World artistic culture, culture of ancient Rome. Presentation on the topic "Fine art of ancient Rome" Fine art of ancient Rome mhk

By Ancient Rome we mean not only the city of Rome of the ancient era, but also all the countries and peoples it conquered that were part of the colossal Roman Empire from the British Isles to Egypt. Roman art is the highest achievement and the result of the development of ancient art. It was created not only by the Romans, but also by the Italics, ancient Egyptians, Greeks, Syrians, inhabitants of the Iberian Peninsula, Gaul, Ancient Germany and other peoples. Although in general Roman art was dominated by the ancient Greek school, in various parts of the Roman Empire specific forms of art were largely determined by local traditions.

Ancient Rome created a kind of cultural environment: beautifully planned cities adapted for life with paved roads, magnificent bridges, library buildings, archives, nymphaeums (sanctuaries dedicated to nymphs), palaces, villas and simply comfortable, good-quality houses with equally comfortable and good quality furniture, that is, everything that is characteristic of a civilized society.

For the first time in history, the Romans began to build standard cities, the prototype of which was the Roman military camps. Two perpendicular streets, Carlo and Decumanum, were laid out, at the intersection of which the city center was developed. The urban layout followed a strictly thought-out scheme.

The artists of Ancient Rome were the first to pay close attention to the inner world of man and reflected it in the genre of portraiture, creating works that had no equal in antiquity. Few names of Roman artists have survived to this day, but the creations they created have entered the treasury of world art.

The history of Rome is divided into two stages. The first era of the republic began at the end of the 6th century. BC e., when the Etruscan kings were expelled from Rome, and continued until the middle of the 1st century. BC e. The second imperial stage began with the reign of Octavian Augustus, who switched to autocracy, and lasted until the 4th century. n. e. The era of the republic is extremely poor in artistic works, most of which date back to the 3rd century. BC e. Probably the first temples for the Romans were built by their neighbors, the more civilized Etruscans. It was the Etruscans who created for the Capitol, the main of the seven hills on which Rome is located, the statue of the Capitoline She-wolf, the symbol of the legendary ancestress of the Romans, the statue of the Capitoline She-wolf

The main shrine of Rome, founded on April 19, 735 BC. e., there was a temple of Jupiter, Juno and Minerva. The temple has not survived, but it is believed that it was laid out according to the Etruscan model: with a deep front portico, a high plinth and a staircase leading to the main entrance. Another attraction of Rome is the so-called Forum Romanum Forum Romanum

The Roman bridges of the 3rd century are magnificent. BC e. (Ponte Fabrizia, Garsky Bridge). The Mulvius Bridge, which stood for more than two thousand years, is very expressive. The bridge visually “rests” on the water with semicircles of arches, the supports between which are cut with high and narrow openings to lighten the weight. On top of the arches lies a cornice, giving the entire structure a stylistic completeness. Fabrizia Bridge Garsky Bridge

The appearance of an ancient Roman city can be illustrated by the example of Pompeii, an Italian city buried under a thick layer of ash as a result of the eruption of Vesuvius in 79 AD. e. The city had a regular layout. Straight streets were framed by the facades of houses, in the first floors of which shops and taverns were located. The vast forum was surrounded by a beautiful two-story colonnade. There was a sanctuary of Isis, a temple of Apollo, a temple of Jupiter, a large amphitheater, built, like the Greeks, in a natural depression. amphitheater

The inside of the house was painted. Over time, the style of paintings changed. At the end of the 2nd century. BC e. the walls of the houses were painted in the so-called first Pompeian, or “inlay” style: it was a geometric pattern reminiscent of lining the walls with precious stones. In the 1st century BC e. The so-called “architectural” or second Pompeian style came into fashion. Now the walls of the houses turned into a semblance of a city landscape, which included images of colonnades, all kinds of porticoes and facades of buildings (Fresco from Boscoreale Fresco from Boscoreale

A remarkable achievement of republican art was the portrait. Here the Romans borrowed a lot from the Etruscans, but the Roman portrait had one significant difference. The Etruscans, creatively processing nature, imprinted in stone an image that was, although reliable, more or less poeticized. The Roman portrait went back to the wax masks that were removed from the dead. The masks were kept in the most honorable place (the atrium), and the more of them there were, the more noble the family was considered. The republican era is characterized by portraits that are very close to life. They convey the smallest details of the human face.

ART OF THE EARLY EMPIRE The first ruler who opened the way to autocracy was Caesar's grandnephew Octavian, nicknamed Augustus (Blessed). Since the reign of Octavian, Roman art began to focus on the ideals that were instilled by the rulers. Augustus began to lay the foundations of the imperial style. The surviving portraits depict him as an energetic and intelligent politician. A high forehead, slightly covered with bangs, expressive facial features and a small, firm chin. Although Augustus, according to ancient authors, was in poor health and often wrapped in warm clothes, he was depicted in portraits as powerful and courageous.

The Mausoleum of Augustus differs from other tombs in its enormous size. It consists of three cylinders placed one on top of the other. The resulting terraces were turned into hanging gardens, similar to those for which the Tomb of Alexander the Great in Alexandria was famous. In front of the entrance to the mausoleum, two obelisks were installed in memory of the victory of Augustus over Mark Antony and the Egyptian queen Cleopatra. Mausoleum of Augustustwo obelisks

During the reign of Emperor Nero, one of the most cruel rulers of the Roman Empire, portrait art flourished. The evolution of the image of the emperor himself from a gifted child to a despised monster can be traced in a whole series of portraits. They are far from the traditional type of a powerful and brave hero (Head of Emperor Nero)Head of Emperor Nero

The fresco from Herculaneum “Peaches and a Glass Jug” testifies to the destruction of the traditional value system. Since ancient times, the image of the world has been a tree whose roots are fed by an underground source. Now the artist depicts a tree without roots, and a vessel with water stands nearby. One tree branch is broken, a peach is picked, from which part of the pulp is separated, right down to the pit. Executed with a masterful hand, the still life is light and airy, but its meaning is “the universal death of nature.” Peaches and a glass jug

In the 7080s. n. e. In Rome, a grandiose Flavian amphitheater was built, called the Colosseum. It was built on the site of the destroyed Golden House of Nero and belonged to a new type of building. The Colosseum was a huge bowl with stepped rows of seats, enclosed on the outside by an elliptical ring wall. The Colosseum is the largest amphitheater of ancient times. It accommodated over eighty thousand spectators. Inside there were four tiers of seats, which on the outside corresponded to three tiers of arcades: Doric, Ionic and Corinthian. The fourth tier was blank, with Corinthian pilasters as flat projections on the wall. Inside, the Colosseum is very constructive and organic; expediency is combined with art: it embodies the image of the world and the principles of life that the Romans had developed by the 1st century. n. e. Flavian Amphitheater Inside the Colosseum

The second masterpiece of architecture of the Flavian era is the famous Triumphal Arch of Titus. Titus, considered a sane and noble emperor, reigned for a relatively short time (7981). The arch was erected in his honor in 81, after his death. This monument was intended to perpetuate Titus' campaign in 70 against Jerusalem and the plunder of Solomon's temple. Triumphal arches are also a Roman architectural innovation, probably borrowed from the Etruscans. Arches were built both in honor of victories and as a sign of the consecration of new cities. However, their original meaning is associated with triumph, a solemn procession in honor of victory over the enemy. Triumphal Arch of Titus Titus

Art of the late empire The Roman Empire was ruled by Trajan, a Spaniard by birth. Under Trajan, the Roman Empire reached the peak of its power. This emperor was considered the best of all in Roman history. In portraits he looks courageous and stern, and at the same time an intelligent and courageous politician. Trajan

The most famous monument to Trajan in Rome is his forum. Among all the imperial forums that grew up around the Forum Romanum, this is the most beautiful and impressive. Trajan's Forum was paved with semi-precious stones, there were statues of defeated opponents on it, a temple was built in honor of the patron deity of Mars Ultor, there were two libraries, Greek and Latin. Between them stood Trajan's Column, which has survived to this day. It was erected in honor of the conquest of Dacia (the territory of modern Romania). Painted reliefs depicted scenes from the life of the Dacians and their capture by the Romans. Emperor Trajan appears on these reliefs over eighty times. The statue of the emperor at the top of the column was eventually replaced by the figure of the Apostle Peter.

An equestrian bronze statue of Marcus Aurelius has survived to this day. The statue was made in accordance with the ancient ancient tradition, but the appearance of the rider is not in harmony with either the horse or the mission of the warrior. The emperor's face is detached and self-absorbed. Apparently, Marcus Aurelius thinks not about military victories, of which he had few, but about the problems of the human soul. The sculptural portrait of that time acquired a special spirituality. Since the time of Hadrian, the tradition of depicting the face framed by luxuriant hair has been preserved. Under Marcus Aurelius, sculptors achieved special virtuosity. Particular attention was paid to the eyes: they were depicted as emphatically large, with heavy, as if swollen eyelids and raised pupils. The viewer got the impression of sad fatigue, disappointment in earthly life and withdrawal into himself. This is how everyone was portrayed in the Antonine era, even children.

The architecture of the era of the decline of the empire (III-IV centuries) is characterized by unusually large, sometimes excessive scale of structures, magnificent decorative effects, emphasized luxury of decoration, restless plasticity of architectural forms. Roman architects achieved great ingenuity in designing the complex interior space of such outstanding architectural monuments, full of grandeur and ceremonial splendor, as the Baths of Caracalla and the Basilica of Maxentius in Rome. Thermae (baths) for the Romans were something like a club, where the ancient tradition of ritual ablutions gradually acquired complexes for entertainment and classes, palaestras and gymnasiums, libraries, and music halls. Visiting the baths was a favorite pastime of the Roman plebs, who thirsted for “bread and circuses.”

The art of Ancient Rome left the world an enormous legacy, the importance of which is difficult to overestimate. The great organizer and creator of modern norms of civilized life, Ancient Rome decisively transformed the cultural appearance of a huge part of the world. The art of Roman times left many remarkable monuments in a variety of fields, from architectural structures to glass vessels. The artistic principles developed by ancient Roman art formed the basis of Christian art of the New Age.

All information about ancient Roman music known to modern people is obtained from literary sources of the ancient era, as well as monuments of fine art of that time. Unfortunately, not a single original sheet music edition has survived to this day.

Music was important in the daily life of the ancient Romans, and it developed on the basis of principles that arose during the Hellenistic period. However, not only the Greeks influenced this art; many different nuances were adopted from the eastern peoples during the campaigns in their countries. In general, Etruscan culture, which already had a colossal influence on ancient Roman civilization, determined to a lesser extent the musical principles and foundations of the Romans, since among the Etruscans themselves this type of art developed slowly and they did not attach much importance to it.

Initially, Roman music was a rather original art; most of the existing genres were associated with the themes of daily activities. The most common were priestly chants, which can be characterized as songs and dances in honor of various gods; most often they were performed in the form of prayer chants, in which the Romans cried out for a rich harvest or good luck in military campaigns. Horace and Virgil became the most popular poets of their time, their poetic works were sung to plucked musical instruments.

The musical art of Ancient Rome developed very rapidly, largely due to the popularity of theatrical performances. At that time, they were characterized by the pantomime genre, which combined theatrical scenes, dancing, as well as orchestral acting and choral singing. A number of thinkers and expert theorists on the art of the ancient era noticed that most of all musical performances borrowed by the Romans from the Greeks lost their original meaning and served only one purpose - entertaining the crowd.

Already in the 1st century AD, the ancient Roman emperor Domitian invented and approved a new type of competition, during which virtuosos of musical art competed in playing the harp and singing.

Passion for music in Ancient Rome was characteristic of all segments of the population. Representatives of the nobility, naturally, had incomparably more opportunities, and they could afford to keep musical instruments, for example, water predecessors of organs, in their homes. The richest Romans acquired entire orchestras of slaves, which allowed them to enjoy themselves at any convenient time. In fact, every member of a wealthy family had to learn either vocal art or play some musical instrument, so the profession of a music teacher at that time was not only very common, but also enjoyed universal respect. Music and chants accompanied all significant holidays and major celebrations, as well as gladiator fights.

The cithara and aulos, the main type of lyre of the ancient period and the progenitor of the oboe, were the most common ancient Roman musical instruments. This was again influenced by the borrowing of the principles and foundations of musical culture from the Greeks during their conquest. Hydraulos, water keyboard and wind instruments very close to modern organs, were also especially popular among the wealthy classes. In the army, the popularity of music was no exception to the rule, but there it was most widespread

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Fine art of the Etruscans The Etruscans lived on the territory of modern Italy in the 1st millennium BC. e.

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* * THIS people had their own philosophy, their own ideas about life and death, a special perception of the world around them.

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* * “EVENING SHADOWS” - unnaturally elongated female and male sculptures associated with the cult of the dead (II-I centuries BC).

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* * Believer. From the sanctuary of Diana of Nemia. Ancient Rome 200 - 150 BC e. France, Paris, Louvre

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* * What is he like, a man of that era? This is how the famous Roman orator and public figure Cicero (106-43 BC) introduces him in his treatise “06 Duties”: “A citizen of strict rules, brave and worthy of primacy in the state. He will devote himself entirely to serving the state, will not seek wealth and power, and will protect the state as a whole, taking care of all citizens... he... will adhere to justice and moral beauty.”

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* * Capitoline Brutus Ancient Rome 210 - 190 BC. e. Italy, Rome, Palazzo Dei Conservatoire

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* * Statue of Octavian Augustus from Prima Porta Ancient Rome 20 AD e. Vatican, Vatican Museums

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Octavian Augustus of Prima Porta. Octavian's father, Gaius Octavius, came from a wealthy plebeian family that belonged to the equestrian class; Julius Caesar made him a patrician. Mother, Atia, came from the Julian family. She was the daughter of Julia, Caesar's sister, and senator Marcus Atius Balbinus, a relative of Gnaeus Pompey. Guy Octavius married her for a second marriage, from which Octavian’s sister, Octavia the Younger, was born (she was called the Younger in relation to her half-sister). Octavian received the nickname “Furin” in the year of his birth in honor of his father’s victory over the fugitive slaves of Spartacus, won in the vicinity of the city of Furia. Augustus tried not to use the name “Octavian”, as it reminded him that he had entered the Yuli family from the outside, and not by direct descent.

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Gaius Julius Caesar Octavian August The foundations of art were laid during the reign of Octavian Augustus. It is no coincidence that this time, characterized by a high level of cultural development, is called the “golden age” of the Roman state. It was then that the official style of Roman art was created, most clearly manifested in the numerous statues of Octavian Augustus.

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* * The Roman writer Suetonius (c. 70 - c. 140) noted: “He rejoiced when someone, under his piercing gaze, lowered his head, as if under the dazzling rays of the sun.”

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The statue of Marcus Aurelius is a bronze ancient Roman statue that is located in Rome in the New Palace of the Capitoline Museums. It was created in the 160-180s. Originally, the gilded equestrian statue of Marcus Aurelius was installed on the slope of the Capitol opposite the Roman Forum. This is the only equestrian statue that has survived from antiquity, since in the Middle Ages it was believed that it depicts St. Constantine.

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In the 12th century, the statue was moved to Piazza Lateran. In the 15th century, the Vatican librarian Platina compared the images on the coins and recognized the identity of the horseman. In 1538 it was placed on the Capitol by order of Pope Paul III. The base for the statue was made by Michelangelo. The statue is only twice life size. Marcus Aurelius is depicted wearing a soldier's cloak (over a tunic). Under the horse's raised hoof there was formerly a sculpture of a bound barbarian.

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* * In the era of revaluation of values, he expressed his worldview as follows: “The time of human life is a moment, its essence is an eternal flow, sensation is vague, the structure of the whole body is perishable, the soul is unstable, fate is mysterious, glory is unreliable” (From the diary “ Alone with myself")

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Septi mii Bassia n Karakalla (186-217) - Roman emperor from the Severan dynasty. One of the most cruel emperors. A sharp turn of the head, swiftness of movement and tense muscles of the neck allow one to feel assertive strength, temper and furious energy. Angrily knitted eyebrows, a wrinkled forehead, a suspicious look from under the forehead, a massive chin - everything speaks of the emperor’s merciless cruelty.

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* * Portrait of Caracalla Ancient Rome 211 - 217 AD e. Italy, Rome, National Roman Museum

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* * Aulus Metel Ancient Rome 110 - 90 BC e. Italy, Florence, Archaeological Museum

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The bronze statue of Aulus Metellus from the Florence Museum, also executed by an Etruscan master of that time, although it still retains in the plastic interpretation of the form all the features of an Etruscan bronze portrait, is essentially already a Roman monument, full of a civic, social sound, unusual for Etruscan art. In the bust of Brutus and the statue of Aulus Metellus, as in many portraits from alabaster urns, the boundaries of the Etruscan and Roman understanding of the image came closer. Here we should look for the origins of the ancient Roman sculptural portrait, which grew not only on a Greco-Hellenistic, but primarily on an Etruscan basis.

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The figure of a mature man, who leaves his right shoulder open, and wears a tunic. Wearing high Roman style shoes with laces. The head is slightly turned to the right. The hair is short, with small strands. Wrinkles on the forehead, as well as in the corners of the mouth and empty eyes, which should have been filled with inserts of another material. The right arm is raised and extended forward, with an open hand; the left hand with a half-closed hand is lowered down along the body, under the toga. On the ring finger of the left hand there is a ring with an oval frame. The left leg is slightly bent forward. Attributed to Aretino production.

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* * Portrait of a “Syrian woman” Ancient Rome Around 170 Russia, St. Petersburg, Hermitage

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The expressive realistic portrait, made of marble, is a wonderful example of deep and accurate psychological characterization and brilliant craftsmanship. A thin, elongated face with irregular and even ugly features is touching and attractive in its own way.

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* * Young handsome Antinous is the favorite of Emperor Hadrian. During the emperor's journey along the Nile, he committed suicide by throwing himself into the Nile. The grief-stricken emperor established something like the cult of Antinous. There was even a legend that the young man, in order to distract the oracle’s formidable prediction from the emperor, sacrificed himself. This found support among the masses, as it again revived the cult of the dying and reborn god.

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* * Mother and baby (“Mater-matuta”) Ancient Rome 450 BC. e. Italy, Florence. Archaeological Museum

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* * The image of a seated woman with a child in her arms is the Etruscan-Latin deity of the Great Mother (“Mater-matuta”). Already in this sculpture, features of the Etruscan character appeared: squat proportions, frozen tension of the figure. The composition includes two winged sphinxes - a favorite Etruscan motif - on both sides of the throne. Being an anthropomorphic (that is, represented in the image of a person) canopic urn, the statue is associated with the cult of the dead.

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Mysteries - worship, a set of secret religious events dedicated to deities, in which only initiates were allowed to participate. They were often theatrical performances. The Mysteries of Ancient Greece represent an original episode in the history of religions and in many respects are still mysteries. The ancients themselves attached enormous importance to the mysteries: only those initiated into them, according to Plato, are blissful after death, and according to Cicero, the mysteries taught both to live well and to die with good hopes.

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* * Villa of Mysteries. Wall painting Ancient Rome Approx. 100 BC e. Italy, Pompeii PAINTING OF ANCIENT ROME

PAINTING OF ANCIENT ROME

The art of Ancient Italy and Ancient Rome breaks down into
three main periods:
1. Art before Roman Italy (3 thousand BC - 3 century BC);
2. Art of the Roman Republic (3rd-1st centuries BC);
3. Art of the Roman Empire (late 1st century BC - 5th century AD).

PAINTING OF ANCIENT ROME

In ancient Rome, painting was valued much more than
sculpture. Roman palaces, public buildings,
amphitheaters were decorated with sculptures, wall
murals, mosaics and paintings.
The main pictorial subjects were myths.
But only easel painting was considered art -
as opposed to the artisanal creation of frescoes.
Unfortunately, to this day, examples of easel painting
(that is, paintings painted on canvas) of those times
have not survived, we know that the leader in this genre was
portrait.

PAINTING OF ANCIENT ROME

Most of the painting of ancient Rome were frescoes,
they depict the artists themselves, created and various
easel paintings. These have survived to this day
greatest works of wall painting
indicate that ancient Roman artists in
mastered the brush perfectly. Of the surviving
monuments are frescoes from Pompeii, where we see
everyday scenes depicted in bright colors,
still lifes and mythological scenes in which
gods and heroes appeared.

These frescoes were painted in the 1st-5th centuries. They illustrate all major genres
painting that existed at that time: landscapes, still lifes, religious paintings (on
mythological and religious themes), portraits and nudes. Although
frescoes were considered more of a craft than an art, undoubtedly, many creators
wall paintings were Greeks and took inspiration from those lost today
easel paintings.

PAINTING OF ANCIENT ROME

Painting by purpose (Gender):
Genres of painting:
1. Domestic (scenes of hunting, fishing,
1. Monumental (tomb paintings –
fresco; mosaic);
2. Decorative (vase painting, ornament);
3. Easel (Fayum portrait, landscape,
still life, cult painting (on
mythological and religious themes),
battle, everyday scenes and nudes
nature).
Material: wax paints, stone,
smalt, glass, ceramics
dances, feast scenes);
2. Battle (scenes of bloody fights,
wrestling athletes);
3. Mythological (scenes from
ancient greek mythology, scene
death, travel in the afterlife
kingdom, judgment over the souls of the dead);
4. Portrait;
5. Still life (mid-1st century).

Ancient Roman artists painted mainly on a white or black background. They
knew some laws of perspective and achieved imaginary expansion
space of the painting, framing it with decorative architectural
elements.
Fragment of a fresco from Boscoreale

PAINTING OF ANCIENT ROME

Landscapes, buildings, people and animals
they depicted using almost
impressionistic techniques
overlaying paints and pastels
tones. The paintings were usually decorated
corridors and walls of the dining room. They
illuminated by fluctuating light
oil lamps, which gave
they look even more fabulous.
Julius Caesar is credited with introducing
fashion for fine art exhibitions
in public places. Near
I century in the capital there were hundreds
works by famous Greek
painters.

The tranquil landscapes were meant to reflect the peace and prosperity that brought
Emperor Augustus and his descendants after decades of civil wars that ravaged the country
until the 1st century. The same idea should have been reflected in still lifes, in which there is an abundance of
fruits, vegetables, fish and game were depicted. This genre came to Rome from Greece
and was called xenia, just like the fruits that the Greek offered as a greeting
to your guests.

EASEL PAINTING

In a Roman easel
painting the most
common genre
there was a landscape. Typical
Roman elements
landscapes: “harbours, capes,
sea coast, rivers,
fountains, straits, groves,
mountains, cattle
and shepherds."

PAINTING TECHNIQUES

Painting technique:
1. Fresco (painting based on
wet plaster);
2. Tempera painting;
3. Mosaic;
4. Encaustic (wax
painting);
5. Glue painting (paints
get divorced by the one who binds them
liquid, such as glue,
egg, milk, wood
juice and then applied to
homogeneous surface).

CHARACTERISTIC FEATURES OF PAINTING

1.
2.
3.
Multifaceted
compositional construction;
Free plastic modeling
figures that naturally
are located in the surrounding
space, or exactly
connected to the plane of the wall;
Bright colorful combinations
(various shades) - II-I
centuries AD

Inlay style - it was a geometric pattern that resembled a lining
walls with precious stones.

MONUMENTAL PAINTING STYLES

MONUMENTAL STYLES
PAINTINGS
"Architectural", or second
Pompeian style 1st century. BC e., the walls of the houses turned into
a semblance of a cityscape,
which included images of colonnades,
all kinds of porticoes and facades
buildings.
Wall art. On absolutely
the smooth surface of the wall was depicted
life-size facades
landscape background. The interior is written like this
illusory, as if they
really stand around, forming
almost entire blocks.
Fersca from Boscoreale

MONUMENTAL PAINTING STYLES

"Candelabra style"
(late 1st century BC) - 50s I century n.
e.). The masters returned to
flat decorative
ornaments. Among the architectural
forms were dominated by light openwork
structures reminiscent
tall metal
candelabra, between them
were placed enclosed in frames
pictures (“Narcissus”). Their stories
unpretentious and simple, often
associated with shepherd life.
Fresco painting "Narcissus"

MONUMENTAL PAINTING STYLES

Ornamental and decorative - light,
graphic patterns, small paintings
set against a backdrop of vast
spaces.
Golden House of Emperor Nero

MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)

Pompeii fresco

Fresco "Isis and Io" from the Temple of Isis in Pompeii

Pompeii fresco

The Rape of Europa. Pompeii fresco

Pompeii fresco

MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)

Pompeii fresco

MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)

Pompeii fresco

MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)

Pompeii fresco

Portrait of the spouses. Fresco from Pompeii

MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)

Since the middle of the 1st century. in the visual arts
a genre began to emerge in art
still life. Originating in the Late Classic
IV century BC e. and brilliantly developed in
Hellenistic era, still life has now acquired
new meaning. “High” and
"low" directions. The Romans often
depicted butcher shops with hanging
animal carcasses. However, they also wrote deeply
symbolic works full of secrets
sense. This type of painting was done
in the tomb of Vestorius Priscus in Pompeii. IN
the center of the composition is a golden table against the background
scarlet drapery. There are silver coins on the table
elegantly shaped vessels - all paired,
arranged strictly symmetrically: jugs,
wine horns, scoops, bowls. All these
objects seem to be grouped around
central crater - a vessel for
mixing wine and water, god incarnate
fertility of Dionysus-Liber.
Peaches and glass jug. Fresco from Herculaneum. About 50
Fresco

MONUMENTAL PAINTING OF ANCIENT ROME (MOSAIC)

It is impossible to imagine without Roman mosaics
ancient Roman art. Mosaic floor compositions
from colored stones, smalt, glass, ceramics
found throughout ancient Rome.
The oldest examples of Roman mosaics,
found during archaeological excavations, belong to IV
century BC And during the heyday of the Roman Empire
mosaic has become the most common method of decoration
interior, both palaces and public baths,
and private atriums.

SUBJECTS OF ROMAN MOSAICS

Subjects of Roman mosaics
are limitless and vary from
relatively simple ornaments
to multi-figure artistic
paintings with complex
spatial orientation.
Wreaths made of grape leaves and
hunting scenes with detailed
images of animals,
mythological characters and
heroic campaigns, love affairs
stories and genre scenes from
everyday life, sea
travel and military battles,
theatrical masks and dance steps. Selecting a plot for a specific
mosaics determined or by the customer
(sometimes the mosaic even captured
portrait of the owner of the house, for example),
or the purpose of the building.

In ancient Rome, mosaics were used
for decorating almost any
significant structures - urban and
country villas of the nobility, city
thermal baths, palaces.
Athletes. Mosaic of the floor of the Baths of Caracalla, 3rd century.

MONUMENTAL PAINTING (MOSAIC)

Characteristics
stone mosaic:
Background elements of Roman mosaics are light
and large enough, it is formed
plain stones with chaotic
laying in no particular order.
Elements of drawings and figures are smaller,
but often still large for the selected
drawing.
The variety of colors depends on
capabilities of a master in some
specific settlement or financial
customer capabilities.
If the mosaics of large palaces are sometimes
amazes with the sophistication of the color scheme,
then small compositions seem
limited in choice of colors.

MONUMENTAL PAINTING (MOSAIC)

Ancient Roman stained glass mosaic
Mosaic of Ancient Rome. I-IV centuries AD

The art of composing stone
mosaics began with simple
patterns of colored pebbles, which
the ancient Greeks decorated the interior
the courtyards of their houses. Later at
interior design of palaces and
granite began to be used in temples,
marble, semi-precious and even
gems. First
laid out the floors, from the second they created
amazingly beautiful panels.
The villas of the nobles of Ancient Rome were decorated with marble floors and mosaics
made of multi-colored stone in the form of complex ornaments and entire paintings with
mythological stories

FLOOR STONE MOSAIC OF ANCIENT ROME

Thanks to these properties
stone like strength,
resistance to destruction and
aging, we can still
admire the fragments
amazing mosaic floors
in ancient monuments
architecture preserved in
territory of Hellas. For example, in
Temple of Zeus (5th century BC)
images of sea deities in
framing ornaments
composed of small (about 1 cm in
diameter) chopped pieces
stones of different colors. So
one of the main
mosaic technique
drawings - typesetting.
Roman mosaic. Cologne. Ceramics and stone

FLOOR MOSAIC OF ANCIENT ROME

Roman floor mosaics in the villa
Romano del Casale in Piazza Armerina is a unique “window” to the Ancient World.
The resulting surface is either
polished, or, if it was on
sufficient distance from the viewer,
left rough. Seams between
cubes could differ in thickness,
what gave the image the effect
volume.

MONUMENTAL PAINTING (MOSAIC)

Battle of Alexander the Great with Darius III at Issus. Mosaic from the House of Faun
in Pompeii. Naples. National Museum

Alexander the Great. Fragment of a mosaic from Pompeii

MONUMENTAL PAINTING (MOSAIC)

Battle of centaurs with predators. Mosaic of Hadrian's Villa in Tivoli. Berlin.
State Museum

MONUMENTAL PAINTING (MOSAIC)

Deer hunting.

Dionysus.
Mosaic from the palace of the Macedonian kings in Pella

MONUMENTAL PAINTING (MOSAIC)

Mosaic of a Roman villa depicting a fishing scene in the garden

MONUMENTAL PAINTING (MOSAIC)

Mosaic of a Roman villa depicting a scene with animals

Ancient Roman artists sought
to maximum similarity at
images of people. Example
famous people can serve this purpose
Fayum portraits (I-III centuries). They
formed under the influence
Greco-Roman tradition.
They were usually depicted
representatives of the Roman elite, about which
evidenced by clothing, jewelry
and the hairstyles of the people depicted.

EASEL PAINTING (Fayum portrait)

And these are perfectly preserved
in the desert paintings, according to
specialists cannot be named
exclusively local
phenomenon - art
painting in Apennine
the peninsula achieved this
high level, at least
and has not survived to this day.
Portrait of an elderly man. Encaustic. End of the 1st century AD

EASEL PAINTING (Fayum portrait)

FAYUM PORTRAIT (by name
Fayum oasis in Egypt, where we were for the first time
found and described). These are posthumous
pictorial images of the deceased
created using encaustic technique in Rimsky
Egypt I-III centuries. Got their name
at the site of the first major find in
Fayum oasis in 1887 British
expedition led by Flinders Petrie.
They are an element modified under
Greco-Roman influence of the local
funeral tradition: a portrait replaces
traditional funeral mask
mummies. Found in the collections of many
museums around the world, including the British
museum, the Louvre and the Metropolitan Museum of Art
New York.

EASEL PAINTING (Fayum portrait)

Fayum portrait distinguished
volumetric light-and-shadow modeling of ceramic ware of Ancient Rome. Were here
vessels with relief are widespread
ornament, covered with transparent glaze.
Roman builders widely used ceramics, from
it is performed by complex architectural details.
Ancient Roman vase painting. Red-figure style

ORNAMENT
ANCIENT ROME
Ornament in the suit:
The color scheme in Roman costume is bright,
colorful, primary colors are purple, brown,
yellow. During the Empire, color scheme
acquires a complex, refined character in
shades and color combinations: light blue and
green with white, light purple with yellow,
grayish blue, pinkish lilac.
Late Roman fabrics had a geometric pattern
ornamentation - circles, squares, rhombuses with
with rosettes, quatrefoils inscribed in them,
stylized leaves of ivy, acanthus, oak, laurel,
garlands of flowers. The patterns were embroidered or woven
two or three colors, together with gold decor
gave the fabric a special pomp and luxury.

ORNAMENT
ANCIENT ROME
Many forms of decoration were borrowed from the Greeks
by the ancient Romans. Having adopted many from the Greeks
ornamental motifs, the Romans creatively
reworked according to their tastes and mentality.
In the ornament a fundamentally new thing appears for
ancient culture quality - it appears
“personal” interaction between characters.
The main Roman elements of ornamentation are
leaves of acanthus, oak, laurel, climbing shoots,
ears of corn, fruits, flowers, figures of people and animals,
masks, skulls, sphinxes, griffins, etc. Along with
they depicted vases, war trophies,
flying ribbons, etc. Often they have
real form. The ornamentation carried within itself and
certain symbols, allegory: the oak was considered
symbol of the highest heavenly deity, the eagle -
symbol of Jupiter, etc.

Description of the presentation by individual slides:

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Musical art of Ancient Greece The work was performed by Bezrodnykh Natalya MKOU Spitsynskaya Secondary School Leninskaya Iskra

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The music of Ancient Greece is preserved in a few fragments, which are inscriptions carved on stone columns and tombs. Letters from the Greek and Phoenician alphabet were used for musical writing.

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However, one can judge the ancient Greek musical culture not only from these fragments, but also from works of fine art (for example, on ancient vases there are images of musical instruments) and literature (in particular, the works of Aristotle, Plato and other philosophers). Treatises on music have been preserved. In Ancient Greece, music or other creativity was inseparable from Greek mythology.

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The word music comes from the “muses” - goddesses, patroness of creative and constructive aspirations, daughters of the Greek god Zeus. Music was seen as an important component of a prestigious education and in maintaining the stability of society. It has been recognized as an art form that has a huge impact on a person to improve his moral and ethical values.

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Music played an important role in the life of the ancient Greeks. It sounded during weddings, feasts, wars, funerals, and was an integral part of religious holidays and theatrical performances. In ancient times, singers and musicians did not have professional education; their art was based on improvisation. The creation of the first music school dates back to approximately 650 BC. e.

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Orpheus A lot of interesting information can be gleaned from mythology. Thus, the legends about the singer and musician Orpheus tell about the magical power of music: Orpheus with his art conquered not only people, but also gods, and even nature. The young man could not boast of the nobility of his family. He did not perform feats similar to those that glorified Perseus or Hercules. But his deeds are unparalleled, just as his glory is unparalleled. His mother gave Orpheus the gift of singing and poetry. Apollo gave Orpheus a lyre, and the muses taught him to play it, so much so that even trees and rocks moved to the sounds of his lyre.

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Orpheus fell in love with young Eurydice, and the power of this love had no equal. They got married and settled among the wild forests. One day, Eurydice, while walking in the meadows, stepped on a snake and died from its bite. To dispel his grief, Orpheus went on a journey. He visited Egypt and saw its wonders, joined the Argonauts and reached Colchis with them, helping them overcome many obstacles with his music. The sounds of his lyre calmed the waves on the Argo's path and made the work of the rowers easier; they more than once prevented quarrels between travelers along the long journey. But the image of Eurydice relentlessly followed him everywhere, shedding tears. Hoping to return his beloved, Orpheus boldly descended into the kingdom of the dead. He took nothing with him except the cithara and an unblown willow branch. Finding himself at the throne of Hades and Persephone, Orpheus fell to his knees, begging for his young wife to be returned to him.

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Lord of the Dead But the Lord of the Dead was adamant. Then Orpheus asked permission to sing to Hades and his beautiful wife and play the lyre. And Orpheus sang the best of his songs - a song about love. And while he sang, the willow branch he brought blossomed. The strong heart of the ruler of the underworld trembled. Hades allowed Eurydice to return to the world of the living, but set one condition: on the way from the underworld, Orpheus should not turn around until Eurydice, who was following him, came out into the sunlight. Eurydice walked along a dark passage, led by the sounds of the lyre, and, already seeing the sunlight, Orpheus turned around to make sure that his beloved was following him, and at that very moment he lost his wife forever. The world of people became disgusted with Orpheus. He went into the wild Rhodope Mountains and sang there only for the birds and animals. His songs were filled with such power that even trees and stones were removed from their places to be closer to the singer. More than once kings offered the young man their daughters as wives, but, inconsolable, he rejected everyone. From time to time Orpheus descended from the mountains to pay homage to Apollo.

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Antique musical instruments Kifara - an ancient Greek stringed musical instrument Kifara - one of the most common musical instruments in Ancient Greece. Only men played the cithara, producing sounds with a bone plectrum. The kithara had a flat, heavy wooden body with straight or curly outlines; strings were attached to the body. In the classical cithara of the 6th-5th centuries. BC there were seven strings, later in “experimental” instruments their number increased to 11-12. Used as a solo or accompanying instrument. A singer accompanying himself on a cithara was called a kifared. The kithara was considered the instrument of Apollo, in contrast to the aulos, the instrument of Dionysus.

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Lyra Lyra - (Greek; lat. lyra) was the most significant string instrument of Ancient Greece and Rome, along with the lyre. According to myth, the lyre was invented by Hermes. To make it, Hermes used a tortoise shell; for the antelope horn frame. The lyre in the picture is a copy made from an image on an ancient Greek vase: the body of the lyre is made in the shape of a bull's skull.

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Marsyas One day, wandering through the fields, the satyr Marsyas found a reed flute. The goddess Athena abandoned her, noticing that playing the flute she herself had invented was disfiguring her beautiful face. Athena cursed her invention and said: “Let the one who picks up this flute be severely punished!” Knowing nothing about Athena’s words, Marsyas picked up the flute and soon learned to play it so well that everyone listened to this simple music. Marsyas became proud and challenged the patron of music, Apollo, to a competition. Apollo accepted the challenge and appeared with a cithara in his beautiful hands. No matter how good Marsyas’ playing was, how could he, a resident of forests and fields, extract from his flute such wondrous sounds as those that flew from the golden strings of the cithara of the leader of the muses, Apollo! Apollo won. Enraged by Marcia's insolence, he ordered the unfortunate man to be hung up by the hands and skinned alive. Marsyas paid so cruelly for his pride. And the skin of Marsyas was hung in a grotto near Kelen in Phrygia and they later said that it always began to move, as if dancing, when the sounds of the Phrygian flute reached the grotto, and remained motionless when the majestic sounds of the cithara were heard.

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Avlos The aulos also sounded in Ancient Greece - a wind instrument, the sound from which was extracted through a special reed plate inserted into the hole. The performer, pressing the tongue with his lips, adjusted the volume and even changed the timbre of the sound. The Greek aulos can be considered the prototype of European reed wind instruments - oboe, clarinet, etc. As a rule, a musician played two aulos at once and thereby got the opportunity to perform two-voice music. In paintings on ancient Greek vessels, musicians with aulos were usually depicted in scenes of feasts and various entertainments: it was probably believed that the bright, even harsh sound of the instrument inflames temperament and sensuality.

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Pan Once upon a time in ancient, ancient Greece, there lived a goat-footed god named Pan. He loved wine, music, and, of course, women. And then he walks through his forest - suddenly a nymph. Named Syringa. Pan to her... And the beautiful nymph disliked the goat-legged one and ran away. She runs and runs, and Pan is already catching up with her. Syringa prayed to her father, the river god, to save me, father, from the encroachments of the goat, even though he is also a god. Well, her father turned her into a reed. Pan cut that reed and made himself a pipe out of it. And let's play on it. No one knows that it is not the flute who sings it, but the sweet-voiced nymph Syringa.

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During the heroic period of Greek history (around the 11th–7th centuries BC), the art of the traveling singer-storytellers of the Aeds and Rhapsods enjoyed the greatest love, recognition and respect. Aed is an ancient Greek epic singer from the era of unwritten poetry (9th–8th centuries BC). Aeds performed at feasts, public celebrations, and funeral ceremonies. The melodious recitation was accompanied by their playing of the forming instrument. Around 700 BC Aeds gave way to rhapsods and cyfareds. These “song stitchers” sang the exploits of heroes for the glory of their native land. The texts of their epic tales were composed in the same hexameter verse, without dividing the stanza, as the works of Homer are presented. The singer sang, accompanying the tale on an ancient stringed instrument - a forming, the strings of which were stretched across a carved turtle shell, and later on a cithara. The melodies of earlier storytellers, the Aeds, were probably of a recitative-narrative nature; among later rhapsodists, singing itself was replaced by melodious recitation. These were the first professional Greek musicians known to us, truly folk poets and singers.

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Ancient Rome (8th century BC) Like all the art of the Ancient Roman state, musical culture developed under the influence of Hellenistic culture. But early Roman music was distinguished by its originality. Since ancient times, musical and poetic genres associated with everyday life have developed in Rome: triumphal (victory), wedding, drinking, and funeral songs, accompanied by playing the tibia (the Latin name for aulos, a wind instrument such as a flute).

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The tunes of salii (jumpers, dancers) occupied a large place in the ancient musical culture of Rome. At the Salii festival, a kind of dance was performed: wearing a light armor and helmet, with a sword and spear in their hands, 12 people danced to the sound of trumpets to the beat of an ancient song addressed to the gods Mars, Jupiter, Janus, Minerva, etc.

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In addition to the salii, the tunes of the “Arval brothers” (the so-called Roman colleges of priests) were very popular. The festivals of the “Arval brothers” took place in the vicinity of Rome and were dedicated to the harvest. They expressed gratitude to the gods for the harvest and prayed for the future. The texts of some prayers and hymns have been preserved.

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During the classical period, the musical life of Rome was distinguished by diversity and diversity. Musicians from Greece, Syria, Egypt and other countries flocked to the capital of the empire. As in Greece, poetry and music in Rome are closely related. Horace's odes, Virgil's eclogues, Ovid's poems were sung accompanied by plucked string instruments - citharas, lyres, trigons (triangular harp). Music was also widely used in drama: singers performed cantos (from “kano” - I sing) - musical numbers of a recitative nature.

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The Roman Empire of the classical period was characterized by a universal passion for music (even the consuls and emperors). In noble families, children were taught singing and playing the cithara. The profession of music and dance teacher was honorable and popular. Public concerts of Greek classical music and performances by virtuosos, many of whom were favorites of the emperors, were very successful, for example the singer Tigellius at the court of Augustus, the actor-singer Apelles - a favorite of Caligula, the cithared Mencrates - under Nero and Mesomedes of Crete under Hadrian. Some musicians even had monuments erected, like the cithared Anaxenor, who served at the court of Caesar. By the way, Emperor Nero introduced the so-called Greek competition, where he himself performed as a poet, singer and harpist. Another emperor, Domitian, founded the Capitoline competitions, in which musicians competed in singing, playing the cithara and aulos, and the winners were crowned with laurel wreaths. Music, singing and dancing were also accompanied by the Romans' favorite holidays of Bacchus - the famous Bacchanalia. And even in military legions there were large brass bands.

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After the conquest of Egypt, water organs - hydraulics - became fashionable among the Roman aristocracy, which decorated luxurious villas and palaces. But the more militant the state became, the lower the tastes of its citizens became, and late Rome during the period of decline was characterized by a completely different musical culture. The admiration for classical art is fading into oblivion. Spectacular, often brutal spectacles come first, including bloody gladiator games. A passion for loud-sounding ensembles, consisting primarily of wind and noise instruments, begins. There was a lot of music, too much, and at the same time there was none. It was not in the sublime sense that the ancient classics gave it. The Roman culture of the period of decline knew, in modern terms, only light music.

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Entertainment became the sole god of the vast majority of the indigenous population of Rome. Music had to worship this god if it didn’t want to die of hunger. Singing songs, dancing or playing the flute were not paid well and for the Romans they were on a par with tricks and tomfoolery. The position of a hanger-on and flatterer was the career limit for a musician. Pleasing the whims of the nobility and the crowd cannot be reconciled with the old worship of nature. It was in the readiness to commit any violation of the laws of nature that the measure of the musician’s helpfulness was manifested. Thus, in music the desire for the unnatural is affirmed, and with it indifference and even arrogance to the music of nature grows. Men ready to sing not only with women's voices, but also with children's voices, flutists and cithara players, surprising with their virtuosity of playing, giant choirs and grandiose orchestras sounding in unison, countless dance groups whipped up the revelry of the crowd, eager for entertainment. In such an era, it was not difficult to lose faith not only in the spiritual and moral power of music, but also in all its meaningful meaning.

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The decline of Roman culture lasted several centuries, so that the serious illness of musical culture began to seem like an eternal property of music itself. Is it any wonder that many thinkers of that era began to look down on the musical beliefs of the Greek classics? They argued that music, if it arouses feelings, is no more than the art of cooking. According to the skeptic writer of the 2nd century. BC e. Sexta Empirica, music is not capable of expressing either thoughts or moods. Therefore, she cannot not only educate a person, but also teach him anything. It can distract you from grief and worries for a while, but in this regard it is no more effective than wine and sleep. “The small number of strings, the simplicity and sublimity of the music turned out to be completely outdated,” the great historian and admirer of the classics Plutarch wrote with bitterness. This episode is typical for this era. At a festival in Rome, two of the best flutists who arrived “from Greece itself” performed in front of a huge crowd of people. The public very soon got tired of their music, and then they began to demand that the musicians... fight with each other. The inhabitants of Rome were sure that this is why artists exist, to give pleasure. Music became just a fun craft, without having time to develop to the level of a serious art. Therefore, it was considered a despicable craft and unworthy of a free person.

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