Antique art in the style of architecture and interior. Ancient artwork of antiquity art

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Antique art. General characteristics. Stages of development. The Roman Empire. Greece.

The concept of antiquity in culture arose in the Renaissance. So Italian humanists called the earliest culture from the well-known. This name has been preserved behind it and today as the usual synonym for classical antiquity, which is precisely separating the Greco-Roman culture from the cultural worlds of the Ancient East.

The ancient culture of cosmological and is based on the principle of objectification, in general, it is characterized by a rational (theorial) approach to understanding the world and at the same time emotional-aesthetic perception, slender logic and individual originality in solving socio-practical and theoretical problems.

A complex and diverse historical material is customary to divide for several periods, according to which art history is built:

1. Ancient period - Aegean culture (30-20 centuries. BC)

2. Homeric period (11 - 8 centuries. BC)

3. The period of archaic (7 - 6 centuries. BC)

4. The period of the classics (5V. - Until the last third of the 4th century BC)

5. Hellenistic period (last one third of the 4th century - 1 c. BC)

6. The period of development of the tribes of Italy - Etruscan culture (8 - 2 centuries. BC)

7. Republican period of Ancient Rome (5 -1 centuries. BC)

8. The imperial period of ancient Rome (1 - 5 centuries. AD)

Sources of ancient history are relatively scarce and are divided mainly into two groups, real and written. For the oldest antique history, monuments of material culture and art are the main, and sometimes the only source. For later stages of the history of slave society, writing sources play a crucial role, including official and private documents, letters, memoirs, speeches, as well as historical, artistic, scientific and philosophical literature.

· Previous period - Aegean Art (Crito-Mixed Art) - XXX in. BC. - XII century. BC.

· Ahasey-Mine Art

1. Geometrical period ("Homerskaya Greece") - OK.1050 BC, VIII century. BC.

1. Protogeometric (Submichen period) - OK.1050 BC - OK. 900 BC.

2. Geometric (flourishing) - OK.900 BC. - OK. 750 BC

3. Late geometric period (DPILON) - OK.750 BC. VII century BC.

2. Archaic period - VII century. BC. V c. BC.

1. Early Archaika - Nach. VII century BC. - 570s. BC.

2. Mature Archaika - 570s. BC. - 525th. BC.

3. Late Archaica - 525th. BC. - 490s. BC.

3. Classic period - V c. BC. IV century BC.

1. Early classic ("Strict Style") - 1st floor. V c. BC.

2. High Classic - 2nd floor. V c. BC.

3. Late classic - IV century BC.

4. Hellenistic period - Ser. IV century BC. - I century BC.

Epoch geometric

Amphora in late geometric style, approx. 725-700. BC, Louvre

· The era was called the type of Vazopysi.

For an ancient Greek culture of this period, there is a relationship with the culture of the Ahaseians and, through them - with critical-mix art.

During this period there is a student of apprentices based on the Aegean and Ancient Heritage. The new tribes that came to the peninsula begin to re-using what was left in the territories of the predecessors. In the architecture of the Ellina of the geometric period begin from scratch - with raw bricks (cyclopic masonry is characteristic of the previous period). Megaron evolves from the palace to the temple: new Greek sanctuers appear on the site of old megarons, repeating them with typology. Buildings, raw wooden architecture, with overlaps of a holm type, as a rule, rectangular, narrow and elongated, could paint.

· Temple of Apollo Karneysky on O. - Created on the basis of the previously existing megaron.

· Temple of Artemis Orfia in Sparta.

· Temple of Apollo in Fermos (farm).

Painting is best presented, giving the name of the period. Her style is repelled from the geometrization characteristic of late Egeic. In the protogeometric, the tools begin to be used - zirkul, line. In the flourishing geometrics prevail mainly closed vessels, the entire surface of which is covered with a geometric ornament. We begin specifically Greek features: the register of painting, as well as patterns - meandra, teeth, triangles, waves, mesh.

Late geometric

Horse, bronze, Olympia, OK. 740 BC Louvre

The era of late geometrics was named "Deponel" According to the vessels found at the Deponel Gate in Athens. Starting tape inserts in the most responsible features, use large figurative compositions, images of geometrized animals appear. The quality of pottery improves, large forms appear. Centers - in Argos, Boeotia, Attica. Painting are carried out using brown varnish (Heritage of Ahetsev). In the late period begin to add Purple and Belil. In the figures appear so-called. Carpeting solution.

Images of a person are performed almost on the ancient Egyptian canon. Very love image horses. The surface of the VAZ surface appears - pass with liquid dilute varnish, getting a rosewood-golden color. The direction is characteristic of refined stylistics, increased tectonic, wonderful propision.

Large sculptures have not been preserved. Small forms are made to divide into several styles:

· Style "Tulovo" - massive figurines, stone, terracotta, are painted in geometric style

· Style of "elongated limbs" - metal, large attachment to real proportions.

Archaic period (VII - VI centuries. BC.) [Edit | edit wiki text]

7th century BC. 5. in. BC. During the archaic period, the earliest forms of ancient Greek art - sculptures and vases, which in a later classical period become more realistic. With a late archaic period, such styles of Vasopysi, like black-deficient ceramics, arising in Corinth at 7th century. BC e. In ceramics, elements are gradually appearing, uncharacteristic for archaic style and borrowed from ancient Egypt - such as the post "left foot forward", "Archaic smile", a template stylized image of hair - the so-called "hair-helmet". In the era of archaic, the main types of monumental sculpture are formed - the statues of the naked young man-athlete (Kuros) and a draped girl (bark).

Sculptures are made of limestone and marble, terracotta, bronze, wood and rare metals. These sculptures are both separately standing and in the form of reliefs - used to decorate temples and as tombstone monuments. Sculptures are depicted both scenes from mythology and everyday life. The statues in full size suddenly appear about 650 BC. e.

Head of Kossa, Museum of the Athenian Acropolis

Hellenism

3 periods of Hellenism can be distinguished as a holistic system: 1) 334-281. BC E.- Education of the Empire of Alexander the Macedonian and its collapse as a result of the Wars of Diarathes; 2) 280 BC. E. - Middle II century. BC E.- The period of maturity of Hellenism has developed in the last century of existence. 3) Mid-II century. BC e. - 30 BC. - The period of decline of Hellenism and his death.

Ancient Greek temples

The main architectural task of the Greeks was the construction of temples. It gave rise to artistic forms, which moved later to the facilities of various kinds. During the entire historical life of the ancient Greece, her temples retained the same major type, subsequently assimilated and ancient Romans. Greek temples did not resemble the temples of ancient Egypt and the East: these were not a colossal, inspiring the religious fear of the mysterious capital of Grozny, monstrous deities, and the friendly inhabitants of human-like gods, arranged like a dwelling of ordinary mortals, but more elegant and rich.

If you believe PAsania, the originally of the temples were built of wood. Then they began to build out of stone, but some elements and adults of wooden architecture were preserved. The Greek Temple was a building mainly temperate sizes, standing inside the sacred fence on the foundation of several steps and represented in the simplest similarity to the oblong house, which in terms of two folded squares and a double, rather delicate roof; One of his short sides did not leave the wall that two pilasters around the edges were replaced here and standing in the span between them (sometimes 4, 6, etc., but always read the column), slightly retreating the building (usually on ⅓ square), it was overclosed by a transverse wall with a door in the middle, so that something in the birth of the porch or indoor hay and the inner, closed the room from all sides - the sanctuary, where the statue of the Divine was standing, and where no one had the right to enter, except priests. Such a building is called the "Temple of Pilaesters". In some cases, the same porch, like from the front faca, was arranged from the opposite side. Pilasters and columns of Seine pinned the ceiling and roof, and the latter formed over them a three-born fronton.

Archaika

This period includes sculptures created in the period from the 7th century to our era until the beginning of the 5th century BC. The epoch gave us the figures of naked warriors-boys (kosses), as well as many female figures in clothes (bark). For archaic sculptures, some schematics are characterized, disproportionate. On the other hand, each work of the sculptor is attractive to its simplicity and restrained emotionality. For the figures of this era, a semi-coulter, which gives works some mysteriousness and depth.

"Goddess with a grenade", which is kept in the Berlin State Museum, one of the most preserved archaic sculptures. With external coarseness and "incorrect" proportions, the viewer's attention is attracted by the sculptures made by the author brilliantly. The expressive gesture of the sculpture makes it dynamic and especially expressive.

"Koss from Piraea", decorating the collection of the Athens Museum, is later, which means a more advanced product of an ancient sculptor. In front of the audience a powerful young warrior. Light tilt head and hand gestures talk about a peaceful conversation that hero leads. Violated proportions are no longer so striking. And the features of the face are not so generalized, like the early sculptures of the archaic period.

Classic

The sculptures of this one era are most associated with antique plastic art.

In the era of the classics, such famous sculptures, such as Athena Parfenos, Zeus Olympic, discobol, dormico and many others were created. The story has kept for descendants the names of the outstanding sculptors of the era: a policlet, fidium, Miron, Skas, Praxitel and many others.

The masterpieces of classical Greece are characterized by harmony, ideal proportions (which indicates the excellent knowledge of human anatomy), as well as internal content and dynamics.

It is the classical period that is characterized by the advent of the first nude female figures (wounded Amazon, Aphrodite Book), which give an idea about the ideal of the female beauty of the heyday of antiquity.

Hellenism

Late Greek antiquity is characterized by a strong oriental influence on all art in general and on the sculpture in particular. There are complex angles, exquisite drapes, numerous details.

Eastern emotionality and temperament penetrates the calm and majesty of the classics.

Aphrodite Kirenskaya, adorning the Roman Museum, Term, is full of sensuality, even some coquetry.

The most famous sculptural composition of the Ellinism era - Laocoon and his sons of Assaander Rhodes (masterpiece is stored in one of vatican museums). The composition is full of drama, the plot itself involves strong emotions. Desperately resisting the snakes sent by Athena, the hero himself and his sons seem to understand that the fate of their terrible. Sculpture is made with extraordinary accuracy. Figures are plastic and real. Persons of heroes produce a strong impression on the viewer.

The Roman Empire

For the art of the Roman Empire, it is primarily characteristic, first of all, the creation of images of the emperor - statues and portrait works. Often the sample of the imitation was the statues of epochigreic classics. In general, the influence of Greek art acquires unprecedented power, especially at the end of the I century to our era. In Greek sculpture, the Roman masters found that plastic language and those heroization techniques that most met the requirements of the Epoch of the Empire.

Architecture of ancient Rome

Roman construction was innovative. Although it used the achievements of Hellenistic architecture (with its developed spatial), it still implements its concept, with a new approach to space and architectural form. The architecture was powered by the practical and ideological interests of the republic, so the progress of construction equipment walked so quickly, especially regarding specific tasks (water supply, sewage treatment plants, supporting walls, military vehicles, camp). In the late republic already felt the need to decorate the city.

The basis of the architecture of Rome was the arch, which gives a cylindrical arch and a crusade. This stable system of mutual strength allows you to overlap a large space and distinguish them. The arch leads to the invention of the dome.

The Roman Theater also depends on the ancient Greek, but the Romans did not use the natural slopes of the hill, and built in a flat place in the form of a large stone ring. Orhestra gradually loses its meaning, turning into VIP-spaces. The rear wall (Skena) becomes an architectural structure. Love for gladiatorial battles led to the emergence of round and oval amphitherators by combining two mirror hemispheres.

Another kind of August architecture is a triumphal arch (for example, in Rimini, Aoste, Suzea), leading the story from the Etruscan Arch, supplemented by classical elements. Allocation of the Arch into an independent type of monument - a sign of the desire of the Romans to embody the ideological values \u200b\u200bof the foundation of the state. In general, the very concept of monument, such an important for the entire Roman architecture, "is connected with the desire to establish a specific relationship between the historical past, this and future, expressing, in tangible and incredit forms, the inviolability of ideological ruins" [

Amphitheater Flaviev - Colosseum, became a symbol of the city. He acquired a special ideological significance for the Millennium. Circus contests that occurred there were simultaneously and "triumphal procession", who constantly unfolding in front of the public. The amphitheater for 45 thousand spectators was carefully thought out, transport and pedestrian streams are separated. The Colosseum dominated the scenery, completed the monumental perspective of the city. For the first time, the building was conceived, taking into account his role in the city layout, in the ratio of the surrounding urban environment.

Stenopenis

The relief of the altar of the world

In the Roman architecture of the wall plays the role of the space of space, in addition, it has an air environment in front of it. Similar to the bottom of the pool causes the color of water stroit. The wall was not a firm, but a space with imaginary depth, so served as a place of image of nature, history, myths, it was like a "project screen".

A typical example is the altar of the world, built during August. On his 4 sides - reliefs with vegetable ornaments, figures. The protruding parts of the bas-relief interact with space, light, air, the other layers contribute to the illusory destruction of the physical plane, creating an imaginary depth. The plane turns out to be a "connecting membrane" between natural and imaginary spaces.

Roman Painting

"Wedding Aldobrandini" (fragment)

Rome's steel painting is not preserved, but is known for sources. The only examples are images included in Pompeii and Herculaneum wall paintings. Painting for the ancients was a means of transmitting images and it was not required to possess hull and plastic loading. It boiled down to equilibrate the color spots, light and tradition and appeals to the Greek samples.

A frieze depicting a ritual ceremony has been preserved at Pompiana Wille. The figures are highlighted against the red wall, which emphasizes their exact contours with the classic simplicity. The contours are created not with lines, but by color contrasts, and at the same time the artist seeks not to designate their bodies, but to the fixation of their images, projection of these accurate images on the wall plane. These murals are based on the imitation of Hellenistic samples. But the evidence of their Roman origin is emphasized by naturalistic interpretation, the degradation of the image (as it happened and the Etruscans). In the landscapes and especially portractions, the image was launched for more likelihood. In the scenery applies techniques for the illusory transmission. In the image of the garden at Ville Libya in Rome - directly real plants inventory. The artist embodies in the colors the speculative image of nature, for the transmission of which is suitable for generalizing, fluent, sketching technique. This technique becomes another Bolshnoy in the early Christian painting of catacombs, where the symbolic images of the saints do not have connections with the real world at all.

Creating portraits, Roman artists also repelled from a certain "type", which is then endowed with the specific features of an individual person. In Fayum portraits, persons were depicted in the FAS with wide eyes, which testifies to their "life". Thus, the allocation of one or another physiognomic feature is applied. The image method is repelled not from nature, but from the idea of \u200b\u200bthe type of person, from which then moves to nature, movement from a common to particular, without entering into contact with reality.

Sculpture

The Roman sculpture experienced a great effect on the part of Greek sculpture, which contributed to the influence of Etruscans, as well as the presence in Rome Greek masters and copies with classical sculptures. The Roman sculptural portrait is distinguished by realism from Hellenistic and Etruscan, which is especially noticeable in Roman burial masks.

Portrait busts with i c. BC e. are engaged not only by similarity, but also reflection life path man. However, similarity is extreme. A small incorrectness is a little big bentness of eyebrows or the folds of the lips - it helps to give a portrait of a rather similarity. This reception is maintained even in official portraits. The portrait is the method of saving history.

Column Triana (113 N. E.) was created by a spiral of reliefs with a story about the military exploits of the emperor. The 200-meter tape shows episodes of 2 campaigns in Dakia. Events are not divided into culminated, the movement is lively - but not sharp. The landscape is transmitted by details - a wave or a piece of wall. Conventional proportions are not used.

In the emperor Commoda - a new attempt to breathe life in the courtest course, even weaker and "manneristic". Under Gallienė - plastic art will acquire a shade of nostalgia in strict classicism of August, the ideal of good old times. However, court art is increasingly inferior to the recurrence of provincial trends, which better satisfy the requests of the motley and stratum society, full of different teachings.

Sarcophague 170

Fashion on sarcophages with plot reliefs began to be approved with Adrian. Later it spreads more and more because of the huge number in Rome workshops. Plots are used different - historical, mythological, allegorical; They draw out from the revolving relevance of the repertoire of the classics. They are reproduced by memory, complementing items dependent on the author or customer. This is usually generalized Elegy themes about a speedless life and inevitable death. This poetic attitude leads to a violation of classic canons. The composition is different: the narration is either continuously or is subdivided: horizontally - on tapes, vertically - on niche or communion.

Organization of space

Any landscape composition consists of elements of the following types:

· Designed (platforms, alleys, tracks)

· Volumetric (plants, bushes, trees, buildings, relief, etc.)

· Planny elements (smooth, lawns, lawns, reservoirs)

A color scheme

Color is one of the main tools by which the landscape design composition becomes more expressive. The greatest complexity here is the need to take into account that when changing seasons and grow plants, their color changes. In winter, ordinary trees are losing foliage and their coloring is determined only by the color of the trunk and branches, in contrast to the summer period. Usually, the background of the landscape becomes grass bodies from grass, changing their color from April to September. In addition to color, an important characteristic of objects is also their texture under which the nature of their surface is understood.

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art

Sculptures in the Cathedral of Saints Mauritius and Katharina in Magdeburg, Germany

Perspective portal of Cologne Cathedral

Sculpture

Sculpture played a huge role in creating the image of the Gothic Cathedral. In France, she made it basically its outer walls. Tens of thousands of sculptures, from the base to the Pinakly, inhabit the cathedral of mature gothic.

The relationship of sculpture and architecture in Gothic is different than in Romanesque art. Finerally, the gothic sculpture is much more independent. It is not subordinate to such a degree of the wall plane and the more framed as it was in the Romance period. Round monumental plastic is actively developing in Gothic. But at the same time, the gothic sculpture is an integral part of the ensemble of the cathedral, it is part of the architectural form, since together with the architectural elements there is a movement of the building, its tectonic meaning. And, creating an impulsive black and white game, it in turn lives, spiritually evins the architectural masses and contributes to their interaction with the air environment.

Late gothic sculpture experienced a great influence of Italian art. Around 1400, Claus Sleuer created a number of significant sculptural works for Philip Burgundy, such as Madonna Facade of the Burdenness Church of Philip and the Figures of the Progin's Well (1395-1404) in Shamol near Dijon. In Germany, the works of Tilman Rimemeider, Vita Riemenschneider, and Adam Kraft (Adam Kraft) are well known.

Painting

Gothic direction in painting has evolved several decades after the appearance of elements of style in architecture and sculpture. In England and France, the transition from the Romance style to the Gothic occurred about 1200 g., In Germany - in the 1220s, and in Italy later, about 1300.

Unknown artist. John kind (1359). One of the first gothic portraits that have come down to this day

One of the main directions of gothic painting was the stained glass window, which gradually pushed the fresco painting. The technique of stained glass remained the same as in the previous era, but the color palette became much richer and more colorful, and the plots are more difficult - along with images of religious plots appeared stained glass windows household topics. In addition, not only color, but also colorless glass began to use in stained glass windows.

For the period of Gothic, the blooming of book miniatures. With the appearance of secular literature (knightly novels, etc.), the circle of illustrated manuscripts was expanded, richly illustrated chairs and psalti for domestic use were also created. Artists began to strive for more reliable and detailed reproduction of nature. Bright representatives of the Gothic book miniature are the Limburg Brothers, the court miniatures of the Duke de Berry, who created the famous "magnificent hourly of the Duke of Berry" (about 1411-1416).

The genre of portrait is developing - instead of a conditionally abstract image of the model, the artist creates an image endowed with individuals inherent in a specific person.

Almost a thousand-year domination of the Byzantine canons in visual art is completed. Jotto in the cycle of the frescoes of Capella branches depicts people into the profile, puts the figure with his back to the viewer in the foreground, disrupting the taboo of the Byzantine painting on any angle except the frontal. He forces his heroes to gesticulate, creates a space in which a person is moving. The innovation of Jotto manifests itself in his appeal to human emotions.

From the last quarter of the XIV century in the visual art of Europe, the style is dominated by the late international gothic. This period was transitional to PRATINESSAI painting.

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PRASTORESANS

PRATINESSANCA is closely connected with medieval, with romance, gothic traditions, this period was the preparation of Renaissance. It is divided into two subpoles: to the death of Jotto di Bondone and after (1337). The most important discoveries, the brightest masters live and work in the first period. The second segment is associated with the epidemic of the plague that fell into Italy. At the end of the XIII century, the main temple structure is being built in Florence - the Cathedral of Santa Maria Del Fiore, the author of Moannolfo di Cambio, then the job continued Jotto, who designed the Campanil of the Florentine Cathedral.

Benozzo Gotszoli depicted worship of the Magi as a solemn procession of court medi

Previously, the art of the prostanessance manifested itself in sculpture (Nikcolo and Giovanni Pisano, Arnolfo Di Cambio, Andrea Pisano). Painting is represented by two art schools: Florence (Chimabue, Jotto) and Siena (Duccu, Simone Martini). Jotto became a central painting figure. Revival artists considered him a reformer of painting. Jotto outlined the way for which its development went: filling the religious forms of secular content, a gradual transition from flat images to volumetric and relief, an increase in realism, introduced in painting the plastic scope of figures, depicted an interior in painting.

Early revival.

The period of the so-called "early Renaissance" covers in Italy from 1420 to 1500. During these eighty years, art is not entirely completely renounced from the legends of the recent past, but tries to mix elements borrowed from classical antiquity to them. Only subsequently, and only little, in the influence, everything is stronger and stronger than changing living conditions and culture conditions, artists completely cast medieval bases and boldly use samples of ancient art, both in the overall concept of their works and their details.

While art in Italy has already decided on the path of imitation of classical antiquity, in other countries it has long kept the traditions of the Gothic style. North of the Alps, as well as in Spain, the revival occurs only at the end of the XV century, and its early period lasts, approximately, until the middle of the next century.

High revival.

Pieta (Michelangelo) (1499): In the traditional religious plot, ordinary human feelings were made to the fore, maternal love and sorrow

The third period of revival is the time of the most lush development of his style - it is customary to be called "high rebirth." It extends in Italy about 1500 to 1527. At this time, the center of the influence of Italian art from Florence moves to Rome, thanks to the entry into the papal throne, Julia II - a person of ambitious, bold, enterprising, attracted to his court of the best artists of Italy, who occupied them numerous and important works and gave them a different example of love for artistic . At the same time, the Pope and with its closest successors, Rome becomes like newaphines of the time of the pericles: many monumental buildings are built in it, magnificent sculptural works are created, frescoes and paintings are written, still considered painting with pearls; At the same time, all three industries of art are slightly going hand in hand, helping one other and mutually acting on each other. Antiquity is now expanding more thoroughly, reproduced with greater rigor and sequence; Calm and dignity is replaced by a playful beauty that constituted the preceding period; The medieval challenges completely disappear, and quite a classic imprint falls on all the creation of art. But the imitation of the ancient does not drown in the artists of their independence, and they, with great resourcefulness and the liveliness of fantasies, freely process and apply what is considered to be relevant to borrow for themselves from the ancient Greek-Roman art.

The work of three great Italian masters marks the top of the Renaissance, it is Leonardo da Vinci (1452-1519), Michelangelo Buonotti (1475-1564) and Rafael Santi (1483-1520).

Later revival.

Renaissance crisis: VenicenetinTeretto in 1594 depicted a secret evening as an underground gathering in disturbing twilight choppers

Later, rebirth in Italy covers the period from the 1530s to 1590-1620. Some researchers are counted for late revival and 1630s, but this position is disputes among art historians and historians. The art and culture of this time are so diverse in their manifestations that it is possible to reduce them to one denominator with a large part of the convention. For example, the British Encyclopedia writes that "revival as a holistic historical period ended with the fall of Rome in 1527." In Southern Europe, a counter-processing was enthusiastic, which looked at all freedomity, including the challenges of the human body and the resurrection of the ideals of antiquity as the cornerstone of the Renaissance ideology. The worldview contradictions and the overall feeling of the crisis poured out in Florence in the "nervous" art of contrived colors and broken lines - manherism. In the Parma, where Korredago worked, mannerism was reached only after the death of the artist in 1534. The artistic traditions of Venice had its own logic of development; until the end of the 1570s. Titian and Palladio worked there, whose creativity had little in common with crisis phenomena in the art of Florence and Rome.

Architecture

The main thing is that this era is characterized - returning in architecture to the principles and forms of ancient, mainly Roman art. Symmetry, proportions, geometry and order are of particular importance in this direction. component partsWhich clearly indicate the surviving samples of Roman architecture. The complex proportion of medieval buildings is replaced by an ordered arrangement of columns, a pilaster and a pitch, a semicircle of arches, hemisphere of the dome, niche, and edicula, comes to replace the asymmetrical outlines. The greatest contribution to the development of Renaissance architecture was made by five masters:

Church of the Holy Spirit in Florence (Arch. F. Bruneland)

· Filippo Bruntelleski (1377-1446) - the founder of the Renaissance architecture, developed the theory of perspective and the order, returned to the construction practice many elements of ancient architecture, created for the first time in many centuries of the dome (Florentine Cathedral), still dominating in the panorama of Florence.

· Leon Battista Alberti (1402-1472) is the largest theorist of the renaissance architecture, the creator of its holistic concept, rethought the motives of the early Christian basil of the time of Constantine, in Palazzo Ruchellai created a new type of urban residence with a facade, treated with RUST and dismembered by several tiers of the pilaster.
Michelangelo Buonaroti (1475-1564) - the chief architect of the late Renaissance, who led the grandiose construction work in the papal capital; In its buildings, the plastic beginning is expressed in dynamic contrasts as if the sprinkling masses, in the majestic tectonicity, foreshadowing the art of Baroque (St. Peter's Cathedral, Laurencyan Stairs).

• Andrea Palladio (1508-1580) - the height of the first phase of classicism, known as Palladianism; Taking into account specific conditions, various combinations of order elements were infinitely varied; Supporter of an open and flexible architecture, which serves as a harmonious continuation of the environment, natural or urban (Palladiev Villa); Worked by the Vestial Republic.

Suit of the Renaissance

It is impossible to talk about some special special form of clothing of this period, one can only trace the trends in the development of costume forms, since there was no special costume of the revival era. The choice of dress dictated by a wallet, fashion, rank and decree of the government.

The clothes reflected the social situation, not being a self-expression personality. People were supposed to dress according to the public situation. Laws that limit the right to acquire luxury, taken back in the Middle Ages, who have changed throughout the period of revival prevented the most expensive fabrics to people of the lowest class, the situation was considered unacceptable when the Burger would look like a graph. Also ridiculous, if not dangerous, it would be like a peasant to look like a king.

Favorite color was red. Women and men decorated their dresses and belts with bows and puments, so it is no wonder that the German suit of this time leaned by the bubrels, subsequently became the inception of only jesters. It is noticeable for the false desire and men, and women make the waist as thinner as possible. Women tried to achieve their ideal with a lacing, which tied clothes like a corset.

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Painting

Nikola Pussen. "Dance for the music of time" (1636).

Interest in the art of ancient Greece and Rome manifested itself in the era of the Renaissance, which, after the centuries, the medieval to the forms, motifs and plots of antiquity. The greatest theorist of Renaissance, Leon Batista Alberti, still in the XV century. I expressed ideas that foreshadow individual principles of classicism and fully manifested in the fresco of Raphael "Athens School"

Antique - (from Antiquus - Ancient Lat) - a historical type of art. The term "antique" was first applied in the Writers' Writers-Humanists of the Italian Renaissance to designate the most ancient of the cultures known at the time, mainly ancient Roman.

Monuments of art Ancient Greece Then they almost did not know, since the Eastern Mediterranean from the end of the XV century. It was under the authority of the Turks. Eastern Europe, Transcaucasia, the Middle East and Russia have experienced an antique culture through Byzantium. In the middle of the XVIII century. In connection with the movement of neoclassicism, the word "antique" (Franz. Antique - see Antique), denoting a special historical type of art, firmly included. At that time, the concept of ancient art was identical to the concept of art of international classics. Later, it began to allocate early (archaic), classical and later (Hellenistic) art. After in the XIX-XX centuries. More ancient cultures of Egypt, Mesopotamia, the term "antique" acquired a new meaning were better studied. For Europeans to achieve Ellinov (word " Greece»Appeared only in the Roman era) - antiquity of a special kind. This is a cradle of European culture. Greek, and then Latin, poetry, music, mythology, philosophy, geometry, architecture, sculpture became the basis of the future pan-European and world culture, its history and geography.

In that distant time, not to find such conquests of the human spirit, which would not have been successful in the next centuries. "The antiquity was the ancestor of those ideas that we now live." These ideas are not outdated, despite the fact that their content has long been belonging to history. Therefore, the highest achievements of ancient culture we call the classic (from the lat. Classicus - first-class, exemplary). It is significant that this definition introduced the Roman Writer of Avl Gelly in the II century. n. e. Hence the artistic direction - Classicismfocused on achieving the art of ancient Greece and Rome. The versatility and the classic of antiquity is an excuse for traditional europecentrism in the study of the history of art.

In the historical development of ancient art, the following steps can be distinguished:

1. Protoantic art (from Greek. Rhotos - the first), or Midth art (see Critrosis art), the original picturesque style of which was gradually gradually in three periods:

earlynithic (3000-2200 BC. e.);

midnower (2200-1600 BC. e.);

latenignant (1600-1100 BC.).

2. Formation stage of geometric style:

the protogeometric style of the XI century. BC e.;

geometric style X-VIII centuries. BC e.;

the period of the protocol, proto-human and orientalizing styles (OK.750-680. BC.);

laman style (approx. 680-610. BC. e.).

3. Stage Archaika (OK 610-480 BC.).

4. Epoch Classic:

the period of "strict style" (approx. 480-450. BC. e.);

period of the classics of the age of perix (approx. 450-400. BC. e.);

late classic period (approx. 400-325 BC. er).

5. Ellinism era:

early Hellenism (approx. 325-230. BC. er); Middle Hellenism of Rhodes, Pergam-Skoy, Alexandrian schools (approx. 230-170. BC er);

late Hellenism (Antique Classicism, Neoattic School, OK. 170-30 GG. BC. E.).

6. Art of ancient Rome:

period of the republic (end VI V.- 27 BC);

the period of August classicism (27 g. BC. E.- 14. N. E.);

the reign of Juliyev-Clausdiev and Flaviev (14-96);

period of late Roman Empire (96-476);

gallienovsky Renaissance period (259-268).

Built in 420-407 years BC The temple consisted of two parts, one of which was devoted to Athena, and the other - Poseidon. According to legend, Poseidon and Athena fought for patronage over the city. Poseidon struck the trident to the rock and in this place scored the waters in this place. In the place where Athena hit the spear, the olive tree rose. Athena won the dispute and the city called it with the name
	Monument Philopappu. It is located on a hill of the same name near the Acropolis. The hero of the monument was a Roman consul, causing in Athens. He spent a lot of strength and money for the development of the city, for which he was decided to perpetuate.

The nature of the ancient art was rapidly, the successes of the Ellini were strikingly quick. If in ancient Egypt for several thousand years we are observed in essence with a constant lifestyle and thinking of a person, then in Greece, only about two centuries divide the period of archaic and the art of perfect plastic harmony, which we call the classic. To explain this fact, you can find several reasons. The main one is a manifold of ethnic sources of Hellenic culture. Antique art has developed from three basic and very different traditions:

First - A peculiar art of the inhabitants of the Islands of the Eastern Mediterranean, ancient Minoan (by the name of the legendary Tsar Minos), or the Aegean culture, the construction experience of residents about. Crete, created by them picturesque style of wall paintings and art of ceramics, sculpture Cyclades. Aegean art has experienced dual influences: on the one hand, the impact of the established many previously art of Egypt and Mesopotamia (it is very close to Crete), on the other hand, the art of continental "protoallins" with centers in tyaring or mixes on Peloponnese.

Second Ethnic tradition is a primitive, but powerful art of Dorians, Aryan tribes that invaded the XIII-XII centuries. BC e. On Peloponnese from the North (Dorian style, Doric order).

Thirdthe component is the art of the ionists. Like the Ahetis, they were an ancient residents of Mainland Greece, which came probably from the East, but under the pressure of Doriytsev crossed the islands and the coast of Malaya Asia (see Ionian Style, Ionian Order). Already during the period of Archaika, Ellinov had two artistic flows (in the strict sense of the word who had not yet reached the integrity of the artistic style): the harsh and courageous Dorian and soft, feminine, developed under the influence of the Minoan and Municipal cultures, the art of Jonyan. "The duality of doric and ionic crops persisted in Greece long enough and reflected in its history, in particular in the history and theory of ancient Greek art. The search for solid rules of art, the unchanged laws of beauty found support in the Doric tradition, and the tendency of the Greeks to live reality and sensual clarity - in the tradition of ionic. "

Another reason for the extraordinarily intensive development of ancient art is unique geographical conditions. Mainland Greece is a range of valleys separated by low mountain ranges, each of which has its own natural conditions and a unique landscape. This contributed to the preservation of individual and still weak arts from the fighter wars and the devastating resettlement of peoples, from what ancient civilization of the steppe regions of Asia suffered. On the other hand, a small peninsula with a rugged coastline, a variety of comfortable bays, natural harbors and closely located the islands facilitated sea messages inhabited by his tribes. Then one, then another island in clear, sunny days had a navigator in sight, and the shore almost never disappeared from sight. In general, Peloponneum, together with the Islands of the Aegean Sea, is between Europe and Asia, at the main intersection of trading paths in the main crossroads.

Relative freedom, independence and, at the same time, the necessary information exchange created a unique chance, the strongest impetus to development. The climate of Greece is moderately soft and the nature of fruit is exactly so that the human energy does not waste entirely on the struggle for existence, and so that there remained forces for intellectual activities, but not so much so that it is difficult to deprive the Hellen's need to work. In this sense, the expression: "There is everything in Greece" only partially. The famous historian A. Toynby wrote that the natural conditions of Attica under warm climates are characteristic of special ascetic. This is a mountain stony terrain, completely unsuitable for farming and cattle breeding, as opposed to, say, from neighboring booties (not by chance, prosperous baoties in ancient tradition were considered stupid and lazy people). It is because of the harsh conditions, according to Tynby, the Athenians were forced to move from animal husbandry and agriculture to the cultivation of olive plantations. Only olives could survive on the bare stone. But they will not be fed and the Athenians began to exchange olive oil on Scythian grain. They transported it by the sea in clay jugs, which stimulated pottery craft and navigation. For the exchange needed money - the Greeks learned to minimize the coin, and the fleet must be protected from pirates and therefore began to joke weapons. Thus, the limited natural resources was replenished with the creative activity of a person. Also, the absence of a tree, writes Toynbi, made a stone forced as a building material and presented the world such a miracle as Parfenon.

Other researchers pay attention to the "proper and harmonic structure of Greek nature", raising the aesthetic feeling of its inhabitants over the centuries. Indeed, there is nothing excessive in the Greek landscape, no dormant forests, nor endless steppes or terrible deserts. The man did not feel lost and weak, everything was right, measured and clear. Ancient Ellin felt in Greece "like at home", he had no need to overcome nature, to establish himself in her, to win the living space, to build huge walls, towers, pyramids. Nature itself suggested the idea of \u200b\u200bproportionality, the harmony of the cosmos - the Universe and the microcosm - man. The very concept of space (Greek Kosmos is order, structure, good), which, unlike chaos, is beautiful due to the integrity of the integrity, the ordinance of parts, was invented by the Greeks, philosophers Pythagore, Anaximandr, EmPedocl. The third significant factor in the intensive development of ancient art is the powerful rationalism of the Allensky thinking. G. F. Hegel In his "Philosophy of History" noted that "Greek Spirit is generally free from superstition, as it converts sensual in meaningful." All that first is surprising is then mastered, but logically, it must certainly be rationally explained. Mathematical proof of the ancient Ellinov was subject to all, even the most obvious, things. If the Sumerians or the Egyptians did not think about the fact that it seemed to be granted, for Ellin, for example, the proof of the equality of geometric figures by the method of overlaying them was completely inconclusive.

The logical substantiation was required. And the so-called "Delian task" to double the volume of the cubic altar or the quadrature of the circle should have been resolved not empirical, but mathematically. This feature of the Hellenic thinking ll. Solovyov witty called "religious materialism." The intuition test of logic released thinking from slave imitation, following canons. It also explains the main principle of ancient aesthetics and art - the principle of "physicality", Based, by definition, A. Losev, "on the presentation of the highest beauty of both perfect, live, material body ... The most beautiful and animated body of the cosmos, which is organized by universal impersonal force, but is organized by it in a maximal form. The most beautiful space of the space of the starry sky and land, which is resting in the center, with all its peculiar space with the right and eternal laws, a circulation of matter in nature, and at the same time the same circulation of souls. Even Plato did not go to the antiquity on the beauty of the most common sensual space and only found it necessary to explain it by transcendentally existing ideas. " Therefore, the gods of the Ellinians were endowed with the body, the same as mortal people, only more beautiful. Later, this feature of the world was called the Anthropomorphism (Greek. Anthropomorphosis - humanity). Initially, it was formulated in his famous Sophism ancient Greek philosopher Protagor: "A person is a measure of all things: existing that they exist, non-existent that they do not exist." And in two thousand years, the Russian poet M. Voloshin wrote about the ancient art:

Everything was tangible and close -

The Spirit thought the flesh and felt the volume,

Mall clay finger and Mind Meril Earth ...

The world responded to the sizes of man, and the person was a measure of all things.

Measure, dimension is also one of the main ideas of ancient art. The ancient Hellenes by virtue of rationalism and the concreteness of their thinking were masters of accurate wording in rhetoric and dialectic, and in architecture and sculpture - the clarity of the design and purity of the form: lines, silhouette, mass relationships and proportions. Another property of the Ellinsky thinking is determined by the word "Eidos" (Greek. Eidos - view, appearance, beauty, property, idea, contemplation). It reflects clarity, challability, bodyability of ancient visual art. None of other nations could be so bright and fully express abstract ideas, distracted concepts in visual visual images. It is possible that, first of all, this is explained by such a strong and prolonged effect of antique art on the history of European artistic styles. The clarity and concreteness of the form of Ellina denoted the word "symmetry" (Greek. Symmetria - proportionality), understanding its wider than we are now, as the quality of consent, consistency of parts. The concept of harmony appeared later (Greek. Harmonia-Agreement) and the way to achieve it - the ponduration (lat. Ponderatio - weighing, balancing parts). Hellenic art is much greater than, for example, Egyptian, personality is inherent, agonality - competitiveness (Greek. Agonia is a struggle, contest). Ellictions of the whole soul despised slavery, taken from the eastern peoples, and were proud of their personal freedom, the dignity of a thought of a person. But with this it came and some difficulty in relation to the visual arts. Free Ellin could sincerely admire the creations of famous sculptors and painters, for the first time in the history of dare to sign signatures on their masterpieces (signature), but if he had been offered to take the hammer, a cutter or brush to him - he would have come to indignation: a free citizen was not stuck to engage in Physical work, it is a slave lot. Another side of the ancient aesthetics also put the visual arts below other types of activities, since it was interpreted as "imitation" - Mimesis (Greek Mimesis-play-reproduction, likeness, imprint). According to Plato's philosophy, none of the artists create an idea (Eidos), but only the "visibility of things", which themselves are reflected by the idea and therefore the painter or sculptor - the imitator of the imitators, the Creator of Ghosts and the Fine Arts "has a beginning with low-lying, easily reproducible , prevalent over reasonable. " Such a negative attitude towards Mimeisu (gradually overcoming the development of ancient philosophical thought) is explained, first of all, the fact that artistic creativity has not yet been imposed in an independent view of human activity. Absolute creativity existed only in perfect and beautiful space. More beauty, it was impossible to imagine, therefore a person is only a imitator. The art as a whole was understood in the broadest sense and was designated by the word Techne - skill, craft, skill. Mathematics, medicine, and construction, and weaving were attributed to art. There were only two types of art a few later: expressive and constructive. To expressive art attributed dance, music and poetry; To constructive - architecture, sculpture, painting. Expressive arts were associated with the concept of Qatarsis (Greek. Katharsis - cleansing) - emotional discharge, "cleansing of the soul" from sensuality, physicality. Later, at the beginning of the 20th century, F. Nietzsche will call it the art of "Dionysk", since it has grown from the ancient mystical cult of Dionysus; Another, respectively, "Apollonian". However, the God of Sunlight Apollo and the muses led by him (daughters of Zeus and the goddess of memory mnemosina) at the beginning patronized music, dancing, poetry, history, astronomy, comedies, tragedy. Architecture and sculpture related to the despised physical labor were considered the lowest, "mechanical". They patronized Athena and Hephaest. Only later, in the era of classicism and academism, Apollo has become a symbol of harmony and beauty and the personification of "elegant arts": architecture, painting, sculptures. The idea of \u200b\u200brationality and the dimensions of ancient art brighter appeared in architecture; Symmetry and equilibrium forms - in sculpture. That and the other combined the anthropomorphism, manifested as an image (imitation) of the human body spiritualized by space. That is why the Greek architecture of sculpture (visual), and the sculpture is architective. It is very important that the ancient Ellity did not create the art of architecture in modern meaning of this word - as an artistic understanding of space. In Greek and Latin, there are no words at all to indicate the concept of "space". The Greek "Topos" or Latin "Locus" means "place", "specific locality", and the Latin "Spatium" is "the surface of any body, the distance on it between two points, as well as: land, soil in a completely material sense. Pythagoreans had a particularly revered by the concept of "Chetver" ("Tetrahton") - unity of the point, line, surface and volume, symbolizing the principle of "physicality" (Greek. Somato).

Antique art did not work out the concept of "stretching" in the intangible, abstract sense. Therefore, the Greeks even in their architecture more sculptors, for their thinking, a tactile perception of the form is characterized. In this regard, an antique legend about the origin of art from the line, Abris - "Motor" understanding of the form (legend of the Butad). If we talk about the perfect harmony of Greek art and about the "absolute vision" of Ellinov, then it is necessary to remember this limitity, the perception of the form, the volume outside the space and time. Even dynamic, the picturesque composition of the Athenian Acropolis is the highest achievement of Hellenic art - is not built on a holistic organization of space, but on alternating individual paintings, fixed points of view, visual projections on the "picture plane". This is a typical sculptural, tactile method. This also explains the fact that the Greek builders have an unknown concept of scale. Unlike mystricular-Egyptians, which used irrational numbers and complex methods of proputioning, Ellity limited their method with the simple ratios of multiple values \u200b\u200bexpressed in integers. Only in the Middle Ages an antique ideal of multiplicity again gave way to the irrational system of triangulation. The absence of the scale of ancient Greek architecture wrote O. Shuisi: "Geometry was inextricably accompanied by the Greek architecture ... Considering the problem with a purely utilitarian point of view, it would seem that the height of the door should be determined exclusively by the height of human growth, and the height of the steps is to correspond with the pitch It is necessary to rise in them ... But the Greeks ... subordinate the dimensions of all elements of the building by a modular canon ... so, for example, doubles the measurements of the facade, they simultaneously double the height of the doors and height of the steps. Every connection between the appointment of structural parts and their size disappears: nothing remains anything that it might serve the scale of the building ... In the architecture of the churches, the Greeks recognize only rhythm. Their architectural works, at least related to the last period, are as if an abstract idea ... they do not cause any ideas about absolute values, but only a sense of relationships and the impression of harmony. " "Symmetry" (harmony) of such an architecture was expressed in a visual similarity of the forms: the relations of the parties of the facade were repeated with accuracy in its memberships and details. We can judge about ancient Greek architecture, mainly on the ruins of temples. The ancient Greek temple is the original creation of the Ellen genius - in essence, paradoxal. He originated from a residential building - Megaron of the Creto-Miknah era as the "Dwelling of the Divine". The Greek word "Naos" (NAOS) means both the "temple" and "dwelling". The statue of God demanded at home and, on the contrary, the "dwelling of God" should be consecrated by his presence. But in the architecture of the ancient temple, the internal space was completely unversion. Massive walls, as a rule, did not have windows. Sometimes - small holes in the roof. Only early in the morning through the opened doors of the temple, facing east, the rays of the rising sun penetrated inside and illuminated a huge statue, which are not consistent with the interior space. If the temples of the ancient Egypt were adapted for a ritual procession, then everything happened in Greece outside, in front of the temple, where the altar was installed, the altar. In the sanctuary, only priests could include, and even that in strictly a certain time. The famous Greek "transparent" colonnades are also not spatial. In the original wooden construction of a residential building, it was only pillars that support the removal of the roof to protect against weather imaginary walls folded from raw bricks. The bearing structure has always remained a wall, therefore, in its developed form, an antique colonnade is only a scenery, a beautifully framing appearance, which opened people, accumulating in the shade of portists from the rays of the scorching sun. Different types Colonnade gave the name to various types of temples, the design of which, in essence, is unchanged. At the same time, the ancient Greeks managed to create a new artistic image of the column. Unlike massive structures of the East - zikcuratov, the pyramids, as well as the solid forest of papyrus-shaped supports of Egyptian multicolon temples, the Greek column is free. From here and its tectonicity occurs (from Greek. Tektonike is a structure) - the visual dismemberment of the support vertically on separate parts. This is a purely Hellenic anthropomorphic idea. Such a column is not real (constructively), and visually (graphic) expresses the action of the forces of the building structure associated with the power of a free standing person. That is why in the ancient art there is a completely natural appearance of supports in the form of human figures - Atlas and Caryatid. Only ancient Ellinas managed to gradually create an image of a female figure - Caryatids, simply and naturally entered the architectural design and an empty it. All subsequent embodiments of this topic cause contradiction forms and functions, the feeling of inconsistency of the fragile, plastic support and severity of the overlap. The pattern of dismemberment and communication of the carriers (column) and the undertaken (antablement: architect, frieze, eaves) parts in the ancient architecture theoretically substantiated in I B. n. e. Ancient Roman architect Mark Vitruviy Pollyion. In his treatise, "On Architecture" he called her the word "ORDO" (Lat. Ordo - order, system; see warrant). Vitruvius also formulated the famous triad (Triad Vitruvia): strength, benefits, beauty (Firmitas, Utilitas, Venustas). The theory of the order in the era of Italian revival was canonized by J. B. Yes Vigola, it was developed by S. Serlio, A. Palladio, F. Delorm. Historically, two orders have developed in Greece: doric and ionic, as well as Corinthian as a kind of ionic. Winola, taking the basis of Itali, the ancient Roman samples (with pedestals), canonized the proportions of five orders: Tuscan, Doric, Ionical, Corinthian and composite (complex). His system was based on an academic tradition. Ancient Ellity, however, combined different orders freely (without working out this concept) and varied their relations. Evolution also has an evolution from a powerful doric order to ionic (more elegant, but having an imperfection of one-sidedness of ionic capitals), and then to Corinthian, the magnificent cap of which is most decorative, is convenient because it looks equally from all sides and creates a smooth, plastic transition from the vertical Supports to horizontal overlap. Corinthian Capitel is the most dynamic, but also the most destructive. Its appearance well illustrates the trend of constant transformation of the construction structure to the image: stresses, stretching, compression, binding, base, completion (curvature, entacis). The ancient architecture for the first time in the history of art has become an example of a figurative rethinking of the structure, utility that later turned out to be the main condition for the development of European artistic styles. All elements of ancient architecture are not constructive and not decorative, as previously in the buildings of Mesopotamia and Egypt, they are an artistic trail (Greek. Tropos - turnover, values \u200b\u200btransfer). It is significant that this term introduced an ancient Greek philosopher Aristotle into aesthetics. Textonic, clarity, dismemberment of the form on visually "working" and "vacationers" elements emphasized by color, bright coloring, focused on the upper part of the building. Columns and architects, as a rule, were not stained, and the capitals and friezes were solved blue, red, green, black paints and gilding. In the Doric Orders, the blue triglyphs stand out next to the red metople, in ionic - gold-plated reliefs - on the dark blue background of frieze. Horizontal elements, such as the lower planes of the eaves, geisma, as well as annuli - the grooves on the trunk of the column under the capital, were allocated in red. Aristotle wrote about different freaks, or modus (Greek. Modios, Lat. Modus - measure, size, tact): "Strict Dorian, sad Lidia, joyful Ionian, stormy frigian and gentle anoisky." He attributed these concepts to music and dance, but they are completely definitely identified in architecture and sculpture. The proportions of the columns and the shape of the capitals of the Dorian architecture express a powerful, strong character, Ionian - soft, sophisticated. By definition of Vitruvia, in the "Doric Orders of the Greeks he saw the proportion, fortress and beauty of the male body, in the ionic-aggiosis of a woman, and Corinth's column - created in the imitation of maiden harness." In the composition of the ancient Greek temples, the architecture is organically connected with sculpture. The invention of Dyan was the frontal sculptural groups, naturally arising from the need to somehow fill the "empty" space along the ends of the bartal roof (Timpan). Moreover, stylistic development occurred, in a formal sense, from a low, almost linear relief to a round statue, and meaningful - from the complete subordination of the archaic sculpture to the architectural framing, through Etos (Greek. Ethos - the norm) of the classical art of the "Century century" (W. Paul. V c. BC. er) to "Paphos". (Greek. Pathos - feeling, passion) late classics and Hellenism, when the sculpture "left subordination" architectonic borders. Interestingly, the art of relief gets intensive development either in archaic, or in a relatively late era, and separately worthwhile, "round" figures are characteristic of the "high-style" classics period. But the principle of the front plan remains unchanged, the visual integrity of the foreground remains. "The flat silhouette was filled with volume, and the statues of the frontal compositions organically bind not to the real, but with a visual depth of the visual space. The moment when both trends merge with each other, and denotes the border between the archaic and classical era of Greek art. " Early Greek Ksoans (Greek. Xoanon - "trimmed") - idols, resembling a tree trunk, a lot primitive than the most archaic Egyptian. But already in the middle of the VI century. BC e. In the statue of the work of Arherh, a rapid movement and a characteristic "archaic smile" appeared. In excavations carried out on Athenian Acropolis In 1886, in a layer of fragments of old temples destroyed by Persians in 480 BC. er, archaic statues were found: the bark (Greek. Kore is a girl) and Apollors - male figures depicting athletes, first considered images of God Apollo. It is assumed that these types of figures were created on Crete OK. 600 BC e. But Ellinov had no historical thinking. When the Persians destroyed and burned Acropolis, Athenians, deciding to rebuild it again, dropped down everything that remained, including entire, intact statues of Cor and Apollo. Apparently, they ceased to perceive the works of art, although they had a cult value. They are also preserved, closed as simple stones in the base of the walls of the new Acropolis. Time the Greeks thought closed, cyclically and counted him in the Olympics (the first games in the Olympia took place in 776-773. BC. E. And then they were held every four years). The lifetime of outstanding people, including artists, considered not by year of birth and death, but according to their "acme" - a period of the heyday of an adult man aged about 40 years. This was reflected in the development of art: the evolution of the style was rapid, but the main qualities remained unchanged. The earliest sculptural compositions of the frontons the temple of Athens-Afiay in Egina (Eginsky School), Western (512-500) and Eastern (480-470 BC), now stored in Munich Gliptela, clearly demonstrate as figures depicting the battle of the Greeks with the Trojans, gaining increasing freedom of movement and lose Tectonic connection - colonnade portico. Only fifteen years later in the front of the temple of Zeus in Olympia (470-456 BC) this freedom is even more noticeable. It is complemented by a variety of turns, movements in depth. However, the most protruding points of individual sculptures are invisibly connected with the front plane of the foreground, parallel to the Timpan of the front, and this gives a special visual and "motor" (tactile) wholeness of the architectural and sculpture composition. This frontality has different properties, but inherent in the entire Greek sculpture, both archaic and classical. Moreover, the principle of the frontal, providing the greatest visual integrity and spyage with architecture, was subsequently the main forming principle of the fine art of classicism in all its views and genres. With antique art, the foundations of the future European Academism are connected. Based on the geometric style of the archaic period, the Greeks produced a distracted ideal of "bodyhood" and "connivability" of form. The expert of ancient art B. Pharmakovsky noted that "Greek art is always up to a certain extent - art geometric ... Antique classical sculpture is the highest stage of the development of a geometric style inherent in the Greeks since archaic times.

Greek art has grown out of geometric style, and in its essence this style has never changed. " The geometrism of the sculpture, based on the exact calculation and modularity in terms of magnitude, received a regulatory embodiment in the famous "canon", theoretical composition of the sculptor of the polyclet from ARGOS written OK. 432 BC er, but not preserved to our time. According to the policlet rule, a perfectly folded figure of the head is one eighth growth, the entire height of the figure is divided according to the main anatomical points for two, four and eight equal parts (metric division), and the torso, together with the head, also refers to the pelvis and feet, as legs To the torso or shoulder part of the hand to the forearm and brushes (rhythmic relationship). The figure is thus shacking in all its relations for three, five, eight parts, which is consistent with the principle of "golden section", studied by Pythagoras and his students, but formulated as an artistic creed only in the Epoch of Italian Renaissance by the efforts of Leonardo da Vinci and L . Faci. The polyclet embodied its ideal in the statues of Dorifora (approx. 440 BC) and Diadumen (approx. 430 BC), which came to us in later repetitions. Antique statues of the classical period are ideal. It is often written that they reflect then the lucky state of the Spirit when people felt that their gods were next to them. Be that as it may, this idealism manifested itself in all-consuming geometrization. Geometry in the interpretation of parts: heads, hands, antique statues. Their faces are absolutely symmetrical. The shape of the hairstyle, the front part is independent of the character and type of hero, is divided into three equal parts in height, the incision of the mouth exactly fits into the distance between the wings of the nose and the inner corners of the eye. The same geometrized forms of breast, oblique and abdominal muscles are the characteristic "Greek bracket", the shape of the knee and elbow joints, the fingers of the hands are always equally equally interpreted. It is in such a geometrism that should look for the cause of the outer inconsistency of the ancient figures, even if they depict a person in motion, in a state of physical or emotional voltage. In such cases, the figure of the figure tells only the scenario, its posture, but not the tension of muscles or the expression of the face. If you take a fragment of the reproduction of the famous statue of Mirone " Discus thrower ", Depicting an athlete head, it will be difficult to guess that it represents a part of the figure, expressing the readiness for a rapid movement - before that impassively and static face, as, indeed, all the muscles. It is characteristic that in antiquity the art of sculpture was not divided by themes and genres, and consisted of two separate "species", in which "sculptors on bronze" and "sculptors for mramor" worked completely independently of each other. Theodore and roasters are considered inventors of the hollow bronze casting statues, the master of the first half of the VI century. BC e. with about. Samos. Statues from marble appeared later, first in the form of acrolitic figures (from Greek. Akros - Upper and Lithos - Stone), the cores of which were performed from the tree and covered with a cloth, and the open, "top" parts - head and hands - from marble. The founders of this type of art are Dipic and Skillid, the Master of the Sikion School VI in. BC er, come from about. Crete. Another Greek invention is Christielefantine statues (from Greek. Chrysos - Gold and Elephantos - Elephant), the figures of which were made of wood, lined with gold, face and hands - ivory. The prototypes were also known before, in the Middle East, but the masterpieces in this form of art are the statue of the goddess Athens for Parfenon and Zeus for the Temple in Olympia (both are not survived) - FIDIA, an outstanding master, one of the creators of the Athenian Acropolis (periclah age). In the architectural composition, a marble sculpture was dominated (usually on a color, brightly colored background), detached monuments - statues of the heroes, gods and athletes, were cast from bronze. Even later, the Romans, the word "Statuaris" meant "casting of metal figures". The highest achievements in the art of sculpture of the Age of Greek classics personify two very different masters: a policlet and fidium. The first worked exclusively in bronze, the second - in different materials. Aristotle calls the polyclet "plastic", and Fidia is a "wise sculptor". This difference is important for understanding two methods of formation: plastic (formations associated with laying and casting) and sculptural (forming). If the polyclet developed a formal theme of the contrapsis - dynamic equilibrium, plastic movement in a state of physical peace, then FIDIA sought peace in physical movement. The polyclet covered his statues with spiral lines, FIDIA concluded them into vertical contours, which gave them true monumentality. The polyclet portrayed the perfect male athlet body and only once, in the statue of the wounded Amazon - female, but the same courageous; Hiton's folds on the athletic body of the warrior in the work of the polyclet seems to be an architectonic ornament. FIDIA approached the statue more picturesquely, alternating sparkling white areas of the naked body with a black-free game of folds of robes and texture hairstyles, published the impression of dark spots. Fidium knew how to achieve relative freedom of body plastic and drapery movements, but it remained within the boundaries of the front and always enjoyed tectonic framing methods. So, in different ways, the classic ideal of ancient Greek art was formed, but despite different ways of formation, technical techniques and materials, individual manners of individual masters, this ideal is a method and style that form an indivisible integer. Its content in sculpture is definitely: the statue, so devoid of individual features, which involuntarily makes sure: the image of emotions could only spoil, disrupt the beauty of the perfect form. Individualization of images, as well as the art of the portrait in general, was alien to the ancient classics. The exception is only the Hellenistic and Roman periods. The ancient gods and heroes, the faces and the figures of which are absolutely not individual and are similar to one another, we differ only in attributes. Perhaps, for the same reason, strongly damaged fragments of Greek sculpture, with lost heads and hands - "antics" - retain harmony. And all attempts of restoration, additions made more than once, turned out to be unsuccessful. And it is difficult not to catch myself thinking that these heroes and gods do not need hands and heads, and with them they would look even worse. The idealism of Greek art is not best expressed in the portrait, but in the tectonics of the naked body and the plastic of the drapes. It is very noteworthy that in the entirely preserved statues of the head - not the most important parts of the figures, they are interpreted in the same way as, say, brushes hands, hips, feet feet. This is not a face - and frozen masks, which because of their geometrism, not only do not carry ethnic and psychological traits, but do not even have signs of gender. This led to curiosities. An expert of Antiquity I. Winkelmann considered the statue of Apollo with Kifar's image of the muse, and the Roman repetition of the head of Athena on the original work of the fidia was called the "head of the commander". The famous "Head of Pericla" the work of the chair is the Herma (Greek. Herma - Pole), not a portrait, and it cannot be said how this man looked in life. It is not by chance it is supplemented by an explanatory inscription. Marble sculptures were painted with wax colors imitating body color. This reception was called Garosis (Greek. Ganoseos - shine, polishing). Bronze statues encrusted: eyes - glass and semi-precious stones; Lips, hair - copper and gold. In all this, as in the bright polychrome of architecture, the influence of the East is felt, from which Hellenic art and in constant contact with which it existed (orientalizing style). Antique sculpture developed in the direction of painting and naturalistic. True, it's quite difficult to judge this pattern, because in addition to the fragments of "fidium reliefs" from Parfenon and individual fragments, almost nothing remained from the genuine Greek classics. All we have is the later repetition or repetition of the repetitions of the masters of the Neoatical and Roman schools. It is not even copies, they differ in detail and it is difficult to say how about or other of them are approaching the original. The famous bronze statues of antiquity were repeated in marble, as indirectly evidenced by the added backups of the protruding parts, unnecessary in the bronze casting. From the ancient Greek sculptures from marble, there were only grounds, bases, sometimes with traces of downed legs. But the databases are preserved by dedication inscriptions and the names of sculptors - signatures (signatures), for which specialists are trying to restore the history of Greek sculpture. The worship of the originals played a fateful role in our ideas about the ancient art. Museum marbles, these snow-white figures with "empty" eyes without pupils (which were once painted with paints) seem cold. This external coldness has been fixed by academic tradition. The classicists of subsequent centuries sought to be "more than the Greeks than the Greeks themselves." But also I. Winkelmann wrote heartly on the fact that the "antique" should be inspected by bypassing him around with a candle in his hands. And then, the marble glowing on the tangent rays of the light, comes to life, and suddenly - on the bending of the elbow joint, the pulsating vein is flashed, completely imperceptible in ordinary lighting, and in the patented daughter - barely noticeable veil! How did all this know the ancient Hellenes? After all, experimentally anatomy they did not study. The classic version suggests that they often went naked and therefore artists could constantly observe and study the human body in motion. But this is not confirmed by the facts, because of abundant dust under the hot sun and men and women were buried in Himatia and Peplos from head to feet. Nude athletes trained in gymnasiums and performed at the Olympic Games, and not always. Therefore, a hypothesis about "observational anatomy" arose. Antique, as any ancient and eastern art, apparently, was very colored, elegant, cheerful and sensual. It pursued more often extremely innocent, illusory and mischievous purposes. Such are the legendary "erotic layouts", moving figures from the tree: "Venus Mechanikos". The statues of the gods were dressed in expensive fabrics and cleaned the flowers, they fed them, diminished incenses, brought them gifts. In a relatively late, the Hellenistic period is clearly detected by the trend towards naturalism and giantia. The sculptures of the Malcole in Galicarnassia, Pergaman or Rhodes, violate all the norms of classics. Fernese Bull, "Laocoon with sons", "Sodyssey ship" (from marble in full size), Colossus Rhodes tall in 32 meters - examples of disorders, inconsistencies in content and shape, style crisis. Similar trends are also manifested in the development of other types of ancient art. Historians notice that the demonstration of Dorian style Ionian in ancient architecture is a artistic parallel to social change, the transition from the dictatorship of Sparta to the hegemony of democratic Athens. Spartans were the embodiment of the ancient Dorian spirit Eldlands, Athenians are more exposed to Ionian influence. The architecture of a doric order with its powerful and heavy cone-shaped columns, triglyphs and metals "dismembers vigorously", and "Ionian style is looking for soft transitions and decorative grace." In the Ionian Colonnade disappears any sense of resistance to the power of gravity; Columns are slim rows free from visible effort. The eye no longer distinguishes the design of the design. Curls of ionic capitals, architect, dismembered by three steps, continuous tape of brightly oral zoforous frieze creates a feeling of lightness. A combination of one composition is also characteristic, for example in Parfenone, different orders: a powerful outer colonnade of a doric order, ionic frieze and ionic columns inside. And in the Erechfei of the Athenian Acropolis, the desire to make a column as easy as possible, weightless, generally led to its replacement for the female figure in the famous portica of the Caryatid. In Erechfiance, the Athenians used multicolored marble, complementing his painting and gold. On a dark blue, the fields of the frontons were poured white and partially murdered sculptures. The capitals were complemented by gold-plated bronze details. Sometimes the reliefs of the frieze were requested by the black contour. This is explained by the desire to neutralize the sharp shadows from the bright light of the sun, distorting the shape of the figures. The evolution of the composition of the fronttones is essential. In each of the two frontones of Athenian Parfenon (438-432 BC. E.) The number of sculptures has been brought to thirty. The figures are placed closely, in two rows; Their movements are directed in depth, diagonally to the frontal plane. At the same time, the central parts of the composition of both triangular frontones are free of figures, and the symmetry is achieved in them with dynamic balancing. Parts of some sculptures are "fused" behind the frame - Gaison of Fronton. The God of Helios, rising from the ocean on his chariot, shaped four horses, is shown "Introducing from the eaves" - only the heads of the horses are visible, his head and outstretched hands. The tectonic principle is clearly replaced by the picturesque. The "picturesque vibration" of the surface also appears in the reliefs of Fries Parthenon. The interior ceilings were closed with terracotta plates, stained in blue, as in ancient Egypt, and painted with golden stars. Door openings wrapped in expensive tissues and covered with gilded wrought-iron grids.

In the ancient art, it has not yet been separated by the functions of art architecture, sculpture, painting. Therefore, the tasks of expressing aesthetic ideas by the colors continued to solve the architecture and sculpture, and the ancient Greek and Roman painting in essence was functionally decorative painting (Pinaki). One of the first ancient painters was an Ionian polygnot, who worked in Athens in the first half of the V c. BC e. His works are not preserved, but according to the historian of Parley Senior, this artist wrote "simple paints" in the technique of Enkautics (wax painting), using only four colors: white, yellow, red and black (so-called tetrachromatism). Blue paint (Lapis-Azure) and green used only for painting the details of the architectural order. This will also see the confirmation of the principle of "physicality" of ancient painting, because blue color is a feeling of air, sky and space, and it is not found in the ancient "painting". Introduction to this art of perspective and lighting is attributed to Apollodor from Athens, who worked in the second half of the V c. BC e. He was called "Skiagrap" (Greek. Skeuagraphe - "Painter of Shadows"). APOLLODOR ACHIUTION APELLES AND ZEVKSIS developed. Their paintings were performed on the wooden boards by tempera, or directly on the wall of the fresco and hit contemporaries with their illusion. These artists were probably added to the "Shadows" of Apollodore "Light" and glare. As a result, the word "SKIA" began to designate not just "shadow", but gradations of tone and mixing of paints.

But even in the later mosaic "Battle of Alexander Macedonsky with Darim", created in the Hellenistic time in the picture IV century. BC e. and preserved to the present day, in essence, there is no visual space, as there are no cold, blue tones. There is only a shallow "layer" of the foreground, in which "each other" all shapes are placed. From here and formed a somewhat later reverse perspective system, in which remote items are placed not behind the neighbor, and above the "picture plane" and are made somewhat larger, and those that closer are lower and smaller. The reverse perspective system is traditional for the art of the East, it received a complete expression in the art of Byzantium and Old Russian icon painting. In the famous Pompeic painting (I century. BC) there is also no visual space, and even in the illusory "promising" compositions there are no "classes of forms", overlapping plans. Figures are depicted separately on a conditional background, locally painted in one color. They have only short "shadows", very conditionally "attaching" figures to the plane on which they allegedly cost. The modeling of the figures themselves also represents the "sculpture" on the plane. It is also characteristic that Pompeic paintings are made not by ENKAUSTIC, as previously thought, and egg tempera and only their surface is covered with the finest layer of wax (Garosis). The temperature, in contrast to the Encoustics, more corresponds to the tasks of plane scenery than the volume modeling of the form.

In antiquity, in Alexandria, Born and the so-called "Alexandrian Mosaic" - cladding of walls with multi-colored marble, carved in contours of the pattern. This technique is the predecessor of the "inlaid style" and the Florentine mosaic of the era of the Italian Renaissance. The original type of art was "Microtechnika" (from Greek. Mikros - Small and Techne - skill, art) - miniature sculpture from marble, ivory, steatitis. True, antique writers responded about this type of art disseminally, as about "empty time of time." Microtechnica called the stone thread and the jewelry art of gold and silver products, which has reached in Greece and the Rome of the highest level (Thorieving). Unique in history remains the art of antique vases. It traces the same development trends as in architecture, sculpture, decorative reliefs. In the forms and compositions of painting ceramic ancient vessels, expediency, structurality, tectonic, gradually supplemented with decorative pomp, plasticity, athendonic. This explains the transition from the geometric style to the blackfoot, and then to the redfore and "luxurious style" of the end of the V - the beginning of the IV century. BC e. Forms became more coupling, and the symptoms of the silhouette of a red-church painting was replaced by polychrome in combination with relief and gilding (Fanagori vessels). If at first the painting compositionally emphasized the constructive membership of the vessel, then later it was located in a form, freely flowing from one part to another. For example, in ceramic bowls for wine - cylisms - leg and container are clearly divided. Inside, on the bottom of the bowl, the place where the leg is attached outside, was described with a small circle. Gradually, in the process of displacing a black-chi-burning style of painting reddigurning, this circle began to lose its tectonic function, increased in size, turning into the frame of complex scene images. The illustrations of the same trend can be a comparison of the archaic "Vase of Francois" (painted crater VI century. BC) and apoise crater IV century. BC e. with lush polychrome painting.

A similar transition from the tectonically related form to plastically free, pictorial, is the main pattern of the historical development of ancient art. It is not by chance that in the late antiquity, the dynamic motif of the leaf of Akant and the magnificent Corinthian cap, decorated with acack leaves, most popular. The famous Lisicrath Monument in Athens (334 G. BC), the construction of an Hellenistic period, is a characteristic example of non-functional and, from a constructive point of view, a false work designed only for an external impression. His walls are nothing, the columns are pressed for beauty, and their Corinthian capitals are bouquets with leaves that can not be opened. An even more destructive monument to Hellenistic Syria - " Round Temple"In Baalebek (II-III centuries. N. e.). His cinnf columns with a concave, star in terms of Antablemeth, generally lose all meaning.

Ancient Romans created an outstanding architecture. There is a simplified look, according to which the Romans did not know anything in the art, all overlooking the Greeks. Rome is really similar to the patron, with the awareness of his wealth, strength and influence, buys Greece. Romans are harsh, cruel warriors, wise rulers, pragmatists - adapted art to their practical needs. They erected powerful fortifications, guard towers, built bridges, roads, aquedures, circus, terms and triumphal arches. Rome is embodied utility. With the wise practicality and calculation of the Romans adopted the cultural achievements of countries conquered by them. They took all gods, heroes, artists, all styles and forms of art in their pantheon. But, at the same time, the Romans, as noted by O. Shuisi, "have already had a completely distinctive and great architecture during the republic. She was distinguished by one fingerprint or, according to Witruvia, "significance", the influence of which even had an atthensic on themselves when they caused an architect from Rome to build a temple in honor of Zeus Olympic ... Roman architecture is mixed art, "wrote Next, O. Shuaisi, - its elements of double origin: they are connected with Etruria, and with Greece ... Etrury gave the Romans Arch, Greece - Orders ... Long before the capture of Corinth in Rome really originated by Roman art, sharply differentized their Musical forms from the modern Greek, and this art did not disappear ... The myth about the sudden conquest of Rome Greek art reminds the illusions of the French architects of the Renaissance era, who considered themselves the Italians because of their passion to Italian art. " In general, the Architecture of Rome is different from the Greek essential feature of the creative method. If Ellinas did not share the construction structure and the decor, squeezing out of the marble blocks the cap with all its decorations, Abaku and Ehin, sometimes together with the top drum of the column trunk, then the Romans came otherwise, more rationally and economically. They erected walls of brick or "Roman concrete" (filling from gravel and rubble with cement), and then with the help of metal brackets and wooden wedges, plates of marble facing (in the interiors of multi-colored) were placed columns and profiles. Famous words Svetonia that Emperor Augustus "took Rome brick, but left marble", probably should be understood in this sense, although O. Shuhazi emphasizes that the merit of August and the builders of his time is in the development of brickwork on cement. The Roman construction method was progressive, but he contributed to the gradual degeneration of architecture, turning it into the art of the decoration of facades, little or not completely connected with the internal space of the building. It was this trend that was later developed in the architecture of the Italian Renaissance and European Classicism. At the beginning of the 20th century, D. Merezhkovsky wrote in travel notes that the remains of Roman buildings due to the fact that they were made of bricks, without a facing, lost in the next centuries, produce the impression of "huge, gloomy cores". Taking the basis of the Greek orders, and the interpretative it is preferably decorative, the Romans raised them to the pedestal, which was never done in Greece. The predominant value of the Romans gave the most magnificent and decorative order - Corinthian. But this was not enough, they invented the Kapitel "composite" (or composite, complex) order, connecting the Corinthian leaves of the acanta with curls of the Ionian capitals. The Romans were introduced into the area of \u200b\u200barcade, consisting of a number of "Roman cells" - the original combination of the arch with the two columns attached to it (usually on pedestals). The columns did not support the arched overlap, and were only an outer decoration. From such "Roman cells", in several tiers set by one to another, the theater of Marcello in Rome (I century BC) and the famous Colosseum may be called from a huge statue of Helios - Colossus. The Greeks did not use the arch, for their architecture typically horizontal - architectural overlap. Romans, borrowing the design of the Arch and the Code, invented in ancient Mesopotamia, in the East, and improved in Hellenistic Syria, learned to build gigantic structures - terms, circus. They invented the form of a single-span and three-spoil Arch, and all the most prestigious structures - temples, libraries, triumphal and rosy columns united into monumental ensembles - the imperial forums. Each emperor considered a matter of honor to erect for the Roman people forum. A characteristic feature of the Roman architecture is its spatiality, contrasting alternation of supports and openings, the massif of the wall and arcade.

In this regard, Roman architecture is even expressive than Greek. Under the emperor Adriana in 118-125. n. e. In Rome Apollodor from Damascus (Syria) was built the temple of all the gods - Pantheon. A huge, round construction was broken with a dome (its diameter is equal to the general height of the building, 43.3 m). It is characteristic that the dome was built by taking masonry "with nasup", ranks of horizontal plates, but from the inside decorated with caissons, square deepends, in its essence false forms, no relation to the actual design. The artistic duality, the discrepancy between the design and scenery of the ancient Roman architecture has become particularly noticeable after centuries. Even an apologist of antiquity Goethe was ironized over "marble galleries that they will unwell" and colonnades, "chained" to the walls - after all, a column is a support and she "must stand freely!". The Romans have improved the technology of gold and silver jewelry, treatment of precious stones, threads of gemm and seals. With a period of the Roman Empire, the flourishing of antique glassmodes and mosaic is associated. Increased interest in a strong personality, human psychology caused that the abstract idealism of the Greek sculpture was gradually ousted by the art of a sculptural portrait. Portrait busts invented by Etrusca and improved by the Romans became the tradition of European art. However, after a short return to classic forms in the middle of the III century. n. e. (Gallienovsky Renaissance), in the ancient art, the loss of plastic wealth is especially noticeable. Scheduled, dryness and rigidity of the shape, excessive narrativeness and overload parts, loss of integrity and clarity of expression. All this foreshadowed the birth of other, early Christian art, the premises of which were ripened in antiquity before the strengthening and dissemination of Christianity as a state religion. English historian E. Dodds in the Greek and Irrational book ("The Greeks and The Irration", 1951) put forward a hypothesis that it was rationalism, the logic and "principle of physicity" eventually destroyed the antique culture and prepared the soil for the heyday of Christian irrational spirituality . But Antique Greece, and then Rome, primarily in the field of architecture and sculptures, managed to lay the foundations of pan-European culture and, in particular, rational artistic thinking - the cornerstone of classicism in art. This is explained by the Eurocentrism of the subsequent history of artistic styles, and the fact that European classicism of the XVI, XVII, XVIII and XIX centuries relied on antique art. This happened not because of the simple imitation of an arbitrarily chosen ideal, but because of the desire for sustainable criteria - the rationality and constructiveness of artistic thinking. The strength of this European tradition was so great that a variety of directions, flows and styles: romanticism, baroque, ampir, bidermeer, "neorenissance", mannerism, "Northern Modern" were somehow connected with the rethinking of classic forms. Summing up your own reflections on this topic, a historian of art, one of the creators of the Vienna School of Art and M. Dvarak wrote that the whole history of art "In the after-ancient period" is the story of "struggle between spirit and matter", the interaction of rational and irrational began , Naturalism and idealism, the struggle, the beginning of which we find in ancient Greece and Rome.

The art of ancient Greece played a crucial role in the development of culture and art of mankind. It was determined by the public and historical development of this country, deeply different from the development of countries of the Ancient East. In Greece, despite the presence of slavery, the free work of artisans played a huge role, - as long as the development of slavement did not have its devastating action. In Greece, in the framework of the slave-owned society, the first in the history of the principles of democracy, which gave the opportunity to develop bold and deep ideas that argue the beauty and significance of a person.

When moving to a class society, a number of small cities - the so-called policies have been formed in ancient Greece. Despite the presence of numerous economic, political, cultural ties, polishers were independent States And each of their policies.

Stages of the development of the art of ancient Greece:

1. G. Greece (12-8 centuries. BC) - the time of disintegration of the generic community and the origin of slave relations. The appearance of the epic and the first, primitive monuments of the visual art.

2. Archaika, or the period of formation of slave-state cities-states (7-6 centuries. BC) - the time of the struggle of an antique democratic artistic culture with the remnants and remnants of old social relations. Addition and development of Greek architecture, sculptures, crafts, flourishing of lyrical poetry.

3 Classic, or the heyday of the Greek cities-states (5-4 centners. BC) - a period of high heyday of philosophy, natural discovery, the development of poetry (especially drama), lifting in architecture and complete victory of realism in the visual arts. At the end of this period, the first crisis of the slave-owned society occurs, the development of the policy comes to decay, which in the second half of the 4th century causes the crisis of the art of classics.

3. Hellenistic period (The end of 4-1 centners. BC) - a period of short-term exit from the crisis by the formation of large empires. However, the inevitable exacerbation of all unresolved contradictions of slavery came very soon. Art loses the spirit of citizenship and nationality. In the future, Hellenistic states were conquered by Rome and are included in its powers.

Polishers were constantly bent each other, though, united in the event of an attack on Greece of a common enemy (so it was with Persia and Macedonia). Every citizen had the right to participate in government management. Naturally, among free citizens there were internal contradictions, often expressed in the struggle of the demos (people) against representatives of the aristocracy.

In ancient Greece, the physical strength and beauty was especially valued: we were organized utilities in Olympia (Peloponnesian Persh). According to the Olympics, the bill of time was conducted, and the winners erected the statues. Theatrical performances originally associated with cult values \u200b\u200bwere of great importance in the development of aesthetic perception, including in honor of the patrons of the policies (for example, the holiday of large Panafine for Athenian). Religious views of the Greeks retained their relationship with folk mythology, thus religion intertwined with philosophy and history. Feature The mythological maintenance of Greek art is its anthropomorphism, that is, deep alignment of mythological images.

The monuments of ancient Greek art mostly did not reach us in the original, many antique statues are known to us in marble ancient Roman copies. In the era of the flourishing of the Roman Empire (1-2 centuries. AD), the Romans sought to decorate their palaces and temples with copies of famous Greek statues and frescoes. Since almost all major Greek bronze statues were melted during the death of ancient society, and marble - mostly destroyed, then often only in Roman copies, usually inaccurate, one can judge about a number of masterpieces of Greek culture. Greek painting in the scriptures is also almost preserved. The frescoes of the Late HallinistCharacter, which sometimes reproduce the earlier samples. Some idea of \u200b\u200bmonumental painting give images on Greek vases. The flexible testimonies are also of great importance, the most famous of them:"Description of Eldlas" PAsania,"Natural History" Pliny,"Pictures" of philostruts, senior and younger,"Description of statues" of the Callistrite,"Ten books about architecture" Vitruvia.

Art of Homerskaya Greece

(12 - 8 centuries. BC)

This time was reflected in epic poems -"Iliade" and "Odyssey", the author of which they consider Homer. In the Homeric period, the Greek society as a whole maintained another generic system. Right members of the tribe and kind were free farmers, partly the shepherds. Slavery had an episodic and patriarchal character, slave labor was applied (especially at the beginning) mainly in the economy of the tribal leader and the military leader - Basiles. Basilev was the head of the tribe, and united in his face the judicial, military and priest. He ruled the community together with the Council of Elders - Boule. In the most important cases, the National Assembly - Agora was collected.

The monumental architecture of the ancient Greek temples originated in the Homeric period used and in its own way reworked the type of Megaron - a hall with hay and porto. The expressive ornamental nature of the Aegean world was alien to the artistic consciousness of the ancient Greeks.

The most early from the artistic works that came to us are vases."Geometric style", decorated with an ornament applied by brown paint along a pale yellow background of the clay vessel. The most complete picture of this style gives diplonil vases. These are very large vessels, sometimes in human growth, had a funeral or cult destination. On Dipilon Amphoras, the ornament is particularly overhaul: the pattern most often consists of purely geometric motifs, in particular, the Méander's braid (Meandrol ornament has been preserved throughout the development of Greek art). Also used schematized vegetable and animal ornament.

An important feature of later Dipilon VAZ is the introduction of primitive scene images into the pattern with schematic figures of people. These plot motifs are very diverse: the rite of mourning the deceased, the contest of chariots, floating ships, etc.

Sculpture of this period reached us onlyco in the form of shallow plastics, mostly of a cult character. These are small statuettes depicting gods or heroes, from terracotta, ivory or bronze.

"Horse" and " Hercules and Centaur", Olympia

"PAKAR", BOOTI

"Apollo", Beochia

The monumental sculpture of Homeric Greece has not reached our time. About her character can be judged by the descriptions of the ancient authors. The main type of such sculpture was the so-called ksoans - idols made of wood or stone.

By 8 century BC. The remnants of the monuments of early Greek architecture.

Temple of Artemis Orfia in Sparta (reconstruction)

The ruins of the temple in the thermos in Etolia and X are preservedrama in Dreros in Crete. They used some of the traditions of the Myckene architecture, mainly a general plan similar to Megaron: The altar was placed inside the temple, 2 columns were installed on the facade. The most ancient of these structures had a wall of raw bricks and a wooden frame on a stone base.

Art of Greek Archaika

(7-6 centuries BC)

The power of the head of the tribe - Basiles - another 8 century. BC. It was very limited to the domination of the generic aristocracy - Evpatridov, focused in their hands wealth, land, slaves - and then, in 7th century. BC, disappeared at all. The period of archaic was the time of the fierce class struggle between the generic known and the people. Evapatris sought to custody free communities, which could lead to the Greek society on the path of eastern slave ownership states. It is no coincidence that some monuments of this time resemble ancient art. The complete or partial victory of the wide mass of free peasants, artisans and merchants led to the establishment of an ancient version of slave-owned society.

Within 7-6 centuries. BC. Greek settlements expanded - the colonies were formed on the shores of the Mediterranean and Black Sea. Especially important in the further history of the ancient Greek culture had settlements in southern Italy and Sicily - the so-called Great Greece.

During the archaic period, the system of architectural orders is based on the basis of all further development of ancient architecture. At the same time, the plot vasopis is blooming and the path to the image in the sculpture of a beautiful, harmoniously developed person is gradually planned. Also important is the addition of lyrical poetry, which means interest in the world of man's personal feelings.

Evolution of Greek sculpture

In general, the art of the archaic period is conditionally and schematically. Antique myths and legends become a matter of wide reflection in the visual arts. By the end of the archaic period in art, the themes taken from real reality became increasingly. By the end of the 6th century BC. Classic trends start coming in an increasing contradiction with the methods and principles of archaic art.

Even in ancient times, the art of Greece created a new type of building, which was a reflection of the ideas of the people - the Greek temple. The main difference from the temples of the Ancient East was that he was the center of the most important events public Life citizens. The temple was a repository of public treasury and artistic treasures, the area in front of him was a place of meetings and festivities. The architectural forms of the Greek temple did not form immediately.

Types of Greek temples

The temple made by God was always facing the main facade to the east, and the temples devoted to the heroes deed after death were treated to the West, towards the kingdom of the dead. The simplest and the oldest type of stone archaic temple was temple "In the ants". It consisted of one small room - naos.Own to the East. On his facade, between antami.(i.e. protrusions of the side walls) 2 columns were placed. For the main construction of the policy, he did not fit, so it was most often used as a small construction, for example, a treasury in Delphi:

The more advanced type of temple was prostyle, on the front facade of which 4 columns were placed. IN amphiprostile The colonnade decorated both the front and rear facade, where there was an entrance to the treasury.The classic type of Greek temple has become peripter. The temple that had a rectangular shape and surrounded by a colonnade from all 4 sides. The main elements of the design of the peripterator are simple and deeply populated by their origin. In its origins, the design dates back to wooden architecture with global walls. From here there is a duplex roof and beam overlap, the columns are torn to the wooden columns. Architects of ancient Greece sought to develop artistic possibilities hidden in the construction of the building. So there was a clear and one-piece artistically meaningful architectural system, which later, Romans got a name ordersWhat does order mean, the system.

In the era of Archaici, the Greek order was formed in two versions - doric and ionic. This corresponded to two major local schools in art. Doric order embodied the idea of \u200b\u200bmasculinity, and ionian - femininity. Sometimes in the Ionian warrant, the columns were replaced by the Caryatids - the statues of dressed women.

The Greek warrant system was not a stencil mechanically repeated in each solution. The order was a common system of rules, and the decision has always been creative individual character and was consistent not only with the specific tasks of construction, but also with the surrounding nature, and during the classics - and with other buildings of the architectural ensemble.

Doric church-peripter was separated from the ground with a stone base - stemeoBatwhich consisted of 3 steps. Login B. naos. (The rectangular room of the temple) was placed behind the colonnade from the main facade and was issued by Pronaos, resembling a portico design."Temple in Antah." Sometimes except for Naos existed yet optiode - Placing behind the Naos, with exit towards the rear facade. Nao was surrounded by colonnade from all sides."Peron" (wing, peripter - from all sides of the churred temple).

The column was an essential part of the order. The doric order column in the archaic period was squat and powerful - the height is 4-6 by the lower diameters. The barrel of the column was cut by a number of longitudinal gutters - wannery. The columns of the doric order are not geometrically accurate cylinders, except for the overall narrowing, they had some uniform thickening at the height of one-third - entasis.

The column of the ionic order is higher and thinner in its proportions, its height is 8-10 lower diameters. She had a base from which she looked like. Flutes, in the doric column condensed at an angle, in the ionic are separated by flat cuts of the faces, - from this the number of vertical lines as it were to double, and due to the fact that the grooves in the Ionian column were embedded deeper, the game of light and shadow on it was richer and picturesque. The cap had Echin, forming 2 elegant curls.

The Doric Orders system in its main features was already in 7th century. BC. (Peloponnese and Great Greece), the Ionian order formed by the end of 7V. BC. (Multiazia and Island Greece). Later, in the era of the classics, the third order was developed - Corinthian, - close to the ionic and distinguished by the fact that in it the columns are more elongated according to the proportions (up to 12 lower diameters) were crowned with a magnificent basket-like capitle composed of plant ornaments - stylized Akanf leaf - and curls (wolves).

Earlier temples often had too cargo capitals or too short trunks of the columns, the aspect ratio of the temple was often disproportionate. Gradually, all flaws disappeared.

Temple of Gera (Heraniaon) in Olympia, 7th century. BC.

Apollo Temple in Corinth (Peloponnese), 2 Paul. 6 c. BC.

In the Archaic architecture found its place of coloring, the main and blue are most often the combination of red and blue. Tympanes of the frontones and metope backgrounds, triglyphs and other parts of the antablement were painted, and sculpture was painted.

Temples of the ion, i.e. The cities of the coast of Malaya Asia and the islands were distinguished by particularly large sizes and luxury of decoration. This affected the connection with the culture of the East. These temples were aside from the main line of development of Greek architecture. The architecture of the classics has developed everything best sides Ionian order, but remained alien luxury luxury, this feature received its development only in the era of Hellenism. The most famous example of the archaic temples of Ionia is the temple of Artemis in Ephesus (2 Paul. 6 V. BC) - Dageter, more than 100 m in length

Temple Layout in Istanbul in Park Miniature

The archaic period was the heyday period of artistic crafts, especially ceramics. Usually vases were covered with artistic painting. In 7 and especially in the 6th century. BC. The system of permanent forms of VAZ, who had different purposes. The amphora was intended for oil and wine, the crater - for mixing during the pyr of water with wine, sawing from the kilica wine, in the lecturers were kept incense for the videos on the graves of the dead. In the times of early archaic (7B. BC) in Greek Vazopisi dominated the east style, a number of ornaments were borrowed from the east. In 6 c. BC. The so-called black-phony vase has come. The patterned ornament was crowded with a clear silhouette pattern.

The greatest flourish of the Black-Figure Vazopis reached in Attica. The name of one of the accommodation of Athens, famous in 6 and 5 centuries. BC. His potters - ceramics - turned into the name of products from burnt clay.

Crater Cliya, made in Ergotim Workshop (560g. BC) or Vase Francois

The most famous attic vazopishetis - Execia. Among his best works, the drawing on Amfore, depicting Ajax and Achille, playing in the bone and the image of Dionysus in Roye (bottom of Kilik):

The vasopanis of another no less well-known master of Andokid is known for its realistic motifs that sometimes conflict with the techniques of plane archaic Vazopysis: Amfora with the image of Hercules and Cerber (GMIA. Pushkin).

The paintings of the late Black-Figure Vaz were given the samples of a multifigure composition for the first time in Greek art, in which all the actors were in real relationships. As the realism increases in Greek art, there has been a tendency to overcome flatness. This led about 530g. BC. To the whole coup in the technique of a vase painting - to the transition to red-chicken vases, with blond figures on a black background. Excellent samples were created in Andokide's workshop, but in full measure all the possibilities were revealed during the period of classical art.

The development of archaic sculpture was contradictory. Almost to the very end of the archaic period, strictly frontal and fixed statues of the gods were created. To such a type of statues refers:

Hera from Samos Island andArtemis from Delos Island

Goddess with grenade, Berlin Museum

The eastern spirit was distinguished by the sitting figures of the rulers ( archontov) Planned along the road to the ancient temple of Apollo (Didimayon) near Mileta (in Ionia). These schematic, geometrically simplified stone statues were made very late - in the middle of the 6th century. BC. Images of rulers are interpreted as solemn cult images. Such statues were often colossal sizes, also imitating the ancient east in this sense. Especially typical of the archaic period were directly standing naked statues of heroes, or later, warriors - kuras.. The appearance of the image of Kuros was of great importance for the development of Greek sculpture, the image of a strong, courageous hero or warrior was associated with the development of civil identity, new artistic ideals. The overall development of the type of curz went to the side of increasing loyalty of proportions, leaving the conditional decorative ornamentality. To do this, we needed radical shifts in the human consciousness, which occurred after the reforms of Clisphen and the end of the Greek-Persian wars.

Lecture Structure:

I.

II.. Ancient period - Aegean culture.

2.1. Cretan culture.

2.2. Miknah art.

III. Art of the Homeric period.

IV. Bibliography.

V.. List of main artifacts.

I.. The overall characteristics of ancient art.

European civilization goes its roots during antiquity. The ancient culture of the Mediterranean is considered the greatest creation of humanity. Limited by space (mainly the coast and the island of the Aegean and Ionian seas) and time (from the II millennium BC. E. To the first centuries of Christianity), the ancient culture spread the framework of historical existence, stating the universal importance of architecture and sculptures, epic poetry and Dramaturgies, natural science and philosophical knowledge. In historical plan, antiquity implies a period of history covering the Greco-Roman slave-owner society.

The concept of antiquity in culture arose in the Renaissance. So Italian humanists called the earliest culture from the well-known. This name has been preserved behind it and today as the usual synonym for classical antiquity, which is precisely separating the Greco-Roman culture from the cultural worlds of the Ancient East.

The ancient culture of cosmological and is based on the principle of objectification, in general, it is characterized by a rational (theorial) approach to understanding the world and at the same time emotional-aesthetic perception, slender logic and individual originality in solving socio-practical and theoretical problems.

A complex and diverse historical material is customary to divide for several periods, according to which art history is built:

Ancient period - Aegean culture (30-20 centuries. BC)

Homeric period (11 - 8 centuries. BC)

Archaic period (7 - 6 centuries. BC)

Classic period (5V. - Until the last third of the 4th century BC)

Hellenistic period (last one third of the 4th century - 1 c. BC)

The period of development of the tribes of Italy - Etruscan culture (8 - 2 centuries. BC)

Republican period of ancient Rome (5 -1 centuries. BC)

The imperial period of ancient Rome (1 - 5 centuries. AD)

Sources of ancient history are relatively scarce and are divided mainly into two groups, real and written. For the oldest antique history, monuments of material culture and art are the main, and sometimes the only source. For later stages of the history of slave society, writing sources play a crucial role, including official and private documents, letters, memoirs, speeches, as well as historical, artistic, scientific and philosophical literature.

II. Ancient period - Aegean (Crito-Miktenskaya) Culture.

Of particular shine reaches a culture of 30-20 centuries. BC, in the period of bronze, in Crete, on some other islands (Melos, Amorgos, Fera, later Cyprus) and Central and South Mainland Greece.

Cultural period 30 - 20 centuries. BC. It is customary to call the Aegean culture. The spread of this culture covers the areas of the Aegean Sea, where the excavations show several areas with their original cultural traits and at the same time related, intertwing with each other.

Aegean culture is the first stage of an ancient culture. It is inherent in humanism, optimism, high perfection of art images, harmony and proportionality. The main centers of this cult are the island of Crete and the city of Mycenae on Peloponnese. Hence the second name of Aegean culture - Crito-Miktenskaya.

Cretan culture (30 - 12 centuries. BC).

Previously, other areas of the Aegean Sea in the Bronze Epoch entered into the path of intensive development of Crete. Cretan culture is also called midna, named Legendary Tsar Minos.

1.Rannemic (30-23 / 21 centuries. BC),

2.Sermineskiy (23/21 - 16 centuries. BC. Er)

3.Parthennoe (16-12 centuries. BC).

The first period of lush heyday of Crete in the Aegean world began at the turn of 30-20 centuries. BC er, about when the ancestors of later Greeks, invaded the Balkan Peninsula. But it was already the Midnoyesky period about which in Crete you can talk about the period of the "first palaces". Palaces, constantly rebuilt and becoming more and more magnificent for two and a half centuries, are decorated with colonnades and frescoes.

One of the main discoveries of this period was found during the excavations by the archaeologist A. Evans, the palace equal to the area in the whole city - the so-called Knos Labyrinth. The greatest architect Dedal built a labyrinth - with such confusing strokes that no one could find out of it.

In fact, Evans found whole complexes of buildings thatgrouped around a large courtyard. They are bizarre at different levels, the stairs and corridors are connected. A wide variety of facilities were built around a spacious paved courtyard stone. The floors of the palace relied on the columns and combined with the monumental stairs. Hundreds of halls and rooms were intended for solemn techniques, served the rest for the king and his family.

In the decoration of the rooms an important place occupies a wall painting. The luxury of the situation, the bright decoration of the interior is talking about the wealth and significance of the tissue.

The preserved fragments of the frescoes reveal us the nature of Cretan painting in this era.

An image of a human figure and animals is still entirelycorresponds to those artistic principles that developed inprevious century that is, the movement is accurately transmitted, but some conventions are also preserved: the image of the eye is given in the FAS with a profile position of the face, the figures of men are painted in dark tones (brown), women - in bright (white, yellowish) (Fig. 129). Expressively characterized by the movement of the young man carrying Riton, a walking prince (Fig. 130), acrobats with a bull. The delicate feeling of decorative effect is manifested in the selection of combinations of reddish brown, bright blue and yellow in a young man figure with riton, blue and purple on the dress lady, nickname"Parisian"(Fig. 131). But it's not just the image itself. Press in the contour: what is the living, trembling and, at the same time, the line, confident in its concise expressiveness line, and in the color scheme, what a playfulness, which is a solven thightleteness born by the immediacy of the fleeting vision. Murals are talking about the court life of the Palace of the Palace, argue the greatness of the Vladyka, his wealth, power.

WallsPalace Palace Covered with numerous frescoes, with a constantly meeting of the bull. A huge bull in a frantic gallop. His deliberately elongated figure with its powerful mass fills almost all the fresco. And in front of him, behind him and on it, the most humane acrobats do the most dangerous exercises. And everything in this composition is so alive, so impulse and, at the same time, it is at risk that again you perceive her light and pleasant fleeting vision. What did the artist showed? The game, it is the game, graceful, cheerful, despite the danger

In the late afternoon period was decorated in the western part of the Palace a throat hall with a throne chair from stone (Alebaster), benches for elders. The walls of the hall are painted in the form of a wide frieze: along the sides of the throne and on the side walls are two griffin symmetrically lying on the banks of the river, as if guarding the lord. The figures of these fantastic monsters and stylized flowers on the shore are decoratively interpreted.

Especially bright heyday reaches a small sculpture. An image of a human figure it is distinguished correctproportional construction, expressiveness of movement. Figurines of goddesses (or priestesses) with snakes in their hands found in the cache of the Palace of Palace, full of grace and femininity (Fig. 132). Their faces are although the pretty, but little expressive. A special life conviction was achieved by the Master in reliefs on vessels from Agia Triad, made from Steatita. The scenes of the fist struggle and the game with a bull on a vase in the form of horns (riton) are dynamic, the figures are delivered in bold angles. Interpretation of individuals on reliefs: so on a steatite vase with the march of thresholders (Fig. 133), individuals are the same and turned only into the profile, and the eye is shown in the FAS. But this did not prevent the master with a subtle humor and with anatomical accuracy to portray four singers accompanying the procession. Great truthfulness reach Cretanmasters in the image of animals and plants: for example, frescoes from Agia Triad; Faians Reliefs - goat with kids (Fig. 134), Cow with a calf, Vase with lilies from Knos.

The creation of artworks is becoming more and more in the hands of these workshops specifically. During this period, experienced skillful professional masters of vase painting, having an inexhaustible stock of patterns, ornamental combinations and techniques for decorating vessels(Fig. 135). Special development receive plots on frescoes and vases from the life of the sea. Very bright sample "Marine" style It is the painting on a vase with the depicting of octopus (Fig. 136). In late afternoon, the nature of the VAZ painting is changed. New techniques are called "Palace" style. Its essence is that each part of the figure as it is emphasized by the exquisite architectonics of the vessel.

The end of the late afternoon period (14 - 12 centuries. BC) are the time of decomposition of Critic culture. Latenight period simultaneously corresponds to the flourishing of a number of settlements on mainland Greece, which become leading cultural centers in the Aegean basin. Between 22-20 centuries. BC e. There was a big promotion of the Greek tribes from the north of the Balkan Peninsula, one of them, Ahaeis, settled in Peloponnese, where Mikten and Tirint settlements were the most strongest and rich.

The end of the late afternoon period (14-12 centuries. BC) is the time of decomposition of Critic culture. Crete Palaces may have been destroyed as a result of hostilities. The art of Crete, Frants, Melosa is the art of palace, developed and thrilling mainly within the framework of the palace culture. With the destruction of the palace centers, the palace workshops of ceramists, painters, sculptors who created a strong artistic tradition were killed during the centuries. In art, the realistic tendency in the transfer of the living world disappears. Now in Crete, schematization in the image of people, animals and vegetable world; Stored in artistic images as a relic of previous periods, some plots and motives, such as a cow with a calf (sarcophagi from Burning), women in the dresses of the former styles with wide skirts and an open breast. The interpretation of nature shows us a completely different approach - it seems that the master has observed a little nature, professional skill here is completely lost. The works of painting disappear, only small plastic and ceramics remain. Among the VAZ of this period, the vessels of the so-called Mycenaan type are dominated with a schematic image of the plant and the marine world.

V. List of main artifacts.

IV. Bibliography.

III. Art of the Homeric period.

Miknah art.

Cretan culture.

I. General characteristics of ancient art.

II. Ancient period - Aegean culture.

European civilization goes its roots during antiquity. The ancient culture of the Mediterranean is considered the greatest creation of humanity. Limited by space (mainly the coast and the island of the Aegean and Ionian seas) and time (from the II millennium BC. E. To the first centuries of Christianity), the ancient culture spread the framework of historical existence, stating the universal importance of architecture and sculptures, epic poetry and Dramaturgies, natural science and philosophical knowledge. In historical plan, antiquity implies a period of history covering the Greco-Roman slave-owner society.

The concept of antiquity in culture arose in the Renaissance. So Italian humanists called the earliest culture from the well-known. This name has been preserved behind it and today as the usual synonym for classical antiquity, which is precisely separating the Greco-Roman culture from the cultural worlds of the Ancient East.

The ancient culture of cosmological and is based on the principle of objectification, in general, it is characterized by a rational (theorial) approach to understanding the world and at the same time emotional-aesthetic perception, slender logic and individual originality in solving socio-practical and theoretical problems.

A complex and diverse historical material is customary to divide for several periods, according to which art history is built:

1. Ancient period - Aegean culture (30-20 centuries. BC)

2. Homeric period (11 - 8 centuries. BC)

3. The period of archaic (7 - 6 centuries. BC)

4. The period of the classics (5V. - Until the last third of the 4th century BC)

5. Hellenistic period (last one third of the 4th century - 1 c. BC)

6. The period of development of the tribes of Italy - Etruscan culture (8 - 2 centuries. BC)

7. Republican period of Ancient Rome (5 -1 centuries. BC)

8. The imperial period of ancient Rome (1 - 5 centuries. AD)

Sources of ancient history are relatively scarce and are divided mainly into two groups, real and written. For the oldest antique history, monuments of material culture and art are the main, and sometimes the only source. For later stages of the history of slave society, writing sources play a crucial role, including official and private documents, letters, memoirs, speeches, as well as historical, artistic, scientific and philosophical literature.

II. Ancient period - Aegean (Crito-Miktenskaya) Culture.

Of particular shine reaches a culture of 30-20 centuries. BC, in the period of bronze, in Crete, on some other islands (Melos, Amorgos, Fera, later Cyprus) and Central and South Mainland Greece.

Cultural period 30 - 20 centuries. BC. It is customary to call the Aegean culture. The spread of this culture covers the areas of the Aegean Sea, where the excavations show several areas with their original cultural traits and at the same time related, intertwing with each other.

Aegean culture is the first stage of an ancient culture. It is inherent in humanism, optimism, high perfection of art images, harmony and proportionality. The main centers of this cult are the island of Crete and the city of Mycenae on Peloponnese. Hence the second name of Aegean culture - Crito-Miktenskaya.

2.1. Cretan culture (30 - 12 centuries. BC).

Previously, other areas of the Aegean Sea in the Bronze Epoch entered into the path of intensive development of Crete. Cretan culture is also called midna, named Legendary Tsar Minos.

1.Rannemic (30-23 / 21 centuries. BC),

2.Sermineskiy (23/21 - 16 centuries. BC. Er)

3.Parthennoe (16-12 centuries. BC).

The first period of lush heyday of Crete in the Aegean world began at the turn of 30-20 centuries. BC er, about when the ancestors of later Greeks, invaded the Balkan Peninsula. But it was already the Midnoyesky period about which in Crete you can talk about the period of the "first palaces". Palaces, constantly rebuilt and becoming more and more magnificent for two and a half centuries, are decorated with colonnades and frescoes.

One of the main discoveries of this period was found during the excavations by the archaeologist A. Evans, the palace equal to the area in the whole city - the so-called Knos Labyrinth. The greatest architect Dedal built a labyrinth - with such confusing strokes that no one could find out of it.

In fact, Evans found whole complexes of buildings that are grouped around a large courtyard. They are bizarre at different levels, the stairs and corridors are connected. A wide variety of facilities were built around a spacious paved courtyard stone. The floors of the palace relied on the columns and combined with the monumental stairs. Hundreds of halls and rooms were intended for solemn techniques, served the rest for the king and his family.

In the decoration of the rooms an important place occupies a wall painting. The luxury of the situation, the bright decoration of the interior is talking about the wealth and significance of the tissue.

The preserved fragments of the frescoes reveal us the nature of Cretan painting in this era.

The image of the human figure and animals still fully corresponds to the artistic principles that developed in previous centuries, that is, the movement is accurately transmitted, but some conventions are also preserved: the image of the eye is given in the FAS with a profile position of the face, the figures of men are painted in dark tones (brown), women - in bright (white, yellowish) (Fig. 129). Expressively characterized by the movement of the young man carrying Riton, a walking prince (Fig. 130), acrobats with a bull. The delicate feeling of decorative effect is manifested in the selection of combinations of reddish brown, bright blue and yellow in a young man figure with riton, blue and purple on the dress lady, nicknamed "Parisian"(Fig. 131). But it's not just the image itself. Press in the contour: what is the living, trembling and, at the same time, the line, confident in its concise expressiveness line, and in the color scheme, what a playfulness, which is a solven thightleteness born by the immediacy of the fleeting vision. Murals are talking about the court life of the Palace of the Palace, argue the greatness of the Vladyka, his wealth, power.

Walls of the Palace Palace Covered with numerous frescoes, with a constantly meeting of the bull. A huge bull in a frantic gallop. His deliberately elongated figure with its powerful mass fills almost all the fresco. And in front of him, behind him and on it, the most humane acrobats do the most dangerous exercises. And everything in this composition is so alive, so impulse and, at the same time, it is at risk that again you perceive her light and pleasant fleeting vision. What did the artist showed? The game, it is the game, graceful, cheerful, despite the danger

In the late afternoon period was decorated in the western part of the Palace a throat hall with a throne chair from stone (Alebaster), benches for elders. The walls of the hall are painted in the form of a wide frieze: along the sides of the throne and on the side walls are two griffin symmetrically lying on the banks of the river, as if guarding the lord. The figures of these fantastic monsters and stylized flowers on the shore are decoratively interpreted.

Especially bright heyday reaches a small sculpture. An image of a human figure it is distinguished by the right proportional construction, expressiveness of the movement.. Figurines of goddesses (or priestesses) with snakes in their hands found in the cache of the Palace of Palace, full of grace and femininity (Fig. 132). Their faces are although the pretty, but little expressive. A special life conviction was achieved by the Master in reliefs on vessels from Agia Triad, made from Steatita. The scenes of the fist struggle and the game with a bull on a vase in the form of horns (riton) are dynamic, the figures are delivered in bold angles. Interpretation of individuals on reliefs: so on a steatite vase with the march of thresholders (Fig. 133), individuals are the same and turned only into the profile, and the eye is shown in the FAS. But this did not prevent the master with a subtle humor and with anatomical accuracy to portray four singers accompanying the procession. Of great truthfulness reach Cretan masters in the image of animals and plants: for example, frescoes from Agia Triad; Faians Reliefs - goat with kids (Fig. 134), Cow with a calf, Vase with lilies from Knos.

The creation of artworks is becoming more and more in the hands of these workshops specifically. During this period, experienced skillful professional masters of vase painting, having an inexhaustible stock of patterns, ornamental combinations and techniques for decorating vessels(Fig. 135). Special development receive plots on frescoes and vases from the life of the sea. Very bright sample "Marine" style It is the painting on a vase with the depicting of octopus (Fig. 136). In late afternoon, the nature of the VAZ painting is changed. New techniques are called "Palace" style. Its essence is that each part of the figure as it is emphasized by the exquisite architectonics of the vessel.

The end of the late afternoon period (14 - 12 centuries. BC) are the time of decomposition of Critic culture. Latenight period simultaneously corresponds to the flourishing of a number of settlements on mainland Greece, which become leading cultural centers in the Aegean basin. Between 22-20 centuries. BC e. There was a big promotion of the Greek tribes from the north of the Balkan Peninsula, one of them, Ahaeis, settled in Peloponnese, where Mikten and Tirint settlements were the most strongest and rich.

The end of the late afternoon period (14-12 centuries. BC) is the time of decomposition of Critic culture. Crete Palaces may have been destroyed as a result of hostilities. The art of Crete, Frants, Melosa is the art of palace, developed and thrilling mainly within the framework of the palace culture. With the destruction of the palace centers, the palace workshops of ceramists, painters, sculptors who created a strong artistic tradition were killed during the centuries. In art, the realistic tendency in the transfer of the living world disappears. Now in Crete, schematization in the image of people, animals and vegetation worlds is clearly manifested; Stored in artistic images as a relic of previous periods, some plots and motives, such as a cow with a calf (sarcophagi from Burning), women in the dresses of the former styles with wide skirts and an open breast. The interpretation of nature shows us a completely different approach - it seems that the master has observed a little nature, professional skill here is completely lost. The works of painting disappear, only small plastic and ceramics remain. Among the VAZ of this period, the vessels of the so-called Mycenaan type are dominated with a schematic image of the plant and the marine world.

2.2. Mycena Art (17 - 13th centuries. BC).

When there was no Cretan culture, on the Greek mainland, about three centuries there was a little mica culture closely in spirit. Mixes located on the territory of the mainland Greece, in the 17th - 13th centuries. BC e. turned into one of the largest high culture centers. The time of the heyday of the Myxal culture, which developed under the strong influence of the Mina Crete, is considered to be the period of 16 - 12 centuries. BC e. Glory Mikten Ugasl between 1200 and 1150 BC. E. When the Dorian tribes destroyed the Miknah fortifications.

The city of Myna was surrounded by a fortress wall of 900 m and a thickness of 6m, which fencing the territory over 30,000 square meters. m. The city gate was located an extensive necropolis (Acropolis) with huge dome tombs. Hence the name went miktensk architectural style - "Cyclopean" monumentality. Among them, the so-called so-called "Treasury kings atreya" (Fig. 137) The perimeter of 14.5 m and a height of 13.2 m. Numerous precious decorations found in tombs. This is a large dome tombs with a corridor - dromos, blocked by the so-called "false arch", which is formed by concentric rows of masonry with nasup.

The power of Mycene is enhanced in the period coinciding with the Middle Night III period. It is at this time that the Acropolis Mikten is strengthened, the first palace is being built. The oldest fortress walls surrounded the palace buildings (this is a great difference from Cretan palaces); Behind the walls on the Acropolis, a cemetery was arranged.

Burial in the Acropolis was produced in the so-called shakhty graves. Later, in the middle of the millennium, when the area of \u200b\u200bthe Acropolis expanded, new burials were driven out of the acropolis, and the place of old mines graves was observed in a circle with plates.

Artworkopen in shaft tombs can be divided three groups: Some, performed in place and local style; Others who experienced the impact of Cretan art, and the third - imported. The first group belongs the gravestone steles from limestone with reliefs (Fig. 138), gold masks lying on the persons of the dead (Fig. 139), silver and golden vessels with reliefs, bronze daggers with gold inlays.

Analysis of the first and second groups of things shows the proximity of the Mycena Art to Cretan. Bridal Cretan products became samples for Mycena Masters. But the scenes of war and hunting are characteristic only for Peloponnese.

Nevertheless, huge wealth found in the graves of this necropolis show that already at that remote time of Mycenae were the center of the Big State. The growth of their material well-being allowed the Lords of Mikten to take a grand walling of the serfs. One of these changes was the construction "Lion gate" (Fig. 140).

The gate is composed of two colossal plates, vertically supplied and covered third huge stove, above which the masonry continues, forming a triangular hole to relieve the wall above the transverse slab.

This free triangle, the so-called false arch, is closed with a huge triangular slab with a relief image of two liones. Two huge predators were leaned with front paws on the pedestal, on which the Aegean type column is towers, i.e. the narrowing book. Over the column depicts part of the ceiling of round in the section of the beams. The lioness guarding entrance to the palace is the first example in the Aegean art of monumental sculpture. Expressive animal figures are realistic.

The composition of the plate (two symmetric figures on the sides of the central image, the so-called "heraldic composition") was created in the anterior Asia, but the Mycena Master instead of the Sacred Tree, characteristic of Eastern Art, placed the architectural detail, symbolizing the royal palace.

At 13th century BC. Scale expanded palace in Mycken Acropolis. Plans of Peloponnese palaces differ from Cretan: This is a number of relatively small isolated buildings with access to a common courtyard. Palace premises, the so-called "Megaron" of the king and the queen, consisted of three parts: hay, decorated in the form of a portico with two columns, a small front and hall, in the center of which was placed in the center. Four columns around the hearth supported overlap, slightly towering over the roof; The hole between the overlap of the columns and the roof served as chimney. Megaron (13 x 12m) was built of dashest stone and had a wooden overlap. Walls inside Megaron were plastered and painted. Fragments of the frescoes of Mygensky Megaron allow you to restore the plots of paintings - this is hunting, departure to war, battle scenes. The character of painting, conventions in the figure, as in Cretan, but the images of a person and animal are more schematic and dry, decorativeness prevails over the truthfulness.

Movement from the north of the new wave of Greek tribes - Dorians - destroyed the old foci of the Aegean culture, long suspended the development of realistic art, but the traditions of Aegean art still retain their strength in the development of Greek ancient art; They were manifested in the plans of the temples similar to Megaron, in monumental painting, in some plots and composite techniques, in ceramic technology.

Achieving Aegean masters in 1 thousand to n. e. Steel Heritage of Ellinov. It is safe to say that without this there would be no classical monuments of ancient Greek art, which became famous for the whole world.

III. Art of the Homeric period (11 - 9 centners. BC).

The period of Greek history from 11 to 9 centuries. BC e. It is customary to be called "Homerovsky" because the main written source for studying it is the poems of Homer "Iliad" and "Odyssey".

The basis of Greek society was a generic organization, in which private property was already emerged under the influence of the development of productive forces, the property inequality grew, the prerequisites for the formation of a slave-owned system were created. Greece was divided into small independent areas. The political form of this transitional system was military democracy, gradually reminiscent of the power of the generic aristocracy.

To the 8th century, and perhaps also to the 9th century. BC er, and the most ancient residues of monuments of early Greek architecture (the temple of Artemis of Orfia in Sparta, the temple in the thermos in Etolia, mentioned by the temple in Dreros in Crete). They used some traditions of the Mycenaean architecture, mainly a general plan similar to Megaron; The foci-altar was placed inside the temple; On the facade, as in Megaron, two columns were put. The most ancient of these structures had a wall of raw bricks and a wooden frame, set on a stone base. Preserved remnants of ceramic facing of the upper parts of the temple. In general, the Architecture of Greece in the Homeric period was at the initial stage of its development.

The monumental sculpture of Homeric Greece has not reached our time. About her character can be judged by the descriptions of the ancient authors. The main type of this sculpture was the so-called CSOs - idols made of wood or stone and presented to themselves, apparently, a roughly treated tree trunk or a stone block, completed by barely planned image of the head and damn face. Some concept about this sculpture can give geometrically simplified bronze images of the gods found during the separation of the temple in Dreros on the Crete built in the 8th century. BC e. Dorians, long before that settled on this island.

The famous idea of \u200b\u200bthe visual art of Greece of this period can be made on painted ceramics and fine plastic.

The link between the Aegean culture and Greek is the so-called paint voltage "Protogeometric" style (11-early 10 centuries. BC.). Their ornamentation is poor; It consists of simple and wavy lines around Tulov vases or concentric circles located in the form of frieze. However, the traditions of the crafts of past epochs are not forgotten. As in the preceding epochs, a potted circle is used, the basis of ceramic technology is a good handling of clay, the brilliant varnish is still used, which are applied.

In 10-8 centuries. BC e. develops "geometric" art style, Called so because all the ornaments and even the image of a person and animal on the plane are constructed from the simplest geometric elements - straight and broken lines, triangle, circle.

The vase geometric style painted was common throughout the mainland Greece, on the islands of the Aegean Sea and in Multiazia0 Greek cities, but everywhere had their own local features. The most vivid expression geometric style found on the Vases of Attic work. Vases of various shapes: amphoras (Fig. 141), crater, Cups were open in the outskirts of Athens - ceramics, where potters lived and worked, and in the necropolis near the urban dipilo gates, from where and the name of this group of vessels - "Dipilon" vases.

9th century BC e. - Decorative geometric style flourishing time; Then appears in the painting of the VAZ ornament of Meandr, who firmly enters the decorative art of the ancient world. The painting on the vases is made by brown varnish, but depending on the firing, it can be almost black, brown and red shades. Patterns located with belts throughout the vase are numerous combinations of zigzags, triangles, four-fledged sockets, concentric circles and swastika - magic sign, symbolizing the country of light.

From the end of the 9th century. BC e. They begin to meet on the vases of animals - goat, horse, waterfowl and man.

Before the masters, for whom the usual work was to compose ornaments, a new and difficult task of the image of a person, and the ability to transfer a new topic was not yet, except for the skill to draw geometric patterns.

At first, the human figure is drawn silhouettely, the head is shown in the profile, the housing in the FAS, the legs in the profile (Fig. 142). Animals are also schematically drawn.

In the second half of the 8th century. BC e. With the development of the public life of Greece expands the circle of plots. Now we see on the vases of the scene of marine and land battles, dances, musicians, athletic contests and mythological images. The figure of a person is drawing true, not only the nose, but also the chin, also draws hair and clothing.

Geometric style also manifested itself in sculpture. Small plastic 9-8 centuries. BC e. Made of clay, bronze, bone. To the beginning of the 9th century BC e. relate clay figures of idols, with unnaturally long neck, barely planned facial features, with rudely swallowed legs. In statuettes of 8 c. BC e. A more correct construction of a human figure was achieved, the first attempts were made to modify the face, arms and legs. However, the housing is still still solved in the form of a flat triangle. Figures riders, warriors, pahacar, horses (Fig. 143), deer, groups: hero struggling with a centaur (Fig. 144), a hunter with dogs and a wild beast is a fellow staturies in the temples.

In the considered stage of Greek archaic art, it is especially necessary to allocate the second half of the 8th century. BC e. - a period of economic and political domination of a generic nobility based on primitive forms of land tenure and slavery.

During this century, the main topic is approved in art - a person for the first time appear in the Greek art of multifigure compositions.

The Homeric period is the most important stage of early gerological art. It is valuable by adding a strict system of mythological views and ideas, which was based on the development of all types of art of Greece. At the same time, the foundations of temple architecture, monumental sculpture and painting Eldlaz are laid.