Sculptures of the gods of ancient Greece. Sculpture of ancient Greece

Subject: Outstanding sculptors of ancient Greece.

Purpose:Studying the main stages of the development of ancient Greek sculpture.

New words:

"Mimesis"- likeness.

Calocagatius (Greek. kalos. - Beautiful +. agathos.kind).

Kuras and bark -music archaic created in the era. and fence. Figures (up to 3 m) Mimesis -similarity. Caryatida - (Greek. Karyatis) - Sculptural image of a standing female figure, which serves as a support of the beam in the building (or figuratively expresses this function).

Herma - Stone pilons. With "Hands", set at the front entrance to the house.

Questions.

Sculptural canons of the Polyclet and Mirone.

Sculptural creations of the Spropas and Praxitor.

Lisipp and Leochar.

Sculpture of Hellenism.

During the classes.

1. Actualization of students' knowledge about the architecture of ancient Greece.

2. Topics message, lesson goals.

Greeks have always believed that only a beautiful body can live a beautiful soul. Therefore, harmony of the body, external perfection - reasonable condition and the basis of an ideal person. Greek ideal is determined by the term calocagatius (Greek. kalos. - Beautiful +. agathos.kind). Since calocation includes perfection and bodily addition, and spiritually moral warehouse, then justice, chastity, courage and intelligence are carried out with beauty and power. This is exactly what the Greek gods are bored with ancient sculptors, uniquely beautiful.

With all the similarities of sculptures VI and V centuries. BC, they have characteristic differences:

There are no numbness, schematics of archaic sculptures;

Statues become more realistic.

Sculptural canons of the Polyclet and Mirone .

1. The hymn of the grandeur and the spiritual power of man;

2. A favorite image is a slender young man athletic physique;

3. The spiritual and physical appearance is harmonious, there is nothing superfluous, "nothing over measures."

The most famous sculptors of the era of high classics are Polytellet and Miron.

Polyclet. - Ancient Greek sculptor and theoretics of art, who worked in Argos in the 2nd half of the V century to our era.

The polyclet loved to portray athletes at rest, specialized in the image of athletes, the Olympic winners. Dormina ("Spear") The policlet was the first to think about attaching such a formulation so that they rest on the lower part of only one leg. (Early example of a classic counterpart - dormina). Polyclet. i knew how to show the human body in a state of equilibrium - his human figure at rest or slow step seems mobile and lively due to the fact that the horizontal axes are not parallel. Statues of the polyclet full of tense life. The polyclet loved to portray athletes at rest. Take the same "spear". This mighty addition man is full of self-esteem. He stands still in front of the audience. But this is not static peace of the ancient Egyptian statues. As a person, skillfully and easily owning his body, the spearman slightly bent one leg and moved the burden of the body to another. It seems that there will be a moment and he will make a step forward, turn his head, proud of his beauty and strength. Before us is a strong, beautiful, free from fear, proud, discreet - the embodiment of Greek ideals. Works: 2. "Diadumen" ("Young, tanning bandage"). "Wounded Amazon", The colossal statue of the gee in Argos. It was performed in Christoelectric technique and was perceived as Pandan Zeus Olympic Fidiya. Sculptures were lost and known for the preserved Ancient Roman copies.

1. By order of the priests of the temple of Artemis Efesse OK. 440 BC The policlet created the statue of the wounded Amazon, taking the first place in the competition, where, besides him, fidi and chains participated. The idea of \u200b\u200bit gives the copy - the relief found in Ephesus, as well as the statues in Berlin, Copenhagen and the Metropolitan Museum in New York. The legs of the Amazon are delivered, as well as the Doryifora, but the free hand does not hang along the body, but they caught a head; Another hand supports the body, leaning on the column. The pose is harmonious and balanced, but the polyclet did not take into account that if the wound gaises the routine, his right hand could not be raised high up. Apparently, the beautiful, harmonious form was interested in it more than the plot or the transfer of feelings. The same concern is imbued with a thorough development of the folds of the short chitone Amazon.

2. Polycloth worked in Athens, where OK. 420 BC They created a diadoman, a young man with a bandage around the head. In this work, which was called gentle young men, unlike the courageous Dorifera, the influence of the Attic School feels. Here the movement of the step was used here, despite the fact that both hands are raised and hold the bandage, - the movement to which the calm and stable position of the legs will come. The opposite of the right and left side is not so much expressed. Face features and lush hair curls are much softer than in previous works. The best repetitions of Daidumen - a copy found on Delos and is now in Athens, a statue of luck in France, which is kept in the British Museum, and copies in Madrid and the Metropolitan Museum. Also preserved several terracotta and bronze statuettes. The best copies of the head of Diadenum are in Dresden and Kassel.

3.Od 420 BC. The polyclet created for the temple in Argos, a colossal Christoelectric (from gold and ivory) statue of the gee, ascending on the throne. Argos coins can give some idea of \u200b\u200bwhat the statue died in ancient times looked like. Next to the hero was heba, washed by Navkid, a student of a polyclet. In the plastic design of the temple, both the influence of the masters of the attic school and the polyclet; Perhaps this is the work of his students. The creations of the polyclet lacked the majesty of the Studiy statues, but many critics believe that they are superior to the fidia by their academic perfection and ideal balance of poses. The polyclet had numerous students and followers up to the Lisippa's era (the end of the 4th century BC), who said that his teacher in art was Dorifor, although he subsequently moved away from the Canon of the Polyclet and replaced him with his own.

Miron. Created the statues of the winning athletes, correctly and naturally passed the human figure, opened the secret of the plastic concept of movement. But (!!!) Its works have only one viewing point. The most famous work is the sculptural composition

"Athena and Mariji", as well as "discobol".

Miron was a senior contemporary fididium and a policlet and was considered one of the greatest sculptors of his time. Worked in bronze, but none of his works has been preserved; They are known mainly through copies. The most famous work of Miron - discobol (disc thrower). The discobole is depicted in a complex posture at the time of the highest voltage before the throw. The sculptor was interested in the form and proportionality of the figures in motion. Miron was a master of movement to the climax, transitional moment. In a laudatory epigram dedicated to his bronze statue of Athlete Ladas, it emphasizes that the breathable runner passed unusually alive. The sculptural group of Mirone Athena and Mariji stood at the Athenian Acropolis and Mariji is noted in the same skill in the transfer of movement.

2.Clotypes of the creations of the Spropas and Praxtel.

IV century BC.

1. They sought to transmit energetic actions;

2. Transferred senses and experiences of a person:

Passion

Dreamy

Love

Fury

Despair

Suffering

Skas (Flowering activity 375-335 BC), Greek sculptor and architect, was born on the island of Paros Ok. 420 BC, perhaps. The first job of the work of the Schopase - the temple of Athena Alya in the tahery, on Peloponnese, which had to be erected again, since the former burned in 395 BC. The scales came into a group of four sculptors (and possibly among them the elders), which Artemismian widow, commissioned the creation of the sculptural part of the Mausoleum (one of the seven miracles of the world) in Galicarneas, the tomb of her husband. Sociality inherent in the works of the Schedule is achieved primarily with the new eye interpretation: they are deeply planted and surrounded by heavy eyelids.The liveliness of movements and the bold provisions of the bodies express intense energy and demonstrate the ingenuity of the masters.

The most famous work of the spokes were:

- Skas . "Amazonacia".

- Battle of Greeks with Amazons. Fragment of the Freeza of Galicarnas Mausoleum. Marble. About 350 BC e. London. British museum.

Magnificent relief, which depicts a sharply thrown back of a warrior trying to confront the Natik of Amazon, grabbed him with one hand for the shield, and the other death blow. To the left of this group depicts Amazon, jumping on a hot horse. She sits turning back and, apparently, the dart darts in the haunting enemy. Horse almost runs on the warrior back. A sharp collision of oppositely directed movements of the rider and warrior and an unusual amazon landing with their contrasts enhance the total drama composition.

Scas. Head of the wounded warrior from the Western Frontone of the temple of Athens-Alya in the tahery. Marble. The first half of the 4th century. BC e. Athens. National Museum.

Scas. Maenad. Mid 4 V. BC e. Reduced Marble Roman Copy with Lost Origidal. Dresden. Albertinum.

Marble "Menada", which reached us in a small damaged ancient copy, embodies the image of a person, obsessed with a rapid impulse of passion. Not the embodiment of the image of the hero, capable of confidently to rule over his passions, and the disclosure of an extraordinary ecstatic passion, covering a person, characteristic of Menada. Interestingly, Menada Skopas, unlike sculptures of the 5th century, is designed to see on all sides.

Praxitel (4 c. BC),

Praxitel is an ancient Greek sculptor, one of the greatest attic of the IV century BC. e. The author of the famous compositions "Hermes with the infant Dionis", "Apollo who kills a lizard". Most of the workshop works are known in Roman copies or the descriptions of ancient authors. Prakkitel sculptures painted the Athenian artist. Praxitel - the first sculptor, the most realistic portrait of a naked woman: Book Aphrodite Sculpturewhere the nude goddess holds the hand fallen robe. Praxitel. Head Aphrodite Book (Aphrodite Kaufman). Until 360 BC e. Marble roman copy from the lost original. Berlin. Cathedral Kaufman.

The statue of the Book Aphrodite was considered in ancient times not only by the best creation of Praxitel, but in general the best statue of all time. As Pliny is written, many people arrived in the books only to see it. That was the first in Greek art, the monumental image of a completely naked female figure, and therefore she was rejected by the inhabitants of the Spit, for which it was intended, after which it was bought by the townspeople of the neighboring book. In Roman time, the image of this statue of Aphrodite was minted on the book coins, numerous copies were made from it (the best of them is now in the Vatican, and the best copy of the head of Aphrodite - in the Kaufman's collections in Berlin). In antiquity, they argued that the model of Prakkitel was his beloved, Gometer Frina.

The best idea of \u200b\u200bthe style of Praxitel gives a statue of Hermes with the infant Dionis (Museum in Olympia),which was found during excavations in the temple of the Gera in Olympia. Despite the commented doubts, it is almost certainly the original created by OK. 340 BC The flexible figure of Hermes is elegantly leaning on a tree trunk. The master managed to improve the interpretation of a man's motive with a child in his hands: movements of both hands of Hermes compositely connected with a baby. Probably, in his right, not survived the hand was a brush of grapes, which he teased by Dionysus, why the baby was drawn to her. The figure of Hermes is proportionally complicated and perfectly worked out, the smiling face is full of liveliness, the profile is elegant, and the smooth surface of the skin contrasts sharply with a schematic outlined hair and a woolly surface of a raincoat, pounded on the trunk. Hair, drapery, eyes and lips, as well as straps sandals were painted.

The worse are other Aphrodite statues attributed to Prakcutor. Copies of the statue selected by the inhabitants of the Spit has not been preserved. Aphrodite from Arlya, named at the location of the find and stored in the Louvre, perhaps depicts not Aphrodite, and Frinux. The statues of the statue are hidden by drapery, and the torso is completely naked; Judging by the posture, in the left hand there was a mirror. There are also several elegant statuettes of a woman who puts on a necklace, but again, it can be seen both aphrodite and a mortal woman.

Prapkitel. Artemis from Gabi. About 340-330 BC e. Marble roman copy from the lost original. Paris. Louvre.

In the statue of Artemis, we see examples of the decision of the Motive of the Draped Human Figure. Artemis is depicted here by the patroness of women: she pounces on the right shoulder cover brought by a woman as a gift for the successful permission from the burden.

Praxitel was an unsurpassed master in the transfer of body grace and the fine harmony of the Spirit. Most often he portrayed gods, and even satirs, young; In his work on the change of the majestity and the elevation of images 5 V. BC. Sevective and dreamy tenderness come.

3. Leochar and Lisipp. The most successive art of the falselycical direction has revealed in creativity Leohara, Leochar, Athenian by origin, became the court artist Alexander Macedon. It was he who created a number of Christian statues of the kings of the Macedonian dynasty for Philippeyon. Cold and magnificent classic, that is, externally imitating classical forms, the style of works of Leohara satisfied the needs of the emerging monarchy Alexander. Idea of \u200b\u200bthe style of the works of Leohara, dedicated to the praise of the Macedonian monarchy, Gives us a Roman copy from his heroisan portrait of Alexander Macedonian. The naked figure of Alexander had an abstract-ideal character.

Leochar. Apollo Belvederey . About 340 BC e. Marble Roman copy with a lost bronze original. Rome. Vatican.

The most significant among the works of Leohara was the statue of Apollo - the famous "Apollo Belvedere" ( "Apollo Belvedere" - the name of the Roman marble copy from the Bronze Original Leohara, who was placed in the Vatican Belvedere (open loggia)).

However, the image of Apollo is rather externally effectant than internally significant. The puff is hairstyle, the head turn, the famous theatricalness of the gesture is deeply alien to genuine traditions of classics.

The famous statue of Artemis Versailles, full of cold, several arrogant magnitude is close to the circle of Leohara.

Leochar. Artemis Versailleskaya. Third quarter 4 V. BC e. Marble roman copy from the lost original. Paris. Louvre.

Lisipe.. In the art of Lisippa was solved the task of disclosing the inner world of human experiences and the known individualization of the image of a person. At the same time, LisiPP made new shades into solving these artistic problems, and most importantly, he stopped considering the creation of an image of a perfect beautiful person as the main task of art. Lisippt as an artist felt that new social life conditions were deprived of this ideal of any serious life soil.

Firstly, Lisipp finds the basis for the image of the typical in the image of a person not in those features that characterize a person as a member of the team of free citizens of the policy, as a harmoniously developed personality, and in the peculiarities of his age, kind of classes, belonging to a particular psychological warehouse of character. A particularly important new feature in the work of Lisippa is interest in the disclosure of characteristic, and not perfect-perfect in the image of a person.

SecondlyLisypes to some extent emphasizes in his works the moment of personal perception, seeks to transfer its emotional attitude to the event depicted. According to the testimony of Pling, Lisipp said that if the ancients portrayed people as they were in fact, then he, Lisipp, - as they seem like. Lisipe. Apoxiomen. Head (see Ill. 215).

A particularly bright understanding of a person's lisiprom is embodied in his famous bronze statue "Apoxiomen". Lisipp portrayed a young man who scraper examines the sand of the Arena, who sticks to his body during a sports contest. In this statue, the artist is very: expressively conveyed the state of fatigue that swept the young man after the stress of the struggle.

In Apoxysent, Lisipp wants to show not inner peace and a steady balance, but a complex and controversial change of mood shades.

Lisipe. Hermesuit . Third quarter 4 V. BC e. Bronze Roman Copy from the Lost Original. Naples. National Museum.

Hermes like a moment sat down on the edge of the rocks. The artist handed the peace here, light fatigue and at the same time the readiness of Hermes continue rapidly quick flight.

A group depicting the fight of Hercules with a Nemeeysky Lvom is also included in the same series, which also reached us in the Roman copy stored in the Hermitage.

Lisipe. Hercules with Lion . The second half of the 4th century. BC e. Reduced marble copy of Roman time with a lost bronze original. Leningrad. Hermitage.

The creativity of Lisippa was especially important for the further evolution of the Greek portrait.

Head of Alexander Macedonsky from the island of Spit. Marble. The most vividly peculiarity and the power of portrait mastery of Lisippa were embodied in his portraits of Alexander Macedon.

The volitional, energetic turn of the head, sharply folded strands of the hair create a general feeling of the pathetic impulse. On the other hand, sorrowful folds on the forehead, an afflicted look, the curved mouth give the image of Alexander the tragic flaw features. In this portrait, for the first time in the history of art, the stress of passions and their inner struggle are expressed with such force.

4.Culpture of Hellenism.

1. The emotion and tension of persons;

2. Wigh of feelings and experiences in images;

3. Dreamhood of images;

4. Harmonic perfection and solemnity

Hellenistic art is performed by contrasts - a giant and miniature, parade and domestic, allegorical and natural. Home Trend. - Departure from the generalized human typeto the understanding of a person as a substantial, individual, and hence the increasing aTTENTION TO HIS PSYCHOLOGY, LIRS TO EVENTS, AND A NEW TURNING TO THE NATIONAL, AGENT, SOCIAL AND ORDER NOTES OF PERSONALITY.

All of the said does not mean that the era of Hellenism did not leave the great sculptors and their monuments of art. Moreover, she created works that, in our representation, synthesize the highest achievements of antique plastics, are its inaccessible samples -

Aphrodite Melosskaya,

Samofratsky's Nika , Altar Zeus in Pergamma. These glorified sculptures were created in an Hellenistic era. Their authors, about which nothing or almost nothing, worked in line with the classical tradition, developing it truly creatively.

Among the sculptors of this era, you can note the names of the following: Apollonius, Tavrisk (Fernese Bull), Atenodor, Polydor, Assandr (Aphrodite Melosskaya, Laocoon).

The morals and forms of life, as well as the forms of religion began to be mixed in the era of Hellenism, but friendship did not reign and the world did not come, the discords and war did not stop.

5.Output. One united all periods of development of Greek society and art: it Special addiction to plastic, to spatial arts.

We looked at the creations of the greatest sculptors of ancient Greece throughout the entire period of antiquity. We saw the whole process of formation, flourishing and decline of sculpture styles - the whole transition from strict, static and idealized forms of archaic through the balanced harmony of the classical sculpture to the dramatic psychology of Hellenistic statues. Creation of sculptors of ancient Greece was considered to be a model, ideal, a canon for many centuries and now she never ceases to be a recognized masterpiece of world classics. Neither before, nor after nothing has been achieved. The whole modern sculpture can be considered in one degree or another by the continuation of the traditions of ancient Greece. The sculpture of ancient Greece in its development has passed a difficult path, having prepared the soil for the development of plastics of subsequent eras in various countries.

It is known that most of the antique masters of plastic art did not scold in the stone, they cast in bronze. In centuries, followed by the era of Greek civilization, the preservation of bronze masterpieces chose their melting on the dome or coins, and later on the gun. At a later time, the traditions laid by ancient Greek sculptures were enriched with new developments and achievements, the antique canons served as the necessary foundation, the base for the development of plastic art of all subsequent eras.

6. House. Task: GL.8, Article 84-91., Task Article 91.

LIST OF SOURCES USED

1. Antique culture. Dictionary-directory / under total. ed. V.N. Yarkho - M., 2002

2. Bystrov A. N. "The World of Culture, the Fundamentals of Cultural Studies"
Polycarpov VS Lectures on cultural studies - M.: "Gardarika", "Expert Bureau", 1997

3. Vipper B.R. The art of ancient Greece. - M., 1972

4. Gallech P.P. World History of Arts - M., 2000

5. Grigunina N.G. The history of world artistic culture, in 4 parts. Parts 1, 2. - Tver, 1993

6. Dmitrieva, Akimova. Antique art. Essays. - M., 1988

Introduction

Antique (from the Latin word antiques-ancient) called the Italian humanists of the Renaissance Greco-Roman culture, as the earliest known to them. And this name has been preserved behind it and so on, although more ancient cultures have been opened. It has been preserved as a synonym for classical antiquity, that is, that world, in the Lona of which our European civilization arose. Preserved as a concept precisely separating the Greek-Roman culture from the cultural worlds of the Ancient East.

The creation of a generalized human appearance, erected to the excellent norm of its bodily and spiritual beauty, is almost the only topic of art and the main quality of Greek culture as a whole. This provided Greek culture with the rarest artistic strength and key importance for world culture in the future.

Ancient Greek culture has had a huge impact on the development of European civilization. The achievements of Greek art partially formed the basis of aesthetic presentations of the next epoch. Without Greek philosophy, especially Plato and Aristotle, it would be impossible to develop neither medieval theology, nor the philosophy of our time. The Greek education system has reached this day in their main features. Ancient Greek mythology and literature already many centuries inspire poets, writers, artists, composers. It is difficult to overestimate the effect of an antique sculpture on the sculptors of the next epoch.

The meaning of an ancient Greek culture is so great that it is no wonder we call the times of her heyday by the "golden age" of humanity. And now, after the millennium, we admire the ideal proportions of architecture, unsurpassed creations of sculptors, poets, historians, scientists. This culture is the most humane, she and until now gives people wisdom, beauty and courage.

Periods to share the history and art of an ancient world.

Ancient period- Aegean culture: III Millennium-XI century. BC e.

Homerovsky and early Archaic periods: XI-VIII centuries. BC e.

Archaic period: VII-VI centuries. BC e.

Classic period: With V c. Until the last third of the IV century. BC e.

Hellenistic period: Last third of the IV-I century. BC e.

The development period of the tribes of Italy; Etruscan culture: VIII-II centuries. BC e.

Royal period of ancient rome: VIII-VI centuries. BC e.

Republican period of ancient rome: V-i centuries. BC e.

The imperial period of ancient Rome: I-V centuries. n. e.

In my work I would like to consider the Greek sculpture of archaic periods, classics and late classics, the sculpture of the Hellenistic period, as well as the Roman sculpture.

Archaika

Greek art developed under the influence of three very different cultural flows:

aegean, apparently still retained vitality in Malaya Asia and whose light breathing answered the spiritual needs of the ancient Ellin in all periods of its development;

dorian, conquering (generated wave of the Northern Dorian invasion), inclined to introduce strict adjustments in the tradition of style that arose in Crete, to temper the free fantasy and the unrestrained dynamism of the Cretan decorative pattern (already highly simplified in mycken) simplest geometric schematics, stubborn, rigid and power;

eastern, informed young Ellada, as before this, on Crete, samples of the artistic creativity of Egypt and Mesopotamia, the completed concreteness of plastic and picturesque forms, their wonderful fine skill.

Artistic creativity Eldlant for the first time in the history of the world approved realism as an absolute norm of art. But not realism in accurate copying of nature, and in the completion of the fact that Nature could not accomplish. So, following the presenters of nature, art should strive for the perfection, which she only hinted, but whose herself did not reach.

At the end of the VII early VI century. BC e. In Greek art there is a famous shift. In a vase painting, a person begins to focus on, and its image becomes more and more real features. Unmucky ornament loses its former value. At the same time, this event is of great importance, the monumental sculpture appears, the main theme of which is again the person.

From this point on, Greek fine art firmly enters the path of humanism, where he was destined to win the unclear glory.

On this path, art first acquires special, only to him inherent destination. The goal is not to reproduce the figure of the deceased, in order to ensure the saving shelter for his "ka", not to assert the inviolability of the established power in monuments, which argue this power, not to affect the magically on the forces of nature, embodied by the artist in specific images. The purpose of art is the creation of beauty, which is equivalent to good, is equivalent to the spiritual and physical perfection of a person. And if we talk about the educational value of art, it increases immeasurably. For the ideal beauty is creatible, the desire for self-improvement in man gives rise to the art.

We quote the lescing: "There, where, thanks to beautiful people, beautiful statues appeared, these, the latter, in turn, made an impression on the first, and the state was obliged to the beautiful statues of beautiful people."

The first of the Greek sculptures reached to us still explicitly reflect the influence of Egypt. Frontality and initially timid overcoming stiffness of the movement of the movement of the left foot or hand applied to the chest. These stone sculptures, most often from marble, which is so rich in Ellad, have inexplicable charm. They are in them the young breath, inspired by the artist's touching, touching his faith, which is a stubborn and painstaking effort, constant improvement of their skills can be fully seized by the material provided by nature.

On the marble colossus (the beginning of the VI century. BC), four times in excess of human growth, we read the proud inscription: "I am only a statue and pedestal, extracted from one block."

Who are antique statues depict?

These are naked boys (kuras), athletes, winners in competitions. These are the Korean women in Chitona and Cloaks.

A significant feature: still at the dawn of Greek art, the sculptural images of the gods are different, and it is not always, from the images of a person only emblems. So in the same statue of the young man, we sometimes tend to admit that simply athlete, then the FEBA-Apollo, God of Light and Arts.

... So, early archaic statues still reflect the canons developed in Egypt or in Mesopotamia.

Frontylene and unperturbed High Kura, or Apollo, Stupid about 600 BC. e. (New York, Metropolitan Museum). He is framed by long hair, slyly woven "into the cage", like a rigid waga, and seems to us, he pulled out before us at the bottom, shining an excessive width of angular shoulders, straight immobility and smooth thiege of the thighs.

The statue of the hera from the island of Samos, performed, probably at the very beginning of the second quarter of the VI century. BC e. (Paris, Louvre). In this marble, we captivate the magty of the figure, cut from below to the belt in the form of a round column. Frozen, calm magty. Life is barely guessed under strictly parallel folds of Hiton, under decoratively condensed racks of the cloak.

And that's what else eldlasting the art of Eldlas on the open path: the striking speed of improving the image methods together with the indigenous change in the style of art itself. But not as in Babylonia, and not at all as in Egypt, where the style changed slowly for millennia.

Mid VI in. BC e. Only a few decades separates "Apollo Tenia" (Munich, Gpytotek) from the previously mentioned statues. But how much later and graceful the figure of this young man, already illuminated by beauty! He has not yet moved away, but all has already prepared for movement. The contour of the hips and shoulders softer, dimension, and his smile, perhaps, the most shiny, indulging in archaic.

The famous "Moshofor" What does Telzer (Athens, National Archaeological Museum). This is a young ellin, bringing the calf on the altar of the Divine. Hands pressed to the breasts of the animal's legs resting on his shoulders, the cross-shaped combination of these hands and these legs, the meek face of the doomed on the camp of the calf, thoughtful, filled with the indescribable words of significantly a sacrifice, all this creates a very harmonious, internally inseparable integer admisting us With his finished harmony, in marble that sounded musicality.

Rampen's head (Paris, Louvre), named so named her first owner (in the Athenian Museum there is a found separately gell marble bust, to which the Louvro head is suitable). This is the image of the winner in the contest, as evidenced by the wreath. Smile slightly strained, but playful. Very carefully and elegantly worked hairstyle. But the main thing in this image is a light turn of the head: this is already a violation of the frontal, liberty in motion, a timid fores of genuine freedom.

Morner "Stragford" Kuros of the end of the VI century. BC e. (London, British Museum). The smile seems to be a triumphant. But is it because of it that his body is so slight and almost already voluntarily oppose us in all his courageous, conscious beauty?

With the barks we were lucky more than with kuras. In 1886, fourteen marble crues were extracted from the ground with archaeologists. Bared by the Athenians in the ruin of their city by the Persian army in 480 BC. e., the barks partially retained their coloring (Motion and not naturalistic).

In its aggregate, these statues give us a visual idea of \u200b\u200bthe Greek sculpture of the second half of the VI century. BC e. (Athens, Acropolis Museum).

It is mysterious and penetrating, it is simple and even naive, then clearly smiles at the crust. Their figures are slim and the best, rich their furious hairstyles. We have seen that the modern statues of the Kuros are gradually freed from the former stiffness: the naked body has become more and harmonious. Progress no less significant is observed in female sculptures: the folds of the robes are located more and more skillfully to pass the movement of the figure, the thrill of the life of a drape body.

Persistent improvement in realism is that, perhaps, most characteristic of the development of all the Greek art of the pore. His deep spiritual unity overcomed the stylistic features peculiar to various regions of Greece.

White marble seems to us inseparable from the very ideal of beauty embodied by the Greek stone sculpture. The heat of the human body glows to us through this whiteness, wonderfully detecting the entire softness of modeling and, according to the reprehension in us, ideally harmonizing with the noble inner restraint, the classical clarity of the human beauty created by the sculptor.

Yes, this whiteness is captivated, but it is generated by time, restored the natural color of the marble. Time has changed the appearance of Greek statues, but did not dislike them. For the beauty of these statues seems to be poured out of their soul themselves. Time only lit this beauty in a new way, something in it is losing, and something involuntarily and emphasized. But compared to those creations of art that the ancient Ellin, which came to us, antique reliefs and statues in something very substantial are still deprived of time, and therefore our idea of \u200b\u200bGreek sculpture is incomplete.

Like the nature itself, Eldlats, Greek art was bright and multicolored. Light and joyful, it festively shone in the sun in the diversity of its color combinations, echoing with the gold of the sun, the purple of the sunset, the blue warm sea and the greens of the surrounding hills.

Architectural details and sculptural decorations of the temples were brightly painted, which gave the whole building an elegantly festive look. The rich coloring has strengthened the realism and expressiveness of images- Although, as we know, the colors were not chosen in exact accordance with the reality, - Manila and had a good eye, made an image even clearer, understandable and relatives. And this color has lost completely almost all the antique sculpture before us.

Greek art of the end VI and the beginning of the V c. BC e. It remains essentially archaic. Even the majestic Doric temple of Poseidon in the Pestum, with its well-surviving colonnade, built from limestone already in the second quarter V century, does not complete the liberation of architectural forms. The massiveness and squatness characteristic of archaic architecture, determine its overall appearance.

The same applies to the sculpture of the temple of Athens on the island of the island, built after 490 BC. e. His famous frontones were decorated with marble sculptures, some of which reached us (Munich, Gliptotek).

In earlier frontons, the shawlings had figures on a triangle, respectively changing their scale. The figures of the Eginsky frontons are all kinds of sale (above Others only by Athena), which already marks significant progress: those who are closer to the center, stand in full growth, side shields are shown and lying. The plots of these slender compositions are borrowed from Iliad. Separate figures are beautiful, for example, a wounded warrior and an archer pulling the tutor. In the liberation of movements, undoubted success is achieved. But it feels that this success is with difficulty that this is just a sample. A archaic smile wanders on the faces of fighting. The whole composition is still not fledged enough, too emphasizedly symmetrical, is not inspired by a single free breathing.

Great flourishing

Alas, we cannot boast with sufficient knowledge of the Greek art of this and the subsequent, the most brilliant pore. After all, almost all Greek sculpture V c. BC e. Died. So in later Roman marble copies with lost, mainly bronze, originals are often forced to judge the works of great geniuses equal to which it is difficult to find in the entire history of art.

We know, for example, that Pythagoras Regisky (480-450 BC. E.) was a famous sculptor. The liberation of their shapes, including two movements (initial and in which part of the figure will turn out to be in a moment), it strongly contributed to the development of the realistic art of sculpture.

Contemporaries admired his finds, vitality and truthfulness of his images. But, of course, a few roman copies from his work (like, for example, "a boy who takes out the opposition". Rome, Palazzo conservatives) are not sufficient to fully assess the creativity of this bold innovator.

Now the world famous "cat" is a rare sample of a bronze sculpture, a randomly surviving fragment of the group composition, filled about 450 BC. Slender young man, similar to a column adopted by the human appearance (strictly vertical folds of his robes even enhance this similarity). The straightness of the figure is several archaic, but its common deceased nobility is already expressing a classic ideal. This is a winner in the contest. He confidently leads the chariot, and this is the power of art that we are guessing the enthusiastic cliques of the crowds that his soul are cheerful. But, performed courage and courage, it is restrained in his celebration - his beautiful features of calm. Modest, although the young man's conscious victory, illuminated by glory. This image is one of the most captivating in global art. But we do not even know the name of his creator.

... In the 70s of the XIX century, German archaeologists undertook an excavation of Olympics in Peloponnese. There in antiquity there were wealth of sports, the famous Olympic Games, for which the Greeks led the chores. Byzantine emperors banned the game and destroyed the Olympia with all its temples, altars, porticists and stadiums.

Excavations were ambitious: six years in a row, hundreds of workers opened a huge area covered by centuries-old nanos. The results exceeded all expectations: one hundred thirty marble statues and bas-reliefs, thirteen thousand bronze objects, six thousand coins / up to thousands of inscriptions, thousands of clay products were extracted from the Earth. It is gratifying that almost all monuments were left in place and, although the dilapidated, now bang under the habitual sky for them, on the same land where they were created.

Methods and the frontones of the temple of Zeus in Olympia are undoubtedly the most significant of the second quarter V cues that have reached us. BC e. To understand a huge shift that happened in art for a short time - only about thirty years, it is enough to compare, for example, the West Fronton of the Olympic Temple and is quite similar to him on the overall composite scheme we have already considered the Eginic Frontton. And then, and there is a high central figure, on the sides of which small groups of fighters are evenly located.

The plot of the Olympic Fronton: Lapiph Battle with Centaurs. According to Greek mythology, centaurs (semi-supershed lobs) tried to steal the wives of the mountain residents of the lapiphs, but they were rebuilt with wives and destroyed centavrov in cruel battle. The plot of this more than once was already used by Greek artists (in particular, in vasopysi) as the personification of the celebration of culture (represented by Lapiphami) above barbarism, over all the same dark power of the beast in the image finally defeated by a canter. After the victory over the Persians, this mythological battle acquired a special sound at the Olympic Fronton.

No matter how the marble sculptures of the fronton are crippled, this sound is completely reaching us - and it is grandiose! Because, unlike the aigin frontons, where the shapes are not tight among themselves organically, everything is imbued with a single rhythm, a single breath. Together with the archaic style, an archaic smile completely disappeared. Apollo reigns over a hot battle, tops its outcome. Only he, the God of Light, is calm among the storms, a raging side, where every gesture, each face, each gust complement each other, making up a single, inseparable integer, beautiful in its gymnastics and dynamics.

Also internally balanced the majestic figures of Eastern Fronton and the metope of the Olympic Temple of Zeus. We do not know exactly the name of the sculptors (there were, apparently, several) who created these sculptures in which the Spirit of Freedom celebrates its celebration over the archaic.

The classic ideal is victoriously approved in sculpture. Bronze becomes a favorite material of the brewer, for the metal is more subcounting the stone and it is easier to attach any position in it, even the most bold, instant one, sometimes "fictional." And this does not violate realism. After all, as we know, the principle of Greek classical art is the reproduction of nature, creatively corrected and complemented by an artist who detects in it a little moreover that he sees the eyes. After all, I did not sin against the realism of Pythagoras Register, capturing two different movements in a single image! ..

Great sculptor Miron, who worked in the middle of V c. BC. In Athens, created a statue that had a huge impact on the development of visual art. This is his bronze "discobol", known to us in several marble Roman copies, so damaged that only their aggregate

allowed somehow to recreate the lost image.

Diskolobol (otherwise, the disk thrower is captured at a moment when, throwing back the hand with a heavy disk, he is ready to reject him away. This is a climax, he visually foreshadows the next when the disc pulls into the air, and the figure of Athlete will straighten up in the jerk: instant gap between two powerful movements, as if connecting the present with the past and future. Discompol muscles are extremely tense, the body is curved, and meanwhile, it is completely calm. Wonderful creative jerking! The intense facial expression would probably be plausible, but the nobility of the image is in this contrast of the physical impulse and peace of mind.

"As the depth of the marine remains always calm, no matter how much the sea raged on the surface, in the same way images created by the Greeks, they discover among all the excitement of the passion the Great and solid soul." So wrote two centuries ago, the famous German historian of Art Winchelman, the authentic founder of the scientific study of the artistic heritage of the ancient world. And this does not contradict what we talked about the wounded heroes of Homer, who announced the air with their moanies. Recall the judgment of the lescing on the boundaries of the visual art in poetry, his words that "the Greek artist did not portray anything except beauty." So it was, of course, in the era of a great heyday.

But what is beautiful in the description may seem ugly in the image (elders, looking at Elena!). And therefore, he still notices, the Greek artist reduced anger to rigor: the poet was angry Zeus mosquito lightning, the artist is only a strict.

Voltage would distort the features of the discobol, would violate the light beauty of the perfect image of confident in his strength of an athlete, a courageous and physically perfect citizen of his policy, which Miron was presented in his statue.

In the art of Mirone, the sculpture took possession of the movement, no matter how difficult it was.

The art of another great brewer - a polyclet - establishes the balance of the human figure alone or a slow step with a focus on one leg and, accordingly, a raised hand. Sample such a figure serves his famous

"Dorina" - a sportsman-spear (marble roman copy from the Bronze Original. Naples, National Museum). In this image - a harmonious combination of perfect physical beauty and spirituality: a young athlete, also, of course, personifies the wonderful and valiant citizen, seems to us in-depth in his thoughts - and the whole figure is performed by the purely Ellinsky classical nobility.

This is not only a statue, but canon in the exact sense of the word.

The polyclet set out to accurately determine the proportions of the human figure, consonants with his idea of \u200b\u200bperfect beauty. Here are some results of its calculations: head - 1/7 total growth, face and brush hands - 1/10, feet - 1 / 6. However, the contemporaries of his figures seemed to be "square", too massive. The same impression, despite all his beauty, produces on us of his Dormina.

The polyclet outlined his thoughts and conclusions in the theoretical treatise (I did not recover to us), to which he gave the name "Canon"; Also called in the antiquity of the "Dorifora", logged in accurately according to the treatise.

The polyclet created relatively few sculptures, all absorbed by his theoretical works. In the meantime, he studied the "Rules", determining the beauty of a man, his younger contemporary, Hippocrates, the greatest medical antiquity devoted the whole life to the study of the physical nature of man.

Fully identify all the possibilities of a person - such was the goal of art, poetry, philosophy and science of this great era. Never in the history of the human race so deeply did not fit the consciousness that a man is a crown of nature. We already know that the contemporary of the Polycake and Hippocratic, the Great Sophokl, solemnly proclaimed this truth in his tragedy "Antigone".

A man is crowned in nature - this is what the monuments of the Greek art of the heyday argue, depicting a person in his entire prowess and beauty.

Voltaire called the era of the greatest cultural heyday of Athens "Century Pericla". The concept of "eyelid" should be understood here not literally, for it is only about a few decades. But in its meaning, this period brief on the scale of history deserves such a definition.

The highest glory of Athens, the radiant radiance of this city in world culture is inextricably linked with the name of the pericles. He took care of the decoration of Athens, patronized all the arts, attracted the best artists to Athens, was a friend and patron of Fidiya, whose genius marks, probably the highest step in all the artistic heritage of the ancient world.

First of all, Pericles decided to restore the Athenian Acropolis, destroyed by Persians, or rather, on the ruins of the old Acropolis, still archaic, create a new, expressing the artistic ideal of fully liberated Hellenism.

The Acropolis was in Ellad's the same as the Kremlin in ancient Russia: a city hardest, which concluded in its walls of temples and other public institutions and served as a shelter for the surrounding population during the war.

The famous Acropolis is the Athenian Acropolis with his temples of Parfenon and Erehechteo and propylene buildings, the greatest monuments of Greek architecture. Even in its dilapidated form, they still produce an indelible impression.

This is how the famous domestic architect A.K. describes this impression. Drills: "I climbed the zigzags approach ... passed through the portico - and stopped. Straight and somewhat right, on a racing hill of blue, marble, covered with cracks, the rocky area of \u200b\u200bthe Acropolis, as parthenon crushed and sailed on me. I do not remember how much time I stood motionless ... Parfenon, remaining unchanged, has changed continuously ... I went closer, I went around and went inside. I stayed near him, in him and with him all day. The sun was sitting in the sea. The shadows lay perfectly horizontally, parallel to the seams of the masonry of the marble walls of the Erehechthion.

Green shadows thickened under the porticist of Parfenon. The last time slid reddished shine and went out. Parthenon died. Together with Pebom. Until the next day.

We know who defeated the old Acropolis. We know who blew and who ruined the new, erected by the will of Pericla.

It is terrible to say, these new barbaric acts who aggravated the destructive work of the time were not at all in deep antiquity and not even from religious fanaticism, as, for example, the rapid defeat of the Olympia.

B1687 During the war between Venice and Turkey, who was dominic, then over Greece, the Venetian core, fluttered on the Acropolis, blew up the powder cellar, arranged by the Turks in ... Parthenon. The explosion made terrible destruction.

It is good that thirteen years before this misfortune, which accompanied the French ambassador, who visited Athena, managed to draw the central part of the Western Fronton of Parfenon.

The Venetian shell fell to Parfenon, perhaps by chance. But a completely planned attack on Athenian Acropolis was organized at the very beginning of the XIX century.

This operation was carried out by the "Enlightened" art connoisseur Lord Eldin, General and Diplomat, who held the post of the English Messenger in Constantinople. He bribed the Turkish authorities and, using their connivance on the Greek Earth, did not stop before the damage or even the destruction of famous architecture monuments, just to take possession of particularly valuable sculptural decorations. The irreparable damage caused Acropolis: removed from Parfenon almost all the surviving frontal sculptures and broke the part of the famous frieze from his walls. The fronton collapsed and crashed. Fearing popular perturbation, Lord Eljin took the whole prey in England at night. Many British (in particular, Byron in their famous Poem "Child Harold") severely condemned him for the barbaric appeal with the great monuments of art and for non-resident methods of acquiring artistic values. Nevertheless, the British government acquired a unique collection of his diplomatic representative - and the sculptures of Parfenon are now the main pride of the British Museum in London.

Enjoying the greatest monument to art, Lord Eldin enriched art historical lexicon with a new term: such vandalism is sometimes referred to as "Elgorism".

What is so stunning us in the grand panorama of marble colonnannis with broken friezes and frontones, towering over the sea and above the low houses of Athens, in mutual sculptures, what are still bangible on the rolling rock of the Acropolis or put in someone else's edge as the rarest museum value?

Greek philosopher Heraclitis, who lived on the eve of the highest flourishing Ellad, belongs to the following famous saying: "This space, one and the same for all existing, did not create any God and no man, but he always was, there will be forever live fire, gearing , Measures swelling. " And he is

he said that "the diverging is consistent with itself", which is born from opposites the most beautiful harmony and "everything happens through the struggle."

The classic art of Eldlands accurately reflects these ideas.

Isn't the overall harmony of the Doric Orders (the ratio of the column and antablemer) arises in the game of the opposing forces (the ratio of the deforest (vertical of the legs and the hips in comparison with the horizontals of the shoulders and the muscles of the abdomen and chest)?

Consciousness of the unity of the world in all its metamorphoses, the consciousness of his eternal pattern inspired the builders of the Acropolis, who wished to approve the harmony of this by anyone not created, always of the young world in artistic creativity, giving a single and complete impression of the wonderful.

Athens Acropolis is a monument that proclaims the belief of a person in the possibility of such a reconciling harmony is not in an imaginary, but a completely real world, faith in the celebration of beauty, in the vocation of a person to create it and serve it in the name of good. And because this monument is forever Yun, like the world, always worries and attracts us. In his unclear beauty - and consolation in doubt, and a bright call: Certificate that beauty visibly shines over the fate of the human race.

Acropolis is a radiant embodiment of the creative human will and the human mind that approves a slim order in the chaos of nature. And therefore the image of the Acropolis reigns in our imagination over the whole nature, as he reigns under the sky Ellas, over the shapeless cliff's block.

... The wealth of Athens and their dominant provision provided pericla wide opportunities in the construction of them. To decorate the famous city, he screamed means at his own discretion and temple treasures, and even in the common execution of the states of the sea union.

Mountains of snow-white marble, mined at all, were delivered to Athens. The best Greek architects, Wawi and painters were considered to work for the glory of the generally recognized capital of Ellinsky art.

We know that several architects participated in the construction of Acropolis. But, according to Plutarch, everyone ordered the fidium. And we feel in the whole complex the unity of the plan and a single leading principle, which imposed their stamp even on the details of the main monuments.

This common idea is characteristic of all Greek globalism, for the basic principles of Greek aesthetics.

The hill on which the monuments of the Acropolis was erected, not equally in their outlines, and its level is not the same. The builders did not enter the conflict with nature, but, by accepting the nature, what it is, they wished to improve and decorate it with their art, so that under the light sky to create an equally bright artistic ensemble, clearly extinguishing on the background of the surrounding mountains. Ensemble, in its harmony more perfect than nature! On an uneven elevation, the integrity of this ensemble is perceived gradually. Each monument lives in it its own life, deeply individual, and his beauty again opens a breath in parts, without a violation of unity of impression. Moving to the Acropolis, you are now, despite all the destruction, you clearly perceive its separation for precisely distinguished areas; Each monument you overlook, bypassing it from all sides, with each step, with each turn, I find some new feature in it, a new embodiment of his common harmony. Division and community; The brightest individuality of the private, smoothly included in the whole harmony of the whole. And the fact that the composition of the ensemble, obeying nature, is not based on symmetry, even reinforces its inner freedom in the impeccable equilibration of the components.

So, FIDIA all ordered in the planning of this ensemble, which is equal to the artistic meaning, perhaps, there was no and not all over the world. What do we know about Fidia?

Native Athenian, Fidi was born, probably about 500 g. BC. And after 430, the greatest brewer passed away, undoubtedly the greatest architect, since the entire Acropolis can be worshiped by his creation, he would face like a painter.

The creator of the huge sculptures, he, apparently, also succeeded in plastic of small forms, like other famous artists Eldlas, not bended to manifest itself in a variety of arts, even revered by secondary: so, we know that they are minted fish figures, bees and Cycade.

The great artist, Fidius was both a great thinker, a genuine expressive in the art of the Greek philosophical genius, the highest gusts of the Greek Spirit. Ancient authors testify that in their images he managed to transfer superhuman greatness.

Such an absolute manner was obviously, his thirteen meter statue of Zeus, created for the temple in Olympia. She died there along with many other precious monuments. This statue from ivory and gold was considered one of the "seven wonders of the world." There is evidence, apparently emanating from the fidium itself that the greatness and beauty of the image of Zeus, opened in the following verse "Iliad":

Rivers, and in the banner of black zeus

masters eyebrows:

Quickly flasks fragile up

rose from Kronid

The neighborhood of the immortal chapter and shook

Olympus is multi-fat.

... Like many other geniuses, FIDI has not avoided the evil envy and slander. He was accused of assigning a part of gold, designed to decorate the statue of Athena in Acropolis - so opponents of the Democratic Party sought to compromise her chapter - the pericles who had commissioned the fidia to recreate the Acropolis. Fidium was expelled from Athens, but his innocence was soon proven. However, as they said, after him ... "Away" from Athens the goddess of the world Irina. In the famous Comedy "World" of the Great Contemporary Fidia Aristofana, it is said about this that, obviously, the goddess of the world is close to FIDIA and "because so beautiful that in relationship with him."

... Athens, named after the daughter of Zeus Athens, were the main center of the cult of this goddess. In her fame and was erected by Acropolis.

According to Greek mythology, Athena has been fully armed from the head of the Father of the Gods. It was a favorite daughter of Zeus, whom he could not refuse anything.

Forever the virgin goddess of pure, radiant sky. Together with Zeus sends thunder and lightning, but also - heat and light. The goddess is a warrior, reflecting the blows of enemies. Patrone of agriculture, folk assembly, citizenship. The embodiment of the pure mind, the highest wisdom; Goddess of thoughts, sciences and art. Lottle, with an open, typical attic rounded-oval face.

Lifting to the Hill of Acropolis, the ancient Ellin took into the kingdom of this multi-cable goddess perpetuated by FIDIA.

The student of the sculptors of Geegia and Agelada, Fidius mastered the fully technical achievements of his predecessors and went even further. But although the skill of the fidia-brew and marks the overcoming of all the difficulties that arose before him in the realistic image of a person - it is not exhausted by technical perfection. The ability to transmit the volume and liberation of figures and their harmonic group themselves do not give birth to another authentic wafed wings.

The one who "without the muses of the frenzy approaches the threshold of creativity, in confidence that thanks to one snorkeeper will become a fair poet, he is incomplete," and all of them created "eclipses the creations of the sophisticated." So there was one of the greatest philosophers of the ancient world - Plato.

... Above the steep slope of the sacred hill Architect Maudeskl erected the famous white sponsile buildings with doric portico, connected internal ionic colonnadium located at different levels. Having hitting the imagination, the gloomy of the gloomy of propylene - the solemn entrance to the Acropolis, immediately introduced the visitor to the radiant world of beauty, approved by the human genius.

On the other side of the propylene, the gigantic bronze statue of Athena Promakhos grew, which means Athens-Warfish, logged in FIDIA. The fearless daughter of the thumbman personified here, on the area of \u200b\u200bthe Acropolis, the military power and the glory of his city. With this area, the extensive gang was discovered, and the navigaters who had enveloped the southern tip of Attica were clearly seen sparkling on the sun High helmet and spear of the Goddess Warring.

Now the area is empty, for from the whole statue that caused indescribable enthusias in ancient times, a trace of a pedestal remained. And to the right, behind the square, - Parfenon, the most advanced creation of all Greek architecture, or, or rather, what has been preserved from the Great Temple, the other statue of Athena, too, is also risen, but not a warranty, and Athens-Virgin, and Athens, Athens Parfenos.

Like the Olympic Zeus, there was a statue of chryso-elefantine: from gold (in Greek - "Chrisos") and ivory (in Greek - "Elefas") fitting wooden caskets. A total of about a thousand two hundred kilograms of precious metal went on its manufacture.

Under the hot brilliance of gold armor and robes, ivory on the face, neck and on the hands of a late-majestic goddess with a winged nickname (victory) in human growth on the outstretched palm.

Certificates of ancient authors, a reduced copy (Athena Varvakion, Athens, National Archaeological Museum) Yes, coins and medallions depicting Athens Fidiy give us some idea about this masterpiece.

The goddess look was the deceased and clear, and the inner light was illuminated by her features. A clean image of it expressed not a threat, but the joyful consciousness of the victory, which brought prosperity and peace to the people.

Chris-elefantine technique worshiped the top of art. The imposition of gold and ivory plates for the tree required the finest skill. The great art of the brewer was combined with the painstaking art of the jeweler. And as a result, what shine, what a radiance in the twilight of the Calytes, where the image of the deity reigned as the highest creation of human hands!

Parthenon was built (in 447-432 BC.) Architects in Iktin and Callicrath under the general guidance of Fidia. In agreement with the pericles, he wished to realize the idea of \u200b\u200btriumphant democracy in this largest monument. For the goddess, warrior and a virgin glorified by him, revealed the Athenians of the first citizen of their city; According to the ancient legends, they chose this celestial in the patronage of the Athenian state.

The top of the ancient architecture, Parfenon, already in antiquity, was recognized as the most remarkable Doric style monument. This style is extremely improved in Parfenone, where there is no more and a track so characteristic of doric squabat, massiveness as characteristic of many early Doric temples. His columns (eight by facades and seventeen on the sides), lighter and thin in proportions, slightly tilted inside with a small convex of the curvature of the horizontal of the base and overlap. These barely crucible deviations from the canon are crucial. Without changing its basic patterns, a Doric order here, as if absorbs the relaxed elegance of the ionic, which creates, in general, the mighty, full-groan architectural chord of the same perfect clarity and purity, like the virgin image of Athens Parfenos. And this chord acquired even more sound thanks to the bright coloring of the Metop embossed decorations, slim-eyed on a red and blue background.

Four ionic columns (not reached us) towering inside the temple, and a continuous ionic frieze stretched on its outdoor wall. So, behind the Grand Colonnada of the Temple with its powerful Doric Metops, the visitor opened a cubed ionic core. Harmonic combination of two styles, complementing each other, achieved by combining them in one monument and, more wonderful, their organic merger in the same architectural motive.

Everything suggests that the sculptures of Parfenon's Fronttonians and his embossed frieze were performed if not completely the fidium itself, then under the direct effects of his genius and according to his creative will.

The remnants of these frontones and frieze - is hardly the most valuable, the greatest thing that has been preserved to the present day from the whole Greek sculpture. We have already said that now the majority of these masterpieces are decorated, alas, not Parfenon, whom they were an integral part, and the British Museum in London.

Parfenon sculptures are a genuine beauty store, the incarnation of the highest aspirations of the human spirit. The concept of ideological art finds its own, perhaps, the most striking expression. For the great idea inspires here every image, lives in it, defining all his being.

The sculptors of Parfenon Frontton are sorry to Athena, claiming her high position in the Sonsommon of other gods.

And here are the surviving figures. This is a round sculpture. Against the backdrop of architecture, perfectly harmonizing with her, marble sculptures of the gods allocated in full, measuringly, without any effort, located in the triangle of the fronton.

Halfing young man, hero or god (perhaps, Dionysis), with a broken face, broken hands and feet. How voluntarily, how easy it is located on the front of the fronton, allotted by him. Yes, this is complete restraint, the victorious celebration of the energy from which life is born and the person grows. We believe in his power, in the freedom found. And we are enhancing the harmony of the lines and the volumes of its nude figure, happily penetrating the deep humanity of his image, qualitatively communicated to perfection, which really seems to us superhuman.

Three decapitated goddesses. Two sit, and the third spread out, leaning on her neighbors. The folds of their robes accurately detect the harmony and harmony of the figure. It was noted that in the great Greek sculpture V c. BC e. Drapery becomes the "echo of the body." You can say - and "Eh of the Soul". Indeed, in combination of folds, physical beauty breathes here, generously dropped in the wavy regulation, as the embodiment of the beauty of spiritual.

The Ionian Frisis of Parfenon is one hundred fifty-nine meters long, in which more than three hundred fifty human figures were depicted and about two hundred and fifty animals (horses, sacrificial bulls and sheep), can be honored with one of the most remarkable monuments of art created in the century, illuminated Genius Fidia.

Fryza's plot: Panificine procession. Every four years, Athenian girls solemnly handed over to the priests of the Temple of Peplos (Cloak), embroidered by them for Athena. All the people participated in this ceremony. But the scabitel depicted not only the citizens of Athens: Zeus, Athena and other gods take them as equal. It seems that the faces are not held between the gods and people: both those and others are equally beautiful. This identity seemed to be proclaimed on the walls of the sanctuary.

It is not surprising that the creator of all this marble magnificence felt himself equal to the celersists. In the fighting scene on the panel of Athens, Parfenos Fidi shouted his own image in the form of an elder, raising a stone with two hands. Such unprecedented audacity gave a new weapon into the hands of his enemies, who accused the great artist and thinker in Godlessly.

The fragments of Parfenon Fries - the precious heritage of the culture of Eldla. They reproduce in our imagination all the ritual Panafine Renief, which in its infinite variety is perceived as a solemn procession of humanity itself.

Family fragments: "Riders" (London, British Museum) and "Girls and Elders" (Paris, Louvre).

Horses with rimpped faces (they are so truthful depicted that it seems, we hear their ringing rye). Young people are sitting on them with straight elongated legs, together with the mill, the direct, then beautifully curved line. And this alternation of diagonals, similar, but not repeated movement, beautiful heads, horsepower, human and horse feet, asked forward, creates a single, exciting viewer with rhythm, in which the steady progressive rush is combined with absolute dimension.

Girls and elders are to each other facing direct figures of amazing harmony. Girls have a slightly protruding leg reveals motion forward. Do not imagine cleaner and laconic on the composition of human figures. Smooth and carefully worked out of the folds of the closures, such as the flute of doric columns, give the young Athenians natural magnifier. We believe that this is worthy of human genus representatives.

Exile from Athens, and then the death of the fidia did not silence the radiance of his genius. They were warmed by all the Greek art of the last third V c. BC. The Great Polyclet and the other famous scissors (the author of the heroized portrait of Pericla, one of the earliest Greek portrait sculptures) - experienced his influence. A whole period of attic ceramics wears the name of the fidia. In Sicily (in Syracuse), wonderful coins are minted, in which we clearly recognize the szvuk plastic perfection of Parfenon sculptures. And in our northern Black Sea region found works of art, it may be brighter than the reflective impact of this perfection.

... left from Parfenon, on the other side of the sacred hill, Erehechyon rises. This temple dedicated to Athena and Poseidon was built after the departure of Fidiya from Athens. Elegant Ionian Style Masterpiece. Six slender marble girls in Peplos - famous Caryatids - perform the functions of the columns in its southern portic. The cap, which rests on them on his head, reminds the basket in which the priests carried the sacred objects of the cult.

Time and people did not spare this small temple, containing many treasures, in the Middle Ages turned into a Christian Church, and at the Turks - in Harem.

Before saying goodbye to the Acropolis, take a look at the relief of the ballets of the temple of Nicky Apteher, i.e. Outless victory (loony, so that she never flew out of Athens), in front of the most propellants (Athens, the Acropoli Museum). Executed in recent decades V c., This bas-relief already marks the transition from the courageous and magnificent art of Fidiya to a more lyrical, calling for a serene enjoyment of beauty. One of the victories (several of them on the balustrade) is unleashed by sandal. The gesture of her and the raised leg brought into the excitement of her robe, which seems moist, so it gently envelops the entire mill. It can be said that the folding folds, then spread by wide streams, then the fallen one on the other, give birth to the flickering marble lighting the pleasing poem of female beauty.

Unique in its essence every genuine takeoff of human genius. Masterpieces can be equal, but not identical. Another such nickname will not be in Greek art. Alas, her head is lost, the hands are broken. And, looking at this wounded image, it becomes terribly in thought, how many unique beauties, non-rough or deliberately destroyed, died for us irrevocably.

Late classic

The new time in the political history of ELDA was neither bright nor constructive. If V c. BC. marked by the flourishing of Greek policies, then in IV century. Their gradual decomposition occurred together with the decline of the idea of \u200b\u200bGreek democratic statehood.

In 386, Persia, in the previous century, headed by the Greeks under the guilty of Athens, took advantage of the civil war, weakened by the Greek cities-states to impose the world by which all the city of the Majia coast went into submission to the Persian king. The Persian Power has become the main arbiter in the Greek world; She did not allow the national association of the Greeks.

Internecial wars have shown that Greek states are not able to unite on their own.

Meanwhile, the union was for the Greek people with economic necessity. To fulfill this historical task, it turned out to be at the bottom of the neighboring Balkan Power - to the time of Macedonia, the king of which Philip II broke in 338 Greek at Heronee. This battle decided to fate Ellala: it turned out to be united, but under foreign authorities. And the son of Philip II - the great commander Alexander Macedonsky led the Greeks to a victorious campaign against their original enemies - Persians.

It was the last classic period of Greek culture. At the end of the IV century. BC. The ancient world will enter the era, which is not yet called Allennaya, but Hellenistic.

In the art of late classics, we clearly recognize new trends. In the era of the great heyday, the perfect human image was embodied in the valiant and beautiful citizen of the city-state.

The collapse of the policy shakes this presentation. Proud confidence in a person's all-standing power does not disappear completely, but sometimes it is impelled. Meditation arise, boring anxiety or a tendency to serenely enjoyed life. Increasing interest in the individual world of man; Ultimately, it marks the departure from the mighty generalization of the former times.

The grandeur of the globalism, which embodied in the sculptures of the Acropolis, gradually overtakes, but the general perception of life and beauty is enriched. The late and magnificent nobility of the gods and heroes, which they portrayed the fidi, is inferior to the detection of complex experiences, passions and gusts in the art.

Greek V c. BC. Appreciated the strength of both the basis of a healthy, courageous start, hard will and vital energy - and therefore the statue of an athlet, the winner in competition, personified for him the statement of human power and beauty. Artists iv c. BC. Attract the charm of childhood for the first time, the wisdom of old age, the eternal charm of femininity.

Great skill, achieved by Greek art in the V century, alone in the IV century. BC, so the most inspired artistic monuments of late classics are marked by all the same seal of higher perfection.

The IV century reflects new trends and in its construction. The Greek architecture of late classics is marked by a certain desire at the same time to pomp, even to the grandmotherness, and to lightness and decorative grace. Purely Greek artistic tradition is intertwined with the eastern influences, which are from Asia Minor, where the Greek cities are subject to the Persian power. Along with the main architectural orders - doric and ionic, the third is increasingly used - Corinthian, which emerged later.

Corinth column is the most magnificent and decorative. A realistic trend overcomes in it the original abstract-geometric diagram of the capitals, hazardous in the Corinthian order in the flowering robe of nature - two rows of acacan leaves.

Policy wasolation was located. For the ancient world, the era of powerful, albeit a fragile slave-owned despoty. Other tasks were made by the architecture than pericla.

One of the most ambitious monuments of the Greek architecture of late classics was the tomb in the city of Galicarnas (in Malaya Asia), the ruler of the Persian province of Karya Mawsol, from which the word "mausoleum" occurred.

In Galicarnas, Mausoleum combined all three orders. It consisted of two tiers. The first chamber was placed in the first, in the second - a funeral temple. Above the tiers was a high pyramid, crowned with a four-star chariot (quadriga). The linear harness of Greek architecture was found in this monument of huge sizes (he, apparently, reached forty - fifty meters of height), with its solemnity resembling the funeral structures of the ancient Eastern Vladyk. The architect Satir and Pythians were built by mausoleum, and his sculptural decoration was assigned to several masters, including a spacing, probably playing a leading role among them.

Skas, Praxitel and Lisipp - the greatest Greek brownies of late classics. By the influence that they had for all the subsequent development of ancient art, the work of these three geniuses can compare with the sculptures of Parfenon. Each of them expressed his bright individual globility, his ideal of beauty, his understanding of perfection, which through personal, only identified, reaches eternal - universal, vertices. And again, in the work of each of everyone, this is personal consonant with an era, embodying those feelings, the desires of contemporaries that most responded to his own.

In the art of the spacing, the passion and gust, anxiety, the fight against any hostile forces, deep doubts and sorrowful experiences. All this was obviously characteristic of his nature and, at the same time, pronounced certain moods of his time. On the temperament, the scales are close to Euripid, as they are close in their perception of sorting fatel.

... a native of a rich marble island of Paros, scas (approx. 420 - approx. 355 BC) worked in attics, and in the cities of Peloponnes, and in Malaya Asia. His creativity is extremely extensive both by the number of works and on topics, died almost without residue.

From the sculpture of the temple of Athens created by him or under his direct leadership of the sculpture of the temple (Skas, famous for not only as a scoop, but also as an architect, was the builder of this temple) only a few fragments remained. But it is enough to look at at least a cripplent head of the wounded warrior (Athens, the National Archaeological Museum) to feel the great strength of his genius. For this head with curved eyebrows, as directed by his eyes and a ripped mouth, head, all in which - and suffering, and grief - as if expressing the tragedy not only Greece IV in. BC, torn by contradictions and populated by foreign invaders, but also the original tragedy of the whole human race in his constant struggle, where death should still be for victory. So, it seems to us, a little left from the bright joy of being, once illuminated by the consciousness of Hellen.

The fragments of the frieze of the tomb of Mawsola, depicting the Battle of Greeks with Amazons (London, British Museum) ... This is undoubtedly the work of the Schopas or his workshop. The genius of the Great Scary breathes in these wreckage.

Compare them with fragments of Parthenon Fries. And there, and here - the restraint of movements. But there, religiousness is poured into a magnificent dimension, and here - in a genuine storm: the angles of figures, expressiveness of gestures, widely fluttered clothing create brown dynamic in the ancient art. There, the composition is based on gradual consistency of parts, here - on the sharpening contrasts.

And yet the genius of the fidia and the genius of the spasy is relative of something very significant, hardly the main thing. The compositions of both friezes are equally slim, harmonious, and their images are equally specific. After all, heraklit spoke no wonder that the finest harmony was born of contrasts. Skasa creates a composition, unity and clarity of which is as impeccable, like a fidium. And no figure dissolves in it, does not lose its independent plastic value.

That's all that remained from the Schopas itself or his disciples. Other related to his work, these are later Roman copies. However, one of them gives us probably the most vivid picture of his genius.

Stone Paros - Vakhanka.

But the stone gave the soul of the brew.

And, like a cross, jumped, rushed

in a dance she.

This Menada creating, in a sacre,

with killed goat

You made a miracle cutter miracle

Scas.

So an unknown Greek poet picked the statue of Menada, or the Vakhanka, which we can judge only on a reduced copy (Dresden Museum).

First of all, we note the characteristic innovation, very important for the development of realistic art: in contrast to sculptures V in. BC, this statue is fully designed to visit all sides, and it is necessary to bypass it to perceive all aspects of the image created by the artist.

Throwing on the head and curved all the mill, the young woman rushes in a stormy, truly swollen dance - to the glory of the god of wine. And although the marble copy is also just a debris, no, perhaps, another monument of art that transmits with such force selfless patos of fury. This is not painful exaltation, but the pathetic and triumphant, although power over human passions is lost in it.

So in the last century of classics, the powerful Ellinsky spirit was able to maintain in fury, generated by bubble passions and painful dissatisfaction, all its original greatness.

... Prapkitel (Native Athenian, worked at 370-340. BC) expressed a completely different start in his work. We know about this sculptor a little more than about his collections.

Like Skas, Praxitel neglected bronze, creating his greatest works in marble. We know that he was rich and enjoyed loud than glory, in his time ejacked even the fame of Fidia. We also know that he loved Frin, the famous Kurtizanku, accused of blasphemy and justified by Athenian judges, delighted with her beauty, recognized by them worthy of nationwide worship. Frina served him a model for the statues of the Goddess of Love Aphrodites (Venus). The Roman Scientist of Pliny writes about the creation of these statues and their cult, which brightly recreating the atmosphere of the Prakkitel's era:

"... Above all the works not only Prapkitel, but at all existing in the universe, is the Venus of his work. To see it, many swam on the books. Praxitel simultaneously made and sold two statues of Venus, but one was covered with clothes - it was preferred by the inhabitants of the braid, which belonged to the right of choice. Praxitel for both statues prescribed the same fee. But the inhabitants of the Spit this statue was recognized as serious and modest; Rejected by them bought Budyan. And her glory was immeasurably higher. Kddanyan later wanted to buy her king Nikomed, promising for her to forgive the state of the book all the huge listened debts. But Budyan chose everything to transfer than to part with the statue. And not in vain. After all, the recharge of this statue created the glory of the book. The building where this statue is located, everything is open, so it can be inspected from all sides. And believe that the statue was constructed with the favorable participation of the goddess itself. And on the one hand caused by her delight no less ... ".

Praxitel - an inspired singer of female beauty, so honored with Greeks IV century. BC. In a warm game of light and shadow, as never before, I shone under his cutter the beauty of the female body.

Time has long passed when a woman was not depicted nude, but this time the recruitment was exposed in marble not just a woman, but a goddess, and it first caused a surprised crown.

Book Aphrodite is known to us only on copies yes on borrowing. In two Roman marble copies (in Rome and in Munich Gliptotek), she reached us entirely, so we know her common appearance. But these one-piece copies are not first-class. Some others, albeit in the wreckage, give a brighter idea of \u200b\u200bthis great work: Aphrodite head in Paris Louvre, with such cute and spiritualized features; her tors her, too, in the Louvre and in the Neapolitan Museum in which we guess the charming femininity of the original, and even a Roman copy, filmed not from the original, and with an Hellenistic statue inspired by the genius of Praxitel, Venus Khvoschinsky (named so named by the Russian Collector), in which it seems to us, marble radiates the warmth of the wonderful body of the goddess (this fragment is the pride of the ancient department of the museum of the arts. A.S. Pushkin).

What was so delighted with the contemporaries of the sculptor in this image of the fearless of the goddesses, which, throwing off his clothes, was prepared to plunge into the water?

What admires us even in broken copies transmitting some features of the lost original?

The finest modeling in which he surpassed all his predecessors, revitalizing marble with flickering light glare and giving a smooth stone a gentle velvety with virtuosity, only inherent in him, Praxitel captured in the smoothness of the contours and the ideal proportions of the body of the goddess, in touching naturalness of her posture, in her gaze, "Wet and brilliant", according to the testimony of the ancients, those great beginnings, which expressed in the Greek mythology of Aphrodite, the beginning of eternal in the minds and Gresses of the human race: beauty and love.

Prakkitel is sometimes recognized as the most striking expressive in the ancient art of that philosophical direction, which saw in pleasure (in whatever it consists) the highest benefit and the natural purpose of all human aspirations, i.e. Hedonism. And yet his art is already foreshadowed by philosophy, blooming at the end of the IV century. BC. "In the groves of Epicur," the Athenian Garden called Pushkin, where the epicuric collected his students ...

Lack of suffering, the serene state of the spirit, the liberation of people from fear of death and fear before the gods were, in the epicurus, the main conditions of genuine pleasure of life.

After all, the most serenity of the beauty of the images created by Praxian, the affectionate humanity of the gods of the gods argued the beneficiamentation of the liberation from this fear of era, not a serene and not merciful.

The attribute image, obviously, was not interested in Praxtel, as his and civil motifs were not interested. He sought to embody the ideal of a physically wonderful young man in marble, not such a muscular, like a policlet, very slim and elegant, joyfully, but a little smiling smiling, no one who is not fearing, but also to anyone who is not threatening, a serene-happy and fulfilled the consciousness of the harmony of all his creatures.

Such an image apparently corresponded to his own worldview and therefore was especially expensive to him. We find this indirect confirmation in an entertaining anecdote.

Love attitudes of the famous artist and such an incomparable beauty like Frina, very occupied contemporaries. The living mind of Athenian was sophisticated in the speculation on their account. They passed, for example, if Frina asked Prapkitel to give her a better sculpture in love. He agreed, but gave her selection to her herself, slander, which his work he considers the most perfect. Then Frina decided to overcome it. Once, the slave sent by her, came running to Praxian with the terrible news that the artist's workshop burned down ... "If the flame destroyed Erote and Satira, then everything died!" - Prapkuitel exclaimed in Mount. So Fryna launched an assessment of the author himself ...

We know on reproduction these sculptures used in the ancient world with great glory. We have reached us at least one hundred and fifty marble copies of "resting satire" (five of them in the Hermitage). Do not consider ancient statues, statuettes from marble, clay or bronze, tombstones and all sorts of applied art products inspired by the genius of Prakkitel.

Two sons and grandson continued in sculpture the case of Praxitor, who himself was the son of the sculptor. But this family continuity, of course, was negligible compared with the general artistic continuity, ascending to his work.

In this regard, the example of Prakkitel is especially indicative, but not exceptional.

Let the perfection of the truly great original and unique, but the work of art, which is a new "variation of the beautiful", immortally even in the case of his death. We do not have an accurate copy of the statue of Zeus in Olympia, nor Athens Parfenos, but the greatness of these images that have determined the spiritual content of almost all the Greek art of the heyday, clearly through the miniature jewelry and coins of that time. They would not be in this style without a fidia. How neither the statues of the careless young men, lazily relying on a tree, nor captivating their lyrical beauty of naked marble goddesses, in a great set of decorated villas and venel parks in the Hellenistic and Roman time, as there would be no Praxithelian style, Praxithel'evsky Sweet Niga, so For a long time held in the ancient art, do not be genuine "resting satire" and the genuine "Aphrodites of the Book", now the god losses to the news where and how. Let's say again: their loss is unemployed, but they live them even in the most ordinary work of the imiters, lives, it means for us. But not being preserved and these works, this spirit would somehow be warm into human memory to sue again at the first opportunity.

Perceiving the beauty of the artwork, a man is enriched spiritually. Live communication generations never breaks completely. The antique ideal of beauty resolutely rejected the medieval ideology, and the works, their embodied, mercilessly destroyed. But the victorious revival of this ideal in the age of humanism testifies that he never exterminated completely.

The same can be said about the contribution to the art of every truly great artist. For a genius that embodies a new one, in the soul of his born image of beauty, enriches mankind forever. And so from ancient times, when for the first time they were created in the Paleolithic cave, those formidable and majestic animal images, from which all the visual arts went, and in which our far ancestor put all his soul and all his dreams illuminated by creative inspiration.

Ingenious takeoffs in art complement each other, bringing something new that no longer dies. This new one sometimes imposes its own stamp on a whole era. So it was with FIDIA, so it was with Prakkitel.

Is everything, however, died from the Prapkitel created by himself?

According to the ancient author, it was known that the Statue of Praxitor "Hermes with Dionysus" stood in the temple in Olympia. When excavations in 1877, there were discovered relatively little damaged marble sculpture of these two gods. Initially, no one had a doubt that this is the original of the Prakkitel, and now his authorship is recognized by many connoisseurs. However, a thorough study of the technique of marble processing was convinced of some scientists in the fact that the sculpture found in Olympia is an excellent Hellenistic copy, replacing the original, probably exported by the Romans.

This statue mentions only one Greek author, apparently, was not considered a masterpiece of Prakkitel. Nevertheless, its advantages are undoubted: amazingly thin modeling, softness of lines, wonderful, pure Praxietevian game of light and shadow, very clear, perfectly balanced composition and, most importantly, the charming of Hermes with his dreamy, a little scattered look and the children's charm of Baby Dionysus. And, however, in this charming, there is some good way in this charming, and we feel that in the whole statue, even in surprisingly slender in our smooth bending, the figure is very cool curly God, beauty and grace a little more accumulate the face behind which beautifulness and grace is beginning. The art of Prakkitel is very close to this face, but it does not violate it in the most spiritualized creatures.

The color, apparently, played a big role in the general appearance of the statues of Prakkitel. We know that some of them painted (rubbing the melted wax paints, gently animated whiteness of marble) himself, the famous then painter. The sophisticated art of Prakkitel purchased due to color even greater expressiveness and emotionality. The harmonious combination of two great arts was probably carried out in his creations.

We finally add that we have in the northern Black Sea Corrosion near the mouth of the Dnieper and Bug (in Olvia) a pedestal of statues was found with the signature of the Great Praxitel. Alas, the statue itself was not in the ground.

... Lisipp worked on the last third of the IV century. BC er, at the time of Alexander Macedonsky. Creativity His seems to complete the art of late classics.

Bronze was a favorite material of this scaly. We do not know its originals, so that we can judge only on the preserved marble copies, far from reflecting all of his work.

Immensely the number of the art monuments of ancient Eldlant that have not reached us. The fate of the huge artistic heritage of Lisippa is a terrible proof of this.

Lisipp was considered one of the most prolific masters of his time. They assure that he was postponed from remuneration for each fulfilled order by a coin: after his death, they were whole and a half thousand. Meanwhile, among the works, there were sculptural groups with respect to twenty figures, and the height of some of his sculptures exceeded twenty meters. With all these people, the elements and time dealt mercilessly. But no power could destroy the spirit of the art of Lisippa, erase the trace, they left.

According to Plinia, Lisipp said that, unlike his predecessors, who portrayed people, what they are, he, Lisipp, sought to portray them as they seem to. This, he argued the principle of realism, who had long heard in Greek art, but which he wanted to bring to full completion in agreement with the aesthetic attitudes of his contemporary, the greatest philosopher of antiquity of Aristotle.

The innovation of the Lisippa was that he opened huge in the art of brewing, not yet used realistic possibilities. And in fact, the figures are not perceived by us as created by "deposit", they do not positive us, but exist by themselves, as they grabbed the artist's eyes in all the complexity of a wide variety of movements reflecting one or another spiritual impulse. Bronze, easily hosting with casting any form, most suitable for solving such sculptural tasks.

The pedestal does not isolate the lisippa figures from the environment, they truly live in it, as if speaking from a certain spatial depth, in which their expressiveness is manifested equally clearly, although in different ways, on any side. They, it means completely three-dimensional, completely liberated. The human figure is built in a new one, not in its plastic synthesis, as in the sculptures of the Mirone or the Polyclet, and in a certain fleeting aspect, such as it introduced (seemed) to the artist for a moment and what it was not yet in the previous one will not be subsequent.

The amazing flexibility of the figures, the complexity itself, sometimes the contrast of movements - all this is harmoniously ordered, and there is nothing of this wizard, which even in the smallest degree would resemble the chaos of nature. Transfer, first of all, a visual impression, he and this impression subordinates a certain system, once and forever established in accordance with the spirit of his art itself. It was he, Lisipp, violates the old, policlete canon of a human figure to create his own new, significantly lightweight, more suitable for its dynamic art that rejects all inner immobility, all heaviness. In this new canon, the head is no longer 1.7, and only 1/8 of the total growth.

Recessed to us marble repetitions of his work give, in general, a clear picture of the realistic achievements of Lisippa.

Famous "Apoxiomen" (Rome, Vatican). This is a young athlete, however, not at all as in the sculpture of the previous century, where his image radiated the proud consciousness of the victory. Lisipp showed us an athlete after the competition, a metal scraper of a diligently cleansing body from oil and dust. It's not a sharp and, it would seem, the low-pressure movement of the hand is given in the whole figure, giving it an exceptional vitality. He is externally calm, but we feel that he experienced a big excitement, and in terms of his fatigue from the extreme tension. The image of this, as if grateing from eternally changing reality, is deeply humane, extremely noble in his complete ease.

"Hercules with Lvom" (St. Petersburg, State Hermitage). This passionate pathos of struggle is not for life, but to death, again, as if seen by the artist. The whole sculpture is as if charged with a stormy intense movement, uncontrollably merging into one harmoniously beautiful whole powerful figures of a person and the beast.

About what the impression of the sculpture of Lisippa was produced on contemporaries, we can judge the following story. Alexander Macedonsky so fell in love with his statuette "Pouring Hercules" (one of her repetitions is also in Hermitage) that he did not part with her in his campaigns, and when he was the last hour, ordered her in front of him.

Lisipp was the only scaly that the famous conqueror recognized decent to imprint his features.

"The statue of Apollo is the highest ideal of art between all the works that preserved us from antiquity." It wrote Winkelman.

Who was the author of the statue, so delighted the famous helicate of several generations of scientists - "antique"? None of the brewers whose art shines the most bright and to this day. How so and what is the misunderstanding?

Apollo, which Winkelman says is the famous "Apollo Belvedere": a marble Roman copy from the Bronze Original Leohara (last third of the IV century. BC), so called the gallery, where it was long exhibited (Rome, Vatican) . Many delight caused once this statue.

We recognize in Belvedere "Apollon", the highlight of the Greek classics. But it is just a fold. We know the frieze of Parfenon, who did not know Winkelman, and therefore, with all the undoubted effect, the statue of Leohara seems to us internally cold, somewhat theatrical. Although Leochar was a contemporary Lisippa, his art, losing the true significance of the content, gives academism, marks decline in relation to the classics.

The glory of such statues sometimes gave rise to the reporting idea of \u200b\u200ball Hellenic art. This idea was not black and understood. Some art figures tend to reduce the value of the artistic heritage of Eldlats and contact their aesthetic searches to completely different cultural worlds, in their opinion, more consonant with the globility of our era. (Suffice it to say that such an authoritative expressive of the original Western aesthetic tastes, as a French writer and the theorist of the art of Andre Malro, put in his work "Imaginary Museum of the World Sculpture" twice the reproductions of sculptural monuments of ancient Eldlas than the so-called primitive civilizations of America, Africa and Oceania !) But hard want to believe that the beauty of Parfenon will again enthusiastic in the consciousness of mankind, claiming the eternal ideal of humanism in it.

Finishing this brief overview of Greek classical art, I want to mention another wonderful monument stored in the Hermitage. This is the Italian Vase IV century famous for the whole world. BC e. found near the ancient city of Kuma (in campaign), named for the perfection of the composition and wealth of the decoration "Queen Vaz", and although probably not created in Greece itself reflects the highest achievements of Greek plastics. The main thing in a black and lacquer vase from Kum is her really impeccable proportions, a slender contour, the total harmony of forms and amazing multifigure reliefs (preserved bright coloring traces) dedicated to the cult of the goddess of demeters, famous Eleusinsky Mysteries, where the most gloomy scenes were replaced by rainbow visions, symbolizing death and life, eternal wilt and awakening of nature. These reliefs are an extension of the monumental sculpture of the greatest Greek masters V and IV centuries. BC. So, all the standing figures resemble the sculpture of the school of Prakkitel, and the sitting - Schools of Fidia.

Sculpture of the period of Hellenism

With the death of Alexander Macedonsky and the time of Hellenism begins.

The time for the approval of a single slave-owned empire was not yet failed, and not Ellad was destined to dominate the world. Paphos statehood was not its driving force, so she did not have to unite himself.

The great historical mission of ELDA was cultural. Having headed the Greeks, Alexander Macedonian was the fulfillment of this mission. The Empire broke it down, but Greek culture remained in the states arising in the east after its conquests.

In previous centuries, the Greek settlements spread the radiance of Hellenic culture in other regions.

In the century of Hellenism, there was no other seaside edges, the radiance of Eldlas was a comprehensive and all-level.

A civilian citizen inferior to the "Citizen of the World" (cosmopolitan), whose activities proceeded in the Universe, "Okumen", as Herity understood it. Under the spiritual primacy of Eldlas. And this, despite the bloody distribution between the "Diagemi" - insatiable in their power successors Alexander.

It's like that. However, the new "citizens of the world" were forced to combine their high vocation with the fate of the powerless subjects of as well as the Lord ruling on the manner of Eastern despots.

The Celebration of Eldlats no longer disputed by anyone; It Taila, however, deep contradictions: the bright spirit of Parfenon turned out to be simultaneously both winner and defeated.

Architecture, sculpture and painting flourished in the whole huge Hellenistic world. The urban planning of unprecedented dootole scale in the new statements approving their power, the luxury of royal yards, the enrichment of the slave-owned nobility in the rapidly gloring international trade was provided by the artists major orders. Perhaps more than ever before, art encouraged the power of the people. And in any case, ever still artistic creativity was so extensive and varied. But how do we regard this creativity compared with the fact that they were given in the art of Archaic, the era of the flourishing and late classics, the continuation of which was Hellenistic art?

Artists had to extend the achievements of Greek art at all the territories conquered by Alexander with their new difference statements and at the same time, in contact with the ancient cultures of the East, to preserve these achievements in the purity, reflecting the greatness of the Greek art ideal. Customers - Tsari and Velmazby - wanted to decorate their draws and parks with artworks, as much as possible on those that were worshiped by perfection to the great course of the power of Alexander. It is not surprising that all this did not get fascinated by the Greek brew on the path of new searches, encouraging him only to "make" a statue that would seem no worse than the original Praxitel or Lisippa. And this, in turn, inevitably led to borrowing the form already found (with adaptation to the internal content, which this form expressed her creator), i.e. To what we call Academaism. Or to eclecticism, i.e. The combination of individual features and finds of the art of various masters, sometimes impressive, spectacular due to the high quality of samples, but devoid of unity, internal integrity and not to promote the creation of their own, precisely - expressive and full-fledged artistic language, own style.

Many, very many sculptures of the Hellenistic pore show us to an even greater degree of just the shortcomings that the Belvedere "Apollo already foreshadowed. Hellenism has expanded and, to a certain extent, completed decadent trends, which manifested at sunset late classics.

At the end of II century BC. He worked in the Malaya Asia Scäuel named Alexander or Assandr: In the inscriptions on the only ending the statue of his work, not all letters were preserved. This statue found in 1820 on the island of Milos (in the Aegean Sea) depicts Aphrodite-Venus and now known to the whole world as "Venus Mil Osset". It is not even just an Hellenistic, and the late-alignistic monument, which means, created in the era, noted in the art of some decline.

But it is impossible to put this "Venus" in a row with many other, it is modern or even earlier than the marriage of gods and goddesses, indicating a fair technological skill, but not about the originality of the idea. However, it doesn't seem to be nothing particularly original, such that was not already expressed in previous centuries. The far echo Aphrodite Prakkitel ... And, however, in this statue, everything is so slight and harmonious, the image of the Goddess of Love, at the same time, so agrees and so captivatingly feminine, so clean all its appearance and so gently glows wonderfully model marble, which seems to us: Cutter The Greek Art of Greek Art could not carve anything more perfect.

Is it obliged by its glory to what the most famous Greek sculptures were perfectedly killed, causing admiration for the ancients? Such statues like "Venus Milos", the pride of the Parisian Louvre was probably not unique. No one in the then "Okumen" nor later, in the Roman Era, did not fumble of her in verses in Greek, nor in Latin. But how many enthusiastic lines, confessional events are dedicated to her

now almost in all languages \u200b\u200bof the world.

This is not a Roman copy, but the Greek original, albeit not the classical pore. It means that so high and mighty were an ancient Greek art ideal that he came to life in all his glory even at the time of academicism and eclecticism.

Such ambitious sculptural groups like "Laocoon with sons" (Rome, Vatican) and Fernese Bull (Naples, National Roman Museum), who caused the boundless admiration for many generations of the enlightened representatives of European culture, now, when the beauty of Parfenon opened, seem unnecessary theatrical Overloaded, crushed in detail.

However, probably belonging to the same as these groups, Rhodes school, but the artist unknown to us in an earlier period of Hellenism "Nika Samofratsky" (Paris, Louvre) is one of the vertices of art. This statue stood on the nose of the monument of the monument. In the progress of the powerful wings, Nika-Victory is unstoppable forward, cutting wind, under which it is noisy (we, as it were, I hear it). Her vestments pegs. The head is repulsed, but the gradation of the image comes to us completely.

Portrait art is very common in the Hellenistic world. Multiple "famous people", who succeeded in the service of the rulers (Diatochms) or nominated to the tops of the Company thanks to the more organized than in the former fragmented elder, the operation of slave labor: they want to capture their features for offspring. The portrait is increasingly individualized, but at the same time, if we are the highest representative of the authorities, then its superiority is emphasized, the exclusivity of the provision occupied by him.

And so he himself, the main Lord - Diarat. His bronze purse (Rome, Museum Term) is the brightest sample of Hellenistic art. We do not know who this lord, but from the first look it is clear to us that this is not a generalized image, but a portrait. Characteristic, acutely individual features, slightly squandered eyes, is not the perfect physique. This man is captured by the artist in all of the identity of his personal traits performed by the consciousness of his power. It was probably a skillful ruler, who sought to act in circumstances, it seems that there may be a brutal in the persecution of the intended goal, perhaps, sometimes generous, quite complicated in nature and the rule in an infinitely complex Hellenistic world, where The primacy of Greek culture was to be combined with respect for ancient local cultures.

He is completely naked as an ancient hero or God. Rotate the head, such a natural, fully liberated, and highly raised hand, resting on a spear, give the figure proud magty. Acute realism and deification. Decorment is not the perfect hero, and the most specific, individual deification of the earthly lord given to people ... fate.

... The general direction of the art of late classics lies at the basis of Hellenistic art. It sometimes successfully develops this orientation, even deepens, but, as we have seen, sometimes it grinds or brings to extremes, losing a fertile feeling of measures and impeccable artistic taste, which all Greek art of classical pores were noted.

Alexandria, where the trading paths of the Hellenistic world were crossing, is the focus of the entire culture of Hellenism, "New Athens".

In this huge at the time of the city with a half-million population, founded by Alexander at the mouth of the Nile, flourished science, literature and art that patronized Ptolemyi. They founded the "Museum", which became the center of artistic and scientific life for many centuries, the famous library, the largest in the ancient world, which had more than seven hundred thousand scrolls of papyrus and parchment. The sternummeter Alexandrian lighthouse with a tower, lined with marble, eight faces of which were located in the directions of the main winds, with the statues of the flora, with a dome, topped with a bronze sculpture of the Lord of the Seas of Poseidon, had a mirror system that increased the light of fire burning in the dome, so he saw him At a distance of sixty kilometers. This lighthouse was considered one of the "seven wonders of the world." We know Him on the images on the ancient coins and in the detailed description of the Arab traveler who visited Alexandria in the XIII century: a hundred years later, the lighthouse was destroyed by an earthquake. It is clear that only exceptional successes in accurate knowledge allowed us to erect this ambitious structure that required the most complex calculations. After all, Alexandria, where he taught Euclide, was the cradle called by his behalf of geometry.

Alexandrian art is extremely manyly. The statues of Aphrodite go back to Prakkitel (two of his son worked in Alexandria), but they are less important than their prototypes, graceful are emphasized. On Kameo Gonzag - generalized images inspired by classic canons. But completely different tendencies are manifested in the statues of old people: bright Greek realism here goes into almost frank naturalism with the most ruthless transmission of flabby, wrinkled skin, swollen veins, just irreparable, made by old age in the appearance of a person. Caricature flourishes, cheerful, but sometimes stranger. Household genre (sometimes with a bias in a grotesque) and a portrait getting more and more distribution. Reliefs appear with cheerful bucolic scenes, adorable images of children, sometimes reviving the grand allegoric sculpture with a congestive rest of her husband, similar to Zeus and personifying the Nile.

Multimularity, but also the loss of inner unity of art, the integrity of the artistic ideal, often reduces the significance of the image. Ancient Egypt did not die.

Tempting in the politics of the Board, Ptolemye, emphasized their respect for his culture, borrowed many Egyptian customs, erected the temples by the Egyptian deities and ... they themselves counted themselves to the host of these deities.

And Egyptian artists did not change their ancient artistic ideal, ancient canons, even in images of new, foreign rulers of their country.

The stem monument of the art of Ptolemeevsky Egypt is the statue of the Black Basalt Tsaritsa Arsinoe II. The ambulance and beauty of Arsinoe, at which, in the Egyptian royal custom, married her brother Ptolemy Philadelph. Also, an idealized portrait, but not on classic Greek, but on the Egyptian way. This image dates back to the monuments of the clock cult of pharaohs, and not to the statues of the beautiful goddesses of Eldla. Arsinoe, but her figure, composed of ancient tradition, frontal, seems to be frozen, as in portrait sculptures of all three Egyptian kingdoms; This stiffness naturally harmonizes with the internal content of the image, completely different than in Greek classics.

It is necessary for the forehead of the queen sacred cobra. And except for the soft roundness of the shapes of her slim young body, which seems completely naked under a light, transparent robe, with his cube, somehow reflects, perhaps hearing the blow of Hellenism.

The city of Pergamm, the capital of the extensive smallness of the Hellenistic state, famous for Alexandria, the richest library (parchment, in Greek "Pergamskaya skin" - Pergamine invention), its artistic treasures, high culture and pomp. Pergamm's windows created wonderful statues of the struggled gallins. These statues on inspiration and style go back to the spopas. The frieze of the Pergamine altar is also rising to the squash, but this is not an academic work, but an art monument that marks the new Great Wingspins.

Fruit fragments were opened in the last quarter of the XIX century by German archaeologists and delivered to Berlin. In 1945, they were taken out by the Soviet Army of the Grown Berlin, then stored in the Hermitage, and in 1958 they returned to Berlin and are now exhibited there in the Pergami Museum.

The sternum-meter sculptural frieze bordered the monogram of the sky altar with light iconic columns and wide steps, rising in the middle of a huge structure in the form of the letter P.

The topic of sculptures is "Giantahah": the battle of giants with giants, allegorically depicting the battle of Ellini with barbarians. This is a very high relief, almost round sculpture.

We know that there was a group of brews, among whom were not only Pergamm. But the unity of the idea is obvious.

We can say without reservations: in the whole Greek sculpture there was no such ambitious picture of the battle. Terrible, merciless battle is not for life, but to death. The battle is really titanic - and because the giants that rebel against the gods, and the gods themselves, their defeating, superhuman growth, and because the whole composition of Titanic in his pathos and sweep.

Perfection of the form, the striking game of light and shadows, a harmonious combination of the most sharp contrasts, the inexhaustive dynamism of each figure, of each group and the whole composition is consonant with the art of the stem, are equivalent to the highest plastic achievements of the IV century. This is great Greek art in all its glory.

But the Spirit of these sculptures sometimes takes us out of Eldlas. The words of the lesing that the Greek artist smoked manifestation of passions to create deceased-wonderful images, not applicable to them. True, this principle has already been violated in late classics. However, even as if filled with the most stormy impulse, figures of warriors and amazons in the frieze of the tomb of Mausol seem to be restrained in comparison with the figures of Pergamm's "Gigantomaniac".

Not the victory of a light beginning above the darkness of the underworld, from where the giants were escaping, - the true topic of Pergamm Fries. We see the celebration of the Gods, Zeus and Athens, but we will amaze another, who involuntarily exciting us when we look at all this storm. Eustion of the battle, wild, self-challenging - this is what the marble of Pergamm Fries is famous. In this ecstasy, gigantic figures of fighting contractedly grabbed each other. Their faces are distorted, and it seems to us, we hear their screams, a fierce or jerking roar, stunning cries and moans.

As if some spontaneous force was reflected here in marble, the force is indroprotable and the indomitable, which to sow horror and death. Isn't that since ancient times a man in the terrible image of the beast? It seemed to be finished with him in Eldead, but he is clearly resurrected here in Hellenistic Pergama. Not only with your spirit, but also appearance. We see the lion's muzzles, giants with manifesting snakes instead of legs, monsters, as if generated by the heated imagination from the awakening horror before unknown.

The first Christians Pergaminsky Altar seemed to "the sang of Satan"! ..

Did you participate in the creation of Frieza Asian masters, still subject to visions, dreams and fears of the Ancient East? Or or the Greek masters themselves penetrated them on this earth? The latter assumption seems more likely.

And this is the interlocking of the Ellinsky ideal of the harmonic perfect form, transmitting the visible world in his greatest beauty, the ideal of a man who realized himself with the crowned nature, with a completely different globility, which we recognize and in painting of Paleolithic caves, forever captured the Grozny blessing strength, and in unsolved faces of stone Doublebe idols, and in Scythian "animal" bleaks, finds, perhaps, for the first time such a whole, organic embodiment in the tragic images of the Pergammsky altar.

These images do not comfort, as Parfenon's images, but in subsequent centuries, their frowning pathos will be consonted by many of the highest creations of art.

By the end of the i century. BC. Rome approves his dominion in the Hellenistic world. But it is difficult to designate, even conditionally, the final edge of Hellenism. In any case, in its impact on the culture of other peoples. Rome spawned in his own culture of Eldla, it turned out to be Hellenized. The radiance of Eldlant did not die under the Roman power, nor after the fall of Rome.

In the field of art for the Middle East, especially for Byzantium, the heritage of antiquity was largely Greek, and not Roman. But it is not all. Spirit Eldlats glows in ancient Russian painting. And this spirit illuminates the great era of revival in the west.

Roman sculpture

Without a foundation laid by Greece and Rome, there would be no modern Europe.

And at the Greeks, and the Romans had their own historical calling - they complemented each other, and the foundation of modern Europe - their common cause.

The artistic heritage of Rome meant a lot in the cultural foundation of Europe. Moreover, this legacy was hardly decisive for European art.

... In the conquered Greece, the Romans behaved at first as barbarians. In one of his Satir, Juvenal shows us the gross Roman warrior of those times, "appreciate the unlike artistic arts of the Greeks", which "in the row of ordinary" broke the "Cup of the work of the famous artists" into small pieces to decorate their shield or shell.

And when the Romans knew about the value of works of art, the destruction was replaced by a robberry - crewing, apparently without any selection. From Epirus in Greece, the Romans were taken out five hundred statues, and stopping before this Etruscov - two thousand of Wei. It is unlikely that all this was some masterpieces.

It is believed that the fall of Corinth in 146 BC The Greek Antique History itself ends. This blooming city on the shores of the Ionian Sea, one of the main centers of Greek culture, was erased from the face of the earth by the soldiers of the Roman Consul Mummia. From the burned palaces and temples, consular ships were taken out of unpretentious artistic treasures, so, as Pliny writes, literally all Rome was filled with statues.

The Romans not only brought the great many Greek statues (in addition, they also brought Egyptian obeliski), but in the widest scale copied the Greek originals. And already for one thing we must be grateful. What, however, was the Roman contribution to the art of sculpting? Around the trunk of the trayan column, erected at the beginning of the II century. BC e. On the forum Trajan, over the most grave of this emperor, it turns out a wide ribbon relief, glorifying his victories over Daki, whose kingdom (current Romania) was finally conquered by the Romans. Artists who fulfilled this relief were undoubtedly not only talented, but also familiar with the techniques of Hellenistic masters. And yet it is a typical Roman work.

Before us a detailed and conscientious narration. It is the narrative, and not a generalized image. In the Greek relief, the story about real events was allegorically filed, usually intertwined with mythology. In the Roman terrain, since the time of the republic, the desire as accurately can be seen as accurately more specifically Transfer the course of events in its logical sequence along with the characteristic features of those who participated in them. In the relief of the Tracaan column, we see Roman and barbaric camps, preparations for campaign, storming fortresses, crossings, merciless fights. Everything seems to be really very accurate: the types of Roman warriors and Ducks, their weapons and clothes, the type of fortifications - so this relief can serve as if the sculptural encyclopedia of the then military life. The whole composition, rather, the whole composition, rather well-known embossed narratives of the grooved feats of the Assyrian kings, however, with less visual power, although with the best knowledge of the anatomy and from the Greeks, going to the ability to freely have figures in space. Low relief, without plastic detection of figures, perhaps inspired by the scenic scenic samples. The images of the trayan himself are repeated at least ninety times, the faces of the warriors are extremely expressive.

These are the same concreteness and expressiveness make up a distinctive feature of the entire Roman portrait sculpture, in which, perhaps, the most severely manifested with the originality of Roman artistic genius.

The purely Roman share made in the treasury of world culture is perfectly defined (just in connection with the Roman portrait) the largest connoisseur of the ancient art O.F. Waldgauer: "... Rome has as an individuality; Rome is in those strict forms in which ancient images were revived under his dominion; Rome is there in the great body, which spawned the seeds of ancient culture, giving them the opportunity to fertilize new, still barbarian peoples, and, finally, Rome has in the creation of a civilized world on the basis of cultural elling elements and, by modifying them, according to new tasks, only Rome And he could create ... the great era of a portrait sculpture ... ".

Roman portrait has a complex prehistory. His connection with the Etruscian portrait is obvious, as well as with Hellenistic. The Roman root is also quite clear: the first Roman portrait images in marble or bronze were, just, with accurate playback of the wax mask, removed from the face of the deceased. This is not an art in the usual sense.

At the next time, the accuracy is preserved at the heart of the Roman artistic portrait. Accuracy, painted by creative inspiration and wonderful skill. The legacy of Greek art here, of course, played a role. But we can say without exaggeration: the art of a brightly individualized portrait of a brightly individualized portrait, fully exposing the inner world of this person, is essentially a Roman achievement. In any case, on the scope of creativity, the strength and depth of psychological penetration.

In the Roman portrait, the spirit of ancient Rome is revealed in front of us in all its aspects and contradictions. The Roman portrait is like the story of Rome, told in the faces, the story of his unprecedented elevation and tragic death: "The entire history of the Roman fall is expressed here with eyebrows, foreheads, lips" (Herzen).

Among the Roman emperors there were noble personalities, the largest state figures, were the greedy ambitions, there were monsters, despot,

deferacted from the boundless power, and in the consciousness that they were all allowed, the blood spilled by the sea, there were gloomy tyras, the murder of the predecessor who reached the highest San and therefore destroyed everyone who inspired them the slightest suspicion. As we have seen, the morals born by the degenidant miniature, sometimes pushed even the most enlighted on the most cruel acts.

In the period of the greatest power of the empire, a firmly organized slave-owned system, in which the life of the slave was put in nothing and with him appealed, as with a working cattle, put his mark on the morality and on life not only emperors and nobles, but also ordinary citizens. And at the same time, the pursuit of statehood that encouraged by Paphos increased the desire to streamline on the Roman Lad of Social Life in the whole empire, with complete confidence that the more strong and beneficial building could not be. But this confidence turned out to be insolvent.

Continuous wars, internecine distribution, rebellion of provinces, the flight of slaves, the consciousness of the "Roman world", the foundation of the "Roman world", was increasingly fed. The conquered provinces all more decisively showed their will. And in the end, they undermined the unifying power of Rome. The provinces were destroyed by Rome; Rome himself turned into a provincial city, similar to another, privileged, but no longer dominant more, ceased to be the center of the global empire ... The Roman state has become a gigantic complex machine exclusively for sucking juices from the subjects.

New trends running from the east, new ideals, the search for a new truth gave birth to new beliefs. The sunset of Rome was assumed, the sunset of the ancient world with his ideology and social entry.

All this was reflected in Roman portrait sculpture.

In the days of the republic, when the morals were severe and easier, the documentary accuracy of the image, the so-called "Verizh" (from the word Verus - true), was not equalized by the Greek refining influence. This influence manifested itself in the age of August, sometimes even with damage to truthfulness.

The famous statue of August is in full growth, where it is shown in the entire pomp of the imperial power and military glory (statue from Prima-Port, Rome, Vatican), as well as his image in the form of Jupiter himself (Hermitage), of course, idealized parade portraits equalizing Earthly lord to celestials. And yet they are the individual traits of August, relative equilibrium and the undoubted significance of his personality.

Idealized and numerous portraits of his successor - Tiberius.

Let's look at the sculptural portrait of Tiberius in young years (Copenhagen, Gliptotek). Refined image. And at the same time, unconditionally individual. Something uncomplicated, obscurely closed overlooking his features. Perhaps, supplied in other conditions, this man outwardly completely decently lived his life. But the eternal fear and no limited power. And it seems to us that the artist captured in the image of his something that did not recognize even the insightful August, assigning Tiberius with his successor.

But the portrait of the successor of Tiberia - Caligules (Copenhagen, Gliptotek), killers and a torture, in the end, the killers and the torture, in the end, are already fully expositing with all its noble restraint. His careful look, and you feel that there can be no mercy of this very young ruler (he graduated from twenty nine years his terrible life) with tightly compressed lips favorite to remind that he can do whatever: and with anyone. We believe, looking at the portrait of Caliguly, all the stories about his countless atrocities. "The fathers he forced to attend the execution of sons," writes Sveoniy, "he sent a stretcher at one of them, when he tried to evade the unhealthy; Other, he immediately after the spectacle of execution invited to the table and forced all sorts of courtesies to joke and having fun. " And another Roman historian, Dion, adds that when the father of one of the executed "asked if he could at least close his eyes, he ordered to kill and father." And ... Svetonia: "When the cattle was sighed, whom the wild animals refused for a spectacle, he ordered it to be confused by criminals; And, by order for this prison, he did not watch who was to blame, but straight ordered, standing in the door, take everyone ... ". An ominous in his cruelty of the low face of Nero, the most famous from the crowded monsters of ancient Rome (marble, Rome, National Museum).

The style of the Roman sculptural portrait changed along with the overall world of the era. Documentary truth, the parade, reaching the deification, the most acute realism, the depth of psychological penetration alternately prevailed in it, and even complemented each other. But while the Roman idea was alive, the visual power did not dry.

Emperor Adrian deserved the fame of the wise ruler; It is known that he was an enlightened art connoisseur, a zealous admirer of the classic heritage of Eldla. The features of him, carved in marble, thoughtful glance along with a light challenge of sadness complement our idea about him, how the portraits of it complement our idea of \u200b\u200bCaracalle, genuinely capturing the quintessence of the animal cruelty, the most unbridled, violent power. But the true "philosopher on the throne", the thinker, fulfilled his spiritual nobility, appears to Mark Aurelius, preaching in his writings of stoicism, rejection from earthly goods.

Genuinely unforgettable images in their expressiveness!

But the Roman portrait resurrects with us not only images of emperors.

Let us dwell in the Hermitage in front of the portrait of an unknown Roman, fulfilled, probably at the very end of I. This is a undoubted masterpiece, in which the Roman accuracy of the image is combined with traditional Ellinian skill, the documentary of the image - with inner spirituality. We do not know who is the author of the portrait - Greek Lee, who gave Rome with his worldview and tastes of his talent, Roman or another artist, an imperial subject, inspired by Greek samples, but firmly ingrown in Roman land - as an unknown authors (most likely, probably Slaves) and other wonderful sculptures created in the Roman era.

In this image, an elderly person has been captured, a lot of experienced in his age and a lot of surrender, in which you guess some degrading suffering, perhaps, from deeply thoughtful. The image is so real, truthful, snatched so chain from human thickness and so skillfully identified in his essence that it seems to us, we met this Romanna, are familiar with him, that's it almost like that - even if we are unexpectedly our comparison, - as we know, for example , Heroes of Tolstov Romanov.

And the same persuasiveness in another famous masterpiece from the Hermitage, the marble portrait of a young woman, conditionally named by the type of face "Syrianka".

This is the second half of the II century: the depicted woman is the contemporary of the emperor Mark Azerlia.

We know that it was the era of reassessment of values, intensified the eastern influences, new romantic sentiment, concerning mysticism, which foreshadowed the crisis of Roman Volatile Pride. "The time of human life is a moment, - wrote Mark Arellium, - its essence - the eternal current; sensation vaguely; The structure of the whole body is shaded; Soul - Unstable; fate - mysterious; Glory is unreliable. "

Melancholic contemplation, characteristic of many portraits of this time, breathes the image of Syrianica. But her thoughtful dreaminess - we feel it is deeply individual, and again, she herself seems to us a long time, almost even native, so vitally cutter a sophisticated work extracted from white marble with a gentle bluish sampling of its charming and spiritual features.

But again the emperor, but the emperor is special: Philip Arab, which nominated in the midst of the crisis III century. - Bloody "Imperial Czechards" - from the rows of provincial legion. This is his official portrait. Moreover, the soldier's severity of the image is significant: it was the time when the army was a stronghold of the imperial power in general fermentation.

Frowny eyebrows. Grozny, wary glance. Heavy, fleshy nose. Deep wrinkles of cheeks, forming a triangle with a sharp horizontal of thick lips. The mighty neck, and on the chest - wide cross folds, the triggers, finally giving all the marble bruis, a truly granite massiveness, a laconic fortress and integrity.

This is what Waldgauer writes about this wonderful portrait, also stored in our Hermitage: "The technique is simplified to the extreme ... The features of the face are generated by deep, almost rude lines with a complete refusal of the detailed surface modeling. The personality, as such, is characterized mercilessly with the allocation of the most important features. "

New style, newly achieved monumental expressiveness. Is this the influence of the so-called barbaric periphery of the Empire, increasingly penetrating through the provinces, which became rivals of Rome?

In the general style of Bust Phillip Arab Waldgauer, it recognizes the features that will receive full development in medieval sculptural portraits of French and German cathedrals.

Loud things, accomplishments surprised by the world, became famous for the ancient Rome, but his sunset was gloomy and painful.

The whole historical era ended. The talked line was to give way to a new, more advanced; Slave-owned society - to be reborn into feudal.

In 313, a long-chance of Christianity was recognized in the Roman Empire of the State Religion, which at the end of the IV century. I became dominant in the entire Roman Empire.

Christianity with his sermon of humility, asceticism, with his dream of paradise not on earth, and in heaven, created a new mythology, the heroes of which, the devotees of the new faith, who took the martyrdom of the martyr, occupied the place that once belonged to the gods and goddesses who personified the life-affirming began , earthly love and earthly joy. It spread gradually, and therefore, before his legalized celebration, the Christian doctrine and the public sentiments, which prepared it, at the root undermined the ideal of beauty, which was once full of light at the Athenian Acropolis and which was perceived and approved by Rome in all of him the subject of the world.

The Christian Church tried to clothe the concrete form of unshakable religious beliefs a new worldview, in which the East with his fears before the unsolved forces of nature, the eternal struggle with the beast found a response from the disadvantaged of the entire ancient world. And although the ruling top of this world was redefeced by a new universal religion to solder a decaying Roman power, the worldview, born by the need for social transformation, loosened the unity of the empire along with the ancient culture from which Roman statehood arose.

Twilight of the ancient world, twilight of the great ancient art. In the whole empire, the majestic palaces, forums, terms and triumphal arches are still being built, but this is just the repetition of the achieved in previous centuries.

The colossal head is about one and a half meters - from the statue of Emperor Konstantin, who had overlooking the capital of the Empire in Byzantium in 330, which became Constantinople - "Second Rome" (Rome, Palazzo conservatives). The face is built correctly, harmonious, according to Greek samples. But in this face, the main thing is: it seems that they are close to them, there would be no person himself ... The fact that in Fayum portraits or Pompean portrait of a young woman attached an inspired expression, here it was brought to the extreme, the whole image has exhausted. The ancient equilibrium between the Spirit and the body is clearly violated in favor of the first. Not a living human face, but a symbol. The symbol of power imprinted in the view, the authorities subordinating all the earthly, impassive, inexperienced and inaccessible high. No, even if portrait traits are preserved in the image of the emperor, this is not a portrait sculpture.

The triumphal arch of Emperor Konstantin in Rome is impressive. The architectural composition is strictly withstand in the classic Roman style. But in the embossed narrative, glorifying the emperor, this style disappears almost without a trace. The relief is so low that small figures seem flat, not broken, but scratched. They are monotonously lined up in a row, they are shaking to each other. We look at them with amazement: this world is equally different from the world of Eldla and Rome. No revival - and resurrected, it would seem, forever overcome the frontal!

The porphyman of the imperial co-guards - the tetrars, who ruled at that time over the individual parts of the empire. This sculptural group marks and end, and the beginning.

END - For decisively ending in it with the Hellenic ideal of beauty, smooth roundness of the forms, the harness of the human figure, the grace of the composition, the softness of modeling. That rudeness and simplicity, which attached a special expressiveness of the Hermitage portrait of Philip Arab, became like an end in itself. Almost cubic, topor-carved heads. There is no hint on portrait, as if human individuality is already unworthy of the image.

In 395, the Roman Empire broke up to the Western - Latin and Eastern - Greek. In 476, the Western Roman Empire fell under the blows of the Germans. There was a new historical era, called medieval.

The new page opened in the history of art.

BIBLIOGRAPHY

1. Britova N. N. Roman sculptural portrait: Essays. - M., 1985
2. Brunov N. I. Monuments of the Athenian Acropolis. - M., 1973
3. Dmitrieva N. A. A brief history of the arts. - M., 1985
4. Lyubimov L. D. Art of the Ancient World. - M., 2002
5. Chubov A.P. Antique Masters: Sculptors and painters. - L., 1986

1.1 Sculpture in ancient Greece. Prerequisites for its development

Among the entire visual art of ancient civilizations, the art of ancient Greece, in particular, its sculpture occupies a very special place. The living body, capable of any muscular case, the Greeks put the above all. No clothes shocked anyone. To all treated too simple, in order to be ashamed of anything. And at the same time, of course, the chastity did not lose.

1.2 Sculpture of Greece Epoch Archaic

The period of archaic is the period of becoming an ancient Greek sculpture. It is already clear the desire of the sculptor to convey the beauty of the perfect human body, which fully manifested itself in the works of a later era, but it was too difficult to move away to the artist from the form of the stone block, and the figures of this period are always static.

The first monuments of the ancient Greek sculpture of the archaic era are determined by the geometric style (VIII century). These are schematic figures found in Athens, Olympia , in Besotia The archaic era of an ancient Greek sculpture falls on the VII - VI centuries. (Early Archaic - about 650 - 580 years. BC; High - 580 - 530; Late - 530 - 500/480). The beginning of the monumental sculpture in Greece refers to the middle of the VII century. BC e. and characterized by orientalizing styles, of which Dedalovsky had the greatest importance, associated with the name of the half-phyphic sculptor of the grandfather . The statue of Artemis of the Delos and Women's Statue of Cretan Work, Storesting in Louvre, belongs to the "Dedalovskaya" sculpture circle of Artemis, stored in Louvre ("Lady of Oxer"). Middle VII century BC e. The first kuras are dating . By the same time the first sculptural temple scenery belongs - reliefs and statues from the adhere on the island of Crete. In the future, the sculptural scenery fills the fields highlighted in the temple itself by its design - Fronton and metops indoric temple, continuous frieze (ZOFOR) - in ionic. The earliest frontal compositions in an ancient Greek sculpture occur from the Athenian Acropolis and from the temple of Artemis on the island of Kerkira (Corfu). Tombstone, dedication and cult statues are presented in Archaic Type of Kurak and Core . Archaic reliefs decorate the bases of statues, the frontaths and methops of the temples (in the future, round sculpture comes to the place of reliefs in the front of the finalones), tombstones . Among the famous monuments of the archaic round sculpture - the head of the gers found near her temple in Olympia, the statues of Kleobis and Biton of DelphMoshofor ("Telzensec") from Athenian Acropolis, Samos Gera , statues from Didima, Nikki Arherhma and others. The last statue demonstrates the archaic scheme of the so-called "crankshaft run" used for the image of a flying or running figure. A still a number of conventions are adopted in the archaic sculpture - for example, the so-called "archaic smile" on the faces of archaic sculptures.

The sculpture of the archaic epoch is dominated by the statues of slender nude boys and treated young girls - karos and bark. Neither childhood, nor old age then did not attract the attention of artists, because only in mature youth, life forces are in bloom and equilibrium. Early Greek art creates images of a man and a woman in their ideal option. In that epoch, the spiritual horizons are extremely concluded, a person, as it were, felt his face to face with the universe and wanted to comprehend Him Himonia, the secret of his integrity. The details eluded, ideas about the specific "mechanism" of the universe were the most fantastic, but the pathos of the whole, the consciousness of universal relationship - this is what was the power of philosophy, poetry and art of archaic Greece *. Just as philosophy, then even close to poetry, the general principles of development have persuading, and poetry is the essence of human passions, the visual arts created a generalized human appearance. Let's look at the kuris, or, as they are sometimes called, "Archaic Apollonov". It is not so important whether the intention of the artist could portray a truly Apollo, or a hero, or athlete. The manual, is naked, and his chaste nudity does not need opportun covers. He always stands straight, his body is permeated with readiness for movement. The body design is shown and emphasized with the ultimate clarity; It is immediately clear that long muscular legs can bend in the knees and run, the abdominal muscles - strain, the chest - to swell in deep breathing. A person does not express any certain experience or individual character traits, but also it is covered with a variety of experiences. And the conditional "smile" is a little raised angles of the mouth - only the possibility of a smile, a hint of the joy of being, incorporated in this, as if the man created just created.

The statues of the kuros were created mainly in areas where Dorian style dominated, that is, in the territory of mainland Greece; Female statues - bark - mainly in low-immiginous and island cities, ionic style foci. Beautiful female figures were found in the excavations of the Archaic Athenian Acropolis, erected in the VI century BC. er, when there is the rules of the Piscistratus, and destroyed during the war with Persians. Twenty-five centuries were buried in the "Persian garbage" marble barks; Finally, they were removed from there, half-hearted, but not lost their extraordinary charm. Perhaps some of them were performed by ionic masters invited by Pisistat in Athens; Their art affected the attic plastic, which from now on connects the features of doric rigor with Ionian grazing. In the barks of the Athenian Acropolis, the ideal of femininity is expressed in his primary purity. The smile of light, the gaze of the world, and how joyfully amazed the spectacle of the world, the figure chashes the Peplos - a bedspread, or a light robe - Hiton (in the era of archaica women's figures, unlike male, have not yet been depicted by nagi), hair flows on the shoulders of curly strands. These barks stood on the pedestals in front of the temple of Athens, holding an apple or flower in her hand.

Archaic sculptures (as well as classic) were not so monotonous white as we present them now. Many preserved traces of coloring. The hair of marble girls was golden, pink cheeks, eyes with blue. Against the background of the cloudless sky, Eldlats all this should look very festively, but at the same time also, thanks to clarity, collens and constructiveness of forms, and silhouettes. There was no excessive flowery and motion. The search for the rational basics of beauty, harmony, based on the measure and number, is a very important point in the aesthetics of the Greeks. Pythagorean philosophers sought to catch regular numerical relations in musical consonents and in the location of heavenly shining, believing that the harmony of musical corresponds to the nature of things, cosmic order, "harmony of spheres". Artists searched for mathematically verified proportions of the human body and the "body" of architecture in this early Greek art is fundamentally different from Crito-Mycenaean, alien to any mathematics.

Very live genre scene:Thus, in the archaic era, the foundations of ancient Greek sculpture, directions and options for its development were laid. The main objectives of the sculpture, aesthetic ideals and the desires of the ancient Greeks were clearly understood. In later periods, the development and improvement of these ideals and skill of ancient sculptors occurs.

1.3 Sculpture of Greece Epoch Classics

The classical period of ancient Greek sculpture falls on V - IV BB. (Early classic or "strict style" - 500/490 - 460/450 BC; High - 450 - 430/420 BC. e.; "Rich Style" - 420 - 400/390 . BC e., late classics - 400/390 - oK. 320 BC er). At the turn of two epochs - archaic and classic - stands the sculptural decor of the temple of Athens Afiai on the island of Aegina . The sculptures of the Western Frontone belong to the base of the temple (510 - 500 BC er), the sculptures of the second oriental, replaced the old, - to early cessary (490 - 480 years. BC.). The central monument of the ancient Greek sculpture of early classics - the frontones and metos of the temple of Zeus in Olympia (about 468 - 456 BC er). Another significant work of early classics - the so-called "Trone of Louis Mery", decorated with reliefs. From this time, a number of bronze originals also reached - "Delphic Caption", poseidon Statue from Cape Artemisias, Bronze from Riach . The largest sculptors of early classics - Pythagora Regisky, Kalaside and Miron . We will judge the creativity of the famous Greek sculptors, mainly according to literary testimonies and late copies of their works. High classic is represented by the names of the fidia and the policlet . Her short-term flourishing is associated with the works on Athenian Acropolis, that is, with the sculptural scenery of Parfenon (reached the frontones, metops and zophor, 447 - 432. BC. e.). The vertex of the ancient Greek sculpture was, no-visible, Christelenefactory statues of Athena Parfenos. and Zeus Olympic Fidiya (both are not preserved). "Rich style" is peculiar to the works of Callimach, Alkamena, Agoracrit and other sculptors to. V c. BC E. His characteristic monuments - the reliefs of the bullfire of the small temple of Nicky Apterems at the Athenian Acropolis (about 410 BC) and a number of tombstones, among whom the most famous Stela Hegezo . The most important works of the ancient Greek sculpture of late classics - the scenery of the temple of Asclepia in the epidavre (about 400 - 375 BC. e.), the temple of Athens Aleu in the tag (about 370 - 350 years. BC), Artemis temple in Ephesus (about 355 - 330 BC) and Mausoleum in Galicarnasse (approx. 350 BC), over the sculptural scenery of which Skas, Brixide, Timofey worked and Leochar . The latter is also attributed to the statues of Apollo Belvedere and Diana Versailles . There are a number of bronze originals IV century. BC e. The largest sculptors of the late classics - Praxitel, Skas and Lisipp, in many ways, anticipating the subsequent era of Hellenism.

Greek sculpture partially survived in the wreckage and fragments. Most statues are known to us in Roman copies, which were performed in many, but did not transfer the beauty of the originals. Roman copies cooked and arched them, and translating bronze products into marble, they were dismissed by their clumsy backups. Large figures of Athens, Aphrodites, Hermes, Satire, which we are now seeing in the halls of the Hermitage, is only pale crowds of Greek masterpieces. We pass by them almost indifferently and suddenly stay in front of some head with a dumb nose, with a painted eye: This is a Greek script! And the striking power of life suddenly comes from this fragment; Marble himself is different than in Roman statues, is not a lonely white, and yellowish, a dear, light-sound (the Greeks still rubbed it with wax, which gave me a warm tone with mramrara). So gentle melting transitions of lighting, so noble, the soft modeling of the face that the delights of Greek poets involuntarily remember: indeed these sculptures breathe, really they are alive *. In the sculpture of the first half of the century, when wars with Persians, a courageous, strict style prevailed. Then the statue group of Tiranoubyts was created: a mature husband and a young man, standing side by side, make a gusty movement forward, the younger brings the sword, the senior flashes his cloak. This is a monument to historical persons - Garmet and Aristiton, who killed a few decades before the Athenian Tirana Hippark, is the first political monument in Greek art. At the same time, he expresses the heroic spirit of resistance and freedom, who broke out in the era of Greco-Persian wars. "It's not slaves with mortals, not subject to anyone," the Persian Persians says in the tragedy of Eschyl "Persians. Battles, fights, feats of heroes ... The art of early classics is filled with these warlike plots. At the front of the temple of Athens in Aegine - the struggle of the Greeks with the Trojans. On the Western Fronton of the Temple of Zeus in Olympia - the struggle of lapiphs with centaurs, on Metops - all twelve feats of Hercules. Another favorite complex of motifs is gymnastic contests; In those distant times, physical training, the mastery of televitations was crucial and for the outcome of the battles, so athletic games were far from only entertainment. Themes of hand-to-hand fights, horseback contests, competitions in running, in throwing discs, they taught sculptors to portray the human body in the dynamics. Archaic sacrifices of figures were overcome. Now they act, moving; Complex poses appear, bold perspectives, broad gestures. The brightest innovator was the attic sculptor Miron. The main task of Miron was to express it is possible and strongly movement. The metal does not allow such accurate and fine work as marble, and maybe because he turned to the survey of the rhythm of movement. Equilibrium, the magnificent "ethos" is preserved in the classic strict style sculpture. The movement of figures is not erratic nor excessively excited or too rapid. Even in the dynamic motifs of the fight, run, the fall does not lose the feeling of the "Olympic Tranquility", a holistic plastic completeness, self-attitude.

Athena, which he made on request, and which cost this city very expensive, strengthened the fame of a young sculptor. He was ordered for acropolis the colossal statue of Athenian patroness. It reached 60 feet of height and exceeded all the surrounding buildings; We published, from the sea, she shone the golden star and reigned all the city. It was not a acrolite (composite), like paid, but all cast from bronze. Another Statue of Acropolis, Athena-Virgin, made for Parfenon, consisted of gold and ivory. Athena was depicted in a combat costume, in a golden helmet with a fountain sphinx and gifamies on the sides. In one hand she kept a spear, in another victory figure. The serpent served at her feet - the Keeper of the Acropolis. This statue is considered the best assurance of Fidia after his Zeus. She served as an original for countless copies. But his Zeus Olympic is considered to be the riding perfection of all works of Fidia. It was the greatest work of his life: the Greeks themselves gave him the palm of the championship. He produced an irresistible impression on the contemporaries.

Zeus was depicted on the throne. In one hand he kept the Scepter, to the other - the image of the victory. The body was from ivory, the hair is golden, mantle - gold, enameled. The throne includes ebony, and bone, and precious stones. The walls between the legs were painted with a cousin of the Fidiya, Panel; The foot of the throne was miraculously sculpture. The worship of the Greeks in front of the beauty and wise body of the living body was so great that they aesthetically thought it was not different as in the statue finishes and completeness, allowing to assess the magty of posture, harmony of televitations. But nevertheless, expressiveness was not so much in the expressions of persons as in the movements of the body. Looking at the mysteriously serene Moire of Parfenon, on a rapid back nickname, unleashing sandalwood, we almost forget that they are off their heads, - so the eloquent plastic of their figures.

Indeed, the body of Greek statues is extremely lightweight. The French sculptor Roden said about one of them: "This youthful torso without a head is happier than smiling with light and spring, which could make eyes and lips." Movement and postures in most cases are simple, natural and not necessarily associated with something sublime. Heads of Greek statues, as a rule, impersonal, that is, few individualized, are given to a few common variations, but this common type has a high spiritual capacity. In the Greek type of face, the idea of \u200b\u200b"human" in his ideal version is triumph. The face is divided into three equal in length: forehead, nose and lower part. Right, gentle oval. The straight line of the nose continues the forehead line and forms a perpendicular line, conducted from the beginning of the nose to the ear hole (direct front corner). An oblong incision is quite deeply seated eyes. A small mouth, full of convex lips, the upper lip of thinner bottom and has a beautiful smooth cutout like onion Amur. Chin is large and round. Wavy hair is gently and tightly fitting their head, without interfering to see the round shape of the cranial box. This classic beauty may seem monotonous, but, which is an expressive "natural appearance of the Spirit", it is amenable to varying and can embody the various types of ancient ideal. A little more energy in the lip warehouse, in the chin protruding forward - we have a strict virgin Athena. More softness in the outlines of the cheeks, the lips are slightly semi-open, the eyelabies are shaded - before us is a sensual face of aphrodite. Oval faces more close to the square, neck thicker, lips larger - this is an image of a young athlete. And the basis of the same strictly proportional classic appearance remains.

After the war .... The characteristic posture of the standing figure is. In the era of archaic statues stood completely straight, frontal. Mature classic revives and animates their balanced, smooth movements, while maintaining equilibrium and stability. And the statues of Praxitel - resting Satir, Apollo Saurokton - with lazy grace rest on the pillars, without them they would have to fall. The thigh on one side is widely curved, and the shoulder lowered low to meet the thigh - Roden compares this body position with harmonic, when the bellows are compressed on the one hand and spread on the other. For equilibrium, an external support is necessary. This is the pose of a dreamy rest. Praxitel follows the traditions of the polyclet, uses the motives of movements found by them, but develops them in such a way that they are already transmitting other internal content. "The wounded Amazon" Polyclutay also relies on the half-colonna, but she could resist and without her, her strong, energetic body, even suffering from the wound, is firmly on earth. Apollo Prakkitel is not amazed by an arrow, he himself aim in a lizard running along the trunk of a tree - the action seemingly demanding volitional college, nevertheless his body is unstable, like a hesitory stalk. And this is not a random private, not a whim of the sculptor, but a kind of new canon, in which the expression has a change in the world. However, not only the nature of movements and poses changed in the 4th century sculpture BC. e. Prapkitel the other becomes a circle of lovers, he leaves the heroic plots in the "Lightweight World of Aphrodite and Erote." He spawned the famous statue of the Book Aphrodite. Praxitel and artists of his circle did not like to portray muscular tors of the athletes, they attracted the tender beauty of the female body with soft flows of volumes. They preferred the type of date, the characteristic of the "first brightness of the red-shaped". Praxitel was famous for the special softness of the modeling and the skill of the material processing, the ability in cold marble to transmit the warmth of the live body2.

The only surviving original of Prapkitel is considered the marble statue of "Hermes with Dionysus" found in Olympia. Naked Hermes, leaning on the trunk of a tree, where his cloak is carelessly thrown, he holds a little Dionysus on one bent hand, and in the other - a bunch of grapes, to which the child stretches (the hand holding grapes is lost). The whole charm of the picturesque processing of marble is in this statue, especially in the head of Hermes: the transitions of light and shadow, the thinnest "swelling" (haze), whom, many centuries later, sought in painting Leonardo da Vinci. All other works of the Master are known only on the mentions of ancient authors and later copies. But the spirit of the art of Prakkitel is over the IV century BC. e., and best of all it can be felt in Roman copies, but in small Greek plastics, in Tanagrian clay statuettes. They were distinguished at the end of the century in large quantities, it was a kind of mass production with the main center in Tanagra. (A very good collection is stored in the Leningrad Hermitage.) Some statuettes reproduce well-known big statues, others simply give a variety of free variations of a draped female figure. Live grace of these figures, dreamy, thoughtful, playful, - Echo of the art of Prakkitel.

1.4 Sculpture of Greece Ellinism

In the very concept of "Hellenism", it contains an indirect indication of the victory of the Allensky beginning. Even in remote areas of the Hellenistic world, in Bactria and Parfia (the current Central Asia), peculiar antique forms of art appear. And Egypt is difficult to find out, his new city of Alexandria is already a real enlightened center of an ancient culture, where precise, and humanitarian sciences, and philosophical schools, originating from Pyphagora and Plato, bloom. Hellenistic Alexandria gave the world of the great mathematics and physics of Archimedes, the Geometer Euclida, Aristarha Samos, who for eighteen centuries before Copernica argued that the Earth revolves around the Sun. The cabinets of the famous Alexandrian library, marked with Greek letters, from Alpha to Omega, were kept hundreds of thousands of scrolls - "Works that have described in all areas of knowledge." There was a grandiose Faros Lighthouse, ranked towards seven wonders of light; Museyon was created there, the Palace of Muses - a prototype of all future museums. Compared to this rich and lush port city, the capital of Ptolemeevsky Egypt, the city of Greek metropolis, even Athens, probably looked humble. But these modest, small cities were the main sources of those cultural treasures that were kept in Alexandria and revered, those traditions that continued to follow. If the Hellenistic science has been obliged to many the heritage of the Ancient East, then plastic arts retained mainly Greek.

The main forming principles went from the Greek classics, the content became different. There was a decisive placement of public and private life. In the Hellenistic monarchies, the cult of the sole ruler equivalent to the Divine is established, like it was in ancient times. But the likeness is relative: "Private person", which political storms do not touch or only lightly hurt, is far from so impersonal, as in ancient eastern states. He has his own life: he is a merchant, he is an entrepreneur, he is an official, he is a scientist. In addition, he is often the Greek by origin - after the conquests of Alexander, the mass resettlement of the Greeks to the East began, "he was not alien to the concept of human dignity, brought up by Greek culture. Let it be deleted from power and public affairs - his ordinary private world requires and finds an artistic expression for himself, the basis of which are the traditions of late Greek classics, recycled in the spirit of greater intimacy and genreness. And in the art of "state", official, in large social structures and monuments, the same traditions are processed, on the contrary, towards pompousness.

Pumping and intimacy - features are opposite; Hellenistic art is performed by contrasts - a giant and miniature, parade and domestic, allegorical and natural. The world has become more difficult, diverse aesthetic requests. The main trend is a departure from the generalized human type to understanding a person as a substantial, individual, and hence increasing attention to his psychology, interest in the event, and new dorms to the national, age, social and other identity signs. But since all this was expressed in a language inherited from the classics that did not have such tasks, there is some inorganic in innovative works of the Hellenistic epoch, they do not reach the integrity and harmony of their great forerunners. The portrait head of the heroized statue of Diagha does not fit with its naked torso, repeating the type of classical athlete. The drama of the multifiguric sculptural group "Farnese Bull" contradicts the "classic" representativeness of the figures, their poses and movement is too beautiful and smooth, so that they can be believed to be the truth of their experiences. In numerous parking and chamber sculptures, the traditions of the Prakkitel are flexible: Eros, "Great and Owner God," turns into a playful, playful Cupid; Apollo - in the coquetty-raised apollyn; Enhancing the genreship does not benefit them. And the famous Hellenistic statues of the old workers carrying the provisions, a drunk old woman, an old fisherman with a flabby body lacks the forces of the figurative generalization; Art masters these new types for him outwardly, not penetrating deep into the depth, because the classic heritage did not give them the key. The statue of Aphrodite, traditionally called Venus Milos, was found in 1820 on the island of Melos and immediately received worldwide fame as a perfect creation of Greek art. This high rating did not lay, many later finds of Greek scanners - Aphrodite Miloskaya occupies a special place among them. Execurated, in the second century BC. e. (Sculptor Assander or Alexander, as it says a short inscription on the basement), it looks little like the modern statues, depicting the goddess of love. Hellenistic Aphrodites most often went to the type of Aphrodite of the Book Praxitor, making it a sensually seductive, even slightly boiled; Such, for example, the famous Aphrodite Medica. Aphrodite Milosian, nude only half, draped to the hips, string and elevated calm. It personifies not so much the ideal of female charms as a person's ideal in general and the highest meaning. Russian writer Gleb Uspensky found a good expression: the ideal of a "strained person", the statue was preserved well, but she was brought off his hands. A lot of assumptions were expressed about what these hands did: did the goddess of the apple held? Or mirror? Or did she hold the edge of his clothes? No convincing reconstruction was found, in essence, there is no need for it. The "rooking" of the Aphrodites of Miloso, over time, became like its attribute, it does not hinder her beauty and even strengthens the impression of the magty of the figure. And since not a single intact Greek statue has been preserved, then in such a partly damaged state of Aphrodite appears before us, as a "marble mystery", mandated by antiquity as a symbol of distant eleventh.

Another wonderful monument of Hellenism (from those that reached us, and how many disappeared!) - Altar Zeus in Pergama. Pergammskaya school more than others has been in patte and drama, continuing the traditions of the spas. Her artists did not always resort to mythological plots, as it was in the classical era. On the Pharma Acropolis Square stood sculptural groups, perpetuating the true historical event - victory over the "barbarians", the tribes of Galov, precipitated the Pergamm kingdom. Full expression and speakers, these groups are noteworthy that artists pay tribute to defeated, showing them and valiant and suffering. They depict Galla who kill their wife and himself to avoid captivity and slavery; Depicting deadly wounded Galla, half a hollow on the ground with a low head lowered. According to the face and figure, it is immediately clear that it is "Barbarian", In Semechan, but he dies with heroic death, and this is shown. In his art, the Greeks were not humiliated before to humiliate their opponents; This feature of ethical humanism speaks with a special clarity when the opponents are galls - depicted realistic. After treasures, Alexander generally changed a lot in relation to the ingenians. As Plutarch writes, Alexander considered himself a militant universe, "Forcing everyone to drink ... From the same bowl of friendship and mixing together life, morals, marriages and forms of life." Morals and forms of life, as well as the forms of religion really began to be mixed in the era of Hellenism, but friendship did not reign and the world did not come, discords and wars did not stop. Pergamam's war with galls is only one of the episodes. When finally the victory over the galls was won finally, in honor of her and was erected by the altar of Zeus, finished construction in 180 BC. e. This time, a long war with "barbarians" appeared as Giantajiya - the struggle of the Olympic giants. According to the ancient myth, the giants - giants who lived far in the West, the sons of gay (land) and uranium (sky) - rebelled against the Olympians, but were defeated by them after the fierce battle and were buried under volcanoes, in the deep bowels of the Matern land, they Remind themselves volcanic eruptions and earthquakes. A grand marble frieze, a length of about 120 meters, executed in the brand technique, washing the altar base. The remains of this structure were excavated in the 1870s; Thanks to the painstaking work of the restorers, it was possible to connect thousands of wreckage and make a fairly complete picture of the overall composition of the frieze. Mighty bodies are praying, we are woven, like a ball of snakes, the defeated giants are tormented by Kosmatogryly Lions, drove the dog's teeth, rolled her horses with legs, but the giants are fiercely, their leader Porphyrion does not retreat in front of the Rouvirt Zeus. The mother of giants giai prays her sons, but she does not make it. Battle is terrible. There is something that foreshadows Michelangelo in the tense angles of bodies, in their titanic power and tragedy pathos. Although the battles and contractions were a frequent topic of ancient reliefs, starting with the archaic, they were never depicted as on the Pergam's altar, - with such a causing sense of cataclysm, the battles are not for life, but to death, where all the cosmic forces are involved, all demons participate Earth and sky. Stroy the composition has changed, it has lost its classic clarity, has become a whining, confusing. Recall the Figures of the Skopas on the relief of the Galicarnas Mausoleum. These, with all their dynamic, are located in one spatial plane, they are separated by rhythmic intervals, each figure has known independence, mass and space balanced. Other in Pergamsky Frieze - cramped here closely, the mass suppressed the space, and all the figures are so woven that they form a stormy knee tel. And the bodies are still classically beautiful, "then radiant, then formidable, living, dead, triumphant, dying figures," as I. S. Turgenev said about them. Beautiful Olympians, beautiful and their enemies. But the harmony of the spirit hesitates. Distorted by the suffering of the face, deep shadows in the eye orbits, snake-shaped hair ... The Olympians are still triumphant over the forces of underground elements, but this victory is not enough - the spontaneous principles are threatened to blow up a slim, harmonic world. Just as the art of Greek archaic should not be assessed only as the first foresight of the classics and hellenistic art in general can not be considered late echo classics, underestimating that fundamentally new that it brought. This new one was connected with the expansion of the horizon of art, and with his inquisitive interest in human personality and the specific, real conditions of its life. From here, first of all, the development of a portrait, an individual portrait, which almost did not know the high classic, and the late classic was only on the approaches to him. Hellenistic artists, even making portraits of people who have not been alive for a long time, gave them psychological interpretation and sought to identify the uniqueness and external and internal appearance. Not contemporaries, and descendants left us Socrates, Aristotle, Euripid, Demosphen and even the legendary Gomer, inspired blind teacher. The portrait of an unknown old philosopher is surprising and expression - as seen, an irreconcilable passionist, whose wrinkled face with sharp features has nothing to do with a classic type. Previously, he was considered a portrait of the Seneki, but the famous Stoic lived later than this bronze bust was exserved.

For the first time, a child is becoming a child with all the anatomical features of children's age and with all charm, he has peculiar. In the classic era of young children, if they portrayed, rather as miniature adults. Even at Prapkitel in the group "Hermes with Dionysom", Dionys is little similar to the baby in its anatomy and proportions. It seems that only now noticed that the child is a very special creature, frightened and crap, with its special habits; They noticed and so captured them that the very god of love Erota became a child, putting the beginning of the tradition, established on the century. Chubby crispy babies of Hellenistic brewers are busy with all sorts of tricks: ride on the dolphine, they are with birds, even slander snakes (this is a baby Hercules). The statue of a boy launched with Gusem was particularly popular. Such statues were put in the parks, were the decoration of fountains, were placed in the sanctoes of Asclepia, the god of healing, and sometimes used for the tombstones.

Conclusion

We reviewed the sculpture of ancient Greece throughout its development. We saw the whole process of its formation, flourishing and decline - the whole transition from strict, static and idealized forms of archaic through a balanced harmony of classical sculpture to the dramatic psychologism of Hellenistic statues. The sculpture of ancient Greece was rightly considered a model, ideal, canon for many centuries and now she does not cease to be a recognized masterpiece of world classics. Neither before, nor after nothing has been achieved. The whole modern sculpture can be considered in one degree or another by the continuation of the traditions of ancient Greece. The sculpture of ancient Greece in its development has passed a difficult path, having prepared the soil for the development of plastics of subsequent eras in various countries. At a later time, the tradition of ancient Greek sculpture was enriched with new developments and achievements, the antique canons served as a necessary foundation, the base for the development of plastic art of all subsequent eras.

D. the sculpture of the ancient Greece of the classics era, the heyday of the policy is characterized by the following features. The main object of the image is still a human figure. But compared to the archaic sculpture, the image becomes more dynamic and anatomically correct. But the figures and faces of sculptures are still devoid of individual traits: these are generalized, abstract images of heavy warriors, athletes, athletes, gods and heroes.

Famous sculptors of ancient Greece

The development of sculptures is directly related to the names of the three famous sculptors of ancient Greece - Mirone, a policlet and fidia.

Miron. - Sculptor of ancient Greece V c. BC. Worked in bronze. As an artist, he put his main task imprinted the moments of the transition from one movement to another, notice the climax of the climax in these movements. For his famous "Discolol"With which we are familiar in the late Roman marble copy, is characterized by careful, but somewhat generalized transmission of the anatomy of the human body, the cold beauty of the lines of the figure. In it, Miron completely refused the solemn immobility of his model.

Other work of Mirone - Group composition "Athena and Silen Mariji"installed on the Athenian Acropolis. In it, the artist tried to transfer the climax of the human body movement: Athena standing in a calm pose, throws the flute invented to her, and the wild forest demon is shown in motion, he wants to grab the flute, but Athena stops him. The dynamics of the movement of the body Marcia is suppressed by the immobility and stiffness of the pose of the figure of the goddess Athens.

Polyclet. - Another ancient Greek sculptor who lived, too, in the V century BC, he worked in Argos, Athens and Ephesus. He owns numerous images of the winning athletes in marble and bronze. The policlet in his sculptures was able to convey the appearance of idealized and courageous warriors, goplitis, members of civil militia of the policy. The polyclet belongs also "Diadumen" - Statue of the young man, taking the head of the bandage of the winner.

Another topic of his work - images of the boys, embodied the idea of \u200b\u200bthe valor of a citizen. For Heranion in Argos, he created an image of the goddess of the hera of ivory. For the sculptures of the polyclet characteristic of the proportionality recognized by contemporaries.

FIDIA - The famous sculitator of ancient Greece V century BC. He worked in Athens, and. FIDIA took an active part in the reconstruction in Athens. He was one of the leaders of construction and decorating Parfenon. He created a statue of Athena for Parfenon, 12 meters high. The foundations of the statue of a wooden figure. On the face and naked parts of the body were imposed plates from ivory. Clothing and weapons were covered with almost two tons of gold. This gold served as an inviolable stock in case of unforeseen financial crises.

The vertex of creativity Fididia has become his famous statue, 14 meters high. She portrayed the thumbs up with a richly decorated throne, its upper part of the torso is naked, and the bottom clocked in the raincoat. In one hand, Zeus holds a statue of Niki, in another symbol of power - a rod. The statue was made of wood, the figure covered the plates of ivory, and the clothes are thin gold sheets. Now you know what sculptors were in ancient Greece.

Today I would like to raise the topic, which, by experience, sometimes it causes a difficult and far-minded reaction - to talk about an ancient sculpture, and more specifically - about the image of the human body in it.

Attempts to introduce children with an ancient sculpture sometimes come out for an unforeseen difficulty, when parents simply do not decide to show a child naked statues, considering such images almost pornography. I do not assume to assert the versatility of the method, but in my childhood such a problem did not even arise, because - thanks to my wise mommy - a wonderful publication of the legends and myths of ancient Greece Kun, richly illustrated by photographs of the work of antique masters, appeared in my life in five or six years, There are long before the girl began to be interested in all sorts of specific flooring questions.

So the struggle of Olympians and the titans and the feats of Hercules lay down in the head somewhere on one shelf with the snow queen and wild swans and remembered not only as bizarre stories, but immediately gained a visual embodiment, they were tied - maybe at that time not quite consciously - Specific poses, gestures, persons - human plastic and facial expressions. At the same time, the mother's children's questions that had happened immediately found simple and understandable answers - that, first, in ancient Greece it was hot, and, secondly, the statues are not people and now they are not at all cold.

As for adult questions, it should be borne in mind that the idea of \u200b\u200bdividing a person to the soul and the body, which in Christian anthropology led, in the end, to the idea of \u200b\u200bbody subordination of the body (and even later, in some Protestant branches and at all - To the hard teaser of the body), first was clearly formulated, perhaps only by Plato. And before the Greeks, at least a few centuries reached the thought that the soul is not just a spirit, breathing, but something individually personal and, so to speak, "stationary", very gradually moving away from the concept θυμός to the concept of ψυχή. Thus, especially since the gods became anthropomorphic, the Greek masters simply had no other way to tell about different sides of life, except to portray the human body.

So, a significant part of Greek sculpture is illustrations for myths, which in antiquity were not just "fairy tales of the gods", but also a means of transmitting major information about the device of peace, life stuff, due and short. That is, similar "3D illustrations" were much more important for ancient people than for me in childhood. However, perhaps, much more significant than understanding the myths, it turns out to be another opportunity that Greek sculpture provided to their creators is to study and know the person himself. And if the main characters of primitive art were a variety of animals, then since the time of the Paleolithic and throughout the antiquity, there is no doubt a person becomes.

All the efforts of the artists of this largely in time of the period are aimed at first to catch and convey the most common anatomical features of the structure of the human body, and then more complex dynamic manifestations - movements, gestures, facial expressions. So European art began its long path from gross and only distant human-like "Paleolithic Venus" to the works of Mirone perfect in the proportions, and on them further; The path that could be called dear to man, - first to his body, and then to the soul - the truth is still in the psychological sense of the word. Let's go through some of its stages and we.

Paleolithic Venus. About 30 thousand years ago

The most first human images in Europe, as mentioned above, were "Paleolithic Venus" - tiny figures made of mammoth or soft rocks. Features of their images are almost complete absence of hands, and sometimes even legs and heads, a hypertrophied middle part of the body - suggest that we are still in front of us, most likely, not even an image of the human body fully, but only an attempt to transfer one of its functions. - Children. Communication "Venus" precisely with the cult of fertility implies the absolute majority of researchers; We are also needed only as the starting point of our journey.

The next stop in it will be kosses and barks (letters - young men and girls) - human images dried in ancient polishes in the VII-VI centuries BC.

Koss, archaic smile. Kuros and bark

As you can see, similar statues used, for example, as monuments of famous athletes, the appearance of the human body is already transferred much more detail, however, they are a kind of "man's scheme". For example, all numerous kosses for some kind of inexplicable reason are in the same position - pressing his hands in the body, putting forward a left leg forward; The most recent suspicions of portrait are finally dispelled when looking at their faces - with the same absent expression and lips, stretched into a creepy - so-called. Archaic - smile.

Next stop. V c. BC, Greek Archaica. Sculptures of the Mirone and the Polyclet, who amazing the viewer by the perfection of proportions.

Miron. Discobol 455 gto AD, Polyclet. Doricor (speynoster) (450-440 BC) and wounded Amazon (430 BC)

Do you ask you, and this is again the scheme? And imagine the answer will be affirmative. Evidence of this we have, at least two. First, before our time there were excerpts of the so-called. "Canon Polyclet". In this mathematical treatise, the sculptor, a follower of the flow of Pythagoreans, tried to calculate the ideal proportions of the male body. An illustration of such calculations seems to be the statue later. And the second proof will be ... Extensive Greek literature of the time. From it we can learn, for example, the following Sappo lines:

One who is beautiful is good.

And the one who is kind, will soon become beautiful.

Moreover, among all the heroes of "Iliad", Homer is unquestioned to join an endless war on which the heroes of the gods are chased, alone is refused by the "feebled" Trysit. The author does not regret the black paint for this character, who outraged the army with his speeches and hates literally everyone; But the same Trysit does not at all by chance, according to the will of the author, a terrible freak:

The husband is the loose-free, he came to Ilion between Danayev;
There was a squint, chromonog; Absolute humpback from behind
The shoulders on the perfume converged; Head has risen
Up the edge, and was only rare dot down.

Thus, it can be said that the Greeks of the archaic period were supporters of the idea that the beauty of the external is an indispensable manifestation of inner beauty and harmony, and, consequently, the scrupulously calculating the parameters of the perfect human body, tried to portray any little, the perfect soul, so much Perhaps, that it even seems inanger.

And the truth, answer me just one simple question: where will the disc-discobol dismissed the next moment? The longer you will look at the statue, the clearer will understand that the disc will not be thrown nowhere, because the position of the reserved hand of the athlete does not imply the shuffles on the throw, his chest muscles do not give out some special tension, the face is completely calm; Moreover, the depicted position of the legs does not allow you to do not need that needed to throw a jump with a turn, but even - a simple step. That is, it turns out that discobol, despite the seeming complexity of his postures, is absolutely static, perfect, dead. Like the wounded Amazon, in his sufferings gracefully polished at such a period of the cap by the cap.

Finally, IV century. BC. Looks into Greek sculpture new moods. At this time, the Greek policies are experiencing a decline - we can assume that the small universe of an ancient person gradually finishes its existence. Greek philosophy decisively refers to the search for the new foundations of human happiness, offering the choice of Kinikism Antisphen or the hedonism of Aristippa; One way or another, but from now on with the problems of the deep meaning of their life, a person will be forced to understand himself. The same separate human character goes to the fore and in the sculpture in which there is also a meaningful facial exposure and a real movement.

LisiPP Recreation Hermes IV Century BC, Menada Skopas, 4th century. BC, Artemis from Gabi 345 BC

Pain and tension are expressed in the pose of Menada Skopas, and her face with widely open eyes turned to the sky. Thinking, the elegant and familiar gesture stamps a phillu on the shoulder of Artemis from Gabi Prakkitel. Hermes Lisippa is also clearly in deep thoughtfulness, and unnecessary extended, completely non-classical proportions of his body make a figure with a light, giving a certain dynamics of even this almost static pose. It seems a little more, and the young man will take some important decision and run on. So, for the first time through the outlines of beautiful marble and bronze bodies begins to peise the soul.

By the way, the majority of the statues considered by us today are naked. But did someone noticing this?

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