A painting on religious themes is an artistic image created by the artist's imagination and is a form of conveying his own worldview. The feeling of the world, in turn depends from objective reasons, the historical situation, political system, on the type and character of the artist's personality itself, on the way of his life.
Rafael Santi « Sistine Madonna»
All outstanding artists they knew how to feel what excites their contemporaries, and, refracting the social nerve of the era through themselves, they left on the canvas a concentrated artistic image of their time.
Pietro Perugino, The Baptism of Jesus, 1482
An icon is a revelation of God expressed in the language of lines and colors given to the whole Church, and individual person. The worldview of the icon painter is the worldview of the Church. The icon is out of time, it is a symbol of otherness in our world.
The picture is characterized by a pronounced individuality of the author, a peculiar pictorial manner, specific methods of composition, a characteristic color solution. Anyone, even not quite knowledgeable in painting, a person will not confuse the paintings of Leonardo da Vinci and N. Poussin.
Leonardo da Vinci "Madonna"
Nicolas Poussin " holy family»
The authorship of the icon painter is deliberately hidden, since the icon is a conciliar creation; iconography not self-expression, but service and ascetic doing. The icon painter's brush is impassive: personal emotions should not have a place. In the liturgical life of the Church, the icon, as and the manner of reading prayers by the psalmist, devoid of external emotions; empathy for spoken words and the perception of iconographic symbols occur on a spiritual level.
Guardian Angel Icon
The picture should be emotional, since art is a form of knowledge and reflection of the surrounding world. through feelings. The picture belongs to the spiritual world.
Rembrandt Harmens van Rijn "Descent from the Cross"
Leonardo da Vinci "Madonna Litta"
Icon of the Mother of God "Three Hands"
The icon is characterized by an underlined conventionality of the image. It is not so much the object itself that is depicted as the idea of the object; everything is subject to the revelation of the inner meaning.
bright week
For example, you can compare any icon of the Mother of God painted according to the canons and “Mary and Child” by Rafael Santi. In the first case, a person stands in front of the image of the Mother of God, who is glorified above the ranks of angels, and in the second, he contemplates only an earthly, pretty woman with a baby.
Rafael Santi "Mary with baby"
Icon of the Mother of God "Fragrant color"
Or you can follow how clothes are depicted on canonical icons: instead of soft and smooth lines folds of fabric - hard, graphic breaks, which in a special way contrast with the soft painting of the faces. But the lines of the folds are not chaotic, they are subject to the general compositional rhythm of the icon. In this approach the idea of consecration and man can be traced to the image, And physical items surrounding it.
The icon does not have an external Light source. Light comes out from faces and figures, from their depths, as a symbol of holiness. There is an excellent comparison of icon painting with light painting. Indeed, if you look closely to the icon ancient writing, it is impossible to determine where is the light source not visible, therefore and shadows falling from figures. The icon is luminous, and the modeling of faces occurs due to the light pouring out from the faces themselves.
Belynichskaya icon Mother of God
You should pay attention to how halos are depicted on Orthodox icons and in the paintings of medieval painters Western Europe. Among Catholics, a halo is a round flat object depicted in perspective, as if hanging over the head. This object is something separated from the figure, given to it from the outside. Orthodox haloes describe a circle around the head and represent something inextricably linked with the figure. Nimbus catholic - this is the crown of holiness, given from the outside, and the Orthodox halo is the crown of holiness, born from within.
Color is not a means of coloristic construction of the icon, it carries symbolic function. For example, the red color on the icons of martyrs can symbolize self-sacrifice for the sake of Christ, while on other icons it is the color of royalty. It is especially necessary to say about the gold on the icons. Gold – a symbol of Divine light, and in order to convey radiance on icons of this "uncreated" light, not paints were required, but a special material. That material was gold.
Icon of the Mother of God "The Sign"
"Venerable Mother of God from the troubles of the afflicted"
Icons are characterized by the simultaneity of the image: all events occur at once. On the Novgorod icon of the 15th century, depicting the Transfiguration of the Lord, one can also see Christ ascending the mountain with his disciples, and the transfigured Lord, and the disciples who "fell on their faces" (Mt. 17:6), and their own descending from the mountain. And on the icon "Assumption of the Mother of God" the apostles are simultaneously depicted, carried by angels to the deathbed of the Virgin, and the same apostles already standing around the bed. This means that the events sacred history that took place in real time and space, have a different image in spiritual space.
the main task icons, in contrast to the picture, which conveys the sensual, material side of the world - to show the reality of the spiritual world, to give a sense of the real presence of the saint. The picture is a milestone on the path of the aesthetic development of a person; the icon is a milestone on the path of salvation.
Internet resources: Wikipedia. Free Encyclopedia. – Access mode: http://ru.wikipedia.org/wiki Russian painting. – Access mode: http://www.artsait.ru
"Bible Topics" V fine arts»
The core of the lesson :
Lesson type: combined
Fine art lesson in 7th grade
according to the work program
(based on the program of B.M. Nemensky).
Frolova L.G., teacher of fine arts, MBUO secondary school No. 20, Suluk village, Khabarovsk Territory
The purpose of the lesson:
Lesson objectives:
- Metasubject
Formation of the ability to analyze biblical stories through the prism of modern history perception
- Personal
The development of the ability to orient oneself in one's life highest values embedded in biblical stories.
Tasks
Result
- Knowledge of semantic concepts, conceptual ideas embedded in biblical stories and reflected in the works of fine art by artists: Andrei Rublev, Raphael, Leonardo da Vinci,
- Know the meanings, conceptual ideas embedded in biblical stories
Rubens, Giotto, Botticelli.
By activity:
By activity:
- mastery
- be able to
- the ability to read the underlying idea
- read the idea in work of art consistent with the artist's intention;
in a work of art consistent with the intention of the artist;
Analyze and conduct introspection of the completed sketch of the composition (in accordance with the criteria presented)
- skills create a sketch of a composition based on biblical scenes using expressive means;
The skills of analysis and introspection of the sketch of the composition (according to the criteria presented)
- Integrity method(aimed at isolating generalizing lessons, the task of which is not just repetition, but the creation of integrity, unity studied in the quarter).
- Method of unity of perception and creation(viewing, listening, practical activities).
visual range :
author's presentation "Biblical Themes in Fine Arts" containing illustrations by great artists, a short film "Holy Mother of God, save us", children's drawings, books (for each desk): "Fundamentals of Composition".
Music line:
"Holy Mother of God, save us" Lesson equipment: interactive board, multimedia projector, pencils, paper, watercolor, gouache, brushes.
Dramaturgy
/Structure-forming elements of the lesson/
- The plot (actualization of knowledge, access to the problem of the lesson) - 8 min.
- Culmination (exit on the topic of the lesson) -10 min.
- Decoupling (execution independent work) - 20 minutes.
- Epilogue (summarizing the lesson) - 5 min.
- Consequence (explained homework) - 2 minutes.
- The willingness of the student to cooperate with the teacher.
- Attitude to educational and creative activity.
- Mastery (by getting acquainted with the paintings of artists), create a story on a biblical theme.
- Individual and social significance of the results and product of visual activity.
Archbishop of Constantinople, theologian, venerated as one of the three Ecumenical hierarchs and teachers, along with hierarchs Basil the Great and Gregory the Theologian
John Chrysostom is a Christian saint, revered in the face of saints. He died on September 14, 407 ...
"Holy Scripture is spiritual food that adorns the mind and makes the soul strong, firm, wise."
John Chrysostom
"Trinity", written by Andrei Rublev in the first quarter of the 15th century. Three angels gathered around the table on which the sacrificial bowl stands for a quiet, unhurried conversation. The contours and folds of their robes are fragile and weightless, the harmony of blue, cornflower blue, pale green, golden yellow colors is pure.
Andrey Rublev "Trinity". 1420
Review and analyze...
According to pious tradition, the image of God Mother of Vladimir was written by the Evangelist Luke on a board from the table at which the Savior ate with the Blessed Mother and the righteous Joseph the Betrothed. Mother of God, seeing this image, she said: “From now on, all birth will please Me. The grace of Him who was born of Me, and Mine, be in this way.”
"Vladimir Icon"
Mother of God"
Fragment
He slept, all radiant, in an oak manger,
Like a ray of moon in the hollow of a hollow.
He was replaced with a sheepskin coat
Donkey lips and ox nostrils.
Suddenly someone in the dark, a little to the left
He pushed the sorcerer away from the manger with his hand,
And he looked back: from the threshold at the Virgin,
As a guest, the star of Christmas watched.
B.Pasternak
"Sistine Madonna" Raphael 1512-1513
Leonardo da Vinci.
Self-portrait.
The embodiment of the female ideal is the Madonna with the baby Jesus Christ - an exalted symbol of motherhood and sacrificial love to people. The best works Leonardo da Vinci on this subject - Benois Madonna (Madonna with a Flower) - the pearls of the Hermitage collection.
“... the Angel Gabriel was sent from God to the city of Nazareth, to the Virgin ... the name of the Virgin: Mary”
Leonardo da Vinci
"Madonna Benois"
All these artists turned to gospel stories in their work. As an example, the "Adoration of the Magi" is one of the most important and often depicted subjects in Christian art.
Rubens Peter Paul
(1577–1640)
Leonardo da Vinci.
Born in 1452
Portrait Giotto 1266/1267 - 1337), italian painter
brushes by Paolo Uccello. Around 1450
Rafael Santi
( 1430-1520) "Self-portrait"
Rembrandt Harmenszoon van Rijn. « self-portrait »
(1606 – 1669)
He slept, all radiant, in a manger made of oak, Like a moonbeam in the hollow of a hollow. He was replaced with a sheepskin coat Donkey lips and nostrils of an ox.
They stood in the shade, as if in the twilight of a barn, Whispered, barely choosing words.
Suddenly someone in the darkness, a little to the left, moved his hand away from the manger And he looked back: from the threshold at the Virgin, like a guest, the star of Christmas looked.
B. Pasternak
"Adoration of the Magi"
Rubens Peter Paul (1577-1640 )
Giotto di Bondone. "Adoration of the Magi" (1304-1306).
Padua. Scrovegni Chapel.
Rafael Santi. Adoration of the Magi
1502-1503 Vatican, Pinakothek.
Dutch artist Rembrandt Harmenszoon van Rijn. " self-portrait »
(1606 – 1669)
"Worship
magi"
Leonardo da Vinci.
Three ancient sages-foretellers (magi - an old Russian name stargazers) noticed in the sky new star. They interpreted it as a sign of the birth of an extraordinary baby ...
"Adoration of the Magi" (1472-1477 ) (Uffizi Gallery, Florence, oil on board, 246x243 cm.)
… in the lower right corner, Botticelli himself, wrapped in a red cloak, looks at the viewer. The tradition of portraying oneself among participants in a scene from Holy Scripture was widespread during the Renaissance.
"Adoration of the Magi"
artist Sandro Botticelli
1474-1475 years. Uffizi Gallery, Florence.
. Around 1475. Tempera on wood. 111x134
Criteria for evaluating a child's drawing:
- The attitude of the child to the lesson.
- The compositional arrangement of the displayed project on the sheet. The emergence of an idea. Search for a solution (sketches, sketches).
- Mastery (through familiarization with the paintings of artists), to create a story on a biblical theme.
- The quality of children's products immediacy, idea.
Assignment for independent work
- make a sketch on a notebook sheet;
- transfer the sketch to the sheet;
- refine the composition.
Reflection
There are 5 minutes left until the end of the lesson.
We are holding a mini exhibition at an intermediate stage, because in the next lesson we will complete the work on the biblical story in color.
Music lesson ends short film "Holy Mother of God, save us."
- prepare and bring paints and brushes to complete the drawing in color;
- to choose from - prepare an essay on an icon or painting on a biblical theme
For your drawing. chose one of the saddest stories bible- prayer..
Works on biblical stories. .
Drawings on Christmas topic .
Themes, plots - country life, family, biblical stories, beloved angels...
uh.ru 3D drawings on pavement.
Biblical scenes in painting
Completed by student 6 in class
gymnasium No. 587
Nikitin A. A.
Saint Petersburg
For two thousand years the whole world has been brought up on fairy tales and legends, songs and parables taken from the Bible.
The Bible has come down to us through the ages. She was banned, burned, but she survived. It took 18 centuries to compose the Bible. More than 30 authors worked on it. 66 books of the Bible were written in different languages people who lived at different times.
The great artists of the world displayed biblical scenes in their paintings.
In the history of the visual arts of past centuries, the brilliant Dutch artist Rembrandt, perhaps more than anyone else, was able to deeply disturbingly, truthfully reveal the inexhaustible wealth inner world person.
Dutch painters for the first time saw a person as he is in life, and reflected in art various aspects of his everyday life. Some of them approached the solution of a more difficult task - to reflect the beauty and significance spiritual world ordinary person
It would seem that, referring to biblical and gospel themes, Rembrandt is moving away from the image of the society of his time. In fact, his biblical and gospel heroes are in many ways reminiscent of his contemporary ordinary people, invariably attracting the sympathy of the artist. In his mind, the biblical heroes serve as a vivid personification of the beautiful human qualities. The artist sees in them spiritual greatness, inner integrity, severe simplicity, great nobility. They are not at all like the petty, self-satisfied burghers of his contemporaries. Increasingly, genuine human passions are reflected in the artist’s canvases, more and more often theatrical drama, the "terrible" event will be replaced by a genuine drama of life.
These new features stand out clearly in the Hermitage painting The Descent from the Cross, painted in 1634.
Night. Mournful silence. A silent crowd of people surrounded a huge cross on which Christ was crucified. They came to Golgotha to pay their last debt to their teacher. By the cold light of the torches, they remove his dead body from the cross.
One of the men, climbing the ladder, pulls out the nails with which Christ was crucified on the crossbar; others pick up his slumping body; women prepare a bed for the remains, spreading a large heavy cloth on the ground. Everything is done slowly, in respectful and sad silence. The experiences of those gathered are different: some faces express bitter despair, others - courageous grief, still others - reverent horror, but each of the people present is deeply imbued with the significance of the event. Boundless is the sorrow of the old man who receives the dead Christ. He holds it with a noticeable effort, but very carefully, carefully, touchingly touching his cheek to a lifeless body. Maria is exhausted from grief. She is unable to stand, loses consciousness, falls into the arms of the people who carefully surrounded her. Her haggard face is deadly pale, her eyelids are closed, the weakened hand of her outstretched hand drooped helplessly.
The picture captures the deep penetration, the truth of life. Only the exaggeration of some movements and gestures reminds of Rembrandt's baroque hobbies.
During the 40s, Rembrandt repeatedly refers to the theme of the holy family. One of the best solutions to this theme is the Hermitage painting The Holy Family, created by the artist in 1645. The gospel scene gives the viewer many associations with everyday folk life, contemporary with Rembrandt. Silence, peace are broken only by the familiar sounds of life at home. Burning firewood crackles, the low, monotonous clatter of a carpenter's ax is heard. The room is shrouded in gentle twilight; light pours in softly from different sources, quiveringly sliding over Mary's face, illuminating the cradle, giving the depicted a touch of spirituality. The child moved slightly in the dream, and the woman, obeying the subtle maternal instinct, comes off reprimands, lifts the canopy and looks at the baby with concern. She is sensitivity itself, alertness itself. In essence, the great humanity and penetration of the picture is created only by one look. The bright sublimity of the captured moment is also reflected in the fact that angels inaudibly descend to the mother and the boy.
In 1660, Rembrandt created the famous painting Assur, Haman and Esther. The plot of the picture was the biblical myth, known as "The Feast at Esther." Haman, the first vizier and friend of the Persian king Assur, cruelly slandered the Jews before the king, hoping to achieve their extermination. Then Queen Esther, who came from Judea, stood up for her people. Inviting Assur and Haman to the feast, she told about the slander of the vizier, and the treacherous face of the man whom he considered his friend was revealed to the king.
The artist depicts the moment of the feast when Esther finished the story and a deep, painful silence reigned. The queen's beautiful eyes are sad. Without looking at her hands, Esther crumples her handkerchief mechanically. She is still entirely in the power of the experience. It was painfully difficult for her to utter the words of reproof; like the king, she believed the vizier, treated him like a friend. Shocked by what he heard, bitterly disappointed Assur. His big eyes filled with tears. At the same time, noble anger awakens in him, and he grips the scepter with power.
Haman is depicted in deep shadow, loneliness. An invisible abyss separated him from the king and queen. The consciousness of doom crushes him like an unbearable burden: he sits hunched over, head bowed, eyes closed; the hand holding the cup lies powerless on the table. It is not even the fear of death that oppresses him, but the heavy consciousness of moral loneliness. He understands that Assur and Esther will never forgive him, no matter how hard it is for them to condemn a friend.
If in the paintings dedicated to the history of Haman, the result of the conflict is an irreconcilable condemnation, no matter how hard it is for those who pass the sentence, then the famous work of Rembrandt “The Return of the Prodigal Son” tells about humane forgiveness and deep repentance of a person who has made a bitter mistake. The work was written by Rembrandt in the year of death. Forgotten by his contemporaries, completely alone, he creates his latest brilliant creation.
Again a great human tragedy. After long wanderings in a hostile, uncomfortable world, he comes to his abandoned father with a plea for forgiveness. prodigal son. Full of shame and remorse, he is on his knees, ragged, with a shaved head of a convict, trampled sandals, showing the viewer hardened heels. For the first time in many years, feeling the warmth of human affection, he clung to his father, hid his face in his chest, trying to forget himself in his father's arms. The old man expresses neither surprise nor indignation; he had forgiven his son long ago and had been waiting for this meeting for a long time. In the look of his lowered eyes one can read both mute reproach and woeful humility. He gently bent over his son, lowering his weak old hands behind him. Again, Rembrandt embodies his idea that the severe trials of fate bring people together. Love, trust, mutual understanding turn out to be higher than delusions, insults, vanity.
But still in this meeting there is more grief than joy: tragic mistake son left too deep a trace in the life of both. Not only the son is broken, but also the father. It is enough to pay attention to the expression on the face, the sadly bowed head, the hunched figure, the drooping old shoulders to feel it.
The Return of the Prodigal Son is, as it were, the result of Rembrandt's wise thoughts about the world and people. His pessimistic attitude towards reality in the last years of his life, on the one hand, and his unbroken faith in man, in his moral highness, on the other hand, sound with equal force in latest work brilliant artist.
There are few personalities in the history of art as mysterious and ambiguous as Bruegel. He did not write articles or treatises, left no correspondence, and, with the exception of two or three persons close to his spirit, knew no friends. Brueghel left no portraits of his wife, children or friends. It is believed that he sometimes portrayed himself among his own characters - but there is no evidence for this. His portraits engraved by his friends bear no resemblance to each other.
Renaissance concept of importance human personality did not fit into the artistic concepts of Brueghel. In his drawings and paintings, he often hides faces altogether, depriving the figures of any individuality. A similar trend can be traced in the depiction of biblical characters. He shifts them somewhere to the side, hides them among ordinary people. This is how we see Mary and the Lord in the village square, John the Baptist with Christ in the crowd of people, and the “Adoration of the Magi” is generally hidden behind a curtain of snowfall.
Brueghel's man has the freedom of choice and is responsible for his own misfortunes. The choice between good and evil, between faith and disbelief, a person is forced to make constantly, throughout his life - just as his ancestors were forced to make this choice, as many other people do it today. Hence - another sign of Brueghel's works, related to them with icons, but very rarely found in modern art - the combination of temporal and spatial layers. In such paintings as The Procession to Golgotha, The Census in Bethlehem, The Massacre of the Innocents, The Sermon of John the Baptist, The Conversion of Paul, The Nativity, the engraving The Assumption of Our Lady, biblical characters are present among Brueghel’s contemporaries leading their daily normal lives , biblical scenes are played out against the backdrop of Flemish urban and rural landscapes. For example, the figure of the Savior bent under the weight of the cross is almost lost among the many other impressions of any of the people depicted in the picture, and these people make their own moral choice, not realizing that they see God in front of them.
Brueghel's years of creative maturity take place during a period of exacerbation of contradictions between the Netherlands and the monarchy of Philip II, in the face of a menacingly growing revolutionary situation. The anti-feudal movement merges with the national liberation struggle against the rule of Spain. In the years 1561-1562, Brueghel created paintings united by a premonition of impending historical cataclysms, “Triumph of Death” (Madrid), “The Fall of the Rebellious Angels” (Brussels), “Mad Greta”, “Battle of the Israelites with the Philistines”.
During his life, Brueghel was a resident of two very wealthy cities - first Antwerp, and later Brussels.
In terms of growth rate Antwerp was equal in Europe, it became the new financial and economic center of the Western world. About a thousand foreigners lived in this “bazaar” city with the largest seaport, they were treated with suspicion. In a situation where people were not united by either faith or a single church, when Catholics, Protestants, Lutherans and Anabaptists lived in the neighborhood, a general feeling of insecurity and anxiety grew. Thus, a “multicultural society” was formed, where communication problems arose especially acutely, primarily on religious grounds.
Antwerp was a symbol of the world. A tower that casts a shadow - contrary to all the laws of nature - not on the ground, but on the sky.
Brueghel painted The Tower of Babel at least three times. Preserved Tower of Babel (1563) and "Small" tower of babel(c.1563). The gigantic building was captured twice. Never before have artists been able to convey so vividly the monstrous size of the tower, the scope of construction, surpassing everything previously known to man.
In the later works of Brueghel, the mood of pessimistic reflection deepens. In the famous "Blind" (1568), the gospel parable is used to embody the idea of a blind humanity that has lost the will to fight and passively follows fate-fortune. The leader, leading the line of crippled-blinds, falls, the rest, stumbling, uncontrollably follow him; their helpless gestures are convulsive, the seal of destructive passions and vices sharply appears on their faces numb with horror, turning them into deathly masks. The intermittently uneven rhythm of the movements of the figures develop the theme of imminent death. However, as before, the serenely harmonious nature of the background appears as a contrasting alternative to human bustle, with its idyllic peace, as if suggesting a way out of a tragic impasse.
The paintings of Caravaggio (1573-1610) caused heated debate, as they struck with their unusualness. The character of this artist was also outstanding - impudent, mocking, arrogant.
Among the paintings of Caravaggio there are no festive subjects - such as the "Annunciation", "Betrothal", "Entrance into the Temple", which were so loved by the masters of the Renaissance. He is drawn to tragic themes. On his canvases, people suffer, experience cruel torment. Caravaggio observed these hardships of life. In the painting "The Crucifixion of St. Peter" we see the execution of the apostle, who was crucified upside down on the cross. "The Conversion of Saul" shows the ruthless persecution of Christians, their death under the heel of the horse and the moment of Saul's insight. On the way to Damascus, he was suddenly blinded by a ray of heaven, and, falling from his horse, he heard the voice of Christ: “Saul, why are you persecuting me?” After the epiphany, Saul becomes one of the most devoted disciples of Christ - the apostle Paul.
As a folk drama, Caravaggio shows the scene of "The Entombment". The lifeless body of Christ is carefully supported by the disciples. The frozen hand of the Savior hangs on the coffin slab, over the black expanse of the grave.
In the paintings of Caravaggio on gospel stories strikes the everyday appearance of the characters. In the gospel scenes, he shows life common people. Caravaggio's contemporaries testify: he despised everything that was not copied from life. The artist called such paintings trinkets, children's and doll things.
Iconography appeared in Rus' in the 10th century, after in 988 Rus' adopted from the Byzantine religion - Christianity. By this time, in Byzantium itself, iconography had finally turned into a strictly legalized, recognized canonical system of images. Worship of the icon has become an integral part of Christian doctrine and worship. Thus, Rus' received the icon as one of the “foundations” of the new religion.
For centuries, icons were the only subjects of painting in Rus'. The common people were introduced to art through them.
Depicting events from the life of Christ, Mary, the apostles, icon painters
found motives that touched the soul of every person, tried to express their idea of good and evil.
The icon painter followed certain rules in his work, for example, he could not invent a plot himself. But this does not mean at all that the painter was deprived of the opportunity to create. He could add some details, “read” the church plot in his own way, choose combinations of colors. By these details, one can distinguish the style of Andrei Rublev from the style of Theophan the Greek or Dionysius.
The question of the belonging of this or that work to Rublev is now the subject of lively scientific discussions. The only reliable work of the artist is the icon "Trinity". All other works are more or less likely to be attributed to the illustrious master.
According to Christian doctrine, God, being one in essence, is trinity in persons. The first person of the Trinity is God the Father, who created heaven and earth, everything visible and invisible. Her second face is God the Son, Jesus Christ, who took on the form of a human and descended from heaven to earth for the salvation of people. The third person is the holy spirit god, who gives life to all things. It is incomprehensible to the human mind how one exists in three persons, therefore the doctrine of the Trinity is one of the main dogmas Christian religions and as such it is an object of faith, and not an object of reflection.
The true form of the deity is unknown to man - “no one has seen God” (John 1:18). However, sometimes, as the Christian tradition says, God appeared to people, taking on a form accessible to man. The first person to see God was the righteous elder Abraham. God appeared to him in the form of three angels. Abraham guessed that under the guise of three strangers he was accepting the three faces of the Trinity. Filled with joy, he seated them under the canopy of the Mamre oak, ordered his wife Sarah to bake unleavened bread from the best flour, and the servant boy to slaughter a tender calf.
It is this biblical story that formed the basis of the iconography of the Trinity. She is depicted as three angels with wandering staffs in their hands. Angels solemnly sit at a table laden with dishes. In the distance you can see the chambers of Abraham and the legendary oak of Mamre. Pious Abraham and Sarah bring treats to the winged wanderers.
Vikone Rublev is struck by the extraordinary simplicity, "laconicity" with which the biblical event is reproduced. From the Old Testament story, the artist chose only those details that give an idea of where and how the action took place - the mountain (a symbol of the desert), the chambers of Abraham and the oak of Mamre. It is in vain to look for such boldness in relation to the sacred text in earlier icons. Ancient Russian painting, which had previously followed the sacred text without reasoning, set itself the task of giving a visible image of everything that the Bible and the Gospel are about, in the person of Rublev neglected the letter of the Holy Scripture and tried to reveal it philosophical meaning. From the art of illustrating, icon painting has turned into an art of learning.
In Russia in the 14th - 15th centuries, the doctrine of a trinity deity, representing “one force, one power, one domination”, became a religious symbol of the political unity of the country. It is no coincidence that the motto of Moscow at the turn of the century was: “The Trinity lives, we move, and we are.” The same idea is imbued with Rublev's "Trinity", which has become, as it were, a moral symbol of the new Rus'.
So, despite the fact that bible stories tell about bygone days, artists turn to them in order to reflect contemporary reality through well-known plots.
List of used literature:
1.
Rose-Marie Hagen R. "Peter Brueghel the Elder". - "Art Spring", 2000.
2.
Andronov S. A. “Rembrandt. On the social essence of the artist" - Moscow, "Knowledge", 1978.
3.
Platonova N.I. "Art. Encyclopedia" - "Rosmen-Press", 2002
Plan - summary of the lesson of fine arts
In 7th grade on the topic
« Biblical themes in the visual arts.
Old Testament"
Performed
art teacher
MBOU secondary school No. 36 Samara
Demina Irina Alexandrovna
Samara 2015
The topic of the lesson is “Biblical themes in the visual arts. Old Testament"
I. Organization of student activities
Ask strict life
Which way to go
Where in the world white
Will you leave in the morning?
Follow the sun
Although this path is not known.
Go my friend, always go
Dear Good.
Question: What is religion? Children's answers are a form of culture
- Russia is a multinational country and all world religious cultures are represented in it.
Question: What world religions do you know? children's answers
Question: name founders of world religions children's answers
Question: Let's remember the temples of the religions of the world children's answers
Every religion has its own sacredscriptures- fundamental texts of any religion. The scriptures tend to refer to their superhuman origin or deity inspiration.
- Tripitaka(Sanskrit त्रिपिटक, "Three baskets") - a set of Buddhist sacred texts,
- Koran- the holy book of Muslims (adherents of Islam). The word "Quran" comes from the Arabic "reading aloud", "edification".
- Bible(Greek "book, composition") - a collection of sacred texts of Christians, consisting of the Old and New Testaments. The Old Testament was borrowed by Christianity from Judaism, the original is called the Tanakh and is a sacred text for the Jews. The Old Testament consists of 39 books and is divided into three sections in Judaism. This part of the Bible is the common Holy Book for Judaism and Christianity.
- The books of the Old Testament were written between the 13th and 1st centuries. BC e. in Hebrew, with the exception of some parts of the books of Daniel and Ezra, written in Aramaic.
- In the period from the III century. BC e. according to the 1st century n. e. The Old Testament was translated into ancient Greek.
- Archaeological excavations confirm the destruction of the cities of Sodom and Gomorrah mentioned in the Bible
- English archaeologist Leonard Woolley discovered the city of Ur in 1923. At the foot of the ancient stepped tower of the Sumerians in the city of Ur, even now everyone can go down the stairs into a narrow shaft and see evidence of a gigantic and catastrophic flood. Most scholars believe that the giant flood is identical to the biblical Flood. Scientists find traces of this flood on the European continent.
The topic of our lesson is Biblical scenes in painting, so today we will look at the Bible in more detail as unique monument culture. Let's try to give an analysis of the historical, philosophical, moral and artistic problems that it poses to people.
The Jewish sage Hillel said: Do not do to others what is hateful to you.».
These words are called the "golden rule of Gilea", and the principle set forth in them is accepted by many peoples and is considered the main rule of human morality.
You already You studied the Old Testament at the lessons of literature, at the lessons of history you spoke about Egypt. In particular, about the campaigns of the pharaohs (look at the slide).
Question: How do you know this information? What about historians? Answers(from historical sources, can be listed, remembering, real and written)
Work with the table: "Facts of history and events in the Bible."
Question: Can the Old Testament be called a historical source? There is a huge amount of archaeological evidence supporting the historical accuracy biblical narrative
Question:
Are the facts stated in the Bible real?
What does archaeological science tell us about the events described in the Bible?
1. These are, for example, archaeological finds associated with the name of the Hebrew king Solomon
Question: How does the Bible differ from mythology, in particular ancient Egyptian, which you have already discussed in your lessons? Answers(Monotheism and polytheism)
Question: What can be gleaned from VZ besides history?
A) it is a system of philosophical knowledge answer Reasoning about the meaning of human life.
B) system of moral, universal problems- ten Commandments.
What is the peculiarity first four Why are there two groups? (1-interaction God-man, faith-unbelief, 2-relationship man-man).
Question: Do unbelievers follow these commandments?
So, V.Z. touches on history, raises philosophical and moral issues, BUT what form does it take? – Artistic text! because it is full of art.
Example: Tower of Babel - What does the story in this chapter teach us? What lesson should a reasonable person learn?
Pieter Brueghel the Elder "Tower of Babel"
- Tell us about the construction of the Tower of Babel.
- Why did God punish people?
- Why is understanding each other's language so important for people?
- What does not understand the language lead to?
Noah and Noah's ark. Paul Gustave Dore
Noah's ark is a model of the world. Noah is the image of the righteous, high morality and the value of family relationships!
global floodIvan Constantinovich Aivazovski
Myth about Deluge found in many religions: in Polynesia, in Ancient Greece, in Babylon.
Myths about the Flood are the result of observations made in different parts of the Earth in connection with large floods, fluctuations in the earth's crust, which caused the separation of the continents and the sinking of various parts of the land under water.
A Rublev "Holy Trinity" The symbolism of the details of the picture "Cup" meant "chalice of life", "chalice of wisdom", "chalice of immortal drink".
Example:Presentation slide "The Judgment of King Solomon."Nicolas Poussin
Let's remember what the parable is about.
Thus, the Old Testament is a unique monument of culture, which, unlike other monuments, includes historical, philosophical, moral and artistic problems. It is multifaceted and comprehensive. The Old Testament "provides food" for the entire world culture: literature, fine arts, theater, etc.
According to Christians, the books of the Old Testament were written Prophets. It is believed that these are people who had a special gift - to hear what God says to them. Such a gift is called prophecy, and a person who has this gift from God is called a prophet.
Exercise: draw any story from the Old Testament.
Almost from the very appearance of mankind, it has been brought up on the parables and songs that are given in the Bible. In our time, the Bible has come through many centuries, overcoming many difficulties. She was forbidden to read, destroyed, burned in the fire, but she is still intact. It took eighteen centuries to create it, about 30 of the most brilliant authors who lived in different years and era, a total of 66 books of the Bible were written in different languages.
By school curriculum children must be told about biblical themes in the visual arts. Art in school thus introduces students to the biblical characters and stories described in the book.
Biblical scenes in painting. The great artist Rembrandt
The world's great artists have used biblical themes in the visual arts. Perhaps more clearly left its mark brilliant artist Rembrandt. He was able to very truthfully and really sincerely show the inexhaustible wealth of a person through biblical scenes in painting. His characters are like ordinary people, contemporaries, among whom the artist lived.
In a simple person, Rembrandt could see inner integrity, nobility and spiritual greatness. He managed to convey in the picture the most beautiful qualities of a person. His canvases are filled with genuine human passions, a vivid confirmation of this is the painting "Descent from the Cross" (1634). Famous picture- "Assur, Haman and Esther", written according to which tells how Haman slandered the Jews before King Assur, wanting them death penalty, and Queen Esther managed to reveal the insidious lie.
Mysterious Brueghel
In the history of art, it is difficult to find a more mysterious and controversial painter than Brueghel. He did not leave behind any notes, treatises or articles about his life, he did not draw self-portraits or portraits of his loved ones. On his canvases, biblical themes in the visual arts are shrouded in mystery, the characters do not have memorable faces, and all the figures are devoid of individuality. In his paintings you can see the Lord and Holy Mary, Christ and John the Baptist. The canvas "The Adoration of the Magi" is, as it were, covered with a snow-white veil. That is why the pictures are so attractive. Looking at them, I want to unravel the mystery.
Brueghel's biblical heroes are depicted among contemporaries, they lead their everyday life on the Flemish city streets and in countryside. For example, the Savior, burdened with the weight of his cross, is lost among the multitude of ordinary people who do not even suspect that they are doing their own looking at God.
Paintings by Caravaggio
The great Caravaggio painted canvases that amaze with their unusualness; to this day they cause heated debate between connoisseurs of art. Despite the fact that in the Renaissance the favorite theme for painting were holiday scenes, Caravaggio remained true to himself, his tragic theme. On his canvases, people experience terrible torment and inhuman suffering. Biblical themes in the fine arts of the artist can be traced on the canvases "The Crucifixion of St. Peter", which depicts the execution of the apostle, crucified upside down on the cross, and "The Entombment" depicting a folk drama.
Everyday life and everyday life are always present in his paintings. human life. He in every possible way despised paintings with a fictitious plot, that is, not copied from life; for him, such canvases were trinkets and childish fun. I was sure that only canvases with the image real life can be considered real art.
iconography
In Rus', icon painting appeared in the 10th century, after Rus' in 988 adopted the Byzantine religion - Christianity. In Byzantium at that time, the iconography and plots of the Old Testament in the visual arts turned into a strict, canonical image system. Worship of icons has become a major part of the doctrine and worship.
For a couple of centuries in Rus', only icon painting was the subject of painting, through which ordinary people were introduced to beautiful art. Depicting moments from the life of Christ, the Virgin Mary and the apostles, the icon painters tried to express their individual idea of good and evil.
Icon painters always had to adhere to strict rules; they could not depict a fictitious or fantasized plot. But at the same time, they were not deprived of the opportunity to create, it was possible to interpret biblical scenes in the visual arts at their discretion, choosing a different combination of colors. The icons of some icon painters differ among others in their special style of writing.
Icons by Andrey Rublev
Often the subject of scientific discussions is the belonging of individual icons to the work of Rublev. The only work, which Rublev accurately wrote - the icon of the "Trinity". The authorship of the rest is still in doubt.
The "Trinity" depicts the extraordinary simplicity and "laconicity" of the biblical event. With the greatest skill, the artist singled out precisely those details that help to recreate the idea of the ongoing event - this is a mountain symbolizing the desert, Abraham's chamber, and thanks to this icon, art, simply illustrating the Bible, has turned into a knowing one. Previously, no one dared to such a reincarnation of the sacred text in the picture.
Ancient Russian painting has always clearly followed the biblical text, its initial task was to recreate the image that the Bible and the Gospel narrate about. Rublev managed to reveal the philosophical meaning of biblical writing.
Plots of the New and Biblical themes in the visual arts
Plots from the New and Old Testament occupy one of the main places in Christian painting. Depicting biblical scenes, the artist must transfer the sacred text to the canvas, contribute to understanding, enhance emotional perception and strengthen faith. Therefore, the visual arts and the Bible are closely related, their history has changed together.
Christian art did not easily reproduce biblical scenes. Talented artists created stunning paintings, each of which is unique, thanks to the fact that they tell a biblical story in a special way.
Initially, Christianity arose as a new doctrine in Judaism, therefore, plots from the Old Testament predominated in early Christian art. But then Christianity began to move away from Judaism and artists began to depict scenes from
Abraham in the visual arts
One of the characters that unites several faiths (Judaism, Christianity and Islam) is Abraham. His image combines several facets:
- the ancestor of the Jews, and through the children of Hagar and Ketura - of various Arab tribes;
- the founder of Judaism, personifying the ideal of devotion to faith;
- intercessor of mankind before God and hero-warrior.
In Jewish and Christian ideas, there is the concept of "Abraham's Bosom" - this is a special otherworldly place for the repose of the dead righteous. In painting, Abraham is depicted sitting on his knees, in his bosom or in his womb the souls of believers in the form of children sit. This can be seen on the canvases "Golden Gate", "Prince's Portal".
Sacrifice of Isaac
But the most beloved plot associated with Abraham is the sacrifice.
IN biblical scripture tells how God asked Abraham to burn his son Isaac to prove his devotion. The Father built an altar on Mount Moriah, and in last moment Isaac's sacrifice, an angel appeared to them and stopped him. Instead of a child, a lamb was burned.
Such dramatic episode leads to the deepest reflections on God's justice.
Biblical themes in the visual arts have always attracted artists. Despite the fact that biblical stories are long gone, the painters manage to reflect the modern reality of life through them.
