and face showed impatience. He made an effort to look at the servant, who stood relentlessly at the head of the bed.

45 km from Perm, near the village of Khokhlovka, on a picturesque high cape, on three sides

Washed by the waters of the Kama Reservoir, there is a quaint wooden town - this

Perm architectural and ethnographic open-air museum-reserve. Here in the square

In 42 hectares, 19 monuments of wooden architecture of Perm appear before visitors

Regions of the late XVII - early XX centuries. Many of them house interiors and exhibitions,

Created by museum researchers.
The idea of ​​​​creating an open-air architectural museum was proposed back in 1966

The famous Perm architect A.S. Terekhin. In 1968, the chief architect of the region N.N.

Kukin proposed placing a museum of wooden architecture near the village. Khokhlovka. For the final

A commission headed by architect V.V. left Moscow to make decisions. Makovetsky. As a result

In April 1969, the Perm Regional Executive Committee adopted a resolution on the creation of a museum near Khokhlovka

Wooden architecture, the construction of which was entrusted to Perm specialized

Scientific restoration workshop. All work on the creation of the museum was financed by the All-Russian

The Society for the Protection of Historical and Cultural Monuments, which spent in the 70-80s. over 2 million rubles,

And the regional department of culture. In March 1971, the Ministry of Culture of the RSFSR approved

The preliminary design of the museum was developed by architects G.L. Katsko, G.D. Kantorovich and A.S.

Terekhin. According to this project, Perm restorers transported and restored

The territory of the museum includes 12 architectural monuments.
In the early 80s, a draft version of the master plan was considered and completed

Architects of Permgrazhdanproekt N.D. Zelenina and F.N. Nigmatullina.

In 1981, specialists were brought in to detail the master plan of the Khokhlovka Museum

Moscow Design Institute. They proposed to allocate three territorial areas within the museum:

Ethnographic zones - Komi - Permyak sector, Northern and Southern Kama region, and two

Complex: salt industrial - structures of the Ust-Borovsky plant from Solikamsk

(technological cell) and agricultural with barns, barns, threshing floor, mills,

Fields. The exposition of each sector was based on something characteristic of a particular

People, region, typological settlement, as well as objects associated with traditional activities

Peoples: agriculture, hunting, fishing, various woodworking crafts,

Stone, metal, clay, leather, etc. The conducted research allowed the architects

Develop several options for the placement of future sectors and complexes on the territory of the museum

"Khokhlovka", which were considered at the scientific-restoration council of the association

"Rosrestavratsiya" in Moscow.

Almost at the Kama itself, in the most picturesque natural corner of the museum, there is a unique

An architectural ensemble of industrial buildings associated with the ancient craft of our region -

Salt making.

The history of salt production in the Kama region goes back over five centuries. The first fishery was founded

At the beginning of the 15th century, and from the 16th century, Perm salt, or “Permyanka”, became known in many

Districts of the Russian state. The main salt production areas in the Kama region were Solikamsk,

Pyskor, Dedyukhin, Lenva, Usolye. All buildings of the salt complex were removed from the city

Solikamsk from the Ust-Borovsk salt plant, founded in 1882 by an industrialist

A.V. Ryazantsev - it’s interesting that the “Ryazantsev saltworks” closed recently, in January 1972

The entire technological process of obtaining salt is concentrated here: from pumping brine from

Wells before loading. The brine was pumped out of the ground. For this purpose, a well was built, drilling

Which lasted from 3 to 5 years. A mother pipe made of pine logs was driven into the ground

The diameter “from edge to edge arshins minus two inches” is 62 centimeters! They lifted it in buckets

Brine. Since the 17th century pumps began to be used - a brine lifting frame appeared above the well

The tower, the prototype of which, as some researchers believe, was the fortress tower.

The complex was transported on a barge from the Ust-Borovsky salt plant in Solikamsk, where back in the 15th

For centuries, the world-famous Permian salt was brewed. The authors of the restoration project are architects

G.D. Kantorovich, G.L. Katsko, T.K. Muksimov. The salt complex includes several buildings:

a 12-meter brine lifting tower, a salt settling tank, into which wooden pipes

The brine flowed by gravity. A chest weighing more than 100 tons, at the suggestion of Perm restorers,

Transported to the museum without disassembly. From the chest the brine went into the brewhouse, inside which

There is a stove, and above it a tsiren, a cast-iron frying pan, was fastened on chains, where

The brine was evaporated. The length of the salt barn is 28 m. The barns were placed on "ryazhi" -

Log cages that protected the salt from getting wet during river floods - and divided

The compartments were bins where salt was loaded from above.

In 1984, a discussion and approval of the draft master development plan took place

Architectural and Ethnographic Museum of the detailed layout of the Komi-Permyak sector, -

Developed by a group of architect-restorers of the Spetsproektrestavratsiya Institute under

The management of E.Yu. Baranovsky. According to the project, the Komi-Permyak sector is located at

The entrance area is on the site of the current village of Gora. It includes 5-6 peasant estates, including

The estate of a wealthy peasant and the hut of a poor man, a hunter’s winter hut and other objects.

Above is the “Northern Kama Region” sector with unique wooden buildings,

Wonderful examples of residential architecture. The basis of the planning structure of Russian

The settlement accepted the development of the village. Yanidor, Cherdynsky district. Shown here

Vehicles - boats, barges, carts, sleighs, drags, which were widely used in

Economy of the northern peoples.

The core of the “Southern Kama Region” sector is made up of a bell tower brought from the village. Cheese, pointed

The tent of which is visible from afar, and the Church of the Virgin Mary from the village. Tokhtarevo (cut down in 1694),

Captivating with its beauty and grace. Both monuments were removed from the Suksun region and

Installed on the highest point of the peninsula. Around them there will be estates,

Utility buildings. Peasant crafts will be widely represented in this part of the museum.

And the crafts will reflect the culture and life of not only the Russian, but also the Tatar and other

Peoples.

Photo and text source.

Khokhlovka is an amazing architectural and ethnographic museum not far from Perm. Khokhlovka is one of the main attractions of the Perm region, attracting many tourists.

The Architectural and Ethnographic Museum was founded in 1969. However, it was opened to visitors only on September 17, 1980. It is located in the village of the same name.

Exhibits of the open-air architectural and ethnographic museum stand on a picturesque hill on the Varnach Peninsula.

The Khokhlovka Museum includes more than two dozen unique exhibits - monuments of wooden architecture in the open air. They date from the end of the 17th century to the first half of the 20th century. All buildings were brought here from different points of the Perm region. You can go into some buildings and get acquainted with the interiors and exhibitions.

The museum area is divided into several sectors: Northwestern (Komi-Permyak district), Northern and Southern Kama region. This division is not accidental - each of these conventional districts of the Kama region is characterized by its own architecture.

The sights of Khokhlovka related to the salt industry are very interesting. Here you can get acquainted with the technology of salt extraction. Churches built in the traditions of Russian wooden architecture and a windmill are of great interest among tourists.

Several times a year, folklore festivals and celebrations take place in Khokhlovka. The most popular are Maslenitsa, Trinity, and Apple Savior. Khokhlovka also hosts the popular Perm festival “KAMVA”. On some holidays, more than five thousand people come to Khokhlovka.

We recommend a trip to Khokhlovka as an excellent weekend route. We also recommend seeing the sights of the city of Perm, the famous Perm wooden sculpture, the Museum of the History of the Motovilikha Plants, the Kamskaya Hydroelectric Power Station and Cape Strelka.

How to get to Khokhlovka?

By car from Perm over the bridge over the Kama River - m.r. Gayva - Ilyinskoye Highway following signs for Khokhlovka. The distance from Perm to the museum is 45 km. By suburban bus No. 340 “Perm-Khokhlovka”. The bus runs from the Perm bus station 3-4 times a day.

Architectural and Ethnographic Museum "Khokhlovka" on the map:

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