Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України
This paper examines the impact of personal wartime experience on the development of creative thinking and professional approaches in landscape architecture. Using the example of Leonid Ivanovych Rubtsov, an outstanding specialist in mountain plants and the founder of the Mountain Garden at the M.M.&...
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| description | This paper examines the impact of personal wartime experience on the development of creative thinking and professional approaches in landscape architecture. Using the example of Leonid Ivanovych Rubtsov, an outstanding specialist in mountain plants and the founder of the Mountain Garden at the M.M. Gryshko National Botanical Garden of the NAS of Ukraine, this study analyzes the role of visual materials collected by him during the World War II. Postcards, photographs, and illustrations found among ruins became significant visual sources influencing compositional and spatial decisions in the formation of the garden’s exposition. The content of this collection, its significance for the scientific understanding of natural high-mountain landscapes, and its impact on practical design stages are examined. The study demonstrates how personal memories, historical contexts, and scientific activity were embodied in the creation of a landscape space that today also performs memorial and cultural functions. |
| doi_str_mv | 10.46341/PI2025019 |
| first_indexed | 2026-02-08T08:11:58Z |
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Plant Introduction, 108, 55–66 (2025) ISSN 1605-6574, e-ISSN 2663-290X
CHRONICLE
Memory through landscape: how wartime findings of Leonid Ivanovych
Rubtsov became the basis for Mountain Garden creation at the
M.M. Gryshko National Botanical Garden of the NAS of Ukraine
Olena Rubtsova
M.M. Gryshko National Botanical Garden of the NAS of Ukraine, Sadovo-Botanichna str. 1, 01103 Kyiv, Ukraine;
olenarubtsova@gmail.com
Received: 03.12.2025 | Accepted: 15.12.2025 | Published: 30.12.2025
Abstract
This paper examines the impact of personal wartime experience on the development of creative thinking
and professional approaches in landscape architecture. Using the example of Leonid Ivanovych Rubtsov,
an outstanding specialist in mountain plants and the founder of the Mountain Garden at the M.M. Gryshko
National Botanical Garden of the NAS of Ukraine, this study analyzes the role of visual materials collected
by him during the World War II. Postcards, photographs, and illustrations found among ruins became
significant visual sources influencing compositional and spatial decisions in the formation of the garden’s
exposition. The content of this collection, its significance for the scientific understanding of natural high-
mountain landscapes, and its impact on practical design stages are examined. The study demonstrates
how personal memories, historical contexts, and scientific activity were embodied in the creation of a
landscape space that today also performs memorial and cultural functions.
Keywords: mountain garden, Leonid Ivanovych Rubtsov, landscape architecture, visual materials, cultural memory, high-mountain
landscapes, botanical expositions
https://doi.org/10.46341/PI2025019
UDC 712.4:355.018
Funding: None
Competing Interests: The author declares no conflict of interest.
Introduction
Landscape architecture integrates
scientific knowledge, artistic vision, and the
personal experience of the designer. Global
practice provides numerous examples
in which biographical and psychological
factors shape an author’s sensitivity to
natural motifs and influence compositional
priorities and stylistic choices (Nassauer,
1995; Spirn, 1998; Meyer, 2008). In recent
decades, research into the role of personal
history in shaping landscape thinking has
attracted increasing attention (Hunt, 2016;
Stuart-Smith, 2020).
In the twentieth century, the World War II
became a turning point for many scholars and
artists, defining new creative and ideological
strategies. Leonid Ivanovych Rubtsov, who
later became a renowned botanist and
landscape architect, volunteered for the front
in 1941 and took part in military operations
until January 1945. While living among ruins,
he began collecting postcards, photographs,
and illustrations of natural subjects found
there. This collection, gathered under wartime
https://creativecommons.org/licenses/by/4.0/
https://orcid.org/0000-0002-4255-8307
56 Plant Introduction • 108
Rubtsova
conditions, later became an important factor
in his professional formation (Rubtsova &
Chuvikina, 2021).
These materials contributed to the
development of his long-term interest
in mountain plants and natural alpine
landscapes – directions that became central
to his subsequent scientific and design work
(Rubtsova, 2012, 2016).
In the 1970s, when creation of the Mountain
Garden at the M.M. Gryshko National
Botanical Garden of the NAS of Ukraine began,
this visual collection became the basis for its
compositional concept. Its imagery influenced
both relief formation and the selection of
stone and vegetation (Rubtsova & Romanets,
2016; Rubtsova et al., 2019).
The aim of this study is a comprehensive
analysis of the role of Leonid Ivanovych
Rubtsov’s visual collection in shaping his
professional style and the spatial concept of
the Mountain Garden, as well as identifying
the connection between personal experience,
scientific thinking, and landscape modelling.
Material and methods
The primary material consists of Leonid
Ivanovych Rubtsov’s personal visual collection,
which includes photographs, postcards, and
printed illustrations gathered during the World
War II in 1941–1945. These materials originate
from frontline territories and destroyed
settlements where Leonid Ivanovych Rubtsov
stayed during military operations. The
second group of sources comprises design
documentation, working materials, and
publications from the 1950s–1970s, which
reference the influence of these visual images
on his landscape decisions (Rubtsova, 2012;
Rubtsova & Chuvikina, 2021).
The methodological basis relies on
interdisciplinary approaches combining
historical-biographical analysis, methods of
landscape architecture, and reconstruction of
creative processes. Such complex approaches
are widely used in studies exploring the
relationship between personal experience and
professional creativity (Spirn, 1998; Hunt, 2016;
Stuart-Smith, 2020).
A comparative analysis was conducted
between the image of the Mountain Garden
and classical concepts of rock gardens and
high-mountain gardens in international
practice (Körner, 2003; Pignatti & Pignatti,
2014).
Results and discussion
The visual collection as a factor in forming of
Leonid Ivanovych Rubtsov’s creative thinking
An analysis of Leonid Ivanovych Rubtsov’s
collection (Fig. 1) reveals that it is largely
focused on images of natural landscapes
– particularly mountain regions, rock
formations, stony ecosystems, and alpine
vegetation.
A significant portion of the images
depicts mountain scenery, correlating with
Rubtsov’s later specialization in alpine and
subalpine plant species. His numerous field
expeditions and scientific publications from
the 1950s–1980s confirm the continuity of
this interest (Rubtsova, 2012, 2016; Rubtsova
et al., 2019).
For Leonid Ivanovych Rubtsov, this
collection became his first ‘visual herbarium’,
which offered early insights into principles of
natural landscapes within mountain relief and
combination of rocks and vegetation. Thus,
the collection had a dual impact: scientific (it
contributed to the development of his interest
in mountain botany) and artistic (it shaped his
aesthetic perception of natural motifs). These
motifs later formed the compositional basis of
the Mountain Garden.
Early sketches and concepts: images that
moved from paper into space
Early sketches from the 1970s (Figs. 2 & 3)
clearly reflect the iconographic influence
of the cards collection realized through the
asymmetry of rock groups, presence of local
‘peaks’ structuring the space and undulating
relief lines typical for alpine meadows. Leonid
Ivanovych Rubtsov translated visual images
into landscape models, adapting them to real
conditions of working with soil, rock, and plant
communities.
Relief construction as a key stage in garden
creation
One of the most challenging tasks was the
formation of an artificial relief reminiscent
of natural mountain landscapes (Figs. 4 & 5).
The relief had to correspond to the artistic
Plant Introduction • 108 57
Memory through landscape
concept. At the same time it should provide
suitable conditions for plant growth and
create diverse microclimatic niches.
The relief-forming works of the Mountain
Garden became a unique engineering
and landscape experiment for their time,
combining geomorphological models, plant
functional ecology, and artistic principles
of creating natural landscapes. Under the
guidance of Leonid Ivanovych Rubtsov, a set
of measures was implemented that went far
beyond traditional landscaping.
Before the work began, a detailed study
was carried out on the properties of the
existing soil, the directions of atmospheric
water runoff, and the natural irregularities of
the terrain. Based on field observations and
modelling, key relief lines were identified,
along which artificial massifs, terraces, ledges,
and slopes with different exposures were later
formed.
In modelling mountain landscapes, the
orientation of slopes and access to sunlight
were crucial. Therefore, two types of
Figure 1. Example of photographs and postcards gathered by Leonid Ivanovych Rubtsov during the
World War II.
58 Plant Introduction • 108
Rubtsova
Figure 2. Sketch of rock groups prepared by Leonid Ivanovych Rubtsov.
Figure 3. Initial project of the Mountain Garden valley at the M.M. Gryshko National Botanical Garden of
the NAS of Ukraine prepared by Leonid Ivanovych Rubtsov.
Plant Introduction • 108 59
Memory through landscape
Figure 4. Construction of the artificial relief under the supervision of Leonid Ivanovych Rubtsov (1970s).
Figure 5. Finished mountain landscape of the Mountain Garden at the M.M. Gryshko National Botanical
Garden of the NAS of Ukraine in 1970s.
exposures were created: warm (oriented to
the south and southwest, with drier and more
insolated areas) and cold (facing north and
northeast, with higher moisture levels and
snow persisting longer in winter). In some
places, artificial shading was produced using
large vertical boulders that acted as natural
screens.
The relief of the Mountain Garden was
designed so that each group of stones served
not only a decorative but also a functional
purpose. In this way, a number of micro-
biotopes were created, including outcrops
with well-heated slabs, pocket niches for
cushion-forming plants, and stone shelves that
ensured drainage and aeration. These micro-
niches made it possible to cultivate species
with contrasting ecological requirements from
alpine primroses to steppe xerophytes.
Thus, the Mountain Garden became an
experimental site where, for the first time
in Ukraine, climatic and geomorphological
models of various mountain ecosystems were
comprehensively recreated.
Stone as the main constructive element
In the Mountain Garden, stone became not
only the constructive basis of the relief but
also a key element through which Leonid
Ivanovych Rubtsov recreated natural models
of mountain landscapes. Unlike the decorative
techniques typical of mid-20th-century
rockeries and alpine gardens, in this exposition
stone acquired the significance of a structural
component that defined the character of the
micro-relief, the growth conditions for plants,
and the artistic integrity of the space.
According to Leonid Ivanovych Rubtsov’s
concept, reproducing the natural character
of a mountain environment required a
careful selection of material based on several
parameters:
60 Plant Introduction • 108
Rubtsova
• Size and mass of boulders. A variety
of stone fractions were used – from
massive boulders that formed peaks
and silhouette accents to medium and
small stones used to create screes and
transitions.
• Surface texture. The preference was
given to stone with natural roughness
and fissuring, as such surfaces better
retain fine soil particles and create
additional conditions for plant
anchoring.
• Color and characteristic inclusions. Color
selection helped avoid artificiality and
ensured harmonious integration with
vegetation. Stones of various shades
(e.g., grey, brown, light yellow) were
used to model the natural contrasts of
different mountain systems.
This approach made the landscape appear
not constructed but naturally formed. When
placing the stones, several principal factors
were considered. Among them, orientation
of boulders in space was crucial. Vertically
placed stones formed silhouette lines, while
horizontal ones created terraces and shelves.
Also interaction of masses (stones were
grouped into natural conglomerates, avoiding
symmetrical arrangements) and embedding
of stones into the soil (boulders were sunk a
third or even half of their height to create
the impression of a natural bedrock outcrop)
required special attention. Such technique
resulted in a sense of monolithicity and
structural stability.
Thanks to the thoughtful selection and
placement of stones, a visual effect of
naturalness was achieved, in which plants
appear not to be simply planted, but to have
emerged on their own in natural niches.
Hence, the stones became the basis for
emphasizing the color and form diversity of
plants, creating a natural rhythm within the
compositions, and transitioning between
different phytogeographical zones within the
exposition.
In this way, Leonid Ivanovych Rubtsov
achieved a unique synthesis of geological
and botanical approaches, in which stone
not only supports the relief but also shapes
the ecological and artistic logic of the entire
garden.
From wartime images to real elements of the
Mountain Garden
A detailed analysis made it possible to
identify a number of direct correspondences
between certain groups of images and the
natural objects of the Mountain Garden of the
M.M. Gryshko National Botanical Garden of
the NAS of Ukraine.
A significant portion of the images in the
collection depicts fragments of mountain
slopes with natural ledges, cornices, and
eroded rocky structures. In the Mountain
Garden, these motifs are embodied in the
form of rocky complexes – an approach also
characteristic of classical European alpine
gardens. This collection also showes various
types of mountain rock and textures. In his
projects, Rubtsov consistently sought to
convey precisely the natural diversity of stone,
which corresponds to the principles of modern
alpine gardening. The plants depicted in the
illustrations became the foundational planting
groups in the Mountain Garden. This approach
corresponded well to classical models for
selecting plants for alpine gardens.
The imagery from postcards and
photographs became the basis for creating
specific elements of the garden:
• Rock groups (Fig. 6). Large boulders
were selected to create “natural” cracks,
ledges, and outcrops. This made it
possible to form various ecological
niches: from sunny dry areas to shaded
ravines.
• Scree slopes and stone streams (Fig. 7).
Small stones were arranged in a way
that reproduced the natural processes
of rockfall.
• Compositional ‘peaks’ (Fig. 8). Local
peaks were formed from several large
boulders and became focal points along
the route.
Vegetation as an instrument for relief
enhancement
Leonid Ivanovych Rubtsov rejected the
decorative approaches to plant selection
and application in landscape spaces that
were typical of Soviet rock gardens in the
mid-20th century (bright solitary accents,
formal groups, use of garden cultivars).
Instead, he chose an ecologically grounded
model in which vegetation served as a
continuation of the relief and as a natural
Plant Introduction • 108 61
Memory through landscape
Figure 6. Rock groups in the Mountain Garden of the M.M. Gryshko National Botanical Garden of the NAS
of Ukraine (1970s).
Figure 7. Scree slopes and stone streams in the Mountain Garden of the M.M. Gryshko National Botanical
Garden of the NAS of Ukraine (1970s).
Figure 8. Compositional ‘peaks’ in the Mountain Garden of the M.M. Gryshko National Botanical Garden
of the NAS of Ukraine (1970s).
62 Plant Introduction • 108
Rubtsova
component of the artificially created
geomorphological structures.
The core principle was that each plant
composition had not only an aesthetic
but also a landscape-ecological function,
reproducing natural models of mountain plant
communities. This ensured the stability of the
exposition, the naturalness of its appearance,
and its scientific credibility.
Several key ecological zones were created
in the Mountain Garden, each modelling
specific types of alpine and subalpine
landscapes:
• Scree slopes. Plant species were
selected based on their ability to
anchor themselves among shifting
stones, withstand sharp temperature
fluctuations, and tolerate high
insolation. Plants representing the
genera Sedum L., Saxifraga Tourn.
ex L., and Arabis L. were planted here;
they stabilized loose stone material
and formed the first consolidation
communities.
• Mountain meadows. These areas had
moderate moisture, good sunlight, and
a substantial layer of fine soil between
stone fragments. Representatives of
the genera Dianthus L., Leontopodium
R.Br. ex Cass., Primula L., and Pulsatilla
Mill. were used to provide seasonal
flowering dynamics and to create the
characteristic appearance of alpine
meadows.
• Gorges and shaded microhabitats. In
artificial gorges, the air was cooler and
the humidity higher. These conditions
allowed the introduction of species
typical of shaded high-mountain
habitats such as Gentiana Tourn. ex L.
and Soldanella L.
• Plateaus and levelled terraces. Here,
low-growing cushion-forming species
and communities were placed,
characteristic of environments with
limited moisture and strong winds:
Androsace L., Silene acaulis (L.) Jacq.,
Alyssum L., and other species capable
of holding the soil and forming dense
micro-cushions.
Thus, each zone functioned as a micro-
model of a natural alpine biotope. It was
essential that the vegetation was not simply
“planted” next to the stones but emerged
organically from their structure. Leonid
Ivanovych Rubtsov sought to ensure that the
plants rooted themselves in natural cavities
between the stones, emphasized the forms
and textures of the boulders, and covered
the joints between stone layers. Thanks to
this ecologically oriented approach, plant
communities were created that were as close
to natural ones as possible. This provided
several advantages, icluding minimal
further maintenance eforts, as the plants
were adapted to conditions close to their
natural habitats. The plants were also high
resilience to weather fluctuations, while
the communities were able to self-regulate
because dispersed plants stabilized the soil,
and formed new micro-niches.
In Leonid Ivanovych Rubtsov’s concept,
vegetation enhanced the relief not only
structurally but also temporally. Seasonal
changes (early spring primroses, summer
flowering, the autumn colors of fruits, and the
winter structure of cushion forms) created the
dynamic character typical of natural mountain
landscapes (Figs. 9 & 10). This seasonality
became an important part of the artistic image
of the Mountain Garden.
Personal experience as a factor in landscape
thinking
The study demonstrates that the influence
of personal experiences on landscape
design has not only a biographical but also
a conceptual dimension. A similar approach
to understanding the interaction between
inner experience and landscape creativity
is supported by contemporary authors who
emphasize the importance of psychological
and cultural factors in design decisions
(Spirn, 1998; Hunt, 2016; Stuart-Smith,
2020).
In Leonid Ivanovych Rubtsov’s case, the
visual impressions accumulated during the
war became the foundation for his subsequent
scientific interest in mountain ecosystems,
which manifested itself in his publications,
expedition work, and teaching activities
(Rubtsova & Romanets, 2016). The formation
of the Mountain Garden took place during
the mature period of his career, and it was
here that the synthesis of wartime memories,
scientific knowledge, and professional mastery
was most fully realized.
Plant Introduction • 108 63
Memory through landscape
Figure 9. Leonid Ivanovych Rubtsov in the Mountain Garden nursery at the M.M. Gryshko National
Botanical Garden of the NAS of Ukraine.
The Mountain Garden in the European
context
The results obtained demonstrate that
Mountain Garden fits organically into the
broader European tradition of creating nature-
like mountain landscapes. Similar design
motifs can be observed in the Rock Garden
of the Prague Botanical Garden, where relief
modelling, the use of stone masses, and an
emphasis on alpine flora are actively applied
(Spirn, 1998; Meyer, 2008).
Thus, Leonid Ivanovych Rubtsov’s work
should be viewed not only as a unique national
phenomenon but also within a wider European
context, where naturalness, structural
expressiveness, and respect for the landscape
constitute the fundamental principles of
garden design.
Cultural and memorial function
The Mountain Garden created by Leonid
Ivanovych Rubtsov extends far beyond
the boundaries of a traditional botanical
exhibition. Its spatial and compositional
structure, together with its historical context,
forms a unique type of memorial landscape in
which nature acts as a bearer of memory and a
means of interpreting the past. The memorial
character of the garden is expressed on several
levels: psychological, cultural-historical,
symbolic, and educational.
The Mountain Garden belongs to those
landscapes that evoke a sense of inner
balance and safety due to the naturalness
of their forms and rhythms. Stable stone
structures, smooth relief lines, the absence
of sharp contrasts, and the harmonious
combination of stone and vegetation create a
contemplative environment in which visitors
intuitively slow their pace and enter a state of
emotional equilibrium. This effect is especially
pronounced in viewing platforms that open
panoramic vistas of the garden and micro-
niches with cushion-forming plants that
create a sense of intimacy. Thus, the Mountain
Garden functions as a landscape space for
psychological restoration.
The memorial character of the garden is
grounded in the fact that it was created on the
basis of Leonid Ivanovych Rubtsov’s personal
wartime experience. The visual materials he
collected among the ruins during the World
64 Plant Introduction • 108
Rubtsova
Figure 10. Plants of natural high-mountain zones in the Mountain Garden nursery at the M.M. Gryshko
National Botanical Garden of the NAS of Ukraine (1970s).
War II became not only artistic inspiration
but also the emotional foundation of the
exposition. For this reason, the garden serves
as a space for reflecting on history, where
memory is conveyed not through monuments
but through natural forms.
The Mountain Garden can be viewed as a
symbolic space that embodies the philosophy
of overcoming destruction through creation.
Its establishment became not only a scientific
but also a personal response by Rubtsov to the
traumatic experience of war. Through this, the
garden becomes a landscape foundation for
renewal.
The Mountain Garden also functions as an
open laboratory and educational platform.
It provides opportunities for studying the
ecology and phenological features of mountain
plants in semi-natural conditions and analysing
processes of species adaptation to the urban
environment. It also introduces students and
schoolchildren to the basics of landscape
modelling. By combining scientific, artistic,
and memorial principles, the garden serves
as an important platform for environmental
education, where natural processes are
explained through practical experience.
Under contemporary conditions, the
Mountain Garden acquires additional
significance as a space that contributes also
to preserving national natural and cultural
heritage and fostering environmental
awareness among visitors. The Mountain
Garden support the principles of sustainable
development by demonstrating the
ecosystemic interaction of stone, plants, and
climatic factors.
Plant Introduction • 108 65
Memory through landscape
Conclusions
The study of Leonid Ivanovych Rubtsov’s
visual collection makes it possible to
trace the close connection between the
scientist’s individual experience, his
emotional memory, and his professional
development as a landscape architecture
specialist. The materials he gathered during
the World War II became not only personal
testimony to what he had lived through
but also an important source in shaping
his aesthetic and scientific orientations.
Similar mechanisms of interaction between
biography and creative practice have been
described by contemporary researchers who
emphasize the role of inner experience in
the process of landscape thinking.
Analysis of the physical elements of the
Mountain Garden at the M.M. Gryshko
National Botanical Garden of the NAS of
Ukraine and their comparison with images
from the archival collection revealed
distinct compositional parallels. The relief
solutions, stonework, plant selection,
and the natural stylistics of the garden
correspond to the images that took
shape in Rubtsov’s imagination during
the war years and were preserved in his
collection. This integration of personal
visual experience with professional practice
aligns with broader European approaches
to the creation of nature-like mountain
landscapes.
The Mountain Garden in Kyiv emerges
not only as a scientific object but also as
a cultural and historical structure that
unites the memory of war, an individual
creative trajectory, and the development
of landscape architecture in Ukraine. The
uniqueness of this garden lies in its ability
to harmonize historical experience with
natural motifs.
The results obtained highlight the
importance of personal history in shaping
landscape concepts and point to the need
for further interdisciplinary research that
integrates biographical analysis, cultural
ecology, and contemporary methods of
landscape design.
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66 Plant Introduction • 108
Rubtsova
Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали
основою для створення Гірського саду Національного ботанічного саду імені
М.М. Гришка НАН України
Олена Рубцова
Національний ботанічний сад імені М.М. Гришка НАН України, вул. Садово-Ботанічна, 1, Київ, 01014,
Україна; olenarubtsova@gmail.com
У статті розглянуто вплив особистого воєнного досвіду на становлення творчого мислення
та професійних підходів у ландшафтній архітектурі. На прикладі Леоніда Івановича Рубцова,
видатного фахівця з гірських рослин та засновника Гірського саду Національного ботанічного
саду імені М.М. Гришка НАН України, проаналізовано роль візуальних матеріалів, зібраних
ним у роки Другої світової війни. Листівки, фотографії та ілюстрації, знайдені серед руїн, стали
важливими образотворчими джерелами, що вплинули на композиційні та просторові рішення
під час формування експозиції. Розглянуто зміст цієї колекції, її значення для наукового розуміння
природних високогірних ландшафтів та її вплив на практичні етапи проєктування. Показано, як
особисті спогади, історичні контексти та наукова діяльність втілилися у створенні ландшафтного
простору, який сьогодні виконує також меморіальну і культурну функції.
Ключові слова: гірський сад, Леонід Іванович Рубцов, ландшафтна архітектура, візуальні матеріали, культурна пам’ять,
високогірні ландшафти, ботанічні експозиції
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| id | oai:ojs2.plantintroduction.org:article-1685 |
| institution | Plant Introduction |
| keywords_txt_mv | keywords |
| language | English |
| last_indexed | 2026-02-08T08:11:58Z |
| publishDate | 2025 |
| publisher | M.M. Gryshko National Botanical Garden of the NAS of Ukraine |
| record_format | ojs |
| resource_txt_mv | wwwplantintroductionorg/1d/89d7136881826bb259ea8f61bf60461d.pdf |
| spelling | oai:ojs2.plantintroduction.org:article-16852026-01-30T22:58:40Z Memory through landscape: how wartime findings of Leonid Ivanovych Rubtsov became the basis for Mountain Garden creation at the M.M. Gryshko National Botanical Garden of the NAS of Ukraine Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України Rubtsova, Olena This paper examines the impact of personal wartime experience on the development of creative thinking and professional approaches in landscape architecture. Using the example of Leonid Ivanovych Rubtsov, an outstanding specialist in mountain plants and the founder of the Mountain Garden at the M.M. Gryshko National Botanical Garden of the NAS of Ukraine, this study analyzes the role of visual materials collected by him during the World War II. Postcards, photographs, and illustrations found among ruins became significant visual sources influencing compositional and spatial decisions in the formation of the garden’s exposition. The content of this collection, its significance for the scientific understanding of natural high-mountain landscapes, and its impact on practical design stages are examined. The study demonstrates how personal memories, historical contexts, and scientific activity were embodied in the creation of a landscape space that today also performs memorial and cultural functions. У статті розглянуто вплив особистого воєнного досвіду на становлення творчого мислення та професійних підходів у ландшафтній архітектурі. На прикладі Леоніда Івановича Рубцова, видатного фахівця з гірських рослин та засновника Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України, проаналізовано роль візуальних матеріалів, зібраних ним у роки Другої світової війни. Листівки, фотографії та ілюстрації, знайдені серед руїн, стали важливими образотворчими джерелами, що вплинули на композиційні та просторові рішення під час формування експозиції. Розглянуто зміст цієї колекції, її значення для наукового розуміння природних високогірних ландшафтів та її вплив на практичні етапи проєктування. Показано, як особисті спогади, історичні контексти та наукова діяльність втілилися у створенні ландшафтного простору, який сьогодні виконує також меморіальну і культурну функції. M.M. Gryshko National Botanical Garden of the NAS of Ukraine 2025-12-30 Article Article application/pdf https://www.plantintroduction.org/index.php/pi/article/view/1685 10.46341/PI2025019 Plant Introduction; No 108 (2025); 55-66 Інтродукція Рослин; № 108 (2025); 55-66 2663-290X 1605-6574 en https://www.plantintroduction.org/index.php/pi/article/view/1685/1582 Copyright (c) 2025 Olena Rubtsova http://creativecommons.org/licenses/by/4.0 |
| spellingShingle | Rubtsova, Olena Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України |
| title | Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України |
| title_alt | Memory through landscape: how wartime findings of Leonid Ivanovych Rubtsov became the basis for Mountain Garden creation at the M.M. Gryshko National Botanical Garden of the NAS of Ukraine |
| title_full | Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України |
| title_fullStr | Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України |
| title_full_unstemmed | Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України |
| title_short | Пам’ять крізь ландшафт: як воєнні знахідки Леоніда Івановича Рубцова стали основою Гірського саду Національного ботанічного саду імені М.М. Гришка НАН України |
| title_sort | пам’ять крізь ландшафт: як воєнні знахідки леоніда івановича рубцова стали основою гірського саду національного ботанічного саду імені м.м. гришка нан україни |
| url | https://www.plantintroduction.org/index.php/pi/article/view/1685 |
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