1879 - the discovery of the painting of the Spanish cave of Altamira by Marcelino Sautuollo.
Periodization:
1. Paleolithic(Old Stone Age)
lower middle upper
100-40 thousand BC - 10 thousand BC
Mesolithic (Middle Stone Age) - 10-8 thousand BC
Neolithic (New Stone Age) - 8 - 5 thousand BC.
Eneolithic (Copper Stone Age) -4-3 thousand BC
II. The era of Copper and Bronze - 2 thousand BC.
III. Age of iron - 1 thousand BC
On the edge Middle and Upper Paleolithic Homo Sapuens appeared, a variety of stone tools (points, sewn clothes), the exclusion of close relatives from family relations, the emergence of regular marriage, the formation of a family, tribal relations.
Upper Paleolithic- the emergence of speech, religion, art. Main occupations: hunting, gathering, hoe farming. Tools of labor: spears, darts, needles. The emergence of artificial housing. Sedentary lifestyle. Forms of primitive religion: totemism- belief in the supernatural family ties of people with any kind of animals, fish, insects; animism(spirit, soul) - belief in the existence of supernatural forces in the form of spirits; fetishism- the worship of inanimate objects, which were prescribed supernatural power. Magic- actions based on a person's belief in their ability to influence supernatural forces.
Neolithic upheaval: the emergence of agriculture and animal husbandry (cattle breeding), permanent settlements, the emergence of unions of tribes and nationalities.
General characteristics of the art of the primitive era:
- Syncretism(fusion, indivisibility), i.e. art was closely intertwined with all existing forms of culture and art: religion, mythology, etc. Thus, art exists in an indissoluble unity, forming the so-called. primitive syncretic cultural complex.
- conservatism- all artistic images are variations of a traditional theme that has been established for centuries.
- The role of the animal- the zoomorphic character of fine art, even in the anthropomorphic sculpture of Venus. The predominance of the image of the animal, because. it provided a person with food, clothing, all the interests of a person were connected with it.
In primitive art, the utilitarian preceded the aesthetic: to kill an animal, it was necessary to know its most vulnerable places, behavior, etc. In the beginning, a person learned to grasp and imprint the outlines and plastic forms of objects, and then to distinguish and reproduce colors.
The evolution of painting:
- human handprints
- linear pattern(macaroni) - wavy lines made by stroking along the contour or splashing paint that fills open areas.
A contour drawing in which the figures of animals, animal heads were guessed. The images are often not finished, the proportions are not respected, only the most important features of the body, head, and external signs of the subject were transmitted. The image was applied to the stone by carving or drawn on wet clay.
The most famous paintings of the Late Paleolithic were found at the end of the 19th century. in caves: France - Font de Gome, Lascaux, Montignac, Montespan, Nio, 3 brothers, etc.; Spain - Altamira Cave. Total at the end of the 20th century. more than 300 caves of primitive art were discovered: France - 150, Spain - 125, Italy - 21, Portugal -3, Russia - 2.
The body of the animal was depicted in profile, and the hooves and horns were depicted in full face or ¾. In contour planar painting, a transition to detail-hatching was gradually outlined.
- hatching- oblique strokes depicting animal hair.
In the future, the figures were completely painted over with paint, and the contour line began to play a subordinate role. Comes to the fore
- color spot, applied with earthen (ocher) paint (brown, yellow or black), which created the impression of volume.
Image of bulls, bison, horses 1.5 m in size using ledges and uneven walls of the cave. The image of bison in the Altamira cave: a steep ridge, all the bulges of the body are visible: muscles, elasticity of the legs; the feeling of the beast's readiness to jump, the eyes looking askance - this is no longer an elementary drawing, but the attitude towards the beast not only as prey - a source of food, but also admiration for him, respect as the patron of the family. However, primitive realism remains intuitively spontaneous, because consists of separate concrete images. It has no background, no composition in the modern sense of the word.
With the transition of man to complex forms of labor, in addition to hunting and fishing, the appearance of agriculture and cattle breeding, the invention of arrows and bows, earthenware, metal objects appear, changes occur in the art, in which
- image schematization and their narrative: attempts to convey the action, event (scenes of hunting, military operations). Iso is already one-color (black or white). Rock paintings in Spain, South Africa, Karelia (Russia) depict a man in action (battle scenes, multi-figured compositions). Then the images become more conventional, especially human figures.
By the end of the Mesolithic, by the Neolithic, conditional figurative images gradually give way to various signs and symbols, random interweaving of lines, dots, schematic signs - such images were called petroglyphs, those. stone inscriptions (on the rocks of Karelia, Uzbekistan, the shores of the White Sea, Lake Onega). Hunting scenes, etc. are narrated in a conditional form.
primitive sculpture:
Animal figurines are totems found in hunter settlements and carved from bone, horn or stone. Sculptures of women (5-10 cm) are the so-called. Venus, associated with the cult of the mother-grandmother, having magical significance, as indicated by the absence of a face image. Finds in Willendorf (Austria), Menton and Lespug (France), Savignino (Italy), the village of Kostenki (Voronezh region). Paleolithic Venus from Willendorf - swollen belly, bulky breasts - vessels of fertility, i.e. treating humans as if they were animals.
Dwellings: grottoes, caves, then settlements, parking lots, consisting of several dwellings: a recess 1/3 into the ground, without windows, doors, made of branches, skins, reeds, with a hole at the top. Dishes made of birch bark, coconut, pumpkin, clay, leather. Products were stored in wicker baskets coated with clay. So in the Mesolithic era, an ornament appears (lat. "decoration") as traces of weaving, smeared with clay. Subsequently, the ornament was artificially applied in order to give objects magical effects (these are parallel stripes, double spirals, schematized images of people and animals).
Architecture:
By the end of the existence of the primitive period, types of architectural structures appear, called cyclopean, in which the walls of the fortresses were made up of huge roughly hewn blocks - stones (France, Sardinia, the Balkan Peninsula, Transcaucasia). In addition to the cyclopean fortresses - defensive structures, the so-called. Megalithic buildings, i.e. built from large boulders:
- menhirs- vertically standing stones-pillars (idols). The oldest of them belongs to the Bronze Age (2 thousand BC), more than 20.5 m high.
- dolmens- the oldest burials - tombs, to which long corridors led. They were covered with earth (hill).
- cromlechs- the oldest Sanctuaries of the sun (Avebury and Stonehenge Great Britain, 2 thousand BC) The height of the "blue blocks" is up to 7 m, weight - 50 tons.
In the forest zone of Europe in the 2nd half. 1 thousand BC settlements were located - "fortifications", fortified with ramparts and log fences.
primitive art
primitive art- this is a modern, long-rooted name for various types of fine art that appeared in the Stone Age and lasted about 500 thousand years. In the Paleolithic - the ancient Stone Age, it was represented by primitive music, dances, songs and rituals, as well as geoglyphs - images on the surface of the earth, dendrographs - images on the bark of trees and images on animal skins, various body decorations using colored pigments and all kinds of natural items, such as beads, are popular at the present time. But all of the above is not able to withstand the onslaught of destructive time. Therefore, only abstract signs were preserved and gradually discovered, artificially carved on superhard rock surfaces in Central India, northern Australia and Peru, as well as animalistic cave painting, zoomorphic and anthropomorphic sculpture of small forms made of bone and stone, engravings and bas-reliefs on bone, stone tiles and horn, the Upper Paleolithic time (35.000 - 30.000 thousand years) and numerous accumulations of rock carvings on the surfaces of rocks in the open, the Neolithic era, or the new Stone Age, (11.000 thousand years), known to all inhabited continents. The ruins of various megalithic structures in Europe, South America and Asia also belong to the Neolithic (for example: Stonehenge in Salisbury, with vertically mounted stones in a circle - cromlechs, weighing up to 50 tons, Great Britain, ordered rows of large uncut obelisk stones, on an endless Karnak field, called menhirs, and grave complexes from unprocessed large stones, for example, the Korkonnsky dolmen, Morbigan, France).
The first of the works of primitive art discovered during excavations were magnificent, realistic, engraved images of animals on the surfaces of bones, long-extinct animals of the Pleistocene era (2.2 million years - 11,000 thousand years) and hundreds of tiny beads made from natural materials (petrified calcite sponges) , found by Boucher de Perth, for the first time, in the 30s of the XIX century in France. But then, these findings turned out to be the subject of a fierce dispute between the first amateur researchers and dogmatic creationists represented by clergy, confident in the divine origin of the world. As a result, amazing, unusual finds did not inspire confidence both among professional scientists of the French Academy of Sciences and among the general public. The revolution in the views on primitive art was made by the discovery of Paleolithic cave painting. In 1879, Maria, the eight-year-old daughter of the Spanish amateur archaeologist M. de Sautuol, discovered on the vaults of the Altamira cave, in northern Spain, a cluster of large, from one to two meters, images of bison, painted with red ocher in various, complex poses. These were the first, officially published in 1880, Paleolithic paintings discovered in the cave. Currently, about forty caves with Paleolithic paintings are known in Australia, South Africa, Russia, Spain and France. The skill of ancient artists was reflected in the ability to convey the dynamics and characteristic features of animals through visual means. The first message about this, in Russian, appeared only in 1912, in a translation from French of the sixth edition of the course of public lectures by Solomon Reinac, read by him at the Louvre School in Paris in 1902-1903. At present, researchers from two international organizations ICOMOS (ICOMOS) - uniting professional researchers and IFRAO (IFRAO), an association of amateur researchers, which already includes 50 national organizations from all over the world, are studying primitive fine art.
primitive sculpture
rock painting
A bison attacks a man.
Rock paintings were made in the Paleolithic, in caves. The material for creating images was [paint] from organic dyes (plants, blood) and charcoal (the scene of the battle of rhinos in the Chauvet cave - 32,000 thousand years). As a rule, cave paintings and charcoal drawings were carried out taking into account [[volume, perspective, color of the rocky surface and the proportion of figures, taking into account the transmission of the movements of the depicted animals. The rock paintings also depicted scenes of fights between animals and humans. All primitive painting, as part of primitive fine art, is a syncretic phenomenon and was presumably created in accordance with cults. Later, images of primitive fine art acquired the features of stylization. Many examples of cave paintings are UNESCO World Heritage Sites (UNESCO World Heritage Site).
Megalithic architecture
Types of megalithic structures
- menhir - a single vertically standing stone
- cromlech - a group of menhirs forming a circle or semicircle
- dolmen - a structure made of a huge stone, placed on several other stones
- taula - a stone structure in the shape of the letter "T"
- trilith - a structure made of a block of stone, installed on two vertically standing stones
- seid - including a building made of stone
- cairn - a stone mound with one or more rooms
- covered gallery
- boat-shaped grave
Purpose
The purpose of megaliths cannot always be established. For the most part, according to some scholars, they served for burials or were associated with a funeral cult. There are other opinions as well. Apparently, megaliths are communal structures with a socializing function. Their erection represented the most difficult task for primitive technology and required the unification of large masses of people. Some megalithic structures, such as the complex of over 3,000 stones at Carnac (Brittany), France, were important ceremonial centers associated with the cult of the dead. Other megalithic complexes have been used to determine the timing of astronomical events such as the solstice and equinox. In the area of Nabta Playa in the Nubian desert, a megalithic structure was found that served for astronomical purposes. This building is 1000 years older than Stonehenge, which is also considered a kind of prehistoric observatory.
Houseware
Literature
- Formozov A.A. 1966. Monuments of primitive art on the territory of the USSR. M. 126 p.
- Frolov B.A. 1992 Primitive graphics of Europe. M., Science.
- Semyonov V.A. 2008. Primitive art. Stone Age. Bronze Age. New history of art. ABC-Classic. S-Pb.
- Mirimanov V.B. 1997. Art and myth. The central image of the picture of the world. M., Consent.
Links
- Kravchenko A.I. Culturology: Textbook for universities.
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See what "Primitive Art" is in other dictionaries:
Art of the era of the primitive communal system. Its oldest monuments known to science have been found in Western Europe (mainly in France and Spain). They date from the same Late Paleolithic period as the appearance of man... Art Encyclopedia
Art of the era of the primitive communal system (See Primitive communal system). P. i. emerged around the 30th millennium BC. e., in the late Paleolithic, when a person of the modern type appears. Fixing the results of labor experience in art, ... ...
Art of the era of primitive society. It arose in the Late Paleolithic ca. 33rd millennium BC e., reflecting the living conditions and views of primitive hunters (primitive dwellings, cave images of animals full of life and movement, female figurines). At… Big Encyclopedic Dictionary
Art of the primitive era. It arose in the late Paleolithic (cave painting and graphics, small plastic, engraving on stone and bone). The prevailing motifs (images of animals, people, ornament) had a magical character. The farmers and... encyclopedic Dictionary
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Vincent Van Gogh. Starry Night, 1889 ... Wikipedia
Rock art in the cave of Lascaux, France, approximately 14 thousand years BC. e., Upper Paleolithic Primitive society (also prehistoric society) period in the history of mankind before the invention of writing ... Wikipedia
A form of creativity, a way of spiritual self-realization of a person through sensually expressive means (sound, plasticity of the body, drawing, word, color, light, natural material, etc.). The peculiarity of the creative process in I. in its indivisibility ... Philosophical Encyclopedia
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The problem of the relationship between fine arts (I. and.) and mythology covers a wide range of issues related both to the genesis of I. and., and with the features of the language of I. and. and its ability to adequately convey the content of mythological texts, ... ... Encyclopedia of mythology
Books
- Primitive art. Artistic processing of hard and soft stone, Mikhail Prokopyevich Ermakov, The textbook, which is the first of its kind in the CIS countries and abroad, outlines the basics of primitive art and artistic stone carving. The evolution of stone processing technologies… Category: Jewelery Publisher:
FEDERAL AGENCY FOR EDUCATION
abstract
"Art of the Primitive Age"
Moscow 2009
Introduction
1. Paleolithic Art
2. Art of the Mesolithic and Neolithic eras
3. Art of the Bronze Age
4 Iron Age Art
Conclusion
Literature
Introduction
Primitive art is considered to be the art of primitiveness, i.e. from the appearance of Homo sapiens to the emergence of class societies. Primitive art covers many millennia: several periods of the late, or upper, Paleolithic (Old Stone Age, 35–10 thousand years BC), Mesolithic (Middle Stone Age, ca. 10–5 thousand years BC) .), the Neolithic (New Stone Age, ca. 5–3 thousand years BC), the Bronze Age (3–2 thousand years BC) and the Iron Age (1 thousand years BC). e.). The Paleolithic periods are named after archaeological finds. The epochs of human development in different parts of the Earth do not coincide in time.
The term "primitive art" in no way means a simplified, low-level creativity. On the contrary, works created at the dawn of mankind cause amazement and admiration. During this period, all the main types of art arose: painting, graphics, sculpture, arts and crafts, architecture. Two main approaches to the image were clearly revealed: realism, following nature and conventionality, this or that transformation of nature in order to achieve certain goals.
The existence of primitive art was discovered quite recently, in the second half of the 19th century, when small sculptures, individual drawings on bone or stone, on the walls of caves began to be found. Monuments (works) of primitive art were discovered in various places on the globe, because by the end of the Paleolithic, all land on more or less habitable areas was inhabited by people.
The main occupations of primitive people were the gathering of plants suitable for food, and the hunting of large animals - bison, woolly rhinoceros, mammoth, cave bear, wild horse, deer, wild boar. At the end of the Paleolithic, a person could already make various tools, build dwellings, and sew clothes using bone needles.
The improvement of material culture was consistent and gradual. In this regard, from the point of view of modernity, the Upper Paleolithic man was, of course, at a primitive stage of development, and the development of art was different - primitive people created works that today are considered great creations! Why did art appear so early and in such a mature form? What was the path of its initial development?
What we now call primitive art originated as part of a single human life activity, in which work and communication, knowledge of the surrounding world and self-knowledge, magical rites and artistic creativity were indissolubly combined. Primitive art was of a syncretic nature - art, mythology and religion were inseparable from one another. Artists in the modern sense, i.e. of course, there were no people involved in art as a profession. The images were created by the same hunters, although this was probably done by the most capable of artistic creativity.
The most important feature of primitive art is a special interest in the beast, which reflected the dependence of man on the world around him, on the forces of nature. Undoubtedly, the image of a person also occupied a certain place in it, and in recent periods it has in many cases acquired a leading position. However, in primitive art as a whole, the image of a person is not so important compared to the art of subsequent eras, where a person will play a central role, and everything else will become only a background against which his activity unfolds.
1. Paleolithic Art
An amazing discovery was made in 1879 in the north of Spain in the cave of Altamira, the entrance to which had previously been filled up. Many color images of animals were found here.
The halls of the cave stretch for more than 280 m in length. The most famous of them is the Animal Hall. Images of living and dead bison, bulls, deer, wild horses and wild boars cover the walls and ceiling. In most cases, figures of animals up to 2.2 m in size are painted with ocher, charcoal on bare walls and vaults, and partially engraved. Brown and black colors contain diverse shades, in addition, ancient artists skillfully used natural relief ledges on the rocky surface, which enhanced the light and shade modeling of the form. The movements of animals, the texture of their fur are exceptionally accurately conveyed. Unfortunately, many of the images have darkened over time.
One of the drawings on the ceiling of the Altamira cave depicts a powerful figure of a bison. The drawing, which is about 20 thousand years old, is not only contour, but also three-dimensional. It is done with bold, confident strokes, combined with large splashes of paint. The buffalo is full of life, one can feel the trembling of its tensing muscles, the elasticity of short strong legs, one can feel the readiness of the beast to rush forward, bowing its head and putting out its horns. No, this cannot be called primitive painting. Such "realistic mastery" would be the envy of a modern animal painter.
Along with the figures of animals drawn and engraved in the rock, there are also very schematic drawings in Altamira that vaguely resemble human bodies.
The murals so impressed scientists that at first they were declared fake: no one could believe that such images were created by a primitive man. However, the discoveries of caves with paintings in different countries began to follow one after another, and all doubts disappeared. Usually the images were found in the damp and dark depths of the caves, where it is difficult to get there - you have to make your way through narrow corridors, through wells and cracks, often crawling, even swim through underground rivers and lakes. At present, about a hundred such caves have been discovered in France alone, the most famous of which is Lascaux.
On the territory of our country, the Kapova Cave in the Southern Urals is especially famous, in which in 1959 more than three dozen drawings of animals made in red paint were found, unfortunately, some of them are poorly preserved.
Murals and reliefs covered tens, hundreds of meters or even several kilometers of walls and vaults. The sizes of animal images range from 10 cm to several meters. For example, in the Kapova cave there are images of mammoths, horses, rhinos from 44 cm to 1.12 m; life-size bison are painted on the ceiling of Altamira, and in the Lascaux cave there are images of 4-6-meter bulls.
The places where the images were found were sanctuaries in which magical rites were performed related to hunting and the life of primitive communities. To influence the success of the hunt, people resorted to rituals. The primitive hunter believed that, by drawing animals, he, as it were, subordinated them to himself, and the pierced spear depicted by him killed the beast. Before the images, complex ritual actions were performed, in which elements of dance, singing, instrumental music, and pantomime were combined. At the same time, people painted their bodies in a certain way, put on masks, skins. All these rituals, in addition to magical ones, indirectly performed other functions: thanks to them, human thinking developed, knowledge, skills and abilities, including communication skills, were consolidated and passed on to new generations, emotional relaxation and training took place, and aesthetic needs were satisfied.
The drawings of the Upper Paleolithic era amaze not only with the skill and freedom of execution, but also with the understanding of animal behavior. Knowledge of the habits of animals for primitive hunters was a matter of life and death, the well-being and the very existence of the clan depended on this knowledge. Therefore, penetration into the life of animals, mental merging with them was an essential feature of the psychology of man of the Stone Age. In magical rites, these kind of first "theatrical performances", the beast was endowed with human traits and vice versa.
The animals were depicted in various poses, in motion: they walk, jump, fight, nibbling grass. Often their heads are turned back, as if hunters are chasing them. Primitive people were able to express in paintings, reliefs and engraved images associated with rituals, a certain state of the beast: fear, alertness, rage, threat, surprise, curiosity, calmness, peace. The drawing was executed not with one paint, but with several, it acquired volume, which was facilitated by tone transitions.
Often, a person saw a resemblance to the appearance of a particular animal in a ledge of a wall, in a stalactite, a fragment of a stone or a horn, and created an image on this basis.
Drawing this or that animal on the walls of the sanctuary, a person did not pay attention to the fact that many animals had already been painted there: it was important to fulfill his image, before which the hunters would perform a ritual ceremony. Therefore, the drawings were layered on top of each other, and often so thickly that almost nothing could be made out. Perhaps in such layering there was a deliberate intention to increase the number of conjured animals.
There were stories with animals wounded or killed on the hunt. For example, in the Lascaux cave, next to a bison pierced by a spear, a hunter is drawn, probably killed by this furious, mortally wounded animal. Man, unlike animals, is drawn very schematically. The face is depicted with a bird's beak, possibly a hunter's mask. Next to the man lies a spear-thrower, decorated with a figurine of a bird.
The magical rites of primitive man were aimed not only at the victory over the beast, but also at the reproduction of animals. This is probably why they often painted animals expecting offspring.
A special group is made up of images of strange creatures in which human features are combined with animal features - a deer, a bison, a mammoth, a goat, and various birds. It is possible that the monsters are people disguised as beasts, or invented symbols.
PRIMARY ART - in a broad sense - the art of societies that are at the stage of pre-state and pre-literate development; in a narrow sense - the art of the Stone Age or developing in isolation from the centers of civilizations.
Sometimes primitive art is included in the framework of the nya-tia "tra-di-ci-on-folk art." There is a point of view that primitive art cannot be considered as an art, pre-la-ha-et-sya use the term-min "imo-bra -zi-tel-naya activity. In many works, primitive art, on the contrary, is not you-de-la-et-xia as a specific fe-no-men, but its memory-min-no-ki on -zy-va-yut according to epochs and re-gio-us.
Opening of the first-ever-life-but-th art-kus-st-va. For the first time, the pa-leo-li-ta art pa-leo-li-ta (iso-bra-zhe-la-ney, you-gra-vi-ro-van-noe on the bone of a deer-nya) was from- covered in 1834, during the time of the amateur races-co-pok in the grotto of Chaff-fo (France). However, the age of the walk-ki was put under doubt, and it was introduced into scientific circulation in 1887. On-whether hu-dozh. create-che-st-va in pa-leo-li-te na-cha-whether to recognize after that, as in the case of E. Lar-te and G. Cri-sti in La Madeleine (1864) nay-de-but you-gra-vi-ro-van-noe on the bi-not depict-bra-same ma-mon-ta. One-na-ko fi-gu-ram and sign-kam, about-na-ru-women-nym in Nyo (1864), didn’t give-da-va-elk sign-tion, but grew-pi- si, opened in Al-ta-mi-re (1879), at Me-zh-du-people's con-gres-se an-tro-po-lo-gov and ar-heo-lo-gov in Lis-sa-bo-ne (1880) would there be recognition of the under-del-coy. At-chi-on-to-that-from-no-she-niya to on-hod-kam - in the state-under-stvo-vav-shih evo-lu-cio-ni-st-sky pre-stav-le -ni-yah about the people of the ka-men-no-go-ve-ka as about the-mi-tiv-ny su-shche-st-wah, not capable of artistic creation-che-st -woo. The final recognition of the art of pa-leo-li-ta pro-isosh-lo after the discovery in 1901 by D. Pei-ro-ni, L. Ka-pi- ta-nom, A. Breuil engraved ri-sun-kov in Kom-ba-rel and live-in-pi-si in Font-de-Gaume.
Pro-ble-ma pro-is-ho-zh-de-niya art. This pro-ble-ma na-cha-la about-su-zh-give-sya to open-ty pa-myat-ni-kov pa-leo-li-tich. hu-dog. creative-che-st-va. Within the framework of the "theory of the game", based on es-te-tich. con-tse-tsi-yah by I. Kan-ta and F. Shil-le-ra, raz-vi-val-sya from-re-ra-zha-shchy spirit of ro-man-tiz-ma thesis that claim-in voz-nick-lo as re-zul-tat es-te-tich. create-che-so-go in-boo-g-de-niya che-lo-ve-ka to freedom-bo-de from the forces and for-to-new nature and society . In the future, the thesis about the vro-g-day-nim striving-le-ni-che-lo-ve-ka to hu-doge. creativity is one of the main ones in a number of theories (K. Bücher, French researcher J. A. Lu- ke, French is-to-ric first-in-life-no-sti L. R. Nu-zhye and others). Shi-ro-some recognition in-lu-chi-la point of view about the connection of P. and. with ma-gi-her, especially ben-but after the work of the French. ar-heo-lo-ga S. Rei-na-ka about all-general is-to-rii plastic. Arts (1904).
According to the measure of the factual ma-te-ria-la, the question arose about the gen-ne-zi-se of art. In the middle of the 19th century, J. Bou-chet de Perth you-dvi-null gi-po-te-zu “just one hundred stage-pa”, according to the voice of someone-swarm man-lo-vek -at first-at first, but sub-marked the similarity-in-some-natural objects (stones, reli-e-fa of caves walls, etc.) with animals and people, then began whether, approaching the images, some-rye su-s-st-in-va-li in his cons-on-ni, then he came to sa-mo -sto-yatelnomu artistic creation-che-st-vu. French ar-geo-log E. Piette considered sculpt-tu-ru the most simple and ancient form of my image-making, emerging in re- zul-ta-te under-ra-zha-niya che-lo-ve-ka natural samples. At the beginning of the 20th century, A. Breuil you-de-lil im-bra-zhe, someone could be from-the right point in the process of emerging -niya of the first pa-myat-ni-kov of art: “ma-ka-ro-ny”, or “me-an-d-ry” (groups of para-ral-lel-ny waves lines, drawn on the clay with fingers or on the surface of the rock volume); si-lu-these hands, you are full of both positive or non-positive (for example, from-press) image, and so -same con-tour-noy about-water-coy. In the 2nd half of the 20th century, A. Le-roy-Gurann in the scheme he created for the stylistic evolution of European art of the upper pa-leo-li -ta you-de-lil at the initial stage (style I), ha-rak-te-ri-zo-vav-shy-xia with separate signs and from-sut-st-vi-em syu -zhet-nyh iso-brothers. One-on-ko-opening in Sho-ve ri-sun-kov of the era Orin-yak in-sta-vi-lo under my doubt these and other evo-lu-cio-ni-st -skie theories.
Among the domestic research-after-do-va-te-lei, the most-bo-lea-ver-well-those concepts of the rise-nick-no-ve-nium of the art of sfor-mu-li-ro- vans A.P. Ok-lad-no-ko-vym and A.D. Hundred-la-rum, is-ho-div-shi-mi from the lo-zhe-tion, that the art of the top-not-go-pa-leo-li-ta should-women before-she-st-vo-vat the stage of the symbolic-personal activity of non-an-der-tal-ts and yes, ar-khan-tro-pov. The ancient-shim pro-yav-le-ni-em is an imaginative creation-che-st-va on the rub-be-same middle-not-go and top-not-go-pa-leo-li-ta , according to Sto-la-ru, would there be “on-tu-ral-nye ma-ke-you” of animals - es-those-st-ven-nye (for example, a hundred-lag-mit in ne -shche-rach Ba-zois, Italy) and art-cos-st-ven-nye (for example, stucco in Mont-tes-pan and Pech-Merle, France) os-no-you, co -that-rye-roof-wa-shku-ra-mi cave-ho-ho-honey. In modern research-sle-before-va-ni-yah, these pa-myat-no-ki from-but-syat to sign-chi-tel-but more late-no-mu-me-no, to the epo -he Mad-len, what puts you-said-su-zh-de-nie under co-me.
Modern knowledge about the chrono-lo-gy of cave art and art of small forms is described on radio-coal-le-native yes-you, in including the lu-chen-nye pig-men-tu ros-pi-sei (AMS 14C). But-new on-go-ki for-ka-for-whether that the most ancient pa-myat-ni-ki of primitive art de-mon-st-ri-ru-ut from-personal knowledge on-tu-ry, developed artistic images, layered-living-sya on-you-ki-ra-bo-you are red, complex com-in-zi- qi-on-nye solutions. Discovery of natural objects, on-of-my-nayu-che-lo-ve-che fi-gu-ry and under-ra-bo-tan-nyh trees -ni-mi people-mi in Ashe-le (sto-yan-ka Be-re-hat-Ram, Go-lan-you-so-you, Pa-le-sti-na, 1981; Tan-Tan ), again de-la-yut ak-tu-al-ny-mi gi-po-te-zy J. Bu-she de Per-ta and E. Piet-ta. One-to-pro-ble-ma rise-nick-but-ve-niya art os-ta-et-sya open-covered.
Pain-shin-st-in-the-oldest-my-pa-myat-nik-kov of primitive art ob-on-ru-same-but in the north of Eurasia, mainly in Western Europe ne, with the maximum con-tsen-tra-qi-ey (especially ben-no zhi-vo-pi-si) in the so-called franc-co-can-tab-ry-sky district (south-west France, north of Is-pa-nii).
General ha-rak-te-ri-sti-ka first-in-life-no-go is-kus-st-va
Memories of primitive art from vestments according to samples, you-full-n-nym on a solid breath, preserved to this day ma-te -ria-lah. Iz-bra-zhe-niya on the top-no-sti of a stone representing-becoming-le-na gra-fi-koy (including pet-rog-li-fa) and zhi-vo-pee-sue (see Ros-painting on the rock), someone-paradise was preserved only in the caves. This lets-la-et de-lyat-to-rock-pa-mint-ni-ki of pa-leo-li-tic art on os-ve-puppy-nye (ras-po-la-woof- walking on open tops; for example, Foch-Coa) and on-going in dark-but-those caves, for wasps-mot-ra and the creation of something-ryh tre-bo-va-lis-artificial sources of light. From pa-leo-li-ta from-west-com-po-zi-tion; some of them have a complex solution (for example, drawings of animals from Sho-ve). Color-va-pa-lit-ra is-cher-py-va-et-sya, like right-vi-lo, red-nym, black-nym, yellow-thy-ta-mi, re-is -pol-zu-et-sya white. A binder in paints doesn’t apply, but they are special -you. Already in pa-leo-whether they were from-wes-na-lo-same-flowers (for example, in Al-ta-mi-re), tech-no-pe-re-yes -chi volume-yo-ma with the help of a lu-that-new, one-to-one, yes, in a chrome image-bra-zh-ni-yah is it graphic -niya saves an important value. Our-about-times-we-pro-tsa-ra-pan-nye on clay-ni-steam on-cho-kams on the walls from-wi-li-stye lines, from red-ka-ra -zu-fi-gu-ra-tiv-nye images, as well as images of animals, pro-black-chen-nye and you-le-p- linen from clay on the floor of caves (for example, bi-zones from Nyo and Tuc-d'Auduber). Gra-fi-ka pre-ob-la-da-et and among the images of the brothers on the bones and not-large stones. The ancient-shay sculpt-tu-ra, presenting-le-on-a-shallow pla-sti-coy from tusk, bone, clay, stone, as well as a ba-rel- e-fa-mi, someone, basically, you-se-ka-were on rocky surfaces.
Among the pa-leo-lytic fi-gu-ra-tiv-nyh iso-brothers do-mi-ni-ru-yut about-ra-zy bulls, bi-zo-nov, lo-sha-day, deer-ney, ma-mon-tov, but-so-ro-gov, honey-ve-day, lions (birds and fish ma-lo). Iz-bra-zhe-ny che-lo-ve-ka from the West, but much less; pre-ob-la-da-yut female ob-ra-zy, especially ben-but in small pla-sti-ke (“Ve-ne-ry pa-leo-li-ta”). Fi-gu-ra che-lo-ve-ka can have zoo-morphic ones (for example, “kol-dun” from the Three Cave-brothers), including or-no-to- morphic (for example, “women-schi-we-birds” in Me-zi-ne, Al-ta-mi-re, men with a bird’s head in Las-ko ), elements-men-you; there are stylized images of the female body (the so-called cla-vi-forms). On-a-row with fi-gu-ra-tiv-ny-mi iso-bra-zhe-niya-mi, su-sche-st-vo-va-li signs, a number of them inter-pre -ti-ru-yut as a symbol of female in-lo-or-ga-news, the sun, the moon, natural phenomena, etc. The most ancient or-na-men-you (po-lo-sy, spi-ra-li, plant mo-ti-you), as right-vi-lo, ob-ra-zo-va- we are rit-mich-but in-second-shchi-mi-sya lines-niya-mi, yam-ka-mi, ok-ruzh-no-stya-mi, etc. In me-zo-li-those and neo-li-those images of people and animals de-la-ut-sya more schemes-ma-tich-ny-mi, me-nya-yut-sya sti-li-sti-ka and prin-ci-py or-ga-ni-za-tion com-by-zi-tion, more-more-but-about-time-us- mi sta-but-vyat-sya or-na-men-you.
There is no doubt that primitive art would not be alien to mu-zy-ka, dances, about which we-de-tel-st-vu-yut, for example, on-hod-ki bone flutes, the oldest of some, yes-ti-ru-yut-xia in the middle pa-leo-li-tom (for example, Mo-lo-do-va). In no-o-whether they are-yav-la-et-sya ar-khi-tek-tu-ra (a number of settlements of the Fertile Crescent; see also Me-ga-lit, Me-ga-li- ty-che-kul-tu-ry).
The inclusion of the pro-of-ve-de-niy of primitive art in religious ri-tua-ly already in the pa-leo-li-te is confirmed by the race -ni-em pa-myat-ni-kov in hard-to-do-stupid places-tah caves, on-not-se-ni-em on the image of the “wounds”, for -ho-ro-no-no-eat sta-tu-etok in special pits, etc. Perhaps, already pa-leo-li-tic plot-com-po-zi-tions are connected with mi-fa-mi.
