9 - 1 Art and Power

A curious pattern is constantly observed in the development of human culture. Art as a manifestation of the free, creative forces of a person, the flight of his imagination and spirit

was often used to strengthen power, secular and religious. Thanks to works of art, the authorities strengthened their authority, and cities and statesmaintained prestige. Art embodied the ideas of religion in visible images, glorified and

immortalized heroes. Sculptors, painters, musicians at different times created idealized majestic images of rulers-chiefs. They were given extraordinary

What qualities do artists and sculptors emphasize in the images of statesmen, rulers of different eras and countries? How do these images make you feel?

What are the similarities and differences between these images? What are the common (typical) features that symbolize power.

qualities, special heroism and wisdom, which undoubtedly aroused respect and admiration in the hearts of ordinary people. In these images, clearly traditions manifest coming from the oldest

times, - worship of idols, awe-inspiring deities not only for everyone who approaches them, but also for those who are looking from afar. The valor of warriors and generals is perpetuated by works of monumental art. Equestrian statues are installed, triumphal arches and columns are erected to commemorate victories won ... By decree of Napoleon I who wanted to immortalize the glory of his army, builtTriumphal gates in Paris. The walls of the arch are engraved with the names of the generals who fought alongside the emperor.

In 1814 in Russiato the solemn the meeting of the Russian liberation army, returning from Europe after the victory over Napoleon, woodenTriumphal gates at Tverskaya Zastava... For more than 100 years, the arch stood in the center of Moscow, and demolished in 1936. Only in the 60s. XX century The Triumphal Arch was recreated on Victory Square, near Poklonnaya Gora, at the place where Napoleon's army entered the city. In the XV century. after fall of Byzantium, which was considered the successor to the Roman Empire and was named

Second Rome , Moscow becomes the center of Orthodox culture... During the period of economic and military growth, the Moscow state needed an appropriate cultural image. The courtyard of the Moscow Tsar becomes a place of residence for many culturally educated Orthodox people. Among them are architects and builders, icon painters and musicians.

The Moscow tsars considered themselves the heirs of Roman traditions, and this was reflected in the words: "Moscow is the Third Rome, and there will not be a fourth." To live up to this high status, the Moscow Kremlin is being rebuilt according to the project of the Italian architect Fioravanti. Completion of the construction of the first stone church in Moscow -Assumption Cathedral became the reason for the foundationChoir of the sovereign's singing clerks. The scale and splendor of the temple demanded more power than before in the sound of the music. All this emphasized the power of the sovereign.

In the second half of the 17th century.according to the grandiose plan of the holy Patriarch Nikon- to create holy places in the image of Palestine associated with the earthly life and exploits of Jesus Christ, -

near Moscow was builtNew Jerusalem Monastery. Its main the cathedral is similar in plan and sizeChurch of the Holy Sepulcher in Jerusalem.This is the brainchild of Patriarch Nikon - ver-

the tire of the development of the ancient traditions of the Russian Church, originating from

the time of the baptism of Russia (X century). In the XVIII century. a new chapter in Russian history has opened. Peter I, according to the apt expression of Pushkin, was "cut through a window to Europe" - foundedSt. Petersburg .

New ideas are reflected in all forms of art. Secular painting and sculpture appeared, music changed in the European way. The choir of the sovereign's singing clerks now

transferred to St. Petersburg and became the Court Choir Choir (often Peter I himself sang in this choir).

The arts proclaim praise to the Lord and toast to the young tsar of all Russia. Now the Glinka Choir Chapel is a majestic monument of Russian culture, famous all over the world. The chapel helps to keep the connection between the times and the continuity of traditions.

In the twentieth century, in the era of Stalinism in our country, pompous, magnificent architecture emphasized the strength and power of the state, reducing the human personality to an insignificant level,

ignored the individual identity of each person. The soulless mechanism of state coercion highlights the grotesque beginning in music (D. Shostakovich, A. Schnittke, etc.).

Democratic sentiments of the people findespecially bright expression in art v turning points in history. This and revolutionary songs, marches during the October

coup in Russia (1917), posters, paintings, musical compositions during the Great Patriotic War (1941-1945).This is both a mass song, reflecting the labor enthusiasm of the post-war years, and an author's song of the second half of the 20th century. (a kind of urban folklore), expressing not only the lyrical moods of the younger generation, but also a protest against the restriction of personal freedom, especially vividly

burst into rock music.

Give examples of historical eras with authoritarian and democratic rule.

Pick up works of art that reflect the ideas of these states. Refer to the help

literature.

See pictures, fragments from films, listen to musical works that express the ideals of the people at different times in different countries. What can you say about both social ideals?

By what means and for what purpose does art affect people today?

Artistic and creative task

Prepare a report or computer presentation on a topic related to the instilling of certain feelings and thoughts into the people by means of art. Analyze different works of art of the same type of art in different eras, or select an era and, using works of different types of art, present its holistic image.

Bulat Okudzhava

Vladimir Vysotsky

Boris Grebenshchikov

Alexander Galich

It is difficult to disagree with N. Berdyaev when he asserts: “Art should be free. This is a very elementary axiom, because of which it is no longer worth breaking copies. The autonomy of art has been affirmed forever. Artistic creativity should not be subordinated to norms external to it, moral, social or religious ... Free art grows out of the spiritual depth of a person, like a free fruit. And deeply and valuable is only the art in which this depth is felt ”.

Analyzing the specifics of 20th century art, we found that the process of the formation of a new style began, integrating the features of the development of scientific consciousness, technology and other aspects of culture. The attitude towards art began to change as to something only decorating life, it becomes equal with science, comprehending the same problems of being, but by different means: with the help of an artistic image adequate to the new reality. This process was typical for both European and Russian art.

However, these processes were significantly deformed by radical transformations taking place in the socio-economic and political spheres of human life.

An understanding of the free nature of art has always been characteristic of an artist, but it is still difficult to stay away from urgent problems during periods of revolutionary shifts in society.

So, K. Malevich, like many other artists of revolutionary Russia, was actively involved at first in public activities to renew culture. However, he soon remarks: “To my great chagrin, most young artists believe that the spirit of renewal in art is subordinated to new political ideas and the improvement of social conditions of life, thanks to which they turn into executors of the will of the rulers, ceasing to engage in the renewal of beauty by itself,” he wrote he. "They forget that the value of art cannot be reduced to an idea, whatever it may be, and that all arts have long become international values ​​..."

Let us draw attention, however, to the fact that in totalitarian states, art is given special attention. Let's think about the reasons for this phenomenon.

As you know, the main feature of totalitarianism is the fusion of all spheres of society. Their common denominator is the ideology: in Italy and Germany - fascist, in the USSR - Marxist-Leninist, in China - Maoist, etc.

In these conditions, art is considered as the most important means of ideological influence on the citizens of the country, the formation of a special way of life, corresponding to ideological guidelines.

Contemporary art, becoming massive, having received new, technical means of distribution, can act much more effectively than direct propaganda, influencing not only logic, but also the feelings of people.

The totalitarian government pays special attention to the most prestigious areas. The concentration of economic levers and opportunities in the hands of the state made it possible to provide material support to space exploration, the development of opera, ballet art, sports, and to occupy leading positions in the world in these areas. Indeed, the magnificent opera and ballet school of the Bolshoi Theater, the brilliant concerts of the Moiseyevites, the performing school of the Moscow Conservatory have always delighted numerous fans of these genres in many countries of the world.

Cultural figures themselves are involuntarily drawn into the process of ideologizing society. And even if an artist does not declare his political position, he inevitably finds himself involved in a big political game. This game of totalitarian power with people of art has some regularities: the power first uses the most gifted of them, their creative potential and revolutionary impulse for propaganda purposes, and then isolates them from society.

Here are some typical examples. In 1917, K. Malevich was elected chairman of the art department of the Moscow Council of Soldiers' Deputies, then - a member of the commission for the protection of artistic treasures of art and commissioner for the protection of Kremlin treasures. In 1924 he created and headed the State Institute of Artistic Culture. But already in 1926 he was removed from this post, and after a while the institute was liquidated altogether. In 1932 his works were included in the exposition of the exhibition "Art of the era of imperialism" in the Russian Museum, in 1935 the last display of his works (up to 1962) took place in the Soviet Union. But the first representative exhibition was held in Moscow only in 1988.

In Germany, the leaders of the National Socialist Union of Students, speaking in 1933 in the assembly hall of the University of Berlin, declared themselves supporters of Expressionism - the "original German" art. Until 1936, the Berlin National Gallery exhibited works by Barlach, Nolde, Franz Mark, Kandinsky, Klee. Soon, however, such exhibitions were banned or closed by the Gestapo on the day of the opening day. In 1933, the Minister of Propaganda Goebbels sent Edvard Munch - the "great German master" - an enthusiastic telegram in honor of his 70th birthday, and soon he also ordered the arrest of his paintings.

On July 19, 1937, on the eve of the opening of the exhibition The Art of Degeneration, Hitler delivered a speech filled with hatred in Munich: the Stone Age and art stutterers into the caves of their ancestors to add their primitive cosmopolitan scribbles there. "

Totalitarianism does not tolerate diversity, and therefore it creates its own standard in art, which is official, such as, for example, socialist realism in the USSR. Anything that did not correspond to it was banned. And the ban is terrible not only because it does not allow you to see the results of creativity, but also because it initially deforms the artist's consciousness, directing his talent in a given direction.

One of Ray Bradbury's novellas contains a wise warning to humanity. The careless time traveler crushed only one inconspicuous insignificant butterfly with his forged boot. Returning to the present, he discovers that this has led to a change in the state regime.

With each cut off search, humanity impoverishes its spiritual life.

In a totalitarian society, even magical significance was attached to art, for it was believed that in a book, a movie, etc. there must certainly be a beautiful, intelligent, patriotic hero, because, having met him, people will also become like that. But the essence of art is not limited to its social-class content, it does not matter for him whether the proletarian is an artist or a bourgeois, but it is important whether he is talented or untalented, it does not matter what the profession of his hero is - whether he is a jester, a king or a peasant, but it is important how exactly they are interpreted in a work eternal themes of Good and Evil, Love, Truth, Beauty ...

The main condition for creativity is freedom. But “totalitarianism has destroyed the freedom of thought to a degree inconceivable in any of the preceding eras,” wrote J. Orwell. - ... The question that is important for us is this: can literature survive in such a society? It seems to me that the answer will be short: no, it cannot. If totalitarianism triumphs on a global scale, then literature will die ... And in practice, totalitarianism seems to have already achieved such results: Italian literature is in deep decline, and in Germany it has almost ceased to exist. Burning books is the most revealing aspect of the Nazis' activities, and even in Russia, the heyday of literature that was once expected did not happen, most of the talented Russian writers commit suicide or disappear in prisons. "

The prohibition of innovation, the approval of the photographic aesthetics of "socialist realism", the "return to classicism", the proclamation of "the superiority of Soviet art over the arts of all countries and all past times" turned into a true drama of Russian culture.

Dozens of cultural figures left, and for many years their names were deleted from the culture of Russia (V. Kandinsky, for example, was ranked among German expressionism in Soviet publications), S. Yesenin, Vl. Piast, M. Tsvetaeva committed suicide, P. Filonov, driven to extreme poverty, died in the very first days of the Leningrad blockade, N. Gumilyov, B. Pilnyak, B. Yasensky and many others were shot, I. Babel, O. Mandelstam,

V. Meyerhold and many others died in prisons and camps. Vl. Mayakovsky and A. Fadeev shot themselves, realizing the horror of the consequences of giving their talent to the service of the party. Others, like B. Pasternak and A. Akhmatova, were forced to be silent for decades. B. Pasternak, who was awarded the Nobel Prize, could not leave for it.

From another totalitarian state - fascist Germany - in 1935 its other laureate, the German journalist Karl Ossecki, an open opponent of National Socialism, could not leave. Nazi newspapers wrote then: "The issuance of the Nobel Prize to the most famous traitor is such a brazen and shameless challenge, such an insult to the German people, that an appropriate response should be given to this." K. Ossetsky was thrown into a concentration camp, after a forced telegram from his wife to the Swedish Academy with the refusal of the award, he was transported to a clinic, where he soon died.

Common to totalitarian regimes is the globalism of art as a consequence of the globalism of tasks: the millennial Reich in Germany and a wonderful future for all mankind in the USSR. Hence - monumental monuments in both states of unprecedented size. Even that living thing that always feeds art - custom, tradition - is enveloped in an ideological veil. All that remains is that from which the own dominants of the totalitarian system grow.

Thus, the "true" history of Russia began in 1917, and the prehistory began with the Decembrists, who discovered the national liberation movement. History is being rewritten anew, monuments are being demolished, the historical environment is being destroyed. And in each city, instead of historical names, there are Sovetskie, Krasnoarmeiskie, Kommunisticheskie streets.

However, we will not oversimplify the problem, arguing that in the conditions of totalitarianism, the emergence of unique, talented art phenomena is impossible.

Life in a totalitarian state is always more complicated than schemes. The brightest and funniest films that have become classics, such as "Circus", "Volga-Volga", "Merry Guys", were created in the tragic pre-war years for the country. Their success was predetermined not only by the talent of their creators, but also by the needs for such art of Soviet people, who lived in the overwhelming majority in communal apartments, in plain sight and who, on the one hand, needed compensation for the realities of being deprived of rights, and on the other hand, who sacredly believed in a bright future. ...

Under these conditions, when, as J. Orwell said, “all art is propaganda,” the artists created not only because they had an ideological order, many of them sincerely professed the values ​​of the new society.

At the same time, in totalitarian regimes, along with the official art, a parallel culture always develops - the underground, i.e. underground culture, manifested through "samizdat", dissidence, through the widespread use of the Aesopian language.

Everyone knows the names of V. Vysotsky, B. Okudzhava, B. Akhmadulina. These are the artists, whose exhibition in Moscow (Izmailovo) was crushed by bulldozers. And those artists, writers, directors, whose work was not completely banned, hid the true meaning in the subtext, which the intelligentsia learned to “read”. The theaters Sovremennik and Na Taganka, Literaturnaya Gazeta, Novy Mir magazine, films by A. Tarkovsky were famous for their allegories. Artists used the Aesopian language to show their work, because, as Vrubel argued, an artist, without the recognition of his work by the public, without dialogue with the viewer, is doomed to non-existence.

The great humanist of our time A. Schweitzer, in his well-known book "Culture and Ethics", written in 1923, noted:

“... When society affects the individual more strongly than the individual does on society, the degradation of culture begins, for in this case the decisive value - the spiritual and moral inclinations of a person - is necessarily diminished. There is a demoralization of society, and it becomes unable to understand and solve the problems that arise before it. As a result, sooner or later a catastrophe comes. "

This deep thought gives us the key to understanding many processes and phenomena in the field of culture, both past and present, associated with the interaction of the artist and society.

An obvious condition for freedom of creativity is the real embodiment of democratic ideals in the life of society. However, no country in the world can declare a solution to this critical problem. The proclamation of democratic norms by the world community and many countries in the XX century. is undoubtedly a tremendous achievement for humanity. At the same time, their full-blooded embodiment in life has not yet become reality. Freedom, not secured by the material conditions for its realization, cannot be embodied in reality and remains only in the world of the possible. In addition, a society in which the power of money is so great cannot, in principle, be truly democratic. By the way, the commercialization of culture so disturbing to everyone is not accidental, it is a natural consequence of the modern socio-economic structure of democratic societies.

Thus, the art of the XX century. - in one form or another - with losses and gains, it turned out to be included in the social and political context.

Why is the government in one form or another trying to influence art?

What are the forms of influence of power on art in totalitarian and democratic states?

How is society influencing art in democratic states?

Art and Power Art is a part of the spiritual culture of mankind, a specific kind of spiritual and practical mastery of the world. Art includes varieties of human activity, united by artistic and imaginative forms of reproducing reality - painting, architecture, sculpture, music, fiction, theater, dance, cinema. Big Encyclopedic Dictionary Power - the ability and ability to have a decisive impact on the activities, behavior of people with the help of any means - will, authority, law, violence (parental power, state, economic, etc.)

A curious pattern is constantly observed in the development of human culture. Art as a manifestation of the free, creative forces of a person, the flight of his imagination and spirit was often used to strengthen power - the secular and religious J.-L. David. Bonaparte crossing the Alps on a fiery steed. (fragment)

Art embodied the ideas of religion in visible images, glorified and perpetuated heroes. Sculptors, artists, musicians at different times created idealized majestic images of the rulers-chiefs of Donatello - Equestrian statue of the Condottiere Gattamelata THE BRASS HORSE RIDER Sculptor: Etienne Falcone.

What qualities do artists and sculptors emphasize in the images of statesmen, rulers of different eras and countries? How do these images make you feel? What are the similarities and differences between these images? What are the common (typical) features that symbolize power. Alexander Nevskiy. Artist P. D. Korin 1942 Tsar Ivan the Terrible. Parsuna. OK. 1600 Alexander the Great

The valor of warriors and generals is perpetuated by works of monumental art. Equestrian statues are erected, triumphal arches and columns are erected to commemorate the victories won. Column of Troyan. Rome

By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. The walls of the arch are engraved with the names of the generals who fought alongside the emperor.

In 1814, in Russia for the solemn welcome of the Russian army of the liberator, returning from Europe after the victory over Napoleon, the wooden Triumphal Gate was built at the Tverskaya Zastava. The arch stood in the center of Moscow for over 100 years, and in 1936 it was demolished.

Only in the 1960s. XX century The Arc de Triomphe was recreated on Victory Square, near Poklonnaya Gora, at the place where Napoleon's army entered the city.

The Moscow tsars considered themselves the heirs of Roman traditions, and this was reflected in the words: "Moscow is the Third Rome, and there will not be a fourth." In order to match the Ivan the Great Bell Tower to this high status, (Church of St. John of the Ladder according to the project of the Italian architect Fioravanti, the Moscow Kremlin is being rebuilt under Dmitry Donskoy - A.M. Archangel Cathedral (1505-08) Vasnetsov Assumption Cathedral (1475-79), Annunciation - burial vault Russian princes The Palace of Facets (1487-91) Cathedral (1484-89) and the tsars)

The completion of the construction of the first stone church in Moscow, the Assumption Cathedral, was the reason for the founding of the Choir of Sovereign Singing Clerks. The scale and splendor of the temple demanded more power than before in the sound of the music. All this emphasized the power of the sovereign.

In the second half of the 17th century. According to the grandiose plan of His Holiness Patriarch Nikon - holy places were created in the image of Palestine, associated with the earthly life and exploits of Jesus Christ - the New Jerusalem Monastery was built near Moscow.

Its main Resurrection Cathedral is similar in plan and size to the Church of the Holy Sepulcher in Jerusalem. This brainchild of Patriarch Nikon is the pinnacle of the development of the ancient traditions of the Russian Church, dating back to the time of the baptism of Rus (10th century).

In the XVIII century. a new chapter in Russian history has opened. Peter I, according to Pushkin's apt expression, “cut through a window to Europe” - St. Petersburg was founded. Kazan Cathedral I. Monument to Peter Isaac. Hermitage Cathedral St. Petersburg. Peterhof

New ideas are reflected in all forms of art. Secular painting and sculpture appeared, music changed in the European way. The choir of the sovereign's singing clerks has now been transferred to St. Petersburg and becomes the Court Singing Chapel (often Peter I himself sang in this choir). The arts proclaim praise to the Lord and toast to the young tsar of all Russia. Ivan Nikitich Nikitin. PORTRAIT OF PETER I. K. Rastrelli. Statue of Anna Ioannovna with a little arapchon. Fragment. Bronze. 1741 g

Give examples of historical eras with authoritarian and democratic rule. Pick up works of art that reflect the ideas of these states. Refer to reference books, internet. See pictures, fragments from films, listen to musical works that express the ideals of the people at different times in different countries. What can you say about their social ideals? By what means and for what purpose does art affect people today?

Art and power

Sukhareva Svetlana Viktorovna - art teacher MBOU OOSh village Nikolskoe

• To acquaint students with works of art, thanks to which the authorities strengthened their authority, and cities and states maintained prestige.

In human development

culture constantly

there is an interesting pattern. Art as a manifestation of the free, creative forces of a person, the flight of his imagination and spirit was often used

to strengthen power - secular and religious.

August from Prima Port- more than two-meter statue of Augustus, found in 1863 in the villa of the wife of the emperor Augustus. The villa was discovered near Rome on the Via Flaminia in the Prima Porta area, which in ancient times was called Ad gallinas albas... The statue is a copy of a bronze original commissioned by the Roman Senate in 20 BC. NS. It is believed that the statue, unlike most surviving images of Augustus, bears a portrait resemblance. It is very likely that, according to ancient tradition, it was polychrome. The statue is currently kept in the Chiaramonti Vatican Museum.

France Paris

built date: 1836

The most famous of the triumphal arches is located in the heart of Paris on the Champs Elysees. It took over 30 years to build it!

The Emperor Napoleon ordered the creation of the Arc de Triomphe in honor of the victories of the French army. However, he never saw his brainchild.

The construction of the arch was completed after his death.

Russia, Moscow

build date: 1968

The main Triumphal Arch of Russia was rebuilt, dismantled and even transported. Initially, it was a wooden arch built at the Tverskaya Zastava to meet the Russian soldiers from the liberation campaign across Europe in 1814. In Soviet times, the arch was hidden in the museum for 30 years.

"Portrait of Catherine II - Legislator" caused widespread controversy in the Russian press. The discussion was initiated by the poet I.F.Bogdanovich. He turned to the artist with a poetic greeting

Levitsky! Having inscribed the Russian deity,

Which rests the seventh seas in delight,

With your brush you showed in Petrovsky grad

Immortal beauty and mortal triumph.

Assumption Cathedral of the Moscow Kremlin- an Orthodox church located on the Cathedral Square of the Moscow Kremlin. Built in 1475-1479 under the leadership of the Italian architect Aristotle Fioravanti. The main temple of the Moscow state. The oldest fully preserved building in Moscow.

Resurrection Cathedral The New Jerusalem Monastery, built in 1658-1685, was conceived as a copy of the Church of the Holy Sepulcher in Jerusalem, but during the construction it turned out not an exact repetition of the prototype, but rather its artistic transformation. The cathedral was erected according to measurements brought from Jerusalem, and at the first stage of construction, until 1666. the work was personally supervised by Patriarch Nikon. He also sent the masters of the patriarchal court. Due to the disgrace and exile of Nikon, the construction of the entire monastery and the cathedral in particular was suspended, and continued by decree of Tsar Fyodor Alekseevich in 1679

Palace of Soviets- an unrealized grandiose construction project of the Soviet government, work on which was carried out in the 1930s and in the 1950s: a grandiose administrative building, a place of congresses, festivals, etc. , the central and main Stalinist skyscraper

Love for singing, music passed to him from his father - Boleslav Shostakovich - a professional revolutionary, exiled by the tsarist government to an eternal settlement in Siberia.

Shostakovich's first serious achievements in the development of civic themes in music were his Second and Third Symphonies (1927-1929). Both in the work of the composer and in the history of Soviet music, they occupy a special place, for they were one of the first symphonic works that reflected a revolutionary theme.

The war that began in 1941 postponed the implementation of peacetime plans for a long time. “I dedicate my 7th symphony to our fight against fascism, our coming victory over the enemy, my hometown - Leningrad,” Shostakovich wrote on the score in the summer of 1941.

The composer set about creating his Seventh Symphony with extraordinary enthusiasm. “The music burst out of me uncontrollably,” he later recalled. Neither hunger, nor the beginning of the autumn cold and lack of fuel, nor frequent shelling and bombing could interfere with inspired work.

• Prepare a report or computer presentation on a topic related to the instilling of certain feelings and thoughts into the people by means of art.
• Analyze different works of art of the same type of art in different eras, or select an era and, using works of different types of art, present its holistic image.

Lesson 1. "Art and Power"

I. Greetings. Introductory word of the teacher.

Today in the lesson we have to understand the relationship, and maybe in opposition of such two concepts as "art" and "power". First, you should find the answers to the questions: (SLIDE 1)

What is art?

What is power? (students' answers).

Art - the process and result of meaningful expression of feelings in the image. Art is an integral part of the culture of humanity.
Power is the ability and ability to impose one's ownwill , to influence the activities and behavior of other people, even in spite of their resistance.

Power appeared with the emergence of human society and will always accompany its development in one form or another.

When did art appear? (Student answers)

The origin of art and the first steps in the artistic development of mankind go back to the primitive communal system, when the foundations of the material and spiritual life of society were laid.

What conclusion can we draw from all of the above?

Output: art and power arose and developed at the same time and are an integral part of the formation of social life.

II. Learning new material.

The authorities often use the cultural environment of society to influence the mass consciousness. With the help of art, secular or religious power was strengthened.

Art embodied the ideas of religion in visible images, glorified rulers and perpetuated the memory of heroes.

One of the first examples of the influence of power on art, we can consider the appearance of stone or wooden idols created by primitive people. And it doesn't matter if it was an image of a person or an animal. Most often, such monumental idols inspired a person with awe, showing his insignificance in front of the forces of nature and the gods. In the same period, shamans and priests, who have tremendous power, occupy a very special place in ancient society. (SLIDE 2)

How is the art of ancient Egypt different from the art of primitive tribes?

In the art of ancient Egypt, along with images of gods, we find images of the pharaoh. Son of the sun god Ra. His earthly incarnation. He is equal to the gods and rules over people. And again art comes to the aid of the authorities. Perpetuating the names of the pharaohs in frescoes, preserving their facial features in burial masks, speaking of their greatness with the help of monumental monuments such as pyramids, palaces and temples. (SLIDE 3.4)

But here's the question: Is art personified at this time?

The images that we see during this period of time are canonical, they are generalized and idealized. We will be able to observe this especially clearly in the art of Ancient Rome and Ancient Greece. Remember the description of the appearance of Hercules: “Hercules was a cut above everyone else in height, and his strength exceeded that of a man. The eyes shone with an unusual, divine light. He wielded a bow and a spear so skillfully that he never missed, "is this not the ideal image of the hero, immortalized in myths. (SLIDE 5)

Ancient Rome, being in many ways the heir to Greece, continued to idealize the images of its heroes, emperors and gods. But more and more attention of art is directed to a specific person, portraits more and more clearly and scrupulously convey the features of the person being portrayed. Often this was due to the growing interest in the individual person, with the expansion of the circle of those portrayed.

In the days of the Republic, it became customary to erect full-length statues in public places of political officials or military commanders. Such an honor was rendered by the decision of the Senate, usually in commemoration of victories, triumphs, political achievements. Such portraits were usually accompanied by a dedication inscription telling about the merits. In the case of a person's crime, his images were destroyed, while the “heads” were simply changed to the statues of the governors. With the onset of the times of the Empire, the portrait of the emperor and his family became one of the most powerful means of propaganda. (SLIDE 6)

Before us is a portrait of Emperor Octavian Augustus in the form of a commander. He delivers a speech to the army. The emperor's carapace reminds of his victories. Below is the image of cupid on a dolphin (meaning the divine origin of the emperor).

Of course, both the face and figure of the emperor are idealized and fully correspond to the canons of the image of that time.

One of the ways to establish power is the construction of magnificent palaces. The luxury of decoration often instilled in the common man a feeling of insignificance in front of a nobleman. Once again, emphasizing class differences and pointing to belonging to a higher caste.

At about the same time, triumphal arches and columns began to be erected to commemorate victories. Most often they were decorated with sculptural images of battle scenes, allegorical paintings. You can often see the names of heroes engraved on the walls of triumphal arches. (SLIDE 7)

In the 15th century, after the fall of Byzantium, which was considered the successor of the Roman Empire and was named "the second Rome", Moscow became the center of Orthodox culture. The Moscow tsars considered themselves the heirs of the Byzantine traditions. This was reflected in the words: "Moscow is the Third Rome, and there will be no fourth."

To correspond to this high status, by the decree of the great Moscow prince Ivan III, the architect from Italy, the most skillful architect and engineer Aristotle Fioravanti built the Assumption Cathedral in Moscow in 1475-1479. (SLIDE 8)

The completion of the construction of the first stone church in Moscow, the Assumption Cathedral, was the reason for the founding of the Choir of Sovereign Singing Clerks. The scale and splendor of the temple demanded more power than before in the sound of the music. All this emphasized the power of the sovereign.

But back to great victories, as in ancient Rome, triumphal arches are erected to commemorate the victories won.

1. Triumphal Arch in Paris - a monument on Charles de Gaulle square, erected in 1806-1836 by architect Jean Chalgrin.Built by order of Napoleon I, who wanted to immortalize the glory of his army. The names of the generals who fought alongside the emperor are engraved on the walls of the arch (SLIDE 9)

2. Triumphal Gates (arch) in Moscow.Initially, the arch was installed on Tverskaya Zastava Square on the site of a wooden arch built in 1814 to welcome Russian troops returning from Paris after the victory over French troops. The gates are decorated with Russian knights - allegorical images of Victory, Glory and Courage. The walls of the arch were faced with white stone from the village of Tatarova near Moscow, the columns and sculpture were cast from cast iron(SLIDE 10, 11)

The singing of power in music can be seen especially clearly in music. For example, in the national anthem of the Russian Empire in 1833 (1917) "God Save the Tsar!" Moose. Prince Alexei Fedorovich Lvov, words by Vasily Andreevich Zhukovsky "The Prayer of the Russians". That same Zhukovsky literary "teacher" of Pushkin

- Who can give an example of the use of this kind of hymns in modern history? (God save the queen).

The Great Britain Anthem is one example of the modern use of such hymns.

III. Independent work

- What is the influence of power on art?

- How deep are their interconnections?

You can form your idea on this account by answering the following questions: (SLIDE 12)

1. What was art used for in the development of human culture? (to strengthen power - religious and secular)

2. How did art help to strengthen the power and authority of rulers? (art embodied the ideas of religion in visible images; glorified and perpetuated heroes; gave them extraordinary qualities, special heroism and wisdom)

3. What traditions are manifested in these monumental images? (traditions from ancient times - worship of idols, deities that cause awe)

4. What works of art strengthened the power most vividly? (equestrian statues, triumphal arches and columns, cathedrals and temples)

5. Which arch was restored in Moscow on Kutuzovsky Prospekt and in honor of what events? ( in 1814 the triumphal gate in honor of the meeting of the Russian liberation army returning from Europe after the victory over Napoleon; demolished in 1936; in 1960 recreated on Victory Square, near Poklonnaya Gora, at the place where Napoleon's army entered the city)

6. Which arch is installed in Paris? (by decree of Napoleon in honor of his army; the walls of the arch are engraved with the names of the generals who fought alongside the emperor)

7. At what time does Moscow become the center of Orthodox culture? (in the 15th century after the fall of Byzantium, which was considered the successor of the Roman Empire and was named the Second Rome)

8. How did the cultural image of the Moscow state improve? (the courtyard of the Moscow Tsar becomes a place of residence for many culturally educated Orthodox people, architects, builders, icon painters, musicians)

9. Why was Moscow called the “Third Rome”? (Moscow tsars considered themselves heirs of Roman traditions)

10. Which architect began to rebuild the Moscow Kremlin? (Italian architect Fiorovanti)

11. What marked the end of the construction of the first stone church in Moscow - the Assumption Cathedral? (the formation of the choir of the sovereign's singing clerks, because the scale and magnificence of the temple demanded greater power of the sound of music)