Architecture . The architecture of Rome is fundamentally different from Greek. The Greeks were suppressed from one-piece marble blocks, and the Romans were erected by the walls of bricks and concrete, and then with the help of the brackets were hung out marble cladding, columns and profiles were put. Architectural monuments conquer their power. Designed for huge quantities of people: Basilica, terms, theaters, amphitheats, circus, libraries, markets and cult facilities: Temples, Altari, Tomb. Romans introduced engineering facilities (aqueducts, bridges, roads, harbor, fortresses, channels). The ideological center was a temple located in the middle of a narrow side of the rectangular area on its main axis. Square cities were decorated with triumphal arches in honor of military victories, statues of emperors and outstanding public people. Arched and vaulted forms were distributed in bridges and aquedels. Colosseum (75-80 years. No.) is the largest amphitheater of Rome, intended for the fighting of gladiators and other contests.

Sculpture . In the field of monumental sculpture, the Romans remained behind the Greeks. The best was a sculptural portrait. He has developed from the beginning I. BC e. Romans intently studied the face of a person with his unique features. The Greeks sought to portray the ideal, Romans - to accurately convey the features of the original eyes of many statues made of colored enamel Romans first began to use a monumental sculpture in propaganda purposes: they were installed on the forums (squares) equestrian and hiking statues - monuments of outstanding personalities.

Painting . Preserved a bit. Palaces and public buildings were decorated with wall paintings and paintings, scenes of mythology, landscape sketches. The walls painted under color marble and jasper. The common view was mosaic and processing, precious metals and bronze artists depicted scenes from everyday life and still lifes. Frescoes that covered the walls of houses knew ornamental painting interiors (I century BC. Er). Romans painted home furniture and dishes. In 3 c. Christian art appears in the form of catacomb paintings in Rome. According to the plot of painting are related to the Christian religion - biblical plots, images of Christ and the Mother of God, but on artistic form, they continued the development of monumental painting during the construction of Christian temples. The frescoes and mosaics decorated apse, the dome, the brass walls of the main NEFA Basil was widely developed the art of mosaic, she was decorated with walls and floors in the houses of rich Romans, later Christian temples. A machine pictorial portrait was very common, but this is known only by literary sources, as the works of the artists of the Republican time Maya, Sapolis and Dionisiad and the works of others have not been preserved. Portraits fited into a round frame and were similar to medallions

If you set the main stages of the history of the ancient Roman art, then in general terms they can be submitted. The oldest (VII - V centuries BC) and the Republican era (V c. BC. I B. BC) - the period of the formation of Roman art.

The flourishing of Roman art falls on the I -II centuries. AD From the end of the board, the septimia of the North begins the crisis of Roman art.

Art of Romanesque Style

In the 10th century, at the turn of the millennia, in art, for the first time, a single pan-European style emerged - Romanesque. He remained dominant in medieval Western Europe during the XI and XII centuries. The term "Romanesque Style" appeared in the XIX century. (By analogy with the concept of "Romanesque languages") and meant "Roman". Romanesque style in art inherited from Byzantine architecture. Architecturalthe construction of this time is predominantly stone, with vaulted overlaps, and in the Middle Ages such structures were considered romance (built according to the Roman method), unlike wooden buildings. The currency was common in the art of Germany and France. Raude and battles constituted the elements of the life of that time. This harsh era gave birth to the mood of the militant ecstasy and the constant need of self-defense. This is a castle-fortress or a temple-fortress. Artistic concept simple and strict. Three large temples on the Rhine are considered samples of late and perfect Romanesque architecture: urban cathedrals in Worms, Speyrier and Mainz. The architectural decor is very restrained, plastic is heavy. But by entering the temple inside the temple, a whole world of exciting images opens, imprinting the soul of the Middle Ages. Art in medieval Europe has become the hands of people from the lowest class. They contributed a religious feeling in their creations, but it was unequal from the "higher" and "lower". We will understand little in medieval art, if I do not feel his connection with all the lifestyles of the "lower estates". Christ sympathized, because he suffered, the Virgin loved, because they saw in her an intercession for people, in the terrible court they saw the ideal of the earthly court over the oppressants and deceivers.

Scary court. Timpan Cathedral Saint Lazar in Other (1130-1140);

Eve. Fragment of the relief of the Bronze Doors of the Church of St. Mikhail in Guillandesheim (1008-1015)

Royal Cathedral Portal in Chartres (about 1135-1155)

Architectural monuments of Romanesque style are scattered throughout Western Europe, but most of them in France. This is the Church of Saint Martin in Tour, the Church of Notre Dame in Clermon, a masterpiece of the Romanesque architecture - the Church of Notre Dame La Grand in Poitiers. There are several local schools in the French nominator. So the monumentality of the composition was different from the Burgundian school, rich sculptural decor - School Poitu, strict decoration - Norman school.

Sculptural images of saints in Romanesque temples are deprived No canons, often noncasters and squatists, have simple and expressive faces. This romanesque sculpture differs from Byzantine, which created more sophisticated and spiritualized images. Along with the gospel images and scenes in the Romanesque sculpture, the plots of the ancient and medieval history were adjacent to the images of real people. At the same time, the sculptural compositions were sometimes saturated with the fruits of folk fantasy - then they met images of various fantastic beings and evil forces (for example, aspids).

From the Romanesque era, excellent samples of applied art are preserved. The honorable place among them occupies the famous 70-meter carpet from Baye, which is associated with the name of the English Queen Matilda. The scenes embroidered on it are narrated by the conquest of England by Normans in 1066

Painting Romanesque style was exclusively church in content and flat, denying the three-dimensional space and figures. She just like a sculpture, was subordinate to architecture. The most common type of picturesque technique was fresco, the stained glass began to spread (painting from colored pieces of glass).

9.Gotika -Gotka came to replace Romanesque style, gradually pusing it. Gothic originated in the middle of the XII century in the north of France, in the XIII century she spread to the territory of modern Germany, Austria, the Czech Republic, Spain, England. In Italy, Gothic penetrated later, with great difficulty and strong transformation, which led to the appearance of "Italian Gothic." At the end of the XIV century, Europe covered the so-called international gothic. In the countries of Eastern Europe, Gothic penetrated later and lasted there a little longer - until the XVI century.

Architecture. The leading architectural type was the city council: the frame system of the gothic architecture (the string arches are based on the poles; lateral spacers of the cross arches laid out on ribs are transmitted by ArkButans to the counterphorts) allowed the interiors of cathedrals unprecedented and extensity, cutting the walls with huge windows with multicolor stained glass windows. The aspiration of the cathedral is expressed expressed by openwork giant towers, silicon windows and portals, curved statues, a complex ornament. Portals and altar obstacles were completely decorated with statues, sculptural groups, ornaments. Three themes of sculpture decor prevailed on the portals: a terrible court, a cycle dedicated to Mary, and a cycle associated with the church's chuck or the most revered local saints. On the facades and the roof there were sculptures of fantastic animals (chimeras, harguli). All this had the strongest emotional impact on believers. Lorism and tragedy, elevated spirituality and social satire, fantastic grotesque and accurate life observations organically intertwined the art of gothic. Outstanding works of gothic architecture are: in France - the Cathedral of the Paris Mother of God, Cathedrals in Reims, Amiens, Chartres; In Germany - Cathedral in Cologne; In England - Westminster Abbey (London), etc.

Sculpture. The main features characterizing the gothic sculpture can be reduced to the following: firstly, an interest in the real world's phenomena of the real world comes to replace the arts of the real world, religious themes retains its dominant position, but its images are changing, endowed with devils of deep humanity.

At the same time, the role of secular scenes, and an important place, although not immediately, begins to occupy the plot, secondly - the round plastic round plastic appears and playing, although the relief is also.

One of the most common plots in Gothic remained a "terrible court", but the iconographic program is expanding. Interest in person and attraction to the anecdoticity of the story found an expression in the image of scenes from the life of the saints. An outstanding example of an image of the legends about the saints is the last quarter of the 13th century Timpan "History of St. Stephen" on the portal of the Cathedral of the Paris Mother of God.

The inclusion of real motives is characteristic of a variety of small reliefs. As in Romanesque temples, a great place occupy in the Gothic cathedrals of the monsters and fantastic creatures, the so-called chimer.

Painting. In the era of the Middle Ages, painting has become one of the most important types of arts. Changes in society and new technical techniques gave artists the opportunity to create realistic, penetrated by deep humanism, the work was destined to accomplish a true revolution in Western European art. The cheerful and elegant style in the visual artist was most brightly manifested in the portrait (picturesque and pencil) of such remarkable masters, like J. Fuki (known as an outstanding miniature master), J. and F. Clue, Cornell de Lyon.

Although religion stood in the Egyptian society in the first place, secular art was assigned an unusually important role. Leading artists - architects, sculptors, painters were high-ranking faces, very often priests, their names were known and surrounded by honor. Since art was considered a carrier of the life of the eternal, it was released from the entire instant, volatile, unstable.

The architecture of ancient Egypt is closely connected with a funeral cult.

The classic sample of architectural structures are the pyramids of the pharaohs of the 4th dynasty (27 V. BC) of Heops, Hefren and Micheryina (Greek. Options of their names). Their depotable form based on the proportions of the "golden section" was extremely concise and infinitely expressive. The two elements were determined by the patterns of the form: the base, square in the plan, and the convergence of sides at one point, just as all Egyptian life converged, focused on the deified pharaoh. The pyramidal design in its simplicity carried the artistic generalization of the very essence of the Egyptian society, subordinate to the infinite power of Pharaoh.

A characteristic feature of the pyramids as architectural considerations was the ratio of mass and space: the burial chamber, where the sarcophagus stood with mummy, very small, and led to it long and narrow corridors. The spatial element has been minimized.

Above these pyramids are one of the seven wonders of the world that have come to this day. They are located on a desert plateau of the Western outskirts of Giza and impressive with their sizes. The most ambitious of them, the great pyramid of Heops (Fig. 7), is proudly towers over the deserted landscape, adjacent to the giant sphinx carved from the monolith. The height of the tomb reaches 150 m. The pyramid of Hefrena (Fig. 8), located south of the Great Pyramid, is the second largest. It is 8 meters below the cheekbones of Heops, but has been preserved much better. Part of the surviving cladding gives an idea of \u200b\u200bthe high technique of stone-time work of that time. The construction of the third pyramid (Fig. 9) was launched by Micronos, the successor of Heffren. This is the smallest tomb, its height is only 66 m. Three great pyramids were surrounded by a large number of tombs belonging to royal relatives and important officials.

ancient Egypt Culture Religious

Fig.7.

Fig.8.

The sculpture in Egypt appeared in connection with religious requirements and developed depending on them. The cultural requirements led to the appearance of a type of statues, their iconography and installation site.

Egyptian statues were the shapes standing with the leg nominated either sitting on the throne with pressed to the chest or lying on her knees and closed legs. Posted in the memorial temples and tombs, the statues personified the dead and were the existence of their souls, and therefore differed in portrait resemblance to them. Each sculpture was carved from a rectangular stone block on a predetermined markup and then carefully separated in detail.

In the image of Pharaoh, the following types were adopted: Going - with an elongated foot; calmly sitting on the throne - his hands lie on his knees; The deceased - in the appearance of God Osiris with his arms crossed on his chest, which hold the symbols of power - rod and whip. The symbols of Pharaoh were a striped handkerchief with the ends descending on the shoulders; headband; Crown - white, in the form of kegli (symbol of the Supreme Egypt), and cylindrical red, with a high rounded protrusion behind (the symbol of Lower Egypt). On the bandage in the middle of the forehead, the image of the sacred cobra, the keeper of royal power on earth and heaven.

Reliefs are usually flat, almost do not protrude above the surface of the wall. Silhouette of the figure is clear and graphic. Parts of the human figure - head, shoulders, legs, hands - could be depicted in different planes. When performing reliefs (sculptural images on the plane) and wall paintings, a traditional reception of a plane arrangement of the figure was used: her legs and face were depicted in profile, eyes in the FAS, and the shoulders and the lower part of the body - in a three-hard-fuzzy turn. Pharaoh, noble or the owner of the estate always portrayed more large compared to their surroundings.

Several masters participated in the creation of reliefs. At first, an experienced artist outlined the overall composition on the wall, which was then completed in the details of his assistants. Then the cutters translated the drawing into the relief; At the last stage, it was painted with dense thick paints. In the image, the main role was played, not a color. All Figures are inherent in the magnitude of immobility and good calm. Frozen forms - "Corporate Sign" of Ancient Egyptian art.

The reliefs are characterized by the principle of frieze development of plots, unfolding scene for the scene. Reliefs deployed one over the other; Everyone was a narrative row. The figures were located with the Renettes, were depicted rural works, work of artisans, hunting, fishing, processions of gifts, burial processions, false feasts, construction of boats, children's games, and many other scenes.

His heyday, ancient Egyptian sculpture reached in the XIX century. BC e. The best that was created during this period is the sculptural portraits of Ehnaton (Fig. 10) and his wife Nefertiti (Fig. 11), made in relief and round plastic. For the first time in the history of Egyptian art, an image of Pharaoh appeared in a family circle. Portrait of Nefertiti in a high crown of painted limestone became the symbolic image of Egypt. Proud of the head of the queen on a thin neck amazes the perfection of the exact features of a beautiful face, an extraordinary harmony, the completion of the composition, a magnificent combination of paints.

Fig.10.

The paintings were widespread during the manufacture of gersa ceramics, the decor of which having a predominantly secular character includes images of boats, plants, animals and birds and occasionally. In the further painting (Fig. 12) and the relief sculpture turned into closely related arts. In the tombs and temples of the board of IV, V and VI dynasties, these arts achieved a high level of development. All reliefs of the ancient kingdom of the ancient kingdom were painted, and painting on a flat, deprived of the cut-out surface of the surface for a long time was performed relatively rarely.

The art of Arab countries is difficult in their origins. In South Arabia, they rise to the cultures of the Sabeysky, Ministerial and Himjarit states (1 thousand BC. E. - 6 V. N. E.), associated with the Mediterranean and Vost. Africa. Ancient traditions are traced in the architecture of tower houses of Hadramaut and the multi-storey buildings of Yemen, the facades of which are decorated with a colored embossed pattern. In Syria, Mesopotamia, Egypt and Maghreb, styles of medieval Arab art were also formed on a local basis, experiencing some impact of the Iranian, Byzantine and other cultures.

Architecture. The main religious building of Islam became a mosque, where followers of the prophet were going for prayer. Mosques consisting of a fenced yard and colonnade (posted "yard", or "column", the type of mosque), in the 1st half of the 7th century. Basra (635), Cofte (638) and Fustate (40th, 7th century) were created. Column type for a long time remained main in the monumental cult architecture of the Arab countries (mosques: Ibn Tulun in Cairo., 9th century; Mutavakkil in Samarra, 9th century; Hassan in Rabat and Kutubia in Marrakesh, both 12th century; The big mosque in Algeria, 11th century, and others) and had an impact on the Muslim architecture of Iran, the Caucasus, CP. Asia, India. The architecture also received the development of dome buildings, the early sample of which is an eight-marched mosque Kubbat As-Sahra in Jerusalem (687-691). In further domes, various cult and memorial buildings are completed, most often with their mausoleum over the graves of famous persons.

From the 13th century before the beginning of the 16th century The architecture of Egypt and Syria was closely interrelated. Big fortress construction was conducted: Citadel in Cairo, Khalebe (Aleppo) and others. In the monumental architecture of this time, the spatial principle dominated at the previous stage (courtyard mosque), gave way to the grandiose architectural volumes: over the stroke of powerful walls and large portals with deep niches raise High drums carrying dome. The majestic buildings of the four-shoved (see Ayvan.) Type (known before that in Iran): Maristan (Hospital) Kalaun (13th century) and Hassan Mosque (14th century) in Cairo, Mosque and Madrasa (Spiritual Schools) in Damascus and other cities of Syria. Numerous dome mausoleums are being built, sometimes forming a picturesque ensemble (Mamluk cemetery in Cairo, 15-16 centuries). To decorate the walls outside and in the interior, along with carvings, inlays are widely used by multi-colored stone. In Iraq in 15-16 centuries. Color glaze and gilding are used in the decor (mosques: Al-Qadim Musa in Baghdad, Hussein in Kerbel, Imam Ali in January).

High flourishing survived in 10-15 centuries. Arabic architecture of Maghreba and Spain. In major cities (Rabat, Marrakesh, Fez, etc.), Kasba built - citadel, fortified by powerful walls with gates and towers, and media trading and craft quarters. Large column mosques Magrib with multi-tiered, square in terms of minarets are distinguished by an abundance of intersecting oils, wealth of carved ornament (mosque in Tellesen, in the pelvis, etc.) and lush is decorated with carved wood, marble and mosaic from multi-colored stones, like numerous madrasa 13-14 explosive in Marocco. In Spain, along with a mosque in Cordoba, other outstanding monuments of Arabic architecture are preserved: Minaret "La Hiralda", erected in Seville by Zodhi Jerber in 1184-96, Gate to Toledo, Palace Alhambra Granada is a masterpiece of Arab architecture and decorative art of 13-15 centuries. Arabic architecture had an impact on the Romance and Gothic architecture of Spain ("Mudjar style"), Sicily and other Mediterranean countries.

Decorative and applied and visual art. In Arabic art, he received a vivid embodiment of the artistic thinking of the Middle Ages, the principle of decorativeness, which generated the richest ornament, special in each of the Areas of the Arab world, but bound by the general laws of development. Arabesque, ascending to antique motives, is a new type of pattern created by Arabs, in which the mathematical severity of the construction is combined with a free artistic fantasy. Epigraphic ornament has also been developed - calligraphically executed inscriptions included in the decorative pattern.

The ornament and calligraphy, widely used in the architectural decoration (stone carving, wood, knocks, are characteristic of both applied art that has achieved a high heyday and a particularly fully expressed decorative specificity of Arab artistic creativity. Colorful pattern decorated ceramics: watering household dishes in Mesopotamia (Centers - Rakka, Samarra); painted with golden, different shades chandelier vessels made in the Fatimid Egypt; The Spanish-Moorish chandelier ceramics is 14-15 centuries, which has enormous influence on European applied art. Arabic patterned silk fabrics - Syrian, Egyptian, Mauritanan, also enjoyed world fame. Made by Arabs and pile carpets. The finest chasing, engraving and inlaying from silver and gold decorated with bronze articles (bowls, jugs, smokers and other utensils); Products 12-14 centuries are characterized by special skills. Mosula in Iraq and some craft centers of Syria. Syrian-covered glass covered with the finest enamel painting glass and decorated with a sophisticated carved pattern of Egypt artwork from a mountain crystal, ivory, expensive wood species.

Art in the countries of Islam developed, it is difficult to interact with religion. The mosques, as well as the Sacred Book of the Quran, were decorated with geometric, vegetable and epigraphic pattern. However, Islam, in contrast to Christianity and Buddhism, refused to widely use visual arts in order to promote religious ideas. Moreover, in t. N Reliable Hadiths, legalized in the 9th century, contains a prohibition to portray living beings and especially a person. Theologian 11-13 centuries. (Gasali et al. These images declared the greatest sin. Nevertheless, artists throughout the Middle Ages portrayed people and animals, real and mythological scenes. In the first centuries, Islam, while theology has not yet developed its aesthetic canons, the abundance of realistic on the interpretation of pictorial and sculptural images in the palaces of Omeyadov testified to the strength of houseloman artistic traditions. In the future, the pictusivity in Arabic art is explained by the presence of aesthetic views of the aesthetic appeal in its essence. For example, in the "Purchase brothers" (10th century) the art of artists is defined "as imitation of the images of existing objects, both artificial and natural, both people and animals."

Mosque in Damascus. 8 in. Interior. Syrian Arab Republic.

Mausoleums on Mamluk cemetery near Cairo. 15 - Nach. 16 centuries. United Arab Republic.

Painting. High bloom survived the visual arts in Egypt 10-12 centuries: Images of people and genre scenes decorated the walls of buildings of Fustat, ceramic dishes and vases (Master Saad, etc.), woven into the pattern of threads on the bone and wood (Panel 11 c. From the Palace of Fatimids in Cairo, etc.), as well as flax and silk fabrics; Bronze vessels were made in the form of animal and bird figures. Similar phenomena took place in the art of Syria and Mesopotamia 10-14 centuries.: Court and other scenes are included in the ornament of bronze products, refined and inlaid, into the painting pattern on glass and ceramics.

The visual principle was less developed in the art of the countries of the Arab West. However, a decorative sculpture in the form of animals was created here, patterns with the motives of living beings, as well as miniature (Manuscript "Bayad and Riyad", 13th century, Vatican Library). Arabic art as a whole was bright, distinctive phenomenon in the history of world artistic culture of the Middle Ages. Its influence applied to the entire Muslim world and went far beyond its limits.

5. Perception of works of art. Analysis of works of art. The value of art in a person's life. The largest art museums.

6. A brief overview of the teaching methods of visual art. We study drawing in antiquity and in the era of the Middle Ages. The contribution of the Renaissance artists to the teaching method of visual arts.

7. Training drawing in schools in Russia in 18-19 centuries.

8. Improving drawing teaching methods in the Soviet school. The advanced pedagogical experience of teachers' artists and his role in the artistic education of children.

11. Artistic education of schoolchildren. Purpose, tasks, requirements for teaching art in primary classes.

12.Shistent analysis of programs for visual arts (authors V.S. Kuzin, B.M. Nemensky, B.P. Yushov, etc.), structure and main sections of the program. Types, content of programs, thematism.

14. Principles of classes planning. Calendar thematic, illustrated planning for visual art in 1-4 classes

15. Features of planning the lessons of visual art in grade 1.

16. Planning the lessons of visual art in the 2nd grade.

17. Planning the lesson of visual art in grade 3

1. Explain the meaning of the word.

2. Crossword "Guess the keyword".

1. Pantomime game "Live sculptures".

2. The game "Best Guided Tour".

22. Types and maintenance of extracurricular work on visual arts. Organization of the work of facilients in visual arts. Planning classes in a circle according to the visual arts.

1. Types and content of extracurricular work on visual arts.

2. Organization of work of facilities on visual arts.

3. Planning classes in a circle for visual arts.

23. Diagnosis of individual psychological characteristics of students. Methods of conducting tests and control tasks.

24. Development of the creative abilities of students of grades 1-4. Differentiation and individualization of learning to visual art.

25. Equipment of classes in visual art. Art technicians and materials used in fine art lessons in elementary classes

26. Psychological and age features of children's drawing. Analysis and criteria for evaluating children's, educational and creative works "

27. Pedagogical drawing in fine art lessons in 1 - 4 classes. "Teacher's album". Technologies of pedagogical drawing. Method of pedagogical drawing.

28. Demonstrations performed by the teacher in art labor lessons. Show technique.

30. Terms and concepts on visual arts. Methods of learning students of grades 1-4 in the system of terms and concepts on the visual arts in the lessons and in extracurricular work.

4. Architecture as a type of art

Architecture is one of the oldest types of art, expressing in the iconic and social facilities, the worldview of the people into a specific historical era, a certain artistic style. Architecture (Architecture, crushing , artistically organized human life environment. Also - the art of forming this spatial environment, creating a new reality, which has a functional value, bringing a person to benefit and deliver aesthetic pleasure. The term covers the design of the appearance of the structure; organization of the internal space; the choice of materials for outdoor and internal use, design of a system of natural and artificial lighting, as well as engineering systems; Electro- and water supply; Decorative decoration. Each structures have a definite appointment: for life or labor, recreation or study, trade or transport. All of them are durable, comfortable and necessary for people - these are their mandatory properties.

Types of architecture

Three main types of architecture distinguish:

Architecture of volume structures. It includes religious and serf buildings, residential buildings, public buildings (schools, theaters, stadiums, shops, etc.), industrial structures (plants, factories, etc.);

Landscape architecture associated with the organization of garden and park space (squares, boulevards and parks with "small" architecture - arbors, fountains, bridges, stairs)

Urban planning, covering the construction of new cities and villages and reconstruction of old urban areas.

Styles of architecture

The architecture is closely connected with the life of society, its views and ideology. The basis of an ancient Greek architecture is the idea of \u200b\u200ba perfect, physically and spiritually developed person. Antique architects all their buildings were built according to the proportions of the human body, embodying harmony, confrontation of the nature of nature, the majestic clarity and humanity "style of the era" (Romanesque style, Gothic, etc.) arises mainly in those historical periods when the perception of works of art is different Comparative inflexibility, when it is even easily adjusted to the change of style.

Great styles - Romanesque, Gothic, Renaissance, Baroque, Classicism, Ampir / Variation of Late Classicism / - are usually recognized as equivalent and equivalent. The development of styles is asmetry, which is externally expressed in the fact that each style is gradually changing from simple to complex; However, it is refunded from a difficult to simpleness only as a result of the jump. Therefore, the shifts of styles occur differently: slowly - from a simple to complex, and sharply - from a complex to the simple. The edge style is replaced by Gothic for more than a hundred years - from the middle of the XII century. until the middle of the XIII century. Simple forms of Romanesque architecture are gradually moving into a complicated Gothic style. With the limits of the gothic then ripen Renaissance. With the emergence of the Renaissance, a period of ideological asking, the appearance of a solid system of worldview appeared again. And at the same time, the process of gradual complication and breakdown of simple: Renaissance becomes more complicated, and the baroque is. Baroque, in turn, becomes more complicated, passes in some art types (architecture, painting, applied art) in Rococo. Then returns to simple, and as a result, a classicism comes to replace Baroque, the development of which in some countries replaced AMPIR.

The reasons for changing pairs of styles in the following: reality does not choose the style among existing, but creates a new style and converts the old one. The style created is the primary style, and the transformed is secondary.

Architecture of the native land

Architecture of the Grodno region

Borisoglebskaya (Cleaner) Church, a monument to the ancient Russian Architecturizer half-in.

Mirsky castle included in the UNESCO list, Lida Castle (XIV-XV century)

Architecture of the Minsk region

Archkafoundral Catholic church of the Most Holy Virgin Mary (second half of the XVII-beginningXVIIIIIIV.)

Catholic church of Saints Simeon and Elena (red church) - a monument of the architecture of Neoeta with the features of Modern (1908 - 1910)

Nesvizhsky Palace and Park Complex (XVII-XVIIIV)

Church of Bernardines in the village of Budslav Mojelsky district, Monument to Barochko architecture (XVIIIV)

Architecture of the Vitebsk region

Sophia Cathedral, monument of architecture XI -XVIIIIIV.

Savior-Evphrosinyevskaya Church, monument to the ancient Russian architecture (1152 - 1161). On its walls and columns, unique frescoes are preserved.

Literature:

1. Herchuk Y.L. Fundamentals of artistic literacy. -M., 1998

2. Danilov V.N. Methods of teaching visual art and artistic labor. MN, 2004

3. Casterin N.P. Training drawing. -M.: Education, 1996

4. Lazuka B. Slўnіk TERMINAў PA ARHITEECTURE, EXECUTE MASTETING MASTACTVA. - Mn., 2001

5. Nemensky B.M. Pedagogy art. -M.: Enlightenment, 2007

Architecture, design, decorative and applied arts belong to utilitarian art types of creativity. That is, they solve utilitarian tasks - movement, organization of life, cities, dwellings, different types of human and society life. Unlike artistic creativity (visual arts, literature, theater, cinema, poetry, sculpture) that create only spiritual, cultural and aesthetic values \u200b\u200bnot having utilitarian significance.

The design is different from decorative and applied art with technological mass production, unlike the handicraft on Dec. Applied art. Architecture and design being related concepts differ only with a spatial scale; City, microdistrict, complex, building in architecture and street environment Interior, industrial design, art. Design in "Design", but for example, the interior and improvement is the subject and architecture and design.

Design and architecture - utilitarian and artistic activities for the creation of an object and spatial environment. Architecture is more ancient concept, the design is more modern, but the difference between them is minimal, often not distinguishable.

The designer forms - landscape, square, urban element - Kiosk, fountain, stop, lamp clock, lobby /, room, furniture, office, interior.

The interior spaces form an architect, and the saturation of the designer often one or another does everything, this is practically the proximity, and often the indistinguishability of the ARH profession. and designer.

Architecture and design belong to expressive artswhich directly do not reflect validity, and it is created. Unlike fine arts (Painting, graphics, literature, theater, sculpture) artistic way reflecting material and spiritual reality.

Lecture 1. Design methodology

1. The relationship between the socio-mirro-promenade state of society and the design.

Modern practice of "new eclecticism"

2. Creative method - Professional method - "Individual manner".

The interaction of methods at different stages of creativity.

The interaction of the method and stages of professional activity

Examples of different

3. Subjective and objective in the creative process.

1. Any activity and more creative as a design is connected and with their own funds reflects the social organization of society, cultural development, aesthetic ideals ....... Reflects Egypt a complete degenidant of the objective world and architecture, the Middle Ages, objection, classicism, constructivism. In the 20th century, we survived the collapse of the historicism, the birth of modernism and constructivism in art architecture and design. Refusal to traditional forms of components of parts, the principle of free planning was perceived as a revolution and as if reflecting the social revolution, but in the West there was no revolution, and the relative movement was born. The newest movement between them was a real connection (the group of Holland's style and the leader of constructivism in Russia). However, this revolution was prepared by new technologies and materials (J.B) of the beam farm and new artistic flows -cubism, futurism, expressionism, but also by social shocks (revolutions, 1 World War), new philosophical currents (socialism. Communism, Nationalism Socialism Fascism) ............., The crisis of bourgeois morality. They talked a lot about the truthfulness in contrast to bourgeois decoratology and decolation. Changes in the subject and spatial medium were prepared by the development of philosophical and scientific thought and new artistic abstract flows and development of equipment, but also the social shocks that attached a certain ideological pathos and formed and developed a life-friendly principle that you can change the reality based on artistic and spatial ideas and concepts. Already formed the ideas of modern movement and constructivism

Modern as a fashionable course of a new bourgeoisie and merchants (Morozov Mansion).

Opposite the commune house, the idea of \u200b\u200bsocial. Cities, socializing of life as manifestations in the subject matter of the ideas of socialism. Utopic idea that changing the habitat can be changed by the person himself.

Of course, the substantive world of the environment and architecture reflects its own funds the economic system and the level of development and society and the ideology and the system of values \u200b\u200bdominant in society, but this dependence is not direct and complex, often the ideas of art for art adapt themselves rethinking to objective realities.

Architecture and engineering and construction, interior decoration and the organization of the landscape occupied in the Renaissance culture. Changes of construction, layout and decoration of dwellings are changing.
In simple homes, the number of rooms increases due to the internal partitions. In the cities and in the birth estates, whole palaces in the Renaissance style are built. The development of the absolutist regime was inextricably linked to the structure of the King's residence locks and at the same time fortification facilities. The spread of renaissance ideas in the architecture led to the development of projects of "ideal" buildings and whole settlements. Bridal, translation, local treatises for architecture and construction appear. Because of the border, mostly from the Netherlands, outstanding masters of different specialties are issued: Adrian de Frieses, Hans Van Steenwinkel Senior (OK.1550-1601) and his sons - Lawrence, Hans, Mortens, as well as Hans Van Oberberk and others. Scandinavians Borrowed samples of architectural style from Germany, the Netherlands, Italy, France. Danish Renaissance architecture with its red-friendly flavor, massive rectangular buildings and unobtrusive decor usually focused on Severogrertic architecture.
The highest take-off construction in Denmark reached the 60-year-old Board of Christian IV, especially until 1617, it was going on at the same time in different directions. Countries were built with a new layout and regular development-geometric or radial form. In total, 14 new cities appeared on the initiative of the king - in Scone, Zealand, South Jutland, Norway.
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Mighty fortresses were erected: Frederisborg in Hilleried (1602-1625), Kronborg in Helsinger, etc., which included the castle, office space, warehouses and barracks were surrounded by shafts, moats and bastions. The king himself was well versed in architecture and controlled the construction of structures. Spare construction in the XVII century. Completely changed the appearance of Copenhagen and significantly expanded its size. IV Palace, Military Port, Renaissance Exchange (1619-1625) were built or laid during Christian. Architects L. and X. Van Steenvinkel received a task to build it as a "temple of a new economic policy." As a result of building enthusiasm, Copenhagen turned into XVII century. In one of the most beautiful capitals in Europe. It is adjacent to different stylistic lines: Gothic, mannerism, nasty baroque.
In Sweden, this period is also marked by the alteration of the old and construction of new buildings. In the Renaissance style, the castles of Infrasholm, Vadutnay and Up Palaces, Palaces, Town Hall and Private Houses in the cities are erected. Church construction, on the contrary, undergoing a decline.
The buildings of the time corresponded to the rich decoration of interiors, more magnificent in Sweden, more restrained in Denmark: bench chests, secretaries, cabinets. Wood furniture and panels were covered with the most complicated scenery or threads on biblical and secular stories, stood with expensive stones and metals, faience, wood. The walls were taken away with original secular trellis, wearing portraits, paintings. In the halls, courtyards and gardens appear sculptures, often whole groups, usually in the ancient mythological spirit. There was a special fashion for painted and curly furnaces, as well as iron and cast iron furnaces, with cast threads.
The engineering and building innovations of that time can be attributed to the water supply: pipes with cranes, complex fountains appeared in the castles and palaces. Decoration of palaces and castles were engaged in both individual masters and whole workshops. The combination of Western European influence, especially from the Netherlands and Germany, and local traditions formed sample unique in style.
During this period, art was primarily applied. As an important part of the interior, it served to express and securing prestige. Hence, for example, is an unusual spread at the time of lush epitaphs, parade portraits (sculptural and picturesque), allegorical images.
The most impressive and prestigious type of art was a sculpture whose flourishing occurred later, with the statement of Baroque. Most sculptors were foreigners who performed mainly king orders. "Royal Builder" Hans Steenwinkel led the creation of a number of sculpted com-
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positions for fountains. At the request of Christian IV in Amsterdam, Handrick de Caerrew sculptures. The famous fountain Neptune in Frederisborg manufactured Dutchman Adrian de Frieses (1546-1626).
Bas-reliefs, predominantly tombstone, but also decorative.
Interest in the image of a person, in particular to family portraits, became one of the features of painting this period. Often, portraits were still made on old samples: static, conditionally, without psychological characteristics. The main images of the sovereign and members of their families - solemn, with the symbols of power - from the XVII century. were withstanding most often in the manner of classicism. The period also characterizes the abundance of portraits of urban patricians and scientists; All of them demonstrate black robes and signs of their classes. Perhaps the earliest portrait of the Burger Scientist is the image of Humanist Veller (1578). The portrait of the Rodmanna family from Flensborg (1591) is expressive, where he himself, his two wives and 14 children stand around the crucifixion. Rodman himself, one of his wives and four children, like the deceased, are marked with a cross above the head. Some other family portraits-epitaphy burghers are also made in the same manner. The connection of the dead and living, undoubtedly reflects the representations of the time about the unity of life and death, on the inseparable communication of the two worlds. The authors of the named portraits are unknown, anonymously performed in general, most portraits of burghers and provincial nobility opposite, the royal family and to know the services of famous masters. Approximately 200 portraits of royal and noble people wrote Hollandes Jacob Van Dajordt, the set - Dutchman Iost Verdeyden.
Gradually, in Denmark, a new type of artist - educated and cultural person, quite rich and close to scientists, often an offacarious artist and a collector. So, in particular, a prolific portrait, Dutchman Karel Van Mandera, whose self portrait with his wife and the mother-in-law is a rare image of an intellectual artist. Approximately the same was an artistic family of Isaakz, which made a noticeable contribution to the culture of the Danish Renaissance; Her founder is a descendant of an emigrant from Amsterdam, a merchant works of art, and one of the grandchildren and Humanist and historian Johann Pontanus. Among the artists were special specialists in historical canvas, in church painting, etc., but most had a broad specialization.
An important type of decorative art was then tapestry, both bridal and local, sketches for which they were prominent
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artists, and the manufacture was carried out in foreign or Danish palace workshops.
In the then decor, as already noted, a noticeable place was taken by carving, traditional and developed in Scandinavia. In churches were decorated with carving Altari, where scenes were depicted from the Bible, as well as the plots of classical authors characteristic of the Danish Renaissance. Threaded with gothic and renaissance ornaments with secular plots decorated furniture in housing. In Norway and Finland, great success reached a folk wooden carving, decorated provincial buildings and household items.

The variety of art species allows the aesthetically to master the world in all its complexity and wealth. There are no major and minor arts, but each species has its strong and weak parties in comparison with other arts.

Architecture. When a person learned to make the tools of labor, he was no longer a housing or a nest, but an appropriate building, gradually gaining aesthetic appearance. Construction has become architecture.

Architecture - the formation of reality according to the laws of beauty when creating buildings and structures designed to serve the needs of a person in housing and public premises. Architecture creates a closed utilitarian-artistic mastered world, excluded from nature, opposing the natural environment and allowing people to use the humanized space in accordance with their material and spiritual needs. The architectural image expresses the appointment of the building and the artistic concept of peace and personality, the presentation of a person about himself is the very essence of his era.

Architecture - art and buildings have a certain style. Lomonosov, determining the features of architecture, wrote that architectural art "will erect the building, for habitat is comfortable, for vision is beautiful, for long-term solid." Thanks to the architecture, an integral part of the "second nature" arises - the material environment, which is created by the work of a person and in which his life and activity takes place.

The form of architecture is due: 1) natural (depend on geographical and climatic conditions, on the nature of the landscape, the intensity of sunlight, seismic safety); 2) Socially (depend on the nature of the social system, aesthetic ideals, utilitarian and artistic needs of society; Architecture is more closely related to the development of productive forces, with the development of technology).

Applied art. One of the oldest and so-old developing species of artistic creativity is applied art. It is carried out in household subjects created under the laws of beauty. Applied Arts - these are things surrounding and serving us who create our life and comfort, things made not only as useful, but also as beautiful, having a style and artistic image that expresses their appointment and carries generalized information about the type of life, about the epoch , About the world of people. The aesthetic effects of applied art daily, hourly, every minute. Works of applied art can rise to vertices of art.

Applied art is nationally at its very nature, it is born from customs, habits, beliefs of the people and directly approximately to its production activities and everyday life. The top of the applied art is a jewelry, maintaining its independent meaning and developing today.

Decorative art. Decorative art is aesthetic development of the environment, the environment, the decoration of the "second nature created by the man" the second nature ": buildings, structures, premises, squares, streets, roads. This art invades everyday life, creating beauty and convenience inside and near residential and public premises. The works of decorative art can be a door handle and a fence, window glass in a stained glass and a lamp that enters into a synthesis with architecture.

Decorative art absorbs the achievements of other arts, especially painting and sculpture. Painting first existed in the form of a rocky and wall and only then formed as a glass. Monumental painting on the wall - fresco (the name happened from its technique: "Al Fresco" - painting with paints of raw plaster) - genre of decorative art.

Art serves as an expression of thoughts, feelings, a peculiar and unique personality of the artist, but it is also a mirror of culture and the history of the epoch, in which this person was destined to create. The energy of creativity, determining the entire history of art, connects the uniform thread of masters divided into time. And if you look from this point of view, then there is no need to consider various artistic flows and their representatives separately, since these are different phases of the Great, continuous in their progressive movement. Others come to change one generations; Ideas, theories and passions are aging, like people, giving way to new trends. When the artist's own creativity managed to awaken about a new process of deep spiritual and artistic search, new styles were born, and the thread, connecting them with the past, was never interrupted, as little would seem.
This book represents the history of art from ancient civilizations to the newest currents: in the means of expression - painting, sculpture, architecture - and as a panorama of large movements, bright masters and works characterizing their achievements. The story is stated by chapters, in accordance with the main artistic movements and different epochs, and is subordinate to chronological order - from art in ancient society to the first flowering of medieval creativity in the era of Caroling, from Renaissance to Baroque, from impressionism and symbolism of the XIX century. To early avant-garde, from abstractionism to postmodern architecture. Each chapter begins with theses explaining the essence of the process on one or another stage.

Art in the ancient world.
Unusual forms of communication and artistic expression, primarily a magic-religious nature, are distinguished by an ancient society: it is enough to recall the temples and palaces in Mesopotamia or Egyptian pyramids and temple complexes, but there were still decorative products and beautiful metal items presented in the culture of almost all nations.

Celts are a group of Indo-European peoples based in the II thousand BC. e. In the area between the top flow of the Danube and the eastern part of the current France, from where they then spread (from the VII century BC) almost throughout Western Europe, the Balkans, in Italy and Malaya Asia. The period of this expansion ended to the Rubel II-I centuries. BC er, when the power of Rome has already grew, and the waves of the resettled German peoples began to roll out of the depths of Asia. Celtic society, with his family-tribal structure, was controlled by the king and replenished resources at the expense of war, hunting and cattle breeding. Very strong was a feeling of tribal accessories. Artistic products. Celtic art is characterized clearly defined and unchanged anti-cultivism. Immersed in the atmosphere magical and religious, it found its most adequate expression in an abstract ornament, decorated primarily metal products (the beginning of the Iron Age, the first half of the I thousand to n. E.); It smelled all elements assimilated in contact with different peoples.

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How no other type of visual art sculpture is close to architecture. Both types of three-dimensional and in creating an artistic image are involved light and shadow. Even the material when it comes to a sculpture of stone may be the same. There are also sculptures coinciding in size with architectural structures, such as Sphinx in Giza, a colossal bronze Buddha in Kamakur (Japan) or a statue of freedom in the New York port. Created specifically for buildings and organically associated with them works are the names of architectural plastic, although, of course, a stone sculpture and plastic from metal, concrete or gypsum differ from each other. Architectural plastic only in rare cases serves just a scenery, most often it clearly expresses the meaning and the purpose of the structure and thus attaches additional expressiveness to the construction.

None of the items are suitable for this purpose anymore and does not attract the sculptor stronger than the figure of a person, its image, body, plastic. Figures of animals were also and remain the subject of architectural plastics. Certificate What is the Romanesque portal with lions and Koenigslutter and quadrigs on the Brandenburg gate in Berlin and on the building of the Opera in Dresden. This also includes such fabulous animals and birds as vultures, chimeras and sphinxes. Forms of images of people within the framework of architectural plastics are generally diverse. They stretch from head portraits in medallions and more or less grotesque masks, such as the head of jellyfish, to busts and figures in full growth, depicting a dressed and nude body of a person, sometimes a huge size. Sitting colossal figures of the Egyptian rocky temple Abu-Simbel have a height of 20 m.

A separate person or group of people are represented on buildings or near them in various actions and positions. At the same time, various types of sculptures are used, including relief images, sculpture in niches and round sculpture. In some cases, the statues also take on the functions of the carrier architectural element. Caryatids are calm and greatest to their heads antablement. Atlants and giants carry their severity on their shoulders or arms, it seems that the mass of portal completions, balconies or marches of their terraces almost crushes them. Hermitic-Caryatids or simply Herma are called bearing sculptures, the lower part of the body of which goes into a narrowing book to the pilast.

In the Middle Eastern architecture, the sculpture reached in the XIII century. His first heyday, depicting religious scenes, figures of saints and ktitors. For example, the quality of whitizer sculptures in Naumburg Cathedral is excellent. 500 sculptures, mostly exceeding human growth, decorate the Western Portal of the Cathedral in Reims; 1800 statues originally entered the scenery of the Cathedral in Chartra. With the outstanding artistic genius of the past Michelangelo, we are obliged by the sculptures of the Tomb of Medici in the new scenic of the Florentine Cathedral of San Lorenzo. Characteristic for the period after 1500 was a change of religious motives by antique-mythological and image of the rulers. Both themes are very closely intertwined in the baroque period. The sculptures of Mars, Zeus or Hercules often should be understood as the Alleranius of the Power of the Prince or King. Often the rulers were depicted in Romans.

To purely architectural plastic, celebrating his triumph in Dresden Zwinger or San Susta Castle, garden sculptures and sculptures adorning fountains were added. Internally and inextricably connected with architecture sculpture XVIII century. He fell during classicism into some isolation. Borrowed from antiquity Reliefs, figures and horses silent seemed sometimes only a decorative addition and less than the organic architectural detail.

This distance between the sculpture and the building rose even more in the XX century. Due to the contradictions between the artwork and the massive industrial product - the building. However, the purpose of modern architectural creativity is to preserve the new and well-proven to be old forms associated with architecture and use them to give greater emotionality of the architectural environment around us.

Schmalcalden (district of Zul), the so-called "head of the architect" at the counterfour the altar of the city church of St. George. This portrait appeared after 1437 in a fake window hatch with window shutters, upholstered iron. It can be assumed that the architect depicted himself during the heyday.