Analysis of the artwork description of the painting. Analysis of a work of art on the example of Michelangelo Buonarroti's painting "the last judgment"

04.03.2020

Types of art history analysis and opportunities
their application in the lessons of the MHC
The need for methodological innovations and familiarizing students with modern theoretical knowledge in the field of art history is very urgent for a number of reasons. The ideological uniformity of assessments of the phenomena of culture and art has become a thing of the past, and in this regard, the need for a rigid orientation towards the art of critical and socialist realism has disappeared. In addition, modern media, the Internet, and mass production of book publishers have acquired great importance in the broadcast and replication of art.
The very realities of modern culture have also changed. Recently, the living environment, no less than a work of art, has become a form of art's existence. Communication with art is moving from specialized institutions to the sphere of everyday life. There is also a counter process - the introduction of art into life. As a result, the concept of "artistic culture" is expanding, it includes not only the phenomena of high culture, but also the facts of everyday culture, with which the problems of mass culture, its place and role in the life of society are closely intertwined.
In this context, the teacher loses the position of the exclusive evaluative authority and the main source of information about art. But at the same time, he acquires the status of a navigator, indicating the main guidelines for the development and activities of students.
DS Likhachev wrote: “Art illuminates and at the same time sanctifies human life. But understanding works of art is far from easy. It is necessary to learn this - to study for a long time, all your life ... Always, in order to understand works of art, you need to know the conditions of creativity, the goals of creativity, the personality of the artist and the era. The viewer, listener, reader should be armed with knowledge, information ... And I especially want to emphasize the importance of details. Sometimes a little thing allows us to penetrate the main thing. How important it is to know why this or that thing was painted or painted! "
Therefore, when analyzing a work of art, one cannot do only with an essay presentation of one's own vision of an object of art. Against this background, it becomes relevant to use the methods of art history analysis in teaching MHC.
The main types of art criticism analysis used in the MHC lessons can be comparative-historical, formal iconographic, structural.
1. Comparative historical analysis
This is one of the most effective types of analysis. It is based, on the one hand, on comparison - the simplest cognitive operation of identifying the similarities and differences of objects, and on the other - on the principles of historicism, according to which reality is viewed in the perspective of constant change in time.
The simplest type of relationship that arises as a result of comparison - the relationship of identity (equality) and differences - is applicable to any observable and conceivable objects. As a result, the comparison operation itself allows us to represent the world as a coherent variety. This primary operation and the conclusions that follow from its application are very important for the understanding of artistic culture as a whole.
In any phenomenon of culture, it is necessary to see both its uniqueness and features, and community with the culture as a whole. Comparison is a dynamic operation. It initially presupposes some kind of opposition.
To comprehend your culture, you need to look at it from the outside, as it were.
Comparison, unlike description, presupposes the opposition of two objects, which is more creatively productive. The more distant in time, style, expressive means of artistic language the works offered to students for comparison, the easier it is to compare and the more original and unexpected its results can be. At the same time, at least in one parameter, the works should have something in common - it can be a commonality of genre (portrait, landscape, still life), typology of forms (ancient Egyptian and Mesoamerican pyramid), common purpose and function (temple in different cultures, memorial tombstone ), plot, iconographic constants, format (vertical, horizontal, rondo), etc.
The potential difference is especially significant at the first stages of acquainting students with the problems of the MHC, when they are not yet aware of the specific problems of the subject. Students have insufficient experience to compare similar things in style. So the comparison of the portraits of Kramskoy and Perov is unlikely to be effective. It is more productive to take portraits of people unknown to students and only at the end of the analysis to acquaint them with their fate, thereby creating conditions for additional reflection of students about the quality of their analysis and the ability to judge a person in the symbolic field of a different sign system.
The techniques of comparative historical analysis can also be used to create and fix students' own emotional image of a work of art, era, style. Thus, a comparison of the temple architecture of the Novgorod and Vladimir-Suzdal principalities allows us to single out the features of differences, features, commonality and, as a result, the creation of an image of both one and the other architecture, giving rise to a certain emotional code of the child.
The main forms of the comparative historical method are:
- comparative analysis;
- historical-typological and historical-genetic comparison;
- identification of similarities based on mutual influence.
Comparative analysis involves the comparison of dissimilar objects. It could be a mapping:
- large cultural areas (East-West);
- cultural regions (Russia - Western Europe);
- stadially heterogeneous cultures (traditional folk culture and culture of world religions of the "paganism-Christianity" type);
- styles (Renaissance-Baroque, Baroque-Classicism, etc.);
- different types of art and their expressive possibilities.
This type of comparison is to identify large, underlying problems.
Historical and typological comparison is aimed at identifying the community of phenomena that are not related in origin. For example, the cultures of Ancient Egypt, Mesopotamia and Central America are not genetically related, and their similarity is determined by their typological belonging to the civilization of the Ancient World.
In a historical-typological comparison, two mutually complementary processes are important: analysis aimed at identifying differences and synthesis aimed at recognizing community.
Common features of the cultures of the Ancient World are:
- their magical character;
- hierarchy, canonicity and traditionalism;
- prevalence of terriomorphic and zoomorphic forms in mythology;
- the domination of the collective over the individual.
In architecture, natural forms are reproduced and the principles of depiction prevail (pyramid - mountain, column - tree, sanctuary - cave, palace - labyrinths of the cave).
The image of the world mountain is the general basic model of the Universe (ziggurat, pyramid, stupa), and the archetype of the World tree is the basis of the symbolic organization of space.
Historical and genetic comparison is aimed at identifying similarities in connection with a common origin. In educational activities, this method is relevant in connection with a cardinal change in the artistic foundations of Russian culture at two turning points in its history.
The adoption of Christianity led to the transition to the Byzantine canons, and the Peter's reform - to a kind of leap through a number of stages and to the perception of the formal language of Western European art of the new era, as an already established systematic reality.
Comparison of ancient Russian architecture with genetically close architectural schools of medieval Armenia, Georgia, Bulgaria can lead to interesting conclusions and enrichment of aesthetic perception. Their initial example is the cross-domed type of the temple, created in Byzantium. The cross-domed temples were formed using the technique used in Iran to support the dome on the sections of the inner walls. This principle of the volumetric-spatial construction of the building, familiar to the architects of Western Asia, served as the basis for the development of the compositional scheme of the buildings of the first Christian churches.
In 1017-1037. under Yaroslav the Wise, St. Sophia Cathedral was built in Kiev. There were no direct analogies to this structure in Byzantium, although the core of the cathedral was formed according to a cross-domed scheme.
From a methodological point of view, a comparison of Old Russian architecture with other national samples sharpens the understanding of its originality, which does not happen with the traditional teaching of the inner row of regional schools - Vladimir-Suzdal, Novgorod, etc. The enumeration of school features gives students the impression of the monotony of Old Russian architecture. The problems of the national specificity of the national artistic culture, its original artistic achievements evoke increased interest among schoolchildren. In contrast, it is easier to convey to them the essence of the answer to the question: "What, in fact, did our ancestors create?"
Mutual influence in culture is another type of comparative analysis aimed at identifying the organic nature of the assimilation of external borrowings, the originality of interpretation. When discussing these issues, the most fruitful concept is the concept of Yu. Lotman, who believed that “a people with a developed culture does not lose its originality from crossing with foreign cultures, but, on the contrary, enriches its originality even more. Originality is achieved not by knowing someone else's, but by the wealth of one's own. Then the alien actually ceases to be alien. "
2 formal analysis
The first step in studying the specifics of the language of different types of fine arts was made by the so-called formal school of art history. Her achievements are very relevant for teaching MHC. First, an analysis based on the main provisions of the formal school is the first step in comprehending the author's intention and the specific tasks of the era, encoded in a work of art. Secondly, with the help of the categories of formal analysis, it becomes possible to understand the metaphorical language of the visual arts, as well as to check the spontaneous reactions and assessments of students.
The system of formal analysis of works of architecture, sculpture and painting includes such parameters as material, format, size, proportions, texture, light, color, rhythmic and compositional organization, construction, interaction with the external environment, the ratio of internal and external structure and space, temporary reference points of perception and living.
The above parameters of formal analysis were included in the text of the new generation standards for visual arts for secondary schools. But, unfortunately, we, as teachers, often forget to teach students the very method of analysis, replacing it with an essay description of a work of art or a description of emotions about it. At least once, students must independently analyze a work of architecture, sculpture and painting at the given coordinates. Otherwise, there can be no question of any kind of activity, problem or practice-oriented education.
The set of parameters for each type of art is slightly different in accordance with its specifics.
Architecture analysis
Due to the abstract (there are no analogies in nature) nature of architecture, which has its main task to organize space, the main points of its analysis should be:
- the purpose and function of the structure;
- absolute dimensions and relation to the environment;
- material selected for construction and features of its figurative interpretation;
- plan;
- the general organization of space and masses (which prevails: the first or the second and why?);
- design and ideas embedded in it;
- the scale of the building (correlation with the size of a person, with the environment);
- proportions (the ratio of parts of the building to each other and their relationship to the whole);
- rhythm (space and masses, various spatial cells, structural divisions, openings, etc.);
- cut-off organization of facades and internal space;
- the role of color and sound;
- relationship with sculpture and monumental painting;
- the temporary organization of the perception of the structure and the life flowing in it.
The analysis of architecture also requires the personal residence of the work, or a very large amount of visual material - plans, sections, landscape photography, photographs of facades from several points of view, photographs of interiors, etc.
Painting analysis
When analyzing painting, one must take into account that, on the one hand, it operates not with abstractions, but with recognizable images of reality, but, on the other hand, a pictorial image is an illusory (that is, no less abstract) image on a two-dimensional plane, a kind of interpretation of reality, its transformed image.
Often, the recognition of realities, the plot creates a false impression of the easy accessibility of decoding the author's message. This must be taken into account in the analysis. Formal analysis as applied to a painting should be fundamentally different from the primitive retelling of the plot, which is taught in the first grade.
It is better to start the analysis after deciding on the type of pictorial image: is it a wall painting or an easel painting? Next, we should dwell on the pictorial and expressive-decorative functions of the painting image, which are associated with the design of a two-dimensional plane - the surface of the painting.
Dimensions, format (horizontal, vertical circle and other options) and frame (frame as a volumetric object) determine the threshold parameters of the ratio of the illusory and real image.
Important metaphorical and symbolic categories are often associated with the base on which the image is applied (stone, wood, plaster, glass), and with the technique in which the painting is made (fresco, tempera, mosaic, oil, pastel, etc.). Problems of texture are not only problems of surface design, but also problems of internal interpretation of the image.
Spatial organization (flat or illusory space) is related to the following questions:
- interpretation of the line, silhouette, plastic volume, chiaroscuro;
- choice of point of view, horizon line;
- organization of the right and left sides of the painting (peculiar entrances and entrances from the pictorial space);
- rhythmic structure and composition in general.
Sculpture analysis
The specificity of sculpture is its reality and materiality, three-dimensional volume and focus on tactile impact and experience. The main theme of the sculpture is the human figure, and its language is the language of the human body and facial expressions.
We can say that this is one of the most anthropomorphic forms of art. But the sculptor does not blindly repeat the human figure in its real forms, but creates a kind of ideal reality, an ideal form in which ideas are embodied in the form of clots of plastic energy. Exceptional focus on a person greatly limits, on the one hand, the number of analysis parameters, and on the other, requires an extremely in-depth interpretation of each item.
Having decided on the type of sculpture (monumental sculpture or small plastic, free-standing figure, statue group or relief), it is necessary to clearly fix its size and relationship with the surrounding space, architecture and human scale, and identify the points of view planned by the author.
The choice of material (stone, bronze, wood, ceramics and other modern materials) in sculpture is very important and shows us one of the main ideological positions of the author. The method of processing (plastic or sculpture), the possibilities of cut-off and color metaphor, the organization of the internal structure (frame), the ratio of masses to the structure and to each other, the ratio of dynamics and statics, tectonic moments and moments of motor tension and relaxation largely depend on it.
The problem of a pedestal (or its absence) in sculpture is similar to the problem of a frame in painting - it is a link between the world of art and the world of reality.
The plot in sculpture is secondary, since above any specific plot is the main plot, common for the entire sculpture - the act of creating a three-dimensional form, the creation of the human body.
The range of experience is limited by the opposition "static - movement", but the intensity of the experience is much higher than in other types of art, and requires a significant concentration of will from the viewer. This feature must be taken into account in the perception and analysis of sculpture.
3.Iconological analysis
In addition to the "pure form", art as a specific information structure has many more ways of storing and transmitting information, as well as influencing the viewer.
For an inexperienced medieval viewer, completely different aspects of the language of art were more relevant, namely, typical formal plot schemes, or, in other words, the iconography of images of characters or events of Scripture. “Medieval consciousness, permeated with the idea of hierarchy, forms a hierarchy of saints, symbols, even colors by the 11th-2nd centuries. Without knowing this symbolism, we cannot comprehend the content of the icon completely, it will elude us. This is one of the foundations of the figurative structure of the icon. And if in the picture color plays an emotional and informative role, then in the icon-painting hierarchy they play a canonical role. "
Canonical schemes in church art are a kind of superform, supertext that affects the viewer with lightning speed, allowing him to almost instantly perceive the content of the sacred image, on the one hand, and its holiness, that is, belonging to another world, on the other.
Iconography deals with the canonical aspects of the language of art in art history. Her methods are a description and systematization of typological signs and schemes adopted when depicting a person or plot schemes, an analysis of the totality of images of a person, characteristic of the art of a particular era, direction.
For the MHC teacher, in this method, the already finished result is rather important, with which it is necessary to familiarize the students. This will allow students, on the one hand, to better "read" and understand icon painting, canonical images of Buddhism and Hinduism, to decipher the works of the Northern and Italian Renaissance, and on the other hand, it will make them more sensitive to changes within the canon and will help to re-evaluate the conquests of the Art of the Renaissance and the fact itself. rejection of a strictly regulated canon.
Iconology as a direction in art criticism is broader than iconography, since it explores not only the canons fixed by religious cults, but also any stable plots and pictorial motives in works of art (compositional schemes, fragments of schemes, themes, plots, attributes, symbols and heraldic signs), their passing epochs into epochs, from one type of art to another, from master to master. These stable elements of the language of art are considered by the iconological school of art history as a kind of carriers of the memory of forms, or in other words, a "symbolic form" that contains "hidden meanings and messages" of culture, encrypted codes of art.
For all the complexity of the iconological method, it is quite accessible to students at the MHC lessons. The fact is that all children who read fairy tales in childhood possess certain basic knowledge about form memory. Everyone knows that the gods and heroes of mythology, epics, and fairy tales have objects with special magical properties that not only help them perform their functions, but also often contain their vitality.
The constancy of attributes can be used in cases where mythological characters lose their holistic image and continue to exist in the culture of subsequent times in a fragmentary form. In this case, the attributes can serve as a guiding thread for the interpretation of many cultural phenomena, help to trace the continuity of seemingly incompatible images.
Structural Analysis
Structural analysis is carried out on the basis of sign systems, thus it turns out to be closely related to semiotics (the science of sign systems) and semantics (the science of meanings). Consideration of the history of art from the point of view of the patterns of development of sign and symbolic systems associated with concepts such as cultural codes, binary oppositions, archetype, mythologeme, allows, on the one hand, to strengthen the semantic, meaningful component of the study of artistic culture, which worries the teenager in the first place , and on the other hand, to emphasize the personal reading of this content.
From the point of view of value orientations, understanding the unity of the entire world artistic culture leads to the development of a more tolerant attitude towards the forms and values of foreign cultures. Prototypes common to all cultures such as the World Tree, the road, Mother Earth, Shadow, Wise Old Man, Wise Old Woman, Anima, hero, antihero in the process of independent educational and project activities within the framework of the MHC strengthens the activity component in learning and works to increase the personal interest of students ...
Concrete objects, without losing their concreteness, can become signs (codes) of other objects and concepts and symbolically replace them.
One of the most ancient is the code of geometric symbols and the numerical symbolism closely related to it.
Codes can be very different: zoomorphic, plant, color, food, chemical, numerical, geometric, etc.
When applied in the MHC lessons, structural analysis is important because transformation operations come to the fore, which is very important in terms of developing students' thinking. Performing such operations as highlighting the primary set of objects, dividing objects into primary elements, identifying transformation relations, students develop their analytical abilities, the ability to see the general, structure and systematize their knowledge.
The developing potential of the course of world artistic culture is directly related to the ideological nature of the subject itself, with creativity, self-knowledge. Under these conditions, the teacher becomes an accompanying person, a kind of interested observer of the independent work of schoolchildren.
The analysis of art allows students to choose the direction of their thinking, on the basis of a systematic acquaintance with cultural monuments, to get an idea of the holistic and multidimensional picture of the spiritual development of mankind and, on the basis of this, to work out their own version of development. The MHC teacher must have versatile special knowledge in the field of art history. This becomes a special problem, since no pedagogical university prepares the specialty “MHC teacher”. Today, teachers who dare to teach this subject are placed within the framework of rigid and constant self-education. This applies not only to teaching methods, but also to the study of the very subject of art history.
Limiting the analysis of a work of art to the framework of form and content, or to essay perception cannot be the only chosen method of acquaintance, let alone studying the object of art.
On the other hand, the analysis of a work of art is impossible without extensive knowledge in the field of factology, elementary theoretical foundations. In this case, a large role can be played by a variety of instructive and informative maps-tasks, the use of search teaching methods, the use of information technology. Indeed, in the context of the entry of society into the age of informatization, one of the indispensable requirements for the MHC teacher is the mastery of various methods of obtaining, working and using information (computer programs for educational purposes, the Internet, audiovisual means, etc.).
If these conditions are met, teaching MHC at school will serve to solve productive learning problems, which will enable children to independently design problem formulations, analyze problem solving in a practical context and thereby develop productive critical thinking.

The theoretical knowledge that students receive in the lessons of the MHC is in demand in the analysis of a work of art, which is, in fact, the subject of study and consideration in the lessons of world art culture. What is the algorithm for analyzing works of various types of art? Perhaps the information presented below will be useful for a teacher looking for an answer to this question.

Algorithm for analyzing a work of painting

The main condition for working with this algorithm is the fact that the name of the painting should not be known to those who are doing the work.

How would you name this picture?
Do you like the painting or not? (The answer must be ambiguous.)
Tell about this picture so that a person who does not know it can get an idea of it.
How does this picture make you feel?
What do you think the author "wanted to say" with this painting? What is her main idea, "why" did he write it?
What did the author do to make us understand his intention? By what means did he achieve this?
Would you like to add or change something in your answer to the first question?
Go back to the answer to the second question. Is your assessment the same or has it changed? Why do you assess this picture so now?

Algorithm for the analysis of paintings

The meaning of the name of the picture.
Genre affiliation.
Features of the plot of the picture. Reasons for painting. Searching for an answer to the question: did the author convey his idea to the viewer?
Features of the composition of the picture.
The main means of the artistic image: color, drawing, texture, chiaroscuro, manner of writing.
What impression did this work of art have on your feelings and mood?
Where is this work of art located?

Algorithm for analyzing works of architecture

What is known about the history of the creation of an architectural structure and its author?
Indicate the belonging of this work to the cultural and historical era, artistic style, direction.
What is the embodiment of Vitruvius's formula in this work: strength, benefit, beauty?
Indicate the artistic means and techniques for creating an architectural image (symmetry, rhythm, proportions, black-and-white and color modeling, scale), tectonic systems (post-beam, lancet-arched, arched-dome).
Indicate belonging to the type of architecture: volumetric structures (public: residential, industrial); landscape (landscape gardening or small forms); urban planning.
Indicate the relationship between the external and internal appearance of an architectural structure, the relationship between the building and the relief, the nature of the landscape.
How are other types of art used in the design of its architectural appearance?
What impression did the work have on you?
What associations does the artistic image evoke and why?
Where is the architectural structure located?

Algorithm for analyzing sculptures

The history of the creation of the work.
About the author. What place does this work take in his work?
Belonging to the artistic era.
The meaning of the title of the work.
Belonging to the types of sculpture (monumental, memorial, easel).
The use of the material and the technique of its processing.
The dimensions of the sculpture (if it is important to know).
The shape and size of the pedestal.
Where is this sculpture located?
What impression did this work have on you?
What associations does the artistic image evoke and why?

The material was provided by T.A. Zaitseva, methodologist of MUDO "IMTs"

Literature

World art culture: grades 10-11: Additional materials for lessons / ed. - comp. O. E. Nadelyaeva. - Volgograd: Teacher, 2009 .-- 198 p.

This plan will be needed throughout the year, including for workshops at the museum.

1. Introduction

What kind of work are we talking about? Author, title, date, collection, technique(in the form of full-fledged phrases, not a catalog reference). There is no need to retell the biography.

Purpose and objectives of the work(4-5 phrases in the introduction). What and why are you writing it? Why are these works chosen? How exactly will the analysis be done? What is this analysis for? Why is it necessary to compare works?

Introductory words about the period, style, era ...

2. Description and analysis of the work

In each of the subparts, a relationship is made between the formal reception and the image... When comparisons description and analysis either go sequentially (the second work is compared with the first), or in parallel.

Description of the work... What is depicted? Genre, theme, plot.

Compositional scheme and its functions

the size
format (vertically and horizontally stretched, square, oval, round, aspect ratio)
geometric schemes
main composition lines
balance, the ratio of parts of the image with each other and with the whole,
sequence of consideration

Space and its functions.

Perspective, vanishing points
flatness and depth
spatial plans
the distance between the viewer and the work, the viewer's place in the space of the picture or outside of it
point of view and presence of angles, horizon line

Chiaroscuro, volume and their role.

volume and plane
line, silhouette
light sources, time of day, lighting effects
emotional impact of light and shadow

Color, coloration and its functions

predominance of tonal or local color
warm or cold color
linearity or picturesqueness
basic color spots, their relationship and their role in composition
tone, valera
reflexes
emotional impact of color

Surface texture (smear).

the nature of the stroke (open texture, smooth texture)
directionality of strokes
smear size
glaze

3. Conclusion

Repetition of the main findings concerning image, meaning of the work.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Federal State Budgetary Educational Institution of Higher Professional Education

Omsk State Technical University

Department of DTM

abstract

On the topic:

Analysis of a work of art on the example of Michelangelo Buonarroti's painting "The Last Judgment"

Completed: student gr. ZSR-151 A.A. Kareva

Checked by: Professor A.N. Gumenyuk

Introduction

1. The plot of the "Last Judgment"

2. General information about the differences between a painting and an icon

3. Composition of the altar fresco of the Sistine Chapel by Michelangelo Buonarroti (1475-1564) "The Last Judgment" (1535-1541)

Conclusion

List of used literature

Introduction

The Last Judgment - Michelangelo's fresco on the altar wall of the Sistine Chapel in the Vatican. The artist worked on the fresco for four years - from 1537 to 1541. Michelangelo returned to the Sistine Chapel three decades after completing the painting of its ceiling. A large-scale fresco occupies the entire wall behind the altar of the Sistine Chapel. Its theme was the second coming of Christ and the apocalypse.

The Last Judgment is considered a work that ended the Renaissance in art, to which Michelangelo himself paid tribute in the painting of the ceiling and vaults of the Sistine Chapel, and opened a new period of disenchantment with the philosophy of anthropocentric humanism.

1. The plot of the "Last Judgment"

The second coming of Christ, when, according to Christian doctrine, there will be a general resurrection of the dead, who, together with the living, will be finally judged, and they will be assigned whether to be taken to heaven or to descend into hell. Scripture speaks about this many times, but the main authority is the speech of Christ to his disciples, narrated by Matthew: “When the Son of Man comes in his glory and all the holy angels with him, then he will sit on the throne of his glory, and all nations will gather before him; and to separate some then others, as the shepherd separates the sheep from the goats; And he will put the sheep on his right side, and the goats on his left. " They are to be judged according to their deeds of mercy, which they performed in their mortal life. Sinners will have to go into "eternal torment."

The second coming of Christ (or the kingdom of Christ on earth) was confidently expected in the year 1000, and when these expectations did not come true, the Church began to attach more and more importance to the doctrine of the "Four Last Works" - death, judgment, heaven, hell.

From that time on, images of the Last Judgment began to appear (mainly in the XII-XIII centuries) on the sculpted western pediments of French cathedrals.

This is a large plot with several parts. Christ the judge is the central figure. On both sides of him are the apostles who were with him at the Last Supper: "And you will sit on thrones to judge the 12 tribes of Israel."

Below are the dead, rising from the graves or from the earth or the sea: "And many of those who sleep in the dust of the earth will awake, some for eternal life, others for eternal reproach and shame." “Then the sea gave up the dead that were in them; and each one was judged according to his deeds. " Archangel Michael holds the scales on which he weighs souls. The righteous are on the right hand of Christ, accompanied to heaven by angels, on the left of him below, sinners are escorted to hell, where they are portrayed in terrible torment. (Hall D. Dictionary of plots and symbols in art. M, 1996)

2. Generalinformation about the differences between the painting and the icon

The painting primarily affects the emotional sphere. The icon is for the mind and intuition. The picture reflects the mood, the icon - the state of the personality. The picture has boundaries, the framework of the plot; icon - includes in the limitless. Some believe that the ancient icon painters did not know the laws of direct perspective and symmetry of the human body, i.e. were unfamiliar with the anatomical atlas. However, the artists of that era observed the exact proportions of the human body when they made statues or statues in general (the three-dimensional image was not used in the Eastern Church, but took place only in secular art). The absence of a direct perspective indicates other spatial dimensions, of a person's ability to rule over space. Space ceases to be an obstacle. The distant object does not become illusory diminished. The figures in the icons are not spatial, but axiological in nature, expressing the degree of dignity. For example, demons are depicted as smaller than angels; Christ among the disciples rises above them, etc.

The picture can be viewed analytically. You can talk about individual fragments of the picture, indicate what you like and what you don't like about it. And the icon cannot be dismembered into cells, into fragments, into details, it is perceived synthetically by one inner religious feeling. The icon is beautiful when it calls a person to prayer, when the soul feels the dynamic field of energies and forces radiated through the icon from the Kingdom of eternal light. In the icon, the figures are motionless, they seem to be frozen. But this is not the coldness of death; here the inner life, inner dynamics are emphasized. The saints are in a rapid spiritual flight, in eternal movement towards the Divine, where there is no room for pretentious postures, fussiness and external expression.

A person, seized by a deep feeling or immersed in meditation, also switches to the inner, and this disconnection from the outer testifies to the intensity and tension of his spirit. On the contrary, the external dynamics - the imprint of emotions as temporary states - suggests that the one whom they wanted to portray on the icon is not in eternity, but in time, in the power of the sensuous and transient.

One of the heights of Western art is the painting of the Last Judgment in the Sistine Chapel, created by Michelangelo. The figures are executed with an amazing knowledge of the proportions of the human body and the laws of harmony. They can be used to study anatomy. Each face has its own unique personality and psychological characteristics. At the same time, the religious significance of this picture is zero. Moreover, this is a relapse into paganism that has arisen in the very heart of the Catholic world. The theme of the painting "The Last Judgment" embodies pagan and Jewish traditions. Charon transports the souls of the dead across the waters of the Styx. The image is taken from ancient mythology. The resurrection of the dead takes place in the valley of Jehoshaphat, as the Talmudic tradition tells.

The painting is made in an emphatically naturalistic style. Michelangelo depicted the bodies naked. When Pope Paul III, examining the painting of the Sistine Chapel, asked the master of ceremonies of the papal court Biagio da Cesena how he liked painting, he replied: "Your holiness, these figures would be appropriate somewhere in a tavern, and not in your chapel." (“On the Language of the Orthodox Icon.” Archimandrite Raphael (Karelin), 1997)

We touched upon Western European painting in order to emphasize its fundamental difference from Orthodox art. This is a vivid example of the fact that the form does not coincide with the content, no matter how brilliant it may be in itself. There is a methodological error in the so-called religious painting of the Renaissance. Painters try through mimic art, i.e. a picture full of emotions and passions, to transfer the heavenly to the earthly plane, but they achieve the opposite - the non-reborn materiality is transferred to the sphere of the sky; the earthly and sensual crowd out the spiritual and the eternal (or rather, there is no place for heaven, everything is occupied and swallowed by the earth), their heart; a slightly inclined figure of obedience to the will of God, etc.

The Catholic picture is one-sided, the Orthodox icon is multifaceted. In the icon, the plans intersect with each other, they coexist or interpenetrate without merging or dissolving in each other. Time is fixed in the picture, like a moment stopped by the will of the artist, like a photographic flash. In the icon, time is conditional, therefore, events in chronological discrepancy can be represented on the field of the icon. The icon looks like an internal plan and drawing of events. The icons are characterized by a one-time image: all events take place at once. michelangelo sistine fresco icon

A painting is an imitation of reality with elements of fantasy, which also takes material for its moods from earthly realities. The icon is the embodiment of spiritual contemplation, which is given in a mystical experience, in a state of communion with God, but contemplation transmitted and objectified through the sign language of lines and colors. An icon is a theological book written with a brush and paints. In the icon, the image of two spheres - heavenly and earthly - is given not according to the principle of parallelism, but according to the principle of symmetry. In a painting on religious themes, which is incorrectly called an icon, between the heavenly and the earthly, either there are no differences at all, delimitation, or they are connected by "parallel lines" of history, as a single being in time and space.

In the picture, the principle of direct, linear perspective, which gives the illusion of volume, three-dimensionality in the image of both material and spiritual entities. The spiritual does not appear in the picture, but is replaced in it by material, volumetric forms and bodies, and disappears in these forms alien to it. The spiritual in the picture ceases to be supersensible, but becomes "natural", here the profanation of the shrine takes place. The iconoclasts rightly pointed out this, denying portrait paintings on religious themes, but unfairly generalizing with a bad method all the possibilities of fine art - in this case, icon painting - which opens the spiritual world without identifying it with infinity as an infinite extension, with the realities of the material world under by the power of death and decay.

The iconoclasts identified the icon with a mimic portrait, with fantasy or allegory, but the icon, as a sacred symbol, was ignored or misunderstood by them. In the icon, not only the opposition of the two spheres of time and eternity, but in its rhythms - the churching of time, its attraction to eternity. (“On the Language of the Orthodox Icon.” Archimandrite Raphael (Karelin), 1997)

3. Composition of the altar fresco of the Sistine ChapelMichelangelo Buonarroti(1475-1564) The Last Judgment (1535-1541)

The author's unusual decision in the construction of the composition preserves the most important traditional elements of iconography. The space is divided into two main planes: heavenly - with Christ the judge, Mother of God and the saints and earthly - with scenes of the resurrection of the dead and dividing them into righteous and sinners.

Trumpeting angels announce the beginning of the Last Judgment. A book has been opened in which all human deeds are recorded. Christ Himself is not a merciful redeemer, but a punishing Lord. The Judge's gesture sets in motion a slow but inexorable circular motion that draws the ranks of the righteous and sinners into its flow. The Mother of God sitting next to Christ turned away from what was happening.

She abandons her traditional role of intercessor and hears the final verdict with trepidation. Around the saints: apostles, prophets. In the hands of the martyrs are instruments of torture, symbols of the suffering they endured for their faith.

The dead, opening their eyes with hope and horror, rise from their graves and go to the judgment of God. Some rise easily and freely, others more slowly, depending on the severity of their own sins. The strong in spirit help those in need of help rise.

The faces of those who have to go down to cleanse are full of horror. Foreseeing terrible torment, sinners do not want to go to hell. But the forces aimed at the observance of justice push them to the place where the people who caused suffering are supposed to be. And the devils pull them to Minos, who, with his tail entwined around his body, indicates the circle of hell, to which the sinner should descend. (To the judge of dead souls, the artist gave the facial features of Pope Biagio da Cesena, the master of ceremonies, who often complained about the nakedness of the figures depicted. His donkey ears are a symbol of ignorance.) And next to it is a barge driven by the carrier Charon. In one motion he takes away sinful souls. Their despair and fury are conveyed with tremendous power. To the left of the barge is a hellish abyss - there is an entrance to purgatory, where demons await new sinners. It seems that screams of horror and gnashing of the teeth of the unfortunate are heard.

Above, beyond the powerful cycle, over souls awaiting salvation, wingless angels soar with symbols of the suffering of the Redeemer himself. Above right, beautiful and youthful creatures carry the attributes of the salvation of sinners. (Smirnova I.A.Monumental painting of the Italian Renaissance. M .: Fine art, 1987)

Conclusion

In this essay, Michelangelo's fresco "The Last Judgment" was considered in comparison with the icon "The Last Judgment" (1580s). Both the icon and the fresco are painted on the same subject - the second coming of Christ and the terrible judgment over the sins of mankind. They have a similar composition: Christ is depicted in the center, and the apostles are located on his left and right hands. God is above them. Under Christ are sinners for whom hell is promised. Both images are taken in reverse perspective. But at the same time, less bright colors are used in the icon than in Michelangelo's fresco. The icon contains many symbolic images (a palm with a baby - "righteous souls in the hand of God", and here, scales - that is, "the measure of human affairs").

In modern times, the creation of these works were popular among people eschatological views, therefore these images justified their purpose not to scare humanity, but to convey to him the idea of living a righteous life, similar to the earthly sinless life of Jesus Christ.

List of used literature

1. Hall D. Dictionary of plots and symbols in art. M, 1996

2. "On the language of the Orthodox icon." Archimandrite Raphael (Karelin) 1997

3. Smirnova I.A. Monumental painting of the Italian Renaissance. Moscow: Fine Arts, 1987

4. Buslaev F.I. Images of the Last Judgment according to Russian originals // Buslaev F.I. Compositions. T. 2.SPb., 1910.

5. Alekseev S. Visible truth. Encyclopedia of Orthodox icons. 2003

Posted on Allbest.ru

FUNCTIONAL-SENSE TYPES OF SPEECH
Narration	message, story about developing events, actions. The narration is a narrative-organized text, the focus of which is the dynamics of the development of an action, event, process. The story can be written in fictional journalistic, scientific and official-business styles.	The composition of the narrative includes: 1) the plot - the beginning of the development of the action; 2) development of action; 3) culmination - the moment of the most intense development of the narrative; 4) denouement - summing up the results of the narrative.
Description	verbal picture, portrait, landscape, etc. The main things in the description are the accuracy of details, recognizability, reflecting the features of the depicted object or phenomenon. Description is possible in all styles of speech.	The composition of the description includes: 1) a general idea, information about the described object, person, phenomenon; 2) individual signs and details of what is described; 3) author's assessment.
Reasoning	reasoned and evidence-based presentation of the author's thoughts. The focus of the reasoning is on the problems posed and ways to solve them. Most often it is found in scientific and journalistic styles, as well as in the language of fiction.	The composition of the reasoning includes the following elements: 1) thesis - the problem posed and the attitude to it; 2) arguments - evidence of the thesis, its justification; 3) conclusion - summing up the results of the work.

	Review	Review
Features of the genre	A detailed expression of an emotional and evaluative nature about the work of art, containing the opinion and argumentation of the reviewer.	A detailed critical judgment about the work of art, which is based on the analysis of a work of art in the unity of its content and form.
Target	Share your impression of something else, draw attention to a work you like, participate in the discussion.	1) Give a reasoned interpretation and assessment of the ideological and artistic originality of the work. 2) The same as in the review.
Features of the approach	The author of the review explains his interest in the work by personal preferences, as well as by the social significance of the problems raised in the work, and their relevance. The argumentation system is based on personal reading experience, taste and preferences.	The review is dominated not by an emotional-subjective (like it - not like it), but an objective assessment. The reader acts as a critic and researcher. The subject of research is the work as a literary text, the author's poetics, his position and means of its expression (problems, conflict, plot-compositional originality, character system, language, etc.).
Building	I. A narrative about the reading habits of the author of the essay, the history of his acquaintance with this work, the reading process, etc. A thesis in which the assessment of what has been read is briefly formulated. II. The reasoning, which substantiates, substantiates the shown assessment: 1) the importance of the topic touched upon by the author and the problems raised in the work; 2) an overview (not a retelling!) Of the events depicted by the author, the most important episodes; 3) assessment of the behavior of the characters, their participation in the depicted events, attitude towards the characters, their fates; 4) the result of reasoning (thoughts and feelings of the author of the essay in connection with what he read). III. A generalization, in which the assessment of a given work is given in comparison with other works of the same author, an intention is expressed to continue acquaintance with his work, an appeal is made to potential readers, etc.	I. Justification of the reason for the review (new, "returned" name, new work of the author, work of the author - a noticeable phenomenon in literature, controversy around the work of the author, the relevance of the problematics of the work, anniversary of the author, etc.). The most accurate indication of the 1st edition of the work. Thesis-assumption about the historical and cultural value of the studied text. II. Interpretation and assessment of the ideological and artistic originality of the work. 1) Analysis of the name (semantics, alluses, associations). 2) The way of organizing the story (on behalf of the author, hero, "story in the story", etc.), other compositional features and their artistic role. 3) Characteristics of the problematic, artistic conflict and its movement in the development of the plot. 4) The author's selection of a system of characters as a means of expressing an artistic idea; mastery of character creation. 5) Other means of expressing the author's position (author's description, lyrical digressions, landscape, etc.) and their assessment. 6) Other features of the author's style and method. III. Conclusion about the artistic merits of the studied text and its significance for the literary process, social life. An invitation to controversy.