Presentation "Ancient Greek vase painting". Presentation for the MHK lesson "Sculpture of Ancient Greece from Archaic to Late Classic" Kouros are similar to each other: upright static figures with a leg extended forward, hands with palms clenched into a fist are stretched out

SCULPTURE OF ANCIENT GREECE FROM ARCHAIC TO CLASSIC

Kuros and barks.

Polykleitos. Doryphorus. Phidias.

Goddess torso.

Scopas. Maenad.

• In addition to the relief, which has become an integral part of architecture, the anthropomorphism of the Greeks was most fully manifested in monumental sculpture. It is distinguished by natural, vital plasticity, conveying to the viewer the joyful attitude of the Greek sculptors.
• during the archaic period, the leading place was occupied by kouros and kora.

• statue to at dew - a naked walking youth - was interpreted as an example of strength, valor, physical health. This athletic ideal of beauty took shape in stadiums in sports and reflected a highly chaste perception of human nudity.

• Match the kouros serene to O ry - young girls, draped in long clothes, with a forward look and an "archaic" smile.

• They guarded the entrance to the ancient temple of Athena on the Acropolis and, as it was believed, caused the goddess special joy. The main intrigue in the creation of the cores was that uniform in features and facial expressions, they acquire a unique individuality due to the drapery of fabrics, folds of clothes, the placement and pattern of patterns on them.

KORA IN PEPLOS. 530 BC Acropolis Museum. Athens.

Comparing the bark in peplos and the high marble bark, one can easily verify this.

• The first bark is dressed in a woolen peplos, put on a thin linen tunic. A simple cloak of dense material hides her shoulders, and the whole outfit gives a feeling of naive purity and girlish innocence. The freshness and spiritual clarity of this already captivating image was once enhanced by the major color scheme in the coloring of the sculpture. In accordance with the taste of the archaic, the eyebrows and eyelashes were blue, the eyes and lips were brown, the hair flowing over the shoulders was pinkish-red, the edges of the linen chiton and cape were green.

• A completely different type - a tall marble bark in a luxurious, whimsically draped short cloak, which retained its green color in places, thickening to gray in the depths of the falling folds. With her left hand (now lost), the bark supported a flowing pinkish-brown tunic with a blue-green border around the edge. This whole cascade of draperies, consonant with curled strands of hair, folds of clothing, sometimes smooth, sometimes abruptly breaking, wavy snake patterns speak of a coquettish, quirky and crafty nature. Gold shimmering in her hair, black eyebrows, red lips and eyelids touched by transparent blue add playfulness and frivolity to her appearance.

• First, this hee A gp- a posture in which the transfer of body weight to the right leg entails certain relationships: the right raised hip corresponds to the left raised shoulder, and the left lowered thigh corresponds to the right lowered shoulder. There is a cruciform symmetry: tension is concentrated on the right from below and on the left from above, peace is vice versa. Secondly, turn the body and head to the same side. Thirdly, the plasticity of the muscles and clear lines between the chest and abdomen, torso and hips. Reinforced by the brilliance of bronze, they make it possible to almost physically touch the skeleton of the figure, the flesh, the skin.

• At the same time, developed by Polykleitos geometric canon became the cause of the external impassivity of his heroes, corresponding to the call that sounded in the verses of the poet Theognis from Megara:
• "Do not give out only with your face that misfortune depresses you."

• The geometric canon takes the square as a basis for proportions, takes height as a unit of measurement, and follows strict proportions of the torso, head, face, and feet.

• The decline of the city-states in the second quarter of the 5th c. BC. caused the erosion of the soil on which the image of the hero grew with his simple, clear, harmonious perception of being.
• The philosopher Socrates with his "I know that I know nothing" expressed the total confusion of the Greeks. The tragic worldview and the desire to withdraw into the world of personal experiences led to the appearance in the sculpture of the late classics of a new face of beauty, full of dynamism and internal intensity.

• Scopas(380-330 BC) portrayed the insane companion of the god of wine Dionysus Maenadu (IV century B.C.) at the time of the sacrifice. Scopas chooses a type of face that is far from classical perfection: a low forehead with a deep longitudinal fold, close-set eyes, sharply arched eyebrows, and a nervous line of the mouth.
• To portray a flurry of emotions, Skopas used techniques unprecedented for Greek plastic arts. Firstly, the sculpture is designed for a circular view. The sharp break in the body of the maenad, the flung open tunic, the thrown back head, pulled back by a heavy mop of hair, make it possible to feel the rhythm of the dance, the escalation of passion. Secondly, the new ratio of fabric and flesh - there is no trace of the classical harmony of clothes perceived as an "echo of the body" here - provides a sharp contrast of chiaroscuro in draperies, creating the effect of complete self-forgetfulness in the dance.

• 1. What, in your opinion, is the beauty of archaic sculpture? What role does clothing play in the interpretation of the image?
• 2. How does sculpture make it possible to represent the attitude of the Greeks in the era of early, high, late classics?

KOUROS - in the art of ancient Greek archaism - a statue of a young athlete (usually naked) "Archaic Apollo" The height of the statue is up to 3 meters; Embodied the ideal of male beauty, strength and health; The figure of an upright young man with a leg extended forward, his hands clenched into fists and extended along the body. Faces lack individuality; Exhibited in public places, near churches;

KORA (from the Greek "girl") In ancient Greek art, a statue of an upright girl dressed in traditional Greek clothing. Core figures are the embodiment of sophistication. Like the kuros, their poses are static, their movements are sketchy, but their hairstyles and outfits are carefully worked out. Both kouros and kors are distinguished by a mysterious "archaic smile". 6th century BC e. Acropolis Museum, Athens

Black-figure vase-painting style Exekios - the greatest master of black-figure ceramics Achilles and Ajax playing dice. Painting on an amphora from Vulci. BC e. Etruscan Museum, Vatican

Policlet Doryphoros Chiasmus is a sculptural technique for conveying hidden movement at rest. In the treatise "Canon", Policlet defined the ideal proportions of a person: the head - 1/7 of height, the face and hand - 1/10, the foot - 1/6. 5th century BC e. Reconstruction in bronze from a marble Roman copy National Archaeological Museum, Naples

SCOPAS (420 - about 355 BC) One of the first masters of the Greek classics, who preferred marble, abandoning the use of bronze, the favorite material of previous masters. Rejecting the inherent art of the 5th century. harmonious calmness of the image, Scopas turned to the transfer of movement, strong emotional experiences, the struggle of passions. To embody them, Scopas used dynamic composition and new techniques for interpreting details, especially facial features: deep-set eyes, wrinkles on the forehead and a parted mouth. Scopas. Maenad. 335 BC e. Roman copy.

Praxiteles (circa BC) In sculpture, the masculinity and severity of images of strict classics are replaced by an interest in the spiritual world of a person, and his more complex and less straightforward characteristic is reflected in plastic. In the marble statue of Praxiteles, the beautiful young man Hermes is depicted in a state of calm and serenity. Thoughtfully and tenderly he looks at the infant Dionysus. To replace the masculine beauty of an athlete in the 5th century. BC. beauty comes more graceful, refined and more spiritual. Hermes with the infant Dionysus IV c. BC e. Marble. Museum in Olympia, Greece

Lysippus (BC) The human figure is built by Lysippus in a new way, in a certain fleeting aspect, exactly as it presented itself (seemed) to the artist at this moment and what it had not been in the previous one and would not be in the future . Lysippus was the only sculptor whom Alexander the Great recognized as worthy of capturing his features. "

At the end of the II century. BC e. a sculptor named Alexander or Agesander worked in Asia Minor (in the inscription on the only statue of his work that has come down to us, not all letters have been preserved). This statue, found in 1820 on the island of Milo (in the Aegean Sea), depicts Aphrodite Venus and is now known to the whole world as "Venus de Milo". In this statue, everything is so harmonious and harmonious, the image of the goddess of love is at the same time so regally majestic and so captivatingly feminine, her whole appearance is so pure and the wonderfully modeled marble shines so softly that it seems to us: the chisel of the sculptor of the greatest era of Greek art could not carve anything more perfect!

"Vase painting of Ancient Greece" - Hunting, battles, dances, etc. were depicted on vases. Vase painting flourished in Greece, which testifies to the Greeks' love for color and paint. In the 6th century, a new style of painting Greek vessels appeared in Athens. Ancient Greece. Geometric style. Red-figure style. Athlete, hero winner. A favorite theme in the art of ancient Greece was man.

"Culture of Ancient Greece" - The schools taught writing, counting, singing and dancing. 8. Studying a new topic "The Theater of Dionysus" Getting good grades. Find errors in the text: Skene. Solving historical problems and puzzles. Culture of ancient Greece. Painting School Architecture Sculpture Olympic Games Theatre. 3. Find mistakes in the student's work:

"Culture and History of Greece" - The essence of things is revealed to people of a philosophical warehouse. In Greek myths, many parallels can be drawn with the legends of other peoples. Greece. The knowledge of the ancient Greeks about the origin of the universe and man is impressive. Modern sculptors learn from the masterpieces of ancient Greek masters. And nothing seems to change over time.

"Schools of Ancient Greece" - Logical chain. II. Hirete paydes! In the 6th century BC Pythagoras compiled a multiplication table. The sons of free Greeks studied at schools from the age of 7. One side of the stee-lo was sharp. School and Science in Ancient Greece. Eratosthenes is the father of geography. In the palestras, the boys learned to read, write, and count. Ancient Greek alphabet, writing.

"Culture in Ancient Greece" - POSEIDON - one of the Olympian gods. Gods of ancient Greece. Project goal: Ancient Greece. Already monumental Cretan palaces of the XIX-XVI centuries. astounding in scale. HERMES, god of trade and profit. (Video). For the right to enter the theater was supposed to be a small amount. Show Greece: Talk about literature, writing, music, religion, theatre, architecture.

"Olympic Games in Ancient Greece" - Olympic Games. Pentathlon: Running Long jump Javelin throw Discus throw Wrestling. Start of games. Run with weapons. First Olympic Games. The award is a laurel wreath. Home of the Olympic Games. The winner becomes a hero. Fist fight. Chariot racing. The next three days were devoted to competitions. Sports days.

In total there are 19 presentations in the topic

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In the archaic period, a special state system began to take shape, which then united the Greek states: not a single state expanding in the pursuit of world domination, as in the East, but a number of small states within the boundaries determined by insular nature and tribal organization. Each Greek polis (city-state) had its own dialect, its own gods and heroes, a calendar and a coin. The dominant feature in the creation of the ancient Greek - a citizen of the polis - was the feeling of freedom, which grew in the archaic period, reached its apogee in the classical period and was painfully lost in the Hellenistic one.

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Differences in the characters, passions of citizens of individual policies led to rivalry and self-affirmation of the ancient Greeks in their isolated corner - the policy. However, the Greco-Persian wars, defensive for the Greeks, as well as the opportunity to participate in the Olympic Games, were impressive evidence of the belonging of the Greeks to a certain unity.

Stadium in Ancient Olympia.

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OLYMPIC GAMES, in antiquity the oldest and most famous of all Greek games. They celebrated in honor of Olympian Zeus every four years, in the summer, in Elis (an area in the north-west of the Peloponnese) in the Holy City of Olympia at the foot of Mount Olympus.

Reconstruction of the Temple of Zeus at Olympia.

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In April 1896, on the initiative of Pierre de Coubertin, the First Olympiad took place in Athens, which marked the beginning of the modern Olympic movement.

Oh sport, you are the world!

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During the archaic period, all the most important trends characteristic of the mature art of Ancient Greece appeared. At this time, a slave-owning society was formed, in the depths of which the first sprouts of democracy appeared. Science, literature, philosophical thinking, theater are developing. It is time for the first flowering of Greek art. A Greek architectural order (a system of proportional correlation between the bearing and bearing features of a building) is being formed, which has become one of the most important elements of architectural structures of subsequent centuries.

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All the achievements of the architecture of that time, both constructive and decorative, are associated with the construction of temples. The temple dedicated to the patron god of the city was built with money

city-polis, and thus belonged to the whole society. Nominally remaining the dwelling of God, it served earthly public purposes: it was the repository of the city treasury, artistic treasures that were considered the property of the entire city-polis. The temple was erected on the highest place, usually on the acropolis, dominating the city buildings, in the center of the city square, which served as a place for public meetings, festivities, and religious processions.

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In the process of development of Greek temple architecture, several types of temples developed.

Types of Greek temples. 1 - peripter, 2 - pseudoperipter, 3 - pseudodipter, 4 - amphiprostyle, 5 - prostyle, 6 - temple in antah, 7 - tholos, 8 - monopter, 9 - dipter.

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The classic, most common type of Greek temple was the peripter (which means "feathered") - a rectangular temple, surrounded on all sides by columns.

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As a result of the long evolution of the temple, an architectural system developed, later called ORDER (which means "order"). In a narrow sense, an order is a system of relationships between columns (bearing part) and entablature (bearing part).

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The Greek architectural order consisted of the following elements: a column placed on a base or without a base, standing on a stylobate - the upper slab of a stone base); the column is decorated with a capital, on which the supporting beam - architrave rests, together with a decorative frieze and cornice, forming an entablature. The gable roof and cornice created triangular pediments.

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At the time of the archaic, the order developed in two versions: Doric and Ionic

The Doric peripter stood on a stone base - a stereobat (usually of three steps). The column, decorated with vertical grooves - flutes, did not have a base, it was completed by a simple round pillow - echin, above it - a square slab - abacus. The frieze was an alternation of square slabs - metopes - and vertically elongated slabs - triglyphs. Metopes and pediments were decorated with sculptural reliefs.

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Ionic columns were replaced by female figures - caryatids.

Portico with caryatids in the Acropolis of Athens.

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The Greek architectural order found application not only in ancient architecture, but became the main element of the architecture of the Renaissance, Baroque, and Classicism.

Admiring the marble whiteness of the majestic ruins of ancient Greek shrines, we forget that the ancient masters covered the walls of temples with multi-color paintings. The masterpieces of Greek architecture were proud of their polychrome (multicolor) decoration, shining in the sun with many colors: blue, red, green, gold. Time has destroyed the multicolored attire of ancient temples, but even time has no power over the perfection of ancient buildings.

Temple of Hera at Paestum

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Sculpture. The era of the archaic is the time of the birth of Greek monumental sculpture. Statues were carved from various types of stone, wood, and made from baked clay (terracotta). The highest achievement of archaic sculpture is the development of the image of a person in the statues of gods and goddesses, heroes, warriors - kuros, girls - kor. Until the middle of the 6th c. BC. statues of gods and goddesses were created strictly frontal, as if frozen in solemn peace, the conventionality of abstract geometric forms reminiscent of the art of ancient Egypt.

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The image of a kouros runs through all archaic art ("kouros" - translated from Greek - a young man). Carving a naked figure from marble (according to the ancient Greeks, human perfection could be revealed through a chaste image of healthy nudity glorifying the natural principle), the sculptor sought to emphasize the characteristic features of an athletically developed body - broad shoulders, a narrow waist, strong legs with clearly defined protrusions of the kneecaps resembling pillars. The statue, which the master created by order of the inhabitants of the city-polis, was supposed to express the society's idea of ​​the beauty of a courageous and energetic person, capable of protecting his homeland from the enemy, the elements and, perhaps, from the wrath of the gods in a difficult hour for the city.

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The earliest statues of kuros warriors are distinguished by a sharp, rough interpretation of forms, isolation, and static character. and strict frontality of the image. By the middle of the 6th c. a smile appears on the lips of the kouros, characteristic of the sculptural images of that time, called "archaic". From the second half of the 6th c. BC. noticeable interest in the proportions of the human body, the desire to convey a real human image. One of the achievements of archaic sculpture was the statues of kor girls in elegant clothes found in the Athenian acropolis.

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Compared with the geometric style of the Homeric period, the ornament in vase painting is inferior to plot-narrative images. In painting on vases in the 7th century, craftsmen use contour drawings in white and purple paints. The construction of the composition is frieze. Friezes of images of animals and people following one after another alternated with ornaments. This arrangement of images made the paintings look like oriental carpets. That is why this style of vase painting is called "carpet".

Battle of the Greek phalanxes.

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At the end of the 7th c. BC. the carpet style is supplanted by the black-figure style, which reached its highest peak in the 6th century. BC.

Black-figure amphora. Achilles with the body of Hector he killed. Against the orange-red background of burnt clay, free from ornament, the figures of people depicted in black lacquer stand out clearly. Details were drawn with scratched lines or paints, white and purple.

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Athenian craftsmen were the most famous. The signatures on the vases, testifying to the high appreciation of the art of ceramics by contemporaries, introduce us to dozens of talented craftsmen. The greatest master of black-figure vase painting was Exekius, who lived in the second half of the 6th century. BC. Favorite themes of masters of black-figure vase painting are mythological subjects, scenes from the Homeric epic. The black-figure technique coped well with the tasks of decorating vases, but the conditional planar nature of the image limited the artists in conveying movement. The exquisite decorativeness of the painting, somewhat interfering with the realistic transmission of images, is a feature inherent in the art of the archaic.

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Exekius. Kilik "Dionysus sailing on the sea". On the outside of this vessel are scenes of battles and eyes, which was supposed to protect the drinker from the evil eye. The days of the kilik are painted on a mythological plot. Exekius uses the legend of how unlucky pirates kidnapped the god Dionysus, not knowing that the kidnapped was a god, and were going to sell him into slavery. The ship went out to sea, and suddenly wine poured over the deck, a vine wrapped around the mast, juicy bunches of grapes bent over the sail,

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At this time, a slave-owning society was formed, in the depths of which the first sprouts of democracy appeared. Science, literature, philosophical thinking, theater are developing. It is time for the first flowering of Greek art. The archaic era is the time of the birth of Greek monumental sculpture. The archaic period is the heyday of artistic crafts, especially vase painting.

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Homework:

Tell about the main achievements of the culture of the archaic period: vase painting architecture sculpture theater Read the Iliad or Odyssey by Homer Presentation on the topic of the lesson.