Lectures on the course "World art culture". Leskova I.A.

Volgograd: VSPU; 2009 - 147 p.

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

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CONTENT
Lecture 1. World artistic culture as a subject of study 3
Lecture 2. Basic concepts of world artistic culture 7
Lecture 3. The archetypal basis of Western artistic culture 18
Lecture 4. Archetypal basis of the artistic culture of the East 30
Lecture 5. Categories of space and time in artistic culture 42
Lecture 6 Categories of space and time in the artistic culture of antiquity and the Middle Ages 47
Lecture 7. Categories of space and time in the artistic culture of the Renaissance 54
Lecture 8. Categories of space and time in the artistic culture of the New Age 64
Lecture 9. Categories of space and time in the artistic culture of modern times 88
Lecture 10. Artistic culture of Russia 108

The history of world artistic culture goes back millennia, but an independent object scientific analysis it becomes only by the 18th century. The study process was based on the idea that this area of ​​spiritual activity of society is a simple collection of art forms. Philosophy, aesthetics, historical sciences, art criticism, literary criticism studied artistic culture mainly from an internal artistic perspective: they analyzed ideological aspects of art, identified the artistic merits of works, the professional skills of their authors, and paid attention to the psychology of creativity and perception. From this perspective, world artistic culture was defined as the totality of artistic cultures of the peoples of the world that have developed in various regions over the course of historical development human civilization.
Many discoveries made along this path led to the formation of an idea of ​​world artistic culture as an integral process with its own dynamics and patterns. This idea began to take shape by the beginning of the 20th century. and fully manifested itself already in the first half of the last century in the studies of O. Benes, A. Hildebrand, G. Wölfflin, K. Voll, M. Dvorak and others. There was an understanding that there is a common spiritual-sensual basis expressed languages various types art, and world artistic culture began to be viewed as a way of intellectual and sensory reflection of existence in artistic images.

World artistic culture reveals the specificity and originality of the spiritual and aesthetic experience of mankind, generalizes people’s ideas about the arts. This item is included in the basic syllabus and is a must-learn.

The concept of culture. Principles of studying artistic culture.

World Art – a whole list of scientific disciplines:

History of art (as well as its philosophy and psychology)

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

Culturology (a complex of studies of culture as a whole)

Cultural ethnography (a science that studies the material and spiritual of ethnic peoples)

Semantics of culture (the study of cultural objects from the point of view of the meaning they express)

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

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

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

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

Axiology (consideration of culturally approved value guidelines)

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

Classification of definitions concept of "culture" Spanish cultural scientist Albert Cafaña.

1) definitions based on the concept of social heritage (Edward Sapir: “ culture is any socially inherited element human life- both material and spiritual»)

2) definitions based on the concept of learned forms of behavior (Julian Stewart: “ Culture is usually understood as acquired ways of behavior that are transmitted socially...»)

3) definitions based on the concept of ideas (James Ford: “...culture can be generally defined as the flow of ideas flowing from individual to individual through symbolic behavior, verbal teaching or imitation»)

4) definitions based on the concept of the superorganic (i.e., lying beyond the limit of sensory perception) - intellectual, emotional, spiritual)

Cultureis a set of socially inherited material and spiritual elements of human life: physical objects, created by man, labor skills, behavioral norms, aesthetic models, ideas, as well as the ability to preserve, use and pass them on to descendants.

The division of culture into material and spiritual. It is generally accepted thatmaterial represents objects of labor, housing, clothing, vehicles, means of production, etc. But this type of culture is represented not only by certain objects, it includes the knowledge, abilities and skills of the individual involved in the production process. Physical development human is also part of this culture. Spiritual culture is art, religion, education, science and the level of implementation of its achievements in everyday life and production, traditions, customs, rituals, medicine, the degree of development of people's needs and interests in material and spiritual terms. This can also include relationships between people, as well as a person’s attitude towards himself and nature...

This division is legitimate, but it should not be accepted as an absolute truth. This is pointed out, for example, by the Russian philosopher Nikolai Berdyaev:« Every Culture (even material Culture) is a Culture of the spirit, every Culture has a spiritual basis - it is a product creative work spirit..." In other words, any material culture has spiritual culture as its cause, and this or that spiritual state is its consequence. Let's say, a mobile phone that each of you has is an object material culture, but its existence is possible only thanks to spiritual culture (field of science), and its result is your spiritual state (for example, the phenomenon of SMS thinking).

Art Sciences,

artistic criticism,

- “consumption” of works of art (by listeners, viewers, readers).

Obviously, the first three of these components presuppose professional involvement in the artistic field (in the role of an artist (in the broad sense of the word), art historian, critic). The fourth concerns you and me directly.

In order to study a particular scientific discipline, we need to choose a kind of “observation point” - that is, our position in time and space relative to the phenomena being studied. The French philosopher Henri Corbin calls this point "historical".

When it comes to scientific disciplines there is a high probability that the historical record will coincide with the point indicating the state of modern humanity. That is, let’s say, we will study physics based mostly on modern theses put forward by this science. That is, scientific history is impersonal and more or less motionless: we analyze physical hypotheses, put forward in the 4th century. BC. (for example, the idea of ​​atoms due to the authorship of Democritus) and molecular theory 19th century based on the same scientific data, belonging to the century 21st.

Is such an approach to the field of art possible? Can we study, for example, ancient Greek art, being in the position of modernity (modern scientific data, social structure, technical capabilities, aesthetic trends) and our cultural and national identity (traditions, current value system, religious views, etc.)? That is, can we study the texts of Homer, completely remaining Russian people of the 21st century, living in the era of the information society, democratic values, brought up in line with Christian and post-Christian culture? No, we cannot, because in this case we will simply remain indifferent and deaf to these works; all we can say about them is some senseless and banal nonsense - they say, these are “masterpieces” and “everyone should know” them... What should we do? Answer: move our historical to the spatio-temporal point when these works were created (in the case of Homer, this will be Ancient Greece of the archaic period). Intellectually and emotionally, this will mean trying to understand and experience Homer’s poems the way the author’s contemporaries and the author himself felt and understood them. Then our story will be personal and moving. Then we can at least understand something. This movement of history is perhaps the most technically difficult thing we have to do. Because it requires us to constantly modify our thinking, to constantly free ourselves from the stereotypes of modernity. It's really not easy and it takes practice.

Why do we need all this? ? The modern Russian philosopher Heydar Dzhemal compared a person to a candle. There is a candle and there is its fire. A candle flame is not a candle. But a candle without a flame is also not really a candle - it’s just an oblong wax object. That is, it is the flame of a candle that makes a candle a candle. The same with a person. There is a person (candle) and there is meaning (flame). Without being involved in the realm of meaning, a person is not really a person, but only a set of external signs of a person, a biped without feathers. And only by searching and finding meaning do we become fully human. And the area of ​​meaning is the area with which artistic culture “works.”

Topics of essays on World artistic culture. 1. The role of myth in culture (myth is the basis of early ideas about the world, religion, art. 2. Ancient images and symbols (World Tree, Mother Goddess, Road, etc.). 3. Ritual is the basis of the synthesis of words, music, dance , images, pantomime, costume (tattoos), architectural environment and object environment. 4. Artistic complexes of Altamira and Stonehenge. 5. Archaic foundations of folklore. Myth and modernity (the role of myth in mass culture). colorful ensembles of Babylon 7. Ancient Egypt- idea-oriented culture Eternal life after death. 8. Ensembles of the pyramids in Giza and temples in Karnak and Luxor (mythological imagery of the pyramid, temple and their decor). 9. Model of the Universe Ancient India- the stupa in Sanchi and the Kandarya Mahadeva temple in Khajuraho as a synthesis of Vedic, Buddhist and Hindu religious and artistic systems. 10. “Sculptural” thinking of the ancient Indians. 11. Reflection mythological ideas Mayan and Aztec architecture and relief. 12. Complex in Palenque (palace, observatory, “Temple of Inscriptions” as a single ensemble of pyramid and mausoleum). 13. Tenochtitlan (reconstruction of the capital of the Aztec empire based on descriptions and archaeological finds). 14. Ideals of beauty Ancient Greece in the ensemble of the Athenian Acropolis: a synthesis of architecture, sculpture, color, ritual and theatrical action. 15. Panathenaic holidays - a dynamic embodiment in time and space of mythological, ideological and aesthetic program complex. 16. Merger of eastern and ancient traditions in Hellenism (gigantism, expression, naturalism): Pergamon Altar. 17. The glory and greatness of Rome is the main idea of ​​the Roman Forum as the center of public life. 18. Sophia of Constantinople - the embodiment of the ideal of the divine universe in Eastern Christianity (the embodiment of dogmas in architectural, color and light composition, hierarchy of images, liturgical action). 19. Old Russian cross-domed church (architectural, cosmic, topographical and temporal symbolism). 20. Stylistic diversity of the embodiment of a single model: Kiev (Sofia of Kiev), Vladimir-Suzdal (Church of the Intercession on the Nerl), Novgorod (Church of the Savior on Ilyin) and Moscow schools (from the Savior Cathedral of the Andronnikovsky Monastery to the Church of the Ascension in Kolomenskoye). 21. Icon (specifics of symbolic language and imagery) and iconostasis. 22. Works of F. Greek (paintings of the Church of the Transfiguration on Ilyin in Novgorod, iconostasis of the Annunciation Cathedral in the Kremlin) and A. Rublev (“Trinity”). 23. The ensemble of the Moscow Kremlin is a symbol of national unity, an example of harmony traditional forms and new construction techniques. 24. Monastic basilica as a focal point cultural life Romanesque era (ideals of asceticism, antagonism of the spiritual and physical, synthesis of religious and folk culture). 25. Gothic cathedral as an image of the world. 26. The idea of ​​the divine beauty of the universe as the basis for the synthesis of frame construction, sculpture, light and color (stained glass), liturgical drama. 27. The Muslim image of paradise in the Registan complex (Ancient Samarkand) is a synthesis of monumental architectural form and changeable, polychrome pattern. 28. The embodiment of mythological (cosmism) and religious and moral (Confucianism, Taoism) ideas of China in the ensemble of the Temple of Heaven in Beijing. 29. A fusion of philosophy (Zen - Buddhism) and mythology (Shintoism) in the garden art of Japan (Ryoanji rock garden in Kyoto). 30. Monodic medieval warehouse musical culture(Gregorian chant, Znamenny chant). 31. Renaissance in Italy. 32. Florence is the embodiment of the Renaissance idea of ​​​​creating the “ideal”. 33. Titans of the Renaissance (Leonardo da Vinci, Raphael, Michelangelo, Titian). 34. Northern Renaissance. 35. Pantheism is the religious and philosophical basis of the Ghent Altarpiece by J. Van Eyck. 36. Ideas of the Reformation and masterful engravings of A. Durer. 37. Court culture of the French Renaissance - the Fontainebleau complex. 38. The role of polyphony in the development of secular and religious musical genres. 39. W. Shakespeare's theater - an encyclopedia of human passions. 40. Historical meaning and the timeless artistic value of Renaissance ideas. 41. Styles and movements in the art of the New Age - the problem of diversity and mutual influence. 42. Changing worldview in the Baroque era. 43. Architectural ensembles of Rome (St. Peter's Square L. Bernini), St. Petersburg and its environs ( Winter Palace, Peterhof, F.-B. Rastrelli) - national variants of the Baroque. 44. The pathos of grandeur in the painting of P.-P. Rubens. 45. The work of Rembrandt H. van Rijn as an example of psychological realism of the 17th century. in painting. 46. ​​The flourishing of the homophonic-harmonic style in Baroque opera (“Orpheus” by C. Monteverdi). The highest flowering of free polyphony (J.-S. Bach). 47. Classicism - harmonious world palaces and parks of Versailles. 48. Image ideal city in classical and empire ensembles of Paris and St. Petersburg. 49. From classicism to academicism in painting using the example of the works of N. Poussin, J.-L. David, K.P. Bryullova, A.A. Ivanova. 50. Formation of classical genres and principles of symphony in the works of Viennese masters classical school: V.-A. Mozart (“Don Giovanni”), L. van Beethoven (Eroica Symphony, Moonlight Sonata). 51. The romantic ideal and its reflection in chamber music(“The Forest King” by F. Schubert), and opera (“The Flying Dutchman” by R. Wagner). 52. Romanticism in painting: religious and literary theme among the Pre-Raphaelites, the revolutionary pathos of F. Goya and E. Delacroix. 53. Image romantic hero in the works of O. Kiprensky. 54. The origin of Russian classical music school(M.I. Glinka). 55. Social themes in realism painting: the specifics of the French (G. Courbet, O. Daumier) and Russian (Itinerant artists, I. E. Repin, V. I. Surikov) schools. 56. Development of Russian music in the second half of the 19th century. (P.I. Tchaikovsky). 57. Main directions in painting late XIX century. 58. Absolutization of impression in impressionism (C. Monet). 59. Post-Impressionism: symbolic thinking and expression of the works of V. van Gogh and P. Gauguin. 60. Synthesis of arts in modernity: the Cathedral of the Sagrada Familia by A. Gaudi and the mansions of V. Orta and F. O. Shekhtel. 61. Symbol and myth in painting (the “Demon” cycle by M. A. Vrubel) and music (“Prometheus” by A. N. Scriabin). 62. Artistic movements of modernism in painting of the 20th century. 63. Deformation and search for stable geometric forms in cubism (P. Picasso) 64. Refusal of figurativeness in abstract art(V. Kandinsky). 65. Irrationalism of the subconscious in surrealism (S. Dali). 66. Architecture of the 20th century: tower of the III International V.E. Tatlina, Villa Savoy in Poissy CH.-E. Le Corbusier, Guggenheim Museum F.-L. Wright, ensemble of the city of Brasilia O. Niemeyer. 67. Theater culture XX century: director's theater of K. S. Stanislavsky and V. I. Nemirovich-Danchenko and epic theater B. Brecht. 68. Stylistic heterogeneity in the music of the 20th century: from traditionalism to avant-garde and postmodernism (S.S. Prokofiev, D.D. Shostakovich, A.G. Schnittke). 69. Synthesis of arts is a special feature of the culture of the 20th century: cinema (“Battleship Potemkin” by S.M. Eisenstein, “Amarcord” by F. Fellini), types and genres of television, design, computer graphics and animation. 70. Rock music (The Beatles - “Yellow Submarine”, Pink Floyd - “The Wall”); electro acoustic music ( Laser show J.-M. Jarre). 71. Mass art.

MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION

ORENBURG STATE PEDAGOGICAL UNIVERSITY

______________________________________________________________

N.M. ARSNYAKOV

World Art

Part 2 artistic culture of the ancient and ancient world

Program materials for the course of lectures

(GSE.F.04. – cultural studies)

(Minutes No. 4 of June 15, 2004 of the meeting of the Presidium of the UMO Council for Specialties in Teacher Education)

OGPU Publishing House

Orenburg 2004

UDC 008:930.8

Reviewers

N. L. Morgunova, Doctor of Historical Sciences,

Professor of the OGPU

A. G. Prokofieva, Doctor of Pedagogical Sciences,

Professor of the OGPU

Myshyakova N.M.

M 96 World artistic culture. Part 2: Artistic

culture of the ancient and ancient world: Materials for the course of lectures. –

Orenburg: OGPU Publishing House, 2004. – 79 p.

The program is the second part of the course “Cultural Studies” (Part 1: “Mythology”) and is intended for students of all faculties and students of humanities faculties studying in the specialty “Cultural Studies”.

UDC 008:930.8

Myshyakova N.M., 2004

OGPU Publishing House, 2004

The program is the second part of the general course “Cultural Studies” (part 1 – “Mythology”) and is intended for students of humanities. The program involves variable, selective use of material depending on the number of hours, the specifics of the faculty, the availability of illustrative material, etc. Program materials allow you to consider selected topics in a broad national, sociocultural, morphological context, identifying the interactions of cultures or their typological commonality. Topics that are not included in the main course can be used in the system of elective classes.

Section 1. Artistic culture of the ancient world

The concept of traditional type of culture. The uniqueness of the social structure. The appropriative nature of the economy. Formation of culture as a mechanism of self-organization of society. Accumulation of life experience and cultural tradition. The main stages of ancient culture. The problem of the origin of artistic culture. “Metahistorical space” of the birth of “metaart” ( E. Sementsova). The anonymous nature of artistic activity. Syncretism of primitive culture. “Moral neutrality” ( M.S. Kagan) primitive art. Data from archeology and ethnography. Late Paleolithic stone tools. Concept excessive skill. Animism And totemism primitive art. Primitive “ideological syncretism” ( N.A.Dmitrieva). “Archaeological” hypotheses connecting the genesis of “primary forms of creativity” with “clues” of “natural sculpture”, “pasta”, “hands” ( A.D.Stolyar).

Art.“Animal” embodiment of space. The connection of primitive art with hunting and hunting magic. Animalism of the Paleolithic as the art of the “great hunters” of large, herd animals. Mythological system of cave painting.

Discovery of wall paintings in the Altamira Cave by the Spaniard Marcelino de Sautuola (1875). Altamira is a Paleolithic “art gallery”, the most significant for its artistic wealth and for its “tragic role in historiography” ( A.D.Stolyar). Placing drawings (on the ceiling, on the walls, in hard-to-reach places). Drawing style. Failure to comply with external mutual proportions. The phenomenon of superposition. Lack of perspective. Rare cases of depiction of space (“a bison looking back” and a “resting woman” in the La Madeleine cave). Lack of vertical and horizontal orientation. X-ray style. Picture of scenes. Techniques for transmitting movement (leg positions, body tilt, head rotation). Techniques for simplifying and symbolizing images. Two styles of primitive art: life-like And conditional

. The image of the beast and the expression of a man. Primitive visual technique (large stone chisels; finger stained with colored clay). Using the shape of a rock for pictorial purposes (“rising bison” in the stalagmite of the Castillo cave, “bison with arrows” in the cave in Nio). Use of mineral dyes. : Types of animals depicted

bison, aurochs, rhinoceroses, goats, horses, wolves. Rarely depicted animals: deer, donkey, predatory animals. Unique images of fish, birds, snakes, insects. Anthropomorphic images . Frequent images of women. The image of a woman as an anthropomorphic component of the concept of the world. life-like Realistic stylized image types. Frontality, immobility of female figures, their potential monumentality. Flat, undeveloped image of the face. Keyboard images (resembling musical notation or musical key). Type. dressed women The uniqueness of the image of two “resting women” in the La Madeleine cave. “Modernism” image ().

J. Jelinek Images of men. The drama of scenes and situations in which men are depicted: pierced by arrows, defending themselves from the beast ( torment

). Phallic motifs. System symbolic images. Different interpretations of symbols (gender signs, calendar, ritual touching). Positive And negative hand images. Images of a hand with undeveloped fingers ().

mutilation The exit of the image from the cave to the surface of the rock (Mesolithic). Posevolatile gallop . System ornamental E. Sementsova characters. “The birth of a vessel with an integral painting system is an ideological revolution” ( ). Developed veneration of the mother goddess and the bull. Patterns of “ribbon” ceramics, scorpions, fish, birds, images of “horns” dedication", symbols of the cross, swastika-shaped spirals, etc. The tendency to create a relatively independent pictorial integrity. Development of picture writing – pictographs . Painted caves of Mas d'Azil in Ariège (France) - possible signs of ancient writing (assumption of the French scientist E. Piette).

Primitive sculpture. Steles with a relief of a human face. Zooanthropomorphic images. Paleolithic “Venuses”. Problems of erotic and social attribution "Venus". “Literalism” as “a stage-specific feature of ancient symbolism” ( A.D.Stolyar).

Primitive architecture. Development of monumental space, choice stone as the main material. Images of natural accumulation ( labyrinths). The anthropomorphic nature of the idea of ​​stone boulders. Cyclopean fortresses. European fortifications. Megalithic structures: menhirs, dolmens, cromlechs. Stonehenge in England (complex spatial structure, thoughtful design). Megalithic culture of France. "Travel" cultures of the Middle Volga and Southern Urals. Funeral structures. Elements of architectural decor.

Manufacturing jewelry: keychains, hairpins, necklaces, bracelets. The manner of wearing jewelry. Materials and processing technology. Jewelry-amulets.

Primitive theater(using masks, imitating animal habits, body painting, etc.). The role of totemic and initiation rites in the development of primitive theater. The image of an animal in primitive ideas. The appearance of the first human masks in funeral and memorial rites. The role of secret male unions in the preservation and development of primitive “theatrical” traditions. Witchcraft “sessions” and shamanic rituals are examples of syncretic theatrical and ritual performance. Elements of theatricality in wedding ceremonies, in calendar agrarian folk ritual games.

The art of dance. The rhythm of movements and the rhythm of sound.

"Aging" music within the primitive syncretic complex of proto-art. Melodic and rhythmic formulas. Logical organization of sounds. The first primitive instruments: beaters, rattles, stone slabs-lithophones, pipes-shells, flutes made of bones and animal horns, musical bow. Complication of intonation structure. Education of the simplest musical and sound systems, elementary types of meter and mode. Musical mythology. The idea of ​​music as a powerful force capable of influencing nature. Lyrical spells.

A.N. Veselovsky’s concept of origin poetry from a folk ritual. Epic and lyric poetry as “the result of the decomposition of the ancient ritual choir.” The concepts of “collective emotionality” and “group subjectivism” ( A.N.Veselovsky).Lead singers ritual choir - prototype poet. The canonization of primitive lyricism, its magical goals. Semantic complex- the most important element of primitive poetry. Poetics of repetition And and variations.

Formation of semantic-syntactic parallelism. Characteristic stylistic features of primitive poetry (device of contrast, accumulation of synonyms, refrains, polylogy, metaphorical formulas, etc.). The internal aspect of the problem of the origin of verbal art. Concept myth

. Ritualistic concept of the relationship between myth and ritual (J. Fraser, R. Harrison, etc.). Ritual-mythological school (N. Fry, R. Chase, etc.). Identification of poetry with myth and ritual.

E. Cassirer's study of myth as a special symbolic and rational language. Structural anthropology of C. Lévi-Strauss. Logical mechanisms of primitive thinking: “field of unconscious logical operations”; the principle of “bricolage”; system of binary oppositions; mechanisms of mediation (mediation) and “generative semantics” ( K. Levi-Strauss ). Symbolism, geneticism and etiology of mythological thinking. Universal personification in myths and a broad metaphorical comparison of natural and cultural objects, the “paradigmatic” nature of myth ( E. Meletinsky ). Myth as a worldview and narrative. Myth as a sign system ( R.Bart ). Mythological thinking is the intellectual basis for Neolithic technical revolution

. Myth and fairy tale. Myth and historical legend. Myth and legend. Myth and archaic epic. Classification of myths. Culture and mythology of Eurasia (Indo-European, West Semitic, German-Scandinavian, Celtic, Turkic-speaking peoples, peoples of Transcaucasia, Siberia, etc.), Africa, America, Australia. Later forms of primitive art: clay vessels with geometric ornamental painting, with small schematic sculptural figures of people, horses, birds; bronze vessels in the form of buckets ().

situlas Artistic culture of the Ancient World on the territory of Russia. Western and Eastern Europe: general and specific. Wide development of geometric ornamentation - specificity of the Late Paleolithic Eastern Europe, as well as rock painting - a typical phenomenon of Ancient art Western

Europe. Art of the era Paleolithic

(Avdeevskoye settlement, Kostenki settlement, Kobystan, Kapova cave, Sungir, Mezino sites, etc.). Dominance of zoomorphic images. Mammoth is the main character of the animal gallery. Images of birds and snakes (falcons, kites; zigzag meander patterns of Mezin birds).

Anthropomorphic images (Paleolithic “Venuses” in Kostenki). Art Central Asia era life-like Neolithic eka. A special distribution of terracotta figurines of women (cult of the mother goddess). “Canonical” forms of female figurines (standing women with wide rectangular shoulders and drooping short arms; numerous oval moldings on the body are symbols of “multiple breasts”).

Rock paintings of Central Asia. Concept writing(drawings on the rock with red paint). The mountain goat is the most characteristic motif of rock art in Central Asia.

Art Caucasuscopper life-like Bronze Age. The most typical monuments are the ancient settlements of the central part. The uniqueness of ceramics: the principle of “facial filling”, dryness, graphic nature and excessive compositional complexity of ornaments (V.B. Black). The grandeur of the Maikop mound (3 thousand BC). The proximity of the monuments of the Maikop mound to Sumerian and Asia Minor antiquities.

The uniqueness and decorative expressiveness of metal jewelry Transcaucasia. The iconic character of bronze belts decorated with engraving; “cosmism” of zoomorphic images. Development of ceramics (black polished vessels, a spectacular combination of black and white).

Megalithic structures of the Caucasus and Transcaucasia. Vishapy life-like vishapoids– monumental stone sculptures, steles in the shape of fish (catfish or “chanar”), carved from basalt.

Small plastic North Caucasus. North Caucasian animal style. Mythological “snake fighters”, reflecting ancient animistic and totemic ideas. Numerous zoomorphic pendants in the form of heads of aurochs, deer, and bears.

Northern Black Sea region Central Asia era life-like Bronze Age. Development of stone as a building material; creation of mounds; the appearance of the first anthropomorphic images. Mounds as a steppe phenomenon itself. The enormous size of the mounds Yamnayaculture. Gravestone sculptures typical of the steppe zone are “stone women” (anthropomorphic stele-slabs with slightly rounded corners and a small protrusion indicating a head). Features of pit sculptures are the interpretation of facial features in the form of a T-shaped sign. Gravestones as a possible depiction of the “goddess of burials.”

Art tripolian tribes(sedentary agricultural and pastoral tribes in the steppe zone between the Dnieper and Dniester) - “culture of painted ceramics” ( T.S. Passek). The use of ceramic materials for the construction of dwellings. A variety of ceramic products: vessels, anthropomorphic and zoomorphic figurines, toys, amulets. Technique manufacturing (modeling by hand without using a potter's wheel) and types Trypillian ceramics: ceramics with in-depth ornament in the form of a spiral; thin-walled ceramics with a polished surface, decorated with flutes; ceramics made of a pink thin mass with a spiral pattern in one or more colors (red, black, white). A special group of “kitchen ceramics”.

Neolithic tribes North. Sculpture of the Oleneostrovsky burial ground: ornamental items made of bone; zoomorphic sculpture.

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

Ancient art Urals and Western Siberia(on the right side of the Yenisei “everything looks peculiar” - I.G.Gmelin). The relationship between the art of the tribes of Western Siberia and the art of the most ancient Finno-Ugric tribes of the Urals and Eastern Europe. Cult of the bear. Bear ceremonies and holidays. Images of a waterfowl - duck. A roll call with the Finnish epic “Kalevala”. Ornamented dishes and crafts made of wood, bone, birch bark; circular sculpture made of bone, wood and stone; art casting; cave drawings ( Ural writings). The main and most ancient type of ornament is wavy lines (alternating vertical straight lines with horizontal or oblique wavy lines). General stylistic features of images animals: eye in the form of a protruding round platform; an annular groove emphasizing the contour of the eye and the recess of the lacrimal gland; lack of focus of the pupil. The oldest wooden anthropomorphic Images - idols: carelessly processed pillar-shaped images with roughly outlined facial features (necessarily the presence of eyes and a mouth) and sometimes with signs of gender. Anthropomorphic figures mohar(Mansi figurines that were made after the death of a person to temporarily house the reincarnating soul). Mohars of the Ugrians - Shongyt("scull"). Figured stamps of ceramic patterns (traces of various animals and birds). Prevalence of the “ribbon type” ornament (V.I.Moshinskaya).

Bronze Age stone sculptures in Southern Siberia. Sculptures of the Minusinsk Valley: steles made of sandstone or granite in the form of slabs or high pillars (a face is carved in the lower part of the pillar, symbolic signs are carved above). Design of the top of the sculpture in the form of a realistic round sculpture of a human or animal head: “Old Woman-Stone” on the Tagar mound; “Akhmarchinsky ram” on the Verkhne-Bidzhinsky mound. Problems of interpretation of stone sculptures: grave monuments or anthropomorphic idols.

Culture Baikal region: decorations made from animal teeth and fangs. Baikal ornamental style: a combination of long horizontal and short perpendicular lines; complete subordination of the ornament to the shape of the vessel; edging the upper part of the product; repeatedly repeating zigzags and “dangles”.

Center rock paintings– Stone islands on the Angara. The image of the elk is a reflection of the Evenki legends (hunting mysteries; shamanic trips to the mythical ancestor - the moose “bugada”). Sculptures of fish.

The originality of the artistic world of the most ancient tribes DalnyEast(Amur and Ussuri basins, Amur region and Primorye). The specifics of the Far Eastern ornament: curvilinearity, the predominance of spirals and “braids”, ornament in the form of fish scales. “Amur braiding”: patterns of intertwining wide ribbons forming a grid with rhombic cells. Traditions of the ancient Far Eastern ornament in the modern ornamental art of the Amur tribes.

Ancient culture Eskimos(“Bering Sea stage” – G.B. Collins). Masterpieces of bone carving. A characteristic feature of the culture of the Arctic tribes is the desire to decorate any household item, weapon, or tool with ornaments. The nature of the patterns: carved, thin, smooth lines, bordered by dotted lines and strictly corresponding to the shape of the object; convex ovals and circles, often with a dot inside; a combination of three-dimensional convex plastic elements of abstract ornamental decorations with carved lines. A characteristic feature of Bering Sea art is the combination of intricately stylized images of animals, anthropomorphic figurines and face masks on one object. The similarity of Bering Sea face masks with similar works of art of the Indians of northwestern America.

"Fly agaric women" in rock paintings on the banks of the Pegty-mel River in polar Chukotka - a reflection of the important role of the mushroom in the shamanic culture and mythology of the Chukchi.

The stability of traditional artistic culture and the development of traditions in the contemporary art of the peoples of Siberia.

Primitive cultures of modern Africa (polychrome frescoes of Tassili), Australia (churingi, handprints, negative images, drawings).

Historical significance of traditional artistic cultures.

It's hard to disagree with how big role art plays in the history of any period. Judge for yourself: in history lessons at school, after each topic devoted to the study of the political and economic situation in the world in a given time period, students are asked to prepare reports on the art of a given era.

Also, in the school curriculum since relatively recently there has been such a subject as MHC. This is absolutely no coincidence, because any work of art is one of the brightest reflections of the time in which it was created, and allows you to look at world history through the eyes of the creator who gave this work life.

Definition of culture

World artistic culture, or MHC for short, is a type public culture, which is based on the figurative and creative reproduction of society and people, as well as living and inanimate nature through the means used by professional art and folk artistic culture. These are also phenomena and processes of spiritual practical activities, creating, distributing and mastering material objects and works of art that have aesthetic value. World artistic culture includes painting, sculpture, architectural heritage and monuments, as well as all the diversity of works created by the people and their individual representatives.

The role of MHC as an educational subject

In the course of studying the course of world artistic culture, both broad integration and an understanding of the connection of culture are provided primarily with historical events any time period, as well as with social sciences.

As mentioned earlier, world artistic culture covers all artistic activities that a person has ever engaged in. This is literature, theater, music, art. All processes associated with both creation and storage, as well as distribution, creation and evaluation are studied. cultural heritage. Problems related to ensuring the further cultural life of society and the training of specialists with appropriate qualifications in universities do not remain aside.

As an academic subject, MHC is an appeal to the entire artistic culture, and not to its individual types.

The concept of a cultural era

A cultural era, or cultural paradigm, is a complex multifactorial phenomenon that contains the image of both a specific person living at a specific time and carrying out his activities, and a community of people with the same way of life, life mood and thinking, and value system.

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

What is the Renaissance

One of the most significant periods in the development of culture is the Renaissance, or Revival, which dominated in the 13th-16th centuries. and marked the advent of the New Age. The sphere of artistic creativity was most influenced.

After an era of decline in the Middle Ages, art flourishes, and ancient artistic wisdom is revived. It was at this time and in the meaning of “rebirth” that Italian word rinascita, later numerous analogues appeared in European languages, including the French Renaissance. All artistic creativity, primarily fine art, becomes a universal “language” that allows you to learn the secrets of nature and get closer to it. The master does not reproduce nature conventionally, but strives for maximum naturalness, trying to surpass the Almighty. The development of our usual sense of beauty begins, natural science and knowledge of God are constantly finding common ground. During the Renaissance, art becomes both a laboratory and a temple.

Periodization

The revival is divided into several time periods. In Italy - the birthplace of the Renaissance - several periods were identified that were used throughout the world for a long time. This is the Proto-Renaissance (1260-1320), partly included in the Ducento period (13th century). In addition, there were periods of Trecento (XIV century), Quattrocento (XV century), Cinquecento (XVI century).

More general periodization divides the era into Early Renaissance(XIV-XV centuries). At this time, new trends interact with the Gothic, which is creatively transformed. Next come the periods of Middle, or High, and Late Renaissance, in which a special place is given to mannerism, characterized by the crisis of the humanistic culture of the Renaissance.

Also in countries such as France and Holland, the so-called Late Gothic style is developing. As the history of the MHC says, the Renaissance was reflected in Eastern Europe: Czech Republic, Poland, Hungary, as well as in the Scandinavian countries. Spain, Great Britain and Portugal became countries with a distinctive Renaissance culture.

Philosophical and religious components of the Renaissance

Through the reflections of such representatives of philosophy of this period as Giordano Bruno, Nicholas of Cusa, Giovanni and Paracelsus, they become relevant in MHC topics spiritual creativity, as well as the struggle for the right to call an individual a “second god” and associate a person with him.

The problem of consciousness and personality, faith in God and higher powers is relevant, as at all times. There are both compromise-moderate and heretical views on this issue.

A person faces a choice, and the reform of the church of this time implies a Renaissance not only within the framework of the MHC. This is also a person promoted through the speeches of figures of all religious denominations: from the founders of the Reformation to the Jesuits.

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

During the Renaissance, the education of a new person was of paramount importance. The Latin word humanitas, from which the word humanism is derived, is the equivalent of the Greek word for education.

Within the framework of the Renaissance, humanism calls on a person to master the ancient wisdom that was important for that time and find a path to self-knowledge and self-improvement. Here there is a merging of all the best that other periods that left their mark on the MHC could offer. The Renaissance took the ancient heritage of antiquity, the religiosity and secular code of honor of the Middle Ages, the creative energy and human mind of the New Time, creating a completely new and seemingly perfect type of worldview.

Renaissance in various spheres of human artistic activity

During this period, illusory life-like paintings replaced icons, becoming the center of innovation. Landscapes are being actively painted, household painting, portrait. Printed engraving on metal and wood is widespread. Working sketches of artists become an independent form of creativity. Picture illusoryness is also present in

In architecture, under the influence of architects’ passion for the idea of ​​the centric, proportional temples, palaces and architectural ensembles that emphasize earthly, centrically perspective-organized horizontals are becoming popular.

Renaissance literature is characterized by a love of Latin as a language educated people, adjacent to national and vernacular languages. Genres such as the picaresque novel and urban novel, heroic poems and novels of medieval adventure-knight themes, satire, pastoral and love lyrics. At the peak of the popularity of drama, theaters staged performances with an abundance of city holidays and magnificent court extravaganzas, which became the birth of colorful syntheses of various types of arts.

In music there is a flourishing of strict musical polyphony. Complication compositional techniques, the appearance of the first forms of sonatas, operas, suites, oratorios and overtures. Secular music, close to folklore, becomes on a par with religious. There is a separation of instrumental music into separate species, and the pinnacle of the era was the creation of full-fledged solo songs, operas and oratorios. The temple is being replaced by Opera theatre, which took the place of the center of musical culture.

In general, the main breakthrough is that the once medieval anonymity is being replaced by individual, authorial creativity. In this regard, world artistic culture is moving to a fundamentally new level.

Titans of the Renaissance

It is not surprising that such a fundamental revival of art, actually from the ashes, could not take place without those people who created with their creations new culture. They were later called "titans" for the contributions they made.

The Proto-Renaissance was personified by Giotto, and during the Quattrocento period the constructively strict Masaccio and the soulful and lyrical works of Botticelli and Angelico opposed each other.

The middle, or represented by Raphael, Michelangelo and, of course, Leonardo da Vinci - artists who became iconic at the turn of the Modern Age.

Famous architects of the Renaissance were Bramante, Brunelleschi and Palladio. Bruegel the Elder, Bosch and Van Eyck are painters of the Dutch Renaissance. Holbein the Younger, Durer, Cranach the Elder became the founders of the German Renaissance.

The literature of this period remembers the names of such “titan” masters as Shakespeare, Petrarch, Cervantes, Rabelais, who gave the world lyric poetry, novel and drama, and also contributed to the formation literary languages their countries.

Undoubtedly, the Renaissance contributed to the development of many trends in art and gave impetus to the creation of new ones. It is unknown what the history of world artistic culture would have been like if this period had not existed. Maybe, classical art today would not arouse such admiration, most trends in literature, music and painting would not exist at all. Or maybe everything with which we are accustomed to associate classical art would have appeared, but many years or even centuries later. Whatever the course of events, only one thing is clear: even today we admire the works of this era, and this once again proves its importance in the cultural life of society.