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Mythological genre in the visual arts. Mythology as a science Mythical and historical in art

Mythological genre in the visual arts. Mythology as a science Mythical and historical in art

04.07.2020

Elena Vladimirovna Dobrova

Popular history of mythology

INTRODUCTION WHAT IS MYTH AND MYTHOLOGY?

We are familiar with the myths and legends of ancient peoples from school. Every child rereads these ancient tales with pleasure, telling about the life of the gods, the wonderful adventures of heroes, the origin of heaven and earth, the sun and stars, animals and birds, forests and mountains, rivers and seas, and, finally, the man himself. For people living today, myths really seem like fairy tales, and we don’t even think about the fact that many millennia ago their creators believed in the absolute truth and reality of these events. It is no coincidence that the researcher M. I. Steblin-Kamensky defines a myth as “a narrative that, where it arose and existed, was taken for truth, no matter how implausible it may be.”

The traditional definition of myth belongs to I. M. Dyakonov. In a broad sense, myths are primarily “ancient, biblical and other ancient tales about the creation of the world and man, as well as stories of gods and heroes – poetic, sometimes bizarre.” The reason for this interpretation is quite understandable: it was the ancient myths that were included in the circle of knowledge of Europeans much earlier than others. And the word "myth" itself is of Greek origin and translated into Russian means "tradition" or "tale".

Ancient myths are highly artistic literary monuments that have survived to this day almost unchanged. The names of Greek and Roman gods and stories about them became especially widely known in the Renaissance (XV-XVI centuries). Around the same time, the first information about Arab myths and the myths of the American Indians began to penetrate into Europe. In an educated society, it became fashionable to use the names of ancient gods and heroes in an allegorical sense: under Venus they meant love, under Minerva - wisdom, Mars was the personification of war, the muses denoted various arts and sciences. Such word usage has survived to this day, in particular in the poetic language, which has absorbed many mythological images.

In the first half of the 19th century, the myths of such Indo-European peoples as the ancient Indians, Iranians, Germans and Slavs were introduced into scientific circulation. A little later, the myths of the peoples of Africa, Oceania and Australia were discovered, which allowed scientists to conclude that mythology existed among almost all the peoples of the world at a certain stage of their historical development. The study of the main world religions - Christianity, Islam and Buddhism - showed that they also have a mythological basis.

In the 19th century, literary adaptations of myths of all times and peoples were created, many scientific books were written on the mythology of different countries of the world, as well as on the comparative historical study of myths. In the course of this work, not only narrative literary sources were used, which were the result of a later development of the original mythology, but also data from linguistics, ethnography and other sciences.

Not only folklorists and literary critics were interested in the study of mythology. Myths have long attracted the attention of religious scholars, philosophers, linguists, cultural historians and other scientists. This is explained by the fact that myths are not just naive tales of the ancients, they contain the historical memory of peoples, they are imbued with a deep philosophical meaning. In addition, myths are a source of knowledge. No wonder the plots of many of them are called eternal, because they are consonant with any era, they are interesting to people of all ages. Myths are able to satisfy not only children's curiosity, but also the desire of an adult to join the universal wisdom.

What is mythology? On the one hand, this is a collection of myths that tell about the deeds of gods, heroes, demons, spirits, etc., which reflect the fantastic ideas of people about the world, nature and man. On the other hand, it is a science that studies the origin, content, distribution of myths, their relationship with other genres of folk art, religious beliefs and rituals, history, fine arts, and many other aspects related to the nature and essence of myths.

DEVELOPMENT OF MYTHOLOGICAL REPRESENTATIONS

Myth-making is the most important phenomenon in the cultural history of mankind. In primitive society, mythology was the main way of understanding the world. At the earliest stages of development, during the period of the tribal community, when, in fact, myths appeared, people sought to comprehend the reality around them, but they still could not give a real explanation for many natural phenomena, therefore they composed myths, which are considered the earliest form of world perception and understanding by primitive man of the world and of himself.

Since mythology is a kind of system of man's fantastic ideas about the natural and social reality surrounding him, the reason for the emergence of myths, in other words, the answer to the question why the worldview of primitive people was expressed in the form of myth-making, should be sought in the peculiarities of thinking characteristic of the level that had developed by that time. cultural and historical development.

The perception of the world by primitive man was of a directly sensual nature. When designating the word of one or another phenomenon of the surrounding world, for example, fire as an element, a person did not differentiate it into a fire in the hearth, a forest fire, a furnace flame, etc. Thus, the emerging mythological thinking strove for a certain kind of generalizations and was based on a holistic , or syncretic, perception of the world.

Mythological ideas were formed because the primitive man perceived himself as an integral part of the surrounding nature, and his thinking was closely connected with the emotional and affective-motor spheres. The consequence of this was the naive humanization of the natural environment, i.e. universal personification and "metaphorical" comparison of natural and social objects.

People endowed natural phenomena with human qualities. Forces, properties and fragments of the cosmos in myths are presented as concrete-sensual animated images. The cosmos itself often appears in the form of a living giant, from the parts of which the world was created. Totemic ancestors usually had a dual nature - zoomorphic and anthropomorphic. Diseases were presented in the form of monsters that devoured human souls, strength was expressed by many-armedness, and good eyesight was expressed by the presence of a large number of eyes. All gods, spirits and heroes, like people, were included in certain family and clan relations.

The process of understanding each natural phenomenon was directly influenced by specific natural, economic and historical conditions, as well as the level of social development. In addition, some mythological subjects were borrowed from the mythologies of other peoples. This happened in the event that the borrowed myth corresponded to worldview ideas, specific living conditions and the level of social development of the perceiving people.

The most important distinguishing feature of myth is its symbolism, which consists in a fuzzy separation of subject and object, object and sign, thing and word, being and its name, thing and its attributes, singular and plural, spatial and temporal relations, origin and essence. In addition, myths are characterized geneticism. In mythology, to explain the device of a thing means to tell how it was created, to describe the world around it means to tell about its origin. The state of the modern world (the relief of the earth's surface, celestial bodies, existing breeds of animals and plant species, the way of life of people, established social relations, religions) in myths is considered as a consequence of the events of bygone days, the time when mythical heroes, ancestors or gods lived. creators.

All mythological events are separated from us by a large time interval: actions in most myths take place in ancient, initial times.

mythical time- this is the time when the world was arranged differently than it is now. This is an early, initial time, a pre-time that preceded the empirical, that is, historical, time. This is the era of first creation, first objects and first actions, when the first spear, fire appear, the first actions are performed, etc. All phenomena and events related to mythical time acquired the meaning of a paradigm (translated from Greek - “example”, “image”) , therefore, were perceived as a model for reproduction. In myth, two aspects are usually combined - diachronic, that is, a story about the past, and synchronic, or a means of explaining the present, and in some cases the future.

An art lesson on the topic “Historical themes and mythological themes in the art of different eras” was held in the 8th grade in the 2011-2012 academic year as part of the regional thematic Art Week “Spring of the Arts”. The author of the development is the teacher of fine arts Kuznetsova Svetlana Yurievna.

Goals: development of skills in the perception of works of fine art, familiarization with the heroism of the Russian people on the example of epic heroes.

Equipment: presentation, multimedia equipment.

During the classes.

1. Organizational part.

2. Communication of new knowledge.

A work of art painted with any color is called a painting. (Watercolor, gouache, oil paints, tempera). Painting is divided into easel and monumental. The artist paints pictures on canvas, stretched on a stretcher and mounted on an easel, which can also be called a machine tool. Hence the name - "easel painting". Monumental painting is large paintings that are painted not on canvases or on other materials, but on the walls of buildings - internal or external. Depending on the room, wall material, temperature, air humidity and other technical factors, painting was traditionally done either in the form of a fresco (with water-soluble pigments on wet plaster), or with tempera-glue paints (pigments mixed with egg or casein glue), or paints on molten wax (encaustic), or oil paints on dry plaster. Another option is painting on wood panel or canvas, which is then pasted onto the wall.

Historically, frescoes and tempera-glue painting were most widely used in monumental art. Since the 70s of the last century, oil paints, used in Europe for painting and tinting walls, were finally replaced by waterproof tempera. It passes air better, it can be washed, indoor tempera is more environmentally friendly than oil coatings. Since the 50s of this century, artists have adopted water-based, water-dispersed and acrylic paints as the most resistant, easy to prepare, quick-drying, although still not cheap. Painting on the walls on wet plaster (this is precisely the meaning of the fresco) came to us from the 2nd millennium BC. e., when the flowering of the Aegean culture reached its peak. The fresco was most popular during the Renaissance.

Mosaic art.

The art of mosaic originates in monumental painting - it has always been associated with architecture; walls and ceilings of palaces and temples were decorated with mosaics. Today is the time of the second birth of the mosaic: it can be increasingly seen in the most diverse areas: swimming pools, exhibition halls, hotel lobbies, cafes, shops and, of course, in new houses and apartments.

The history of mosaics begins in Ancient Greece. In ancient Rome and Byzantium, this art was very widespread, after which it was forgotten for a long time and was revived only in the middle of the 18th century. The origin of the word "mosaic" itself is shrouded in mystery. According to one version, it comes from the Latin word "musivum" and is translated as "dedicated to the muses." According to another version, it is just an “opus musivum”, that is, one of the varieties of masonry walls or floors made of small stones. In the era of the late Roman Empire, mosaics can already be found almost everywhere - both in private houses and in public buildings. For the most part, the floor is trimmed with mosaics, while frescoes are preferred on the walls. As a result, elegant and truly majestic spaces worthy of nobility are born. Roman mosaics were laid out from small cubes of smalt - opaque and very dense glass or stone. Sometimes pebbles and small stones were also used.

painting techniques

Tempera(Italian tempera, from temperare - mix paints) - paints prepared on the basis of dry powder natural pigments and (or) their synthetic counterparts, as well as painting with them. The binder of tempera paints are emulsions - natural (whole egg yolk diluted with water, plant juices, rarely - only in frescoes - oil) or artificial (drying oils in an aqueous solution of glue, polymers). Tempera painting is diverse in terms of techniques and texture, it includes both smooth and thick impasto writing.

Tempera paints are one of the oldest. Before the invention and spread of oil paints, tempera paints were the main material for easel painting. The history of the use of tempera paints has more than 3 thousand years. Thus, the famous paintings of the sarcophagi of the Egyptian pharaohs are made with tempera paints. Tempera was mainly easel painting by Byzantine masters. In Russia, the technique of tempera writing was predominant in art until the end of the 17th century.

Currently, two types of tempera are produced industrially: casein-oil and polyvinyl acetate (PVA).

Historical and mythological genres in the art of the 17th century.

The historical genre began to take shape in the Italian art of the Renaissance - in the battle-historical works of P. Uccello, cardboards and paintings by A. Mantegna on the themes of ancient history, interpreted in an ideally generalized, timeless plan by the compositions of Leonardo da Vinci, Titian, J. Tintoretto.

In the 17-18 centuries, in the art of classicism, the historical genre came to the fore, including religious, mythological and historical subjects proper; Within the framework of this style, both a type of solemn historical and allegorical composition (Ch. Lebrun) and paintings full of ethical pathos and inner nobility depicting the exploits of the heroes of antiquity (N. Poussin) took shape. The turning point in the development of the genre was in the 17th century the works of D. Velasquez, who introduced deep objectivity and humanity into the depiction of the historical conflict between the Spaniards and the Dutch, P.P. Rubens, who freely connected historical reality with fantasy and allegory, Rembrandt, who indirectly embodied the memories of the events of the Dutch revolution in compositions filled with heroism and internal drama.

In the 2nd half of the 18th century, during the Enlightenment, educational and political significance was attached to the historical genre: paintings by J.L. David, depicting the heroes of republican Rome, became the embodiment of a feat in the name of civic duty, sounded like a call for a revolutionary struggle; during the years of the French Revolution (1789-1794), the artist portrayed its events in a heroic spirit, thus equalizing reality and the historical past. The same principle underlies the historical painting of the masters of French romanticism (T. Géricault, E. Delacroix), as well as the Spaniard F. Goya, who saturate the historical genre with a passionate, emotional perception of the dramatic nature of historical and contemporary social conflicts.

Heroism of the Russian people. Epic heroes - defenders of the Russian land.

Works of art, like people, have their own destiny and their biography. Many of them first brought glory and fame to their creators, and then disappeared without a trace from the memory of their descendants. The work of Viktor Mikhailovich Vasnetsov belongs to happy exceptions in art, the picturesque images born by the artist enter our life from childhood. With age, they can be replaced by other hobbies, new rulers of thoughts appear, but the canvases of V. Vasnetsov are never completely forced out, on the contrary, they are even more compacted in human memory. In search of sublime feelings, the artist turns to Russian gray antiquity - epics and fairy tales. The epic heroic theme runs through all the work of V.M. Vasnetsov, in the past he finds responses to the anxieties and aspirations of the contemporary life surrounding him. The image of the knight is full of deep meaning, stopping in thought at three roads.

The apotheosis of Russian heroic glory is "Bogatyrs", in which V. Vasnetsov expressed his sublimely romantic and at the same time deeply civic understanding of the ideal of the national beauty of the Russian people. For his work, the artist chooses the most famous and beloved by the people of the knights.

"Battle of the Scythians with the Slavs" (1881). Bogatyr theme. This topic is the most important for Vasnetsov, he did not leave it all his life. He himself, playing on his adherence to "heroic" images, was called "a true hero of national painting."

Development of skills of perception of works of fine art.

Use the ABC of Art program.

3. Practical work.

Drawing based on epic heroes.

4. Final part

ancient elements.

Greek mythology, like Greek culture in general, is a fusion of various elements. These elements were introduced gradually, over a period of more than a thousand years. Around the 19th century BC. the first speakers of the Greek language known to us invaded Greece and the islands of the Aegean from the north, mingling with the tribes already living here.

Of the archaic Greeks we know practically nothing but their language, and little in classical mythology goes back directly to this early era. However, with a high degree of certainty, it can be argued that the Greeks brought with them the veneration of Zeus, the god of the sky, who became the supreme deity in the classical era. It is possible that the veneration of Zeus arose even before the Greeks became a separate people, since the distant relatives of the Greeks - the Latins of Italy and the Aryans who invaded North India - venerated a sky god with almost the same name. The Greek Zeus pater (Zeus the father) was originally the same deity as the Latin Jupiter and the Aryan Dyauspitar. However, the origin of other gods most often cannot be traced back to the era of the invasion of Greece.

Cretan element.

The archaic Greeks were barbarians who invaded the area of a highly developed culture - the Minoan civilization of the island of Crete and the southern part of the Aegean Sea. After a few centuries, the Greeks themselves were strongly influenced by the Minoans, but ca. 1450 BC they captured Crete and won a dominant position in the Aegean region.

Some classical myths are associated with Crete. Only a few of them appear to be Minoan traditions proper, since for the most part they rather reflect the impression made on the Greeks by contact with the Cretan civilization. In one of the myths, Zeus in the form of a bull kidnaps Europe (the daughter of the king of the Phoenician city of Tyre), and Minos, the founder of the dynasty of Cretan kings, is born from their union. Minos rules in the city of Knossos; he owns a huge labyrinth and a palace where his daughter Ariadne dances. Both the labyrinth and the palace were built by the skilled craftsman Daedalus (whose name means "cunning artist"). The Minotaur, a monstrous half-bull, half-man, is locked in the labyrinth of Minos, devouring the young men and women sacrificed to him. But one day, the Athenian Theseus (also intended as a sacrifice) kills the monster with the help of Ariadne, finds a way out of the labyrinth along the thread and saves his comrades. The content of all these stories was clearly influenced by the glory of the magnificent palace at Knossos with its most complex layout, the connections of the Cretans with Phoenicia and nearby areas, the amazing skill of their artisans, and the local cult of the bull.

Individual ideas and stories could well be a reflection of Minoan ideas. There is a legend that Zeus was born and buried in Crete. Apparently, this reflected the acquaintance with the Cretan cult of the “dying god” (one of the “dying and resurrecting” gods), whom the Greeks gradually identified with the god of heaven, Zeus. In addition, Minos became one of the judges of the dead in the underworld, which does not agree well with the usual vagueness of ideas about the afterlife for the Greeks and the uncertainty of the image of most Greek heroes. The Minoans seem to have attached particular importance to female deities, and some famous heroines of later Greek myths, such as Ariadne or Helen of Troy, seem to have borrowed their features from the Minoan prototypes.

Mycenaean influence.

Three and a half centuries (c. 1450-1100 BC) after the displacement of the Cretan civilization by the Greeks were marked by the flowering of the Greek civilization of the Bronze Age. During this period, all of Greece came under the rule of numerous local kings, whose areas roughly corresponded to the future territories of the city-states. Probably, they were in a rather free relationship of allegiance to the richest and most powerful of all kings - the king of Mycenae, therefore the civilization of that era is usually called Mycenaean. The Mycenaeans were an active people who undertook many distant, often conquest campaigns outside their country; they traded and raided all over the Mediterranean. The adventures and exploits of the kings and their companions were glorified in epic poems composed by the Aeds, who sang or recited them at court feasts and festivities.

The Mycenaean period was the era of the formation of Greek mythology. Many of the Greek gods are first mentioned during this period: archaeologists find their names inscribed on clay tablets that were used to keep palace records. The heroes of later Greek mythology were for the most part perceived as historical figures who lived in the Mycenaean period; in addition, many cities, with which the legends connect the lives of these heroes, acquired political and economic significance precisely in this era.

Homeric epic.

In the course of time, the memories of this period and its events were to fade, as the memories of all previous epochs of Greek history faded. However, at the turn of the 12th and 11th centuries. BC. Mycenaean civilization fell under the onslaught of the Dorians - the last wave of Greek-speaking tribes who invaded Greece. In subsequent centuries of poverty and isolation, a living memory of the glorious Mycenaean past was preserved in the Mycenaean tradition of oral epic poetry that continued to exist. Ancient legends were retold and developed in detail, and in the 8th century. BC. two of the most famous tales were recorded, laying the foundation for the entire narrative tradition of European literature in general, the authorship of which was attributed to Homer. These are the Iliad and the Odyssey, epic narratives about the war against the city of Troy in Asia Minor.

These poems not only conveyed the Mycenaean cultural heritage to the later Greeks, but also set the tone for the entire Greek mythology with its attention to the human principle and characters that readers and listeners perceived as real men and women who lived in historical places. Over the centuries, mythology has also formed the idea of a caste of gods, endowed with recognizable characters and certain spheres of influence.

Influence of folklore and religious cult.

The archaic period in the development of Greek culture (7th-6th centuries BC) was marked by the growth and expansion of the influence of Homeric poems. At the same time, many folk traditions, not dating back to the Mycenaean era, served as material for various poems that filled in the gaps left by the Homeric epic. The "Homeric hymns" of this era, which served as an introduction to the recitation of epic poems at religious festivals, often contained an exposition of myths about the gods venerated in the great sanctuaries. The flourishing of lyric poetry also contributed to the ever-wider dissemination of local lore. In addition, the mythological tradition has been enriched by the inclusion of other types of legends - fairy tales and folk tales based on motifs common to many cultures, tales of the wanderings and exploits of heroes replete with monsters and magical spells, as well as legends designed to explain or resolve certain conflicts and upheavals inherent in human society.

Eastern elements. By analogy with heroes belonging to a certain family and generation, the gods also receive their genealogies and histories. The most famous and most authoritative of the so-called. theogony was compiled at the turn of the 8th and 7th centuries. poet Hesiod. The Theogony of Hesiod reveals such close parallels to the mythology of the Near East of ancient times that one can confidently speak of the widespread borrowing of Near Eastern motifs by the Greeks.

Golden age. In the golden age of Greek culture - 5th c. BC. - drama (especially tragedy) becomes the main means of disseminating mythological ideas. In this era, ancient legends are deeply and seriously reworked, and episodes are highlighted in which cruel conflicts are displayed in relations between members of the same family. The development of mythological plots in tragedies in its moral depth often surpasses everything that has been created in the literature on these topics. However, under the influence of Greek philosophy, educated circles of society are imbued with an increasingly skeptical attitude towards traditional ideas about the gods. Myth ceases to be a natural means of expressing the most important ideas and ideas.

Hellenistic mythology. The entire Greek world (and with it the Greek religion) changed as a result of the conquests of Alexander the Great (d. 323 BC). Here a new, called Hellenistic, culture arose, which preserved the traditions of isolated city-states, but no longer closed within the boundaries of one policy. The collapse of the polis system led to the destruction of political barriers to the spread of the myth. In addition, as a result of the spread of education and scholarship, all the variety of myths that had developed in different areas of Greece was for the first time brought together and systematized. Greek historians made extensive use of myths, as can be seen from the example of Pausanias, who described the sights of Greece in the 2nd century BC. AD

Writers were now drawn to the exotic, the adventure, or—since they themselves were often scholars—obscure local myths that enabled them to apply their scholarship. Callimachus, librarian of the great library of Alexandria in the 3rd century. BC, was one of these writers. In the epic poem Causes (Aetia) he spoke of the origin of strange customs; in addition, he composed mythological hymns dedicated to various gods. Callimachus' main rival, Apollonius of Rhodes, recounted the fullest version of the Jason myth in his poem Argonautica.

Mythology in the Roman world. In the 2nd century BC. Rome conquered Greece and assimilated Greek culture, and by the 1st c. BC. throughout the Mediterranean, a common Greco-Roman culture prevailed. Both Roman and Greek authors continued to create mythological writings in the Hellenistic spirit - both scholarly and purely artistic. Although this literature, like Hellenistic poetry, was already far from the powerful realism of classical mythology of the era of its origin, some of its examples have become outstanding phenomena of world literature. Virgil and Ovid belonged to this tradition.

The first chapters of the book that you are holding in your hands give a general idea of what myth and mythology are, the classification of myths and the history of the study of mythology. Further chapters tell about the features of the mythological representations of different peoples: the ancient Slavs, Scandinavians, Celts, Egyptians, Indians, Iranians, Chinese, Japanese, American Indians and Australian Aborigines. Particular attention in the book is given to ancient mythology (Greek and Roman). However, it should be noted that each of the described mythological systems has a unique originality and is therefore interesting in its own way.

INTRODUCTION WHAT IS MYTH AND MYTHOLOGY? one

DEVELOPMENT OF MYTHOLOGICAL REPRESENTATIONS 1

WHAT ARE THE MYTHS 3

MYTHOLOGY STUDY 6

MYTHOLOGY OF ANCIENT EGYPT 8

MYTHOLOGY OF THE ANCIENT MEMOREAS (SUMERO-AKKAD MYTHOLOGY) 15

MYTHOLOGY OF ANCIENT GREECE 24

ROMAN MYTHOLOGY 38

INDIAN MYTHOLOGY 45

IRANIAN MYTHOLOGY 56

SLAVIC MYTHOLOGY 62

CELTIC MYTHOLOGY 72

GERMAN-SCANDINAVIAN MYTHOLOGY 83

CHINESE MYTHOLOGY 89

JAPANESE MYTHOLOGY 95

MYTHOLOGY OF THE INDIANS OF CENTRAL AMERICA 101

MYTHOLOGY OF THE INDIANS OF SOUTH AMERICA 106

MYTHOLOGY OF AUSTRALIA 110

ILLUSTRATIONS 113

Elena Vladimirovna Dobrova
Popular history of mythology

INTRODUCTION WHAT IS MYTH AND MYTHOLOGY?

We are familiar with the myths and legends of ancient peoples from school. Every child rereads these ancient tales with pleasure, telling about the life of the gods, the wonderful adventures of heroes, the origin of heaven and earth, the sun and stars, animals and birds, forests and mountains, rivers and seas, and, finally, the man himself. For people living today, myths really seem like fairy tales, and we don’t even think about the fact that many millennia ago their creators believed in the absolute truth and reality of these events. It is no coincidence that the researcher M. I. Steblin-Kamensky defines a myth as "a narrative that, where it arose and existed, was taken for truth, no matter how implausible it may be."

The traditional definition of myth belongs to I. M. Dyakonov. In a broad sense, myths are primarily "ancient, biblical and other ancient tales about the creation of the world and man, as well as stories of gods and heroes - poetic, sometimes bizarre." The reason for this interpretation is quite understandable: it was the ancient myths that were included in the circle of knowledge of Europeans much earlier than others. And the very word "myth" is of Greek origin and translated into Russian means "tradition" or "tale".

DEVELOPMENT OF MYTHOLOGICAL REPRESENTATIONS

Fine art lesson in 7th grade.

"A sumptuous feast for the eyes."

Karl Ivanovich Bryullov

about historical pictures.

Outline of a lesson in fine arts
Teacher of Fine Arts MBOU "Tumaninskaya basic comprehensive school" Shakhunsky district Kudryavtseva Vera Hanifovna
the date December 2013
Type of occupation
Art Conversation in the 7th grade.
Lesson topic:
"Historical and mythological themes in the art of different eras".

Goals:

Repeat with students the concept of "genre" in the visual arts;

To form an idea of the historical and mythological genre in painting;

to acquaint with the outstanding works of this art and their masters.

To cultivate a moral and aesthetic attitude to the world and love for art;

Develop associative-figurative thinking, creative and cognitive activity.

Equipment:
For the teacher. Computer, screen, presentation.

For students. Notebooks, pens.

Visual range:

Velazquez "Surrender of Breda";

A.P. Losenko "Vladimir and Rogneda", "Farewell of Hector and Andromache";

Valentin Serov "Peter I";

Andrey Petrovich Ryabushkin "Wedding Train in Moscow";

Sergei Ivanov "The Arrival of Foreigners in Moscow in the 17th Century".

Nicholas Roerich "Patrol", "I See the Enemy", "Slavic Land";

Appolinary Mikhailovich Vasnetsov "Moscow at the end of the 17th century", Konstantin-Eleninsky Gates", "All Saints Monastery of the Century".

S. Botticelli "The Birth of Venus", "Mystical Christmas".

Lesson plan
1. Organizational part - 2-3 minutes.
2. Presentation of the material - 40 min.

A) About the concept of "Genre";

B) Historical genre:

1) during the renaissance Diego Velasquez;

2) Anton Pavlovich Losenko (XVIIIin);

3) in artXXcentury:

V. Serov "Peter I";

L. Ryabushkin ""Wedding train in Moscow";

S. Ivanov "The arrival of foreigners in Moscow in the 17th century."

4) historical landscape

C) mythological genre:

1)Botticelli "Birth of Venus", "Mystical Nativity".

2) Giorgione "Sleeping Venus";

3) Velazquez "Bacchus".
3. Completion of the lesson - 2 min.

During the classes
I. Organizational moment (greeting, checking the readiness of students for the lesson).

Introduction by the teacher.

Word "genre" derived from French genre, those. "genus", "kind". Genre is a historical division of works of art in accordance with the theme and object of the image. The plot-thematic genre is divided into historical, mythological, everyday, battle.

The concept of "genre" appeared in painting not so long ago, but genre differences in painting have been noted since ancient times. Its formation as an integral system began in Europe in the 15th-16th centuries. and ended in the middle of the 17th century. Masters of fine art began to divide the genre into high and low depending on the chosen theme and plot of the image.

To high the genre was attributed historical and mythological, to low - landscape, portrait, still life.

historical genre.

This genre is dedicated to historical events and characters, it is characterized by monumentality, i.e. content, expressed in a majestic plastic form, imbued with the heroic-epic principle and the pathos of asserting a positive ideal. For quite a long time it developed in wall painting.

The historical genre originated in antiquity, combining real historical events with myths. That is why the paintings of this genre are often saturated with mythological and biblical characters.

Plots of ancient mythology, Christian legends are the basis for creating paintings of the historical genre.

Historical events were reflected in the sculptures of Ancient Greece, the reliefs of Ancient Egypt, which depicted scenes of military campaigns and triumphs.

In the medieval art of Europe, the historical genre was expressed in miniature chronicles, in icons.

AT easel painting historical genre formed during the Renaissance (XVII-XVIII centuries).

Spanish artist Diego Velazquez.

Magnificent, mysterious, incomprehensible, more vital than life itself - this is how researchers characterize the work of Diego Velasquez. Velasquez was incredibly lucky. court painter, who spent his life in communion with monarchs, who had the opportunity to travel and admire the most beautiful treasures of world art, he was favored with fame during his lifetime, receiving well-deserved recognition not only from the royal family, but also from other painters of his time. And this despite the fact that he managed to achieve the greatest truthfulness in their works without flattering anyone, not even the most powerful persons of this world.

Velazquez deserves such exceptional recognition. Gifted with extraordinary talent, the artist hones his skills throughout his life and, thanks to his extreme diligence, eventually reaches the highest creative heights.

D Iego Velasquez created one of the first realistic easel paintings "Surrender of Breda". The canvas was intended to decorate the hall of the royal palace in Madrid. The picture is a dramatic episode of the war between Spain and Holland, when the Spanish army conquered a fortress in the Dutch city of Breda. The artist portrayed the winners without the usual solemnity, impartially. On the right part of the picture we see the orderly ranks of the Spaniards, the underlined character of their army.

On the left parts are located by the Dutch. In the very center paintings, the artist depicted the commandant of the fortress and the Spanish leader. By your work Velazquez shows not only the Spanish winners, but also the Dutch, who honorably fulfilled their civic duty, not ashamed of defeat. (1, p 98.99)

Pictures of the historical genre are most often filled with dramatic content, they show us the full depth of human relations, they clearly express the ideas of high patriotism, national position.

M
master of historical genre artist Anton Pavlovich Losenko created a beautiful composition on a national theme "Vladimir and Rogneda".

The work depicts the daughter of the prince of Polotsk, whom Vladimir forcibly took as his wife, defeating the army of her father and brothers. (1, p99).

Look at work Anton Pavlovich Losenko "Farewell of Hector to Andromache".

To
artina serves as a clear example of the basic principles adopted in historical painting. The construction of the picture is quite interesting - left and right secondary characters are placed along the edges of the canvas, in the background pictures focus on the main action. This technique is typical for historical painting. (1,100)

In the art of the 20th century, the historical genre was perceived by artists as an interest in antiquity, the spiritual atmosphere of a bygone era. (1, p. 100).

Valentin Serov "PeterI”, Andrey Petrovich Ryabushkin “Wedding train in Moscow”, Sergey Ivanov “Arrival of foreigners in MoscowXVIIcentury."

Valentin Alexandrovich Serov "PeterI».

The painting was commissioned by the publisher and bookseller Iosif Nikolaevich Knebel to be reproduced in a series of "school pictures" on Russian history. "Scary, convulsively, like an automaton, Peter walks ... He looks like the Deity of Rock, almost like death; the wind hums at his temples and presses into his chest, into his eyes. The experienced, hardened "chicks" from which he washed away the last raid of lordly sybaritism, whom he turned into batmen and messengers.Looking at this work, you feel that ... a formidable, terrible god, savior and punisher, a genius with such gigantic inner strength that he owes him was to submit to the whole world and even the elements,” wrote Alexander Benois about the painting. “Genius is a friend of paradoxes” - Serov saw Peter in that paradoxical “two-unity” that Benois expresses in the words “savior and punisher” and which Pushkin formulated in Poltava with striking accuracy and laconism:

His eyes
Shine. His face is terrible.
The movements are fast. He is beautiful,
He's all like God's thunderstorm.

Serov's painting represents not only Peter, but also his equally "terrible and beautiful" creation, like himself, - Petersburg. Peter and his retinue march through the uninhabited, harsh land, where cows roam, "along the mossy, marshy shores," to which the heavy Neva waves approach, "boiling and swirling like a cauldron." In the background is a panorama of the city, a number of buildings along the river bank, among which rises the sparkling spire of the Peter and Paul Cathedral, as if illuminated by the sun, peering into the distance during a thunderstorm. This panorama, this pale lilac water, the color of which contrasts so sharply with the general tone of the picture, resembles a somewhat conventional theatrical scenery against which the action unfolds. It is known that the construction of the Peter and Paul Cathedral with its famous spire was completed only almost a decade after the death of Peter. The spectacle in the background is a beautiful vision, like a prophecy about the future great city:
A hundred years have passed, and the young city,
Midnight countries beauty and wonder,
From the darkness of the forests, from the swamp blat
Ascended ardently, proudly.

Andrey Petrovich Ryabushkin "Wedding Train in Moscow".

AT
In 1901, the most charming and lively, the most Ryabushkinian of his historical and everyday paintings, “Wedding Train in Moscow (XVII century)”, was painted. Pre-Petrine Moscow appears before us on the canvas, distant and at the same time tangibly quivering, colorful and full-blooded. Evening of early spring. The wooden street of ancient Moscow plunges into a gray-greenish haze. Evening twilight envelops the log walls of houses, a snow-covered street with a spring puddle. Only in the distance, on the domes and drums of churches, the red-orange rays of the sun burn out. And in the midst of this silence, in the soft haze of the evening, the bright radiance of the festive train suddenly appears. A red carriage, red-orange and yellow-gold caftans, colorful clothes of women - everything merges into a single color chord. Swiftly, like a rapidly fading vision, the train rushes by. Figures of people, carriages, horses slide easily..

FROM ergey Vasilyevich Ivanov "The arrival of foreigners in MoscowXVIIcentury."

And
Vanov acted as an innovator of the historical genre, composing episodes of the Russian Middle Ages - in the spirit of Art Nouveau - almost like film shots, captivating the viewer with their dynamic rhythm, "presence effect" (Arrival of foreigners in Moscow XVII century, 1901 ); "Tsar. XVI century "(1902), Campaign of the Muscovites. XVI century, 1903). In them, the artist took a fresh look at the historical past of the motherland, depicting not the heroic moments of events, but scenes of everyday life from ancient Russian life. Some images are written with a touch irony,grotesque. (5, Wikipedia)

Historical landscape.

AT In the landscape genre, historical events are indirectly embodied, which are reminded of by the depicted architectural and sculptural monuments associated with these events. Such a landscape is called historical. He revives the past in memory and gives it a certain emotional assessment.

Representatives of the historical landscape First of all, you need to name Nicholas Roerich and Appolinaria Vasnetsov. Both were fond of archeology and were great connoisseurs of Russian antiquity. In 1903 Roerich paints Izborsk towers, a cross on the Truvorov settlement, later resurrects the military past of the ancient city in paintings "Watch", "I See the Enemy", "Slavic Land".

X The artist set himself the task of glorifying the beauty of ancient Russian architecture in the language of painting, convincing his contemporaries of the great value of ancient monuments.

Appolinary Mikhailovich Vasnetsov in urban landscapes he restored pictures of the life of our ancestors. He wrote to MoscowXVIIcentury. (2, p. 93.94).

Moscow at the end of the 17th century Konstantin-Eleninsky Gate All Saints Monastery of the century

As an independent genre, landscape appeared in Chinese art as early as the 6th century. The landscapes of Chinese artists are very spiritual and poetic. They seem to absorb ideas about the immensity and boundlessness of the natural world.

in European art until the 16th century. the landscape served only as a background for a thematic painting or portrait. The prerequisites for the formation of the landscape genre are formed in the Renaissance. Why is this happening? Artists turn to a direct study of nature, build space in paintings based on the principles of a scientifically developed perspective, the landscape becomes a real environment in which the characters live and act. At the same time, the difference in the approach to the image of nature among Italian artists and masters of the Northern Renaissance is revealed. (4, p. 109).

Benois Alexander Nikolaevich "Parade under PaulI»

Painting by Alexandre Benois Parade in the reign of Paul I was part of a series of paintings on scenes from Russian history commissioned by the artist in 1907 by the historian S. A. Knyazkov.

The artist takes the viewer to the end of the 18th century. A picture of an army parade unfolds on the winter parade ground. Emperor Paul I, in the company of his two sons, is watching what is happening. Representatives of the royal dynasty are depicted on horseback. The figures of the riders are full of comic grandeur. They arrogantly look at a group of soldiers and officers. One of the servicemen, stretching out and tearing off his cocked hat, froze, numb with horror under the withering gaze of the royal person.

H
in the foreground of the picture Parade in the reign of Paul I Alexandre Benois depicts a barrier. Introduction to the composition of this subject is quite symbolic. On the one hand, he does not allow the viewer to immerse himself in what is happening, on the other hand, he closes the emperor’s exit: in the background of the canvas, against the background of the gloomy sky, the fatal facade of the unfinished Mikhailovsky Castle was menacingly marked - here on the night of March 12, 1801, as a result of a conspiracy, Paul I will be killed by officers .

Vasily Ivanovich Surikov

What we see in the picture happened on November 17 or 18, 1671 (7180 according to the old account "from the creation of the world"). The Boyarina had been in custody for three days "in people's mansions in the basement" of her Moscow house. Now they “put a chain on her neck”, put her on firewood and took her to prison. When the sleigh caught up with the Chudov Monastery, Morozova raised her right hand and, “clearly depicting the addition of fingers (Old Believer two-fingered), lifting high, often enclosing the cross with a cross, and often ringing with a chain.” It was this scene in "The Tale of the Boyar Morozova" that the painter chose.

In Surikov's picture, the noblewoman addresses the Moscow crowd, to the common people - to the wanderer with a staff, to the old beggar woman, to the holy fool, and they do not hide their sympathy for the noble prisoner. And so it was: we know that the lower classes rose up for the old faith, for whom the encroachment of the authorities on the rite sanctified by centuries meant an encroachment on the whole way of life, meant violence and oppression. We know that wanderers, the poor, and the holy fools found bread and shelter in the noblewoman's house. We know that people of her class blamed Morozova precisely for her adherence to the "simple" people: "You accepted into the house ... holy fools and others like that ... holding on to their teachings." But there was another person to whom on that November day Morozov stretched out two fingers, for whom she rattled the chains. This man is Tsar Alexei Mikhailovich. For the tsar, she was a stumbling block: after all, it was not about an ordinary disobedient, but about Morozova - this name sounded loudly in the 17th century!

And yet a special place belongs historical genre, which includes works on themes of great public resonance, reflecting events significant for the history of the people. When a painting or sculpture tells about the life of the distant or recent past, it approaches the everyday genre. However, the work does not have to be devoted to the past: it can be any important events of our day that are of great historical significance (3, p. 198).

mythological genre

Gradually becoming an independent genre, in the XVII century. the landscape still retains a connection with the historical or mythological picture. Nature appeared on the canvas not in its ordinary form, but as a kind of beautiful world. Such are the landscapes Claude Lauren, French artist who worked in Italy .. In his paintings - a magical land where mythological heroes live ("Landscape with the Abduction of Europe", "Morning in the Harbor", "Noon", "Evening", "Night"). This is an ideal landscape, an image of a dream, an idyll. (4, p. 110).

Landscape with the Rape of Europa Morning in the Harbor Noon

With great skill, the artist depicted the play of the sun's rays at different hours of the day, the freshness of the morning, the heat of midday, the melancholy shimmer of twilight, the cool shadows of warm nights, the brilliance of calm or slightly swaying waters, the transparency of clean air and the distance covered with light fog.

The mythological genre in the visual arts is dedicated to the heroes and events that the myths of ancient peoples tell about. This genre is closely related to the historical and receives the greatest recognition in the Renaissance. The basis for creating paintings of the mythological genre are ancient legends. Prominent representatives of this genre are Botticelli "The Birth of Venus", "Mystical Christmas"; Giorgione "Sleeping Venus", Velasquez "Bacchus".(1, p. 100).

Botticelli "The Birth of Venus"

And
art of Italy in the 15th century. Renaissance.

The painting “The Birth of Venus” is far from pagan chanting of female beauty: the artist seeks to glorify spiritual beauty, and the naked body of the goddess means naturalness and purity that do not need decorations. Venus is depicted as a bashful girl with timid sadness in her eyes.

O One of the main ideas of the picture is the idea of the birth of the soul from water during baptism. Nature is represented by its main elements - air, earth, water. A light breeze, blown by Aeolus and Boreas, excites the sea, depicted as a bluish-green surface with schematic signs of waves. Three rhythmic episodes with different intensity develop against the background of a wide sea horizon: blowing winds, Venus emerging from a shell, and a maid accepting the goddess in a flower-adorned veil - a symbol of the earth's cover. Three times the rhythm is born, reaches its maximum tension and goes out. It is felt in the curve of the young body of the goddess, and in the curly strands of her golden hair, beautifully fluttering in the wind, and in the general consistency of the lines of her hands, her legs slightly set aside, and the turn of her head.

Alessandro Botticelli "The Mystical Nativity"

And Italian art of the 15th century. Renaissance.

Painting by artist Sandro Botticelli “Mystical Christmas”. The size of the master's work is 108.5 x 75 cm, tempera on canvas. In this picture, Botticelli depicts a vision where the image of the world appears without boundaries, where there is no organization of space by perspective, where the heavenly is mixed with the earthly. Christ was born in a wretched hut. Mary, Joseph and the pilgrims who came to the place of the miracle bowed before Him in reverence and amazement. Angels with olive branches in their hands lead a round dance in the sky, glorify the mystical birth of the Child and, descending to earth, worship Him. The artist interprets this sacred scene of the appearance of the Savior into the world as a religious mystery, presenting it in a “common” language. He consciously primitivizes forms and lines, complements intense and colorful colors with an abundance of gold. Sandro resorts to the symbolism of scale ratios, increasing the figure of Mary in comparison with other characters, and to the symbolism of details, such as branches of the world, inscriptions on ribbons, wreaths. Angels in the sky are circling in an ecstatic round dance. The whirlwind of their robes is outlined with a piercingly clear line. The figures stand out clearly against the blue and gold of the sky. On the ribbons wrapping around the branches, inscriptions from prayer hymns are read: “Peace on earth, goodwill towards men” and others.

Giorgione "Sleeping Venus"

P
The poetic peak of Giorgione's art was "Sleeping Venus" - the only one of the artist's paintings on a mythological plot that has come down to us. It also became a kind of result of all Giorgione's thoughts about man and the world around him, it embodied the idea of a free, unclouded existence of man among poetic nature. In 1525, M. Michiel wrote about her: “The painting on canvas depicting a naked Venus, who is sleeping in a landscape, and Cupid, was painted by Giorgione from Castelfranco, but the landscape and Cupid were completed by Titian”

Velasquez "Bacchus"

T
Ryumph of Bacchus the Drunkard. The painting was painted, or, in any case, completed by Velázquez in 1629. In this picture, the bright creative independence of the artist is revealed. His idea is bold and unusual. A picture painted on a mythological plot. Velázquez depicts a feast of Spanish vagabonds in the company of the ancient god Bacchus against the backdrop of a mountain landscape. The god of wine and fun is depicted here as a friend and helper of the poor. Bacchus crowns a kneeling soldier with a wreath, who probably deserved such a reward for such an addiction to drinking. Half-naked, like his satyr companion, the god sits cross-legged on a barrel of wine. One of the participants in the feast brings a bagpipe to his lips to mark this jokingly solemn moment with music. But even hops cannot drive out of their minds the thought of hard work and worries.

But especially charming is the open and straightforward face of a peasant in a black hat with a bowl in his hands. His smile is conveyed unusually vividly and naturally. It burns in the eyes, illuminates the whole face, makes his features motionless. The nude figures of Bacchus and the satyr are painted like everyone else, from nature, from strong village boys. Velazquez captured here the representatives of the social lower classes, conveying truthfully and vividly and expressive appearance, faces hardened under the hot sun, full of ingenuous fun, but at the same time marked with the seal of harsh life experience. But this is not just a drunken revel, there is a feeling of a Bacchic element in the picture. The artist is not interested in the actual mythological side of conjecture, but in the atmosphere of the general elation of images that arises due to the introduction of mythological characters, as if familiarizing with the forces of nature. The artist finds such forms of characterization that do not separate the sublime from the base. In his depiction of Bacchus, a dense young man, with a peaceful, ingenuous face, acquired purely human qualities.

Reflection.

Answer the questions:

Name the Spanish painter, court painter of King Philip IV, who painted on religious, mythological, historical themes, scenes from folk life (“Bacchus”, “Surrender of Breda”, “Innocent X”, “Spinners”, etc.)

A) B. Murillo;

B) L. De Morans;

C) S. Coelho;

D) D. Velasquez.

Which of the Russian classicist artists painted the paintings “Zeus and Thetis”, “Vladimir and Rogneda”, “Farewell of Hector and Andromache”?

A) G.I. Ugryumov;

B) D.G. Levitsky;

C) I.N. Nikitin;

D) A.P. Losenko.

Summing up the lesson.

Literature:

Guseva O.M. Lesson developments in fine arts: Grade 6. – M.: VAKO, 2012. – 192 p.

Art. 6th grade. Lesson plans for the L.A. Nemenskaya. At 2 o'clock. Part I / Comp. M.A. Porokhnevskaya. - Volgograd: Teacher - AST, 2004. - 96 p.

Art. Grade 6: lesson plans for the program, ed. B.M.Nemensky / ed.-comp. O.V. Pavlova. - Volgograd: Teacher, 2008. - 286 p.

Fine art lessons. Art in human life. Lesson developments. Grade 6 / [ L.A. Nemenskaya, I.B. Polyakova, T.A. Mukhina, T.S. Gorbachevskaya]; ed. B.M. Nemensky. - M .: Education, 2012. - 159 p.

http://ru.wikipedia.org/ Wikipedia. Sergey Ivanov.

http://images.yandex.ru/yandsearch? Serov artist

? Nicholas Roerich

http://images.yandex.ru/yandsearch? Appolinary Mikhailovich Vasnetsov

http://images.yandex.ru/yandsearch? Benois Alexander Nikolaevich

http://webstarco.narod.ru/ Benois "Parade under Paul I

http://www.centre.smr.ru"Boyar Morozova" painting by Surikov

http://en.wikipedia.org/wiki/ Lauren "Afternoon"

http://gallerix.ru/storeroom

http://images.yandex.ru/yandsearch Sandro Botticelli