The subject of the research is the biography and creative heritage of S. I. Borisov, one of the best photographers of Barnaul at the beginning of the XX century. His archive, which is kept in the AGCM, includes materials of photo-expeditions in the Altai in 1907-1914. The analysis of photos allows you to recreate the image of a multi-ethnic region in all its diversity of cultures and traditions.

Keywords: history of photography in Russia, local history, history and ethnography of Altai, photographers of Barnaul, creative heritage of S. I. Borisov.

Soon after the invention of photography in 1839, its development began in Russia. Here photography developed rapidly and was inseparable from the local history movement that was formed during the XIX century.

In Siberia, the ideology of local lore was largely determined by the movement of regionalism( oblastnichestvo), whose leaders insisted on the worthy place of the eastern suburbs in the structure of the Russian Empire. One of the founders of oblastnichestvo, a researcher of Central Asia and Siberia, G. N. Potanin, developed a project in 1874, which he called "concentric homeland studies". Its essence consisted in describing the small homeland in concentric circles: the first circle - geography and human life in small loci, the second - the region in physical and social terms, the third - Russia. In the development of homeland studies, a special place was given to images of territories. From the moment of its appearance in Russia, photography was considered as a tool for describing the country, its provinces and inhabitants. Among the centers supporting photography were: Ethnographic Bureau of kn. Tenishev Museum of Anthropology and Ethnography. Peter the Great, the Russian Museum, established by the Decree of Emperor Nicholas II in 1895 and opened in 1898, etc.

The first local history photo sessions in Russia were performed in the 1870s and 1890s. The Russian Geographical Society highly appreciated the possibilities of photography. A silver medal was awarded to its author, an outstanding researcher of North Asia and journalist A. V. Adrianov, for a photo collection taken during an expedition to Tuva and Altai in 1880.

In the 1880s, the genre of journalistic photo essay appeared. In 1888, in the Narym region, at the mouth of the Vasyugan River, A.V. Adrianov took a series of photographs about the life of the Khants, which had not only scientific significance, but also a sharp journalistic focus.

One of the founders of photojournalism in Russia was the Nizhny Novgorod photographer M. P. Dmitriev, who was elected a full member of the Russian Geographical Society in 1899. In enlightened circles, his photo series "Rus leaving", "Poor Harvest 1891 - 1892s in the Nizhny Novgorod province", "Volga Collection"became widely known. In the early 1890s, the photographer set out to capture the life of the Volga River from its source to its mouth. This is how the photo epos of the great Russian river appeared.

The materials of M. P. Dmitriev and a number of his colleagues in the workshop were in great demand among publishers. In 1894, when the Ministry of the Interior allowed open letter forms in the Universal Postal Union standard, genre and reportage photography became widely popular. St. Petersburg photographer K. K. Bulla, an official photographer of the Ministry of the Imperial Court, who collaborated with major Russian magazines, was one of the first to work in this direction.

Photography as an actual art became more and more actively involved in the presentation practices of Russia. At the Paris World's Fair in 1899, the Russian Empire was represented by a series of reports. Among them were photographs of the artist and ethnographer SM. Dudin, who, on behalf of the Ethnographic Bureau of kn. Tenisheva participated in an expedition to the Kazakh steppe. Scientists made about 500 fos-

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S. I. Borisov, Barnaul photographer. The beginning of XX century AGKMOF 172692.

togographs - portraits and sketches of nomadic life, which had not only scientific, but also artistic value. At the beginning of the 20th century, photography opened Russia to the world, and Russia opened itself in photography.

The possibilities of a new art form were clearly understood by officials, journalists, and scientists. The program compiled in 1902 by the ethnographic department of the Russian Museum under the leadership of the well-known political figure (narodnik) and researcher of Siberia D. A. Klementz specified in detail the content of the photographs. Numerous photo collections were formed in the largest museums and libraries of Russian cities, photo exhibitions were organized, and photo albums were printed.

In 1899, the writer, geographer and ethnographer M. A. Krukovsky began publishing the children's magazine "Comrade"in St. Petersburg. In 1903, as an appendix to it, an eight-issue photo album "Russia in Pictures" was published. M. A. Krukovsky was one of the most interesting photojournalists of his time. During an expedition to the Southern Urals, he prepared illustrated essays on the factory culture of the region, which were published in Moscow in 1909.

At the beginning of the 20th century, photography in Russia was perceived as a tool for documenting a changing reality. In 1901, the photographic and mechanical workshop of S. M. Prokudin-Gorsky was established in St. Petersburg, and in 1909 it received an imperial commission to photograph all the regions of Russia. The project, which coincided with the celebration of the 300th anniversary of the ruling house of Romanov, demonstrated the state's ambitions on the threshold of a new era. The photographer's efforts created the image of a great power.

This collection was shown in Russia in 1918. Then S. M. Prokudin-Gorsky left the RSFSR. In 2001, the Library of Congress organized an exhibition of his materials, " The Empire that Was Russia." The concept of the exhibition reproduced the ideologies of the early XX century.

Cultural, political, and social practices of the early 20th century focused on modeling images of the Russian socio-economic, historical, and cultural space in all its diversity. Focusing on the official order, many photographers both in the capitals and in the provinces worked in the historical and cultural format of local lore.

Photography at the beginning of the 20th century developed dynamically and vividly. Photo descriptions and reports performed by the masters of those years acquired the features of typical generalizations - people, peoples, cultures, cities became brands of a huge state. These trends were typical for the whole of Russia.

In Barnaul, in 1894, the photo workshop of Sergey Ivanovich Borisov began to work. The future photographer was born in Simbirsk, presumably in 1859, in a family of domestic peasants. He was the" errand boy " in the store, and together with Baroness Rosen's musical theater, he traveled around the country-first as a gas station attendant, then as an artist. During his travels, S. I. Borisov acquired the specialty of a photographer. In the late 1880s, the road took him to Barnaul. At first, S. I. Borisov lived in the house of the cabman V. Kleshchov, where he met his future wife Anastasia Petrovna, the owner's sister.

S. I. Borisov was well acquainted with the latest technical developments in photography, for which he made several trips to St. Petersburg and abroad. In Europe, he acquired a recipe for the technology of making photo paper and tried to establish its production in Barnaul. After buying the house, S. I. Borisov became a "middle-class citizen of Barnaul" and opened his own photo studio.

In the last decades of the 19th century, the professional photo department in Altai developed very actively. One of the first photo studios in Barnaul was created in the 1880s by I. Bogoslovsky. At the beginning of the 20th century, there were about ten salons in the city. Often, unable to withstand the competition, they were closed. T. Novoselov's photographic establishment was very popular among the townspeople. The works of his masters were awarded the gold medal of the 1909 All-Russian Photo Exhibition in Rostov-on-Don. The richest and most prestigious was the photo studio of S. I. Borisov on Biiskaya Street, equipped according to Parisian models. Since 1894 photos of this workshop

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they went out to Passepartout's names. It is said that S. I. Borisov made a portrait of the merchant-brewer's wife, Mrs. Vorsina, on paper of his own making, which became the master's business card.

S. I. Borisov's professional interests were broad and diverse. He took pictures of the townspeople and views of Barnaul, the theatrical life of the city, its streets, houses, factory buildings. For his participation in the St. Petersburg exhibition in 1898, the photographer was awarded a commendable review.

In 1907, S. I. Borisov conceived a photo expedition through the Altai Mountains, which lasted for several years. This line of work of the photographer was coordinated with the work of the Society for the Study of the Altai Territory, established in 1891 and later transformed into the Altai sub-department of the West Siberian Department of the Imperial Russian Geographical Society. A special "Program for collecting information about the nature and population of Altai" of the society assumed the creation of a comprehensive description of the territory. The photo sessions were part of regional research and popularization programs.

In the late 19th and early 20th centuries. Altai was going through a difficult period. Stolypin's land reform gave an impetus to the resettlement movement. At the end of the 19th century, a section of the Siberian Railway passed through the northern part of the Altai District. By 1915, a branch line was built connecting the cities of Novonikolaevsk, Barnaul and Semipalatinsk. The influx of population from Russia increased. Agriculture and handicrafts developed. The old villages changed their appearance. New settlements were created. Conflicts based on land management brought together old-timers and immigrants, indigenous and Russian populations.

Altai was excited by news of a new religious movement - Burkhanism. The white faith (Burkhanism) was declared at the Altai prayer service in the Tereng Valley in May 1904.The prayer service was dispersed by the authorities. Later, in 1906, the arrested leaders of the movement were acquitted by the court. Burkhanism continued to develop as an ideology of the national liberation movement and a religious reformation that rejected traditional tribal shamanism.

The situation was complicated by the foreign policy crisis. The defeat of Russia in the Russo-Japanese war added urgency and tension to the situation in the national regions. The end of the 19th and beginning of the 20th centuries were marked by an active population movement in the border regions of Altai. There was an active formation of the Kazakh enclave, conflicts arose due to the redistribution of pastures of the indigenous inhabitants of the highlands - Telengits.

The problems of ensuring the security of border territories and developing Russia's cross-border trade with China and Mongolia intensified the construction of the Chui Highway, which crossed the Altai. Work began in the spring of 1901 and continued intermittently until 1914. The economic and ethno-social situation in Altai was changing, many traditional institutions were becoming a thing of the past, and modernization was actively underway.

Photo descriptions of S. I. Borisov did not touch on acute problems. They were of a presentation nature. The master reacted sensitively to changes, but did not strive for publicistic social reporting. He shot the eternal Altai-unshakable in its beauty and harmony. The photographer's view of the world was in many ways similar to the ideas of the native land of the outstanding Altai artist and essayist G. I. Gurkin. "For the Pagan Altaians," G. I. Gurkin wrote, " Altai is a Living spirit, generous, rich, a giant. Its hand is open to all, its riches are inexhaustible, its beauty and grandeur are beautiful-fabulous. He is the living breadwinner-the father of countless people, countless animals, birds. Fabulously beautiful with its multicolored clothing of forests, flowers, herbs. Mists, his transparent thoughts, run to all countries of the world. Alpine lakes are his eyes looking out at the universe. Waterfalls and rivers - speech and songs about life, about the beauty of the earth, mountains. Its living spirit and power are saturated, permeated everywhere and govern everything " [Letter of G. I. Choros-Gurkin, 2006, p. 45].

Obeying the feeling of primordial power, spaciousness and grandeur, during his trips S. I. Borisov shot views of the Altai Mountains: mountains and lakes stretching into the boundless distance, villages-Black Anui, Ulalu, Chertu, Elekmonar, Chemal, Ongudai, Kazakh weddings, kumiss resorts, shamans and Altai Burkhanists. He climbed Mount Belukha and took pictures of its glaciers. Barnaul photographer owned the first experience of filming in the Altai. In the summer of 1910, his film "Views of Altai"was released.

S. I. Borisov presented the materials of the expeditions at public presentations. For this purpose, they manually painted slides and purchased a projector. One of the first demonstrations took place in January 1911 in the Barnaul People's House. The show was accompanied by comments from the author himself. At the request of the public, such screenings have become regular.

The Barnaul newspaper Zhizn Altay (Life of Altai) dated January 9, 1911, wrote:: "In the summer of last year, a local photographer S. I. Borisov made a long trip to Gorny Altai with the special purpose of photographing it on the largest possible scale and then introducing the general public to Altai with the help of a magic lantern. In addition to the landscape, which is the main work, the plan of his filming also included genre sketches depicting the life of Altai foreigners... During the sde trip-

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send them up to 1,000 images for the stereoscope and open emails... Mr. Borisov intends to demonstrate the Mountain Altai from north to south, from east to west in 1,000 species...".

The photographs of S. I. Borisov, which reflected high professionalism and the desire to convey the natural and ethno-cultural diversity of the mountainous region, aroused great interest of viewers both in Siberia and abroad. In the Siberian Commercial and Industrial Calendar published in 1911, the essay "On the Altai" was illustrated with materials by S. I. Borisov.

Photographs of S. I. Borisov were initiated by various publishing, museum, and research centers in Altai. The images created by the master were replicated in dozens of images for stereoscopes and open letters. A. G. Morozov's Trading House with Sons, V. K. Sokharev's Bookstore in Barnaul, and the Swedish printing company Granberg Joint-Stock Company in Stockholm have released a series of postcards with views of Barnaul and Gorny Altai.

Regional photography, as well as local history, was on the rise and had serious prospects. In 1908, a Society for the Study of Siberia and the Improvement of its Way of Life was formed in St. Petersburg with the active participation of the Siberian group of deputies of the State Duma. Branches of the society established in many Siberian cities showed great interest in local history.

The pathos of preserving the historical heritage, traditions, cultural and demographic potential of Russia, which emerged at the turn of the XIX-XX centuries, remained relevant until the 1930s. The Soviet government, which had established itself in most of the former empire by the mid-1920s, maintained continuity in many sociocultural practices. With the support of the People's Commissar of Education A. Lunacharsky, the Higher Institute of Photography and Photographic Equipment was established. The Geographical Society continued its activity. In 1921, the First All-Russian Conference of Scientific Societies on Local Lore was held in Moscow. In 1922, the Central Bureau of Local Lore was established. In 1925, the Society for the Study of Siberia and its Productive Forces was founded in Novonikolaevsk, where the journal Sibirevedenie was published. In the same year, the First Scientific Research Congress of Siberia was held in Novosibirsk.

In Soviet Russia, local lore was focused on understanding a new round of history both at the national and local levels. Ethnographic, historical and cultural expeditions were conducted all over the country. The increase in the volume of photographic materials in Siberia was associated with the First Circumpolar Census of 1926, which raised the problem of modernizing the life of indigenous peoples of the North. There was a rethinking of already established national and regional values. But in 1937, by the decree of the Council of People's Commissars of the RSFSR "On the reorganization of local lore work in the center and in the field", local lore lost its status as an independent social movement. Simultaneously with the study of local lore, approaches to Russian photography were changing. In Soviet Russia, it was integrated into official socio-political practices serving the state political system. The living art of genre photography turned out to be unclaimed.

In 1917, the workshop of S. I. Borisov in Barnaul burned down; many materials were lost. In the 1920s and 1930s, the master worked in the photo artel "Unification", as evidenced by the few pictures of that period. S. I. Borisov died in 1935 and was buried at the Bulyginsky cemetery in Barnaul.

The name of the master remained in oblivion for many years. But gradually in Russia, along with the revival of the local history movement, interest in historical photography was revived. The forms and methods of local history activity, the content of reportage and genre photography changed. In her humanitarian and anthropological studies, she largely repeated the experience of the Russian art of light painting at the beginning of the XX century. One of the best representatives of Siberian photography of that period was Sergey Ivanovich Borisov.

List of literature

Life of Altai. -1911. -9 Jan. - p. 4.

Letter of G. I. Choros-Gurkin dated 08.04.1937. - practical conference "Onos meetings". Gorno-Altaisk Publ., 2006, pp. 41-47.

I. V. Oktyabrskaya 1, I. V. Popova 2

1 Institute of Archeology and Ethnography SB RAS

17 Akademika Lavrentieva Ave.

Novosibirsk, 630090, Russia

E-mail: siem405@yandex.ru

2 Altai State Museum of Local Lore

46 Polzunova str., Barnaul, 656043, Russia

E-mail: irina_v_mus@mail.ru

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1. Barnaul, State women's gymnasium. Early XX century Photo by S. I. Borisov. AGKM OF 426.

The development of photography in Barnaul coincided with a change in the appearance of the city. Founded in 1730, it has long been a center of metallurgy. In 1893, the Barnaul plant was closed. At the beginning of the twentieth century, the city went from being "a serene corner of St. Petersburg with the habit of a leisurely aristocrat," as it was then called, to being "a lively and lively merchant." Barnaul came in third place in Western Siberia in terms of trade turnover; only Tomsk and Tyumen were ahead. S. I. Borisov's reports captured the process of this transformation.

2. Barnaul, L. N. Tolstogo str., city council. Early XX century Photo by S. I. Borisov. AGKM OF 413.

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3. Altai, s. Elekmonar. Early XX century Photo by S. I. Borisov. AGKM OF 12595/103.

At the end of the XIX century. Russia began to actively develop its eastern borders. Part of this policy was the construction of the Trans - Siberian Railway and its access roads, including the Chui Highway leading to the Mongolian border. By 1907, the average annual transit through the border village of Kosh-Agach in the Chui steppe amounted to 169.3 thousand tons of cargo, and the cattle run - 12.2 thousand heads. The highway was under construction. Together with it, the Altai villages changed their appearance. Photos of S. I. Borisov became a chronicle of changes.

4. Altai, general view of Cherga village. Early XX century Photo by S. I. Borisov. AGKM OF 12595/114.

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5. Altai. "Airdash Kazakh tract" between the villages of Uznezya and Cheposh. Early XX century Photo by S. I. Borisov. AGKM OF 12595/50.

In the summer of 1911, the object of S. I. Borisov's photographic research was the village of Cherny Anuy. There were 130 courtyards in it, among the inhabitants there were mostly baptized Kazakhs and Altaians. Black Anui was famous as one of the kumiss resorts in the Tomsk province. Kazakhs were engaged in cattle breeding and kept horse farms. The basis for the well-being of the rural community was the principle of complementarity of cultures.

6. Altai, a street in the village of Cherny Anuy. Early XX century Photo by S. I. Borisov. AGKM OF 12595/115.

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7. Altai, weighing on the scales of resting kumysnikovs. Early XX century Photo by S. I. Borisov. AGKM OF 12595/1039.

Altai was visited by tourists from different cities of Western Siberia. The Black Anuya and Tudraly kumys farms were part of the region's recreational infrastructure. Photos of S. I. Borisov captured rural streets, village log houses, residents in urban, peasant, Kazakh clothing, excursions and entertainment of resort places.

8. Altai, summer residents-kumysniki on the Irgol river. Photo by S. I. Borisov. AGKM OF 12595/49.

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9. Altaians near Chaadyr. Early XX century Photo by S. I. Borisov. AGKM OF 12595/140.

S. I. Borisov was an eyewitness to the development of the Altai national religion - Burkhanism. Traveling through the Altai nomads, he captured the changes that took place in them. Everything that reminded of Russian culture and traditional shamanic faith disappeared from the villages. The tailg skins of the sacrificial horses were gone, and yellow and blue ribbons fluttered from the birches. Preachers of Burkhanism yarlykchi traveled around the villages of Altai, calling to worship the one bright god - Burhan

10. Altaika. Early XX century Photo by S. I. Borisov. AGKM OF 12595/113.

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11. The area of Belukha, the valley of the Kapchal River, a tributary of the Katun River. Photo by S. I. Borisov. AGKMOF 12595/117.

The religious reformation in Altai turned into a confrontation between traditional shamanism and the new faith. The shamanic tambourines fell silent. Shamans began to be severely persecuted. Defending their rights, they turned to the Tomsk governor. In February 1909, Kam Mampy arrived in Tomsk from a tract in the valley of one of the left tributaries of the Katun River, where S. I. Borisov worked. In the provincial center, a public kamlaniye of Mampy was held, which was met with great enthusiasm by the public.

12. Altai shaman. Early XX century Photo by S. I. Borisov. AGKMOF 12595/101.

13. Lake in the valley of the Arasan River, a tributary of the Belaya Berel River that flows into Bukhtarma. Belukha city district. AGKM OF 12595/68.

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14. Altai, valley of the Arakan River, a tributary of the Black Birch. Kazakh with golden eagle. Early XX century Photo by S. I. Borisov. AGKM OF 12595/151.

While traveling in Altai, S. I. Borisov photographed Kazakh villages. Active development of the high-mountain zone by Kazakhs began at the end of the XIX century. According to legend, they brought silver jewelry, harness, and patterned felts with them. "Do you do everything yourself?" - the heads of the Altai clans asked them and, having received an affirmative answer, allowed the villages, which were famous for their masters, to migrate.

15. Altai, Kazakh yurt. Early XX century Photo by S. I. Borisov. AGKM OF 12595/130.

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16. Altai, the Kazakh bride. Early XX century Photo by S. I. Borisov. AGKMOF 12595/112.

At the turn of the 19th and 20th centuries, Kazakh culture became part of the Altai culture. S. I. Borisov's camera focused on a traditional Kazakh wedding. The master captured the bride in a rich wedding dress, in a high headdress saukele, studded with silver. Respect for another culture and its comprehension determined the content of open letters of the Barnaul photographer.

17. Altai, in the Kazakh yurt. Early XX century Photo by S. I. Borisov. AGKM OF 12595/150.

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