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Masterpieces of culture. Masterpieces of world culture

  • 15.06.2019

What is the difference between Malevich’s Black Square and the red circle in green pea Vasya Vatnikova? I dare say that nothing. True, any esthete will tell you (despite the fact that Malevich himself noted that his painting means nothing) about the deepest hidden meaning of the work. However, exactly the same can be said about the red circle with green polka dots by Vasya Vatnikov: the circle of peas symbolizes the vicious circle of existence and so on. So why does the price of two completely uninteresting paintings, all other things being equal, vary so much? The answer to this question should rather be sought in the field of science known as Ethology, rather than in art.

1. Aesthetic pleasure from the picture.

It is logical to assume that a painting, like any other product, creative self-expression, is designed to provide aesthetic pleasure from contemplating a masterpiece, for which people supposedly pay millions. However, if you look deeper, it becomes clear that aesthetic pleasure is the very last thing that affects the cost of the canvas. It is not taken into account at all. After all, if main value masterpiece lies in the way it looks and, due to this, affects a person, then why do its copies cost a penny, unlike the original? Therefore, the masterpiece itself, the image itself, is not worth anything, only the exclusivity of the canvas is worth it. Or does copying lose something that actually makes a masterpiece a masterpiece? Hardly, especially taking into account today's copying technologies, as well as the high skill of artists (if we're talking about about redrawing). There is only one conclusion: the price of a painting is not at all affected by what is commonly called artistic value. Artistic value is worth a penny. And here it’s clearly a matter of exclusivity.

2. Is there any aesthetic pleasure from a masterpiece at all, and how strong is it?

Apparently, even the very aesthetic pleasure from all sorts of black squares was also something people came up with for themselves. An example of this is Van Gogh, who sold only one painting during his lifetime, and even that was bought from him out of pity. Why were his paintings of no interest to anyone during his lifetime? Probably because no one experienced pleasure, delight and admiration from his “mastery”. And no one saw any sense in them, and if there was any sense in them, then no one cared about it.

But suddenly, some time after his death, his paintings suddenly begin to deliver strong aesthetic pleasure to the broad masses, and acquire a certain deep meaning, admired by millions of aesthetes. This is somehow strange! How is it that at one point in time no one likes your paintings, but suddenly, as if by magic, the whole world falls in love with your paintings? By the way, this applies to most artists; there is even a saying: recognition comes to the artist after death. For some reason, it comes to great poets, like Pushkin and Vysotsky, and writers, like Orwell and Bulgakov, during their lifetime, but to great artists only after death. Something is wrong here.

If you considered a certain girl scary 20 years ago, then she will be so for you today. He also enjoys viewing pictures. The fact that at one time the artist’s paintings do not please the eye, and then suddenly begin to please the eye, only confirms what was described in the paragraph above: the artistic value of the canvas is of no interest to anyone and does not play any role in the value of the painting, as well as in recognizing it as a masterpiece. In most cases, aesthetic pleasure is simply invented by the audience. Only the professional artist, and this is a very limited category of the population, and they are certainly not the ones who buy such paintings for that kind of money.



Mark Rothko, "Orange, Red, Yellow." The price of the painting is 86.9 million dollars.

Did you get aesthetic pleasure from the picture? Even if they did receive it; even if some super-complicated drawing styles were used to create this muini, it cannot even cost thousands of dollars, no matter how deep the supposed meaning is put into it. The price of this painting is equal to the price of the materials spent on its creation + extra charge for the work. True, with such work, it obviously costs a penny. The painter at my entrance somehow did his job carelessly - it turned out to be a reconstruction of Rothko’s works. Only the painter gets paid much less.

From the first two points it turns out that neither the aesthetic pleasure of viewing a painting nor the artistic value play any role in determining the price. Because copies of paintings cost pennies. Therefore, the whole point is in exclusivity and limited edition - this is one and two - the matter is whose brush the work belongs to. During Van Gogh's time there was not a single worthy artist? Why is it that his paintings are worth millions, and no one needs the rest for nothing? Why in today's Russia are Nikos Safronov's paintings worth thousands of times more than equally high-quality (and often more) works by thousands of other artists?

3. Exclusivity of the canvas.

Man, as we know, is a social animal, and for all animals living together in any community, the issue of status plays an extremely important role, because the status determines how other members of the community will treat this individual. Each animal community uses various tools to demonstrate status - the size of the genitals, tail, mane, the volume of the roar and much more. Since man has gone quite far from animals in terms of the complexity of the community in which he lives, man has much more tools for demonstrating status. Status is important in absolutely every social stratum of the population and in every group, regardless of the number of individuals. Even people who verbally completely reject consumerism (for example, skinheads or punks) are completely dependent on this instinct. And status can primarily be achieved through consumption. For example, every skinhead of the 90s dreamed of reptiles with white laces - such an outfit demonstrated his high status among the primates around him. And among punks, who measure themselves by the coolness of their Iroquois, this feature of demonstrating status is generally copied from the wild.

Richer people use, for example, expensive cars, yachts and airplanes to demonstrate their status. It is not enough for a very rich person to just buy himself a cool yacht - it must be the largest in the world. Why does he need the largest private yacht in the world, most of whose functions he won’t even use? The yacht is called just stand and demonstrate his status. All!

But the most expensive things in the world are exclusive or limited edition. For a very rich person, a Mercedes is no longer enough to demonstrate status, because... Many people have Mercedes. You could observe a simplified version of this mechanism in the behavior of human females: how happy she is when she has acquired expensive, beautiful clothes, but how upset she is if suddenly her work colleague came in in exactly the same blouse. She lost her exclusivity, and with this loss she became average in status, which was a reason for grief. In order to avoid such incidents, a very rich person buys a limited edition watch for crazy money, which in essence is no different from other cool watches, except for its exclusivity. Those. he pays for exclusivity. Rolex watches, for example, also serve this purpose. If you give out free Rolexes to everyone, then they will lose their value and no one will need them, just as Montana watches were once no longer needed.

Hence the scandals with Peskov’s ultra-expensive watches. They use these pills as a means of demonstrating status. If Peskov's watches had been produced in unlimited quantities, they would have cost a thousand times less. Masterpieces of art are used in the same way. The main thing is not what is drawn - even if it’s an outright mess. The main thing is to have an exclusive that no one else has! Hence the high price for originals and low for copies. Peskov comes to visit the Patriarch, looks - and his watch is even cooler. What can the unfortunate Peskov do in his grief? Buy for yours private collection painting for 50 million dollars. In this regard, art is the most effective method demonstration of status: the watch may have been released in limited edition, but someone in the world still has it. But no one has the original of such a painting. What's written on it? Fuck it, the main thing is that only I have it!

What is especially interesting is that all those complex rules, which the product must comply with, are created by the experts themselves together with the manufacturers of the product and cannot be objective assessment from the consumer side because the functionality of such a product is a secondary criterion - remove it from the set exclusive goods the value they contain in the form of trademarks - and most of them will immediately lose their high value.

All that remains is to understand by what criteria candidates for future masterpieces are selected? Why exactly the daub of Rothko, Lucio Fontano, Barnett Newmon, and not the painter from my entrance? Why Nikas Safronov, and not the artist from Arbat?

4. Exclusivity of the artist.

Let's look at the example of the same Rothko. When Rothko first started painting, there was no art market at all. These were the first post-war years, Europe lay in ruins, the early enthusiasm of the first philanthropists of the beginning of the century had already been washed away Great Depression, And American artists were left entirely to themselves - in a country that, for their reasons, had neither its own tradition, nor its own mythology, nor culture. No galleries, no curators, no collectors, no critics. It was impossible to even convincingly formulate what needed to be written now: the old paradigms had long since passed away, giving way to the European avant-garde, but even the avant-garde had failed to justify itself. And then Rothko appears with his idiot - the founder of abstract field painting. What distinguished Rothko from thousands of other artists, and NORMAL artists? He was the first to start exhibiting this. Those. exclusive. Plus, the cost of paintings is also influenced by the tragedy of the artist’s life. And Rothko cut his wrists with a razor. Hence, years after his death, the cost of paintings. It was exclusive in its specificity. Specificity not as an artist (his work to fine arts have no relation), but as a person.

You've probably noticed that few people are interested in normal artists? The main hype is around people who have openly gone, such as Frida, Van Gogh, etc.

By the way, Van Gogh! For all my hard life he never sold a single painting of his (more precisely, one, and even that one was bought out of pity). But still he continued to write and draw with the ferocity of a fanatic. And if he was faced with a dilemma - to starve or draw, then he chose drawing... In one of the psychoses, he even chopped off his own ear. His biography clearly stands out from many other contemporaries. He is an excellent candidate for celestials from the arts. He was raised, singled out from the mass of artists for his torment and passion for painting, and everything else was to blur the eyes and minds of ordinary people.

Those. Roughly speaking, for a long time in the world of art there has been a circle of people who sell ordinary people the status of a “masterpiece” in relation to almost any painting by any artist, and those ordinary people pay them money for this. In fact, it is not the paintings themselves that are worth the money, but the biographies of the selected artists. And one more nuance: the future success of the artist and the cost of his paintings is also influenced by who will be the first to buy his painting. If a billionaire, then this automatically raises the status of the author and, accordingly, the cost of his paintings. An excellent example of this is Nikas Safronov.

5. Artist's ingenuity, or competent marketing.

It is impossible to think of a more brilliant example than Nikas Safronov! The most expensive painting this artist's "Dreams of Italy" is worth $106,000. There is nothing special in Safronov’s paintings, there are tens of thousands of them in the galleries, such dreams about Italy. But just one costs a hundred thousand dollars. Why? As I wrote in the last paragraph, one of the most important factors in the status of an artist’s paintings is who owns his paintings. In the 90s, Safronov worked in the theater of the authoritative show business figure Donatas Bonionis, through whom he had the opportunity to contact the stars Russian stage and famous politicians, to whom, taking the opportunity, he gave self-portraits. This is how his paintings ended up in the homes of the elite. And so that they would be there for sure, he painted celebrities as nobles, kings, etc.

And then it was like this: “Wow. Pugacheva’s house has a painting by some Safronov hanging. Apparently he's cool. Find me his number and I’ll buy it too,” the oligarch or politician admired. This is how Safronov became a “Great” artist.

You could see the clearest example of such a feature during an exhibition of one artist in Moscow (I don’t remember who exactly). No one cared about her from the high bell tower, when suddenly she was visited by... Putin. The next day, a gigantic queue lined up outside the gallery of those who wanted to join in on the high artistic value. It’s just that Putin, with his walk, showed the pack of primates that the exhibition of this artist’s paintings is a status event, that’s all.

6. Picture-stock exchange

“Masterpieces” for their private owners, in addition to show-off, are banknotes of a very large (and, as the owner hopes, growing) denomination. This is a specific financial instrument in which money is invested when there is a lot of extra money. For example, we can recall Japanese collectors who began to buy works of art and simply rare things around the world just when the Central Bank of Russia rate became indecently low.

Well, you can trade them, like on the stock exchange: you buy a painting and wait for its price to rise. And how much it will grow depends on how much it and its author will be promoted, how much deep meaning they'll come up with something for her. By the way, the price is rising not only because of the difficult life of the author, as stated above, but also because of the difficult history of the painting itself. So, periodically, some crazy people attack the paintings, pouring paint on them. In the Louvre, for example, this is generally the norm. The paradox is that after such attacks, the paint is, of course, washed off, but the paintings are rapidly rising in price, because they have such a story: the painting was attacked, doused with paint, and was miraculously saved. Personally, I am inclined to believe that such attacks are organized directly by the owners of the paintings (individual or legal) so that the asset continues to rise in price.

If the incredible suddenly happens and the paintings begin to rapidly fall in price, I assure you that all their owners will immediately forget about their unsurpassed historical value, and they will maniacally begin to sell them, as happens with illiquid securities on the market.

I am in no way saying that any of these artists are bad: no, they are all talented in their own way. Even Nikas Safronov, who is subject to severe criticism among experts. In any case, in my life I will never draw the way he draws. We're talking about something else here. We are talking about the reasons for the inadequate cost of painting. And it seems to me that I have described the entire process of pricing, and most importantly, the reasons that motivate the consumer to form such prices, more than convincingly! But the quality of the painting, its artistic value and aesthetic pleasure from contemplation have nothing to do with cost. And if someone starts telling you about this, then he’s just a star.

RUSSIAN FEDERATION

"I CONFIRM":

Vice Rector for Academic Affairs

_______________________ //

__________ _____________ 2011

MASTERPIECES OF WORLD CULTURE

(Full-time education)

"PREPARED FOR PUBLICATION":

"_ 8__"_04___2011

Considered at a department meeting foreign literature Protocol No. 10

Meets the requirements for content, structure and design.

Volume 30 pages.

Head of Department ______________________________//

"11"

Considered at a meeting of the educational committee of the Institute of Law, Economics and Management

d. Protocol No. 1

Corresponds to the Federal State Educational Standard for Higher Professional Education and the curriculum of the educational program.

"AGREED":

Chairman of the Educational Committee ___________________________//

"______"______2011

"AGREED":

Head methodological department of UMU___________//

"______"______2011

RUSSIAN FEDERATION

MINISTRY OF EDUCATION AND SCIENCE

State educational institution

higher professional education

TYUMEN STATE UNIVERSITY

Institute of Humanities

Department of Foreign Literature

MASTERPIECES OF WORLD CULTURE

Training and metodology complex. Working programm

for students of direction 020400.62 “Biology”

(Full-time education)

Tyumen State University

2011

Shweibelman of world culture. Training and metodology complex. Work program for students of direction 020400.62 “Biology” (full-time study) Tyumen, 2011, 30 pages.

The work program is drawn up in accordance with the requirements of the Federal State Educational Standard for Higher Professional Education, taking into account the recommendations and ProOOP of Higher Professional Education in the direction and profile of training.

EDITOR IN CHARGE:head of the department of foreign

Literature, Ph.D. n.,

Professor

© Tyumen State University, 2011.

© , 2011.

1. EXPLANATORY NOTE

1.1. GOALS AND OBJECTIVES OF DISCIPLINE

Optional course Masterpieces of world culture is essentially a course that synthesizes material great circle humanities disciplines: history, art history, cultural studies, philosophy, psychology, literature. It is informational, educational, panoramic, and instructive in nature. This course gives an idea of ​​the general trends of world culture and of specific works (monuments, masterpieces) of culture, which in different centuries and in the context of different national cultural traditions embodied these general trends and patterns. A culture that is closely related not only to everyday practical needs, but also demonstrates the level of emotional and intellectual development humanity, reflects the entire range of diverse life phenomena, specifically testifies to fundamental transformations in human society at a certain stage of its development. Particular attention is paid to the study of phenomena that played a significant role in the formation and development of the main genre forms artistic creativity, as well as leading aesthetic systems and artistic movements.

The lecture course focuses on a step-by-step study of the main periods of the development of world culture: from antiquity to the present day (mainly in its European model). Principle of organization lecture material– chronological. Characteristic cultural achievements of a particular era is associated with an analysis of the creativity of its most prominent representatives. Artistic dominant of each era allows us to shift the emphasis from history to the history of philosophical thought, the history of culture, to psychology, literature, theater, painting, etc. The dominant feature of the lecture course, which makes it possible to more or less purposefully structure such extensive material, is the concept of man.

The historiographical aspect of the lecture course is further developed in practical classes. Having received in lecture course general idea about the metamorphoses of the concept of man in previous eras, the student has the opportunity to speak more thoroughly, from a historical point of view, about the concept of man in culture XX centuries (painting, literature, theater, cinema, virtual world). To the phenomena artistic culture a holistic, typological approach is used, which allows us to give a picture of the development of art in the unity of its leading artistic trends, manifested in different directions, genres and styles of art and literature.

Targetcourse “Masterpieces of World Culture” – to form a system of guiding knowledge among students about the main trends in the development of world culture using the example of its most significant phenomena (architecture, painting, cinema, literature, sculpture, theater). The Federal State Educational Standard for Higher Professional Education provides graduates with knowledge of the main stages of cultural history, based on consistent study outstanding achievements in the field of artistic creativity of various regions of the world, national schools.

Main goals– study of cultural history different countries and regions of the world, in-depth knowledge of historical processes in these national cultures, their interpretation by domestic and foreign art historians, philosophers, historians, cultural experts; identifying patterns of interaction between general trends in art; the formation of ideas about the development of the concept of man in different eras and its artistic embodiment; development of the main body of the world artistic heritage; systematization of general humanities knowledge.

Basic didactic units : author, norm, tradition, innovation, continuity, theory and history of culture, theory and history of art, artistic movements and directions, a system of basic concepts of art criticism, aesthetic categories, patterns of interaction of general trends in the field of culture and, in particular, in the artistic sphere, successive features in the evolution of styles, artistic methods, masterpieces, language of culture.

Course material serve works of art, research literature, monographs and articles on problems of the development of world culture. Proposed list of scientific-critical research literature should help the student become more deeply and systematically acquainted with general trends development of world culture.

The course “Masterpieces of World Culture” is taught during the 1st semester. An integral part subject is the history of aesthetic teachings and artistic criticism, representing methodological and theoretical basis disciplines. This course is an important element in the system of developing humanitarian disciplines, allowing us to get an idea of ​​the general patterns of development of the world cultural process.

Exam is awarded based on the results of work in practical classes, writing a semester-long written work (essay on ODO, test work on ODO), providing a glossary and summaries of scientific works on current problems cultural development.

1.2. PLACE OF DISCIPLINE IN THE STRUCTURE OF BACHELOR'S EDUCATION

The discipline “Masterpieces of World Culture” is included in the section “Humanitarian and social cycle. Variative part (disciplines of the student’s choice).” Developing and deepening the humanitarian element in the education of a student acquiring a non-humanitarian specialty, this discipline is in its own way a necessary element vocational training, because it broadens the general cultural horizons. This course forms a system of knowledge that contributes to the development of basic humanitarian subjects (“History”, etc.). Development of this material allows you to get an idea of ​​the general patterns of development of world artistic culture. Outstanding phenomena of the aesthetic sphere, which have enduring cultural and historical value, are studied in close connection with the history of philosophy, literature and language, and problems of socio-political structure. The proposed course helps to develop the skills of independent study of the most significant phenomena in the history of the artistic worldview, and, if possible, learn to use the acquired knowledge to improve one’s personality.

1.3. Competencies of a bachelor's program graduate, formed as a result of mastering this discipline.

As a result of mastering the discipline "Masterpieces of World Culture" The graduate must have the following general cultural competencies:

the ability to improve and develop one’s intellectual, general cultural and moral-psychological level (OK-1).

As a result of mastering the discipline, the student must:

Know: basic concepts and terms of the theory and history of culture; understand the essence and significance of information in the development of a modern information society.

Be able to: apply basic skills in collecting specialized facts using traditional methods and modern information technologies.

Own: basic methods, methods and means of obtaining, storing, processing information, skills in working with a computer as a means of information management; skills of working with information in global computer networks.

2. STRUCTURE AND LABOR-INTENSITY OF DISCIPLINE

3. THEMATIC PLAN

Table 1.1

Thematic plan for full-time study

№

Subject

weeks of the semester

Types of educational work and independent work, at one o'clock.

Total hours on topic

Of which in interactive form, per hour

Total points

Lectures

Practical lessons

Independent work

1

2

3

4

5

6

7

8

9

Masterpieces of world culture

Module 1

Culture is a world of meanings

0-11

Culture ancient world (Ancient Greece, Ancient Rome)

0-11

Culture of the Middle Ages

0-12

Renaissance culture

0-12

Total

1-8

8

8

52

68

4

0-46

Module 2

Art culture 17th century

9-10

0-10

Features of European culture XVIII century

11-12

0-11

19th century culture

13-14

1. Introduction.

Over the course of thousands of years, China has developed a vibrant culture.

The culture of China was influenced by the attitude towards nature as an organic whole, living according to its own laws.

It was nature and the laws of its development that were in the center creative searches, which for a long time determined the features of the development of all types of arts without exception. Human life in China was measured against the life of nature, its cycles, rhythms, and states. In Greece, man was “the measure of all things,” but in China he is only a small particle of nature.

Confucianism and Buddhism have influenced Chinese culture. Many Chinese achievements date back to the Middle Ages.

China has surpassed all countries in the world,
He reached the top in all arts.

2. Masterpieces of Chinese architecture.

The peculiarity of Chinese architecture is that the architects could find the most picturesque and natural place for architecture. Monasteries rise at the top of mountains, Chinese temples and pagodas are built in hard-to-reach places, stone steles rise along the edges of roads, and luxurious palaces of emperors are erected in the center of bustling cities.

It stretches for 5 km along the northwestern border The great Wall of China. Its construction dates back to the 4th-3rd centuries and was completed in the 15th century. Its purpose is to protect the Chinese state from attacks by nomadic tribes from the north. A road 5-8 meters wide was laid along its top for the advancement of troops. This structure was designed to protect the power of the Chinese state.

One of the most common buildings has become pagoda - a memorial tower erected in honor of the deeds of great people.

The pagoda is of enormous size and reaches a height of 50 meters Appearance The pagoda is simple, and almost no decorative elements are used. A distinctive feature of the pagoda is the pointed edges of the roof. This makes the building lighter and emphasizes its upward direction.

The 64-meter Dayanta Pagoda (Great Wild Goose Pagoda) is one of the best examples of Chinese style in architecture. The name of the pagoda goes back to the legend of the famous pilgrim who, during his journey from India to China, was helped to find his way by wild geese. They indicated the place for the construction of the pagoda. Dayanta, against the backdrop of a vast mountain range, rises above the outskirts of the city of Xi'an - the former capital of the Chinese state. Seven floors, separated from each other by cornices, taper towards the top of the pagoda, emphasizing its aspiration to the sky. That is why from a distance it gives the impression of heaviness and massiveness.

Thanks to its elongated proportions, the pagoda appears light and graceful.

The illusion of height is created by windows rounded at the top. In the simple and straight lines of the pagoda, the architect was able to express the sublime spiritual impulse and greatness of his time.

Buddhist cave temples located in the mountains have become an extraordinary phenomenon in architecture. Cave Buddhist

Monastery Yungang belongs to the masterpieces of world architecture. A 60 m high cliff stretches for almost 2 km, in which there are over 20 caves at various heights. Some of them reach a height of 15 m. And are deepened into the rock by 9-10 m. Each of the caves is dedicated to a specific Buddhist god. Inside there are many images of sculptures and reliefs on themes of Buddhist tales and legends. Outside, the rock is decorated with sculptural monuments, bas-reliefs, and statues. The cave temple amazes with its grandeur.

The main form of religious and residential buildings in China is a rectangular pavilion, the main feature of which is carved brackets supporting the roof. A high 2-, 3-, 4-slope roof is a characteristic element of Chinese Architecture. Inside, the building is divided into 2 or 3 naves, and outside it has a gallery with pillars that also support the roof.

Such a roof protected from snow and rain. The roof slopes had a strictly curved shape, its ends bent upward. Ceramic figurines depicting fantastic animals and dragons were mounted on the roof ridges, and later bells were hung.

The emblem of China has become Sky Temple in Pekin. 2-tier conical roof, glazed blue tiles conical roofs represent like a dazzling mountain peak.

The grandiose complex is dedicated to ancient religious cults associated with harvesting. In which heaven and earth were revered. It was this circumstance that determined the originality of the architectural design. Enclosed by walls, it includes 3 main shrines: a round wooden temple of Prayers for the Harvest, a temple of the Firmament and a white marble altar where sacrifices were made to the spirits of Heaven. There is a lot of symbolism in this architectural temple: the square area of ​​the palace symbolizes the Earth, the temple buildings and the altar. Framed by a round terrace - the sign of the Sun, the pointed peaks of the conical roofs represent

A continuous cycle of movements of natural elements. The viewer slowly walks between the arches, climbing numerous steps, gradually getting used to the rhythm of the ensemble, comprehending its beauty and grandeur.

Chinese gardening art has gained worldwide fame.

A true masterpiece of landscape art - Benhai complex in Beijing.

The symmetrical layout of the Imperial Garden includes slides made of massive stone blocks, bamboo groves, plantings of rare trees and shrubs. Elegant gazebos and pavilions with a fancy pattern of golden roofs along the banks of the

milking with goldfish. The names of the pavilions reflect the most important periods of the agricultural cycle (ten thousand autumns, ten thousand springs) - plowing and harvesting. About 700 mosaic panels made of multi-colored stones decorate the garden and park complex. They depict picturesque landscapes, exquisite plants, mythological heroes, scenes from theater and opera productions.

In the Imperial Garden there is a collection of stones of the most bizarre shapes, brought from different parts of China.

Next to these unusual exhibits, pine trees turn green in winter and unfading bamboo rustles, and in spring they bloom luxuriantly wild plum meihua and white and pink peonies. At the beginning of autumn, the cinnamon tree exudes its aroma, and chrysanthemums captivate with their beauty.

3. Sculpture of China.

The sculpture has always been popular in China. It expressed the idea of ​​power and unlimited power, back in the 3rd century. BC, when the state of Qin was formed.

During archaeological excavations in the province of Shaanxi, in the underground corridors of burial complexes, a 10-thousand-strong army made of terracotta was discovered. Life-size soldiers and officers, archers and infantrymen, charioteers and horsemen, with full military equipment, demonstrated the power of the emperor who created the first Chinese power.

All figures are full of expression, verisimilitude and variety of movements. Military leaders are depicted frozen in solemn poses, archers pull a tight bowstring, soldiers kneeling on one knee are preparing to defeat an invisible enemy. A hierarchy of ranks emerged in the coloring book. 130 clay chariots and 500 sculpted horses were also discovered. The clay army, built in battle formation, faithfully guarded the peace of its ruler.

Funerary sculpture was further developed in the art of the 7th-13th centuries. The funeral ensemble near Xi'an, the capital of the Chinese Empire, was decorated with sculptural works, in which scenes of court life are reproduced. Graceful dancers in the rhythms of dance, fashionistas in bright clothes, jugglers and musicians, servants and nomads.

A characteristic feature is the connection of the sculpture with the Buddhist religion. Here you can see terrible guards of the entrance, trampling dragons, Buddhist saints, a monumental image of Buddha. One of the most perfect sculptures is a 25-meter statue Buddha Vairocanna.(Lords of Cosmic Light), carved into the mountains in Lunmen Cave.

4. Genres of Chinese painting.

The desire to comprehend through particulars the universal laws of existence and the interrelation of phenomena is a characteristic feature of Chinese painting. It is mainly represented by vertical and horizontal scrolls made of silk and paper. Vertical scrolls were hung on the walls and did not exceed 3 m. Horizontal scrolls were intended for long-term viewing and reached several meters .Unfolding such a scroll, the viewer seemed to go on a journey.

Pictures were usually painted in ink or mineral paints, accompanied by calligraphic inscriptions.

The artist either quoted poetry or composed poetry himself.

Chinese painting is represented by various genres: landscape, everyday life, portrait, historical and everyday life. Of particular interest are images such as “mountains-water”, “flowers-birds”. Chinese artists knew how to express the idea of ​​the boundlessness of the world. In the majestic image of the world of mountains, forests and rivers you can see small figures of travelers. They are not in a hurry, they are simply contemplating the beauty.

On a mountain top
I spend the night in an abandoned temple.
I can touch the twinkling stars with my hand.
I'm afraid to speak loudly:
With earthly words
I am the inhabitants of the sky
I don't dare disturb the peace
Li Bo. “Temple on the top of the mountain.”

This is how the Chinese poet Li Bo expressed the harmony between man and nature.

Landscape painting in China is not rich in colors. Often it is monochrome, but there are so many shades and combinations in it. The artists have achieved enormous skill in conveying aerial perspective. The format and compositional solution paintings. To depict a chain of mountains, a horizontal scroll format was chosen; for mountainous terrain with pointed peaks of pine trees, a vertical format was chosen.

“You cannot give trees without number: it is more important to show how slender and lovely the mountains are. Among the rocks, overhanging and dangerous cliffs, it would be nice to shelter a strange tree. Distant mountains should be lowered and laid out, while nearby groves should be allowed to emerge sharply.”

There are many symbols in the landscapes of Chinese artists: a pair of ducks symbolized family happiness, a pheasant - a successful career, a lotus flower - a symbol of purity, flexible bamboo - wisdom and resistance to life's adversities, a pine tree - an allegory of longevity, a blooming meihua plum - a symbol of nobility and perseverance.

One of the soulful artists of lyrical landscape is Guo Xi. It is in the variability of nature that its beauty lies.

Ma Yun’s monochrome painting “Ducks, Rocks and Meihua” is exquisitely simple and laconic.

The portrait genre is one of the oldest in Chinese painting. It has been known since the 5th century. BC e., associated with the cult of ancestors. The image of the poet Li Bo is embodied in the portrait of Liang Kai.

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