Culture of the early 20th century, Silver Age. Lesson-presentation "The Silver Age as a cultural and historical era. Selected pages of the creative heritage." Teacher's opening speech

Chelyabinsk State Academy of Culture and Arts

Department of History

SILVER AGE OF RUSSIAN CULTURE

Chelyabinsk 2011

Introduction

1 The concept of “Silver Age”

2 Russian culture at the turn of the century

Chapter 3. Science

2 Humanities

Chapter 4. Philosophy

Chapter 5. Literature

1 Realistic direction

2 Russian modernism

3 Symbolism

4 Acmeism

5 Futurism

Chapter 6. Theater

2 Other theaters in Russia

Chapter 7. Ballet

Chapter 8. Music

Chapter 9. Cinema

Chapter 10. Painting

Chapter 11. Architecture

Chapter 12. Sculpture

Chapter 13. Patronage

Conclusion

Introduction

The work of the Silver Age poets has always attracted my attention. Getting acquainted with the works of brilliant creators of this era, I became interested in how art developed in addition to literature at such a difficult, critical moment in history. In order to study this issue in as much detail as possible, a research work was carried out on the topic “The Silver Age of Russian Culture.”

To better understand the art created during the Silver Age, it is necessary to know the historical background for the creation of great works. This is the significance of studying this topic. Based on the analysis of historical literature, it is possible to determine the aspirations of artists of that time. Their work is still relevant. The poetry of the Silver Age touched upon eternal themes that concern modern readers. Elements of the Art Nouveau architectural style find their echoes in modern design. Cinema, so beloved now, originated at the beginning of the 20th century. The discoveries made during that period served as the basis for the development modern sciences. All this suggests that interest in the art of the Silver Age has not yet been lost.

The “turn of centuries” turned out to be a favorable basis for the period called the “Silver Age” of Russian culture. The “Century” did not last long - about twenty years, but it gave the world wonderful examples of philosophical thought, demonstrated the life and melody of poetry, resurrected the ancient Russian icon, gave impetus to new directions in painting, music, theatrical arts. The Silver Age was the time of formation of the Russian avant-garde.

The period of “transitional” cultures is always dramatic, and the relationship between the traditional, classical culture of the past is always complex and contradictory - familiar, habitual, but no longer arousing much interest, and the emerging culture of a new type, so new that its manifestations are incomprehensible and sometimes cause a negative reaction . This is natural: in the mind, changing types of cultures occurs quite painfully. The complexity of the situation is largely determined by changes in value guidelines and ideals and norms of spiritual culture. The old values ​​have fulfilled their function, played their roles, there are no new values ​​yet. They just fold up and the stage remains empty.

In Russia, the difficulty was that public consciousness took shape under conditions that further dramatized the situation. Post-reform Russia was moving to new forms of economic relations. Traditional ties are being broken, the process of marginalization is taking over more and more large quantity of people. The Russian intelligentsia turned out to be almost helpless in the face of the new demands of political development: a multi-party system was inevitably developing, and real practice was significantly ahead of the theoretical understanding of the principles of the new political culture. Russian culture as a whole is losing one of the fundamental principles of its existence - the sense of unity of a person with another person and a social group.

In 1894, Emperor Nicholas II ascended the throne, declaring his intention to follow the conservative course of his father, Alexander III, and called on the public to abandon meaningless dreams on expanding the rights of local governments and introducing any forms of popular representation. Beginning of the 20th century was marked by the rise of a mass workers' and peasants' movement. The aggravation of socio-political contradictions in Russia was aggravated by the defeat in the Russo-Japanese War. By the end of 1904, the country was on the verge of revolution.

The old noble Russia was hopelessly dilapidated. The ancient building was about to collapse. Those who are unlucky will die under the rubble, those who are lucky will remain homeless. Many people felt this. And this feeling penetrated into all aspects of the spiritual life of Russia - from science to religion.

People who retained a simple and clear worldview of the 19th century (primarily socialists, as well as extreme conservatives) did not understand this mood and branded it as “decadent” (decadent). But, oddly enough, it was precisely this mood that pushed a new rise in Russian culture at the beginning of the century. And one more paradox: in the cultural achievements of the early 20th century. The least contribution was made by those “optimists” who exposed the “decadents.”

The “Silver Age” occupies a very special place in Russian culture. This controversial time of spiritual search and wandering significantly enriched all types of arts and philosophy and gave birth to a whole galaxy of outstanding creative personalities. On the threshold of the new century, the deep foundations of life began to change, giving rise to the collapse of the old picture of the world. Traditional regulators of existence - religion, morality, law - failed to cope with their functions, and the modern age was born.

However, they sometimes say that the Silver Age is a Westernizing phenomenon. Indeed, he chose as his reference points the aestheticism of Oscar Wilde, the individualistic spiritualism of Alfred de Vigny, the pessimism of Schopenhauer, and the superman of Nietzsche. The Silver Age found its ancestors and allies in various European countries and in different centuries: Villon, Mallarmé, Rimbaud, Novalis, Shelley, Calderon, Ibsen, Maeterlinck, d'Annuzio, Gautier, Baudelaire, Verhaeren.

In other words, at the end of the 19th and beginning of the 20th centuries there was a reassessment of values ​​from the perspective of Europeanism. But in the light of a new era, which was the complete opposite of the one it replaced, national, literary and folklore treasures appeared in a different light, brighter than ever. Truly, it was the most creative era in Russian history, a canvas of greatness and impending troubles of holy Russia.

This period in the development of Russian culture is associated with an upsurge in all spheres of the spiritual life of Russian society: hence the term “spiritual renaissance.” Revival of the best traditions of Russian culture in the widest spectrum: from science, philosophical thought, literature, painting, music and ending with the art of theater, architecture, decorative and applied arts.

How did culture reach such heights in its development at the most critical, turning point and most terrible moment in Russian history? The answer to this question is the goal of the work. Based on the goal, the research objectives were determined:

.Study historical literature on this topic

2.Analyze the information received from the point of view of the question posed

.Having critically comprehended the material, develop own view to the problem

.Based on the research, draw appropriate conclusions

.Answer the question posed at the beginning of the study

Chapter 1. Silver Age of Russian Culture

1 The concept of “Silver Age”

Beginning of the 20th century - a turning point not only in the political and socio-economic life of Russia, but also in the spiritual state of society. The industrial era dictated its own conditions and standards of life, destroying traditional values and people's perceptions. The aggressive onslaught of production led to a violation of the harmony between nature and man, to the smoothing of human individuality, to the triumph of standardization of all aspects of life. This gave rise to confusion, an anxious feeling of impending disaster. All the ideas about good and evil, truth and lies, beautiful and ugly, which previous generations had suffered through, now seemed untenable and required urgent and radical revision.

The processes of rethinking the fundamental problems of humanity have affected, to one degree or another, philosophy, science, literature, and art. And although this situation was typical not only for our country, in Russia the spiritual quest was more painful, more poignant than in the countries of Western civilization. The flowering of culture during this period was unprecedented. It covered all types creative activity, gave birth to outstanding works of art and scientific discoveries, new directions of creative search, opened a galaxy of brilliant names that became the pride of not only Russian, but also world culture, science and technology. This sociocultural phenomenon went down in history as the Silver Age of Russian culture. This name was first proposed by the philosopher N. Berdyaev, who saw in the highest cultural achievements of his contemporaries a reflection of the Russian glory of the previous “golden” eras, but this phrase finally entered literary circulation in the 60s of the last century.

1.2 Russian culture at the turn of the century

Russian culture Silver Age

Russian culture late XIX- the beginning of the 20th century - a complex and contradictory period in the development of Russian society. The culture of the turn of the century always contains elements of a transitional era, including the traditions of the culture of the past and the innovative trends of the new emerging culture. There is a transfer of traditions and not just a transfer, but the emergence of new ones. All this is connected with the rapid process of searching for new ways of cultural development, which is adjusted by the social development of a given time. The turn of the century in Russia is a period of maturing major changes: a change in the state system, a change from the classical culture of the 19th century to the new culture of the 20th century. The search for new ways to develop Russian culture is associated with the assimilation of progressive trends in Western culture. The diversity of trends and schools is a feature of Russian culture at the turn of the century. Western trends are intertwined and complemented by modern ones, filled with specifically Russian content. A feature of the culture of this period is its orientation towards a philosophical understanding of life, the need to build a holistic picture of the world, where art, along with science, plays a huge role. The focus of Russian culture at the end of the 19th and beginning of the 20th centuries was on a person who became a kind of connecting link in the motley variety of schools and areas of science and art, on the one hand, and a kind of starting point for the analysis of all the most diverse cultural artifacts, on the other. Hence the powerful philosophical foundation that underlies Russian culture at the turn of the century.

Chapter 2. Education and enlightenment

In 1897, the All-Russian population census was carried out. According to the census, in Russia the average literacy rate was 21.1%: men - 29.3%, women - 13.1%, about 1% of the population had higher and secondary education. In relation to the entire literate population, only 4% studied in secondary school. At the turn of the century, the education system still included three levels: primary (parochial schools, public schools), secondary (classical gymnasiums, real and commercial schools) and higher school (universities, institutes).

In 1905, the Ministry of Public Education submitted a draft law “On the introduction of universal primary education in the Russian Empire” for consideration by the Second State Duma, but this project never received the force of law. But the growing need for specialists contributed to the development of higher, especially technical, education. In 1912 in Russia there were 16 higher technical educational institutions, in addition to private higher education institutions. The university accepted persons of both sexes, regardless of nationality and political views. Therefore, the number of students increased significantly - from 14 thousand in the mid-90s to 35.3 thousand in 1907. Further development received higher women's education, and legally in 1911 women's right to higher education was recognized.

At the same time with Sunday schools New types of cultural and educational institutions for adults began to operate - workers' courses, educational workers' societies and people's houses - original clubs with a library, assembly hall, teahouse and trading shop.

The development of periodicals and book publishing had a great influence on education. In the 1860s, 7 daily newspapers were published and about 300 printing houses operated. In the 1890s there were 100 newspapers and approximately 1000 printing houses. And in 1913, 1263 newspapers and magazines were already published, and there were approximately 2 thousand bookstores in the cities.

In terms of the number of books published, Russia ranked third in the world after Germany and Japan. In 1913, 106.8 million copies of books were published in Russian alone. The largest book publishers A.S. Suvorin in St. Petersburg and I.D. Sytin in Moscow contributed to introducing people to literature by publishing books on affordable prices: “cheap library” by Suvorin and “library for self-education” by Sytin.

The process of enlightenment was intensive and successful, and the number of the reading public grew rapidly. This is evidenced by the fact that at the end of the 19th century. there were approximately 500 public libraries and about 3 thousand zemstvo public reading rooms, and already in 1914 there were about 76 thousand different public libraries in Russia.

Chapter 3. Science

1 Global contribution of Russian science

The century brings significant successes in the development of domestic science: it claims equality with Western European science, and sometimes even superiority. It is impossible not to mention a number of works by Russian scientists that led to world-class achievements. DI. Mendeleev discovered the periodic table in 1869 chemical elements. A.G. Stoletov in 1888-1889. establishes the laws of the photoelectric effect. In 1863, the work of I.M. was published. Sechenov "Reflexes of the brain". K.A. Timiryazev founded the Russian school of plant physiology. P.N. Yablochkov creates an electric arc light bulb, A.N. Lodygin - an incandescent light bulb. A.S. Popov invents radiotelegraph. A.F. Mozhaisky and N.E. Zhukovsky laid the foundations of aviation with his research in the field of aerodynamics, and K.E. Tsiolkovsky is known as the founder of astronautics. P.N. Lebedev is the founder of research in the field of ultrasound. I.I. Mechnikov explores the field of comparative pathology, microbiology and immunology. The foundations of new sciences - biochemistry, biogeochemistry, radiogeology - were laid by V.I. Vernadsky. And this is not a complete list of people who have made an invaluable contribution to the development of science and technology. The significance of scientific foresight and a number of fundamental scientific problems posed by scientists at the beginning of the century is becoming clear only now.

2 Humanities

The humanities were greatly influenced by the processes taking place in natural science. Humanities scientists like V.O. Klyuchevsky, S.F. Platonov, S.A. Vengerov and others worked fruitfully in the field of economics, history, and literary criticism. Idealism has become widespread in philosophy. Russian religious philosophy, with its search for ways to combine the material and spiritual, the establishment of a “new” religious consciousness, was perhaps the most important area not only of science, ideological struggle, but also of all culture.

The foundations of the religious and philosophical Renaissance, which marked the Silver Age of Russian culture, were laid by V.S. Soloviev. His system is an experience of synthesis of religion, philosophy and science, and it is not the Christian doctrine that is enriched by him at the expense of philosophy, but on the contrary: he brings into philosophy Christian ideas and with them it enriches and fertilizes philosophical thought. Possessing a brilliant literary talent, he made philosophical problems accessible to wide circles of Russian society; moreover, he brought Russian thought to universal spaces.

Chapter 4. Philosophy

1 In search of a social ideal

Russia's entry into a new era was accompanied by a search for an ideology that could not only explain the changes that were taking place, but also outline the prospects for the country's development. The most popular philosophical theory in Russia at the beginning of the 20th century was Marxism. It captivated us with its logic, apparent simplicity, and most importantly, its versatility. In addition, Marxism had fertile soil in Russia in the form of the revolutionary tradition of the Russian intelligentsia and the uniqueness of the Russian national character with its thirst for justice and equality, and a penchant for messianism (belief in the coming of a savior, messiah).

However, part of the Russian intelligentsia very soon became disillusioned with Marxism, in its unconditional recognition of the primacy material life over the spiritual. And after the revolution of 1905, the revolutionary principle of the reconstruction of society was also subject to revision.

2 Russian religious renaissance

The Russian religious revival of the early 20th century is represented by such philosophers and thinkers as N.A. Berdyaev, S.N. Bulgakov, P.B. Struve, S.L. Frank, P.A. Florensky, S.N. and E.N. Trubetskoy. The first four, who are the central figures of the search for God, passed difficult path spiritual evolution. They started out as Marxists, materialists and social democrats. By the beginning of the 20th century, they made a turn from Marxism and materialism to idealism, significantly limited the possibilities of scientific explanation of the world and switched to the position of liberalism. This was evidenced by their articles published in the collection “Problems of Idealism” (1902).

After the revolution of 1905 - 1907 their evolution was completed and they finally established themselves as religious thinkers. They expressed their new views in the collection "Milestones" (1909). S. Bulgakov became a priest.

The authors of the collection presented a cruel account of the Russian intelligentsia, accusing it of dogmatism, adherence to outdated philosophical teachings of the 19th century, ignorance of modern philosophy, nihilism, low legal consciousness, isolation from the people, atheism, oblivion and denigration of Russian history, etc. . All these negative qualities, in their opinion, led to the fact that it was the Russian intelligentsia that was the main instigator of the revolution, which brought the country to the brink of a national catastrophe. The Vekhi people concluded that the ideas of revolutionary transformation in Russia were futile, that social progress in the country was possible only through gradual, evolutionary changes, which must begin with the development of new religious and moral ideals based on Christian teaching. Russian religious philosophers believed that the official Orthodox Church, which had tied itself too closely to the autocratic state, could not take on the role of the savior of Russian souls.

The concept of Russian religious revival was the fruit of understanding the centuries-old history of Russia and the West. In many ways it became a continuation and development of Slavophilism. Therefore, it can be defined as a new Slavophilism. It was also the development of the ideas and views of N.V. Gogol, F.M. Dostoevsky, L.N. Tolstoy and V.S. Solovyov.

N.V. Gogol influenced representatives of God-seeking primarily with his book “Selected Passages from Correspondence with Friends,” where he reflects on the historical destinies of Russia and calls for Christian self-deepening and self-improvement. As for F.M. Dostoevsky, his life itself was an instructive example for supporters of religious revival. His passion for revolution had tragic consequences for the writer, so he dedicated his work to the search for Christian paths to human unity and brotherhood. In this he saw the peculiarity of the Russian path.

Many ideas and especially the doctrine of non-violence of Leo Tolstoy were also in tune with the views of representatives of the religious renaissance. Teachings of Vl. Solovyov's ideas about unity, about Sophia - the World Soul and Eternal Femininity, about the final victory of unity and goodness over enmity and disintegration constitute the common spiritual basis of the Russian religious revival and Russian modernism - especially symbolism. It is Vl. Soloviev developed the concept of the revival of Russia on Christian foundations. He dedicated his life to the tireless struggle against the hostility of the intelligentsia towards the Church, to bridge the gap between them, and called for mutual reconciliation.

Developing the ideas of their predecessors, representatives of the religious revival are very critical of the Western path of development. In their opinion, the West gives a clear preference to civilization at the expense of culture. He focused his efforts on the external arrangement of life, on the creation of railways and communications, comfort and amenities of life. At the same time, the inner world, the human soul, found itself in oblivion and desolation. Hence the triumph of atheism, rationalism and utilitarianism. It is these aspects, as representatives of the search for God note, that were adopted by the Russian revolutionary intelligentsia. In her struggle for the good and happiness of the people, their liberation, she chose radical means: revolution, violence, destruction and terror.

Supporters of the religious renaissance saw in the revolution of 1905 - 1907. a serious threat to the future of Russia, they perceived it as the beginning of a national catastrophe. Therefore, they appealed to the radical intelligentsia to renounce revolution and violence as a means of fighting for social justice, to renounce Western atheistic socialism and irreligious anarchism, to recognize the need to affirm the religious and philosophical foundations of their worldview, and to make reconciliation with the renewed Orthodox Church.

They saw the salvation of Russia in the restoration of Christianity as the foundation of all culture, in the revival and establishment of the ideals and values ​​of religious humanism. The path to solving the problems of public life for them lay through personal self-improvement and personal responsibility. Therefore, they considered the main task to be the development of a doctrine of personality. Representatives of the search for God considered holiness, beauty, truth and goodness as eternal ideals and values ​​of man, understanding them in a religious and philosophical sense. The highest and absolute value was God.

For all its appeal, the concept of religious revival was not flawless and invulnerable. Rightly reproaching the revolutionary intelligentsia for its tilt towards external, material conditions of life, representatives of the search for God went to the other extreme, proclaiming the unconditional primacy of the spiritual principle.

The oblivion of material interests made a person’s path to his happiness no less problematic and utopian. In relation to Russia, the question of socio-economic living conditions was of exceptional urgency. Meanwhile, the locomotive of history of the Western type has long been on Russian territory. Picking up speed, he rushed across its vast expanses. To stop it or change its direction, enormous efforts and significant changes in the structure of society were required.

The call to renounce revolution and violence needed support, a counter-movement from the official authorities and the ruling elite. Unfortunately, all the steps taken in this regard did not fully meet historical requirements. The authorities did not feel the urgent need for change, showed unshakable conservatism, and wanted to preserve the Middle Ages at any cost.

In particular, Tsar Nicholas II, being a highly educated man who knew five foreign languages ​​and had a refined aesthetic taste, was at the same time a completely medieval person in his views. He was deeply and sincerely convinced that the existing social system in Russia is the best and does not need any serious updating. Hence the half-heartedness and inconsistency in carrying out reforms. Hence the distrust of such reformers as S.Yu. Witte and P.A. Stolypin. The royal family focused its main attention on the problem of the heir's health, to solve which it surrounded itself with very dubious personalities like G. Rasputin. The outbreak of the First World War further aggravated the situation.

In general, we can say that extreme radicalism was to a certain extent generated by extreme conservatism. At the same time, the social base of opposition to the existing state of affairs was very broad. The revolutionary option for resolving pressing problems and contradictions was shared not only by radical movements, but also by more moderate ones. Therefore, the call of supporters of religious revival to take the Christian path of solving pressing life issues did not find the desired support.

The release of the collection "Milestones" aroused great interest. In just one year it went through five editions. During the same time, more than 200 responses appeared in the press, five collections devoted to discussing the problems of “Vekhi” were published. However, the vast majority of reviews were negative. The new God-seekers were opposed not only by revolutionaries and the left opposition, but also by many on the right, including liberals. In particular, the leader of the Cadet Party P.N. Milyukov toured the country with lectures in which he sharply criticized the God-seekers, calling them reactionary.

It should be noted that even in Church-Orthodox circles there was no real and sufficiently broad counter-movement. The Holy Synod first supported the events that took place in 1901 - 1903. religious and philosophical meetings, and then banned them. The Church was quite wary of many of the new ideas of the participants in the religious revival, doubted their sincerity, and considered criticism addressed to it to be undeserved and perceived painfully.

During the meetings, a complete difference in the views of representatives of the secular and church world was often revealed, and some participants in the meetings only reassured themselves of their mutual negative assessments. Thus, the reaction of contemporaries showed that the exponents of the religious and philosophical revival were far ahead of their time. However, their undertakings and calls were not in vain. They contributed to the revitalization of spiritual life, strengthening the interest of the intelligentsia in the Church and Christianity.

Chapter 5. Literature

1 Realistic direction

Realistic trend in Russian literature at the turn of the 19th - 20th centuries. continued L.N. Tolstoy, A.P. Chekhov, who created his best works, the theme of which was the ideological quest of the intelligentsia and the “little” man with his everyday worries, and young writers I.A. Bunin and A.I. Kuprin.

In connection with the spread of neo-romanticism, new artistic qualities appeared in realism, reflecting reality. The best realistic works by A.M. Gorky reflected a broad picture of Russian life at the turn of the 20th century with its inherent uniqueness of economic development and ideological and social struggle.

The beginning of the revolutionary upsurge was marked by the desire to institutionalize the unity of realist writers. The literary community “Sreda”, created in Moscow in 1899 by N. Teleshov, became one of the centers of such unity. Bunin, Serafimovich, Veresaev, Gorky, Andreev became members of the commonwealth. Meetings of "Sreda" were attended by Chekhov, Korolenko, Mamin - Sibiryak, Chaliapin, Levitan, Vasnetsov.

It is very important that in the culture of the beginning of the century the philosophical and ethical problem was extremely acute: what does a person need - a sweet lie or a harsh truth? It has long worried various thinkers and artists, and was quite actively discussed in the last century. This theme is heard in Gorky’s drama “At the Lower Depths” and forms a certain moral ideal of the time. The meaning of such an ideal is to find God within oneself, the internal self-improvement of the individual. The search for a new value guideline in the system of behavior, the priority of the personal principle, runs like a red thread through L. Tolstoy’s “Resurrection” and A. Kuprin’s “Duel.”

At the beginning of the century, L. Andreev occupied a special place in the system of artistic culture. His philosophical criticism, transforming from a criticism of the social situation into a criticism of existence as a whole, is imbued with a kind of “cosmic pessimism.” The growing notes of unbelief, despair and the associated emergence in his work of elements of expressionism (French expression - expression, expressiveness) make L. Andreev related to the writers of Russian modernism (French modern - modern).

2 Russian modernism

Russian modernism became an important spiritual phenomenon of the Silver Age. It forms part of the spiritual renaissance and embodies the Russian artistic revival. Like the religious renaissance, modernism set itself the task of reviving the intrinsic value and self-sufficiency of art, freeing it from a social, political or any other service role. He spoke out simultaneously against utilitarianism in the approach to art, and against academicism, believing that in the first case art is dissolved in some extra-artistic and extra-aesthetic useful function: it should enlighten, educate, teach, inspire great deeds and actions, and thereby justify one's existence; in the second case, it ceases to be alive and loses its inner meaning.

From the point of view of modernism, art must move away from these two extremes. It should be art for art's sake, “pure” art! Its purpose is to solve its internal problems, to search for new forms, new techniques and means of expression. Its competence includes the inner spiritual world of a person, the sphere of feelings and passions, intimate experiences, etc.

Russian modernism has noticeable differences from the religious renaissance. If the latter gravitated toward Slavophilism and was concerned with the search and preservation of Russian identity, the former embraced the Europeanized part of the Russian intelligentsia. This is especially true for Russian symbolism, which arose under the direct influence of Western symbolism! Like Western, Russian modernism is marked by decadence and decadence. Many of its representatives were fond of mysticism, magic, the occult, and fashionable religious sects. In general, Russian modernism is a complex, heterogeneous and contradictory phenomenon.

Russian modernism is a natural phenomenon caused by the deep processes of Russian culture. Questions of the further development of Russian literature were looming, fundamentally concentrated on three problems: the attitude to the traditions of Russian literature, the determination of the novelty of content and form, the determination of the general aesthetic worldview. There was a need to find guidelines for the development of literature.

3 Symbolism

Russian literature of the early 20th century. gave birth to wonderful poetry and the most significant direction was symbolism. Russian symbolism arose at the turn of the 80s - 90s. XIX century and realized itself as a leading ideological - artistic and religious - philosophical movement. It absorbed all the cultural achievements of the turn of the century, and therefore largely determined the largest philosophical, artistic and also indirectly scientific and socio-political achievements of the Silver Age, including the artistic avant-garde, Russian religious philosophy, for example, Russian cosmism. Symbolism in Russia claimed to perform universal, ideological functions in social and cultural life Russia (in contrast to French, German or Scandinavian symbolism, which remained literary and artistic phenomena).

The idea of ​​a synthesis of art, philosophy, and the creation of a holistic style became the apotheosis of Russian symbolism. It was this quality that distinguished him from other national types of symbolism. In contrast to Western European symbolism, which evolved in the 20s into expressionism, surrealism, etc., Russian symbolism formed the basis for post-symbolist phenomena of Russian culture, such as the avant-garde, acmeism, turned into neoclassicism and futurism, which became one of the most important movements of revolutionary culture in combined with typologically similar phenomena - imagism and constructivism.

For symbolists who believed in the existence of another world, the symbol was its sign and represented the connection between two worlds. One of the ideologists of symbolism D.S. Merezhkovsky, whose novels are permeated with religious and mystical ideas, considered the predominance of realism the main reason for the decline of literature, and proclaimed symbols and mystical content as the basis of new art. Russian symbolism asserted itself persistently and, according to many critics, suddenly. In 1892, the journal “Severny Vestnik” published an article by Dmitry Merezhkovsky “On the causes of decline and the newest trend in modern Russian literature,” and for a long time it was considered a manifesto of Russian symbolists. Merezhkovsky sees realism, this artistic materialism, as the reason for the decline of modern literature.

The unique features of Russian symbolism were most evident in the work of the so-called “younger symbolists” of the early 20th century - A. Blok, A. Bely, Vyach. Ivanova. It is in their creativity artistic method Symbolists receives an objective-idealistic interpretation. The material world is only a mask through which another world of the spirit shines through. Images of masks and masquerade constantly flash in the poetry and prose of the Symbolists. The material world is depicted as something chaotic, illusory, as a lower reality compared to the world of ideas and entities.

Russian symbolism adopted a number of aesthetic and philosophical attitudes from the West, refracting them through the teachings of Vl. Solovyov “about the soul of the world” (13, p. 245). Russian poets experienced with painful intensity the problem of personality and history in their “mysterious connection” with eternity, with the essence of the universal “world process”. Inner world For them, individuals are an indicator of the general tragic state of the world, including the “terrible world” of Russian reality, doomed to destruction, a resonator of natural historical elements, a receptacle of prophetic forebodings of an imminent renewal.

Symbolism is a kind of magical key with which you can open the world and transform it. The entire history of symbolism, as V. Khodasevich wrote, represented: “a series of attempts to find a fusion of life and creativity, a kind of philosophical stone of art” (14, p. 132). Hence the syncretism of the Silver Age culture as a certain dominant principle on which all cultural figures of the Silver Age based their activities: philosophers, artists, poets, writers, musicians, architects, theater workers.

The Silver Age strives for a new organicity - hence its unlimited desire for magical art, a kind of sacredness that purifies and transforms reality. These maxims about art were very uniquely integrated into judgments about politics: “Only then will political freedom be realized,” Vyach believes. Ivanov, - when the choral voice of such communities will be a true referendum of the people’s will” (9, p. 39).

The symbolic principle was the main determining content of the world and even more real than its concrete manifestation in social reality. In one or another specific artistic, moral, political, religious and other forms. Hence the confession of Vyacheslav Ivanov’s motto: movement, aspiration, breakthrough - “from the real to the more real” (9, p.9).

Characteristic of Russian symbolism was the phenomenon of theurgy - the creative realization by man of the divine principle, or likening oneself to God the Creator. Therefore, the creative orientation and realization of the individual come to the fore (in any field of activity - philosophy, art, science, etc.), hence the most important feature of Russian symbolism - not knowledge of the world, but its transformation, not contemplation, but “life building” .

The idea of ​​art expands to human activity in general, including everything: non-canonical religion, revolution, love, “smart fun” of the people, etc. Symbolism was largely based on Dostoevsky’s position “beauty will save the world,” which was taken by Vl. Solovyov as the metaphysical basis of his concept of unity. It is the philosophy of unity of Vl. Solovyov and his poetic work became the foundation of Russian symbolism.

The symbolists offered the reader a colorful myth about a world created according to the laws of eternal Beauty. If we add to this exquisite imagery, musicality and lightness of style, the steady popularity of poetry of this direction becomes clear. The influence of symbolism with its intense spiritual quest and captivating artistry creative manner experienced not only by the Acmeists and Futurists who replaced the Symbolists, but also by the realist writer A.P. Chekhov.

4 Acmeism

“Symbolism has completed its circle of development”; it was replaced by Acmeism (5, p. 153). Acmeism (from the Greek akme - the highest degree of something, blooming power). It arose as a poetic association, the "Workshop of Poets" (1911), opposing itself to symbolism, the center of which was the "Academy of Verse." Supporters of Acmeism rejected the ambiguity and allusions, polysemy and immensity, abstraction and abstraction of symbolism. They rehabilitated a simple and clear perception of life, restored the value of harmony, form and composition in poetry. We can say that the Acmeists brought poetry down from heaven to earth and returned it to the natural, earthly world. At the same time, they preserved the high spirituality of poetry, the desire for true artistry, deep meaning and aesthetic perfection. N. Gumilev made the greatest contribution to the development of the theory of Acmeism. He defines it as a new poetry, replacing symbolism, which does not aim to penetrate into transcendental worlds and comprehend the unknowable. She prefers to do things that are more accessible to understanding. However, this does not mean reducing it to any practical purposes. Gumilyov brings poetry and religion closer together, believing that both of them require spiritual work from a person. They play a major role in the spiritual transformation of man into a higher type.

Acmeism is characterized by a rejection of moral and spiritual quests and a tendency towards aestheticism. A. Blok, with his characteristic heightened sense of citizenship, noted the main drawback of Acmeism: “... they do not have and do not want to have a shadow of an idea about Russian life and the life of the world in general” (3, p. 592). However, the Acmeists did not put all their postulates into practice, as evidenced by the psychologism of A. Akhmatova’s first collections and the lyricism of the early 0. Mandelstam. Essentially, the Acmeists were not so much an organized movement with a common theoretical platform, but rather a group of talented and very different poets who were united by personal friendship.

5 Futurism

At the same time, another modernist movement arose - futurism, which split into several groups: “Association of Ego-Futurists”, “Mezzanine of Poetry”, “Centrifuge”, “Gilea”, the participants of which called themselves Cubo-Futurists, Budtulians, i.e. people from the future.

Of all the groups that at the beginning of the century proclaimed the thesis: “art is a game,” the futurists most consistently embodied it in their work. Unlike the Symbolists with their idea of ​​“life building”, i.e. transforming the world through art, the futurists focused on the destruction of the old world. What the futurists had in common was the denial of traditions in culture and a passion for form-creation. The demand of the Cubo-Futurists in 1912 to “throw Pushkin, Dostoevsky, Tolstoy from the ship of modernity” became scandalous (12, p. 347).

The groups of Acmeists and Futurists, which arose in polemics with symbolism, in practice turned out to be very close to it in that their theories were based on an individualistic idea, and the desire to create vivid myths, and primary attention to form.

There were bright individuals in the poetry of this time who could not be attributed to a specific movement - M. Voloshin, M. Tsvetaeva. No other era has given such an abundance of declarations of its own exclusivity.

Peasant poets like N. Klyuev occupied a special place in the literature of the turn of the century. Without putting forward a clear aesthetic program, they embodied their ideas (the combination of religious and mystical motifs with the problem of protecting the traditions of peasant culture) in their creativity. S. Yesenin was close to peasant poets at the beginning of his career, combining the traditions of folklore and classical art in his work.

Chapter 6. Theater

1 Moscow Art Theater

The Silver Age is not only the rise of poetry, it is also the era of artistic discoveries in theatrical art. At the end of the 19th century. performing arts was experiencing a crisis, which manifested itself in the fact that the repertoire of theaters was mostly of an entertaining nature, it did not touch upon the pressing problems of life, and the acting was not distinguished by a wealth of techniques. Deep changes were needed in the theater, and they became possible with the advent of A.P.’s plays. Chekhov and M. Gorky. In 1898, the Moscow Art and Public Theater opened (since 1903, the Moscow Art Theater), the founders of which were the manufacturer S.T. Morozov, K.S. Stanislavsky and V.I. Nemirovich-Danchenko, innovators of theatrical art. To restructure the entire life of the Russian theater, to remove all bureaucracy, to captivate all artistic forces with a commonality of interests - this is how the tasks of the new theater were defined.

The creators of the Moscow Art Theater set themselves three main goals. Firstly, to attract spectators to the hall from ordinary people who could not afford tickets to the imperial theaters. Secondly, to refresh the repertoire, banishing from it boulevard melodrama and empty comedy. Thirdly, reform the theater business. The new theater had a hard time at first. Income from performances did not cover expenses. Savva Morozov came to the rescue, investing half a million rubles in the theater over five years. Thanks to him, a new building was built on Kamergersky Lane.

Stanislavsky and Nemirovich-Danchenko, using domestic and world theater experience, asserted a new type of art that corresponded to the spirit of the times. The plays of A.P. occupied a leading position in the theater’s repertoire. Chekhov (“The Seagull”, “Uncle Vanya”, “Three Sisters”), then M. Gorky (“Bourgeois”, “At the Depths”). The best performances began productions of “Woe from Wit” by A.S. Griboyedov, “A Month in the Village” by I.S. Turgeneva, " Blue bird"M. Maeterlinck, "Hamlet" by W. Shakespeare. This repertoire required talented performers. K. Stanislavsky developed a system of acting and directing, speaking out against amateurism, seeking the education of an actor-citizen, whose performance would lead to the creation of an organic process according to the well-thought-out logic of character stage hero, the actor must become the leading figure in the theater. The Art Theater very soon became the leading, advanced theater in Russia, which was primarily due to its democratic essence.

2 Other theaters in Russia

In 1904, the V.F. Theater was formed in St. Petersburg. Komissarzhevskaya, whose repertoire reflected the aspirations of the democratic intelligentsia. Director's creativity E.B. Vakhtangov was marked by the search for new forms, his productions of 1911-12. are joyful and spectacular. In 1915, Vakhtangov created the 3rd studio of the Moscow Art Theater, which later became a theater named after him (1926). One of the reformers of the Russian theater, founder of the Moscow Chamber Theater A.Ya. Tairov strove to create a “synthetic theater” with a predominantly romantic and tragic repertoire, and to develop actors of virtuoso skill.

Chapter 7. Ballet

New trends also affected the ballet scene. They are associated with the name of choreographer M.M. Fokina (1880-1942). One of the founders of the World of Art association S.L. Diaghilev organized the Russian Seasons in Paris - performances by Russian ballet dancers in 1909-1911. The troupe included M.M. Fokin, A.L. Pavlova, D.F. Nezhinsky, T.P. Karsavina, E.B. Geltser, M. Mordkin and others. Fokin was a choreographer and artistic director. The performances were designed by famous artists: A. Benois, L. Bakst, A. Golovin, N. Roerich. The performances “La Sylphide” (music by F. Chopin), Polovtsian dances from the opera “Prince Igor” by Borodin, “Firebird” and “Petrushka” (music by I. Stravinsky), etc. were shown. The performances were a triumph for the Russian choreographic art. The artists proved that classical ballet It can be modern and excite the viewer if the dance carries a semantic load with the appropriate dance means and is organically combined with music and painting. Fokine’s best productions were “Petrushka”, “The Firebird”, “Scheherazade”, “The Dying Swan”, in which music, painting and choreography were unified.

Chapter 8. Music

Beginning of the 20th century - this is the time of the creative takeoff of the great Russian composers-innovators A. Scriabin, I. Stravinsky, S. Taneyev, S. Rachmaninov. In their work they tried to go beyond traditional classical music and create new musical forms and images. Musical performing culture has also achieved significant flourishing. The Russian vocal school was represented by the names of outstanding singers - F. Chaliapin, A. Nezhdanova, L. Sobinov, I. Ershov.

Chapter 9. Cinema

Beginning of the 20th century - this is the time of the emergence of a new art form - cinema. Since 1903, the first “electric theaters” and “illusions” began to appear in Russia, and by 1914 about 4 thousand cinemas had been built.

In 1908, the first Russian feature film, “Stenka Razin and the Princess,” was shot, and in 1911, the first full-length film, “The Defense of Sevastopol.” Cinematography quickly developed and became popular. In 1914, there were about 30 domestic film companies in Russia. And although the bulk of film production consisted of films with primitive melodramatic plots, world-famous filmmakers appeared in Russia: director Y. Protazanov, actors I. Mozzhukhin, V. Kholodnaya, V. Maksimov, A. Koonen and others.

The undoubted merit of cinema was its accessibility to all segments of the population. Russian films created mainly as film adaptations classical works, became the first sign in the formation of mass culture, an indispensable attribute of bourgeois society.

Chapter 10. Painting

1 Association “World of Art”

At the turn of the 19th and 20th centuries, significant changes took place in Russian painting. Genre scenes faded into the background. The landscape lost its photographic quality and linear perspective and became more democratic, based on the combination and play of color spots. Portraits often combined the ornamental conventionality of the background and the sculptural clarity of the face. The beginning of a new stage in Russian painting is associated with the creative association “World of Art”. At the end of the 80s of the XIX century. In St. Petersburg, a circle of high school students and art lovers arose. They gathered at the apartment of one of the participants, Alexander Benois. Its permanent members were Konstantin Somov and Lev Bakst. Later they were joined by Evgeny Lansere and Sergei Diaghilev, who came from the provinces. The meetings of the circle were a bit clownish in nature. But the reports presented by its members were prepared carefully and seriously. The friends were fascinated by the idea of ​​uniting all types of art and bringing together the cultures of different peoples. They spoke with alarm and bitterness that Russian art was little known in the West and that domestic artists were not sufficiently familiar with the achievements of modern European artists. The friends grew up, went into creativity, and created their first serious works. Diaghilev becomes the head of the circle.

In 1898, Diaghilev organized an exhibition of Russian and Finnish artists in St. Petersburg. Essentially, this was the first exhibition of artists of a new direction. This was followed by other vernissages and, finally, in 1906, an exhibition in Paris “Two Centuries of Russian Painting and Sculpture.” Russia's "cultural breakthrough" into Western Europe occurred thanks to the efforts and enthusiasm of Diaghilev and his friends. In 1898, the Benois-Diaghilev circle began publishing the magazine “World of Art”. Diaghilev's programmatic article stated that the purpose of art is the self-expression of the creator. Art, Diaghilev wrote, should not be used to illustrate any social doctrines. If it is genuine, it in itself is a truth of life, an artistic generalization, and sometimes a revelation.

The name “World of Art” was transferred from the magazine to a creative association of artists, the backbone of which was made up of the same circle. Such masters as V. A. Serov, M. A. Vrubel, M. V. Nesterov, I. I. Levitan, N. K. Roerich joined the association. They all bore little resemblance to each other and worked in different creative styles. And yet there was much in common in their creativity, moods and views.

“Mirskusniki” was alarmed by the onset of the industrial era, when huge cities, built up with faceless factory buildings and inhabited by lonely people, grew. They were worried that art, designed to bring harmony and peace into life, was increasingly being squeezed out of it and becoming the property of a small circle of “chosen ones.” They hoped that art, having returned to life, would gradually soften, spiritualize and unite people. “Miriskusniki” believed that in pre-industrial times people came into closer contact with art and nature. The 18th century seemed especially attractive to them. But they still understood that the age of Voltaire and Catherine was not as harmonious as it seems to them, and therefore the few Versailles and Tsarskoe Selo landscapes with kings, empresses, gentlemen and ladies are shrouded in a slight haze of sadness and self-irony.

A revival is associated with the creativity of the “MirIskusniks” book graphics, art books. Not limiting themselves to illustrations, artists introduced splash pages, intricate vignettes and endings in the Art Nouveau style into books. It became clear that the design of a book should be closely related to its content. The graphic designer began to pay attention to details such as book format, paper color, font, and trim. Many outstanding masters of that time were involved in the design of books. Pushkin’s “The Bronze Horseman” was firmly connected with Benois’s drawings, and Tolstoy’s “Hadji Murat” with Lanceray’s illustrations. Beginning of the 20th century deposited on library shelves with many high-quality examples of book art.

The artists of the World of Art paid a generous tribute to music. The decorations of the artists of that time - sometimes exquisitely refined, sometimes blazing like a fire - combined with music, dance, and singing, created a dazzlingly luxurious spectacle. L. S. Bakst made a significant contribution to the success of the ballet “Scheherazade” (to the music of Rimsky-Korsakov). A. Ya. Golovin designed the ballet “The Firebird” (to the music of I. F. Stravinsky) in an equally bright and festive way. Scenery N.K. Roerich to the opera "Prince Igor", on the contrary, are very restrained and stern. The ballet “Petrushka”, which has traveled to the theater stage in many countries, was a joint work of composer Igor Stravinsky and artist Alexandre Benois. In the field of theatrical painting, the “miriskusniks” came closest to fulfilling their cherished dream - to combine different types of art into one work.

The fate of the World of Art association turned out to be difficult. The magazine ceased publication after 1904. By this time, many artists had left the association, and it had shrunk to the size of the original circle. The creative and personal connections of its members continued for many years. “The World of Art” has become an artistic symbol of the border of two centuries. A whole stage in the development of Russian painting is associated with it. A special place in the association was occupied by M. A. Vrubel, M. V. Nesterov and N. K. Roerich.

2 Symbolism in Russian painting

In 1907, an exhibition called “Blue Rose” was opened in Moscow, in which A. Arapov, N. Krymov, P. Kuznetsov, N. Sapunov, M. Saryan and others took part, a total of 16 artists. These were searching youth, dissatisfied with the state of art, familiar with the achievements of Western artists and striving to find their individuality in the synthesis of Western experience and national traditions.

Representatives of the “Blue Rose” were closely associated with symbolist poets, whose performances were an indispensable attribute of the opening days. But symbolism in Russian painting has never been a single stylistic direction. It included, for example, such different artists in their painting systems as M. Vrubel, K. Petrov-Vodkin and others.

3 Avant-garde movement in art

At the same time, groups representing the avant-garde direction in art appeared in Russian painting. In 1910, an exhibition called “Jack of Diamonds” was organized in Moscow, and in 1911 its participants united into a society with the same name. It existed until 1917. Among the activists of the “Jack of Diamonds” were P. Konchalovsky, I. Mashkov, A. Lentulov, R. Falk, V. Rozhdestvensky and others. In their work, they sought to finally free painting from the influence of social and political life, literary and other subordination, to return to her the ability to fully use the means inherent only to her - color, line, plasticity. They saw beauty in the very surface of the canvas, covered with a layer of paint, in the unique mixture of colors. The most popular genre of “Jacks of Diamonds” was still life.

A number of major Russian artists - V. Kandinsky, M. Chagall, P. Filonov and others - entered the history of world culture as representatives of unique styles that combined avant-garde trends with Russian national traditions.

Chapter 11. Architecture

At the turn of the 19th and 20th centuries, the modernist movement arose in the architecture of a number of European countries. The “crisis of science” at the beginning of the century, the rejection of mechanistic ideas about the world gave rise to artists’ attraction to nature, the desire to be imbued with its spirit, to reflect its changeable elements in art.

The architecture of the “modern” era was distinguished by asymmetry and mobility of forms, the free flow of a “continuous surface”, and the flow of internal spaces. The ornament was dominated by floral motifs and flowing lines. The desire to convey growth, development, and movement was characteristic of all types of art in the “modern” style - in architecture, painting, graphics, in house painting, lattice casting, on book covers. “Modern” was very heterogeneous and contradictory. On the one hand, he sought to assimilate and creatively rework folk principles, to create an architecture that was not ostentatious to the people, as in the eclectic period, but genuine.

Setting the task even more broadly, the masters of the Art Nouveau era ensured that everyday objects bore the imprint of folk traditions. In this regard, a lot was done by the circle of artists working in Abramtsevo, the estate of the philanthropist S.I. Mamontov. V. M. Vasnetsov, M. A. Vrubel, V. D. Polenov worked here. The business begun in Abramtsevo was continued in Talashkino near Smolensk, the estate of Princess M. A. Tenisheva. Both in Abramtsevo and Talashkino there were workshops that produced furniture and household utensils based on samples made by artists. The theorists of “modernity” contrasted living folk crafts with faceless industrial production. But, on the other hand, “modern” architecture made extensive use of the achievements of modern construction technology. A careful study of the capabilities of materials such as reinforced concrete, glass, and steel led to unexpected discoveries. Convex glass, curved window sashes, fluid forms of metal gratings - all this came into architecture from Art Nouveau.

From the very beginning, two directions stood out in domestic “modernity” - pan-European and national-Russian. The latter was, perhaps, predominant. At its origins stands the church in Abramtsevo - an original and poetic creation of two artists who acted as architects - Vasnetsov and Polenov. Taking the ancient Novgorod-Pskov architecture, with its picturesque asymmetry, as a model, they did not copy individual details, but embodied the very spirit of Russian architecture in its modern material.

Early “modern” was characterized by a “Dionysian” beginning, i.e. the desire for spontaneity, immersion in the flow of formation and development. In late “modernity” (on the eve of the World War), a calm and clear “Apollonistic” beginning began to predominate. Elements of classicism returned to architecture. In Moscow, the Museum of Fine Arts and the Borodino Bridge were built according to the design of the architect R. I. Klein. At the same time, the buildings of the Azov-Don and Russian Commercial and Industrial Banks appeared in St. Petersburg. The St. Petersburg banks were built in a monumental style, using granite cladding and “ragged” masonry surfaces. This seemed to personify their conservatism, reliability, and stability.

The century of “modern” was very short - from the end of the 19th century. before the start of the world war. But this was a very bright period in the history of architecture. At the beginning of the century, its appearance was met with a storm of criticism. Some considered it a “decadent” style, others considered it bourgeois. But “modern” proved its vitality and democracy. It had folk roots, relied on an advanced industrial base and absorbed the achievements of world architecture. "Modern" did not have the rigor of classicism. It was divided into many directions and schools, which formed a multicolored palette of the last flowering of architecture on the eve of the great upheavals of the 20th century.

Over the course of a decade and a half, coinciding with the construction boom, “modernism” spread throughout Russia. It can still be found today in any old city. One has only to look closely at the rounded windows, exquisite stucco molding and curved balcony grilles of any mansion, hotel or store.

Chapter 12. Sculpture

Sculpture also experienced a creative upsurge during this period. Her awakening was largely due to the tendencies of impressionism. P. P. Trubetskoy achieved significant success on this path of renewal. His sculptural portraits of L.N. Tolstoy, S.Yu. Witte, F.I. Chaliapin and others became widely known. They most consistently reflected the main artistic rule of the master: to capture the still barely noticeable instantaneous internal movement of a person. An important milestone in the history of Russian monumental sculpture was the monument Alexander III, conceived as a kind of antipode to another great monument - “The Bronze Horseman” by E. Falcone.

The combination of impressionism and modernist tendencies characterizes the work of A. S. Golubkina. At the same time, the main feature of her works is not the display of a specific image or fact of life, and the creation of a generalized phenomenon: “Old Age” (1898), “Walking Man” (1903), “Soldier” (1907), “Sleepers” (1912), etc.

S.T. Konenkov left a significant mark on Russian art of the Silver Age. His work embodied the continuity of the traditions of realism in new directions. He went through Michelangelo’s fascination with “Samson Breaking the Chains”, antiquity “Nike”, Russian folk wooden sculpture “Lesovik”, “Beggar Brethren”, the Wandering traditions “Stonebreaker”, traditional realistic portrait"A.P. Chekhov." And with all this, he remained a master of bright creative individuality.

In general, the Russian sculptural school was little affected by avant-garde trends and did not develop such a complex range of innovative aspirations characteristic of painting.

Chapter 13. Patronage

Against the rich background of Russian patronage of the arts, the period of the late 19th and early 20th centuries. can rightly be called its “golden age,” at times its true heyday. And this time was associated mainly with the activities of eminent merchant dynasties that provided hereditary benefactors. Only in Moscow did they carry out such major undertakings in the field of culture, education, medicine, and various fields of science that one can rightfully say: this was a qualitatively new stage of charity.

Kupets P.M. Tretyakov (1838-1898), a collector of works of Russian painting, in 1892 donated his collection to Moscow (Tretyakov Gallery), his brother S.M. Tretyakov also bequeathed his collection of Western European painting to Moscow. In the phenomenon of P.M. Tretyakov is impressed by his fidelity to the goal. A similar idea - to lay the foundation for a public, accessible repository of art - did not arise among any of his contemporaries, although private collectors existed before Tretyakov, but they acquired paintings, sculpture, dishes, crystal, etc. First of all, for themselves, for their private collections, and few could see works of art that belonged to collectors. It is also striking that he did not have any special art education, nevertheless, he recognized talented artists earlier than others. Before many others, he realized the invaluable artistic merits of the icon-painting masterpieces of Ancient Rus'.

S.D. Mamontov (1841-1918) founded the Private Russian Opera in Moscow and supported Russian painters; his Abramtsevo estate was an important center of artistic life; I.E. lived and worked here. Repin, M.A. Vrubel, K.A. Koroviy and others. The Mamontov art circle was a unique association. It can be said quite definitely that if all the achievements of Mamontov’s Private Opera were limited only to the fact that it formed Chaliapin, the genius of the opera stage, then this would be quite enough for the highest assessment of the activities of Mamontov and his theater.

The industrialist S.T. Morozov (1862-1905) was a patron of the Moscow Art Theater.

A. A. Bakhrushin (1865-1929) based on his collection created a private literary and theatrical museum, now the Theater Museum. Bakhrushin.

M. Kl. Tenisheva (1867-1929) was an extraordinary person, the owner of encyclopedic knowledge in art, an honorary member of the first union of artists in Russia. The scale of her social activities, in which enlightenment was the leading principle, is striking: she created the School of Craft Students (near Bryansk), opened several elementary public schools, organized drawing schools together with Repin, opened courses for teacher training, and even created a real analogue of Abramtsev near Moscow - Talashkino. Roerich called Tenisheva “a creator and a collector” (11, p.344).

In order to reveal your talent to the world, you need not only talent, but often money. In this matter, patrons of art provided invaluable assistance to Russian culture. We owe all the wealth that our museums own, the very forward movement of museum affairs in Russia, searches, discoveries to them - enthusiasts, collectors, patrons of the arts. Each collector was devoted to his own range of hobbies, collecting evidence of bygone times that he liked, works of artists, systematizing them as best he could, sometimes researching and publishing them. But the consequences of this spontaneous activity ultimately turned out to be enormous: after all, all museum funds pre-revolutionary Russia were composed not so much of individual objects, but rather of collections, carefully selected. Having done huge contribution in the creation of Russian cultural heritage, they perpetuated their names.

Conclusion

Socio-political tensions arise in Russia: a general conflict in which protracted feudalism is intertwined, the inability of the nobility to fulfill the role of organizer of society and develop a national idea, the onslaught of the new bourgeoisie, the clumsiness of the monarchy, which did not want concessions, the age-old hatred of the peasant for the master - all this gave birth to the intelligentsia a feeling of impending shock. And at the same time a sharp surge, a flourishing of cultural life. After all, it is in critical, extreme situations that a person exhibits extraordinary talents. Through their activities, creative people showed their own attitude to the surrounding reality. New magazines are published, theaters are opened, unprecedented opportunities appear for artists, actors, and writers. Their influence on society is enormous. At the same time, a mass culture is being formed, aimed at the unprepared consumer, and an elite culture, targeting connoisseurs. Art is splitting apart. At the same time, Russian culture is strengthening contacts with world culture. Unconditional authority in Europe of Tolstoy and Chekhov, Tchaikovsky and Glinka. The Russian Seasons in Paris enjoyed worldwide fame. The names of Perov, Nesterov, Korovin, Chagall, Malevich shine in painting; in the theater: Meyerhold, Nezhdanova, Stanislavsky, Sobinov, Chaliapin; in ballet: Nezhinsky and Pavlova, in science: Mendeleev, Tsiolkovsky, Sechenov, Vernadsky. Marina Tsvetaeva argued that “after such an abundance of talent, nature should calm down” (4, p. 154).

The Silver Age was precisely the milestone that predicted future changes in the state and became a thing of the past with the advent of the blood-red year of 1917, which changed human souls beyond recognition. There was no Silver Age after that. In the twenties, inertia still continued (the heyday of imagism), because such a wide and powerful wave as the Russian Silver Age was could move for some time before collapsing and breaking. Many poets, writers, critics, philosophers, artists, directors, composers were still alive, whose individual creativity and collective work created the Silver Age, but the era itself ended. Each of its active participants realized that, although people remained, the characteristic atmosphere of the era in which talents grew up had faded away.

The attempt to “modernize” culture associated with the reform of P.A. Stolypin was unsuccessful. Its results were less than expected and gave rise to new contradictions. Tension in society grew faster than responses to emerging conflicts were found. Contradictions between agrarian and industrial cultures intensified, which was also expressed in contradictions in economic forms, interests and motives for people’s creativity, and in the political life of society.

Deep social transformations were required in order to provide space for the cultural creativity of the people, significant investments in the development of the spiritual sphere of society and its technical base, for which the government did not have enough funds. Patronage, private support and financing of significant public, cultural events. Nothing could radically transform the cultural appearance of the country. The country found itself in a period of unstable development and found no other way out but revolution.

The culture of the Silver Age turned out to be bright, complex, contradictory, but immortal and unique. She reflected the existing reality. And although we call this time the “silver” and not the “golden” age, perhaps it was the most creative era in the history of Russia.

List of used literature

Balakina, T.I. History of Russian culture.-M.: Az, 1996

2. Philanthropists and patrons of the past and present: Dictionary - reference book from A to Z / author: Makalskaya M.L., Bobrovskaya N.N.-M.: Business and Service, 2003

Blok, A. Poems, poems, theater / A. Blok. - M., 1968

Memories of Marina Tsvetaeva: collection / comp. L.A. Mukhin, L.M. Turchinsky // Notes. - M.: Soviet writer, 1992

Gumilev, N. Works in 3 volumes / N. Gumilev // volume 3.- M.: Fiction, 1991

Danilov, A.A. History of Russia, 20th century: textbook for 9th grade / A.A. Danilov, L.G. Kosulina. - 7th ed. - M.: Education, 2001

Dmitriev, S.S. Essays on the history of Russian culture of the early 20th century. - Moscow, Education, 1985

Zholkovsky, A.N. Wandering dreams. From the history of Russian modernism.-M.: Soviet Writer, 1992

Ivanov, Vyach. About fun craft and smart fun // Decorative art. - 1993. - No. 3.

Rapatskaya, L.A. Artistic culture of Russia.-M.: Vlados, 1998

Roerich, N. In memory of Maria Klavdievna Tenisheva / N. Roerich // Literary heritage. - M., 1974

Sokolov A.G., Mikhailova M.V. Russian literary criticism late XIX - early XX centuries: a reader // Cubo-Futurists. - M.: Higher School, 1982

Soloviev, Vl. Philosophical heritage: op. in 2 volumes / Vl. Soloviev // vol. 2.-M.: Mysl, 1998

Khodasevich, V. “Necropolis” and other memories / V. Khodasevich. - M.: World of Art, 1992

Shamurin, E. Main trends in pre-revolutionary Russian poetry. - Moscow, 1993

Etkind, A. Sodom and Psyche. Essays on the intellectual history of the Silver Age. - M.: Garant, 1996

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The new stage in the development of Russian culture is conventionally called the “Silver Age”, starting from the reform of 1861 to the October Revolution of 1917. This name was first proposed by the philosopher N. Berdyaev, who saw in the highest cultural achievements of his contemporaries a reflection of the Russian glory of the previous “golden” eras, but this phrase finally entered literary circulation in the 60s of the last century.
The “Silver Age” occupies a very special place in Russian culture. This controversial time of spiritual search and wandering significantly enriched all types of arts and philosophy and gave birth to a whole galaxy of outstanding creative personalities. On the threshold of the new century, the deep foundations of life began to change, giving rise to the collapse of the old picture of the world. Traditional regulators of existence - religion, morality, law - did not cope with their functions, and the age of modernity was born.
However, they sometimes say that the “Silver Age” is a Westernizing phenomenon. Indeed, he chose as his reference points the aestheticism of Oscar Wilde, the individualistic spiritualism of Alfred de Vigny, the pessimism of Schopenhauer, and the superman of Nietzsche. The “Silver Age” found its ancestors and allies in various European countries and in different centuries: Villon, Mallarmé, Rimbaud, Novalis, Shelley, Calderon, Ibsen, Maeterlinck, d'Annuzio, Gautier, Baudelaire, Verhaeren.
In other words, at the end of the 19th and beginning of the 20th centuries there was a reassessment of values ​​from the perspective of Europeanism. But in the light of a new era, which was the complete opposite of the one it replaced, national, literary and folklore treasures appeared in a different light, brighter than ever. Truly, it was the most creative era in Russian history, a canvas of greatness and impending troubles of holy Russia.

Slavophiles and Westerners

The abolition of serfdom and the development of bourgeois relations in the countryside exacerbated contradictions in the development of culture. They are revealed, first of all, in the discussion that has gripped Russian society and in the formation of two directions: “Western” and “Slavophile”. The stumbling block that did not allow the disputants to reconcile was the question: along what path is Russian culture developing? According to the “Western”, that is, bourgeois, or it preserves its “Slavic identity”, that is, preserves feudal relations and the agrarian nature of the culture.
The reason for highlighting the directions was the “Philosophical Letters” of P. Ya. Chaadaev. He believed that all the troubles of Russia were derived from the qualities of the Russian people, which were supposedly characterized by: mental and spiritual backwardness, underdeveloped ideas about duty, justice, law, order, and the absence of an original “idea.” As the philosopher believed, “the history of Russia is a “negative lesson” to the world.” A.S. Pushkin gave him a sharp rebuke, declaring: “For nothing in the world I would not want to change the Fatherland or have a different history other than the history of our ancestors, the way God gave it to us.”
Russian society was divided into “Slavophiles” and “Westerners.” The “Westerners” included V. G. Belinsky, A. I. Herzen, N. V. Stankevich, M. A. Bakunin and others. The “Slavophiles” were represented by A. S. Khomyakov, K. S. Aksakov, Yu. Samarin.
The “Westerners” were characterized by a certain set of ideas that they defended in disputes. This ideological complex included: denial of the originality of the culture of any people; criticism of Russia's cultural backwardness; admiration for Western culture, its idealization; recognition of the need for modernization, “modernization” of Russian culture, as a borrowing of Western European values. Westerners considered the European to be the ideal person - a businesslike, pragmatic, emotionally restrained, rational being, distinguished by “healthy egoism.” Characteristic of the “Westerners” was also a religious orientation towards Catholicism and ecumenism (the fusion of Catholicism with Orthodoxy), as well as cosmopolitanism. In terms of political sympathies, the “Westerners” were republicans; they were characterized by anti-monarchist sentiments.
In essence, the “Westerners” were supporters of industrial culture - the development of industry, natural science, technology, but within the framework of capitalist, private property relations.
They were opposed by the “Slavophiles”, distinguished by their complex of stereotypes. They were characterized by a critical attitude towards European culture; its rejection as inhumane, immoral, unspiritual; absolutization in it of the features of decline, decadence, decomposition. On the other hand, they were distinguished by nationalism and patriotism, admiration for the culture of Russia, the absolutization of its uniqueness and originality, and the glorification of the historical past. The “Slavophiles” pinned their expectations on the peasant community, viewing it as the custodian of everything “sacred” in culture. Orthodoxy was considered the spiritual core of culture, which was also viewed uncritically, and its role in the spiritual life of Russia was exaggerated. Accordingly, anti-Catholicism and a negative attitude towards ecumenism were asserted. Slavophiles were distinguished by a monarchical orientation, admiration for the figure of the peasant - the owner, the “master”, and a negative attitude towards workers as a “ulcer of society”, a product of the decomposition of its culture.
Thus, the “Slavophiles”, in essence, defended the ideals of an agrarian culture and took protective, conservative positions.
The confrontation between the “Westerners” and the “Slavophiles” reflected the growing contradiction between agrarian and industrial cultures, between two forms of property - feudal and bourgeois, between two classes - the nobility and capitalists. But hidden contradictions also worsened within capitalist relations - between the proletariat and the bourgeoisie. The revolutionary, proletarian direction in culture stands out as independent and, in fact, will determine the development of Russian culture in the twentieth century.

Education and enlightenment

In 1897, the All-Russian population census was carried out. According to the census, in Russia the average literacy rate was 21.1%: men - 29.3%, women - 13.1%, about 1% of the population had higher and secondary education. In relation to the entire literate population, only 4% studied in secondary school. At the turn of the century, the education system still included three levels: primary (parochial schools, public schools), secondary (classical gymnasiums, real and commercial schools) and higher school (universities, institutes).
In 1905, the Ministry of Public Education submitted a draft law “On the introduction of universal primary education in the Russian Empire” for consideration by the Second State Duma, but this project never received the force of law. But the growing need for specialists contributed to the development of higher, especially technical, education. In 1912, there were 16 higher technical educational institutions in Russia, in addition to private higher educational institutions. The university accepted persons of both sexes, regardless of nationality and political views. Therefore, the number of students increased noticeably - from 14 thousand in the mid-90s to 35.3 thousand in 1907. Higher education for women received further development, and in 1911 women’s right to higher education was legally recognized.
Simultaneously with Sunday schools, new types of cultural and educational institutions for adults began to operate - workers' courses, educational workers' societies and people's houses - original clubs with a library, assembly hall, teahouse and trading shop.
The development of periodicals and book publishing had a great influence on education. In the 1860s, 7 daily newspapers were published and about 300 printing houses operated. In the 1890s there were 100 newspapers and approximately 1000 printing houses. And in 1913, 1263 newspapers and magazines were already published, and there were approximately 2 thousand bookstores in the cities.
In terms of the number of books published, Russia ranked third in the world after Germany and Japan. In 1913, 106.8 million copies of books were published in Russian alone. The largest book publishers are A.S. Suvorin in St. Petersburg and I.D. Sytin in Moscow contributed to introducing people to literature by publishing books at affordable prices: Suvorin’s “cheap library” and Sytin’s “library for self-education.”
The process of enlightenment was intensive and successful, and the number of the reading public grew rapidly. This is evidenced by the fact that at the end of the 19th century. there were approximately 500 public libraries and about 3 thousand zemstvo public reading rooms, and already in 1914 there were about 76 thousand different public libraries in Russia.
An equally important role in the development of culture was played by “illusion” - cinema, which appeared in St. Petersburg literally a year after its invention in France. By 1914 Russia already had 4,000 cinemas, which showed not only foreign but also domestic films. The need for them was so great that between 1908 and 1917 more than two thousand new feature films were produced. In 1911-1913 V.A. Starevich created the world's first three-dimensional animations.

The science

The 19th century brings significant successes in the development of domestic science: it claims equality with Western European science, and sometimes even superiority. It is impossible not to mention a number of works by Russian scientists that led to world-class achievements. D.I. Mendeleev discovered the periodic system of chemical elements in 1869. A. G. Stoletov in 1888-1889 establishes the laws of the photoelectric effect. In 1863, I. M. Sechenov’s work “Reflexes of the Brain” was published. K. A. Timiryazev founded the Russian school of plant physiology. P. N. Yablochkov creates an electric arc light bulb, A. N. Lodygin creates an incandescent light bulb. A. S. Popov invents radiotelegraph. A. F. Mozhaisky and N. E. Zhukovsky laid the foundations of aviation with their research in the field of aerodynamics, and K. E. Tsiolkovsky is known as the founder of astronautics. P.N. Lebedev is the founder of research in the field of ultrasound. I. I. Mechnikov explores the field of comparative pathology, microbiology and immunology. The foundations of new sciences - biochemistry, biogeochemistry, radiogeology - were laid by V.I. Vernadsky. And this is not a complete list of people who have made an invaluable contribution to the development of science and technology. The significance of scientific foresight and a number of fundamental scientific problems posed by scientists at the beginning of the century is becoming clear only now.
The humanities were greatly influenced by the processes taking place in natural science. Humanities scientists like V.O. Klyuchevsky, S.F. Platonov, S.A. Vengerov and others worked fruitfully in the field of economics, history, and literary criticism. Idealism has become widespread in philosophy. Russian religious philosophy, with its search for ways to combine the material and spiritual, the establishment of a “new” religious consciousness, was perhaps the most important area not only of science, ideological struggle, but also of all culture.
The foundations of the religious and philosophical Renaissance, which marked the “Silver Age” of Russian culture, were laid by V.S. Soloviev. His system is an experience of synthesis of religion, philosophy and science, “and it is not Christian doctrine that is enriched by him at the expense of philosophy, but on the contrary, he introduces Christian ideas into philosophy and with them enriches and fertilizes philosophical thought” (V.V. Zenkovsky). Possessing a brilliant literary talent, he made philosophical problems accessible to wide circles of Russian society; moreover, he brought Russian thought to universal spaces.
This period, marked by a whole constellation of brilliant thinkers - N.A. Berdyaev, S.N. Bulgakov, D.S. Merezhkovsky, G.P. Fedotov, P.A. Florensky and others largely determined the direction of development of culture, philosophy, and ethics not only in Russia, but also in the West.

Spiritual quest

During the “Silver Age” people are looking for new foundations for their spiritual and religious life. All kinds of mystical teachings are very widespread. The new mysticism willingly sought its roots in the old, in the mysticism of the Alexander era. Just as a hundred years earlier, the teachings of Freemasonry, Skoptchestvo, the Russian schism and other mystics became popular. Many creative people of that time took part in mystical rituals, although not all of them fully believed in their content. V. Bryusov, Andrei Bely, D. Merezhkovsky, Z. Gippius, N. Berdyaev and many others were fond of magical experiments.
Theurgy occupied a special place among the mystical rites that spread at the beginning of the twentieth century. Theurgy was conceived “as a one-time mystical act, which must be prepared by the spiritual efforts of individuals, but, once accomplished, irreversibly changes human nature as such” (A. Etkind). The subject of the dream was a real transformation of each person and the entire society as a whole. In a narrow sense, the tasks of theurgy were understood in almost the same way as the tasks of therapy. We also find the idea of ​​the need to create a “new man” in such revolutionary figures as Lunacharsky and Bukharin. A parody of theurgy is presented in the works of Bulgakov.
The “Silver Age” is a time of opposition. The main opposition of this period is the opposition of nature and culture. Vladimir Solovyov, a philosopher who had a huge influence on the formation of the ideas of the “Silver Age,” believed that the victory of culture over nature would lead to immortality, since “death is a clear victory of meaninglessness over meaning, chaos over space.” Theurgy was ultimately supposed to lead to victory over death.
In addition, the problems of death and love were closely connected. “Love and death become the main and almost the only forms of human existence, the main means of understanding him,” Solovyov believed. The understanding of love and death brings together the Russian culture of the “Silver Age” and psychoanalysis. Freud recognizes the main internal forces, affecting a person - libido and thanatos, respectively sexuality and the desire for death.
Berdyaev, considering the problem of gender and creativity, believes that a new natural order must come in which creativity will win - “the gender that gives birth will be transformed into the gender that creates.”
Many people sought to break out of everyday life, in search of a different reality. They chased emotions, all experiences were considered good, regardless of their consistency and expediency. The lives of creative people were rich and full of experiences. However, the consequence of such an accumulation of experiences was often profound emptiness. Therefore, the fates of many people of the “Silver Age” are tragic. And yet, this difficult time of spiritual wandering gave birth to a beautiful and original culture.

Literature

Realistic trend in Russian literature at the turn of the 20th century. continued L.N. Tolstoy, A.P. Chekhov, who created his best works, the theme of which was the ideological quest of the intelligentsia and the “little” man with his everyday worries, and young writers I.A. Bunin and A.I. Kuprin.
In connection with the spread of neo-romanticism, new artistic qualities appeared in realism, reflecting reality. The best realistic works by A.M. Gorky reflected a broad picture of Russian life at the turn of the 20th century with its inherent uniqueness of economic development and ideological and social struggle.
At the end of the 19th century, when, in the context of political reaction and the crisis of populism, part of the intelligentsia was overwhelmed by the mood of social and moral decline, decadence became widespread in artistic culture, a phenomenon in the culture of the 19th-20th centuries, marked by a renunciation of citizenship and immersion in the sphere of individual experiences. Many motifs of this direction became the property of a number of artistic movements of modernism that emerged at the turn of the 20th century.
Russian literature of the early 20th century gave rise to wonderful poetry, and the most significant movement was symbolism. For symbolists who believed in the existence of another world, the symbol was its sign and represented the connection between two worlds. One of the ideologists of symbolism D.S. Merezhkovsky, whose novels are permeated with religious and mystical ideas, considered the predominance of realism the main reason for the decline of literature, and proclaimed “symbols” and “mystical content” as the basis of new art. Along with the demands of “pure” art, the Symbolists professed individualism; they were characterized by the theme of “spontaneous genius,” close in spirit to Nietzsche’s “superman.”
It is customary to distinguish between “senior” and “junior” symbolists. “The Elders”, V. Bryusov, K. Balmont, F. Sologub, D. Merezhkovsky, 3. Gippius, who came to literature in the 90s, a period of deep crisis in poetry, preached the cult of beauty and free self-expression of the poet. “Younger” Symbolists, A. Blok, A. Bely, Vyach. Ivanov, S. Solovyov, brought philosophical and theosophical quests to the fore.
The symbolists offered the reader a colorful myth about a world created according to the laws of eternal Beauty. If we add to this exquisite imagery, musicality and lightness of style, the steady popularity of poetry of this direction becomes clear. The influence of symbolism with its intense spiritual quest and captivating artistry of creative manner was experienced not only by the Acmeists and Futurists who replaced the Symbolists, but also by the realist writer A.P. Chekhov.
By 1910, “symbolism completed its circle of development” (N. Gumilev), it was replaced by Acmeism. The participants of the acmeist group were N. Gumilyov, S. Gorodetsky, A. Akhmatova, O. Mandelstam, V. Narbut, M. Kuzmin. They declared the liberation of poetry from symbolist calls for the “ideal”, the return of clarity, materiality and “joyful admiration of being” (N. Gumilyov). Acmeism is characterized by a rejection of moral and spiritual quests and a tendency towards aestheticism. A. Blok, with his characteristic heightened sense of citizenship, noted the main drawback of Acmeism: “... they do not have and do not want to have a shadow of an idea about Russian life and the life of the world in general.” However, the Acmeists did not put all their postulates into practice, as evidenced by the psychologism of A. Akhmatova’s first collections and the lyricism of the early 0. Mandelstam. Essentially, the Acmeists were not so much an organized movement with a common theoretical platform, but rather a group of talented and very different poets who were united by personal friendship.
At the same time, another modernist movement arose - futurism, which split into several groups: “Association of Ego-Futurists”, “Mezzanine of Poetry”, “Centrifuge”, “Gilea”, the participants of which called themselves Cubo-Futurists, Budtulians, i.e. people from the future.
Of all the groups that at the beginning of the century proclaimed the thesis: “art is a game,” the futurists most consistently embodied it in their work. Unlike the Symbolists with their idea of ​​“life building”, i.e. transforming the world through art, the futurists focused on the destruction of the old world. What the futurists had in common was the denial of traditions in culture and a passion for form-creation. The demand of the Cubo-Futurists in 1912 to “throw Pushkin, Dostoevsky, Tolstoy from the Steamship of Modernity” became scandalous.
The groups of Acmeists and Futurists, which arose in polemics with symbolism, in practice turned out to be very close to it in that their theories were based on an individualistic idea, and the desire to create vivid myths, and primary attention to form.
There were bright individuals in the poetry of this time who could not be attributed to a specific movement - M. Voloshin, M. Tsvetaeva. No other era has given such an abundance of declarations of its own exclusivity.
Peasant poets like N. Klyuev occupied a special place in the literature of the turn of the century. Without putting forward a clear aesthetic program, they embodied their ideas (the combination of religious and mystical motifs with the problem of protecting the traditions of peasant culture) in their creativity. “Klyuev is popular because it combines the iambic spirit of Boratynsky with the prophetic melody of an illiterate Olonets storyteller” (Mandelshtam). At the beginning of his career, S. Yesenin was close to peasant poets, especially Klyuev, who combined the traditions of folklore and classical art in his work.

Theater and music

The most important event in the social and cultural life of Russia at the end of the 19th century. was the opening of an art theater in Moscow in 1898, founded by K. S. Stanislavsky and V.I. Nemirovich-Danchenko. In the production of plays by Chekhov and Gorky, new principles of acting, directing, and performance design were formed. An outstanding theatrical experiment, enthusiastically greeted by the democratic public, was not accepted by conservative critics, as well as representatives of symbolism. V. Bryusov, a supporter of the aesthetics of conventional symbolic theater, was closer to the experiments of V.E. Meyerhold, the founder of metaphorical theater.
In 1904, the V.F. Theater arose in St. Petersburg. Komissarzhevskaya, whose repertoire reflected the aspirations of the democratic intelligentsia. Director's creativity E.B. Vakhtangov was marked by the search for new forms, his productions of 1911-12. are joyful and spectacular. In 1915, Vakhtangov created the 3rd studio of the Moscow Art Theater, which later became a theater named after him (1926). One of the reformers of the Russian theater, founder of the Moscow Chamber Theater A.Ya. Tairov strove to create a “synthetic theater” with a predominantly romantic and tragic repertoire, and to develop actors of virtuoso skill.
The development of the best traditions of musical theater is associated with the St. Petersburg Mariinsky and Moscow Bolshoi Theaters, as well as with the private opera of S. I. Mamontov and S. I. Zimin in Moscow. The most prominent representatives of the Russian vocal school, world-class singers were F.I. Shalyapin, L.V. Sobinov, N.V. Nezhdanov. Reformers ballet theater became choreographer M.M. Fokin and ballerina A.P. Pavlova. Russian art has received worldwide recognition.
Outstanding composer N.A. Rimsky-Korsakov continued to work in his favorite genre of fairy tale opera. The highest example of realistic drama was his opera The Tsar's Bride (1898). He, being a professor of composition at the St. Petersburg Conservatory, trained a whole galaxy of talented students: A.K. Glazunov, A.K. Lyadov, N.Ya. Myaskovsky and others.
In the works of composers of the younger generation at the turn of the 20th century. There was a shift away from social issues and an increase in interest in philosophical and ethical problems. This found its fullest expression in creativity genius pianist and the conductor, outstanding composer S. V. Rachmaninov; in the emotionally intense music of A.N., with sharp features of modernism. Scriabin; in the works of I.F. Stravinsky, which harmoniously combined interest in folklore and the most modern musical forms.

Architecture

The era of industrial progress at the turn of the XIX-XX centuries. made a real revolution in construction. New types of buildings, such as banks, shops, factories, and train stations, occupied an increasing place in the urban landscape. The emergence of new building materials (reinforced concrete, metal structures) and the improvement of construction equipment made it possible to use constructive and artistic techniques, the aesthetic understanding of which led to the establishment of the Art Nouveau style!
In the works of F.O. Shekhtel embodied to the greatest extent the main development trends and genres of Russian modernism. The formation of style in the master’s work proceeded in two directions – national-romantic, in line with the neo-Russian style, and rational. The features of Art Nouveau are most fully manifested in the architecture of the Nikitsky Gate mansion, where, abandoning traditional schemes, the asymmetrical principle of planning was applied. The stepped composition, the free development of volumes in space, the asymmetrical projections of bay windows, balconies and porches, the emphatically protruding cornice - all this demonstrates the principle inherent in modernism of likening an architectural structure to an organic form. The decorative decoration of the mansion uses such typical Art Nouveau techniques as colored stained glass windows and a mosaic frieze with floral patterns that encircles the entire building. The whimsical twists of the ornament are repeated in the interlacing of stained glass windows, in the design of balcony bars and street fencing. The same motif is used in interior decoration, for example, in the form of marble staircase railings. The furniture and decorative details of the building's interiors form a single whole with the overall design of the structure - to transform the domestic environment into a kind of architectural spectacle, close to the atmosphere of symbolic plays.
With the growth of rationalistic tendencies, features of constructivism emerged in a number of Shekhtel’s buildings, a style that would take shape in the 1920s.
In Moscow a new style expressed himself especially clearly, in particular in the work of one of the creators of Russian modernism L.N. Kekusheva A.V. worked in the neo-Russian style. Shchusev, V.M. Vasnetsov and others. In St. Petersburg, modernism was influenced by monumental classicism, as a result of which another style appeared - neoclassicism.
According to the integrity of the approach and the ensemble solution of architecture, sculpture, painting, decorative arts Art Nouveau is one of the most consistent styles.

Sculpture

Like architecture, sculpture at the turn of the century was liberated from eclecticism. The renewal of the artistic and figurative system is associated with the influence of impressionism. The features of the new method are “looseness”, lumpy texture, dynamic forms, permeated with air and light.
The very first consistent representative of this trend was P.P. Trubetskoy, refuses impressionistic modeling of the surface, and enhances the overall impression of oppressive brute force.
The wonderful monument to Gogol in Moscow by sculptor N.A. is also alien to monumental pathos. Andreev, subtly conveying the tragedy of the great writer, “fatigue of the heart,” so in tune with the era. Gogol is captured in a moment of concentration, deep thought with a touch of melancholic gloominess.
An original interpretation of impressionism is inherent in the work of A.S. Golubkina, who reworked the principle of depicting phenomena in motion into the idea of ​​awakening the human spirit. The female images created by the sculptor are marked by a feeling of compassion for people who are tired, but not broken by life's trials.

Painting

At the turn of the century, instead of the realistic method of directly reflecting reality in the forms of this reality, the priority of artistic forms that reflected reality only indirectly was established. The polarization of artistic forces at the beginning of the 20th century and the polemics of multiple artistic groups intensified exhibition and publishing (in the field of art) activities.
Genre painting lost its leading role in the 90s. In search of new themes, artists turned to changes in the traditional way of life. They were equally attracted by the theme of the split of the peasant community, the prose of stultifying labor and the revolutionary events of 1905. The blurring of the boundaries between genres at the turn of the century in the historical theme led to the emergence of the historical genre. A.P. Ryabushkin was not interested in global historical events, but in the aesthetics of Russian life in the 17th century, the refined beauty of ancient Russian patterns, and emphasized decorativeness. Heartfelt lyricism, deep understanding of originality way of life, characters and psychology of the people of pre-Petrine Rus' are marked by the best paintings of the artist. Ryabushkin’s historical painting is a country of ideals, where the artist found relief from the “leaden abominations” of modern life. Therefore, historical life on his canvases appears not as a dramatic, but as an aesthetic side.
In the historical paintings of A.V. Vasnetsov we find the development of the landscape principle. Creativity M.V. Nesterov presented a version of a retrospective landscape through which the high spirituality of the heroes was conveyed.
I.I. Levitan, who brilliantly mastered the effects of plein air painting, continuing the lyrical direction in landscape, approached impressionism and was the creator of a “conceptual landscape” or “mood landscape”, which is characterized by a rich range of experiences: from joyful elation to philosophical reflections about the frailty of everything earthly.
K.A. Korovin is the most prominent representative of Russian impressionism, the first among Russian artists to consciously rely on the French impressionists, increasingly moving away from the traditions of the Moscow school of painting with its psychologism and even dramatism, trying to convey this or that state of mind music of color. He created a series of landscapes that were not complicated by any external plot-narrative or psychological motives. In the 1910s, under the influence of theatrical practice, Korovin came to a bright, intense style of painting, especially in the still lifes that the artist loved. With all his art, the artist affirmed the intrinsic value of purely pictorial tasks; he made people appreciate the “charm of incompleteness”, the “study quality” of the painting manner. Korovin’s canvases are a “feast for the eyes.”
The central figure of turn-of-the-century art is V.A. Serov. His mature works, with impressionistic luminosity and the dynamics of free strokes, marked a turn from the critical realism of the Wanderers to “poetic realism” (D.V. Sarabyanov). The artist worked in different genres, but his talent as a portrait painter, endowed with a keen sense of beauty and the ability for sober analysis, is especially significant. The search for the laws of artistic transformation of reality, the desire for symbolic generalizations led to a change in artistic language: from the impressionistic authenticity of the paintings of the 80-90s to the conventions of modernity in historical compositions.
One after another, two masters of pictorial symbolism entered Russian culture, creating a sublime world in their works - M.A. Vrubel and V.E. Borisov-Musatov. The central image of Vrubel’s work is the Demon, who embodied the rebellious impulse that the artist himself experienced and felt in his best contemporaries. The artist's art is characterized by a desire to pose philosophical problems. His thoughts about truth and beauty, about the high purpose of art are sharp and dramatic, in his inherent symbolic form. Gravitating towards the symbolic-philosophical generalization of images, Vrubel developed his own pictorial language - a broad stroke of “crystalline” shape and color, understood as colored light. The colors, sparkling like gems, enhance the feeling of special spirituality inherent in the artist’s works.
The art of the lyricist and dreamer Borisov-Musatov is reality transformed into a poetic symbol. Like Vrubel, Borisov-Musatov created in his canvases a beautiful and sublime world, built according to the laws of beauty and so different from the surrounding one. Borisov-Musatov’s art is imbued with sad reflection and quiet sorrow, the feelings experienced by many people of that time, “when society was yearning for renewal, and many did not know where to look for it.” His style developed from impressionistic light-air effects to a pictorial and decorative version of post-impressionism. In Russian artistic culture at the turn of the 19th-20th centuries. Borisov-Musatov’s creativity is one of the most striking and large-scale phenomena.
Far from modern themes, “dreamy retrospectivism” is the main theme of the association of St. Petersburg artists “World of Art”. Rejecting academic-salon art and the tendentiousness of the Wanderers, relying on the poetics of symbolism, the “MirIskusniks” searched for artistic image in the past. For such an open rejection of modern reality, the “Mir Iskusstiki” were criticized from all sides, accusing them of fleeing to the past - passeism, decadence, and antidemocratism. However, the emergence of such an artistic movement was not an accident. “The World of Art” was a unique response of the Russian creative intelligentsia to the general politicization of culture at the turn of the 19th and 20th centuries. and excessive journalisticism of fine art.
Creativity N.K. Roerich is drawn to pagan Slavic and Scandinavian antiquity. The basis of his painting has always been landscape, often directly from nature. The features of Roerich's landscape are associated both with the assimilation of the experience of the Art Nouveau style - the use of elements of parallel perspective to combine in one composition various objects, understood as pictorially equivalent, and with a passion for the culture of ancient India - the opposition of earth and sky, understood by the artist as a source of spiritualism.
The second generation of “World of Art” students included B.M. Kustodiev, a gifted author of ironic stylization of folk popular prints, Z.E. Serebryakova, who professed the aesthetics of neoclassicism.
The merit of the “World of Art” was the creation of highly artistic book graphics, printmaking, new criticism, and extensive publishing and exhibition activities.
Moscow participants in the exhibitions, opposing the Westernism of the “World of Art” with national themes and graphic stylistics with an appeal to the plein air, established the exhibition association “Union of Russian Artists”. In the depths of the “Union” the Russian version of impressionism and an original synthesis of the everyday genre with the architectural landscape developed.
Artists of the “Jack of Diamonds” association (1910-1916), turning to the aesthetics of post-impressionism, fauvism and cubism, as well as to the techniques of Russian popular print and folk toys, solved the problems of identifying the materiality of nature, constructing a form with color. The initial principle of their art was the affirmation of the subject as opposed to spatiality. In this regard, the image of inanimate nature - still life - was put in first place. The materialized, “still life” element was also introduced into the traditional psychological genre – portraiture.
“Lyrical Cubism” by R.R. Falka was distinguished by his peculiar psychologism and subtle color-plastic harmony. School of excellence, completed at the school by such outstanding artists and teachers as V.A. Serov and K.A. Korovin, in combination with the pictorial and plastic experiments of the leaders of the “Jack of Diamonds” I.I. Mashkov, M.F. Larionova, A.V. Lentulov determined the origins of Falk’s original artistic style, a vivid embodiment of which is the famous “Red Furniture”.
Since the mid-10s an important component fine style The “Jack of Diamonds” was futurism, one of the techniques of which was the “montage” of objects or parts thereof, taken from different points and at different times.
The primitivist tendency associated with the assimilation of the stylistics of children's drawings, signs, popular prints and folk toys, manifested itself in the work of M.F. Larionov, one of the organizers of the “Jack of Diamonds. The fantastic and irrational paintings of M.Z. are close to both folk naive art and Western expressionism. Chagall. The combination of fantastic flights and miraculous signs with everyday details of provincial life in Chagall’s canvases is akin to Gogol’s stories. The unique creativity of P.N. came into contact with the primitivist line. Filonova.
The first experiments of Russian artists in abstract art, V.V. Kandinsky and K.S. became true theorists and practitioners. Malevich. At the same time, the work of K.S. Petrov-Vodkin, who declared a continuous connection with Old Russian icon painting, testified to the vitality of the tradition. The extraordinary diversity and inconsistency of artistic quests, numerous groups with their own programmatic guidelines reflected the tense socio-political and complex spiritual atmosphere of their time.

Conclusion

The “Silver Age” became precisely the milestone that predicted future changes in the state and became a thing of the past with the advent of the blood-red year of 1917, which changed human souls beyond recognition. And no matter how much they wanted to assure us of the opposite today, everything ended after 1917, with the beginning of the civil war. There was no “Silver Age” after that. In the twenties, inertia still continued (the heyday of imagism), because such a wide and powerful wave as the Russian “Silver Age” was, could not move for some time before collapsing and breaking. If most of the poets, writers, critics, philosophers, artists, directors, composers, whose individual creativity and common work created the “Silver Age,” were alive, the era itself was over. Each of its active participants realized that, although people remained, the characteristic atmosphere of the era, in which talents grew like mushrooms after rain, had come to naught. What was left was a cold lunar landscape without atmosphere and creative individuals - each in a separate closed cell of his creativity.
The attempt to “modernize” culture associated with the reform of P. A. Stolypin was unsuccessful. Its results were less than expected and gave rise to new contradictions. The increase in tension in society occurred faster than responses to emerging conflicts were found. Contradictions between agrarian and industrial cultures intensified, which was also expressed in contradictions in economic forms, interests and motives for people’s creativity, and in the political life of society.
Deep social transformations were required in order to provide space for the cultural creativity of the people, significant investments in the development of the spiritual sphere of society and its technical base, for which the government did not have enough funds. Patronage, private support and financing of significant public and cultural events did not help either. Nothing could radically transform the cultural appearance of the country. The country found itself in a period of unstable development and found no other way out other than social revolution.
The canvas of the “Silver Age” turned out to be bright, complex, contradictory, but immortal and unique. It was a creative space full of sunshine, bright and life-giving, thirsting for beauty and self-affirmation. It reflected the existing reality. And although we call this time the “silver” and not the “golden age,” perhaps it was the most creative era in Russian history.

1. A. Etkind “Sodom and Psyche. Essays on the intellectual history of the Silver Age", M., ITs-Garant, 1996;
2. Vl. Soloviev, “Works in 2 volumes,” vol. 2, Philosophical Heritage, M., Mysl, 1988;
3. N. Berdyaev “Philosophy of freedom. The meaning of creativity”, From Russian philosophical thought, M., Pravda, 1989;
4. V. Khodasevich “Necropolis” and other memories”, M., World of Art, 1992;
5. N. Gumilyov, “Works in three volumes”, vol. 3, M., Fiction, 1991;
6. T.I. Balakin “History of Russian culture”, Moscow, “Az”, 1996;
7. S.S. Dmitriev “Essays on the history of Russian culture early. XX century", Moscow, "Enlightenment", 1985;
8. A.N. Zholkovsky “Wandering dreams. From the history of Russian modernism", Moscow, "Sov. Writer", 1992;
9. L.A. Rapatskaya “Artistic culture of Russia”, Moscow, “Vlados”, 1998;
10. E. Shamurin “Main trends in pre-revolutionary Russian poetry”, Moscow, 1993.

Time period of the late XIX - early XX centuries. represents a turning point in all spheres of social and spiritual life. Russia was heading towards revolution. Chronologically, the period under consideration lies between the early 90s. XIX century and 1917. This period is usually called the Silver Age or “spiritual and cultural renaissance.” The definition of “Silver Age” was one of the first to be coined by S.K. Makovsky, the founder and editor of the popular Apollo magazine at that time. The terms “Russian spiritual and cultural renaissance”, or “spiritual renaissance”, were widely used by N. A. Berdyaev and other outstanding philosophers of this era.

Of course, these concepts are arbitrary, but they aptly define the special status of the artistic culture of Russia at the turn of the century, in which there is a “silver reflection” of previous “golden” times, and the revival of spiritual and religious principles lost by realistic art. This was the time when:

The Russian economy was rapidly approaching the achievements of the most developed countries;
- the development of science was marked by outstanding achievements;
- a unique cosmic direction of scientific and philosophical thought arose;
- the domestic intelligentsia increasingly became the moral barometer of society.

The Russian poet Konstantin Balmont sensitively captured the worldview of his contemporaries: “... people who think and feel at the turn of two periods, one completed, the other not yet born... debunk everything old, because it has lost its soul and has become a lifeless scheme. But, preceding the new, they themselves, having grown up on the old, are unable to see this new with their own eyes - that is why in their mood, next to the most enthusiastic outbursts, there is so much sick melancholy.

The Silver Age is full of mysteries and contradictions, the interweaving of numerous artistic movements, creative schools, fundamentally unconventional styles. And most importantly, in the culture of the Silver Age there was a revaluation of the values ​​that once fueled the work of the masters of Russian classics. This revaluation was based on the social upheavals of pre-revolutionary Russia, striking with the intensity of passions, the thirst for spiritual renewal, which led to a change in views on art and the artist-creator. This is how N. A. Berdyaev characterized these changes in his work “The Russian Idea”: “At the beginning of the century, a difficult, often painful struggle of the people of the Renaissance was waged against the narrowed consciousness of the traditional intelligentsia - a struggle in the name of freedom of creativity and in the name of the spirit... Speech was about the liberation of spiritual culture from the oppression of social utilitarianism.”

The creators of art, who today belong to the Silver Age, are connected by invisible threads with a renewed worldview in the name of freedom of creativity. The development of social conflicts at the turn of the century imperiously demanded a reassessment of values, a change in the foundations of creativity and means artistic expression. Against this background, artistic styles were born in which the usual meaning of concepts and ideals shifted.

It is worth noting that the “liberation of spiritual culture” and the emergence of new artistic movements did not abolish previous domestic traditions, especially realism. Suffice it to remember that at the turn of the century the immortal works of L.N. Tolstoy, A.P. Chekhov, canvases by V.I. Surikov and I.E. Repin, and the brilliant operas of N.A. Rimsky-Korsakov were created.

However, realism no longer corresponded to the worldview of the creators of works of art. It was clear that an accusatory approach to reality cannot fully correspond to the artistic tasks of art, therefore the art of the turn of the century is filled with an active search for new forms and ways of expressing their views on the world by artists of various directions. Never in Russian art have there been so many movements and groups as at the beginning of the 20th century. They put forward their “platforms”, their theoretical programs, organized exhibitions, prefacing them with intricate declarations and manifestos, which led to clashes with representatives of opposing views.

The overall picture of the state of Russian fine art was complex, internally contradictory, motley, in it much developed synchronously, mutually influencing or opposing. At the same time, certain lines of aesthetic development are outlined, the contours of two main schools - Moscow and St. Petersburg, and at the same time, pan-European trends are clearly evident throughout.

Artists began to look for new forms of understanding the world. They believed that they could gain a direct, uncomplicated view of nature. For many, the premonition was embodied in symbols that gave rise to complex associations. These were different ways of comprehending the world: to recognize the essence behind the phenomenon, to see the universal behind the small. Refusing realism, the artists of the beginning of the century rose to a new level of generalization, making another turn in the spiral of the eternal search for artistic perfection.

Symbolism and futurism, acmeism and “world of art”, the works of A. Scriabin and A. Bely, V. Kandinsky and Blok, S. Rachmaninov and V. Serov, V. Meyerhold and Mayakovsky, I. Stravinsky and M. Chagall... Contrasting , sometimes there were much more mutually exclusive phenomena and fashionable artistic trends in those years than in all previous centuries of the development of Russian culture.

However, Heraclitus also said that the most beautiful harmony is born from contrasts. It is only important to understand its origins. The unity of the art of the Silver Age lies in the combination of old and new, outgoing and emerging. It was a harmony of opposites, born of a special kind of culture, the culture of the turn of the century.

The unifying beginning of the new artistic movements of the Silver Age should be considered super-problems that were simultaneously put forward in different types of art. Their complexity still amazes today.

The most important figurative sphere of poetry, music, and painting was determined by the leitmotif of the freedom of the human Spirit in the face of eternity. The image of the Universe - immense, calling, frightening - entered Russian art. Many people wanted to touch the secrets of the Cosmos, life, and death. For some, this theme was a reflection of religious feelings, for others - the embodiment of delight and awe before the eternal beauty of what God created. Many inspired pages of Russian art were devoted to other principles of the “cosmic theme” - the cosmos of the Soul.

At the same time, with all the “cosmic” universal significance and European orientation of many new movements (symbolism, neoclassicism, futurism, etc.), they begin to develop the Russian theme with particular depth as a symbol of national original beauty.

Changed social status art. It seems like never before Russian artists did not create so many interest associations. Serious circles united many outstanding cultural figures. For example, in the “Religious and Philosophical Society” the tone was set by D. S. Merezhkovsky, V. V. Rozanov, D. V. Filosofov. Talented artists, musicians, and choreographers have gathered under the wing of the “World of Art” to create the unfading glory of Russian art.

The so-called “Mammoth circle” played a major role in the development of fine art of this period. He had his residence on the estate of the industrialist and philanthropist S.I. Mamontov - Abramtsevo. The circle became a kind of distributor of visual ideas and forms of new Russian art. An arts and crafts workshop was organized in Abramtsevo.

Symbolism

Futurism

Conclusion

References

What characterizes the Silver Age of Russian culture?

In the 90s of the XIX century. Russian culture is experiencing a powerful rise. New era, which gave birth to a whole galaxy of writers, artists, musicians, and philosophers, was called the “Silver Age”. In a short period of time - the turn of the XIX-XX centuries. - in Russian culture they concentrated extremely important events, a whole galaxy of bright individuals appeared, as well as many artistic associations.

Russia was then experiencing an incredibly intense intellectual upsurge, primarily in philosophy and poetry, truly, according to N. Berdyaev, a “Russian cultural renaissance.” He also owns another definition of this period - the “Silver Age”.

The spiritual life of Russia of this period was distinguished by unprecedented richness, the continuation of wonderful artistic traditions, the desire to renew the poetic language, the desire to resurrect almost all the images and forms developed by human culture to a new life, and at the same time a lot of experiments where a fundamental focus on “novelty” was made ".

The first heralds of the “cultural renaissance” appeared back in the 80s. XIX century In 1882, in the work “On the Causes of Decline and New Trends in Modern Russian Literature” D.S. Merezhkovsky brilliantly substantiated the aesthetics of the newborn Russian modernism. An encyclopedic historian, poet and writer, Merezhkovsky predicted a radical renewal of Russian literature in line with “mystical content”, the free expression of religious feelings.

Extensive in its global quest, the Silver Age was intense in creative content. Artists in all spheres of art were cramped within the framework of established classical rules. An active search for new forms contributed to the emergence of symbolism, acmeism, futurism in literature, cubism and abstractionism in painting, symbolism in music, etc. Along with realism, the dominant worldview and style in the art of the turn of the century became symbolism- a new form of romanticism.

At the beginning of the 20th century. outstanding works created by the classics of Russian literature: L.N. Tolstoy, A.P. Chekhov, V.G. Korolenko, A.I. Kuprin, I.A. Bunin, L.N. Andreev, A.M. Gorky, M.M. Prishvin.

On the horizon of Russian poetry, dozens of stars of the first magnitude gracefully flashed - from K.D. Balmont and A.A. Block to N.S. Gumilyov and very young M.I. Tsvetaeva, S.A. Yesenina, A.A. Akhmatova. Writers and poets of the Silver Age, unlike their predecessors, paid close attention to the literature of the West. They chose new literary trends as their guide - e.g. stheticism O. Wilde, pessimism A. Schopenhauer, symbolism C. Baudelaire. At the same time, the figures of the Silver Age took a new look at the artistic heritage of Russian culture. Another passion of this time, reflected in literature, painting, and poetry, was sincere and deep. interest in Slavic mythology and Russian folklore. " The most poetic Russian romanticism, which blossomed in lyrical poetry, also gained a second wind. The “social status” of art changed. Serious circles united many outstanding cultural figures. For example, in the “Religious and Philosophical” society, the tone was set by D.S. Merezhkovsky, V.V. Rozanov, D.V. Filosofov. A huge role in the development of the ideas of cultural renaissance was played by the magazines “Scales”, “New Path”, “World of Art”, “Northern Herald”, “Golden Fleece”, “Pereval”. Many publications were nurtured by the best minds Russia.

Symbolism

Let us consider sequentially the main artistic movements of the “Silver Age”. The most striking of them was symbolism. This direction in the development of art was pan-European, but it was in Russia that symbolism acquired a high philosophical meaning, reflected in the great works of literature, theater, painting, and music.

The formation of the aesthetics of Russian symbolism was greatly influenced by D.S. Merezhkovsky, V.S. Soloviev; theorist is considered to be , V.Ya. Bryusov, who outlined his views in three collections “Russian Symbolists” (1894-1895), and in 1904-1909. edited the famous symbolist magazine "Scales". In Russian literature, there are “two waves” of symbolism. The first is associated with the names of the “senior” symbolists - V.Ya. Bryusov, F.K. Sologub, D.S. Merezhkovsky, Z.N. Gippius. The “younger” adherents of symbolism (in other words, the “young symbolists”) include A.A. Blok, A. Bely, Vyach.I. Ivanov, S.M. Soloviev et al.

The “key” word of the aesthetics of symbolism was the philosophical concept of “symbol”, which was interpreted as “a connection between two worlds”, as “a sign of another world in this world”. The symbol was seen as the real embodiment of the invisible, otherworldly, transcendental.

The figurative world of symbolism is inexhaustible. Artists sought to reveal the eternal secrets of the universe, to touch Eternity, to “transtemporal” problems:

Dear friend, don’t you hear?

That everyday noise is crackling

Only the response is distorted

Triumphant harmonies? -

V.S. so surprisingly accurately summarized the worldview of symbolism. Solovyov.

The masters of Russian symbolism had an amazingly developed ability for foresight, the “Cassandrian principle.” Eschatological predictions of the “end of culture”, “the end of history”, “the death of Russia” sounded like an alarm bell. Symbolist poets dreamed that only art could reveal the eternal universal secret - the musical essence of the universe. The destiny of the creator is to listen to the sounds of the “universal symphony” and to comprehend the invisible worlds. With the cult of “musicality” a new turning point in the development of Russian poetic speech began. Phonetics and rhythm, the stylistic coloring of words and associative imagery were rethought by symbolist poetry from the standpoint of “hidden music.”

For the first time, a detailed substantiation of symbolist culture was given by D.S. Merezhkovsky ( 1866-1941). He devoted his life to the search for truth and saw it in the recognition of the eternal God-given antinomies. In search of the religious meaning of life, Merezhkovsky creates a special area of ​​philosophy - “mystical symbolism”. He came to the conclusion: in the life of humanity, two truths are fighting - heavenly and earthly, Christ and Antichrist, spirit and flesh. The flesh dictates a person’s desire for self-affirmation, for individualism, for the elevation of his “I”. The spirit is directed towards self-denial. By submitting to the spirit, a person approaches God. In the merging of these two principles, Merezhkovsky saw the result of the historical movement of mankind. It is no coincidence that a significant part of his work is occupied by historical novels, which received worldwide recognition: “Christ and Antichrist”, “Death of the Gods (Julian the Apostate)”, “Resurrection of the Gods (Leonardo da Vinci)”, “Antichrist (Peter and Alexei)”, trilogy from Russian life “Paul I”, “Alexander” I", "December 14".

The ideals of Christianity and the values ​​of humanism, the concept of the Kingdom of Heaven and the Kingdom of Earth were by no means abstract ideas for Merezhkovsky. He suffered painfully from the revolutionary explosions in Russia, seeing in them the eternal struggle between Christ and Antichrist. Calling for a revolution of the spirit, he could not recognize the “revolution of blood.” In Russian social cataclysms, Merezhkovsky clearly saw the appearance of a “coming boor,” mired in philistine vulgarity and the materialistic dullness of the “earthly paradise.”

Played a huge role in the development of symbolism poetry K.D. Balmont (11867-1942).

Balmont achieved fame in the last decade of the 19th century. One after another, his poetry collections were published: “Under the Northern Sky,” “In the Vast,” “Silence,” “Burning Buildings,” “Let’s Be Like the Sun,” “Only Love.” During these years full of creative upsurge, the “composer” awakened in him. The element of “musicality” literally overwhelmed his work. The poet was captivated by the subtlest modeling of fleeting moments. The aesthetics of the moment was for the poet the daughter of music, the sounds of which, having faded away, disappeared without a trace in the ensuing silence.

Balmont surprisingly easily found and cultivated techniques that were intonationally akin to music - alliteration, assonance, rhythmic repetition. Gradually, the role of rhythm in his verse becomes absolute: it subordinates all other elements of words, creates many internal rhymes, allowing one and the same motive to be sung with concentration.

The poem-hymn “Let’s be like the sun” (1903) became a textbook in the history of symbolist poetry. Balmont dedicated many sublime lines to the sun - the ideal of cosmic beauty, its elemental strength and life-giving power. Perhaps there is no master in Russian lyricism comparable to Balmont in the passion of his pantheistic worldview:

And a blue outlook.

I came to this world to see the Sun

And the heights of the mountains.

A singer of other moods and states was F. Sologub(F.K. Teternikov). “I take a piece of life... and create a sweet legend from it, for I am a poet,” these words of Sologub could serve as an epigraph to his work. In his fantasies, he dreamed of the land of Oyle, where there is no grief and suffering. But at the same time he created one of the most “Gogolian” novels of the “Silver Age” - “The Petty Demon” (1892-1902), which amazed his contemporaries with a gallery of monstrously stupid and embittered characters.

The Silver Age as a sociocultural era. Artistic life of the era.

Dwell on the historical features and specifics of this period in the development of Russia.

Note the diversity and diversity of artistic life.

Introduction.Silhouette of the “Silver Age”

“Silver Age” of Russian poetry - this name has become stable to designate Russian poetry of the late 19th - early 20th centuries. It was given by analogy with the Golden Age - that’s what the beginning of the 19th century, Pushkin’s time, was called.

The phrase “Silver Age” became a permanent definition of Russian culture at the end of the 19th and beginning of the 20th centuries; it began to be used as a designation for the entire artistic and, more broadly, the entire spiritual culture of the early 20th century in Russia.

The concept of the “Silver Age” cannot be reduced to the work of one or even dozens of significant artists - it characterizes the “spirit of the era”: bright individuals. The very spiritual atmosphere of the time provoked the creative personality to artistic originality. It was a borderline, transitional, crisis era: the development of capitalism, revolutions sweeping across the country, Russia’s participation in the First World War...

The end of the 19th - the beginning of the 20th century. represents a turning point not only in the socio-political, but also in the spiritual life of Russia. The great upheavals that the country experienced over a relatively short historical period could not but affect its cultural development. An important feature of this period is the strengthening of the process of Russia's integration into European and world culture.

Russian poetry of the “Silver Age” was created in an atmosphere of general cultural upsurge as its most significant part. It is characteristic that at the same time such bright talents as A. Blok and V. Mayakovsky, A. Bely and V. Khodasevich could create in one country. This list goes on and on. This phenomenon was unique in the history of world literature.

The end of the 19th - the beginning of the 20th century. in Russia, this is a time of change, uncertainty and gloomy omens, this is a time of disappointment and a feeling of the approaching death of the existing socio-political system.

The attitude towards the West for Russian society has always been an indicator of guidelines in its progressive historical movement. For centuries, the West has been presented not as a specific political, much less geographical, space, but rather as a system of values ​​- religious, scientific, ethical, aesthetic, which can either be accepted or rejected. The possibility of choice has given rise to complex conflicts in the history of Russia (let us recall, for example, the confrontation between the “Nikonians” and the Old Believers in the 17th century). The antinomies “us” - “foreign”, “Russia” - “West” had a particularly acute effect in transitional eras. Russian culture, without losing its national identity, increasingly acquired features of a pan-European character. Its connections with other countries have increased. This was reflected in the widespread use of the latest achievements of scientific and technological progress - the telephone and gramophone, the automobile and cinema. Many Russian scientists conducted scientific and pedagogical work abroad. The most important thing is that Russia has enriched world culture with achievements in a wide variety of fields.

An important feature of the development of culture at the turn of the century is the powerful rise humanities. History gained a “second wind” in which the names of V.O. Klyuchevsky, S.F. Platonov, N.A. Rozhkov and others. Philosophical thought reaches true peaks, which gave the basis to the great philosopher N.A. Berdyaev called the era a “religious and cultural renaissance.”

The Russian cultural Renaissance was created by a whole constellation of brilliant humanists - N.A. Berdyaev, S.N. Bulgakov, D.S. Merezhkovsky, S.N. Trubetskoy, I.A. Ilyin, P.A. Florensky and others. Intelligence, education, and romantic passion were the companions of their works. In 1909 S.N. Bulgakov, N.A. Berdyaev, S.L. Frank and other philosophers published the collection "Milestones", where they called on the intelligentsia to repent and renounce their destructive and bloodthirsty revolutionary plans.

The Russian "Renaissance" reflected the worldview of people who lived and worked at the turn of the century. According to K.D. Balmont, people who think and feel at the turn of two periods, one completed, the other not yet born, debunk everything old, because it has lost its soul and has become a lifeless scheme. But, preceding the new, they themselves, having grown up on the old, are unable to see this new with their own eyes - that is why in their moods, next to the most enthusiastic outbursts, there is so much sick melancholy. The religious and philosophical thought of this period painfully searched for answers to the “painful questions” of Russian reality, trying to combine the incompatible - material and spiritual, the denial of Christian dogmas and Christian ethics.

The end of the 19th - beginning of the 20th century is often called the "Silver Age" today. This name also belongs to N.A. Berdyaev, who saw in the highest cultural achievements of his contemporaries a reflection of the Russian glory of previous “golden” eras. Poets, architects, musicians, and artists of that time were creators of art that amazes with the intensity of premonitions of impending social cataclysms. They lived with a feeling of dissatisfaction with the “ordinary dullness” and longed for the discovery of new worlds.

The main features and diversity of artistic life of the “Silver Age” period.

Realistic direction in Russian literature at the turn of the 20th century. continued L.N. Tolstoy(“Resurrection”, 1880-99; “Hadji Murat”, 1896-1904; “Living Corpse”, 1900); A.P. Chekhov(1860-1904), who created his best works, the theme of which was the ideological quest of the intelligentsia and the “little” man with his everyday worries (“Ward No. 6,” 1892; “House with a Mezzanine,” 1896; “Ionych,” 1898; “ Lady with a Dog", 1899; "The Seagull", 1896, etc.), and young writers I.A. Bunin(1870-1953; collection of stories “To the ends of the earth”, 1897; “Village”, 1910; “The gentleman from San Francisco”, 1915) and A.I. Kuprin(1880-1960; “Moloch”, 1896; “Olesya”, 1898; “The Pit”, 1909-15).

There were bright individualities in the poetry of this time that cannot be attributed to a specific movement - M. Voloshin (1877-1932), M. Tsvetaeva(1892-1941). No other era has given such an abundance of declarations of its own exclusivity.

The artistic culture of the turn of the century is an important page in cultural heritage Russia. Ideological inconsistency and ambiguity were inherent not only in artistic movements and trends, but also in the work of individual writers, artists, and composers. This was a period of renewal of various types and genres of artistic creativity, rethinking, “general revaluation of values,” in the words of M. V. Nesterov. The attitude towards the legacy of the revolutionary democrats became ambiguous even among progressive-minded cultural figures. The primacy of sociality in the Wandering movement was seriously criticized by many realist artists.

In Russian artistic culture of the late 19th - early 20th centuries, when, in the context of political reaction and the crisis of populism, part of the intelligentsia was gripped by sentiments of social and moral decline, in artistic culture, it became widespread decadence([from Late Latin decadencia-decline] , denoting such phenomena in art as the rejection of civil ideals and faith in reason, immersion in the sphere of individualistic experiences. These ideas were an expression of the social position of part of the artistic intelligentsia, which tried to “escape” the complexities of life into the world of dreams, unreality, and sometimes mysticism. But even in this way she reflected in her work the crisis phenomena of the then social life.

Decadent moods captured figures of various artistic movements, including realistic ones. However, more often these ideas were inherent in modernist movements.

The concept of “modernism” (French toe1erpe - modern) included many phenomena of literature and art of the twentieth century, born at the beginning of this century, new in comparison with the realism of the previous century. However, even in the realism of this time, new artistic and aesthetic qualities appear: the “framework” of a realistic vision of life is expanding, a search is underway for ways of personal self-expression in literature and art. The characteristic features of art are synthesis, an indirect reflection of life, in contrast to the critical realism of the 19th century with its inherent concrete reflection of reality. This feature of art is associated with the wide spread of neo-romanticism in literature, painting, music, and the birth of a new stage realism.

Russian literature continued to play an extremely important role in the cultural life of the country.

Directions opposing realism began to take shape in artistic culture in the 90s. The most significant of them, both in terms of time of existence and in terms of distribution and influence on social and cultural life, was modernism. Writers and poets, different in their ideological and artistic appearance and future fate in literature, united in modernist groups and movements.

The strengthening of reactionary-mystical ideas in the public consciousness led to a certain revival of anti-realist movements in artistic culture. During the years of reaction, various modernist quests intensified, naturalism with its preaching of eroticism and pornography spread. The “rulers of the souls” of a significant part of the bourgeois intelligentsia, the philistinism, were not only the reactionary German philosopher F. Nietzsche, but also Russian writers like M. P. Artsybashev, A. A. Kamensky and others. These writers saw the freedom of literature, of which they were the priests proclaimed, first of all, in the cult of the power of a “superman”, free from moral and social ideals.

Deep hostility to revolutionary, democratic and humanistic ideals, reaching the point of cynicism, was clearly manifested in Artsybashev’s novel “Sanin” (1907), which enjoyed great popularity as the most “fashionable” novel. His hero mocked those who were “ready to sacrifice their lives for the sake of the constitution.” A. Kamensky agreed with him, declaring that “every social feat has lost its attractiveness and beauty.” Writers like Artsybashev and Kamensky openly proclaimed a break with the heritage of revolutionary democrats and the humanism of the progressive Russian intelligentsia.

SYMBOLISM

Russian symbolism as a literary movement emerged at the turn of the 19th and 20th centuries.

The theoretical, philosophical and aesthetic roots and sources of creativity of symbolist writers were very diverse. So V. Bryusov considered symbolism a purely artistic direction, Merezhkovsky relied on Christian teaching, V. Ivanov sought theoretical support in the philosophy and aesthetics of the ancient world, refracted through the philosophy of Nietzsche; A. Bely was fond of Vl. Solovyov, Schopenhauer, Kant, Nietzsche.

The artistic and journalistic organ of the Symbolists was the magazine “Scales” (1904 – 1909). “For us, representatives symbolism, As a harmonious worldview, Ellis wrote, there is nothing more alien than the subordination of the idea of ​​life, the inner path of the individual, to the external improvement of the forms of community life. For us there can be no question of reconciling the path of the individual heroic individual with the instinctive movements of the masses, always subordinated to narrowly egoistic, material motives.”

These attitudes determined the struggle of the Symbolists against democratic literature and art, which was expressed in the systematic slander of Gorky, in an effort to prove that, having joined the ranks of proletarian writers, he ended as an artist, in attempts to discredit revolutionary democratic criticism and aesthetics, its great creators - Belinsky, Dobrolyubov, Chernyshevsky. The symbolists tried in every possible way to make “theirs” Pushkin, Gogol, called by V. Ivanov “a frightened spy of life”, Lermontov, who, according to the same V. Ivanov, was the first to tremble with “a presentiment of the symbol of symbols - the Eternal Femininity.”

Associated with these attitudes is a sharp contrast between symbolism and realism. “Whereas realist poets,” writes K. Balmont, “view the world naively, like simple observers, submitting to its material basis, symbolist poets, re-creating materiality with their complex impressionability, dominate the world and penetrate its mysteries.” Symbolists strive to contrast reason and intuition. “...Art is the comprehension of the world in other, non-rational ways,” says V. Bryusov and calls the works of the symbolists “mystical keys of secrets” that help a person to reach freedom."

The legacy of the Symbolists is represented by poetry, prose, and drama. However, poetry is most characteristic.

The poetry of V. Bryusov of this time is characterized by the desire for a scientific understanding of life and the awakening of interest in history. A. M. Gorky highly valued the encyclopedic education of V. Ya. Bryusov, calling him the most cultural writer in Rus'. Bryusov accepted and welcomed the October Revolution and actively participated in the construction of Soviet culture.

The ideological contradictions of the era (one way or another) influenced individual realist writers. In the creative life of L.N. Andreev (1871 - 1919) they affected a certain departure from the realistic method. However, realism as a direction in artistic culture has retained its position. Russian writers continued to be interested in life in all its manifestations, fate common man, important problems of social life.

The traditions of critical realism continued to be preserved and developed in the works of the greatest Russian writer I. A. Bunin (1870 - 1953). His most significant works of that time are the stories “Village” (1910) and “Sukhodol” (1911).

The year 1912 marked the beginning of a new revolutionary upsurge in the socio-political life of Russia.

It is customary to distinguish "seniors" And "younger" symbolists. "Seniors" ( V. Bryusov. K. Balmont, F. Sologub, D. Merezhkovsky, 3. Gippius), who came to literature in the 90s, a period of deep crisis in poetry, preached the cult of beauty and free expression of the poet. "Younger" Symbolists (A. Blok, A. Bely, V. Ivanov, S. Solovyov) philosophical and theosophical quests were brought to the fore. The symbolists offered the reader a colorful myth about a world created according to the laws of eternal Beauty. If we add to this exquisite imagery, musicality and lightness of style, the steady popularity of poetry of this direction becomes clear. The influence of symbolism with its intense spiritual quest and captivating artistry of creative manner was experienced not only by the Acmeists and Futurists who replaced the Symbolists, but also by the realist writer A.P. Chekhov.

The platform of the “younger” symbolists is based on the idealistic philosophy of V. Solovyov with his idea of ​​the Third Testament and the coming of Eternal Femininity. V. Solovyov argued that the highest task of art is “... the creation of a universal spiritual organism,” that a work of art is an image of an object and phenomenon “in the light of the future world,” which is related to the understanding of the role of the poet as a theurgist and clergyman. This, as explained by A. Bely, contains “the combination of the peaks of symbolism as art with mysticism.”

Symbolists strive to create a complex, associative metaphor, abstract and irrational.

The last decade before October was marked by quests in modernist art. The controversy surrounding symbolism that took place in 1910 among the artistic intelligentsia revealed its crisis. As N.S. Gumilev put it in one of his articles, “symbolism has completed its circle of development and is now falling.” By 1910, “symbolism completed its circle of development” (N. Gumilev), it was replaced by acmeism .

Acmeism~(from the Greek “acme” - the highest degree of something, a blooming time). The founders of Acmeism are considered to be N. S. Gumilev (1886 - 1921) and S. M. Gorodetsky (1884 - 1967). The new poetic group included A. A. Akhmatova, O. E. Mandelstam, M. A. Zenkevich, M. A. Kuzmin and others.

The Acmeists, in contrast to the symbolist vagueness, proclaimed the cult of real earthly existence, “a courageously firm and clear view of life.” But at the same time, they tried to establish primarily the aesthetic-hedonistic function of art, evading social problems in their poetry. Decadent tendencies were clearly expressed in the aesthetics of Acmeism, and philosophical idealism remained its theoretical basis. However, among the Acmeists there were poets who, in their work, were able to go beyond the framework of this “platform” and acquire new ideological and artistic qualities (A. A. Akhmatova, S. M. Gorodetsky, M. A. Zenkevich).

The Acmeists considered themselves the heirs of a “worthy father” - symbolism, which, in the words of N. Gumilyov, “...has completed its circle of development and is now falling.” Affirming the bestial, primitive principle (they also called themselves Adamists), the Acmeists continued to “remember the unknowable” and in its name proclaimed any renunciation of the struggle to change life. “To rebel in the name of other conditions of existence here, where there is death,” writes N. Gumilev in his work “The Heritage of Symbolism and Acmeism,” “is as strange as a prisoner breaking a wall when there is an open door in front of him.”

S. Gorodetsky also asserts this: “After all the “rejections,” the world was irrevocably accepted by Acmeism, in all its beauties and ugliness.” Modern man felt like a beast, “devoid of both claws and fur” (M. Zenkevich “Wild Porphyry”), Adam, who “... looked around with the same clear, keen eye, accepted everything he saw, and sang hallelujah to life and the world "

And then same Acmeists constantly sound notes of doom and melancholy. The work of A. A. Akhmatova (A. A. Gorenko, 1889 - 1966) occupies a special place in the poetry of Acmeism. Her first collection of poetry, “Evening,” was published in 1912. Critics immediately noted the distinctive features of her poetry: restraint of intonation, emphasized intimacy of subject matter, psychologism. Akhmatova's early poetry is deeply lyrical and emotional. With her love for man, faith in his spiritual powers and capabilities, she clearly departed from the Acmeistic idea of ​​the “primordial Adam.” The main part of A. A. Akhmatova’s creativity falls on the Soviet period.

The Acmeists sought to return the image to its living concreteness, objectivity, to free it from mystical encryptedness, which O. Mandelstam spoke very angrily about, assuring that the Russian symbolists “...sealed all the words, all the images, destining them exclusively for liturgical use. It turned out to be extremely uncomfortable - I couldn’t walk, I couldn’t stand, I couldn’t sit down. You can't dine on a table, because it's not just a table. You can’t light a fire, because it might mean something that you yourself won’t be happy with.”

And at the same time, Acmeists claim that their images are sharply different from realistic ones, because, in the words of S. Gorodetsky, they “... are born for the first time” “as hitherto unseen, but from now on real phenomena.” This determines the sophistication and peculiar mannerism of the Acmeistic image, no matter how deliberate bestial savagery it may appear. For example, from Voloshin:

People are animals, people are reptiles,

Like a hundred-eyed evil spider,

They entwine glances into rings."

The literary heritage of N. S. Gumilyov is significant in its artistic value. His work was dominated by exotic and historical themes, and he was a singer of “strong personality.” Gumilyov played a large role in the development of the form of verse, which was distinguished by its precision and accuracy.

It was in vain that the Acmeists so sharply dissociated themselves from the Symbolists. We find the same “other worlds” and longing for them in their poetry. Thus, N. Gumilyov, who welcomed the imperialist war as a “sacred” cause, asserting that “seraphim, clear and winged, are visible behind the shoulders of warriors,” a year later wrote poems about the end of the world, about the death of civilization:

The peaceful roars of monsters are heard,

Suddenly the rains pour down furiously,

And everyone is tightening the fat ones

Light green horsetails.

The once proud and brave conqueror understands the destructiveness of the enmity that has engulfed humanity:

Isn't that all equals? Let time roll on

We understood you, Earth:

You're just a gloomy gatekeeper

At the entrance to God's fields.

This explains their rejection of the Great October Socialist Revolution. But their fate was not the same. Some of them emigrated; N. Gumilyov allegedly “took an active part in the counter-revolutionary conspiracy” and was shot. In the poem “Worker,” he predicted his end at the hands of a proletarian who cast a bullet, “which will separate me from the earth.”

And the Lord will reward me in full measure

For my short and short life.

I did this in a light gray blouse

A short old man.

Such poets as S. Gorodetsky, A. Akhmatova, V. Narbut, M. Zenkevich were unable to emigrate.

For example, A. Akhmatova, who did not understand and did not accept the revolution, refused to leave her homeland. She did not immediately return to creativity. But the Great Patriotic War again awakened in her a poet, a patriotic poet, confident in the victory of her Motherland (“My-gesture”, “Oath”, etc.). A. Akhmatova wrote in her autobiography that for her in poetry “... my connection with time, with new life my people."

FUTURISM

Simultaneously with Acmeism in 1910 - 1912. arose futurism, split into several factions . Like other modernist movements, it was internally contradictory. The most significant of the futurist groups, which later received the name cubo-futurism, united such poets as D. D. Burliuk, V. V. Khlebnikov, A. Kruchenykh, V. V. Kamensky, V. V. Mayakovsky, and some others. A type of futurism was the egofuturism of I. Severyanin (I.V. Lotarev, 1887 - 1941). In the group of futurists called “Centrifuge,” Soviet poets N. N. Aseev and B. L. Pasternak began their creative careers.

Futurism proclaimed a revolution of form, independent of content, absolute freedom of poetic speech. Futurists rejected literary traditions. In their manifesto with the shocking title “A Slap in the Face of Public Taste,” published in a collection of the same name in 1912, they called for throwing Pushkin, Dostoevsky, and Tolstoy off the “Steamboat of Modernity.” A. Kruchenykh defended the poet’s right to create an “abstruse” language that does not have a specific meaning. In his writings, Russian speech was indeed replaced by a meaningless set of words. However, V. Khlebnikov (1885 - 1922), V.V. Kamensky (1884 - 1961) managed in their creative practice to carry out interesting experiments in the field of words, which had a beneficial effect on Russian and Soviet poetry.

Among the futurist poets, the creative path of V. V. Mayakovsky (1893 - 1930) began. His first poems appeared in print in 1912. From the very beginning, Mayakovsky stood out in the poetry of Futurism, introducing his own theme into it. He always spoke out not only against “all sorts of old things,” but also for the creation of something new in public life.

In the years preceding the Great October Revolution, Mayakovsky was a passionate revolutionary romantic, an exposer of the kingdom of the “fat,” anticipating a revolutionary storm. The pathos of denial of the entire system of capitalist relations, the humanistic faith in man sounded with enormous force in his poems “Cloud in Pants”, “Spine Flute”, “War and Peace”, “Man”. The theme of the poem “A Cloud in Pants,” published in 1915 in a censored form, was subsequently defined by Mayakovsky as four cries of “down with”: “Down with your love!”, “Down with your art!”, “Down with your system!”, “ Down with your religion!” He was the first of the poets who showed in his works the truth of the new society.

In Russian poetry of the pre-revolutionary years there were bright individuals who are difficult to attribute to a specific literary movement. These are M. A. Voloshin (1877 - 1932) and M. I. Tsvetaeva (1892 - 1941).

Futurism sharply contrasted itself not only with the literature of the past, but also with the literature of the present, which entered the world with the desire to overthrow everything and everyone. This nihilism was manifested in the external design of futuristic collections, which were printed on wrapping paper or the back of wallpaper, and in the titles - “Mares’ Milk”, “Dead Moon”, etc.

In the first collection, “A Slap in the Face of Public Taste” (1912), a declaration was published, signed by D. Burliuk, A. Kruchenykh, V. Khlebnikov, V. Mayakovsky. In it, the futurists asserted themselves and only themselves as the only exponents of their era. They demanded “Throw away Pushkin, Dostoevsky, Tolstoy, etc. and so on. from the Steamboat of Modernity,” they at the same time denied the “perfume fornication of Balmont,” spoke about the “dirty slime of books written by the endless Leonid Andreevs,” and indiscriminately discounted Gorky, Kuprin, Blok, etc.

Rejecting everything, they affirmed “The lightnings of the new coming Beauty of the Self-Valuable (Self-Valuable) Word.” Unlike Mayakovsky, they did not try to overthrow the existing system, but sought only to update the forms of reproduction of modern life.

The basis of Italian futurism with his the slogan “war is the only hygiene of the world” was weakened in the Russian version, but, as V. Bryusov notes in the article “The Meaning of Modern Poetry,” this ideology “... appeared between the lines, and the masses of readers instinctively shunned this poetry.”

“The futurists were the first to raise form to its proper height,” says V. Shershenevich, “giving it the meaning of an end in itself, the main element of a poetic work. They completely rejected poetry that is written for an idea.” This explains the emergence of a huge number of declared formal principles, such as: “In the name of personal freedom, we deny spelling” or “We have destroyed punctuation marks - which is why the role of the verbal mass was put forward for the first time and realized” (“Zadok of Judges”).

The futurists contrast the emphasized aestheticism of the poetry of the Symbolists and especially the Acmeists with deliberate de-aestheticization. Thus, in D. Burliuk, “poetry is a shabby girl,” “the soul is a tavern, and the sky is trash,” in V. Shershenevich, “in a spit-stained square,” a naked woman wants to “squeeze milk from saggy breasts.” In the review “The Year of Russian Poetry” (1914), V. Bryusov, noting the deliberate rudeness of the Futurists’ poems, rightly notes: “It is not enough to vilify with abusive words everything that happened and everything that exists outside one’s circle in order to find something new.” He points out that all their innovations are imaginary, because we encountered some of them in the poets of the 18th century, others in Pushkin and Virgil, and that the theory of sounds and colors was developed by T. Gautier.

It is curious that, despite all the denials of other movements in art, the futurists feel their continuity from symbolism.

A special place in the literature of the turn of the century was occupied by peasant poets (N. Klyuev, P. Oreshin). Without putting forward a clear aesthetic program, your ideas (combination of religious and mystical motives with the problem of protecting the traditions of peasant culture) they embodied in creativity. At the beginning of his career, S. Yesenin (1895-1925) was close to peasant poets, especially Klyuev, who combined in his work the traditions of folklore and classical art (the collection “Radunitsa”, 1916, etc.).

Russian culture on the eve of the Great October Revolution was the result of a complex and enormous path. Its distinctive features have always remained democracy, high humanism and genuine nationality, despite periods of brutal government reaction, when progressive thought and advanced culture were suppressed in every possible way.

The richest cultural heritage of pre-revolutionary times, cultural values ​​created over centuries constitute the golden fund of our national culture.

The significance of the Silver Age for Russian culture.

The creators of art, who today belong to the “Silver Age,” are connected by invisible threads with a renewed worldview in the name of freedom of creativity. The development of social conflicts at the turn of the century imperiously demanded a reassessment of values, a change in the foundations of creativity and means of artistic expression. Against this background, artistic styles were born in which the usual meaning of concepts and ideals shifted. “The sun of naive realism has set,” A.A. pronounced his verdict. Block. The historical-realistic novel, life-like opera, and genre painting were becoming a thing of the past. In the new art, the world of artistic fiction seems to have diverged from the world of everyday life. Sometimes creativity coincided with religious self-awareness, giving scope to fantasy and mysticism, free soaring of the imagination. The new art, whimsical, mysterious and contradictory, thirsted for philosophical depth, mystical revelations, knowledge of the vast Universe and the secrets of creativity. Symbolist and futurist poetry, music claiming to be philosophy, metaphysical and decorative painting, a new synthetic ballet, decadent theater, and architectural modernism were born.

At first glance, the artistic culture of the “Silver Age” is full of mysteries and contradictions that are difficult to analyze logically. It seems as if numerous artistic movements, creative schools, and individual, fundamentally non-traditional styles are intertwined on a grandiose historical canvas. Symbolism and futurism, acmeism and abstractionism, “world of art” and the “New School of Church Singing”... There were much more contrasting, sometimes mutually exclusive artistic movements in those years than in all previous centuries of the development of national culture. However, this versatility of the art of the “Silver Age” does not obscure its integrity, for from contrasts, as Heraclitus noted, the most beautiful harmony is born.

The unity of the art of the “Silver Age” is in the combination of old and new, outgoing and emerging, in the mutual influence of different types of art on each other, in the interweaving of traditional and innovative. In other words, in the artistic culture of the “Russian Renaissance” there was a unique combination of the realistic traditions of the outgoing 19th century and new artistic trends.

The unifying beginning of the new artistic movements of the “Silver Age” can be considered super-problems that were simultaneously put forward in different types of art. The globality and complexity of these problems still amazes the imagination today.

The most important figurative sphere of poetry, music, and painting was determined by the leitmotif of the freedom of the human spirit in the face of Eternity. The image of the Universe - immense, calling, frightening - entered Russian art. Many artists touched on the mysteries of space, life, and death. For some masters, this theme was a reflection of religious feelings, for others it was the embodiment of delight and awe before the eternal beauty of Creation.

Artistic experimentation in the era of the “Silver Age” opened the way to new directions in the art of the 20th century. Representatives of the artistic intelligentsia of the Russian Abroad played a huge role in the integration of the achievements of Russian culture into world culture.

After the revolution, many figures of the “Russian cultural Renaissance” found themselves left behind their fatherland. Philosophers and mathematicians, poets and musicians, virtuoso performers and directors left. In August 1922, on the initiative of V.I. Lenin was expelled by the flower of Russian professors, including world-famous opposition-minded philosophers: N.A. Berdyaev, S.N. Bulgakov, N.0. Lossky, S.L. Frank, L.P. Karsavin, P.A. Sorokin (total 160 people). They left and scattered around the world I.F. Stravinsky and A.N. Benoit, M.3. Chagall and V.V. Kandinsky, N.A. Medtner and S.P. Diaghilev, N.S. Goncharov and M.F. Larionov, S.V. Rachmaninov and S.A Kusevitsky, N.K. Roerich and A. I. Kuprin, I.A. Bunin and F.I. Chaliapin. For many of them, emigration was a forced, essentially tragic choice “between Solovki and Paris.” But there were also those who remained, sharing their fate with their people. Today the names of the “lost Russians” are returning from the “zone of oblivion.” This process is difficult, since over the decades many names have disappeared from memory, memoirs and priceless manuscripts have disappeared, archives and personal libraries have been sold.

Thus, the brilliant “Silver Age” ended with a mass exodus of its creators from Russia. However, the “broken connection of times” did not destroy the great Russian culture, the multifaceted, antinomic development of which continued to mirror the contradictory, sometimes mutually exclusive trends in the history of the 20th century.