Mystery of Education of the Russian Federation

Orenburg State Pedagogical University

______________________________________________________________

N.M. Arsenic

World Art

Part 2 Art Culture of the Ancient and Ancient World

Software for lectures

(HSE.F.04. - Culturalology)

(Protocol No. 4 of June 15, 2004 Meetings of the Presidium of the Council of the UMO in the specialties of pedagogical education)

OGPU Publisher

Orenburg 2004.

UDC 008: 930.8

Reviewers

N. L. Morgunova, Doctor of Historical Sciences,

Professor OGPU

A. G. Prokofiev, Doctor of Pedagogical Sciences,

Professor OGPU

Airmyakov N.M.

M 96 World Art Culture. Part 2: Artistic

culture of the Ancient and Ancient World: Materials in the course of lectures. -

Orenburg: OGPU Publisher, 2004. - 79 p.

The program is the second part of the Cultural Studies (part 1: "Mythology") and is intended for students of all faculties and students of humanitarian faculties, studying in the specialty "Cultural Studies".

UDC 008: 930.8

Airmyakov N.M., 2004

OGPU Publisher, 2004

The program is the second part of the common course "Cultural Studies" (Part 1 - "Mythology") and is intended for students of humanitarian specialties. The program involves the variable, selective use of the material depending on the number of hours, the specifics of the faculty, the presence of an illustrative material, etc. Software materials make it possible to consider the chosen topics in a wide national, sociocultural, morphological context, revealing the interactions of cultures or their typological community. Threads that have not entered the main course can be used in the system of optional classes.

Section 1. Artistic culture of ancient world

The concept of a traditional type of culture. The originality of the social structure. Appropriate economics. Formation of culture as a mechanism for self-organization of society. Accumulation of life experience and cultural tradition. The main stages of ancient culture. The problem of the origin of artistic culture. "Metistoric space" of the origin of "metracy" ( E. Semerentsova). Anonymous nature of artistic activity. Syncretism of primitive culture. "Moral neutrality" ( M.S. Kagan) primitive art. These archeology and ethnography. Stone tools late Paleolithic. Concept excess mastery. Animism and totemism primitive art. Primitive "ideological syncretism" ( N.A.Dmitriev). "Archaeological" hypotheses connecting the genesis of "primary forms of creativity" with "prompts" "natural sculpture", "Macaronami", "Hands" ( A.D.Stolaar).

Art."Animal" embodiment of space. Communication of primitive art with hunting and hunting magic Animalism of Paleolithic as the art of "Great Hunters" on a large, herd beast. Mythological system of cave painting.

Opening of wall drawings in the cave Altamir Spaniards Marcelyino de Soutolaol (1875). Altamira is the Paleolithic "Picture Gallery", the most significant in artistic wealth and on the "tragic role in historiography" ( A.D.Stolaar). Placing drawings (on the ceiling, on walls, in hard-to-reach places). Drawing manner. Failure to comply with external mutual proportions. Superposition phenomenon. Lack of perspective. Rare Cases of the image of space ("Bison, Looking back" and "Recreation Woman" in La Madeleine's cave). Lack of vertical and horizontal orientation. X-ray style. Image of scenes. Receptions of movement (position position, body slope, head rotation). Simplification and symbolization of the image. Two style of primitive art: life-likeand conditional. An image of a beast and a man expression. Primitive visual technique (large stone cutters; finger, fan-colored clay). Use in the visual objectives of the shape of the rock ("bison" in the stagnation of Castillo caves, "Bison with arrows" in the cave in NIO). The use of mineral dyes.

Views of the pictured animals : bison, tours, rhinos, goats, horses, wolves. Rarely depicted animals: deer, downtown, predatory animals. The uniqueness of the image of fish, birds, snakes, insects.

Anthropomorphic images. Frequent images of women. The image of a woman as an anthropomorphic component of the world concept. Realisticand stylizedtypes of image. Frontality, immobility of female figures, their potential monumentality. Flat, not worked out image of a face. Keywords:images (reminding musical signs or music key). A type dressed women. The uniqueness of the image of two "vacationers of women" in La Madeleine's cave. "Modernism" images ( Ya Linek).

Images of men. The drama of scenes and situations in which men are depicted: pierced by arrows, protecting from the beast ( torzania). Fallic motifs.

System symbolic Images. Various interpretation of characters (gender signs, calendar, ritual touch). Positive and negative Images of hand. Images of hands with undeveloped fingers ( mutilation).

The image output from the cave on the surface of the rock (mesolith). Pose freachgalopa. System ornamentalsymbols. "Birth of a vessel with a solid painting system - the worldview revolution" ( E. Semerentsova). Developed reverence of the Mother Goddess, Bull. Patterns "tape" ceramics, scorpions, fish, birds, images "Rogs dedications, symbols of the cross, swastiko-shaped spirals, etc. The trend towards creating on self-visual integrity. The development of a pattern letter - pictographics. Colored pebblescaves of Mas d'Azil in Ariage (France) are possible signs of ancient writing (the assumption of the French scientist E.Petta).

Primitive sculpture.Stels with the relief of the human face. Zooanthropomorphic images. Paleolithic "Venus". Problems of erotic and social attribution "Venus". "Budalism" as "the stadium feature of an ancient symbolism" ( A.D.Stolaar).

Primitive architecture. Mastering the monumental space stoneas the main material. Images of natural cluster ( labyrinths). Anthropomorphism of the ideas of stone boulders. Cyclopic fortresses. European settlements. Megalithic facilities: Mengir, Dolmen, Cromlets. Stonehenge in England (complex spatial structure, thoughtful design). Megalithic culture of France. "Cutting" cultures of the Middle Volga region and South Prijrew. Break facilities. Elements of architectural decor.

Manufacture jewelery:chains, studs, necklaces, bracelets. Wearing jewelry. Materials and processing techniques. Decorations amulets.

Primitive theater.(Use of masks, imitation of animal chairs, coloring of the body, etc.). The role of the chapecological and initiative rites in the development of the primitive theater. Animal image in primitive ideas. The appearance of the first human masks in the funeral and memorial rituals. The role of secret male unions in the preservation and development of primitive "theatrical" traditions. Witchcraft "sessions" and Shamanskoe Kamlany - samples of syncretic theatrical ritual action. Theatrical elements in wedding rituals, in calendar agrarian folk ritual games.

Dance art.Rhythm movements and rhythm sound.

"Aging" musicinside the primitive syncretic complex of Government. Melodic and rhythmic formulas. Logic organization of sounds. The first primitive tools: beaters, rattles, stone litophones plates, sink pipes, flutes from bones and animal horns, musical onions. Complication of intonation system. Education of the simplest musical and sound systems, elementary meters and Lada. Music mythology. The idea of \u200b\u200bmusic as a mighty strength, capable of influencing nature. Lyrical spells.

Concept A.N.Veselovsky about origin poetryfrom a folk rite. Epos and lyrics as "result of decomposition of an ancient ritual choir." The concepts of "collective emotionality" and "group subjectivism" ( A.N.Veselovsky).Seveavingritual choir - prototype poet. Canonizing primitive lyrics, its magical goals. Semantic complex- the most important element of primitive poetry. Poetics repeatat andand variation. Formation of semantic-syntactic parallelism. The characteristic style features of primitive poetry (reception of contrast, the accumulation of synonyms, refrains, polylogy, metaphorical formulas, etc.).

Internal aspect of the problem of the origin of verbal art. Concept myth.. Ritualistic concept of the ratio of myth and rite (J. Mill, R. Kharrison, etc.). Ritual Mythological School (N.Fray, R. School, etc.). Identifying poetry with myth and ritual.

Study E. Cissier about myth as a special symbolic and rational language.

Structural anthropology K. Slevi-Strauss. Logic mechanisms of primitive thinking: "field of unconscious logical operations"; principle "brikolazh"; system of binary opposition; Mechanisms of mediation (mediation) and "generating semantics" ( K. Levi-Strauss). Symbolism, geneticism and the etologyism of mythological thinking. Universal personification in myths and a wide metaphorical comparison of natural and cultural facilities, the "paradigmatic" character of myth ( E. Meltelli). Myth as a worldview and narration. Myth as a sign system ( R. Bart). Mythological thinking - intelligent base for neolithic technical revolution. Myth and fairy tale. Myth and historical legend. Myth and legend. Myth and Archaic Epos. Classification of myths. Culture and mythology of Eurasia (Indo-European, West Semitkaya, German-Scandinavian, Celtic, Türco-Public Peoples, Peoples of Transcaucasia, Siberia, etc.), Africa, America, Australia.

Late forms of primitive art:clay vessels with geometric ornamental painting, with small schematic sculptural figures of people, horses, birds; Bronze vessels in the form of Verder ( situles).

Artistic culture of ancient world in Russia.Western and Eastern Europe: general and special. Wide development of geometric ornamentation - the specificity of the late Paleolithic EasternEurope, as well as rock painting - a typical phenomenon of ancient art WesternEurope.

Art of the Epoch paleolita(Avdeevskoye settlement, settlement of Kostotica, Kobystan, Capov Cave, Parking Sungir, Mezino, etc.). Dominance of zoomorphic images. Mammoth is the main character of the animal gallery. Images of birds and snakes (falcons, cores; zigzag messenger ornaments of Mezino birds).

Anthropomorphic images (Paleolithic "Venus" in the bonuses).

Art Central Asiaepochs neolithicand bronze B.eka. Special distribution of terracotta statuettes of women (the cult of the mother's goddess). "Canonical" forms of female statuettes (standing women with wide rectangular shoulders and lowered short hands; numerous oval nails on the torso - symbols of "multi-head").

Casual images of Central Asia. Concept scripture(Drawings on the rock of red paint). Mountain goats - the most characteristic motive of the rock paints of Central Asia.

Art Caucasuscopperand bronze Century. The most typical monuments are the ancient settlements of the central part. The originality of ceramics: the principle of "facial filling", dryness, graphito and excessive composite complication of ornaments (V.B. Bleck).The grandina of Maykop Kurgan (3 thousand BC). The proximity of the monuments of the Maykop Kurgan Sumerian and Majual Antiquities.

Uniqueness and decorative expressiveness of metal decorations Transcaucasia. The cult character of bronze belts decorated with engraving; "Cosmism" zoomorphic images. Development of ceramics (black-made vessels, spectacular combination of black and white).

Megalithic facilities of the Caucasus and Transcaucasia. Visapiand visapoids- Monumental stone sculptures, steles in the form of fish (Som or "Chanar") carved from basalt.

Small plastic North Caucasus. North Caucasian animal style. Mythological "Smeaker", reflecting ancient ancient animistic and championships. The numerous of zoomorphic pendants in the form of heads of tours, deer, bears.

Northern Black Seaepochs neolithicand bronze Age. Mastering a stone as a building material; Creating mounds; The appearance of the first anthropomorphic images. Kurgans as a steppe phenomenon. Grand Dimensions of Kurgans yamnaculture. Squeezing sculptures typical for the steppe stripes are "stone women" (anthropomorphic steles plates with slightly rounded corners and a small protrusion denoting the head). Features of jammy sculptures - the interpretation of the features of the face in the form of a T-shaped sign. Squeezing sculptures as a possible image of the "goddess of burials."

Art tripolsky tribes(Foreign agricultural cattle breeding tribes in the steppe band between the Dnieper and the Dniester) - "culture of painted ceramics" ( TS. PASSEK). Eating ceramic materials for building dwellings. Many ceramic products: vessels, anthropomorphic and zoomorphic figurines, toys, amulets. Technicsmanufacturing (modeling manually without the use of pottery circle) and typestripolian ceramics: ceramics with an in-depth ornament in the form of a spiral; thin-walled ceramics with a polished surface decorated with flutes; Ceramics made of pink thin masses with a spiral ornament with one or more paints (red, black, white). Special group of "kitchen ceramics".

Neolithic tribes North. Sculpture of the Oleneostrovsky Mogilnik: Ornamental bone products; Zoomorphic sculpture.

Amber products Balci. Petroglyphs on the granite rocks of the eastern coast of Onega Lake and the White Sea.

Ancient art Urals and Western Siberia(on the right side of the Yenisei "everything looks peculiar" - I.G.Gmelin). The kinship of the art of the tribes of Western Siberia is the art of the ancient Finno-Ugric tribes of the Viurala and Eastern Europe. Bear cult Bear ceremonies and holidays. Images of waterfowl - duck. Roll with epic Finns "Kalelava". Ornamented dishes and crafts made of wood, bones, barks; Round sculpture of bone, tree and stone; art molding; cave drawings ( ural Scripture). The main and most ancient view of the ornament is the wavy lines (alternation of vertical straight lines with horizontal or obliquely located wavy lines). Common Stylistic features animals: Eye in the form of a protruding round site; Ring groove, emphasizing the eye contour and deepening of the tears; Unquestion of pupil. Ancient wooden anthropomorphicimages - idols: Cleverly processed t--like images with roughly intended features of the face (necessarily - the presence of eyes and mouth) and sometimes with signs of gender. Anthropomorphic figures mohar.(Mansian figures that were manufactured after the death of a person for temporary capacity of the reincarnating soul). Mojara Ugrome - schongyt("skull"). Figure stamps of ceramic patterns (traces of various animals and birds). The prevalence of the ornament of the "ribbon type" (V.I.Moshinskaya).

Stone sculptures of the bronze era in Southern Siberia.. The sculpture of the Minusinsk Valley: steles of sandstone or granite in the form of plates or high columns (the face is carved at the bottom of the pillar, above - symbolic signs). Registration of the vertex of sculptures in the form of a realistic round sculpture of a man's head or an animal: "old woman-stone" on the Tagarian Kurgan; Akhmarkhansky Baran on the Verkhne-Bijin Kurgan. Interpretation problems of stone sculptures: grave monuments or anthropomorphic idols.

Culture Baikalia: Decorations of teeth and animal fangs. Baikal ornamental style: a combination of long horizontal and short perpendicular lines; Full of the ornament of the form of a vessel; originating the upper part of the product; Repeated zigzags and "Visulki" repeated.

The center of fascinated painting is the stone islands on the hangar. The image of the moose is the reflection of the events of Evenks (Hunting Mysteries; Shamanic trips to the mythical ancestors - Losich "Bugad"). Sculptural images of fish.

The originality of the art world of the oldest tribes FarEast(pool of Amur and Ussuri, Amur and Primorye). The specificity of the Far Eastern ornament: curvilinence, the predominance of the spiral and "braids", ornament in the form of fish scales. "Amur wicker": patterns of intertwined wide tapes forming a mesh with rhombic cells. Traditions of ancient Far Eastern ornament in the modern ornamental art of Amur tribes.

Culture ancient eskimos("Beringomorsk Stage" - G. Bollyz).Masterpieces of threads by bone. The characteristic feature of the culture of the Arctic tribes is the desire to decorate with the ornament any household thing, weapons, weapons. Pattern of patterns: carved, thin, smooth lines, bordered by dotted line and strictly corresponding to the form of the subject; convex ovals and circles, often with a point inside; Combination of volume-convex plastic elements of abstract ornamental decorations with carved lines. The characteristic feature of the Beringomorsk art is combining on one subject fancy stylized images of animals, anthropomorphic figures and masks-lyrics. The similarity of the Bering Masks-Lichin with similar works of the art of Indians of North-West America.

"Women-Motherwood" in rock paintings on the banks of the River Pegty-stranded in Polar Chukotka - reflection of an important role of fungus in the shamanic culture and mythology of Chukchi.

Stability of traditional artistic culture and the development of traditions in the modern art of the peoples of Siberia.

Primitive cultures of modern Africa (Polychromic frescoes Tassili), Australia ("Churins", handprints, negative images, drawings).

The historical significance of traditional art crops.

PROGRAM

By world artistic culture

Mandatory minimum knowledge

in foreign artistic culture

Section I.

Artistic culture of antiquity

1. Artistic culture of ancient Egypt. Religious ideas and the cult of the dead in the ancient Egyptians as the basis of their architecture and art. Periodization of the ancient Egyptian artistic culture is a dynastic period, early kingdom, an ancient kingdom, a secondary kingdom, a new kingdom, later. Break facilities - Pyramids and Temples. Pyramid complex in Giza. Temples in Karnak and Luxor, Ramses II Temple in Abu Simbel.

2. Milf artistic culture. Sumer and Akkad. The most important achievement of the temple architecture of Mezhdrachya is zigkurat. Zikkurat God Moon Nanna in Ura (XXI century BC.). Relief, small plastic, mosaic. Millennium sculpture III. Standard from Hurray (2600 BC). Art of the Starovalonian period (2000-1600. BC). Stela with the laws of Hammurapi. Architectural monuments of Babylon in the Novovavilon period (I millennium BC). The gates of the goddess Ishtar, the role of tapered brick in the decoration of architectural structures. Art of Assyria. Art features of Assyrian relief.

3. Aegean art. The Knos Palace and its frescoes. Lion gate in mycken. Camares style vase.

4. Artistic culture of ancient Greece. Periodization of Greek art - Archaic, classic, Hellenism.

Architecture

The main types of Greek orders and temples.

The architecture of the classic period is Athenian Acropolis.

Sculpture

Archaic - Types of Kuros and Cor. Classic. Sculptors Miron, policlet, fidium, scas, Praxitel.

The sculpture of Hellenism is the altar of Zeus in Pergamma, Laocoon of Assandra, Atenodora, Polydor.

5. Artistic culture of ancient Rome. Periodization of Roman art - the republican period, imperial Rome.

Main types of architectural structures- Amphitherators, stadiums, temples, triumphal arches, triumphal columns and their sculpt-touring decor.

The embodiment of the imperial style in the monuments of the era of August. Monuumen-Talny and Stankovaya sculpture of ancient Rome and its connection with religious cults. Roman sculptural portrait and its typology.

Section II.

Artistic culture of the Middle Ages and Renaissance.

1. Art Culture of Western Europe in the Middle Ages. Christianity is the spiritual basis of the culture of the European Middle Ages. Structure of early Christian Basilica and decoration system. The concept of iconography and its role in religious art. The birth and distribution of the Romanesque style. The characteristic features of the structure and scenery of the Romanesque Basilica. The role of sculpture in the Romanesque temple. Sculpture of the Royal Portal of the Notre Dame Cathedral in Chartra. The role of monumental painting in the Romance Basilica. Big and distribution of Gothic style. Cathedral Notre Dame in Paris. Notre Dame Cathedrals in Chartres, Reims and Amiene. Gothic stained glass window. Saint-Chapel in Paris.

2. Artistic culture of Byzantium. Cathedral of St. Sophia in Konstan-Tinopole. Architecture and mosaic scenery of the Church of San Vitaly in Ravenna. The role of icons and iconography in the history of Byzantine art. Addition and development of the type of cross-dome church. The system of the picturesque monumental scenery of the Byzantine temple is Mosai, frescoes.

3. Artistic culture of the Italian Renaissance. Periodization - PRATINESSANS, Early regeneration, high revival, later revival. Humanism is the ideological basis of the Renaissance Culture. The value of the ancient heritage.

Creativity Jotto di Bondone. The art of Florence in the Epoch of the Early Renaissance - Bruneland, Alberti, Mazachcho, Botticelli, Donatello. The art of high revival is the work of Leonardo da Vinci, Rafael, Michelangelo. Georgeon, Titian and the Venetian School of Painting. Architectural structures Bramte and Palladio.

4. Art features of the Northern Renaissance. Creativity Van Eyk, Albrecht Dürer, Hans Golbien, Jerome Bosch and Peter Breygel.

Section III

Artistic culture of the XVII-XVIII centuries.

1. European art and baroque style. Manifestation of Baroque style in architecture and sculpture Lorenzo Bernini. Creativity P.P. Rubens - the highest takeoff of the Flemish Baroque.

Portraits A. Van Dequee, genre paintings Ya. Yordans, still lifes F. Snyders.

2. Realistic search for masters of Dutch and Spanish painting XVII century. The ratio of myth and reality in the work of D. Velasquez, H. Rembrandt. Portraits of Rembrandt.

The role of "small dutch" and the causes of the development of genre painting, still life, landscape in the Dutch painting of the XVII century.

3. Classicism in architecture and fine art of France XVII century. Architectural and park ensemble Versailles. Creativity N. Poussin - Mythological and religious plots, the formation of classic principles of painting.

4. Architecture and visual art of the XVIII century. Further development of the architecture of classicism in France (small trianon in Versaille, an area of \u200b\u200bconsent in Paris).

5. Rococo style in art and architecture of France XVIII century.

6. Theater images and theatricalness of images in the work of J.A. Watto.

7. Realistic features in painting Kurba, J.B.S. Sharden.

8. Neoclassicism in the work of A. Kanov.

Section IV.

Artistic culture of the XIX-XX centuries.

1. An expression of ideals of romanticism in the painting of Germany. The role of the landscape in the work of Caspar David Friedrich.

2. Romanticism and creativity F. Goya.

3. Features of romanticism in France.

Creativity T. Zherik and E. Delacroix.

4. Painting French Impressionism - Creativity at the Captivity, interest in the exact transmission of the momentary state of the light-hearted medium, sunlight. Submission of pictorial technology of new goals and tasks of painting.

5. Postpressionism. Searches for a new artistic form in the work of P. Cesanna, humanism and expression of color in painting V. Van Gogh, gaining new spiritual values \u200b\u200boutside of European culture in the art of P. Gogen.

6. Modern style in the art of Europe.

7. The art of walkers. The origins of the fusistic manner in the non-classical forms of art. Picturesque technique of Fovisma. Creativity A. Matisse.

8. Picasso and cubism.

9. Surrealism as a direction in art. Creativity S. Dali.

10. New directions in the architecture of the XX century. Creativity Le Corbusier.

Mandatory minimum knowledge

in Russian artistic culture

Section V.

Artistic culture of ancient Russia

1. Orthodoxy is the spiritual basis of Old Russian art. The role of Byzantine traditions in Russian art. Art of Kiev Rus. Sofia Kyiv temple - architectural image, painting, mosaic. The role of icons and iconostasis in the art of medieval Russia.

2. Artistic culture of the ancient Russian principalities - Novgorod, Vladimir-Suzdal Principality. Recycling of Byzantine features and the addition of local architectural and artistic traditions in the art of Veliky Novgorod. Church of St. Sofia Novgorod, St. George Cathedral of the Monastery of the Monastery. The frescoes of the church of the Savior in Nearly. Creativity Feofan Greek - Frescoes of the Savor of Transfiguration in Ilyin Street. Novgorod school icon painting. The princely character of the culture and art of Vladimir-Suzdal Rus in the middle of the XII - the first third of the XIII century. The concept of God's Princely Power and Architecture of Vladimir. Artistic features of the architecture of the temples of the Vladimir-Suzdal Principality. Assumption Cathedral in Vladimir, the Temple of the Pokrov Virgin on Nerli, Dmitrievsky Cathedral, Cathedral of St. George in Yuryev-Polsky.

3. The creativity of Andrei Rubleva is the expression of the characteristic features of religiosity and the world of Moscow Rus: the frescoes of the Assumption Cathedral in Vladimir, the icon "Trinity". The image of a new statehood in the architecture of the Moscow Kremlin - Assumption, Blagoveshchensky, Arkhangelsky Cathedrals. Creativity Dionysia is a bright sample of the "communional style" in art: the frescoes of the Cathedral of the Nativity of the Virgin Farates Monastery. Tent architecture - ascension church in Kolomenskoye, Cathedral of Basil Blessed (the Condos of the Virgin, which is on the RBU).

4. Transitional character of Russian artistic culture XVII century. Coexistence of two directions - court tradition and city landing culture. Penetration of secular traits in art. Intensive temple construction in Moscow and provinces. The idea of \u200b\u200bthe construction of a new Jerusalem on the Istra River is an ensemble of the New Jerusalem Monastery. Temple painting Yaroslavl. Simone Ushakov's Art.

Section VI

Russian artistic culture of the XVIII-XX centuries.

1. Artistic culture of the Petrovsky era. The role of European traditions in art and architecture of the XVIII century.

2. Construction of St. Petersburg, the development of a new typology of public and residential structures. Activity of leading architects of Petrovsky Time - D. Trezini, J.B. Lebed.

3. Baroque style flourishing in creativity FB Rastrelli. Palaces of St. Petersburg and his suburbs.

4. The architecture of classicism in Russia - the work of J. Kaprengy, Ch. Cameron, I.E. Older. The continuation of the traditions of classicism in the work of the largest architects began the XIX century. - A.N. Voronikhina (Kazan Cathedral in St. Petersburg), A.D. Zakharova (Admiralty Building). Architectural ensembles of the capital - K.I. Rossi, V.P. Stasov.

5. Fine art of the first half of the XIX century. Reflection of romantic trends in artistic culture. Portrait painting of the era of romanticism - creativity O.A. Kiprensky, V.A. Tropinine. Contradiction between the academic form and romantic content in the works of K.P. Bryullov. Creativity A.A. Ivanova and his picture "The phenomenon of Christ to the people."

6. The birth of a household genre in the work of A.G. Venetianova.

7. Fine art of the second half of the XIX century. Further development of the household genre and increasing critical trends in the work of V.G. Perov. Creation of a partnership of mobile art exhibitions and realistic art. Creativity N.I. Kramsky ("Christ in the desert"). N.N. 7 ("What is the truth") and the importance of religious and moral sermon in art. The emergence of realistic landscape. Images of Russian nature in the landscapes of I. Shishkin, poetics of everyday life in the landscapes of A.K. Savrasov. Mood scenery I.I. Levitan. The variety of genres and themes in creativity I.E. Repin. Images of Russian history in painting V.I. Surikova. Epic images of Russian legends in the work of V.M. Vasnetsova.

8. Russian art of the late XIX - early XX century. The main features of Modern style in the work of architect F.O. Shechor. Creativity V.A. Serov. MA Vrubel and painting of Russian symbolism. Fairy tale and myth in his work. The topic of the demon at Vrubel. Association "World of Art" and appeal to the traditions of the past epochs. Creativity VE. Borisov-Musatova and the connection in his style of the features of postmingnessism and symbolism. Creativity of masters - participants of the exhibition "Blue Rose".

9. The art of the Russian avant-garde of the beginning of the XX century. Development of avant-garde tendencies in painting artists of "Bubnoy Valtny". Abstract painting V.V. Kandinsky. "Black Square" K.S. Malevich. "Analytical art" P. Filonova.

10. Russian and Soviet art of the first half of the XX century. Preservation of culture of machine painting and new imagery in the work of K.S. Petrova-Vodkina.

11. The concept of socialist realism and its role in the work of S.V. Gerasimova, A.A. Plastov, A.A. Deneki. Sculptural creativity V.I. Mukhina.

Section VII

Theory of art

The required minimum knowledge in the field of art theory - Applicants should understand and be able to apply the following terms in the description and analysis of works of art:

• style: Romanesque, Gothic, Baroque, Classicism, Romanticism, Realism, Modern;
• composition, flavor, perspective, plot;
• tools of artistic expressive types of visual arts: architecture, sculptures, painting, graphics.
• art genres: Landscape, Portrait, Still Life, Battle Genre, Animalistic, Historical, Mythological.

Examples of tests

a) M.O. Mikeshin

b) A.M. Pothein

c) M.M. Antickolsky

2. "Mighty hand" is:

a) Combining Russian artists in the XIX century.

(b) Combining Russian musicians in the XIX century.

c) Association of avant-garde artists

3. Which of the arts listed below are characterized as temporary-spatial:

a) theater and movies

b) Architecture and monumental painting

4. In the center of the composition of the picture D. Velasquez "Menina" is:

a) Portrait of the King and Queen of Spain

b) Margarita Infanta

c) the artist of Diego Velasquez himself, who looks at the viewer

5. The characters of the painting "Arcade shepherds" N. Poussin consider:

a) sarcophagus with the inscription

b) Sculpture depicting the goddess Aphrodite

c) amphora with the image of the scene from the Trojan War

6. What type of construction is the Church of Basil Blessed:

a) Cross-dome

b) Basilical

c) Centrician

7. Which of the above stylistic steam coexisted in the XVII and XVIII centuries:

a) Gothic and Baroque

b) Baroque and classicism

c) Baroque and Rococo

d) classicism and neoclassicism

List of works of art

1. Heops pyramid, middle III millennium BC. e., Giza, Egypt.

2. Large Sphinx, middle of the III millennium BC. e., Giza, Egypt.

3. Sculptural portrait of Nefertiti, XIV. BC e., state museums, Berlin.

4. Standard from the royal tomb in ure, approx. 2600 BC E., London, British Museum.

5. Stela with a vault of Hammurapi laws from Sousse, XVIII century. BC er, Paris, Louvre.

6. Gate of the goddess Ishtar in Babylon, VI. BC e. Berlin, state museums.

7. Temple Parthenon on Acropolis, 447-438 BC. E., architectant and Callicrat, Sculptural Decor Fidia, Athens.

8. Temple Pantheon, II century, Rome.

9. Church of St. Sophia in Constantinople, 532-537, architect Isidor Miletsky and Anthimius Traclesky.

10. Church of San Vitaly in Ravenna, VI century.

11. Notre Dame Cathedral in Paris.

12. Stained glass window of the Cathedral in Chartres: Our Lady "Beautiful Window", 1194-1225.

13. "Trinity", Mazacho, OK. 1427, fresco, Santa Maria Novella, Flo Renation.

14. Spring, S. Botticelli, OK. 1482, tempera / tree, 203 × 314, Uffizi Gallery, Florence.

15. David, Michelangelo, 1504, Marble, Gallery of the Academy, Florence.

16. "Last Supper", Leonardo Da Vinci, 1498, Much. Technique, Santa Maria's refectory monastery della Grazia, Milan.

17. "Mona Lisa", Leonardo da Vinci, 1503-1505, m / h, Louvre, Paris.

18. "Creation of Adam", Michelangelo, 1508-1512, the fresco of the ceiling of the Sistine Chapel, Vatican, Rome.

19. "Sikstinskaya Madonna", Rafael, 1513-1514, m / x, 270 × 201, art gallery, Dresden.

20. "Athens School", Rafael, 1510-1511, Machine Machine Della Siedura, Vatican, Rome.

21. "Sleeping Venus", Georgeon, 1510, m / x, 108 × 175, art gallery, Dresden.

22. "Menins", D. Velasquez, 1656-1657, m / x, 318 × 276, Prado Museum, Madrid.

23. "Return of the Prodigal Son", Rembrandt, OK. 1669, m / x, 262 × 206, State Hermitage, St. Petersburg.

24. "Self-portrait with Sasquia on his knees", Rembrandt, 1635, m / x, 161 × 131, art gallery, Dresden.

25. "The bean king (" King drinks! ")", Jacob Yordans, OK. 1638, M / X, 157 × 211, State Hermitage, St. Petersburg.

26. "Arcade shepherds", N. Poussin, 1637-1639, m / x, 185 × 121, Louvre, Paris.

27. "Death of Germany", N. Poussin, 1627, m / x, 148 × 198, Art Institute, Minneapolis.

28. "Gilles", J.A. Watto, 1718-1720, m / x, 184.5 × 149,5, Louvre, Paris.

29. "Freedom, leading people", E. Delacroix, M / X, 1831, 260 × 325, Louvre, Paris.

30. "Funeral in Ornan", Kurba, 1849-1850, m / x, 315 × 668, Museum Orsay, Paris.

31. "Breakfast on the grass", E. Manne, 1863, m / x, 208 × 264,5, Museum Orsay, Paris.

32. "Starry Night", Vincent Van Gogh, 1889, m / x, 73.7 × 92.1, Museum of Contemporary Art, New York.

33. "Dance", A. Matisse, 1909-1910, m / x, 260 × 391, State Hermitage, St. Petersburg.

34. "Kapuchin Boulevard", K. Monet, 1873, m / x, 61 × 80, GMI them. A.S. Push-kina, Moscow.

35. "Portrait of Ambroaza Vollar", P. Picasso, 1909-1910, m / x, 93 × 65, GMI them. A.S. Pushkin, Moscow.

36. "Burlaki on the Volga", I.E. Repin, 1870-1873, m / x, 131 × 281, State Russian Museum, St. Petersburg.

37. "Boary Morozova", V.I. Surikov, 1887, m / x, 304 × 587,5, State Tretyakov Gallery, Moscow.

38. "Last Day Pompeii", K. Bryullov, 1833, m / h, 456.5 × 651, State Russian Museum, St. Petersburg.

39. "The phenomenon of Christ to the people", A.A. Ivanov, 1837-1857, m / x, 540 × 750, State Tretyakov Gallery, Moscow.

40. "Ceremonies of the Deadyer", V.G. Perov, 1865, m / x, 45 × 57, State Tretyakov Gallery, Moscow.

41. "On Pashne. Spring, "A.G. Venetsianov, the first half of the 1820s, m / x, 51.2 × 65.5, the State Tretyakov Gallery, Moscow.

42. "Grachics flew", A.K. Savrasov, 1871, m / x, 62 × 48.5, State Tretyakov Gallery, Moscow.

43. "Vladimirka", I.I. Levitan, 1892, m / x, 79 × 123, State Tretyakov Gallery, Moscow.

44. "Girl with peaches. Portrait V.S. Mammoth ", V.A. Serov, 1887, m / x, 91 × 85, State Tretyakov Gallery, Moscow.

45. "Demon (Sitting)", MA Vrubel, 1890, m / x, 116.5 × 213.8, State Tretyakov Gallery, Moscow.

46. \u200b\u200bIcon "Trinity", Andrei Rublev, 1425-1427, tempera / tree, 142 × 114, State Tretyakov Gallery, Moscow.

47. Portrait of A.S. Pushkin, O.A. Kiprensky, 1827, m / x, 63 × 54, State Tretyakov Gallery, Moscow.

48. "" What is the truth? " Christ and Pilate, N.N. Ge, 1890, m / x, 233 × 171, State Tretyakov Gallery, Moscow.

49. Monument A.S. Pushkin, A.M. Pokeshine, 1880, Bronze, Granite, Moscow.

50. Assumption Cathedral of the Moscow Kremlin, Arch. Aristotle Phiorewanti, 1475-1479.

51. The Temple of Basil Blessed (Cathedral of the Pokrov of the Virgin Mary What's on the Ravy) in Moscow, 1555-1560.

BIBLIOGRAPHY

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Lectures in the course "World Art Culture". Leskova I.A.

Volgograd: VGPU; 2009 - 147 p.

The course of lectures, in which through world art, the fundamental principles of the development of the artistic culture of Europe, Russia and the East are revealed. For students, undergraduates, graduate students of art specialties.

Format: PDF.

The size: 24.1 MB

Watch, download: drive.google

CONTENT
Lecture 1. World art culture as a subject of study 3
Lecture 2. Basic concepts of world artistic culture 7
Lecture 3. Arkhetypic basis of the artistic culture of the West 18
Lecture 4. Archetypical basis of the artistic culture of the East 30
Lecture 5. Categories of space and time in artistic culture 42
Lecture 6 categories of space and time in artistic culture of antiquity and medieval 47
Lecture 7. Categories of space and time in Renaissance 54 artistic culture
Lecture 8. Categories of space and time in the artistic culture of the new time 64
Lecture 9. Categories of space and time in the artistic culture of the modern time 88
Lecture 10. Art Culture of Russia 108

The history of world artistic culture has the millennium, but it becomes an independent object of scientific analysis only by the XVIII century. The study was based on the idea that this area of \u200b\u200bthe spiritual activity of the Company is a simple combination of art species. Philosophy, aesthetics, historical sciences, art history, literary criticism investigated artistic culture mainly in the intracerellious perspective: the ideological aspects of art were analyzed, artistic advantages of works, the professional skill of their authors was revealed, attention was paid to the psychology of creativity and perception. In this perspective, world artistic culture was defined as a set of artistic cultures of the peoples of the world, prevailing in various regions throughout the historical development of human civilization.
A lot of discoveries made on this path led to the formation of the idea of \u200b\u200bworld artistic culture as a holistic process, which has its dynamics and patterns. This presentation has become taken to top XX century. And fully manifested itself in the first half of the last century in research O. Benesh, A. Guildebrand, Völdflin, K. Fall, M. Dvorakik, and others. There was an understanding that there is a common spiritual and sensual basis expressed Languages \u200b\u200bof various types of art, and world artistic culture began to be considered as a way of intellectual-sensual display of Genesis in artistic images.

World artistic culture reveals the specifics and peculiarity of the spiritual and aesthetic experience of mankind, summarizes the idea of \u200b\u200bthe arts about the arts. This subject is included in the basic curriculum and is mandatory for study.

The concept of culture. Principles of studying artistic culture.

World Art - A whole list of scientific disciplines:

Art history (as well as his philosophy and psychology)

Aesthetics (study of the forms of beautiful in artistic creativity)

Culturalology (complex of research of culture as a whole)

Cultural ethnography (science studying material and spiritual ethnic peoples)

Semantics of culture (study of cultural objects from the point of view of the meaning expressed by them)

Semiotics of culture (consideration of culture as a system of signs)

Hermenevics (study of the principles of interpretation and interpretation of cultural objects)

Ontology of culture (the relationship of culture and universal laws of being)

Epistemology of culture (study of the forms of knowledge based on cultural heritage)

Axiology (consideration of the values \u200b\u200bapproved by the culture)

What is culture? The Latin origin of the word sends us to the noun colere. "Using", "cultivation". But there is no single definition.

Classification of definitions Concepts "Culture"spanish culturologist Alberta Cafane.

1) definitions that are repelled from the concept of social heritage (Edward Supir: " culture There is any socially inherited element of human life - both material and spiritual»)

2) definitions that are repelled from the concept of learned forms of behavior (Julian Stewart: " Culture is usually understood as acquired ways of behavior, transmitted socially ...»)

3) definitions based on the concept of ideas (James Ford: "... culture can be generally defined as a stream of ideas that flows from individual to individual through symbolic behavior, verbal learning or imitation»)

4) definitions that are repelled on the concept of superborgan (i.e., lying beyond the limit of sensory perception), - intellectual, emotional, spiritual)

Culture - This is a combination of socially inherited material and spiritual elements of human life: physical objects created by man, labor skills, behavioral norms, aesthetic samples, ideas, as well as the ability to save them, use and transmit to descendants.

The separation of culture on the material and spiritual. It is believed thatmaterial is labor, dwelling, clothing, vehicles, production facilities, etc. But this type of culture is represented not only by certain objects, it includes knowledge, ability and skills of the personality processing process. The physical development of a person is also part of this culture. Spiritual culture is art, religion, education, science and the level of implementation of its achievements in life and production, traditions, customs, rites, medicine, the degree of development of the needs and interests of people in material and spiritual plans. This can also include relationships between people, as well as the attitude of a person to himself and nature ...

Such a separation is legitimate, but not worth taking it as an unconditional truth. This indicates, for example, the Russian philosopher Nikolay Berdyaev:« Every culture (even material culture) is the culture of the Spirit, every culture has a spiritual basis - it is a product of creative work of the Spirit ..." In other words, any material culture has its own cause of spiritual culture, and the consequence of this or that the spiritual state. Let's say, a mobile phone available from each of you is the object of material culture, but its existence is possible only due to the culture of the spiritual (science area), and its result is your spiritual state (for example, an SMS thinking phenomenon).

Art historical sciences

Artistic criticism

- "Consumption" of works of art (listeners, audience, readers).

Obviously, the first three of these components suggest professional involvement in the artistic sphere (as an artist (in the broad sense of the word), art historian, criticism). The fourth concerns us directly with you.

In order to study this or that scientific discipline, we need to choose a kind of "observation point" - that is, our position in time and space is relatively studied phenomena. French philosopher Henri Korben calls this point "History".

When it comes to scientific disciplines, the likelihood is that historial coincides with a point denoting the state of modern humanity. Those., Let's say physics we will study, based on most of the modern theses put forward by this science. Those., Scientific historial is unlimited and more or less motionless: we analyze physical hypotheses put forward in 4 V. BC. (for example, the idea of \u200b\u200batoms for the authorship of democritus) and the molecular theory of the 19th century on the basis of the same scientific data owned by the century of the 21st.

Is such an approach to the field of art possible? Can we study, for example, ancient Greek art, staying in the positions of modernity (modern scientific data, social device, technical capabilities, aesthetic trends) and our cultural and national identity (traditions, relevant system of values, religious views, etc.)? That is, can we study the texts of Homer, fully remaining Russian people of the 21st century, living in the era of the information society, democratic values \u200b\u200bbrought up in the direction of Christian and post-Christian culture? No, we can not, because in this case we will simply stay indifferent and deaf to these works; All that we can say about them is, it's some meaningless and banal nonsense - they say, these are "masterpieces" and "everyone should know" ... What do we do? Answer: Shift our historical in that spatially time point when these works were created (in the case of Homer, it will be an ancient Greece of the archaic period). Intellectually and emotionally this will mean - try to understand and feel the Homer's poems as they felt and understood the author's contemporaries and the author himself. Then the historial will be personal and movable. Then we can at least understand something. This is the movement of the historian - this is probably the most technically difficult thing that we have. Because it requires from us to constantly change their thinking, constantly freed from the stereotypes of modernity. It is really not easy, and it requires practice.

Why do we need all this ? Modern Russian philosopher Heydar Gemeal compared a man with a candle. There is a candle and there is her fire. The flame of the candle is not a candle. But the candle without a flame is also not completely a candle, is just an oblong wax item. Those., It is the flame of a candle makes a candle candle. Also with man. There is a person (candle) and makes sense (flame). Not being involved in the area of \u200b\u200bmeaning, a person is not quite a person, but only a combination of external signs of a person, biting without feathers. And only searching and enveling meaning we are fully in force. And the area of \u200b\u200bmeanings is the area with which the artistic culture "works".

It is difficult to disagree with how much role is played in the history of any period of art. Judge for yourself: in school history lessons after each topic devoted to the study of the political and economic situation in the world at a particular time interval, students are invited to prepare reports on the art of this era.

Also in the school course, with respect to recently there is such an item as MHC. It is absolutely not accidental, because any work of art is one of the brightest reflections of the time in which it was created, and allows you to look at the world's history with the eyes of the Creator, who gave life to this work.

Definition of culture

World artistic culture, or abbreviated MHC, is the type of social culture, which is based on the shaped-creative reproduction of society and people, as well as living and inanimate nature through funds used by professional art and folk artistic culture. Also, these are the phenomena and processes of spiritual practical activity, creating, distributing and developing material items and works of art that have aesthetic value. World artistic culture includes picturesque, sculptural, architectural heritage and monuments as well as the diversity of the people created by the people and individuals by its representatives.

The role of MHC as a training subject

In the course of studying the course of world artistic culture, both broad integration and an understanding of the relationship of culture primarily with historical events of any temporary segment, as well as with social sciences.

As mentioned earlier, world artistic culture covers all the artistic activities that a person ever was engaged. These are literature, theater, music, visual art. All processes associated with both creating and storage and distribution, creation and assessment of cultural heritage are studied. Do not remain aside and problems associated with ensuring the further cultural life of society and the training in universities of specialists of relevant qualifications.

As a training subject, MHK is an appeal to all artistic culture, and not to separate species.

The concept of the cultural era

The cultural era, or the cultural paradigm, is a complex multifactorial phenomenon containing an image of both a particular person living in a specific time and performing its activities and community of people with the same life, vital mood and thinking, the system of values.

Cultural paradigms replace each other as a result of a kind of natural-cultural selection through the interaction of traditional and innovative components that art carries in itself. MHC as a training course sets itself to study and these processes.

What is the era of revival

One of the most significant periods of development of culture is Renaissance, or revival, whose domination has been in the XIII-XVI centuries. and marked the occurrence of the era of the new time. The largest influence of artistic creativity.

After the era of decline in the Middle Ages, art blooms, and antique artistic wisdom is reborn. It is at that time that the Italian word Rinascita is used in the "revival" value, numerous analogues appear in European languages \u200b\u200blater, and including French Renaissance. All artistic creativity, primarily visual art, becomes a universal "language", which allows you to know the secrets of nature and get closer to it. The Master reproduces nature does not conditionally, but strives for maximum naturalness, trying to surpass the Most High. It begins the development of the sense of excellent, natural science and God all the time all the time find points of contact. In the Renaissance era, art becomes a laboratory and temple.

Periodization

Revival is divided into several time segments. In Italy - in the homeland of Renaissance - several periods were allocated, which were used throughout the world for a long time. This is the PRATINESSANCE (1260-1320), partially included in the period of Duty (XIII century). In addition, there were periods of Kreteno (XIV century), Quatrochetto (XV century), Ginkvestto (XVI century).

More general periodization divides the epoch for early revival (XIV-XV centuries). At this time, there are interaction of new trends with a gothic that is creatively transformed. Next, there are periods of medium, or high, and late Renaissance, the special place in which manherism is derived, characterized by the crisis of the humanistic culture of the Renaissance.

Also in countries such as France and Holland develops the so-called Late Gothic plays a huge role. As the history of MHC says, revival has been reflected in Eastern Europe: the Czech Republic, Poland, Hungary, as well as in the Scandinavian countries. Spain, Great Britain and Portugal have become countries with a prevalent renaissance culture in them.

Philosophical and religious components of the Renaissance

Through reflections of such representatives of the philosophy of this period, like Jordano Bruno, Nikolai Kuzansky, Giovanni and Paracels, are becoming relevant in the MHC theme of spiritual creativity, as well as the struggle for the right to call the individual "the second God" and associate a person with him.

Relevant, as at all times, the problem of consciousness and personality, faith in God and the highest strength. There are both compromise-moderate and heretical views on this question.

A person stands in front of the choice, and the reform of the church of this time implies Renaissance not only within the framework of the MHC. It is also a person who is promoted through the speeches of the leaders of all religious denominations: from the founders of the Reformation to Jesuits.

The main task of the era. A few words about humanism

In the head of the corner during the Renaissance rates the upbringing of a new person. The Latin Word of Humanitas, from which the word "Humanism" occurred is the equivalent of the Greek word "upbringing."

As part of the Renaissance, humanism encourages a person to master an antique wisdom for that time and find a path to self-knowledge and self-improvement. There is a fusion of all the best that other periods could offer their mark in MHC. The era of the Renaissance took the ancient heritage of antiquity, the religiousness and the secular code of honor of the Middle Ages, the creative energy and the human mind of the new time, creating a completely new and seemingly perfect type of worldview.

Renaissance in various spheres of human art activity

During this period, the illusory-naturopod-like paintings are displaced by icons, becoming the center of innovation. Landscapes are actively writing, household painting, portrait. Print engraving on metal and tree spreads. Design sketches of artists become an independent type of creativity. Picture illusiveness is present in

In the architecture, under the influence of enthusiastic, the idea of \u200b\u200bcentric popular, proportional temples, palaces and architectural ensembles that make focus on earthly, centrically promising horizontals are becoming emphasis.

Renaissance literature is characterized by love for Latin as the language of educated people adjacent to national and folk languages. Trucks such as the Plutovsky novel and city novels, the heroic poems and novels of medieval adventurous-knights, Satira, Pastoral and Love Lyrics are becoming popular. At the peak of the popularity of the drama, theaters put performances with an abundance of urban holidays and lush courtery extravagancies that become producing for colorful synthesis of various types of arts.

In music there is a flourishing of strict musical polyphony. Complication of composite techniques, the appearance of the first forms of Sonatat, Opera, Suite, Otriation and Overture. Secular music close to folklore becomes on a par with religious. There is a separation of instrumental music in a separate look, and the vertex of the era is the creation of full-fledged solo songs, operas and oral. An opera house comes to replace the temple, which occupied the center of the musical culture.

In general, the main breakthrough becomes the fact that once medieval anonymity is replaced by individual, copyright creativity. In this regard, the global artistic culture goes to a fundamentally new level.

Titans Renaissance

It is not surprising that such a fundamental revival of art actually could not take place without those people who created their creations a new culture. Later they began to call "Titans" for the contribution they made.

PRASTORENESANS personified Jotto, and during the quatrocherto opposed each other structurally strict mazacho and sincerely-lyrical work of Botticelli and Angeliko.

Average, or represented Rafael, Michelangelo and, of course, Leonardo da Vinci - artists who have become icons at the turn of the new time.

The famous architects of Renaissance became Bramte, Bruneland and Palladio. Breigel Senior, Bosch and Van Eyk - painters of the Dutch Renaissance. Golbaine Junior, Dürer, Senior cranes became the founders of German Renaissance.

The literature of this period remembers the names of such masters, "Titans", like Shakespeare, Petrak, Cervantes, Rabel, who gave the world lyrics, Roman and Drama, as well as contributed to the formation of literary languages \u200b\u200bof their countries.

Undoubtedly, the Renaissance era contributed to the development of many directions in art and gave impetus to create new ones. It is not known what the history of world artistic culture would be if this period was not. Perhaps classic art today would not cause such admiration, most directions in literature, music and painting would not exist at all. Or maybe everything, with which we used to associate classic art would appear, but for many years or even centuries later. Whatever the course of developing events, and is obvious only one thing: even today we admire the works of this era, and this once again proves its significance in the cultural life of society.