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| Museum's exposition |
The museum keeps the documents on life, creativity and public activity of Yakub Kolas (Ê.Ì. Mitskevich, 1882-1956 ã.ã.).
The common area of an exposition is 319 ì2. The museum has 10 exposition halls, in two of which the lifetime interior of rooms of a house of Yakub Kolas is saved: it is a study and bedroom.
On the first floor the literary exposition telling about a vital way Êîëàñà and his creative stand as Poet is placed.
The literary - documentary exposition is created on the basis of " scene of the concept ", developed by collective of the scientific employees of a museum under the direction of the director Zinaida Komarovskaya, and on a plan of the authors should be " the poetic introduction " in a memorial part of a museum. This house in that kind, which he has now, was constructed in 1952 to the 70th anniversary of Yakub Kolas and made out according to a public rule of the owner. The visitors of a museum, especially those who is poorly familiar with life and creativity of the poet, owe through monumentality of its walls and furniture of rooms to make out a shady vital way, with which has passed the village boy Konstantin Mitskevich, before became the National poet of Belarus Yakub Kolas.
The old age is time of wise men. The youth is time of the geniuses. That it is better to understand and to feel creativity of the artist, musician, poet, it is necessary to plunge into an atmosphere of that time and places, where his youth has passed, where " on open spaces of life " and "ways of will " form his person.
 Exposition in a metropolitan house - museum – is as an echo. An echo of those places and that time, when his poetic images were born. An echo in the becoming empty rooms of a house, former at one time by oasis of the Belarussian culture.
The museum Yakub Kolas is a national cultural centre, in which his poetic world, ïîýòèêà of the Byelorussian language is carefully saved not only history of life and creativity of one of the founders of the Byelorussian literary language, and in the art texts. This poetic world is not limited to interiors of a memorial house, he reaches far behind his walls and lives by own life. The literary - documentary exposition " adjusted on resonant frequency " of this world - only in this case poetic speech, sounding in halls, will be heard by each visitor of a museum.
Yakub Kolas is the author of poems " New ground " and "Symon-musician" has come in the world literary classics, first of all as. In these products are most brightly expressed think of the poet, philosopher, âûðàçèòåëÿ äóì of the Byelorussian people on the most important, eternal questions of human life - about ground, about will, about validity, about the people and person, about âåðå and soul, about art and life. In the literary-documental exposition to these products is paid special attention. Epic poem " the New ground " is a majorant of the 1-st hall of a museum, and romantic poem "Symon-musician" - majorant of the 3-rd hall. Two poems, as two wings of creativity Êîëàñà, represent indissoluble whole in his poetic heritage. Therefore is composite these two halls are united in uniform exposition space and form a "poetic" axis of an exposition.
This axis sets by images " native corner " and " native territory ", which ligth on located in arc zones of exposition panels. The door apertures, represented on them, of a country log hut open space of halls in the world of poetic images and transform it into a metaphorical vital way of the poet, which is supported by a chronological rhythm of documentary exposition modules. The theme of a window or door often is used in art for connection ðàâíîïðîñòðàíñòâåííûõ and occurring at different times images, or for expression of dissonance between dream and validity. The pictures seen through a door aperture, do not illustrate, and faster designate key plots of poems and are evident expression of the art concept.
The art - figurative decision is formed by various representational and expressive means. The picturesque illustraty conducts to subjective interpretation of an exposition, that contradicts museum principles. The art photo has the greater objectivity. The large meaning has a correct choice of the carrier of the information. Each time had material, on which were written and the annals, laws, sonets, reference to the god, contemporaries and inheritants were stored. In different times it were a stone, clay, tree, fabric, papirus, paper, plastic, glass.
For creation of a "poetic" exposition, from all materials more all approaches glass. Only it one by the natural properties associates with " by a pure sound ". Any material "Sounds", but its "sounding" in an exposition becomes self-valuable. Wooden, metal, ceramic and other elements of the equipment plastic, invoice, stylistics "speak" about themselves, about technology and very much other important things which are not having any relation to a subject, an any the attitude, is especial when this subject is the poetry. The equipment transforms an exposition into an exhibition of furniture. And only glass, less all distracting the spectator from the on display documents, provides with it "freedom" and protection simultaneously.
The glass always was the main exposition material, but its application was limited to cost and technical opportunities of processing. Today glass experiences ñâî ¸ the next revival, allowing to realize in a combination with other materials the diversified îáú¸ìíî-spatial decisions, and at observance of the simple service regulations, provides long life of an exposition.
 Use as the exposition equipment of glass panels and accommodation on their surfaces of the documents, high-quality copies and representational materials allows to separate exposition space from memorial walls of a house. The glass panels settle down along walls, as though leaning to them. Such inclined arrangement of the equipment brings in dynamics to an exposition, making it more expressive. The on display material in the thematic order is placed on exposition modules, which according to ñöåíàðíûì by the plan settle down in halls of a museum:
- Hall of the first floor - introduction section - history of a house, majorant of a hall - last lifetime portrait of Yakub Kolas;
- 1-st hall undressed " Advechny vodguk praudy voli " 1882-1921 of product of a hall - poem " New ground ", and also first collection of verses " Pesni zhalby ";
- 2 hall - the section "Shliakhi I dali" 1921-1929ã.ã. of product of a hall - the stories " U Paleskaj glushy ", " U glybi Palessia ", and also story " Na prastorakh zhyttssia ", poem " Na shliakhakh voli ";
- 3-rd hall - section " Agon dushi i serca zhar " 1982-1926 of product of a hall - poem "Symon-musician", and also collection " Kazki zhyttsisa ";
 4-th hall - section "Golas ziamli" 1930-1946 of product of a hall - story "Drygva", poem " Rybakova khata ".
The given exposition chronologically is 4-th (since 1959) and prepared to the 120th anniversary from birthday of Yakub Kolas. It is in many respects innovative on stylistics, creative on design. From time of delivery of the previous exposition (1982) twenty years - many vital realities have changed, the estimations some political, literary - political, whether literarly-artifical phenomena, sign were updated from the point of view of national idea of products, including Yakub Kolas. Scientific collective of the employees in the co-authorship with group of the designers, having taken on arms professional discretion and the step, during two years has created laconic and complete space a letter of an literarly-documental exposition, as much as possible having assimilated it to architecture and spiritual life of a memorial house.
In the uneasy business the museum experts of Kolas House tried to anticipate various and often impartial tastes and sights on the world of the literature of the present and future visitors most different ages and art tastes.
Feature of an exposition in a memorial museum Yakub Kolas became its underlined unfofrcety in walls of this house - yes, the poet for a long time no near to us, he with bitterness has abandoned this world and house, and today everyone in it entering involuntarily should himself feel in maximum cosy, carefully saved space of an apartment house. Having selected the basic material of the equipment flown down, the developers of an exposition have tried to make equipment as it is possible for less appreciable, visually isolating in each module precious documentary materials. More than three hundred photos and about five-become of other documents, including the manuscripts and books of Kolas, it was possible to place with convenience to the visitors and job of the guides, and thus, not "overcrowded" four small (about 20ì2 everyone) exposition halls, due to interesting with a design point of vieu to a find - mobile plate of the module, styled under a block calendar. Stylistically this reception of submission of a material visually has strengthened emotional effect of the concept of a literary exposition: here on the person and connection with the book, and given to hobby of the poet (Kolas long time collected throwing wall calendars), and the quivering relation to Time materialised in such close to each man in daily use a subject of a life is underlined. All these factors which have been taken together and help the visitor to see and to feel Yakub Kolas as the man at one time really living: with the passions, doubts, daily way of life, problems and expectations. Extremely it would not be desirable, that liked the people Singer perceived by the contemporaries as for - bronze literary acsacal - eternal winner, taker of poetic Olimp, without fears and disappointments 50 years reigned on literary tops.
For the first time for 45 years of existence of a museum conversation with the visitors about Kolas will begin not from that, how much products he has written also what awards of a native Land he carried on a jacket, and as felt Konstantin Mikhailovich Mitskevich, being the poet, known for all Union, Yakub Kolas, what real vital facts have anticipated creation brands of the Belarussian literature of poems " New ground " and " Symon the musician ", who inspired elderly already poet on philosophical " Fairy tales of life " and why till now a little who is familiar with his thin love lyrics.
 Carefully preserving memory of the poet, as close and native man, the museum employees have risked to make hand by an image of an exposition the most informal photo of Kolas of last year of life (1956), strictly giving back themselves the report that it remain to most proof in memory of the tourists. Henceforth to everyone including in the House hardly crafty and ironically looks from under fields of a fashionable felt hat completely informal Êolas. So many also exclaim: " by Such we did not see him in one book, and became to be, and did not know! " So an image the classics embodied on an amateur picture the wife of Mikhas Lynkov, made on a coast of Naroch, in home shoes and is negligent put to a jacket from an another's shoulder, bewitches the spectator by unusual simplicity and conducts on museum halls, invisibly were present at conversation of the guide or personal contact to an exposition of the single visitor. The photo passes also difficult, overbroken spiritual world of Êîlas after some months before death - he is faster lonely at the glory, to him is sick to realize the coming approaching end, if not the aura of "patriarch", as though wants him to be closer to the simple people. Standing on a threshold of Eternity to this man is what to tell about lived life, where with a pain, and where and with pleasure to look through a calendar of past days. Êolas îñòà¸òñÿ in memory quiet and self-assured by the man: he used the talent not only for glorification " of new epoch " and " light comunist of the future ", but faster for formation of powerful national idea - basis of bases of any state.
Such image of the hospitable owner, wise interlocutor both not deprived by attention of authorities and simple people of the poet îrganicaly is united by two not equivalent on chronology and other parameters of a part of an exposition: literary - documentary and memorial.
 To connect images of high poetry with subjects of material culture the symbolical photocollages help. They stylistically work on decoding of an image of ways - roads becoming a majorant of all exposition, and native territory, designated through photopictures. Thus, the vital ways - roads of Kolas visually overstep the bounds of his dwelling, specifying us those reserved corners of ground, where he was and from what had in each separate case his human and literary impression.
The main contents of the art concept of an exposition, giving her integrity and finish, became photocollages in arc zones of halls of a museum. For strengthening effect " of an eternal road " they are placed the friend opposite to the friend. The founders of museum space offer, as though through windows of a house of Êîlas to glance in the real world of his childhood given to the world the not ordinary creator (a thematic basis - a known poem " New ground ") and in illusory and not known to the end the world of creative dreams, complex metaphorical laboratory of soul of the writer (thematic basis - lyrical poem "Symon-musician").
 By a binding detail, which supports strict museum hierarchy, in collages all the same symbol became dear: The way country boys in the end of the 19th century began with hands of the mother, then was with love washed up up to shine her hands deck of a floor in a hut, then bright and calling by novelty unknown of impressions the world behind the opened window of a hut forestman, and then all the Uzbekistans far boundaries of Western Europe are farther and further from native of Stolbtsy territory, on cities and villages of Belarus, Russia. And in any, certain powered by destiny the moment, being sick to measure vital miles the man, leaves from us on a road heavenly, leaving invaluable fund - literary products, which will serve to many generations the measure of the best national qualities of the Belarussians and to give the answer on eternal questions of life.
 Link between documentary (² floor) and memorial (²² floor) parts of an exposition became a ladder of a house conducting in ïðèâàòíûå a rooms of the writer, where on walls a number of photos of the known Belarussian and foreign figures of a science, culture, literature, politics stayed in its time at Yakub Kolas.
 In a memorial part the lifetime interior of a house of middle 50 years (on the moment of death of Êîlas in 1956) is reconstructed. The large drawing room demonstrates also, where the visitors and relatives, restaurant with furniture from a red tree and samples of lunch services, study of the early period with a desk and rare books of 19th century were going to. The special interest invariable causes a personal study of Êîlas, where on a working table among other the unwritten letter of the poet - above him lays his life has broken. The hours have embodied time of a stop of heart - 1320, here calendar of 1956 opened on date of last lived day - August 13. Here and unique written device made by the order of the colleagues - of the writers in Leningrad to 1947: the inkwells and support for pencils are executed as oaks, as memory of the most liked tree of the writer.
From east party of a house at a level of the second floor there is an open terrace, which in a warm season is open for the visitors and is a looking platform for a review of territory and constructions of manor.
MEMORIAL MANOR and HOUSE
 The house is surrounded with a memorial garden, which trees are planted by hardworking hands of the Poet. There is in this unique garden sacred island, a name to which - Memory. It is four huge oaks carrying names of the Kolas sons and (him - oak Danila and oak Mikhas, oak Yurka and oak Êolas. In the middle, protected from winds by mighty branches of oaks, the eternal memory about gentle seer off of life the spouse Marija Dmitrievna grows wite-thin tree.
The special interest of the visitors cause placed in cosy corners of manor banches, on which liked to have a rest Êolas, where often there were peaceful conversations and hot discussions to the friends.
Also on garden a site are placed of economic construction of Kolas family: punia (shed for hay), garage for the automobile, bania, cellar.
The history of a house of the national writer is interesting also, where last years of his life have passed. In territory of Academgorodok (nowadays quarter of Minsk, bording on the prospectus of Independence, streets Academic and Surganova) Yakub Kolas has put up after returning from evacuation at May, 1945. In the burnt city it was difficult to find normal house, therefore little house, brought from suburban village during war and put in a court yard of an Academy of sciences, became on that time unitness the possible decision of a housing question of the writer. It was small wooden house by the size approximately 5õ9 meters, he had three small rooms and absolutely small kitchen - 2õ2 meters. The water supply in the house was not. However it was a very convenient place. First, in a court yard of an Academy of sciences, where ßêóá Êîëàñ worked the vice-president from the moment of its of opening, secondly, on memoirs of the senior son Danila Mitskevich, the place very good naturally - house was surrounded of a beautiful pine - by the rests of a country wood.
This house was found for the father by the son Danila at once after clearing Minsk from german-fascist intervents and has borrowed it from the sanction of a management of an Academy of sciences of BSSR. Itself Êîlas has arrived to capital for the first time after clearing December 06, 1944 and lived in this house some time. Was and later from time to time, finally has moved from Moscow in May, 1945 after death of the wife Marija Dmitrievna Mitskevich.
 At the end of 1944 around of houses and the manors have made a protection - time was restless. During 1945 - 1946 construct a wooden shed, garage, cellar and bania.
In the summer afternoon Êîlas liked to have a sleep on newllycut hay after dinner, to sit with the friends in a court yard of a house under trees. And though them was not and much, they reminded to him lovely from far times of childhood of Stolbtsy wood, picturesque places in Pukhovichi area, where he spent summer holidays before war. The owner always watched, that the fire wood for heating a house should be in time prepared, it happened also itself, not looking on age and illnesses, sawed and pricked them.
Approximately in summer of 1946, when Êîlas was on a trip, the house was visited by(with) the first secretary of CK KPSS of Belarus Panteleimon Ponomarenko. He was sincerely surprised more than modest life of family of the writer. Also has found by his uncomfortable and not appropriate to a rank of the known public figure. He has offered Êîlas the large spacious cottage, but Êîíñòàíòèí Ìèõàéëîâè÷ has not agreed.
Instead of erection of a new building was decided to do without by partial reconstruction of old. And in 1947 the two-storeyed brick extension, actually åù ¸ one small house was made, where have placed kitchen, âàííóþ, small êîìíàòêó for the home working woman on the first floor, and also study and bedroom of the writer on second. In such conditions Êîëàñ with ñåìü¸é (itself and two sons, íåâåñòêà) lived during five years till 1952. And only summer of this year, to the70th anniversary of the poet, constructed the large spacious house on the base of old. (Author of the project - national architect Georgij Zaborskij).
In a cottage on the first floor the sleeping rooms of the Kolas sons, drawing room, restaurant, âåðàíäà and kitchen, and on the second study of the sons Danila and Mikhas Mitskevichs, study and bedroom of Kolas, large drawing room - all 319ì2 of the inhabited area were placed. In such beautiful and large private residence appropriate to his status, Êîlas has lived almost four years - since September 1952 till August 13, 1956. The poet also has died in the house, in a study behind a working table.
Yakub Kolas constantly improved the manor. Still in May, 1945 many decorative trees, among them a liked elm were planted, on banch under which owner often had a rest. At the end of October, 1945 have planted apple trees, one of them grows and till present day.
In the autumn of 1947 the territory of manor has extended, have integrated a fruit garden: on a place cut overburned during war of trees began to grow seeds of cherries, plums, pears, bushes, currant, raspberry. To this day in territory of a museum the lindens, maples, chestnuts grow, the silvery fur-tree pleases of an eye. Êîlas very much liked bushes: from a suburban wood the bushes juniper were brought and are planted in the company to barbaris, Japanese quince, jasmine, seren. And on one of flower beds Êîlas planted tobacco, but after the doctors have forbidden to him to smoke, he was pulled ruthlessly out. In 1952-1953 years the poet has sown at itself under a window grain and even has made known experience on joint crop grain and barley, about which has read in a pre-revolutionary magazine. The results of interesting literary experiment were published in "Vestnik AN BSSR" and republican newspapers. About the manor Êîlas even has written a poem "Z maigo letapisu".
The conditions for life were good, the writer worked much. Here he has finished a poem " Rybakova khata ", trilogy " Na rostaniakh ", many verses, stories, publicistic and critical products, worked above end of a cycle " Kazki zhyttssia " and poem " Na shliakhakh voli ".
In the house often there were visitors. Dear and desired were first of all colleagues - Belarussian writers Ìikhas Lynkov, Ìaxim Luzhanin, Petrus Brovka, Petrus Glebka, Kondrat Krapiva, Ìàxim Tank, the matchmaker Yanka Mavr (the daughter of Ìàvr Natalija became Kolas son wife). Often visited Êîlas and young in that time the writers Yanka Bryl, Ivan Melezh, Ivan Shamiakin, Ìikola Avramchik.
When to Minsk there came in a case of different anniversaries from Moscow, Leningrad, Kiev the writers, they found hospitable meeting in the house of Êîlas. Among them were Alexandr Tvardovskij, Alexandr Fadeev, Sergej Gorodetskij, Sergei Mikhalkov, Mikhail Isakovskij, Ìàxim Rylskij, Ìikola Nagnibeda and others.
Near to a present museum the complex house was placed, in which now live herritants of the great writer.
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