Scene with Bizon what the author wanted to say. The subject of the lesson: the emergence of art and religious beliefs

Federal Agency for Culture and Cinematography of the Russian Federation

Branch of Moscow State University of Culture and Arts

Department of Socio-Humanitarian Disciplines

Test

at the rate: "The History of Fine Arts"

topic: Specific features of the art of primitive society

Performed:

student II Course

group 802.

Aleeva Yu. R.

Checked:

Rudneva Ya.B.

Naberezhnye Chelny, 2010

Introduction ................................................................................. 3.

The art of Paleolithic .................................................................. 4

Art of Mesolithic .....................................................................9

The art of neolithic ..................................................................... 10

Art of the bronze age era ................................................ ... 15

Art at the beginning of the Iron Age ................................................ 20

Conclusion .............................................................................. 24.

List of references .................................................................. ... 25

Introduction

The amazing ability of a person to perceive and recreate images of his world around him with their roots go deep into the millennium. Primitive art developed for a very long time, and in some parts of the world - in Australia and Oceania, a number of regions of Africa and America - it existed until the XX century. Under the conditional name "traditional art".

The specificity of primitive art lies in its fumes with other forms of public consciousness. It reflects all spheres of society - economic, social and religious. Most often, an ancient sculpture is found in special religious places or in burials. This speaks of its inextricable communication with religious ideas and rites. The consciousness of ancient people was a complex interweaving of realistic and illusory principles, and this syncretism of primitive thinking had a decisive impact on the nature of creative activity.

Primitive visual creativity from the very occurrence developed in two directions. The first of them includes monumental forms (drawings in caves and rocks, megalites), the second is represented monuments of the art of small forms: shallow sculpture, clay plastic, robbery, bones and wood.

Whole areas of ancient artistic creativity disappeared in the depths of the Millennium. Even the tree is preserved only in much conditions - in extremely damp soil of peatlands, and such materials, like berst, fur, fabrics, are extremely short-lived and in archaeological excavations are extremely rare. The ethnographic observations suggest that they are widely used primitive people for the manufacture of art objects. But those few monuments of primitive arts who reached us are extremely diverse and expressive.

Art Paleolithic

Paleolithic (ancient eyelid) is the earliest and most prolonged period in the history of mankind. Moreover, art originated only in the late (upper) Paleolite, that is, about 40 thousand years BC, when, according to archaeologists, all types of fine art appeared.

The basis of its art of Paleolithic is naive realistic. It is characterized by a mighty natural sense of life, masculinity and simplicity. At the same time, showing a dormant to individual subjects, a primitive person could not reach a one-piece picture of the world, to summarize and associate phenomena among themselves and nature. He did not own the composition, did not give a detailed plot, did not feel space.

The monuments of the Paleolithic era in large quantities were found in Europe, South Asia and North Africa. An outstanding place in this row takes paintings on the walls and ceilings of the caves, in the depths of underground galleries and grotts. Early drawings are primitive: contour images of animal heads on limestone plates (Cave of La Ferrassi, Pesh Merle in France); Disorder weave of wavy lines sold in crude clay with fingers - the so-called "pasta" or "Meandra"; The prints of human hands, circled paint - the so-called "positive" or "negative" handprints.

Hand imprints of primitive man. 30-21 cm. BC. e.
Monumental images were applied with a flint cutter on a stone or paint on a layer of raw clay on the walls of the cave. In painting used earth paints, yellow and brownback, red-yellow Zheleznyak, black manganese, coal and white lime.

The highest flourishing Art of the Paleolithic era reaches in madelene period(25-12 thousand BC). In the rocking painting, the image of the beast acquires concrete features, animals are depicted in motion. In painting there is a transition from the simplest contour pattern, evenly filled with paint, to a multicolor painting, with a change in the force of tones, volumetric forms are modeled. The most characteristic samples of the Madelena period are associated with cave paintings - single images are almost in a natural value, but not related to the action in a single composition: Altamira (Spain), LASC, NW (NIO), Backdrop de Gom (France), Cave Cave (Russia ) and etc.

At the end of the XIX century. Cave painting was still unknown. In 1877 in Spain, in the province of Santander, the archaeologist Minestino de Savtuola discovered images on the walls and ceiling of the Altamir cave. The discovery was published, but the material turned out to be so unexpected and sensational that the archaeological community considered it with a fake. Only in 1897, the French archaeologist Emil Rivière was able to prove the authenticity of the images found by them on the walls of the Cave of La Mut (France). To date, as a result of targeted searches only in France, about a hundred caves with images and other traces of his primitive person are found.

In September 1940, one of the most famous primitive caves (Lasco) in France was completely accidentally opened. This cave, which modern researchers call the "prehistoric sequence chapel", was discovered by four boys, which, playing, climbed into the pit, opened under the roots of the tree fallen after a storm.

"Scene with wounded bison." Skatal painting. Upper Paleolithic. Cave shops. Department of Dordogne. France.

"Bulls". 15-11 cm. BC. e. Painting cave shops. France

LASCO has now been turned into a first-class equipped museum. Lasco painting belongs to the number of the most advanced artistic works of the Paleolithic era. Its the oldest images are dating about 18 thousand BC. The cave complex consists of several "halls". The most perfect part of the quality of painting and excellent safety is considered a "big hall" or "Bull Hall".

Schulgan-Tash cave, better known as Capov, is located on the Southern Urals in the White River Valley on the territory of the eponymous reserve (Republic of Bashkortostan). Animal images on the walls of the capped cave were opened in 1959. They were contour and silhouette drawings made by a red ocher based on animal glue. Currently, 14 drawings of animals were detected by speleologists. Among them are Mammoths, Horses, Rhino and Bison. Most images are concentrated in the "Hall of Pictures", moreover, images on the southern wall in the Hall of Chaos were found later. In addition to the identified images of animals on the walls of the cave, geometric signs, anthropomorphic images and fuzzy contours, shaped okra are marked.

In the era of the upper Paleolithic, a carving on the stone, bones, wood, as well as round plastic develops. The oldest animal statuettes - bears, lions, horses, mammoths, snakes, birds are distinguished by the exact reproduction of the main volumes, wool textures, etc. Perhaps these figures were created as a compatibility of a shower, which coordinates well with the data of ethnography, served as amulets-overavera who defended people from evil spirits.

The image of a woman is one of the main plots in the art of the Late Paleolithic Age - was summoned to the life of the specifics of primitive thinking, the need to reflect in the "tangible" specifically-shaped presentation of the unity and relationship of primitive communities. At the same time, the special magical power was attributed to these images, the ability to influence the successful outcome of hunting. The figures of dressed and nude women of that period - "Paleolithic Venus" - on the perfection of forms and thorough treatment indicate a high level of development of costelus skills in the ice age hunters. Made in the style of naive realism during the matriarchate period, figures with extreme expressiveness transmit the basic idea of \u200b\u200bthis generalized image - female mother, ancestor, the keeper of a homely hearth.

If Eastern Europe is characterized by images of full women with hypertrophied female forms, then women's images of the upper paleolithic Siberia do not have such exaggerated modified forms. Cut from Mammoth's Talnia, they represent two types of women: "thin" with a narrow and long torso and "massive" with a short torso and deliberately extended hips.

"Woman with a cup." Limestone relief (from Lossel, the Department of the Upper Pyrenees, France). Upper Paleolithic. Museum of Fine Arts. Bordeaux.

T.N. Villendorf Venus. Limestone (from Villendorf, Lower Austria). Upper Paleolithic. Natural historical museum. Vein.

Art of Mesolithic

In the era of the Mesolithic (Middle Age) and Neolithic (Novocamena Century), the development of the population of the South and the North has gone different ways. Especially brightly, this difference was manifested in economic activity, closely related to the specific natural conditions of each of two zones. The law of uneven development of different districts has entered into force. And if in the southern regions during this period, people begin to lead a settling lifestyle - the tribes of farmers and cattle breeders appear, the traditional forms of farm continued to develop in the north - hunting, gathering. With the retreat of glaciers in Europe begins warming.

Deep changes of climatic conditions led to significant changes in flora and fauna. The northern deer, which served as the main mining of Madelene hunters, finally disappears in South and Central Europe. The object of hunting becomes elk, noble deer, bison, boar, small animals, waterfowl. Intensively develops fishing. The treatment of stone workers of labor is improved, thanks to the invention of boats, very extensive spaces begin to actively master, the appearance of the bow and arrows makes the hunt more efficiently. The appearance of Patriarchate complicates relations between people.

The role of magic increases, the naive perception of nature disappears.

These changes affected art, primarily in rock painting. If the cave Paleolithic painting consists of certain, not related figures, then in the rocky painting of the mesolithus, multifigure compositions predominate, vividly reproducing various episodes from the life of hunters. Colorful and engraved images of a small size on the open rocks of East Spain, the Caucasus, Central Asia demonstrate a distinct new approach to solving the story scene, due to the appeal to the compositional principle of the organization of the visual material, on the basis of which an expressive-semantic integer is created, a narrative principle is developing.

The central place, both by the number and quality of images, belongs to the scenes of hunting and battles. "Fight archers" is one of the brightest mesolitic compositions (Eastern Spain). Image content is associated with man. The battle itself is reproduced using eight human figures. They are options for a single motive: a person in a rapid movement is depicted by several zigzag dense lines, slightly expanding in the upper part of the "linear" body, and a rounded speck of the head. The main pattern in the location of the figurock becomes their repeatability at a certain distance from each other.

Art Neolithic

Significant changes in the life of primitive society made it possible to name this period of development of the history of the "Neolithic Revolution". The melting of glaciers, leaving the mark in the memory of mankind in the form of a legend of the World Flood, led the peoples in the movement, which began to intensively settle new spaces. The largest change was to transition to a producing farm, which involves a settling lifestyle with permanent settlements. The man learned to build new types of dwellings - on stilts, structures from the brick dried in the sun (raw), learned to defend his settlement. In the art of that time, images of people begins to play an increasingly significant role, the activities of the team becomes the central theme of art.

The pictorial creativity of the population of Eurasia in the Neolithic era is represented by two directions: monumental flashers

"Leopards". Rocky relief

in Fezzan (Libya). Neolithic. Schematic images of human figures. Skatal painting. Neolithic. Mountains of Sierra Moraine. Spain.

and monuments of art of small shapes - wooden, stone and bone sculpture, clay plastic and images on ceramics.

The bucket from the Gorbunovsky peatman (Sverdlovsk region, RSFSR). Wood. Neolithic. Historical Museum. Moscow

The ax in the shape of a leggy head. Polished stone. Neolithic. Historical Museum. Stockholm

The guns decorated with reliefs. Bone (from the cave of Exterior, the Department of Lower Pyrenees, France). Neolithic. Private assembly. Paris.

Ceramic production refers to the number of the most ancient on Earth. The presence of an easily accessible material - clay - has led to early and almost widespread development of ceramic craft. Initially, still in Paleolitis, the main type of ceramic products were thick-walled vessels with a porous shard, round or conical bottom. They were saming by hand by increasing individual clay harnesses. In the clay, so that it does not crack when firing on an open fire, pushed shells and crushed granite were added. According to numerous fingerprints, it was found that the oldest ceramic vessels were made by women.

In the era of Neolithic, humanity was first learned to skillfully extract the clay dishes. Wealth forms (jugs, bowls, bowls), the ornamentation of neolithic vessels allow them to consider them as artistically decorated works of art. You can trace the development of the ornament from the simplest, extruded by the stampik and the edges of the patterns (the so-called daisy-comb-type), which were covered in various combinations the entire outer surface of the vessels, to much more diverse and artistic expressive paintings, consisting of rhythmically alternating spirals, concentric circles, wave-like lines , mesh and chess drawings, etc. Patterns were often multicolored. The combinations of red, white, black and other paints were used.

Neolithic masters knew and appreciated clear rhythm, symmetry in the position of the pattern, the proportionality of forms and a strict ornamental composition. It is ceramics in its more or less mass production due to its one-dimension and slow evolution of decorative elements gives archaeologists reliable chronological benchmarks and allows you to talk about one or another archaeological culture most often than one region.

The most early samples include ceramics from the Karadep and Geoksür settlements in Central Asia. All signs of painting have a certain meaning associated with the nascent animistic (animated) perception of nature. In particular, the cross is one of the solar signs denoting the sun or the moon.

Tripolian ceramics (Village Tripoli, Ukraine) marks the next stage of development of ceramics dated to the end of the III milk. BC. In the content of the painting there are significant changes. At Tripolian ceramics depicted wavy, zigzag lines, a running spiral, rhombus, crosses, as well as people, animals - in other words, many elements. In this case, all abstract visual forms are full of semantic significance. Wavy Line - River, River Spiral - Continuous Running of the Sun, Movement of Time, Roma - Symbols of the Female Divine, Sending to the Earth "Heavenly Welcome", Cross - Sun Disk, Zigzag Line - Snake, Patron Nursery, Intermediary Between Heavy and Earth, Rain Symbol , "Christmas tree" - a plant or cereal spike.

Ceramic painting was a peculiar story about the surrounding reality in all its versatility and multipleness. The focus of human consciousness is no longer a single phenomenon (beast), not a single action of people, a specific event from the life of human society (battle, hunting, dance, etc.), and the multipleness of the surrounding world is a new, higher and complex level of development Consciousness (including abstract thinking) of primitive man.

Separately, it is necessary to say about the development of the ornament, which appears not only on clay vessels, but also on other objects of life. The simplest ornament appears as a trail from weaving, an incelaved clay. In the future, geometric patterns appear (parallel stripes, double spirals, zigzags, concentric circles, etc.), plant motifs that have a variety of semantic meaning.

In an ancient sculpture of neolithic fishermen hunters, two main topics have found their incarnation: Man and Beast. Especially distinct the continuation of the traditions of Paleolithic art can be trained in zoomorphic sculpture. It is characterized by a realistic image interpretation, the thoroughness of the modeling of the muzzle of the beast, the stability of the visual receptions during the transmission of individual parts. Images of individual animals heads predominate in sculpture, which is one of the features of primitive animalistic art. In the eyes of an ancient hunter, the head personified the very essence of the beast. The specificity of primitive thinking forced him to express this representation clearly, and therefore the head was made disproportionately, and its details were discharged particularly carefully. This pattern is observed and as an image of an animal shape.

Anthropomorphic figures were made from the same materials as household items (wood, clay, bone, horn, stone). However, in individual historically established groups, the well-known selectivity of the material is traced, which is probably due to the ethnic tradition and the appointment of specific images. You can talk about predominance in separate foci of ancient art of a type of image. The find in such a focus of figures of foreign types indicates the existence of contacts between the population of various areas. Anthropomorphic and zoomorphic figures, transmitting certain images of ancient mythology, were undoubtedly integral accessories for certainly defined religious rites. Anthropo zoomorphic statuettes found in small quantities symbolized the inseparable communication of a person with its surrounding nature.

Anthropomorphic subject. Fashionable image. Neolithic. Sheremetyevsky rocks. Khabarovsk region.

Another characteristic genome of fine art in the era of Neolithic was petroglyphs - multifigure plot compositions in which images of man and animals dominate. Petroglyphs were distributed in Northwest Europe, in the Urals, Siberia, Transcaucasia, Central Asia. They were knocked out on rocks or rocky river banks ("boats, deer", II thousand BC, Karelia).

The art of the bronze century era

Typically, two large periods are isolated - the eneith (copper-stone age) - the transition period from the era of the stone to the era of metal and the Bronze Age (III - II thousand BC). With the epoch of bronze, important milestones are associated in the history of mankind. First of all, it is the further spread of the producing farm - agriculture and cattle breeding and the development of a new material - metal, primarily copper and its alloys. At the beginning of the metal era, there is an expansion of contacts between peoples who lived in extensive territories. This process was especially noticeable on the territory of the Steppe Eurasia, where there is a producing cattle-breeding economy from the paleometallic era. In many respects, it was also associated with new technical inventions, in particular, with the advent of the wheel wagon, and in the period of late bronze - using a horse for riding.

In the era of bronze with the introduction of new forms of farming and metal tools, the major public division of labor occurs, which created the conditions for regular exchange and strengthening property inequality. The craft is separated from agriculture, male work becomes increasingly important, which finally leads to the approval of Patriarchate, unquestioned submission to the eldest in the generic community.

From the end of Neolith, art is enriched with new and new plots. The subjects of the images are expanding, new methods of transmission transmission are developing, the role of the figurative symbolism sharply increases, the trend towards the image of fantastic characters becomes sharply increasing. On the other hand, the desire to styling, simplifying the pattern. Images of beasts appear more and less. Everywhere the geometric ornament is distributed, for which the main thing is the sign.

The art of the bronze era has a number of features. It becomes more diverse and widely spread geographically. Petroglyphs, images on stone steles and plates, sculpture, small plastic, ornament, the use of artistic images in the design of labor tools and household items - all this becomes a widespread phenomenon. In the art of this time, for the first time, it is possible to trace the bright plots associated with the mythology of ancient peoples, in particular Indo-European. Images of ancient art are becoming a kind of "fine language", a sign system, understandable related groups. This feature of ancient art continues to manifest itself in the ornamentation of ceramics and other household items.

In the visual work of the bronze era, two main directions can be distinguished: anthropomorphic and zoomorphic sculpture and household items are wooden, clay, stone, bone and bronze, as well as the facilities of megalithic architecture.

For the ancient art of the European North-West, peculiar anthropomorphic clay plastic is extremely characteristic. The special group in it is small human figures with a strongly curved torso. Despite the plastic properties of clay, allowing to vary widely with forms, these images are made in strictly regulated canons. The image itself is extremely generalized: there are no hands, the legs are transmitted in a punk. The details such as a massive protruding nose and hanging on the face "visor" are accented.

Among the early monuments of primitive canonized art - Anthropomorphic sculptures are widespread in the southern regions of Europe and the Mediterranean, including the so-called "stone women" of the North Kitominea - vertically standing, rudely dyed stone plates with a more or less clearly designated head and folded on his chest . Among the additional elements (onions, crea, staff) are the most canonic images of the belt and human foot. On steles, signs of sex are not always indicated, but some indirect data indicate that most of the anthropomorphic sculptures of the late Neolithic and the bronze era correspond to their Russian nickname "Stone Baba". In France, where such images are found not only on steles, but also in the form of reliefs carved on the walls of numerous caves, they are considered by the personification of the Neolithic goddess - "patroness of the dead."

There are images of people and in the tree (East Trans-Urals). The diversity of the forms of anthropomorphic sculpture in the era of early bronze shows that already at this time, as a result of a realization, his image occupies one of the central sites in the work of the ancient masters.

Mastering the technique of bronze casting expanded the creative possibilities of ancient masters. Bronze products, tools, weapons appear. Often, the handles of bronze daggers are crowned with animal heads, in particular elk. Completed in the metal, they continue the traditions of the ancient carving of wood and horn.

The art of bronze casting was especially clearly manifested in the items of the Galich Gold (Ser. II thousand BC), found in the Kostroma region and now located in the State Historical Museum in Moscow. The bronze dagger is especially interesting, whose handle crosses the head of the snake with an open mouth. In the rosters of handles - an image of a crawling snake. Among the objects of the treasury is the bronze mask-liny, repeating in the main features of the face of anthropomorphic male idols. It is crowned with two profile images of animals, looking in opposite sides. The hollow figure of an animal with a long tail and "beak" muzzle is also part of the treasure. In general, the Bronze Things of the Galich Valave is likely to represent attributes associated with the formation of shamanism.

The most important phenomenon, almost everywhere characterizing the era of bronze, was a megalithic architecture. Monuments of megalithic architecture were closely related to religious and cult tasks and thus went beyond the direct utility. Comparatively the same type of nature of these ancient architectural structures, about the same time of their appearance in Europe, a huge amount of them and unusually widespread dissemination indicate the existence of some homogeneous beliefs that have existed among various peoples who have erected these gigantic monuments everywhere from Ireland to Burma and Korea, from Scandinavia and Madagascar. Only in France there are about four thousand.

There are three types of megalithic structures:

Mengira - Lonely cigar stone pillars up to 20 meters high - carry features and architecture, and sculptures. Sometimes reliefs were carved on them, sometimes their form came closer to the human figure (the "stone women" can be attributed to Mengram). They were erected on the hill, and the strength of the exposure to the viewer was achieved by a contrasting comparison of proudly rising upward vertical mass of powerful monolith with its surrounding small wooden huts or appliances.

The architectural start is most pronounced in dollmen - Most likely, the burial structures of several shepherd stones are blocked by a wide horizontal stone slab. Dolmen are widespread in Western Europe, North Africa, Crimea and Cocaine.

More complex buildings - cromlehi. The most grandiose of them was erected in Stonehendzh (beginning of the II thousand BC, England) from huge rudely left-sided four-piano boulders of blue stone. In the plan - this is a round platform with a diameter of 30 meters, closed by four rings of vertically furnished stones connected by the beams lying on them, forms the similarity of a giant round dance. The inner ring, in the center of which is the stone slab - perhaps the altar, composed of small mengirins.

As a result of archaeological excavations within megalithic monuments, either under them, or near them often reveal. It brings the archaeologists to interpret the monuments as a place of particular importance for funeral rituals, which adhered to the agricultural community of this area.

In New Grandge (Ireland), there is a huge 11-meter kurgan of stones and peat. Through the foundation of the Kurgan 24 meters deep into the corridor stretches, below and above the massive stones. It ends with three premises, too, lined with stone. At certain days, the rays of the rising sun penetrate the corridor and illuminated the central hall located in the very depths.

In Carnak (Brittany, France), several kilometers stretched along the plain rows of vertically standing stones. Today, only three thousand remained from ten thousand of originally placed stones. Although no burial was found under Karnaki Mengirs, near them there are many megalithic graves.

In favor of the hypothesis about some unknown single cultural tradition, the fact that not only the idea of \u200b\u200bsuch structures, but also associated with them and decorative elements, including solar signs, also receives the extent. The possibility of communication of megalithic structures with the cult of the Sun indicates both of them (for example, StoneHenge), are focused on their main axis to the sunrise point on the day of summer solstice.

Art at the beginning of the Iron Century

The widespread use of iron finally displaced the stone tools and gradually completely replaced the bronze in the I millennium BC, which resulted in the further rapid development of man's economic life.

The most famous works of art of that period are bronze and iron products found in Scythian mounds.

For the first time about Scyths, the world learned more than 2.5 thousand years ago from the Greeks, which then began to master the Northern Black Sea region and faced here with the militant semi-oral tribes of skillful riders. The whole book dedicated to Scythians in his "history" of Herodotus (V c. BC), who, as it is believed to visit the Black Sea and drove on these places.

There are two understanding of the term "Scythians": ethnographic and geographical. Actually the Scythians lived in the Black Sea region, between the Danube and Don. Greek and Latin texts retained several Scythian names and toponyms, of which it is clear that their language belonged to the Indo-Iranian group of Indo-European language family. From modern languages \u200b\u200bcloser to the Scythian Ossetian language. According to his appearance, as well as on the numerous definitions of skulls from the excavated burials, the Scythians were undoubted Europeanoids. Therefore, blocking "diagonal and greedy eyes" - the fantasy of the great poet. Conditionally such tribes of the Scythians are called "European".

Nomadic tribes, close to Scythians in language and culture occupied a much larger territory - the entire belt of steppes from Don to Baikalia, including foothills and mountain valleys of Tien Shan, Pamir, Gindukusha, Altai and Sayan. Recent excavations are typically Scythian things found not only in Sinjiang, where it is not surprising, but also in the deep regions of China, in Iran and Anatolia. There were also many different tribes among the riders of Asian steppes, whose names are mentioned in different ancient sources. In Greek, Iranian and Chinese texts, they were called "Savromat", "Massage", "Saki", "SE", respectively. This is "Asian Scythians". Among the many finds in the mounds of European Scythia, along with subjects that carry elements of Greek and old artistic traditions, can be seen and "purely" Scythian Manera, the same in its stylistic features, as in images found in Central Asia and in South Siberia.

Since the Scythians led a nomadic or half-blood lifestyle, the main knowledge of their material culture was developed according to the results of the Kurgan excavations, which are conventionally called the "royal", since it was in them the most luxurious, precious things. The brightest and rich finds from the Scythian and later Sarmatian Kurgans are presented in the Hermitage collection, which accumulated more than 200 years. At first (from 1726), she was kept in the first Russian museum - Kunstkamera, and from 1859, from the moment of the creation of the Imperial Archaeological Commission - in the Hermitage. Now the ancient artistic objects of Scythians and related tribes of steppe Eurasia are in many other museums of Russia (in Moscow - in the State Historical Museum) and foreign countries. They are also kept in the museums of Ukraine, Kazakhstan, Kyrgyzstan, in the museums of Turkey, Iran, Afghanistan, China, Mongolia, in the United States (Metropolitan), in France (GIME, Saint-Germain An Le), in England (British Museum) and in a number Private collections (for example, the meeting of A. Sakler in New York). In Siberian museums, thousands of objects of Scythian artistic bronze, found at different times, starting from the XVII century. And until today. Numerous gold and silver jewelry occur from the Siberian Kurgans.

The most famous Kurgans are damaged (the right bank of the Dnieper) and Kul-both (Crimea). In each major Scythian Kurgan buried servants and concubines of the deceased, as well as to several dozen swing and seeded horses. About 400 horse skeletons were found in one of the large mounds, a whole tobun. The traditional "set" of the personal jewelry of the leader, decorations of horses and weapons, household items (in particular Cups) was found in Kurgan. The numerous and diverse weapons were decorated with the help of gold plates, with predetermined images that covered almost the entire surface of the sheath, quoll, handles, sequirs, etc. A characteristic feature of Scythian decorative-applied art is the domination of the so-called "animal style", where the full-blooded image of the animal was combined with an ornamental solution of the details.

Unique, for example, is considered a discovery - a cup from Kurgan Kul-Both. The rounded electrical cup, decorated at the bottom of the typical Greek pattern, is covered in the upper half of the image, representing some sequential visual narration. At the Cup, the seven pieces of men-Scythians, six of them are three pairs, and one Scyth that stretches onions is shown separately. Such a selection allows you to see a central figure in it. Another onion hangs on his belt. Since only one bow was included in the usual set of armaments, the question immediately arises, what is the function of the second? In 1970, the famous Moscow Skipologist prof. D.S. Raevsky carefully examined different variants of the Scythian genealogical legend, fragments survived in Greek and Latin texts. Of these options, the next rod plot of the legend about the origin of the Scythians. In the mythology of each people there is a guy, as a rule, the king. In Scythians, such a first time was the king of Targytai, born from the marriage of the sky and the Earth (the usual for all the Indo-European peoples of mythology). He had three sons (also a very popular situation that has passed into magical fairy tales): Kolaxay, Lipoxai and Arpexai. Feeling the approach of old age and thinking about the heir, Targitai put the condition to the sons: the kingdom will go to the kingdom, who will be able to stretch his onions and sweep the royal shell belt. The eldest son began to stretch the bow, but the onions ran out of his hands and hit him in the jaw; Middle Son Perekron Bow hurt the shin and only the younger son coped with the task and became the king.

Conclusion

Art in the early stages of their historical development has not yet been mediated in an independent sphere of human spiritual life. In primitive society, there was only nameless artistic creativity belonging to the whole society. It was closely intertwined with primitive beliefs, but did not determine by them. Primitive art reflected the first ideas of a person about the environment, thanks to him, knowledge and skills were passed and passed, people were communicated with each other. Art was associated with human labor activity. Only everyday work experience allowed the ancient masters to create works that not only go beyond its original purpose, most often the cult, but still worry us the expressiveness of their artistic images.

Primitive art played an important role in the history and culture of ancient humanity. The imagination of man was embodied in the new form of being - artistic. Fixing in visible images of their life experience and a worldship, primitive man deepened and expanded the ideas about reality, enriched his spiritual world.

Having learned to create images (sculptural, graphic, scenic), a person acquired some power over time. Primitive art reflected the first ideas of a person about the environment, thanks to him, knowledge and skills were passed and passed, people were communicated with each other. In the spiritual culture of the primitive world, art began to play the same universal role, which pointed stone performed in labor activity. The appeal of primitive people to the new activity for them is art - one of the greatest events in the history of mankind.

Bibliography

1. Alekseev V. P., Pershitz A. I. History of primitive society: Textbook for universities. - M.: Higher School, 1990.

2. Kravchenko A.I. Cultural Science: Tutorial for universities. - 3rd ed. - M.: Academic Project, 2001

2. Larichev V. E. Cave Wizards. - Novosibirsk: West Siberian Book Publishing House, 1980.

One of features primitive culture is ... or the deity led to specific Motor motion, which and ... society. Performs ideological function. Based on works art Uppected I. special ...

Explain the meaning of words: cave painting, witchcraft, soul, "country of dead", religious beliefs.

• Cave painting - images in caves made by ancient people, one of the types of primitive art.
• Witchcraft - the occupation of magic as a craft, in which the sorcerer declares about contact with the supernatural forces (demons, spirits of the ancestors, nature and others).
• Soul - according to religious and some philosophical beliefs, an immortal substance, an intangible essence, in which the divine nature and the essence of man is expressed.
• "Country of the Dead" - according to religious beliefs, this is the illuminated world, where the soul of the deceased person is sent.
• Religious beliefs - appeared in primitive beliefs in witchcraft, in the soul, in life after death.

Check yourself

1. How was the cave painting open?

In 1879, the Spanish archaeologist-lover of Minestino-Sans de Sautola, together with his 9-year-old daughter, during the walk she accidentally stumbled upon the cave of Altamira in Northern Spain, the arches of which were decorated with many pictures of animals made by ancient people. The find who had no analogues were extremely shocked by the researcher and advocated him to her closer study. Subsequently, the work of primitive art was found in many other caves in which ancient people lived.

2. Why are primitive artists depicted mammoths, bison, deer, horses? What role did these animals play in the lives of people?

The oldest artists painted the beasts on which they hunted. The authors managed to convey the accurate appearance and nature of the animals: deer were shown sensitive and alerts, horses - quick and rapidly, mammoths - massive, heavy with a high convex population. These animals played a huge role in the life of primitive people who used their meat into food, housings - as a fastener material, bones - for the manufacture of tips and other workers, skins - for the manufacture of clothes.

3. What ancient religious beliefs do you know?

Ancient people believed in a hunting magic, in the soul of man and the "country of the dead", where the souls of the ancestors are sent.

4. How did primitive people imagined the life of ancestors in the "country of the dead"?

Primitive people imagined the life of the souls of ancestors in the "country of the dead" of similar to his own life. The souls of the ancestors move to the distant "country of the dead," they live there by the generic communities, hunt, catch fish and collect edible fruits. Khoronia Sorodih, people put in his grave everything necessary for traveling to the "country of the dead" and for living in this country: food and strong shoes, clothes, weapons, decorations.

Think and discuss

1. What I wanted to tell the artist who created the scene with the bison and the defeated hunter (see fig. On p. 19)? Guess what preceded what is depicted.

Probably, the artist captured the story of one of the hunt, in which a member of the community was killed, but Bison was defeated, while the hunters managed to avoid a meeting with a rhinoceros. Perhaps this is part of the so-called primitive "hunting magic", and the drawing symbolizes and predicts a successful hunt, avoiding the danger from larger animals, but shows the inevitability of the victims during the hunt.

2. Why did primitive artists sometimes portrayed a hand on the body of an animal painted in the cave?

Perhaps so primitive artists sought to show human power over animals, i.e. Announced animal.

3. What kind of objectives archaeologists roll ancient graves? What and why can they find them? (See Fig. On p. 19.)

Primitive people believed that, dying, the soul of relatives goes to the distant "country of the dead," where he continues to live, hunt and enjoy the fruits of hunting and gathering. So that the path of the soul in the "country of the dead" and the afterlife was good, people put in the grave everything that may need the deceased on this path: clothes, weapons, decorations. Archaeologists roll ancient graves to learn more about the dead man. By the bones, you can determine who man was, as he looked like he lived, as he died. And according to things in the grave, scientists can describe the life and level of community development. The combination of such data allows you to find out where and how the ancestors of a modern person appeared, to determine the path that mankind has passed in its development.

Let's summarize and make conclusions

Who are called primitive people? Where and when, on the assumptions of scientists, lived ancient people?

Primitive people are called representatives of numerous human-like species who lived before the era of the invention writing, after which the possibility of historical research based on the study of written sources appears. The man has passed a long way of evolution from primitive monkeys, Australopiteks, a person skillful (Homo Habilius), a man of spinner (Homo Erectus) to a man of reasonable (Homo Sapiens).

The evolution of a person has 5 million years. The ancient ancestor of a modern man is a skillful man (Homo Habilius) appeared in East Africa 2.4 million years ago. He knew how to mine fire, build simple shelters, collect plant food, process a stone and use primitive stone tools of labor. Many stone labor tools of various shapes and sizes were found in the Olduva Gorge (Tanzania).

Man skilled lived only in Africa. The first left Africa and penetrated Asia, and then in Europe, Homo Erectus). He appeared 1.85 million years ago, and disappeared 400 thousand years ago. A lucky hunter, he invented many tools, got a housing and learned to use fire. The guns used by the man-standing, were larger than the instruments of early hominid (man and his coming ancestors). With their manufacture, a new technology was applied - an intestine of a stone blank on both sides. They represent the next stage of culture - Ashhelskaya, named according to the first finds in Saint Ashle, the suburb of Amiens in France.

Compare the oldest people and people reasonable. What is the difference between them? What is the similarity?

The ancient man very much resembled a monkey. He had a rude face with a wide shred to her nose, a heavy lower jaw without a chin, going back forehead. Above the eyebrows was a roller. The gait in people was not yet quite straight, jumping, long hands hanging below the knees. People have not been able to talk yet. A reasonable person was distinguished from the most ancient people near anatomical features, a relatively high level of material and intangible culture (including the manufacture and use of labor tools), the ability to a self-split speech and developed abstract thinking.

However, the most intelligent people and people were also similarities. All of them lived with groups, carried out joint activities for the extraction of food, living housing and protection against predators.

Who were the most ancient artists on earth? What do you know about the religious beliefs of primitive people?

Ancient artists depicted in the caves in which they lived, animals, people and scenes of hunting. In view of the antiquity of rock paintings, reliable evidence of the causes of the creation and value of cave painting has not been preserved. Modern researchers have a number of hypotheses relative to their value; There is no consequential opinion on the purpose and meaning that the ancient artists invested into their work, the science could not work out. Some scientists suggest that the rock paintings served as part of the rituals of "Hunting Magic" and were to, according to the ideas of primitive people, bring good luck in the hunt. Other scientists based on the examples of tribes, to this day living hunting and collecting, believe that cave painting is part of the shaman's beliefs of primitive people, and that the drawings were created by the shamans of tribes, which were in the state of the trance and imprinted their vision, perhaps trying to get Some special forces.

Primitive people had their own religious beliefs. They believed in a hunting magic, spending rituals before hunting. They also believed in the existence of a man's soul, which pulled out of the body while the man slept, and lived his own life. And when a man died, his soul went to the distant "country of the dead," where he continued to live and hunt. In order to ensure a long soul path into the afterlife, the ancient people put in the grave of the deceased all that he could need in life after death: clothes, weapons, decorations, etc.

Kombarel, parking of the era of the Upper Paleolithic in the cave (Kombarel, near Lez-Ezi in the Department of Dordogne (France). On the walls in the depths of the Cave of a narrow corridor with a length of 237 m in 1901 Over 400 images of various animals (mammoths, rhinos, horses, bison, deer , Alpine Lions, etc.), as well as anthropomorphic figures. The technique of drawing drawings is predominantly engraving.

Zaray Sai, a gorge in the southwestern spurs of the Gissar Range. On rocky canopies Z.- S., in the niches and small grottoes were found to the ocher drawings. G. V. Parfenov in and A. A. Formozovy in the main plot of rock painting Hunting people with dogs on wild bulls, Jeyranov, Kozlov, Kabanov; Hunters are armed with onions and arrows and are closed in masking clothes; There are other images. Possible drawings of the Mesolithic dozolithic. Found and later images are found. Zaray Sai, a gorge in the southwestern spurs of the Gissar Range. On rocky canopies Z.- S., in the niches and small grottoes were found to the ocher drawings. G. V. Parfenov in and A. A. Formozovy in the main plot of rock painting Hunting people with dogs on wild bulls, Jeyranov, Kozlov, Kabanov; Hunters are armed with onions and arrows and are closed in masking clothes; There are other images. Possible drawings of the Mesolithic dozolithic. Found and later images are found. Ecolitonezolitholyolitonezololol

White Sea Petroglyphs are compact - their distribution area does not exceed 1.5 sq. Km. 10 points are known at large (Big Malinin, Yerpin Pudas, Shoyukshin) and small nameless islands. Pictures are knocked out on durable crystalline shale of gray. In antiquity they were in the water itself. Most of the knockers are small (20-50 cm.), But there are also giants 3-3.5 m long; There are also very small - less than 5 cm.

Kobustan. Shark image. Within Kobustan, in the pool r. Jarankechmaz, known over 4 thousand ancient rock paintings (silhouette and contour engraving, painting), among which scenes of harvest, sacrifices, dances, images of boats with rowers, people and various animals (date from the mesolite time to the Middle Ages). Next to the weak pictures, in the caves and firmware, the parking lots were found. Kobustan. Shark image. Within Kobustan, in the pool r. Jarankechmaz, known over 4 thousand ancient rock paintings (silhouette and contour engraving, painting), among which scenes of harvest, sacrifices, dances, images of boats with rowers, people and various animals (date from the mesolite time to the Middle Ages). Next to the weak images, in the caves and fuser, found parking of the stone century. Enacting images of images

Tassili Elephant's casual art (Wed Jarat) referring to the "buffalo period". The plot is very common in the molding art of the Sahara, starting with the "buffalo period" to the present, especially in Aire, where the elephants lived even less a hundred years ago. In Wede Jerate, there are 96 images related to different periods. The elephant shown on the vertical plate; Squares that have been drawn ear should depict the skin folds on its outside. Width 1.8 m.

Figure "The buffalo period" on the horizontal plate (WED Jarat) represents two animals from the Feline family; One, apparently, is going to clutch the other in the back; The lower reminiscent of the cheetah, the top can portray the pins of hyena or spotted wolf, the only animal of this family, inhabiting in Savane, but capable of making bare in desert areas, it is with hyena. See Length.

Baran with a "helmet" (bu ale, south oran); On him a human figure with a shield; The height is about 1.5 m. This is one of the best drawings of the "buffalo period" both from the point of view of excellent transmission of form and parts, and from the point of view of execution by the right stroke and excellent polished surface. Since the drive head on the head, for a long time it was believed that he had a connection with the Egyptian Baran-Baran Ammona, but now it is already known that this is not so that the drawing is much older than all the images of a ram in Egypt.

An ancient buffalo with a spiral on a vertical plate (Wed Jarate), the height of about 2 m. Bubalus Antiguus is now the extinct view of the buffalo, which probably disappeared in neolithic. He plays in Sahara the role of "fossility-determinant" for the drawings of an ancient period, which is due to the very fact of this fact and is assigned its name. This animal had huge horns, the distance between which could reach 3 m. In this case, its image is accompanied by a double helix carved on the body; This symbol is very often found in the rock paintings of the Ued Jarate, but it's a mysterious meaning. On the same slab there are other drawings; Many of them are polished, among these last it is possible to distinguish a horse. There are also drawings whose contour is applied by points, for example, a giraffe between buffalo horns and a human figure to the left of them.

Skatal painting (Wed Jarat), depicting palm trees and chariot, whose wheels were erased with painting. Refers to the "horse's period", which corresponds to about 1200 BC. e. It can be seen that the old dried trees of Spinal, and therefore, palm trees cultivated. In the hands of people, there is something like sickles on long handles who served, maybe for cutting out the chipsticks. This is the most ancient image of the palm tree, found in North Africa and Sahara, in this case it is modern chariots with horses "in the flying gallop".

Painting (Parking Tacduchin, Tassili), depicting cattle shepherds. Ovals on the left means huts; There is no one in the first; Before others, women's and children's figures are visible; This is the reflection of the life of a polygamous family, which we can now observe in the shepherds of Fulbe in the cereal steppes south of the Sahara. Before the huts are standing at the tie of calf, and the rest of the bulls fall behind them, but more cows, with a removal full of milk. In some people hairstyles in the form of helmets, others in the form of small caps, like the current Fulbe.

An image of a man in the headdress of the "Judge". The figure has a height of 2 m and from the point of view of decorative is remarkable, although he suffered from time and partially destroyed. Profile is meaty, man-shaped; The lower part of the face seems to be covered with a mask; Hair is transferred to white, thick pricked strokes, and the face is covered with small vertical strokes and white dots. The right is a small human head in the same style, but the face is covered with a mask, and a tape is woven with vertical multi-colored stripes written in red, yellow and white okra.

Detail of a large panel of the "range period", called the "Court Scene". People dressed in front clothes have caps on the head, decorated with that dots, with horizontal and vertical lines; Big cloaks descend from the neck to the pee, covering the back. They are moving to the right, rounding backs and bent slightly, depicting as if older venerable people who accomplished the act of justice; The last one in one hand holds onions. Above them is a man and easier dressed holding another.

1 class. Extracurricular activities. 2 half year, January

Lesson-journey "Ancient miracle of light is a rock painting."(Primitive artist)

Spectator - Presentation "Frame drawings" (petroglyphs).

Literary Series - a) "The history of the arts for kids";

b) "Artistic culture of primitive society" (Reader, author-compiler I.A.Himik).

Musical row - Calm music with background for work.

Materials and tools: Paper white and gray, cardboard, coal, sangin, pastel.

Purpose: To form in children the ability to "watch and see", "listen and hear", "imagine and depict".

Tasks: Develop observation, creative imagination, visual and engine memory, interest in iso, emotional, aesthetic, figurative perception.

(Develop, thereby give knowledge, instill skills, work out skills)

During the classes.

1. Org. Sing (mood) -1- 2 min.
2. Introduction of new knowledge (message studies. Mater. For presentation) - 10 min.
3. Creative practical activity - 15-18 min.

Task: give a clear idea of \u200b\u200bthe upcoming work!

1. Training exercises - 2-3 minutes.

What and how does the artist-schedule work?

A) acquaintance with new expressive means: line, bar, stain and combination of these elements (+ contour, + tone);

b) acquaintance with graphic materials: coal, pastel;

c) familiarity with the technique: the end (edge, end), plafhmy, rubbing.

3.2. C / P - 15 min

4. Summing up - 3-4 min. Express exhibition

(hanging works with the story of his creative design).

1. Reflection - 1-2 minutes.

Slide 1.

We have winter, outside the blizzard window. Maybe we will go on a journey to distant, warm, unknown countries?

Your part turns into a time machine. They corrected the seats, sat down comfortably, the belts fastened. Click on the Start button: 5,4,3,2,1 - Start! We go!

Slide 2.

We will be transferred to distant ancient times, for many thousand years ago, when there were no cities or vintage castles on Earth. It was a long time ago! The oldest man looked like a monkey. Those people have not been able to talk yet. They communicated with each other as animals, with a variety of sounds.

Primitive people were afraid of predatory animals, thunderstorms, floods, forest fires. Why all this happens - they did not know, could not explain.

It's time for us to decline. Before we leave the time car, remember: we were in deep antiquity, there are no roads, some trails on which wild animals can meet. Watch yourself quietly, do not go anywhere.

Find the reduction button, land. Estate the belts. We fell into the cave age.

Slide 3.

Before us is beautiful mountains. Carefully stepping, come closer and climb higher. Look - drawings. Among those primitive ancient people were skillful artists. It's hard to believe it, but it is. People who did not know how to not only write and talk, but they could not even cut a simple pot of clay, but owned the artist's skill!

Slide 4. Warves the rocky part, look at the mountain on the other side. This beauty is the case of nature itself. Look out! We see the scene of hunting. The image is very simple: red-brown figures of running people and animals.

Slide 5.

Go down. Before us entrance to the cave. It was the caves that were home (housing) and asylum of ancient people. There they hid from rains and cold winds, from evil people and wild beasts.

There were a lot of worries from ancient people. But when he appeared free time, they loved to draw. Drew on the walls, ceiling. They saw what they saw, the fact that they were surrounded by: life and death, plants and animals. They believed that if they drew the beast in the depths of the cave, then living predators would go, without harming them. And if you draw a wounded beast - it will help them in the hunt.

There, inside the cave, dark, only torches and shadows from the fire will light our way. It is necessary to keep together, be careful.

Slide 6.

In the meantime, we did not entered, lift your heads and look at the ceiling. We can see images of animals.

Let's go deep into the cave and on the left on the wall we see a couple of deer. One of them is completely painted in red, and the second is indicated only by the contour.

Slide 7.

Before us scene hunting. Everything is simple and understandable: Fresh-footed deer rush at a huge speed, and arrows of hunters are already induced. An unknown artist used only one color, but achieved an amazing liveliness.

And now he is a handsome bison (bull). The front of the body is volumetric, and the legs seem short - the impression of the severity of the figures is created.

Slide 8.

An ancient artist using one black color, depicted a wounded bison, hit by a hunter's spear. (This is a scene with the wounded bison in the cave shop in France).

The hunter itself dies. Long-haired woman standing on one knee in front of the body of the deceased husband, mourns his death and is preparing to send to the kingdom of the dead. Ancient people believed that the souls of the dead, the souls of the ancestors move to a distant "country of the dead." And the path to the kingdom of death is sailing on the ship.

Slide 9.

The flock of bizono is carried at high speed, with huge sharp horns of the air. The knock of the hoofs of strong bulls, their terrible roar. In this picture there is a two-color image: black and red. Because these colors are clearly visible in the twilight of the caves, which are lit by the torch or the flue of the smoky fire.

Many of the most ancient drawings are very mysterious, even strange and bizarre. They are much incomprehensible. (Sometimes each figure is significantly in itself, regardless of the whole composition). Images are schematic, simplified (stylized). Sometimes only points, strips, unclear pictures for us. We can only only guess what the primitive artist wanted to say with its drawing.

Although it is clear here that 2 people are on the hunt, they are well armed.

Slide 10.

A man in a horty helmet rides on a two-wheeled cart (chariot) with a harnessed goat or horse. In front of a person a snake - a symbol (sign) of zipper. (In the Scandinavian mythology, this is God Tor in the chariot, and the image of the snake is a flash of lightning).

A scene with a praying person - a huge snake is approaching him.

Many rock paintings left us ancient artists, they left their mark in history. Thanks to them, we can get a lively idea of \u200b\u200ba person's life of those distant times.

It's time for us to go back. After examining attentively, the drawings inside the cave, wearing a fire, we take care of the campfire, they will be useful to us, carefully leave the cave.

Slide 11.

Close your eyes - it was dark there, open again - we are encountered a bright sun. Gasim torches. Once again, look at the pictures on the rock and sit down in the car time. Fix straps, 5,4,3,2,1! - Start! Let's fly home. Find the reduction button. Landed. This is our class and our desk. Moving in time in prehistoric times ended well.

Fiz.min. Stand up. Shake your feet. Scroll back. Pull up the sun. Sit down.

Do you want to become ancient artists?

On the tables you are lying. Take half, put in front of yourself. Before you coal. Yes, yes, the most we took from the fire in the cave. This is natural coal. And I put an artificial, made in the factory, compressed coal in the form of sticks. This is an ordinary burned birch wand. She added pastel chalks, and suddenly they will come to you?

What do you think: where did the ancient artists get red paint? They knew the necessary plants. Brew clay. Before applying paint on the wall so that it fastens, it was mixed with blood or egg, here and paints.

Technique work coal.

But how did an ancient artists work coal?

Training exercises.

Make with me.

1. The end (edge, end) will be a line.
2. Plafthum - Stroke.
3. Rubbing - finger from the center to the edge of the sheet (not rub!)

Let's try a little man?! Circle, cucumber, sticks - ready.

We repeat the reception: end, plafhmy, rubbing.

Choosing the right material.

It is necessary to choose the right list to work. When were you when you were in a cave, the wall touched your hands? It is smooth, maybe uneven, rough? Put the grungy white or dark sheet in front of you, if desired. This is not just a sheet, this is the wall of the cave (mountains, rocks). You will now be ancient artists.

Close your eyes. Imagine:

Someone will draw on the rock of the rapid bull or deer;

Someone primitive man in the animal skins by the fire;

Or maybe your hunter will go hunting with a spear and arrows?

Open your eyes. Presented? How to locate a sheet today better: vertically or horizontally?

Fiz.min. We will prepare your hands: rub-warm, fingers connect, knocked cams.

Ready? Start.

Practical work. s / r.

Summarizing. Express exhibition.

What did you depict?

Choose the best job (designate it on a blackboard with a smilee, a heart ...)

Reflection.

Are you satisfied with our journey to the ancient world? It was not terrible? Not tired? Let's still travel?

Primitive art

Primitive art. The art of the paleolithic era.

The art of the era of the primitive community arose about the 30th millennium BC. e., in late Paleolithic, when a modern type man appears. Fastening the results of labor experience in art, a man deepened and expanded his ideas about reality, enriched his spiritual world and more and more towered over nature. The emergence of art meant, so a huge step forward in human cognitive activity, contributed to the strengthening of social connections and strengthen the primitive community. The immediate cause of the art was the real needs of everyday life. So, for example, the art of dance has grown out of hunting and military exercises, from peculiar stages, figuratively transmitting labor classes of the primitive community, the life of animals. In the emergence of song and music, the rhythms of labor processes had great importance and the fact that musical and song support helped the organization of collective labor.

The works of the visual art appeared already in Orignance (that is, at the very beginning of the late Paleolithic). The most important monuments of the art of Paleolithic - cave images [Caves in Spain (Altamira, etc.), on Y. France (LASCO, MONTESAP, etc.), in the Russian Federation - Capov Cave], where the full lives and movements of the figures of large animals prevail, which were major hunting objects (bison, horses, deer, mammoths, predatory animals, etc.). More opportand images of people and creatures that combine signs of man and animal, handprints, schematic signs, partially decoded as reproduction of housing and hunting traps . The cave images were performed by black, red, brown and yellow with mineral paints, less often - in the form of bas-reliefs, often based on the similarity of the natural convexities of the stone with an animal figure. In addition, in Late Paleolitis, works of round sculptures depicting people and animals (including clay figurines of women - the so-called Orignan-Solteniysky "Venus" associated with the cult of "ancestor"), as well as the first samples of artistic thread (bone engraving and stone). The characteristic feature of Paleolithic art is his naive realism. The striking vitality of many Paleolithic images of animals is due to the peculiarities of the labor practice and the world perception of a Paleolithic person. The accuracy and acuity of its observations was determined by the everyday labor experience of hunters, the whole life and well-being of which depended on the knowledge of animals, to track them down from the ability. With all its vital expressiveness, the art of Paleolithic was, however, in full primitive, infant. It did not know the generalization, the transfer of space, the composition in our sense of the word. To a large extent the basis of Paleolithic art was the mapping of nature in living, personalized images of primitive mythology, spiritualization of natural phenomena, empowering them human qualities. The bulk of the monuments of Paleolithic art is associated with the primitive cult of fertility and hunting rites. In Late Palayolitis there are also routines of architecture. Paleolithic dwellings, apparently, were low, in-depth about a third to the land of dome-shaped buildings, sometimes with long tunne-shaped inputs. Sometimes the bones of large animals were used as a building material. Numerous samples of late Paloolithic art were found in the territory of the Russian Federation [in Ukraine (Mezinskaya Parking), in Belarus, on Don (Kostenkovsky-Bishevskaya parking), in Georgia, Siberia (Bulyat, Malta)].

The art of the era of Mesolithic.

Between the 10-8th millennium BC. e. The gradual retreat of glaciers who covered the territory of Europe begins to the north. As a result of the warming, extensive steppe spaces that served as pastures for mammoths, bison, reindeer and horses, turn into dense, endless forests. Large animals, which had previously hunted a man, die out or go looking far from far to the north. So, the territories of the Central and Southern Europe disappeared the reindeer. Now the prey of people becomes elk, noble deer, boar, bison and smaller animals. Distribution receives fisheries and collection of oysters. Climate warming contributed to the fact that our ancestors began to lead a settling lifestyle. Parking of an ancient person are now located mainly along the shores of the seas, rivers and lakes. Primitive craftsmen invent onions and new tools of labor, tame a dog and begin to engage in livestock and agriculture. Construction and fracturing of weaving production appears.

The worldview of a person who feels more bold and independent changes. Magic role is significantly intensified, agricultural mythology appears and develops. All these changes are reflected in art acquiring a cult sound. The multicast painting disappears, which becomes monochrome (monochrome). Typically, the drawings are performed by one paint - black or red, their main elements are schematics and silhouette. Almost completely disappears the volume.
At the same time, a lot of new, uncharacteristic for Paleolithic appears. Events in paintings of artists of this time are presented in relationships, i.e. the composition appears. The plots are enriched, the main object of the image is a person, his victory or defeat in the surrounding world.
Picturesque technique also undergoes changes. The basis of the paints are substances such as egg protein, honey and even blood. At first, contours are applied to the surface with a brush, and then the drawing is painted paint one color.
These new elements can be seen in the rock painting found in the coastal mountain regions of East Spain (Spanish Levant). The focus of artists focus on the image of a person, not animals, and the person is almost always indicated in action. The volume, perspective and color do not matter, the main thing is to transfer the movement of figures.
Paleolithic painting, as already mentioned above, are individuals who are not among themselves the figures. The rock painting of Spanish Levant is a multifigure compositions depicting events that happened to the artist himself and its contemporaries.
The very first monuments of painting the era of Mesolitis in Eastern Spain were found by archaeologists in 1908. The rocks covered with paintings rise along the edges of the valleys and in the mountain gorges between Barcelona and Valencia. They are found on the south. This is mainly picturesque scenes (petroglyphs are practically absent here) depicting people and various animals. Animal figures dimensions usually do not exceed 75 cm, and human is slightly smaller.

Honey collector. Aran.

There are very large compositions, for example, in Alper (Albad, East Spain Province) are paintings, which present tens of animals and hundreds of human figures.
Many drawings of Spanish Levant are dedicated to hunting scenes. Murals depict the herd of animals pursued by people with bows, or hunters running away from the wounded beast.
A great interest is a drawing of Arana, depicting a honey collector rising in a rope to the nest surrounded by bees.
In the gorge of Veltatori, the researchers discovered a whole gallery of pictorial compositions with scenes of hunting for deer, boars and rams. There are images of military battles, as well as murals, apparently the narrative of execution (in the center - a man pierced by arrows, around him - people with bows).
In the rock painting East Spain, very rare images of women. One of the most famous compositions is t. N. "Walk", on which an ancient artist drew a walking woman and a child. If male figures in painting are full of speakers, then women are static, but more naturalistic.
Scientists followed how the painting of the era of the Mesolitis took place. Early painting, relating to this time, was distinguished by naturalism and proportionality in the image of human figures. Gradually, the correctness of the proportions disappeared, and people with unusually narrow wailies, thin hands and long legs appeared on the frescoes. The upper part of the body became similar to a triangle, crowned with a round head.
Over time, the proportions are even more deformed, the painters began to portray a person with a short torso, too big legs and head turned into profile. In the end, schematism completely pushed naturalism. The human body, his legs and hands in the paintings of this time are represented by ordinary thin lines, allowing you to easily pass the movement and reproduce a wide variety of postures.
This trend practically did not spread to animal images. As a hunting hunting, they had to have an appropriate look and therefore retained the weight of forms and realism.
Some picturesque monuments of the era of mesolite are numerous layers of drawings. A number of researchers explain this by the fact that certain territories moved many times from one hosting tribe to another and the winners tried to consolidate their right to this area with the help of painting.

Reindeer hunting. Painting in the Cave of Spain. Mesolithic.

The era of neolithic.

For Mesolit, he followed a neolithic - a new eyelid, or a century of polished stone. The ice age, and with it and megafauna, and the species diversity of mankind remained behind. Neanderthals left the historic scene, our ancestors were the winners - Croanonian people. Therefore, our story begins with the era of Neolithic. In the era of Neolith, the production process, and with him and spiritual life are so complicated that the development of material culture in individual territories has its own characteristics. If, in earlier era, art has almost everywhere developed about the same, now it has acquired its local features in each area, according to which the Egyptian neolithic can be distinguished from the neolithic of two, neolithic Siberia, etc. But there are also common for neolithic art: widespread use of small plastic from stone, bones, horns, clay. Animal figures are real, although they are generally interpreted. Sketchy images of female figures, sometimes covered with ornaments, reproducing patterns on clothing. Especially characteristic of neolithic development of decorative art; Almost everywhere we see the desire to decorate things that are in everyday use in humans.
Most of all, we came to clay ornamented dishes. In the forms of neolithic vessels, and especially in the method and variety of their decoration, one region was different from another. You can trace the development of the ornament from the simplest patterns on the vessels of a non-comb-type (Eastern Europe) to perfectly made and richly painted vessels of Egypt or Tripolia. A bright and expressive example of neolithic culture can serve a tripoly culture, widespread in 4-3 thousand years BC. In the south of the European part of Russia and Ukraine and on the territory of a number of Balkan countries. The end of the Tripolian culture belongs to the egue of the Eneolyt (copper eyelid) and bronze. Tripoli settlements of farmers were most often on the banks of the rivers. Houses made of clay and wood, rectangular in terms were probably covered with ornamental painting. In settlements, houses were found for housing and small women's figurines. But the work of tripoles in decoration of ceramics was especially rich and widely unfolded. According to a variety of forms and ornament, Tripolian ceramics is not inferior to either Egyptian or an overseas. Tripolie vessels were made of bright yellow or orange clay; The body of the vessel is covered with a variety, but almost always consisting of spiral lines, geometric ornament, filled with red, black, brown, white paints.

Painting of the era of Neolithic

In the northern forest areas, where the hunting economy continued to exist, the old traditions of rock art were preserved. But the emergence of a new, more progressive stage of development can be seen here: rocky images performed mainly by shock technology, sometimes applied paint.

In addition to animals, the person appears in the rock paintings, but according to expressiveness of people's images inferior to images of animals, although it is always clear what the artist wanted to express.

The casual art of the neolithic era was found not only in front and Central Asia, Europe, but also in more southern regions of the globe, for example, in some areas of Africa (South Rhodesia, sugar), in Spain.

In this painting and crest schedule for the first time in primitive visual art, a desire to grace. To make sure it is enough to look at the image of a woman collecting wild honey (Arana, Spain). Unlike the mighty "Venus" of Paleolithic here on the stone, the young female body, graceful and captivating.

Or, for example, rocky paintings found in the territory of Algeria, in Sugar, in the area, called Tassili-Agere. An analysis of seeds extracted during excavations shows that several millennia ago there was heavy vegetation. Flowering, colorful and mysterious for us, the fantastic world opens in the art of Tassili Adger.

Fat pastures and fat flocks in hundreds of heads. Slender shepherds, energizing as slim cows. The bodies of people and animals are intentionally elongated in the desire for decorativeness and grace. Symphony of tones - brown, black, reddish and yellow with golden overflows. Stylization and fiction. Solemn-refined horned dancer or goddess in a luxurious dress. Mighty bulls, graceful antelopes. Strong, running from hunters or just strolling giraffes; Their neck and legs form a flexible, fabulous bold pattern. Fit-shaped dancing figures. Hunters with animal faces. Figures in masks probably express some magic symbols. Lukes and arrows alternating in a rapid, exciting viewer rhythm. Battle chariots carrying in the whole spirit. Unsupported movement and suddenly again the ace of grazing herd.

Let us remember the painting of the cave shop. There was monumentality, as if the inviolability of the image taken by the artist. Here - liveliness, fluidity and free fantasy, sharpness and accuracy of drawing, grace and elegance, harmonic combination of forms and tones, the beauty of people and animals depicted with good knowledge of their anatomy, swiftness of gestures, gusts, the overall symphony of the beautiful - that's what is striking and fascinates In the grand casual "art gallery" of the African desert, the largest "museum" of prehistoric art in the world.

It is significant that this art, characteristic of neolith, has long continued to exist in African tribes who have retained primitive relations. The wonderful rock painting of Bushmen on inspiration and style is neolithic.

On the eastern bank of the lake in the vicinity of the demons of the nose, a monument of the visual art of the late Neolithic was found: dozens of figures are carved on it about 4 thousand years ago. Moose and deer, geese and swans and big rooks with rowers. All this is clearly designated. But besides, some circles are not with the processes, not on the long poles ... We do not know what they are depicting. Is it the sun? Or moon? Everything, taken together, obviously, the magical mystery, designed to give a person to win the beasts, i.e. Again the celebration over nature.

Neolithic sculpture

The first samples of the neolithic sculpture are associated with the burial cult and are symbolic. In the settlements of Jericho and Chatal-Hu-Yuk (Anatoly, Turkey), numerous skulls of people and animals were found, decorated with pearl inlays and coated with a layer of clay painted with red okra.

These are nude figures of women (sometimes pregnant) with exaggerated chest volumes and hips. Other "sculptures" represent the moment of childbirth, while the figure is placed on a high seat, flanked by zoomorphic figures. Another type of sculpture represents a mother with a baby in her arms. Mother is depicted with lush hips and breasts and a schematic head with small sloping eyes on the face. This type of figures was found in the Khachilar settlement (West Turkey).

In Europe, the culture of the Mumelnica (Romania) also gives the characteristic samples of the sculpture of this type, but differing in greater schematics. In not so ancient settlements (about the IV millennium BC) in the south-east of Europe - Serbia, Romania, Frakia - the type of sculpture, which is a geometric schematism. The most indicative is its samples found in Romania, in the burial of the Chernavod, their forms are reduced to elementary volumes (cone and sphere). These are sitting figures with hands that support their heads or resting in her knees. The head rests on a powerful neck, the face is round, with a cylindrical nose.

Another group of sculptures comes from Vinci (Serbia). In this case, the sculptural images are simplified to the shape of triangles. The head and individual parts of the body are especially accented, in some places holes are made to attach some additional elements. Separate parts are cut in the form of relief, outlining eye contours or fingertips.

In the south of Europe there is a type of monumental sculpture, closely associated with the culture of megaliths. We are talking about Mengira statues, most often representing women, less often men, sometimes - characters of an indefinite sex.

These statues continue the tradition of decorative threads and polychrome painting in the form of winding lines associated with some dolmen in France, Spain and Portugal. The outlines of the bodies in some cases are aligned the same as the statue from Saint-Serun (Saint-Germain-En-Le, Paris Museum), which can distinguish the eyes, nose and limbs; Sometimes they disappear at all in the process of simplification, only hints on breastings of breasts, like the Neolithic goddess from Grott Kuazar (France) remain.

"Deer, swimming river." Bone carving (from Lorth, the Department of the Upper Pyrenees, France). Upper Paleolithic. Museum of National Antiquities. Saint-Germain-en-le.

"Woman with a cup." Limestone relief (from Lossel, the Department of the Upper Pyrenees, France). Upper Paleolithic. Museum of Fine Arts. Bordeaux.

Anthropomorphic subject. Fashionable image. Neolithic. Sheremetyevsky rocks. Khabarovsk region.

"Scene with wounded bison." Skatal painting. Upper Paleolithic. Cave shops. Department of Dordogne. France.

"Hunters." Skatal painting. Neolithic (?). South Rhodesia.

The relief with the symbolic image from Castel Bestcho (Sicily). Limestone. OK. 1800-1400 BC. e. National Archaeological Museum. Syracuse.

"Leopards". Skatal relief in Fetzane (Libya). Neolithic (?).

Schematic images of human figures. Skatal painting. Neolithic. Mountains of Sierra Moraine. Spain.

Head of women. Mammoth's bone (from Brynsanpui, Landa Department, France). Upper Paleolithic. Museum of National Antiquities. Saint-Germain-en-le.

Conceptual image of a woman. Cave relief. Neolithic. Croissar Department of Marna. France.

T.N. Villendorf Venus. Limestone (from Villendorf, Lower Austria). Upper Paleolithic. Natural historical museum. Vein.

"A man playing lute." Marble (from Keros, Cyclades, Greece). Neolithic. National Archaeological Museum. Athens.