The object of the study is the currently formed image of the Russian manor in its aesthetic interpretation, and the subject is the Russian noble manor from the point of view of the peculiarities of its perception. Turning to history, the author noticed that the existence of the estate as a material building largely depended on the observer's interest in it, and it was he who formed its status throughout the existence of the estate. However, although the image of the estate has been addressed in various periods from the point of view of history, art, culture and architecture, one can find a little study of it from the observer, whose role, according to the author, should not be underestimated. The author suggests starting the research that can establish and describe this role by establishing the Russian estate as a work of art, not only possessing the aura that V. Benjamin wrote about, but also capable of generating an atmosphere. The atmosphere differs from the aura in that it is not enclosed in the object of art, but forms the space around it. It is also important to distinguish three sides of the modern perception of the Russian estate: the interest of others in it, personal interest and the ratio of their own and others' interest. It is in the correlation of interest, aura and uniqueness of each act of its perception that the significance of aesthetic experience and aesthetic perception lies in the study of the image of the Russian estate.