What characteristic of the classics had features possessed. Athenian Acropolis Ensemble: Features Composition, Basic Construction

Non-state educational institution of higher professional education

Capital Financial and Humanitarian Academy

Faculty of Arts of Higher Communication

Specialty: Design

COURSE WORK

by discipline:

History of Arts

Topic: "Features of the architecture of ancient Greece. Athens Acropolis ensemble

Performed student 3 courses

Lystseva N. I.

vologda, 2008.

Introduction

1. The system of Greek orders and their origin

1.1 Doric order

1.2 Ionian order

1.3 Corinth Orders

1.4 Caryatids and Atlanta

2. Types of Greek temples

2.1 Features of the architecture of the Homeric period (XI - VIII century BC)

2.2 Architecture during the period of archaic (VII -VI century BC)

2.3 Acropolis Ensemble

Conclusion

application

Bibliography

Introduction

In this paper, we will look at the main features of the architecture of ancient Greece.

The birth of Greek architecture occurs at the end of the II millennium BC. e., and in its development allocate 4 stages: 1100-800 years BC. e. - Homerovsky; 700-600 BC. E.- Archaic; 500-400 years BC e. - classic; 300-100 years BC e. - Hellenism.

In particular, in the first chapter, we describe the origin of the order in the Greek architecture, its main distinguishing features, in the second - we find out the features of the main Orders of the Athenian Acropolis - the famous architectural ensemble, the types of Greek temples formed in the Homeric period and during the archaic period. In all Greek art, we find the combination of fine intellectual calculation and sensual life-like. This kind of retreat from geometric correctness and like the building of the building - constructive, but alien abstraction and schemes. In the second chapter, on the example of the Temple of Parfenon, we describe this feature of Greek architecture, the geometric correctness of Parfenon at each step is accompanied by light deviations from the correctness. So the deviations of horizontals and verticals are almost not noticeable. Knowing the action of optical distortions, the Greeks used it to achieve the desired effect.

The order of the temple was a kind of vertex in Greek architecture and therefore, he had a huge impact on the next story of world architecture. The artistic creative beginning permeates all the work of Greek builders, which, as a sculptural work, created every stone block, of which the temple was developed.

The architectural forms of the Greek Temple did not form immediately and during the archaic period underwent a long evolution. However, in the art of Archaika, a well-thought-out, clear and at the same time, a very diverse system of architectural forms was created, which was based on the basis of the further development of Greek architecture.

The legacy of the ancient Greek architecture underlies the entire subsequent development of world architecture and the associated monumental art. The reasons for such a sustainable impact of Greek architecture are the objective of its qualities: the simplicity, truthfulness, clarity of compositions, harmonicity and proportionality of general forms and all parts, in the plasticity of the organic bond of architecture and sculpture, in the close unity of architectural and aesthetic and structural and tectonic elements of structures.

Ancient Greek architecture was distinguished by the complete correspondence of the forms and their design bases that constituted a single whole. The main design is the stone blocks from which the walls were laid out. Columns, antablement (lying on the support-column overlap) were processed by various profiles, they acquired decorative parts, enriched with sculpture.

The Greeks brought the processing of architectural structures and all without exception of decoration details to the highest degree of perfection and deposit. These structures can be called giant pieces of jewelry art, in which there was nothing secondary for the master.

The architecture of ancient Greece is closely related to philosophy, because it is based on the basis of the ancient Greek art, the idea of \u200b\u200bthe strength and beauty of a person who has been in close unity and harmonious equilibrium with the environment and social environment, and since there has been a great development of social life in ancient Greece. That architecture and art were vividly pronounced social character.

It is this unrivaled perfection and the organic organic made monuments of ancient Greek architecture with samples for subsequent eras.

The classic type of Greek temple was the peripter, that is, the temple that had a rectangular shape of a duplex roof and surrounded by a colonnade from all four sides. The peripter in the main features was already in the second half of the 7th century. BC. The further development of the temple architecture went mainly on the line of improving the system of structures and the proportions of the peripterator.

1. The system of Greek orders and their origin

For many hundred years, Greek architects developed everyoneelement of the building. The result of their works was the creation of an order system, the main form of which is a column.

The column with all its details, as well as the parts located above and under the column, constitute a single whole, and its erection is subject to a certain rule, order. The order was called the Latin word "ORDO". Hence the names orders system, architectural order.

We learned about the rational system from the scientific essay of the Roman architect Vitruvia. He lived in the first century. e. When writing his treatise, Vitruvius enjoyed the works of Greek architects, unfortunately, not reached us.

Order (from Lat - "Order", "Stroy") assumed when building buildings to use a single module (mode) - a span, elbow or a foot. It was attached to the buildings a special completion. Thanks to the rational system in the architectural structure, opposing growth strengths up and pressure down are equalized. The carrier parts were grounds (stereobate) and its upper platform (stilobate), as well as positions on it (columns). Romable parts are the entire upper part of the building, the roof with the antablement is the overlap, lying directly on the columns. Antablement consisted of three cooded parts: archite, frieze and cornice. The column, in turn, had a base (base), which relied on a stereobate - a trunk consisting of several drums, and ended the "head" - the capita in which the "pillow" was distinguished - Ekhin and a square plate on it on it - abacus.

Greek architecture developed under the influence of two rational systems: doricand ionical.The names of these order systems occurred from the names of the main Greek tribes - Dorian, who lived in Peloponnese, in Sicily and the southern part of the Apennine Peninsula, and Jonyan, who lived on the Attica Peninsula, the Islands of the Aegean Sea and in the western part of Malaya Asia.

Features of the nature of Dorian, their courage, hardness, resistance has been reflected in architecture. The main attention was paid to non-decorative elements, but the strict beauty of the lines.

Unlike Dorian, Ionian had a soft character, were prone to peaceful classes and arts.

Later, the third order appeared in the architecture - the so-called corinthian.Its name occurred from the city of Corinth, in which, according to legend, a new order was created. This order did not have much influence on the development of architecture.

Consider the details of the named order, we will stop on their features.

1.1 Doric order

The column in the Doric Ordere (Fig. 1) has no reference part - baseIts trunk for stability is narrowed up, decorated with longitudinal grooves - wannelersand crowned capitel.The transition from the column to the capitals is performed in the form of several rings (Anulu). The capitel is a constructive element - it serves to reduce the distance between the columns, and also plays a decorative role - the transition from a round column to the direct lines of the beam overlap - antablement.

The Capitel of the Doric Orders consists of Echin having a truncated cone form and abaki- Square plate. An antablement is based on Abacu. He in turn consists of archored- lower part, frieze- middle and upper part - cornise.Architev rely on transverse beams.With wooden structures, the ends of the beams were closed with wooden planks, and the gaps were filled with terracotta plates with painting or bas-reliefs (sculptural images protruding less than half of the volume of the subject). In stone structures, wooden planks replaced with stone plates with vertical cutouts - triglyphsgapons - Metopasses - stone slabs with sculpture or picturesque decoration. The cornice hangs over the entire design, protects it from the rain and completes the entire composition. In the ancient buildings, the columns consisted of one solid stone (monolith), afterwards the barrel of the column was composed of several separate stone drums. The drums were firmly alone on the other, thanks to their significant weight and severity of the upper parts, but, in addition, they were bonded with pins (mostly wooden) embedded in square nests in the center of the two drum surfaces.

1.2 Ionian order

Binding in Asia Minor, Ionian order (Fig. 2) developed in Greece. In the order, as it were, two schools were united - low-moniary and attic.

A sample of the low-anostic school was the temple of Athena in the prince (320 BC. E., Architect Pilli), Attica - Erehehteyon in Athens (420-393 BC. E., Architect Philokle).

An ionic order is more complicated by Doric and has more details. Slender columns mainly have a base and a complex cap. The columns are permeated with vertical grooves, but in contrast to the flute they are deep and are located in such a way that intervals remain between them - tracks. The order is decorated with decorative details of the cap with spiral volutes.The upper part of the capitals is represented by a square plate - Abacu.

Participants of the group "Name of God"

Group research topic

"Name of the Gods"

Problem question (question for research)

What greek temples were the gods?

Objectives of the study

1. Find out what the greek temples are the greeks?

2. Explain why Parfenon is considered the most perfect temple of the Doric Order?

3. List what characteristic of the classics features the architectural ensemble of the Athenian Acropolis have possessed?

Results of research

1. Ancient Greek religion as well as Egyptian and many other religions of the world have inherent in the local nature of development. Those. In various locations of Greece, their deities were honored, often associated with local embossed features or personified them, from which the life of believers depended: so in PSOs worshiped the local river Erimanf, who was devoted to the temple; In Orkhomen, the sacred stones seemed to have fallen once from the sky, Zeus Anhassmih, Zeus Lafistes, was revered on Mount Anheme, Zeus Lafisii - the personification of the mountain of Lafistion. In each area or the city was his patron patron. This cult was wary. Moreover, the cult of this was very strict: in general, it was possible to treat the gods skeptically, the Greek religion did not know that the Greek, but it was impossible to shy away from the fulfillment of the duties of rites in honor of the patron god, it was impossible to be disrespect for him. For violation of this law, severe punishment threatened.

Of the many local gods, over time, some images merged into uniform weekly deities, for example, Zeus Lafistes, Zeus Crockeate, the cult of Zeus in Crete and Fessals, turned into a cult of Zeus - like the run of God, "Father of the Gods and People". The very name of Zeus means a radiant sky and goes back to the general Indo-European Korn (the Diaus from Indians, Tiu at the Germans). The name of Zeus existed about 50 epithets indicating its functions: underground, i.e. Provides fertility, rainy, imprisoner, ruler of fate, etc.

The image of the ger, the main of the goddesses, the spouses of Zeus, grew out of the image of the goddess-cow, the patroness of Mycene. Poseidon was the ancient marine deity of the Pelaponess. The cult of Poseidon, having fought a number of local cults, became the god of the sea and the patron saint of the horses. Athena is an ancient deity - the patroness of cities and urban fortifications. Other her name - Pallada is also an epithet that means "shock". According to classical mythology, Athena acts as a goddess-warrior, it was presented in full service. The goddess of Artemis is one of the most distortions of the Greeks of the Deities. It is usually believed that the cult of Artemis arose in Malaya Asia, where she was considered a patronage of fertility. In the classical mythology, Artemis stands as a virgin goddess-hunter, usually with his companion - Lanu. An extremely complex and unclear image is Apollo, which in Greek mythology and religion belonged a very prominent place. In Pelaponessia Apollo was considered a shepherd deity. N'-FIV worshiped Apollo Item: This epithet is the name of the local river, which the inhabitants once deified. Later Apollo became one of the most popular greeks gods. He is considered the embodiment of the National Spirit. The main functions of Apollo: the progress of the future, the patronage of sciences and arts, healing, cleansing from every bad, the deity of the world, the right, ordered world order. God-healer of aclepium emerged purely Greek soil. Arcade on the origin was the God of Pasteukhov Pan. The low-monia goddess of Afrodit fertility turned into Greeks into the goddess of beauty, love, idealized femininity personification. Ares borrowed from Franktsev became a violent gods of war. Further: Demeter - Goddess of fertility, Hephaesto - the personification of earthly fire and blacksmithing craft, the Gestiya is also the personification of fire, only Domshengo, the deity of the family hearth, Hermes - the patron saint of roads and trades, the God of Trade. Some of the Greek gods are more or less abstract images - the personification of individual abstract concepts: Plutos - the direct personification of wealth, Nemesis - the Goddess of Retribution, the Femis - the Goddess of Justice, Moir - the Goddess of Fate, Nika - the Goddess of Victory and this is not all the Greeks Goddess.

Cosmogonic themes in folk beliefs did not occupy a noticeable place. The idea of \u200b\u200bGod-Creator was absent in this religion. According to Hesiod, the earth was born, darkness, night, and then light, ether, day, sky, sea and other great forces of nature. The older generation of gods was born from the sky and land, and from them already Zeus and other Olympic gods.

There was no central cult in Greece, but on the basis of cultural community, some of the cult centers were widely obtained, we generally. Apollo Sanctuary in Delphi, Zeus in Olympia, Demeters in the epidavre and others. He was widely known and enjoyed worship in all Greece. In general, the religion of Greece was divided, albeit more or less stable.

2. The temple is a periputer of a doric order of 46 columns (8 on the main facade and 17 on the side). Parthenon-sample Doric Orders! Ideally extinted proportions Doric order, appearing at the beginning of the 6th century. BC, can be considered the main in the development of Greek architecture. The strict and solemn-monumental doric order appeared at the beginning of the 6th century. BC e., consists of the following parts:

three-stage base - stereobate;

carrier column. Vertically, the trunk of the column was divided by flutes (vertical grooves) with sharp edges. The column is completed by a capitel consisting of echin (flexible pillow) and abacus (four-grooved plates.)

the rawless part is an antablement that includes an architecture (horizontal beam lying on columns), a frieze with alternating triglyphs (a stove having vertical grooves) and metals (a plate made of stone or ceramics decorated with relief or painting) and cornice.

3. Unlike the archaic with its addiction to the rigid symmetry, the pictorial panorama of the classics set an elevated-solemn attitude. The left of the central axis of gear on the plane plateau of the hill rose seventeenthometer colossose Athens Promahos (Warrior) from gold-plated bronze. To the right of the architects, Iktin and Callicrat built parfunoN (447-438 BC) as a symbol of the victory of Greek democracy over Eastern Despoty, dedicating EGO Athena Parthenos (virgin). At the same time, the temple symbolized the celebration of the organizing, the corresponding religion began over chtonic, unbridled items. This was evidenced by the relief on the Doric Meetops and the Ionian Frisis, which was followed by the colonnade on the VEPHU. East Fronton decorated sculptural compositions on the birth of Athens 6; Western - her dispute with Poseidon7 for power over attic *. The roof in the corners were crowned with stylized lotus petals. The snow-white array of the church of the Pentelli marble, which has a property to acquire over time a golden patina of extraordinary beauty, is evaporated against the blue sky. Transparent air, a bright sunlight with a radiant flow washed outdoor colunches, poured into the open space of the camberries, dissolving the MAR-throat volumes.

Output

The peoples of ancient Greece made a lot of discoveries, created a lot of magnificent works of art, architecture, literature that are interesting to us so far, inventing, mounted, students who give the best samples of art and morality.

The ancient Greek architecture has had a huge impact on the architecture of the following epoch. The main concepts and philosophy for a long time entrenched in Europe's traditions. What is interesting ancient Greek architecture? Orders, the principles of the planning of cities and the creation of theaters are described later in the article.

Development periods

Antique civilization, which consisted of many scattered cities-states. She covered the Western Coast of Asia Minor, South of the Balkan Peninsula, the island of the Aegean Sea, as well as South Italy, Black Sea and Sicily.

Architecture Ancient Greek gave rise to many styles and became the basis of the Renaissance architecture. In the history of its development, several stages usually allocate.

• (Mid XII - Mid VIII century. BC) - new forms and features based on former mycke traditions. The main buildings were residential buildings and the first temples made of clay, unreleased brick and wood. The first ceramic details appeared in the decor.
• Archaica (VIII - Start V in., 480s. BC. E.). With the formation of policies, new public buildings appear. The temple and the square in front of him become the center of urban life. Construction is more often used stone: limestone and marble, terracotta cladding. There are various types of temples. Doric order prevails.
• Classical (480 - 330 BC. E.) - a period of heyday. All types of orders in ancient Greek architecture are actively developing and even compositely connected to each other. The first theaters and music halls (canoes) arise, residential buildings with portica. The theory of planning streets and quarters is formed.
• Hellenism (330 - 180 BC). Theaters and public buildings are built. Ancient Greek style in architecture is complemented by the eastern elements. Decorativeness, luxury and pomp predominate. Corinthian warrant is often used.

In 180, Greece was influenced by Rome. The empire lured into his capital the best scientists and masters of art, borrowing from the Greeks some traditions of culture. Therefore, the ancient Greek and ancient Roman architecture have many similar features, for example, in the construction of theaters or in the order.

Philosophy of architecture

In any aspect of life, the ancient Greeks sought to achieve harmony. The ideas about it were not blurred and purely theoretical. In ancient Greece, harmony was determined as a combination of verified proportions.

They were used for human body. Beauty was measured not only "on the eye", but also concrete numbers. So, the sculptor Polytellet in the Treatise "Canon" presented the clear parameters of the perfect men and women. Beauty directly contacted physical and even spiritual health and personal integrity.

The human body was considered as a design, the details of which are flawlessly fit together. Ancient Greek architecture and sculpture, in turn, sought to meet the ideas about harmony as possible.

The sizes and shapes of the statues corresponded to the submission of the "right" body and its parameters. Usually promoted the perfect person: spiritualized, healthy and sports. In the architecture, anthropomorphism was manifested in the names of measures (elbow, palm) and in proportions that were outlined from the proportions of the figure.

The man's mapping was columns. Their foundation or base was identified with the feet, the trunk - with the torso, the Kapitel - with his head. Vertical grooves or flutes on the trunk of the columns were represented by folds of clothing.

Basic orders of ancient Greek architecture

About the great achievements of engineering thought in ancient Greece do not have to speak. Complex structures and solutions did not apply then. The temple of that time can be compared with Megalith, where a stone beam lies on the stone support. The greatness and features of ancient Greek architecture are primarily in its aesthetics and decorativeness.

The artistic and philosophy of the building helped to embody his order or a fekoy-beam composition from elements in a certain style and order. There were three main types of orders in ancient Greek architecture:

• doric;
• ionic;
• corinthian.

All of them had a common set of elements, but differed by their location, shape and ornament. So, in the Greek order included stereobate, stilobate, antablement and eaves. Stereobat represented a stepped base over the foundation. Next followed the stylobate or columns.

Antablement was a fault part of the columns. Lower beam, which relied on the entire antablement, is called architect. There was a frieze on it - the average decorative part. The upper part of the antablemer is a cornice, he hung over the rest of the units.

At first, elements of ancient Greek architecture did not mix. The Ionian Antablement lasted only on the Ionian Column, Corinthian - to Corinthian. One style - on one building. After the construction of Parfenon in the V century before the Iktin and Kallicratr. e. Orders began to combine and put on each other. This was done in a certain order: first Doric, then ionic, then Corinthian.

Doric order

Doric and ionic ancient Greek orders in architecture were the main. The Doric system was distributed mainly on the mainland and inherited a mycean culture. It is characterized by monumentality and in something heavyweight. The appearance of the order expresses calm greatness and conciseness.

Doric columns are low. They have no base, and the barrel is powerful and narrows up. Abaca, the upper part of the capitals, has a square shape and lies on the rounded side of the (Echine). The flute, as a rule, was twenty. The architect Vitruvius compared the columns of this warrant with a man - strong and restrained.

Archite, frieze and cornice have always been present in the Architev, Fries and Eaves. Fris was separated from the architects of the shelf and consisted of triglyphs - stretched up rectangles with flutes, which were alternating with Metopas - slightly swallowed square plates with sculptural images or without them. Friezes of other orders did not have triglyphs with Metopas.

The triglyph was bounded primarily practical functions. Researchers suggest that he represented the ends of the beams that lay on the walls of the sanctuary. He had strictly calculated parameters and served as a support for the cornice and rafters. In some of the most ancient buildings, the space between the ends of the triglyph was not filled with metopas, but remained empty.

Ionian order

The ionic order was distributed on the coast of Malaya Asia, in the attic and on the islands. The influence on her was given by Fianch and Persia Ahmedinskaya. A bright example of this style was the temple of Artemis in Ephesus and the Temple of the Gera in the self.

Ionika was associated with the image of a woman. Decorativeness, lightness and refinement were characteristic of the order. Its main feature was the capita, decorated in the form of a volitional - symmetrically arranged curls. Abaca and Echin decorated with carvings.

Ionian column is thinner and slimmer than Doric. Its base relied on a square plate and was decorated with convex and concave elements with an ornamental cut. Sometimes the base was located on the drum decorated with a sculpture composition. In Ionik, the distance between the columns is larger, which increases the airiness and sophistication of the building.

An antablement could consist of architecture and eaves (low-immigissary style) or three parts, as in Dorik (attic style). Architev was divided into fascia - horizontal ledges. Between him and the eaves were small cloves. The drainage chute on the eaves richly decorated with an ornament.

Corinthian order

The Corinth Orders is rarely considered independent, it is often determined as variation of the ionic. There are two versions that report the sources of this order. More landed speaks about borrowing style from Egyptian columns, which were decorated with lotus leaves. According to another theory, the order has created a sculptor from Corinth. It was inspired by him that they saw the basket in which the leaves of acanta were located.

It differs from the ionic height and decor the capitals, which is decorated with stylized leaves of acanta. Two rows of winged leaves frame the upper part of the column in a circle. ABACK side are concave and decorated with large and small spiral curls.

The Corinthian order is saturated with a decor more than other ancient Greek Architecture Orders. Of all three styles, he was considered the most luxurious, elegant and rich. His tenderness and refinement associated with the image of a young girl, and the leaves of acanta reminded Kudri. Thanks to this, the order is often called "Maiden".

Antique temples

The temple was the main and most important arrangement of ancient Greece. Its form was simple, the prototype for her was residential rectangular houses. The architecture of the ancient Greek temple was gradually complicated and complemented by new elements until he acquired a round shape. Usually styles are distinguished:

• distil;
• prostyle;
• amphiprostil;
• peripter;
• deter;
• pseudodipter;
• tolos.

The temple in ancient Greece did not have windows. Outside, he was surrounded by the columns on which a duplex roof and beams were placed. Inside there was a sanctuary with the statue of the Divine, which was devoted to the temple.

Some buildings could be placed a small pregnant - Pronaos. In the back of large temples, another room was located. It kept donations to residents, sacred inventory and urban treasury.

The first type of Temple - Distil - consisted of a sanctuary, anterior loggia, which was surrounded by walls or antines. Two columns were placed in the loggia. With complication of styles, the number of columns increased. For forgivers, four of them, in amphiprostil - four in the back and front facade.

In the temples-peripetrah, they surround the building from all sides. If the columns are built around the perimeter in two rows, then this is a deter style. The last style, Tolos, also assumed the surroundings of columns, but the perimeter had a cylindrical shape. In the days of the Roman Empire, Tolos developed into the type of "Rotonda" construction.

Policy device

The ancient Greek policies were built mainly at the sea shores. They developed as trading democratic states. In the public and political life of cities, all their full inhabitants participated. This leads to the fact that the architecture of the ancient Greek develops not only towards but also in terms of public buildings.

The top of the city was Acropolis. As a rule, he was on the hill and was well fortified to keep the opponent during a sudden attack. Within its limits, the temples of the gods that patronized the city were located.

The center of the Nizhny city was Agora - an open market square, where trade was conducted, important public and political issues were solved. On it were located schools, the building of the Council of Elders, Basilica, the building for peters and assembly, as well as temples. On the perimeter Agora was sometimes raised statues.

From the very beginning, the ancient Greek architecture assumed that the buildings inside the policies are free. Their placement depended on the local relief. In the V century BC, the hypodes carried out a real revolution in the planning of cities. He suggested a clear mesh structure of the streets, which separates the quarters on rectangles or squares.

All buildings and objects, including agorods, are located inside the quarterly cells, without knocking out of the general rhythm. Such a layout made it easy to secure new sections of the policy, not disturbing in this whole and harmony. According to the project of the hypothum, mite, books, association, etc., were built, the Athens, for example, remained with the old "chaotic" form.

Living spaces

At home in ancient Greece, they differed depending on the era, as well as the prosperity of the owners. Several major types of houses are distinguished:

• megarone;
• apsidal;
• pastada;
• peristil.

One of the early types of housing is Megaron. His plan has become a prototype for the first temples of the Homeric era. The house had a rectangular shape, in the end of which there was an open room with a portion. The passage edged two columns and protruding walls. Inside there was only one room with a focus in the middle and a hole in the roof for the exit of smoke.

Apsidal house was also built in the early period. He was a rectangle with a rounded end, which was called apse. Later there are pasta and peristyle types of buildings. The external walls in them were deaf, and the layout of buildings is closed.

Pastada was a passage in the inside of the courtyard. From above, it was covered and maintained by the supports of the tree. In the IV century, the peristil becomes popular before our era. It retains the former layout, but the pastide pass is replaced with indoor columns around the courtyard perimeter.

On the side of the street there were only smooth walls of houses. Inside there was a courtyard, around which all the premises of the house were located. The windows, as a rule, was not, the source of the light was the courtyard. If windows were, then placed on the second floor. The decoration of the interiors was predominantly simple, excesses began to appear only in the era of Hellenism.

The house was clearly divided into female (Gyneciya) and the men's (Andron) half. In the male part took guests and arranged the meal. You could only get on the female half through it. From the side of Gynecéi was the entrance to the garden. The kitchen, sauna and bakery were also located in the housing of the rich. The second floor usually handed over.

Architecture of ancient Greek theater

The theater in ancient Greece united in himself not only the entertainment aspect, but also religious. His birth is associated with the cult of Dionysus. The first theatrical performances were arranged for the reverence of this deity. On the religious origin of the representations, the architecture of the ancient Greek theater reminded at least the presence of the altar, which was in the orchestra.

The scene took place festivals, games and plays. In the IV century BC, they stopped relating to religion. The distribution of roles and control of the productions was engaged in the archon. The main roles were performed by a maximum of three people, women played men. The drama was performed in the form of a contest, where poets took turns represented their work.

The layout of the first theaters was simple. The center was Orhestra - a round site, where the choir was located. Behind it was a chamber, in which the actors (Sken) were disguised. The Spectator Hall (Teatron) was significant and was located on a hill, a semicircle of the scene.

All theaters were placed right in the open sky. Initially, they were temporary. For every holiday, wooden platforms were confined. In the V century before our era, the space for the audience began to carve from the stone right in the hillside. So the correct and natural funnel contributing to good acoustics was created. Special vessels were placed special vessels to enhance the sound resonance near the audience.

With the improvement of the theater and the design of the scene is complicated. Its front part consisted of a column and imitated the front facade of the temples. On the sides were parchenia premises. They stored scenery and theatrical inventory. In Athens, the largest theater was the theater of Dionysus.

Athenian Acropolis

Some monuments of ancient Greek architecture can be seen now. One of the most holistic structures that have come down to the present day is the Athenian Acropolis. It is located on Mount Pyrgos at an altitude of 156 meters. Here are the temple of the goddess Athens Partenon, the sanctuary of Zeus, Artemis, Niki and other famous buildings.

For Acropolis, the connection of all three order systems is characterized. The combination of styles is partfenon. It is built in the form of a doric peripetra, the inner frieze of which is performed in the ionic style.

In the center of the column surrounded by the statue of Athens. An important political role was imposed on the Acropolis. His appearance was to emphasize the hegemony of the city, and the composition of Parfenon should have opposed the victory of democracy over the aristocratic system.

Next to the majestic and pathetic construction of Parfenon is Erehechtion. It is entirely fulfilled in the ionic order. Unlike his "neighbor", he chants the grace and beauty. The temple is dedicated to two gods at once - Poseidon and Athena, and is located on the spot where, in the legend they had a dispute.

Due to the relief features, the planning of Erehechteon asymmetric. It possesses two shrines - the kiss and two entrances. In the southern part of the temple there is a portico, which is not supported by the columns, and marble churches (women statues).

In addition, in Acropolis, propilenes are preserved - the main entrance, surrounded by columns and porticoes, on the sides of the palace-park complex. Arreforyon was also located on the hill - a house for girls, wearing clothes for the Athenian Games.

As a rule, the statues at that time were cut out of limestone or stone, after that the paint was covered and decorated with beautiful gems, elements of gold, bronze or silver. If the figurines of small size, then they were made of terracotta, wood or bronze.

Ancient Greek sculpture

The sculpture of ancient Greece in the first centuries of its existence has experienced a rather serious effect of Egypt's art. Almost all works of ancient Greek sculpture were semi-nailed men with her hands down. After some time, the Greek sculptures began to experiment a little with clothes, poses, and persons began to give individual traits.

In the classic period, the sculpture reached its heights. The masters learned not to simply give the statues of natural postures, but even portray emotions that allegedly experienced a person. It could be thoughtful, extension, joy or rigor, as well as fun.

During this period, it was fashionable to portray mythical heroes and gods, as well as real people who occupied responsible positions - government figures, commander, scientists, athletes or just rich people who wanted to perpetuate themselves in centuries.

Much attention was paid to the naked body at that time, since the concept of good and evil was the external beauty that had existed at the time and in the terrain, as a reflection of human spiritual perfection.

The development of sculptures, as a rule, was determined by the needs, as well as aesthetic demands of the society that existed at the time. It is enough to look at the statues of that time and you can understand how colorful and bright art was at the time.

Great sculptor Miron. Created a statue that had a huge impact on the development of visual art. This is a famous sculpture of discolobol - disc thrower. The person is captured at the moment when his hand is thrown back a little back, there is a heavy drive in it, which he is already ready to reject the distance.

The sculptor was able to capture the athlete in the most climax moment, which foreshadows the next when the shell shoots high in the air, and the athlete will straighten. In this sculpture, Miron moved the movement.

At another time was popular master - Policlet., which the set the balance of the human figure in a slow step and rest. The sculptor seeks to find the perfect proportions on which the human body can be built when creating sculpture. Ultimately, an image was created that became a certain norm and moreover, an example for imitation.

The policlet in the process of creating its work mathematically calculated the parameters of all parts of the body, as well as their ratio. For the unit, a human growth was taken, where the head was one seventh part, the hand and face brushes - one tenth, and the feet are one sixth.

Policlet Your ideal athlete embodied in the statue of a young young man with a spear. In the image very harmoniously combines the perfect physical beauty, as well as spirituality. The sculptor expressed very vividly in this composition the ideal of that era is a healthy, diversified and solid personality.

The twelve meter statue of Athena was created by fid. In addition, he created a colossal statue of God Zeus for the temple, which is in Olympia.

In the art of the Master of the Sprops breathe a rush and passion, struggle and anxiety, as well as deep events. The best work of the art of this sculptor is a statue of menada. At the same time, Praxitor worked, who in his creations chased the joy of life, as well as very sensual beauty of the human body.

Lysip created approximately 1500 statues from bronze, among which are just the colossal images of the gods. In addition, there are groups that display all the exploits of Hercules. Together with mythological images in the sculptures of the wizard, the events of that time, which were then entered into history, were displayed.

The art of high classics (450 - 410 BC)

The second half of the 5th century. BC. There was a time of particularly significant heyday of the arts. This period is called high classics.

The leading role in the bloom of the art of high classics belonged to Athens - the most developed policy in political, economic and cultural attitude.

The art of Athens This time served as a model for the art of other policies, especially those in the orbit of the political influence of Athens. In Athens, there were many local and visitors of artists - architects, painters, sculptors, drawers of red-chicken VAZ.

Architecture of the third quarter of 5 V. BC. I advocated a certificate of victory for a reasonable human will over nature. Not only in cities, but also among the wildlife or on deserted coasts of the sea, the clear and strict architectural structures dominated the surrounding space, bringing into it an ordered harmonic system. So, on the steep Cape of Suni, 40 km from Athens, at the far-extended at the eastern point of attics at the very eastern point of attics around 430 g. The temple of the god of the Seas of Poseidon was built, as if the first city of Eldlas with pride argued with this his maritime power.

The advanced architectural thought received expression not only in the construction of individuals, outstanding buildings, but also in the field of urban planning. For the first time in the era of the pericla, the correct (regular) layout of cities in a single thoughtful intention was widely implemented. So it was, for example, a military and trading harbor of Athens - Piraeas was planned.

Unlike most of the more ancient Greek cities in Pirae, the cobbled streets of the same width went strictly parallel to each other; At right angles, they were crossed by transverse, shorter and narrow streets. The planning work was (no earlier than 446 BC) were carried out by architect in the Hippodes from the Mileta - an outcomes from low-depth Greece. Restoration of the cities of Ionia, destroyed during the orders of the Persians, put the task of construction for the Unified Plan before architecture. Here, the first in the history of architecture experienced experiences with general planning, which relied in their activities in the hypothes. Mainly, the layout was reduced, as it was in Pirae, to the general breakdown of quarters, and when planning the streets, the nature of the terrain was taken into account, as well as the direction of the winds. The location of the main public buildings was also defined in advance. Residential buildings Piraea were low buildings, looked outside with deaf walls, and inside the courtyard with a portion on the northern side of him in front of the entrance to the living quarters. These residential buildings were relatively uniform: in settlements of the free citizens of the 5th century. BC. There was no equivalent inequality that was typical for the later cities of Hellenistic and Roman time.

In Athens and during the pericale, an old, irregular layout has been preserved. But the city was decorated with numerous new facilities: covered portico (standing), which gave the shadow and protection against rain, gymnasiums - schools, where rich young men learned philosophy and literature, Pestrams - premises for training boys gymnastics, etc. The walls of these public institutions were often covered with monumental painting. So, for example, the walls of Pyekille, that is, the "motley" stand, were decorated with the frescoes of the famous painter of the middle of the 5th century. BC. Polygnostic dedicated to the topics of the Trojan War and other mythical and historical episodes. All these buildings were constructed by the decision of the people to meet his needs. Citizens athens widely enjoyed their public architecture.

But the most important building of the Epoch of Pericla was a new ensemble of the Athenian Acropolis, who dominated the city and its surroundings. Acropolis was destroyed during the Persian invasion; The remains of old buildings and broken statues were used now to align the surface of the Acropolis hill. During the third quarter of the 5th century. BC. New buildings were erected - Parfenon, propylene, the temple of a hurried victory. The final ensemble of the Erehechthion building was later built during the Peloponnesian wars.

On the Acropolis Hill, therefore, the main sanctuary of Athenians and before Srecar Parthenon - the temple of Athena Virgin, the goddess of wisdom and patroness Athens. There was also placed an athens treasury; In the department of propylene, which served the entrance to the Acropolis, there were a library and picture gallery (Pinakotek). On the slope of Acropolis, the people were going to dramatic representations associated with the cult of the god of the earth fertility of Dionysus. Cool and incisive, with a flat vertex, the Hill of Acropolis formed a kind of natural pedestal for the wedding buildings.

The sense of communication of architecture with the landscape, with the surrounding nature - the characteristic feature of Greek art. She received its consistent development during the thrill of the classics. Greek architects perfectly knew how to choose places for their buildings. Temples were built on rocky capes, on the tops of the hills, at the point of the gathering of two mountain crests, on the terraces of the mountain slopes.

The temple arose where he was as if he was cooked by the nature itself, and at the same time its calm, strict shapes, harmonic proportions, light Iramor columns, bright coloring opposed him to nature, argued the superiority of the conquest constructing constructions over the world around the world. Masterfully placing on the ground. Individual buildings of the architectural ensemble, Greek architects could find this placement that combined them in the free of strict symmetry organically naturally and at the same time deeply thoughtful unity. The latter was dictated by the whole warehouse of the artistic consciousness of the era of classics.

With special clarity, this principle revealed in the planning of the Acropolis ensemble.

The planning and construction of the acropolis during the pericale were performed according to a single thoughtful plan and at a relatively short time under the general guidance of the Great Great Sculptor - Fidia. With the exception of the Erehehteyon finished in 406 BC, all major structures of the Acropolis were erected between 449 and 421. BC. The newly built Acropolis was not only to embody the idea of \u200b\u200bthe power and magnitude of the Athenian Sea Power and approve the advanced ideas of Greek slave democracy at the highest level of its development, but also to express - for the first time in the history of Greece - the idea of \u200b\u200bgenerallylline unity. The whole building of the Acropolis ensemble of the pericles periccated is permeated by the noble beauty, calm and solemn greatness, a clear sense of measure and harmony. In it, you can see the visual implementation of the words of the pericles, full pride in the culture of the "Hearts of Eldlas - Athens": "We love wisdom without funk and beauty without whiminality."

Fully the meaning of the planning of the Acropolis can be understood only by taking into account the movement of solemn processes in the days of public festivals.

On the holiday of large Panafine - the day, when, on behalf of the whole city-state, Athenian girls brought the goddess Athena, Peplos, the march was acropolis from the West. The road led upwards to the solemn entrance to the Acropolis - propelleans built by the architect of the earth in 437 - 432. BC. . The doric colonnade of the propylene addressed to the city was framed by two unequal, but mutually balanced wings of the building. One of them - the left - it was more, but it was adjacent to the ledge of the Rock of the Acropolis - Pyrgos, crowned with a small temple of Nicky Aptereos, that is, the wrong victory ("Bloomless" - so that she never flew out of Athens).

This small size, crystal clear temple in shape, was built by architect Kallicratic between 449 and 421. BC. Located below other buildings of the Acropolis and as if separated from the total hill array, he first at the entrance to the Acropolis met the procession. The temple clearly opposed the sky; Four slim ionic columns on each of the two short sides of the church, built on the principle of amphiprostil, gave the building a clear, calm grace.

In the planning of propylene, as well as the church of Nicky Apterems, the irregularities of the Acropolis hill were skillfully used. The second, addressed to Acropolis and also doric propylene portico was located above the outdoor, so, passing through the propelleans, the procession rises more and higher until it went to the wide area. The internal space of the passage of the propellera was decorated with ionic columns. Thus, during the construction of the Acropolis, a combination of both orders was consistently conducted.

The principle of free planning and equilibrium is generally characteristic of Greek art, including for the architectural ensembles of the classical period.

On the Acropolis Square, between the propellants, Parfenon and Erehehteyon, there was a colossal (7 m heights) Bronze statue of Athena Prosakhos ("Warrior"), created by FIDIA even before the construction of the new Acropolis ensemble in the middle of 5 V. BC.

Parthenon was located not directly against the entrance to the Acropolis, as the archaic temple of Hecatompedon was in due time, and aside, so he was visible from the corner from the corner. This gave the ability to simultaneously cover the western facade and the long (north) side of the peripterator. The festive procession was moving along the North Colonnade of Parthenon to his main, Eastern facade. The large building of Parfenon was equalized to standing on the other side of the square with an elegant and relatively small building of Erehechteion, the monumental severity of Parfenon with its free asymmetry.

The creators of Parfenon were Yktin and Callicrat, which began construction in 447 BC. And ending it in 438. Sculptural work on Parfenone - Fididia and his assistants - continued until 432. Parthenon has 8 columns on short parties and on 17 long: total building size 31 x 70 m, column height - 10.5 m.

Parthenon became the most advanced creation of Greek classical architecture and one of the highest achievements in the history of architecture at all. This monumental, majestic building rises above the Achropole, just as the Acropolis himself towers over the city and its surroundings. Although Athens had quite large means, no giant dimensions, and the harmonious perfection of proportions, the excellent proportionality of the parts, correctly found the scale of the building relative to the hill of the Acropolis and in relation to the person determined the impression of monumentality and high significance of Parfenon. Heroization and alignment, and not human dimension, formed the basis of the shaped effects of Parfenon. A commensurate person, the construction easily grabbed at first glance fully corresponded to the aesthetic ideals of the classics.

Parthenon is built out of the quadrs of Pentelian marble, folded dry.

Parfenon's columns are more often supplied than in early doric temples, antablem is facilitated. Therefore, it seems that the columns easily hold the overlap. Unnoticed for the eye of the curvature, that is, a very weak convex curvature of horizontal lines of stylobate and antablemer, as well as imperceptible slopes of the columns inside and the center of the building exclude every element of geometric dryness, giving the architectural appearance of the building amazing vitality and organic. These light retreats from geometric accuracy were the result of a thoughtful calculation. The central part of the facade, crowned with a fronton, visually presses on the columns and stilobate with more power than the side sides of the facade, the absolutely direct horizontal line of the founding of the temple seemed to the viewer slightly loose. To compensate for this optical effect, the surface of the stylobate and other horizontals of the temple were made by architect classical time not quite accurately horizontally, but curved up. The feeling of Parfenon's catchy stilobenon curvature enhances the impression of elastic tension, which is permeated with all its appearance. The same goals also serve other optical amendments introduced by architect in a clear and ordered system of periput.

The nobility of the material from which Parfenon was built was to apply the coloring in Greek architecture only to underline the structural details of the building and for the formation of a color background, on which the sculptures of the frontones and a metop were highlighted. Thus, a red color for the horizontals of the antablem and the background of the metope and the frontones and the blue - for triglyphs and other verticals in Antablement were applied; The festive solemnity of the structure was emphasized by narrow strips of restrained gilding.

Made mainly in the Doric Ordere, Parthenon included individual elements of the ionic order. This corresponded to the general desire of classics and, in particular, the creators of the Acropolis ensemble to the union of doric and ionic traditions. Such is an ionic zoofor, that is, the frieze passing along the top of the outer wall of the Naos behind the doric colonnade of the peripterator, or four columns of an ionic order, decorated inside the actual "Parfenon" - a hall for Nao.

Parthenon was decorated with an exceptional sculpture in its perfection. These statues and reliefs, partially reached us, were carried out under the guidance and, probably, with the direct participation of Fidiya - the greatest among the great masters of high classics. The fidia belonged to the 12-meter statue of Athena, which was standing in Nao. In addition to the work performed for the Acropolis, to which the FIDI began to start a mature master, they created a number of monumental plants of cult destination, as, for example, a giant statue of a sitting Zeus, stood in the temple of Zeus in Olympia, striking contemporaries by expression of humanity. Unfortunately, none of the famous statues of Fidiya reached us. Only a few little reliable Roman copies have been preserved, or rather it would be to say - options ascending to the FIDIV statues of Athens and to other works ("Amazon", Apollo).

For Acropolis, FIDI created three statues of Athena. The earliest of them, created, invisible, while Kimon in the second quarter of the 5th century. BC. and ordered at the marathon production, the Prosakhos, who was mentioned above, stood on the Acropolis Square. The second was the smaller in the dimensions of Athena Lemnia (that is, Lemnosian). The third, Athena Parfenos (that is, Athena Virgo), was created in the 40s 5th. BC, since in 438 it was already put in the temple.

As far as can be judged by replicas and according to the descriptions, the cult statues of Fidiy embodied the image is quite real in their basis of human perfection. The greatness of the fidia gods revealed in their high humanity, and not divinity.

Thus, Athena Prosakhos ("Warrior"), shown in full armament, calmly and powerfully overlooked the city, prostrated by her legs and guarded him vigilantly from threatening dangers. Communication with the surrounding life, the concreteness of the plot motif was obviously characteristic of this statue. About how high classic images could be saturated with a huge life content, gives a representation stored in the Museum of Bologna, a beautiful Roman copy of the head of Athens Lemnia, although some scientists have expressed doubt whether it is a copy of the Fidiy statue. Special vitality gives the image a combination of elevated beauty with a completely defined expression of a person who transmits full tense alert attention, energy and self-confidence.

Torso Athens Lemnia, which came to us in the Roman marble copy (Dresden), gives the concept of the perfection with which Fidi created a calm and solemnly standing monumental statue. A clear and simple silhouette, easily readable at a high distance; Internal voltage and restrained motion energy are expressively transmitted. This statue is an example of the perfect permission of those tasks that have put an even early classic, seeking to create an image that combines monumental greatness with concrete vitality.

Athena Parthenos differed somewhat from more early Athens Fidiya. The cult character of a statue standing in the temple demanded greater solemnity of the image. From here - inclusion in the image of Athens symbolic details: Snake at the feet of Athens, the victory figures on her outstretched right hand, a lush helmet, crowing her head, and so on. The same identified and elevated impassivity of the image, if you believe quite remote Roman time replicas.

At the Round Panel of Athens, the battle of the Greeks with Amazons was presented, full of rapid movement and the immediate sense of life. Among the acting persons, FIDI placed the image of the pericles and self-portrait, which was a manifestation of new quests that are not characteristic of the realism of early and high classics and foreshadow the approach of the next stage in the development of classical art. For this bold ventilation fidi was accused of wormless. "It was especially accused of the fact that he portrayed the battle with the Amazons on the shield, shouted his own image in the form of a slashing old man, raised her stone with two hands, as well as a beautiful portrait of a pericla, battleing with Amazon. He very skillfully placed his hand, raising a spear in front of the pericla, as if he wanted to hide the similarity, but it was still visible on both sides "(Plutarch, Biography of Pericla).

One of the noteworthy features of the statues of Athena Parfenos and Zeus Olympic was the Christian technique of execution that existed, however, and to the fidia. The wooden base of the statues was covered with thin sheets of gold (hair and clothing) and ivory plates (face, hands, feet feet).

The idea of \u200b\u200bthe impression that the Christine technique could produce can produce a small figure lectureth of the attic work of the end of 5 V. BC, found in the Northern Black Sea region on the Taman Peninsula, the so-called "Taman Sphynx", one of the pearls of an antique collection of the State Hermitage in Leningrad. This vase is an excellent sample of the Greek curly ceramics of classical time, a wonderful thin sense of joyful colorful, combining the grace with the monumental clarity of the image. Golden braids, diadem and necklace, white, easily tinted pink face and breasts are clearly inspired by the samples of Christhelenefactory technology.

If you imagine that the golden statue of Athens was in the room with a relatively dark compared to the brightly illuminated by the Sun of the Acropolis, that the strips of gilding on the outer parts of Parfenon, as it were, prepared the viewer to the expected spectacle, which inside Nao was painted with red and blue and a series of details It was highlighted with gilding, then you will have to recognize that the golden radiance of the statue of Athens has harmonized with the general nature of the colorful gamma of the architectural decoration of the building.

The most complete picture of the work of the fidia and in general about the sculpture of the heyday of the classics can be given preserved in the original, although strongly damaged sculptural groups and reliefs, decorated with Parfenon ( Significant destruction of the sculptures of Parfenon is caused by no time. The extensive then in the Christian temple, then in a mosque, Parfenon stood as integer until the end of 17 V.V. 1687. During the bombing of the Venice fleet, Athens Bomb fell into Parfenon, turned into a powder warehouse. The explosion made significant destruction. That did not make a bomb, then at the beginning of the 19th century. In Turkey, Lord Elgin enthusiastically tried the sculptures. Taking advantage of the resolution to take out several plates with inscriptions, he stole almost all sculptures and at night, fearing the people's perturbation, took them to London. When they removed the statues from the already damaged Western Fronton, he collapsed and crashed.).

These sculptures, as already mentioned above, were created by a group of the best brewers led by FIDIA. It is very likely that the fidium directly participated in the fulfillment of the sculptures themselves. It can be argued that in any case a composite solution, interpretation of plots and, possibly, sketches of figures belong to the fidia. Up to our days, the sculptural ensemble of Parfenon is an unrivaled artistic monument.

All 92 Methods of the temple were decorated with marble burners. On the Metops of the Western facade, the battle of the Greeks with Amazons was depicted, on the main, the eastern facade - the battle of the giants, on the north side of the temple - the fall of the Troy, on the southern, better surviving, is the struggle of lapiphs with bentavra. These themes had a deep meaning for the ancient Ellinons. The battle of gods and giants argued, in the image of the struggle of cosmic forces, the idea of \u200b\u200bthe victory of the human beginning over the pristine natural forces of nature, the personified monstrous giants, the generation of land and the sky. The first theme and the topic of the struggle of the Greeks-Lapiphs with Centaurs are close. Trojan scenes had more direct historical significance. The historical myth of the struggle of the Greeks with the Trojans, personifying the Majara East, was associated in the representation of Ellinov with a recently obsessed victory over the Persians.

A large multifigure group, placed in Timpan East Fronton, was devoted to the myth of the wonderful birth of the goddess of the wisdom of Athena from Zeus's head. The Western group portrayed the dispute of Athens and Poseidon for the possession of attic earth. According to myth, the dispute was resolved by comparing the wonders who had to produce Poseidon and Athena. Poseidon, hitting the trident about the rock, salty salted water from it. Athena also created an olive tree - this basis for agricultural well-being of attic. The gods recognized the wonderful gift of Athena to more useful people, and the dominion of the attic was transferred to Athena. Thus, the Western Fronton, who first met the solemn festive proceedings sent to Parfenon, reminded of Athenians about why Athena became the patroness of the country, and the chief, East Fronton, who had ended the procession, was dedicated to the topic of the wonderful birthday of the goddess - the patroness of Athens and solemn An image of Olympus.

Along the walls of Nasa behind the columns, as already mentioned, a zoofor, depicting a festive procession of the Athenian people in the days of the great Panafine, is that the clearly thoughtable ensemble of Parfenon sculptures with real life was associated directly.

Parfenon sculptures give a clear idea of \u200b\u200ba huge path that was passed by Greek art for any 40-50 years, separating the time of creating an Acropolian complex from the sculptures of the Eginsky Temple.

The preserved methops dedicated to predominantly struggle of lapiphs with bentavrai are two-digurized compositions that are consistently deploying in front of the audience of the peripetics of this struggle. I am striking the variety of movements and the inexhaustible wealth of the motives of the struggle in each new pair of battle. Then the Centaur, bringing a heavy bowl over his head, attacks the fallen and closing Lapifa shield, then walked in a brutal fight, clinging to each other in the throat, lapif and a centaur, then, spreading his hands wide, Garcertes over the lifeless body of the fallen Greek Centaur winner, Slender young man, grabbing his left hand for the hair of the Centaur, stops his rapid run, and the right sword brings the sword for a deadly blow.

These methanes were explicitly made by different masters. In some of them, there is still the sharp deposit of movement and the underlined transmission of individual details, which was, for example, in the Western Frontone of the temple of Zeus in the Olympia devoted to the same plot. In others, with the best of the best, you can see all the skill of high classics in the natural and free reproduction of any real action and the deep feeling of a measure that invariably retain the harmonious beauty of the image of a perfect person. The movements of the lapiphs and centaurs in these metals are freely free, they are only due to the nature of the struggle they lead - they do not have any extensions of too obvious and strict architectural subordination, which was still in the Metops of the temple of Zeus in Olympia. So in the excellent relief of Parfenon, where the lapiph half-headed, having grabbed the hair of the Centaur, stops his rapid running and bends his body, just as the tight onions bended, the composition is subordinated to the logic of the movement of figures and the scene as a whole and at the same time it naturally corresponds to the limits Released space architecture.

This principle, as it were, an involuntary, freely emerging harmony of architecture with a sculpture that fully exercises its shaped tasks and does not destroy the architectural integer, is one of the most important features of the monumental sculpture of high classics.

In the same principle, the compositions of both frontones are also built. When considering any of the fonts, it is difficult to assume that they are included in the composition, strictly defined by architectural design. Thus, the pose of the half-making young man Kefala from the Eastern Frondon is quite due to the motive of the movement of the figure, and at the same time it easily and clearly "fits" into the sharp corner of the fronton, in which this statue was located. Even on the Western Fronton of the Temple of Zeus in Olympia, the movement of figures with all their realistic truthfulness was generally strictly deployed on the plane of the front. In such statues of Parfenon, like Kefal (in another interpretation - theses), complete freedom and the naturalness of the movement have been reached.

On the composition of the Eastern Fronton and, above all, it can be judged on its disturbed central part on the relief on the so-called Madrid roadow, where, however, the principle of the triangular location of the figures is broken. The fidium abandoned the allocation of the symmetry axis of the composition by a vertically standing central figure. A direct relationship that received a footprint with a rhythm of colonnade with such a solution was replaced by a much more complex relationship. Free in their movements, full lives of the figures created a group naturally placed within the triangle of the fronton and the formative clearly finished and closed artistic integer. In the center of the front, a semi-banned zeus seated on the throne was depicted and to the right of him - half-headed to him and quickly moving towards the right edge of the Fronton of Athena in long chitone and weapons. Between him and in the top of the triangle was hovering in the air nickname (victory), crowning Athena. Zeus, left, was depicted Prometheus (or Hephasta), stepping back with an ax in hand; To the right of Athena - the sedent figure of Demeters, who was present here, probably in his role of akin to the anniversary. Thus, the equilibrium of the composition was achieved here with a complex cross correspondence of calm sitting and rapidly moving figures. Further, on both sides of the central group, other Gods of Olympus were located. Of all these figures, only a strongly damaged extreme left - Irida, the herald of the gods preserved. It is full of rapid movement: the folds of her long clothes fluttering from the wind, the game of light and shadow even more enhances the dynamics of this statue. On the left, in the very corner of the front, Helios was placed - the God of the Sun, rising from the ocean water on the quadrig; On the right - the lowering book, as well as Helios cut off the lower line of Fotona, the goddess of Nights Nicks (or Selena) with his horse. These figures, denoted by shift for and night, thereby showed that the birth of Athena matters for the entire Universe from the East to the Far West.

The semi-in-making figure of the young man - Tezay or, may be awakened by Kefala, the mythical hunter who gets up with a hunt, - meets Helios. Next to him were located two sitting female figures, which are usually considered an ohm. Following the outgoing night looked (judging by the sketch of the front, made in the 17th century.) One of three beautiful girls, daughters of the night - the goddes of the fate of Moir. These three women's shapes dressed in long clothes forming a group at the right end of the front end and reached us, albeit without heads, but in a relatively more preserved state, belong as the figure of Keffes from Western Frontone, among the greatest treasures of Greek art.

From the surviving statues of a strongly destroyed Western Fronton, Keffes, smooth, the flow lines of the body of which, indeed, seem to have the Attica River, the Kekrop Group, the legendary founder of the Athenian state, with his young daughter Pandros and the figure of Irida.

The beauty and majestity of the frontal sculptures of Parfenon was achieved by the selection of those finely felt natural movements, which their free expediency with the greatest completeness transmit plastic beauty and ethical perfection of a person.

Fries (Zoofort) of Parfenon gives a clear idea of \u200b\u200bthe features of building a classic relief. All plans for which relief is dismembered, are in parallel to each other, forming a number of layers, closed between two planes. Conservation of the wall plane contributes to a single, directed strictly parallel to the wall plane Movement of numerous figures. The clear change of plans and the clear rhythmic system of frieze give rise to the impression of the extraordinary integrity of the image.

The creators of Zofor stood a complex compositional task. It was necessary to keep the walls for about two hundred meters with relief with the image of one event - the national procession, - avoiding and monotonous and varnishes, and transfer to the walls of the wall by a low relief all the wealth and varieties of the parade procession and its solemn slightness on the wall plane. Masters of Zofor brilliantly coped with his task. No motive of movement on the frieze is never exactly repeated, and, although the frieze is filled with a variety of different figures of people going moving on horses or chariots carrying baskets with gifts or leading sacrificial animals, the whole frieze is generally inherent in rhythmic and plastic unity.

The frieze begins with the scenes of the training of young horsemen to the procession. Calm movements of young men, tie straps on sandals or cleaning horses, departs from time to time invading the sharp movement of a horse in or by any rapid gesture of the young man. Next, the motive of the movement is developing more and more quickly. Fees are finished, the procession itself begins. Movement is diminishing, it slows down, the figures come closer, almost merging with each other, the space between them expands. The wave-like rhythm of movement permeates the entire frieze. Especially remarkable a string of galloping riders, in which a powerful movement in its unity makes up of the infinite diversity of similar, but not repetitive movements of individual shapes, various and their appearance. No less beautifully strict march of Athenian girls, the long clothes of which form measurement folds, resembling flutes of the columns of Parfenon. The rhythm of the movements of girls is especially shaped in towards male figures (festival managers). Above the entrance, on the eastern facade - the gods looking at the procession. People and gods are shown equally beautiful. The spirit of citizenship was made possible for Athenian predetermined approval of the aesthetic equality of the image of a person to the images of the Olymps deities.

The direction represented in the art of sculpture of the second half of the 5th century. BC. FIDIM and the entire attic school, led by him, held a leading place in the art of high classics. It most fully and consistently expressed advanced artistic ideas of the era.

FIDIA and the attic school created art that synthesizes everything progressive, which carried the works of the ionic, doric and attic masters of early classics to Mirone and Penia inclusive.

However, it does not follow from this that the fiction focused on the beginning of the second half of the century only in Athens. Thus, information about the works of masters of low-depth Greece remained, the art of the Greek cities of Sicily and South Italy continued to flourish. The sculpture of Peloponnese was the greatest importance, in particular the old center for the development of the Dorian Sculpture - Argos.

It was from Argos that a contemporary fidia polyclet was released, one of the great masters of the Greek classics, who worked in the middle and in the third quarter of the 5th century. BC.

The art of the policlet is associated with the traditions of the Argossky-Sikion school with its preferential interest in the image of a calm fit. The transfer of complex movement and active action or the creation of group compositions was not included in the circle of interests of the polyclet. In contrast to the fidia, the polyclet was to a certain extent associated with more conservative circles of the slave-owned policy, which in Argos were much stronger than in Athens. Images of the statues of the polyclet are echoing with the ancient ideal of Goplite (heavy warrior), harsh and courageous. In his statue of "Dorifora" ("Copiona"), made near the middle of the 5th century. BC, the polyclet created the image of a warrior youth, embodied the ideal of a valiant citizen.

The bronze statue, as, however,, and all the works of the Polyklet, did not reach us in the script; It is known only in marble Roman copies. The statue depicts a firmly folded young man with highly developed and sharply emphasized muscles carrying a spear on the left shoulder. All the severity of his body rests on the right leg, the left pressed back, touching the earth only with his fingers. The equilibrium of the figures was achieved by the fact that the raised right-wing thigh corresponds to the lowered right shoulder and, on the contrary, the left-wing thigh - the lifted left shoulder. Such a system for constructing a human figure (the so-called "chiam") gives the statue of the measured, rhythmic system.

The rest of the figure of the Dorifera is combined with the inner tension, giving it, seemingly externally impassive image of greater heroic power. Accurately calculated and thoughtful architectonics of building a human figure is expressed here in comparison of elastic vertical lines of legs and hips and heavy horizontals shoulders and muscles of chest and abdomen; This creates an imbuming equilibrium, similar to that equilibrium, which gives the ratio of the column and antablemer in the Doric Ordere. This system of artistic means developed by a policlet was an important step forward in the realistic image of the human body in sculpture. The human sculptural images found by them really responded to the spirit of heroic masculinity, which was characteristic of the image of a person's classical period of Greece.

In the desire to theoretically substantially born real life, a generalized typical image of a perfect person, a polyclet came to the composition of the "canon". Thus, his theoretical treatise was named and made according to the rules of the theory statue; They developed a system of ideal proportions and laws of symmetry, according to which the image of a person should be built. Such a regulatory trend told the risk of emergence of abstract schemes. It can be assumed that Roman copies strengthened those damage features that were characteristic of the works of the polyclet. Among the genuine Greek bronze statuettes that have come down to our time. BC. Some are undoubtedly closer to the art of the polyclet. Such is the statuette of a naked young man stored in the Louvre. Several heavy proportions, like the motive of restrained motion, resemble the work of the polyclet. The Greek original makes it possible to evaluate the features of the artistic language of the polyclet, lost in the transformation of Roman copies. The Louvrasky young athlete with all analytic accuracy and conveyance of the construction is distinguished by the naturalness of the gesture, vital persuasive image.

At the end of life, the polyclet has moved away from a strict followation to His "Canon", brings closer to the Masters of Attica. His "Daidumen" - a young man who crowned himself with a victorious bandage - a statue created about 420 BC, is clearly different from Dorifora with more elegant and slender proportions, light movement and greater spirituality of the image.

Until our time, the Roman copy of the "wounded Amazon" was reached by the Polklet and the Roman Statue of the Amazon Mattei, ascending the original Fidiya. They are aware of the opportunity to clearly compare the features of the Fidiyevsky and the policlete contribution to the art of classics.

Fidievskaya Amazon is depicted at the moment when she, looking around at an approaching enemy, relies on a spear, ready to jump on the horse. Its excellent proportions are better transmitted by the structure of the strong body of the girl than the Almost male proportions of the Amazon of the Polklet built according to the "canon". The desire for active action, the relaxed and expressive beauty of the movement is characteristic of the art of Fididia, the artist is more multifaceted than a polyclet, more fully combining in a single integration perfect beauty of the image with its specific vitality.

The polyclet depicted a wounded Amazon. Her strong body weakened, she leaned with her left hand on the support, his right hand was thrown over his head. But only this was limited to the policlet; In the face of the statue there is no expression of pain and suffering, there is no realistic gesture transmitting the movement of a person who suffers from wounds. These elements of distraction allow us to transfer only the most general condition of the person. But the ideal of the courageous restraint of man, dissolving his experiences in the overall spirit of mutual resources - these characteristic features of the art of the polyclet carried high concepts about the dignity of a perfect person - the hero.

If the polyclet was able to give a high and beautiful art of Fidiya near the high and beautiful art of the Acropolis, his important and significant version of the art of high classics, then otherwise the fate of his creative heritage. At the end of the 5th century. BC, during the years of Peloponnesian wars, the policlight continuers entered into direct struggle with the realistic tradition of the Fidievskaya school. Such peloponnese sculptors of the end of the 5th century. BC, as Callimakh, was looking for only distracted regulatory perfection, far from any living sense of reality.

But in the Attic School, in the circle of students and followers of the Fididia, realistic quests are obtained in the last quarter of the 5th century. BC. Some new features.

Among the immediate students of the Fidiya, the chassal, the author of the heroized portrait of the pericla, stand out of the faithful teacher. In this portrait, the calm greatness of the spirit and the restrained dignity of the wise statesman is deeply expressed. Full lives. Beautiful human images can be seen in other works chairs (for example, the head of the statue of the Efeka, the winner in the competition).

On the other hand, in the same circle, the fidiy began to appear works, seeking strengthening of dramatic action, exacerbating themes of the struggle, so widely represented in the reliefs of Parfenon. The reliefs of this kind, saturated with stormy contrasts and intense dynamics, with a rough sharpness of realistic parts were made by sculptors, which was invited to the decoration of the Apollo temple constructed in Bass (in Figlia). This frieze depicting the Battle of Greeks with Centaurs and Amazons, contrary to the usual rules, was in a half-walled nao and was performed in a high relief with the energetic use of contrasts of light and shadow. These reliefs (however, "not first-class in quality) for the first time, elements of more subjective and emotionally pointed perception were introduced than it was usually accepted. The transfer of stormy and roughly expressive movements of battle, data in different cancers, strengthened this impression.

Among the masters of the Fidievskaya school by the end of the 5th century. BC. There was also a lot to express a lyrical feeling, the desire with the special softness to convey the grace and the elegance of movements. At the same time, the image of a person remained typical-generalized, without losing its realistic truthfulness, although losing it is often heroic and monumental severity, so characteristic of works created by several decades earlier.

The most large master of this destination in Attica was a student Fidiya - Alkamen. He was a successor of the Fidiya, but for his art is characterized by the features of sophisticated lyrism and more intimate image interpretation. Alcamenu belonged to some statues of a purely fidiye character (for example, a colossal statue of Dionysus). However, the new searches of everything clearly performed in its works of another order, such as, for example, in the famous statue of Aphrodite, standing in the garden on the bank of the orssa River, - "Aphrodite in the gardens." She reached us in copies and replicas of Roman time.

Aphrodite was depicted by the alkamena calmly standing, slightly bowed her head and the elegant movement of the hand twisted with the face covered; In the other hand, she kept an apple, perhaps the gift of Paris, who recognized Aphrodite with the most beautiful among the goddesses. With great skill, Alkamen passed off running down the folds of a thin long apparel of Aphrodite, lumbering her slender shapes. The perfect beauty of a person was painted here with a delightful and gentle feeling.

More than more such searches of lyrical image found their implementation in the created about 409 BC. Marble reliefs of balustrade temple Nicky Apterems on the Acropolis. These reliefs portrayed girls committing sacrifice. Wonderful relief "Nick, unleashing sandal" - one of the masterpieces of the sculpture of high classics. The lyricism of this work is born from the perfection of proportions, and from deep flickering lighting, and from the tender softness of the movement, emphasized by the flows of the folds of clothing, an unusually elegant, living and natural movement. A very important role in the addition of this lyrical direction in high classics was played by numerous reliefs on tombstones, excellent samples of which were created at the end of 5 V. BC. Such, for example, the "GEGESO tombstone", carrying a high poetic feeling in its purely life truth. Among the many graded reliefs of the end 5 - the beginning of the 4th century. Stands are also highlighted by mela and gravestone in the form of a leeky from the Leningrad Hermitage. The ancient Greeks are very wise and calmly treated with death: in the tombstones of the classic period, it is impossible to find fear of death or any mystical sentiment. They depict live people, their topic is a farewell, imbued with thoughtful reflection. The tombstones of classical pores with their bright email mood were designed to console, support a person in his suffering.

Changes in the artistic consciousness, outlined in recent decades of the 5th century. BC, found their expression and in architecture.

Iktin already boldly expanded the creative quest of the architectural thought of the classics. In the Temple of Apollo in the Bass, he first introduced into the building along with Doric and Ionic elements, also the third warrant - Corinthian, although only one column inside the temple carried such a cap. In the teleservion, which was built by Ititin in Eleusin, he created a factor of an unusual plan, with an extensive column hall.

The asymmetric construction of the Erehechteyon building at Athenian Acropolis, made by an unknown architect in 421 to 406, was as much as new. BC.

The location of the building in the overall ensemble of the Acropolis and its dimensions were fully defined by the nature of the architecture of the heyday of the classics and the plan of the pericles. But the artistic development of this temple dedicated to Athena and Poseidon, made new features to the architecture of the classic time: the picturesque interpretation of the architectural whole - interest in comparisons of contrasting architectural and sculptural forms, the plurality of points of view revealing new, varied and complex impressions. Ereheheton is built on the uneven northern slope of the Acropolis, and his planning thoughtfully included the use of these soil irregularities: the temple consists of two premises at different levels, it has a different form of portico on three sides - including the famous portico of Cor (Caryatid) on South Wall - and four columns with gaps, closed lattices (replaced by a stone masonry) on the fourth wall. The feeling of festive lightness and elegant harness is caused by the use of a more elegant ionic order in the outer design and the perfectly used contrasts of light portico and stroit of walls.

There was no outdoor coloring in Erehechteion, it was replaced by a combination of white marble with a purple freesome ribbon and the gilding of individual details. This unity of the color solution is largely united by a variety of, albeit equally elegant architectural forms.

The bold innovation of the Unknown author of Erehechteion developed a living creative tradition of high classics. However, in this building, beautiful and proportional, but far from the strict and clear harmony of Parfenon, the paths of late classics were already sought to the art of late classics - art more directly humane and agitated, but less heroic than a high classic 5 V. BC.

Vazopan in the era of high classics developed in close cooperation with monumental painting and sculpture.

Relying on the realistic conquest of the first third of the century, the vasopisals of high classics, however, sought to temper the sharpness in the transfer of details of the nature or motif motives, which was previously met. The big clarity and harmony of the composition, the greatest freedom of movement and, most importantly, a large spiritual expressiveness became characteristic features of the vases of this time. At the same time, the vase was somewhat departed from the particular genreness of the plots, which was observed in the first third of the century. It appeared more heroic images on mythological topics, which retained the whole humanity of the early classics, but clearly looking for monumental significance of the image.

Vasopisians of the middle 5 in. BC. It began to attract an image of not only actions, but also the spiritual state of the heroes, - the skill of the gesture, the integrity of the composition, although at the expense of some loss of the immediacy and freshness, which differences were distinguished by Duris or Brig. As in the sculpture of high classics, the most common states of the human spirit were transmitted in the image of the vases of this time, even easing to concrete and individual senses of man, to their contradictions and conflicts, to change and the struggle of sentiment. All this has not yet been part of the attention of artists. But the price of some generalization of the feeling was reached by the fact that human images created by the Middle 5 V Vasopians were reached. BC, possess such typical and so clear purity of their mental system.

Monumental severity and clarity are characteristic of the painting of the famous "crater from an orcue" - stored in the Louvre Vase with the scene of the death of Niori on one side and the image of Hercules, Athens and Argonauts to another. The figures are freely and naturally located on the surface of the vase, although to preserve the integrity of this surface, the artist avoids promising reductions, figures, according to the meaning of placed on the second plan. The workshop of the Raccurses, living, natural poses of figures are subordinate to a strict, calm rhythm, uniting the image with an equally harmonious shape of the vase. In the "Crater of Orveto", the redfore vazopis reaches one of its vertices.

Examples of high-class Vazopysi can serve as a drawings made in the second half of the century, like "Satyr swinging on a swing girl during a spring holiday", like "Polick, stretching the Eraphile Necklace" (the so-called "Vase of Lecce") and many others.

Around the middle of the century, lectured with painting on a white background, which served for the cult goals (related to the burial of the dead) were widely distributed. In them, the drawing often reached a special relaxed light (sometimes switched to negligence); He was applied with a black varnish, outlining the main lines of the figure, and after the firing was painted (why sometimes the figures look nude because of the erased paint). A sample of the workshop drawing on a white background is an image of a girl bringing the gifts to the deceased, on the attic lecture of the Boston Museum.

By the end of the 5th century. BC. Vazopi began to decline. Already mussels and his imiters began to overload drawings on vases with decorative details; In this elegant patterned ornamentation of the figures of people depicted in intricate rackwork buildings, they lost their primary value - they became impersonal and the same, lost in the midst of fluttering drapes. Free labor crisis at the end of the 5th century. Especially adversely affected the work of masters-ceramists and draftsmen. Vazopis began to lose artistic quality, turning gradually into a mechanical and faceless craft.

The painting of the classical period did not reach us, as far as it is possible to judge the statements of the ancient authors, had, as well as sculpture, monumental character and acted in an inseparable connection with architecture. It was performed, apparently, most often, fresco; The possibility is not excluded that in the 5th century. BC, in any case, in the second half of it, adhesive paints were used, as well as wax (so-called enkausky). Adhesive paints could be used both directly on a specially prepared wall and for the primed boards, which were strengthened directly on the walls intended for painting.

Painting in 5 c. BC. I wore a strictly generalized monumental character and was created for a specific place in the architectural ensemble. Some reliable information about the existence of machinery is not preserved. As a monumental sculpture was complemented by shallow plastic from terracotta or bronze, closely associated with artistic craft and with applied art and monumental painting, by passing it actually machine forms, was supplemented with a vasopype that was inextricably linked with the art of ceramics. Monumental painting occupied an important place in the artistic life of the time. The best works enjoyed great glory. The largest masters of painting were widely known and surrounded by public worship along with outstanding sculptors, poets, playwrights of their time.

Painting 5 V. BC. According to their aesthetic principles, the sculpture was very close, being closely interconnected with her. Essentially, the visual tasks of painting were mainly reduced to the illusory reproduction of the volume of the human body. The task of the image of the environment surrounding the person, its interaction with it in painting 5 V. Not put. Actually picturesque means of image - light thump, color, the transfer of the atmosphere, the spatial medium is only born, and then mainly at the end of the 5th century. BC. But the main goal and at the end of the century remained the desire to find artistic means transmitting plastic volumetricity.

Only later, already in the period of late classics, due to the general change in the nature of artistic ideas, these achievements began to be used consciously for the image of a person in his natural and household medium, for a richer scenic and emotional characteristic.

Thus, 5 V. BC. - This is the time of the addition of prerequisites for the disclosure of fine painting capabilities. At the same time, a realistic image of a person or a group of people in a variety of actions, operating with loyal anatomical proportions, truthful transmission of physicality and the volume of human forms, the birth of a consistently realistic understanding of the plot meant a large progressive step in the history of painting compared with earlier conditional or purely decorative compositions.

The largest master of the second quarter and the middle of the 5th century. BC) Contemporary Mirone, there was a polygnot - a native of the island of Fasos, who received his work performed by him for Athens, the honorary title of the Athenian citizen.

The circle of topics of the polygnot was close to the themes to which the masters of the frontal compositions and reliefs were treated. These were epic topics (from "Iliad", the poems of the Fanvan cycle) and mythological (the battle of the Greeks with Amazons, the battle with the Centaurs, etc.). An important feature of the groin of the polygnost was to appeal to the topics of a historical nature. Thus, in Pinakotek in Athens, the painting of which was led by polygnot, among other frescoes the image of the "Battle of Marathon" was performed.

In all likelihood, however, these pictures on historical themes were the same generalized and heroic character that the compositions that chant the high features of mythical heroes. Just like the "Persians" of Eschila, dedicated to the Sea Victory of Ellini over the Hordes of Xerxes, built on the same artistic principles as his "Orestea" or "Seven Five" and these historical compositions of the polygnost were decided, apparently, in the same plan As mythological paintings, and included with them in the same general ensemble.

One of the most famous works of the polygnost was the painting "Leshi (Houses of Assembly) of Budyan" in Delphi, the description of which retained to us by the PAsans, where the polygnot depicted the "death of Troy" and "Odyssey in Aid".

It is known that the polygnot consulted only four colors (white, yellow, red and black); Apparently, his palette did not differ too sharply from the one that was used by the masters of Vazopysi. According to the descriptions, the color of the polygnota wore the character of coloring and the color modeling of the figure was almost no applied. But his drawing was distinguished by high perfection. It is true in anatomical relation to the body in any rickers and movements. The ancients admired that the polygnot was perfect in the image of the face that he first began to transmit mental state, in particular with the help of ajar mouth seeking to give the person to the face of emotional expressiveness. Such experiments in the sculpture were carried out by the masters of the Western Olympic Fronton, just during the heyday of the polygnot.

Descriptions of the polygnostic paintings give reason to believe that the wizard did not set itself the task to give a holistic image of the medium in which the action occurs. The ancient authors mention the individual objects of nature and the situation plotted with the actions of heroes, for example, the pebbles of the sea coast, but not at the entire picture, but only to determine the location of the hero. "A seashore continues to the horse, and pebbles are visible on it, then there is no sea in the picture," says Pavania, describing the painting of the "death of the Troy" polygna. Apparently, polygnotes and other painters are 5 c. BC. Not until the end, all the possibilities of painting were realized and did not feel the principled difference between the image of the pebble of the sea shore on the relief (as in the scene of the Aphrodite on the "throne of Lyudo Visi") and the task of the seabed image in the picture. There are no information about the solution of the polygnotes of the tasks of perspective or lighting in the ancient authors. The composition, apparently, wore a more or less fruitless character.

Contemporaries Polygnosta highly appreciated his painting for the same qualities that they appreciated and in sculpture: the greatness of the spirit, the high moral strength (ethos) of the heroes, truthfulness in the image of an excellent person.

Polygnotot did a lot for realistic, clear and concrete image of a man in painting. The subsequent development of Greek art, incessant growth of interest in the inner world of man, to the immediate sensual perception of his image, the emergence of greater interest in everyday life and the environment gradually expanded the circle of fine tasks facing painting.

In the second half and at the end of the 5th century. BC. A number of painters appeared, closely related to general trends in the development of the sculptural attic school of the end of 5 c. BC. The most famous master of this time was Apollodor Athens. For his painting, who interpreted traditional plots in a more intimate and genre manner than its predecessors, are characterized by great freedom of color and interest in modeling of body shapes by means of lighting. Pliny speaks Apollodore that "he first began to transmit shadows." Of great importance are indications of ancient authors, giving reason to assume that Apollodor and other painters of the end of the 5th century. BC. (Zeevxis, Parraysi) began to develop not only the tasks of the image of the human body in motion, but also the perspective, both linear and air. The unchanged goal of these painters remained the creation of realistic, beautiful and living human images.

Starting from Apollodore, Greek painting ceased to be reproducing sculpturally traded figures on the wall plane, and became painting in his own sense of the word. Apollodor One of the first painters has moved to the Scriptures of paintings that are not organically related to the architectural structure. In this regard, he not only developed the high traditions of the classics 5 V. BC, but also outlined new ways of realistic art, leading to late classics.