Characteristic features of the golden age of Russian culture. "golden age" of Russian culture

The topic of our lesson today is the “golden age” of Russian culture. To do this, we will understand what period of Russian culture is meant and why it is called “golden”. Let's find out the history of origin this concept and features of its development.

Topic: Russian literature of the 19th century

Lesson:Golden Age of Russian Culture

The concept of “golden age” is metaphorical, and to understand the meaning of this metaphor, you need to remember where it came from direct meaning. It will take us to antiquity, to antiquity, to greek mythology, where the idea of ​​the “golden age” arose special condition the lives of people and gods when they lived in harmony. These mythological ideas were recorded by ancient authors. First of all, we're talking about about the Greek poet Hesiod

and his poem “Works and Days,” in which he speaks only about the generation of people created by the gods. This was the time when Kronos, or Chronos in Greek tradition, and in Roman - Satur created a special kind of “golden people”. Much later, the Roman poet Virgil

in the poem “Aeneid” he will use exactly this expression - “golden age”, meaning now not the qualities of people, but the quality of time. His contemporary Ovid

in the poem “The Science of Love” he ironically recalls the “golden age”, saying that nowadays we have to pay for everything in gold, because we live in the “golden age”.

Over time, it was Roman literature that began to be called “golden”. The heyday of Roman culture in the 1st century BC. was called the “golden age” of Roman culture and literature and was associated with several phenomena. On the one hand, with the problem of the Latin language, which at that time acquired the special quality of its classical completeness. Something similar will happen in Russian literature of the early 19th century. On the other hand, it was an era of special patronage of the sciences and arts. First Roman Emperor Octavian Augustus

supported writers: Horace, Virgil - creating in a special way favorable conditions for the development of literature and culture.

When we talk about Russian culture at the beginning of the 19th century, it is reasonable to recall that Herzen,

reflecting on the uniqueness of the historical path of Russian culture, which it passed from the time of Peter’s reforms to the beginning of the 19th century, with his characteristic beauty of expressions, he will note that Russia will respond to Peter’s call for education a hundred years later with the genius of Pushkin. And in this sense, indeed, what we call the “golden age” of Russian culture begins with the first decades of the 19th century and, perhaps, was most clearly manifested in the completeness of the ensemble of the northern capital, St. Petersburg. It was at this time that St. Petersburg acquired that classic look that we remember, first of all, from Pushkin’s novel “Eugene Onegin.” And indeed, the architect Zakharov

builds the Admiralty building,

Rice. 7. Admiralty building in St. Petersburg ()

from which the central avenues of St. Petersburg depart.

About the classical century in the history of Russian culture, which is also commonly called the St. Petersburg part of its history. And it’s not at all accidental. After all, the center of events will be the city of St. Petersburg itself, which has very little history, because its foundation dates back to the beginning of the 18th century. In the construction of St. Petersburg in the 18th century, the predominant architectural style was the Baroque style. So, the Peter and Paul Cathedral is being built

Rice. 8. Peter and Paul Cathedral in St. Petersburg ()

Rice. 10. Francesco Rastrelli ()

builds the Winter Palace,

Rice. 11. Winter Palace in St. Petersburg ()

Catherine Palace.

Rice. 12. Catherine Palace in St. Petersburg ()

But by the end of the 18th and beginning of the 19th centuries, the very idea of ​​Russia as an empire began to be emphasized by the establishment of another architectural style - classicism. And if in literature Russian classicism is most clearly expressed in mid-18th century century, then in architecture and painting this style will reveal its most significant achievements precisely at the beginning of the 19th century, on the one hand. On the other hand, it will complete the architectural organization of St. Petersburg. Indeed, in this sense, there is reason to recall the construction of the Admiralty, built by the architect Zakharov. It turned out to be a certain point from which the main avenues of St. Petersburg radiate in different directions, and first of all, Nevsky, where in the first quarter of the 19th century the Kazan Cathedral completed its design,

Rice. 13. Kazan Cathedral in St. Petersburg ()

built by architect Voronikhin,

moreover, according to the model of Rome, in this case, according to the model of Peter’s Council,

Rice. 15. Peter's Basilica in Rome

built by Michelangelo.

Rice. 16. Buonarroti Michelangelo ()

And again ancient, Roman associations arise. Of course, the final registration of Vasilyevsky Island requires special discussion

Rice. 17. Vasilyevsky Island in St. Petersburg ()

with the construction of an exchange building on it, which was supposed to balance the water and island spaces. For this purpose, the same antique Greek style: the exchange is built in style ancient temple. And finally, a special topic is the work of the architect Carl Rossi, who had an amazing opportunity to build not individual buildings, as was usual, but to build entire urban ensembles, in the styles of which the same classicism prevails. Indispensable porticoes, columns, arches, indispensable proportionality, harmony of architectural parts. In a word, the same thing that in an unnoticed way reflected not only in architecture, but also in literature. Because just at this time, precisely this tendency will prevail in the formation of the Russian literary poetic language: the desire for clarity, for harmonious accuracy, completeness. And in this regard, we really find a sign of this classical direction, style.

French architect Thomas de Thomon

builds the stock exchange building in the form of a huge ancient temple.

Rice. 19. Exchange building in St. Petersburg ()

builds its famous ensembles: Alexandria Theater

Rice. 21. Alexandria Theater in St. Petersburg ()

with the famous Rossi Street,

Rice. 22. Rossi Street in St. Petersburg ()

Mikhailovsky Castle,

Rice. 23. Mikhailovsky Castle in St. Petersburg ()

Rice. 24. Synod building in St. Petersburg ()

And all this will be architecture built in the style of classicism, which makes us remember the Greco-Roman tradition. And in this regard, indeed, there was a feeling that, at a minimum, St. Petersburg was turning into some semblance of the Roman Empire before our eyes. There is also reason to recall that at the same time it was not only a city associated with the imperial theme. After all, with the ability to build not individual houses, but entire architectural ensembles, St. Petersburg turned into a kind of work of art. And then another association arose: northern Athens, if we mean Greece as a certain symbol associated with the theme of art, philosophy, science and culture. It should be noted that the established Academy of Arts

Rice. 25. Academy of Arts in St. Petersburg ()

guided both architects and artists to recreate classic style. It is worth remembering such personalities as Karl Bryullov,

if we keep in mind the creators of the grandiose canvases: “The Last Day of Pompeii”,

Rice. 28. “The Last Day of Pompeii” ()

Rice. 29. “The Appearance of Christ to the People” ()

More modest portrait painters Orest Kiprensky,

Vasily Tropinin.

If we talk about the development of painting in this era of the “golden age,” then there is reason to pay attention to the grandeur of our painters’ plans and cultural density. Because these pictorial ideas exert their influence and semantic pressure on other authors, writers for example. In this sense, it is worthy of special note that the outstanding masterpieces of, say, Karl Bryullov’s “The Last Day of Pompeii” are not only a grandiose canvas in itself, executed in a brilliant classicist manner with precision of depiction, skill, and extraordinary subtlety. The “Golden Age” is golden not only because the authors here achieve maximum perfection of form, but also differ in the depth of their ideas. So, looking at this canvas, Gogol thinks about what today’s writer needs as a plot, an idea of ​​such an order that it captures everyone. Because Bryullov’s picture was made in such a way that the exploding Vesuvius terrifies a huge number of people. And this very fear, which simultaneously unites people and forces them to act as a single force, turned out to be extremely important for Gogol’s “The Inspector General”,

Rice. 32. Comedy “The Inspector General” by Nikolai Gogol ()

After all, there is no love intrigue, but everything is tied to the fear of the heroes. But, for example, Ivanov’s painting “The Appearance of Christ to the People” carried a mystical connotation, because despite its enormity, the viewer found himself included in the picture itself, and Christ seemed to really be coming towards you, which absolutely accompanies another of Gogol’s brilliant ideas: “ Dead Souls».

Rice. 33. Poem “Dead Souls” by Nikolai Gogol ()

According to the author’s plan, this was a book that was supposed to turn all of us “dead” souls into people with “alive” souls. Therefore, the grandeur of these ideas, which arise among both painters and writers, in their interaction is one of the features of the “golden age”.

And if we keep in mind musical culture, it is impossible not to remember genius creativity Mikhail Glinka.

When we look at this layer of Russian culture associated with architecture and painting, these classicist Greco-Roman traditions are not only palpable here, they here acquire their classical character, completing the very idea of ​​​​an open window to Europe that Peter dreamed of.

On the other hand, it is easy to notice that these authors and architects in the future will be perceived as the creators national styles in one form of art or another. And therefore it is not at all surprising that in 1825 Pushkin’s close friend Pyotr Pletnev,

famous poet, literary critic, teacher of Russian literature, rector of St. Petersburg University, in one of the articles published in Delvig’s almanac “Northern Flowers”, will write a short review related to the development of Russian poetry over the past decades, recalling the work of Zhukovsky,

Batyushkova

Rice. 38. Konstantin Batyushkov ()

and ending with a conversation about the brilliant Pushkin,

Rice. 39. Alexander Pushkin

who, according to the author of the article, “is the first poet of the “golden age” of our literature (if it is absolutely necessary that each literature have its own “golden age”).” Pletnev, of course, has in mind the very “golden age” of Roman literature, therefore, in the environment in which St. Petersburg writers and cultural figures found themselves at the beginning of the 19th century, this feeling of closeness to the Roman classical tradition of its golden age was quite understandable and obvious.

But much later, already in the 30s of the 20th century, in Paris, the Russian poet and emigrant Nikolai Otsup

will write an article dedicated to the “Silver Age” in the history of Russian culture and literature, in which he will try to outline the line that arose between the “Golden” and “Silver Age” of literature. He started from the thoughts of the French writer and essayist Paul Valéry,

discussing the uniqueness of Russian literature of the 20th century. He was amazed a huge amount talents who amazingly shone in the 19th century, meaning the “peak” authors and their “peak” achievements: Pushkin, Gogol, Lermontov, Tolstoy, Dostoevsky.

He compared this miracle of Russian art with what happened once in the development of ancient theater, when literally in a century three playwrights created the entire European dramatic tradition. He compared this era with the Renaissance, with its titans. And so Nikolai Otsup, thinking about the same thing, collects all Russian literature in its world context in the “golden age”. But he discovers the border separating the 19th century from the future modernist 20th century somewhere in the 80s of the 19th century. Thus, indeed, a broader idea of ​​the “golden age” of Russian literature arose, which includes an idea of ​​\u200b\u200bthe entire literature of the 19th century.

In the end, we can say that there is a narrow, more specific and historically justified idea of ​​​​the “golden age”, which is associated with Russian culture and literature of the first quarter of the 19th century. That time that went down in the history of Russian culture as Pushkin’s time. And this, on the one hand, is an era that is largely structured as a summing up of the entire previous 18th century. On the other hand, it is important here as the era of the formation of national traditions and schools, because we habitually call Pushkin the founder of Russian literary language and new Russian literature. We traditionally call Glinka, a contemporary of Pushkin, the founder of Russian music and the founder of the national school of composers.

But when this “golden age” is understood in an expanded sense, then, of course, we have to remember the entire 19th century and include not only the Pushkin era, but also Tolstoy, Dostoevsky, and Chekhov. And then it becomes clear that this is a kind of result of the “golden age” in the sense that this Russian culture and literature takes on the character of its sound. These are not only national achievements, but the entry of Russian culture onto the world stage.

The subsequent era, the era of Decadence, the era of Art Nouveau, puts a definite boundary between the emerging classical tradition of the 19th century and the beginning of the 20th century.

On the other hand, in in the narrow sense, since after all we are talking about Pushkin era, indeed, for the first time, the golden age of Russian literature was primarily associated with the poets of the early 19th century, and if we recall Pletnev, we are talking about the poetry of Konstantin Batyushkov, Vasily Zhukovsky, Alexander Pushkin, then we with some obviousness discover a certain kind of ring composition associated with a strange outbreak of poetry at the beginning of the 19th century, on the one hand, and no less strange in scale, in the volume of talents, in the number of poets, which seemed to suddenly happen in late XIX at the beginning of the 20th century. In this sense, the “golden” and “silver” centuries of Russian poetry fit quite symmetrically into the beginning of the 20th and early 20th centuries, because in the middle we will find Russian prose, where the formation of Russian realism in mid-19th century will be associated not so much with poetry as with prose. Although almost exactly in the middle of the century (in the mid-50s) three collections of three amazing poets will be published: this will be the first collection of Nekrasov,

this will be Tyutchev's first large collection

Rice. 48. Fyodor Tyutchev

and Fet's collection.

And indeed, it turns out that these three authors find themselves exactly in the middle, between the “golden” poetic age of Russian literature and the “silver” one. And they will turn out to be authors who will combine these two in a special way. poetic centuries, two heydays of Russian poetry.

There is reason to recall that, in fact, the history of Russian poetry draws its origins from the 18th century. In the 30s of the 18th century, thanks to the efforts of Lomonosov,

Trediakovsky,

Rice. 51. Vasily Trediakovsky ()

a little later at Sumarokov's

Rice. 52. Alexander Sumarokov ()

A special system of versification will arise: classical, so-called syllabic-tonic. And by the end of the 18th century, what is commonly called “ noble culture" Moreover, here we are not necessarily talking about some of its higher manifestations, but at the everyday level. It will be customary to write poetry, compose music, and not in order to necessarily publish it or to be wonderful writers. This will be a household culture. One can recall the “ladies' albums” in which gentlemen were required to write poems for the ladies. And it was precisely in this phase of highly cultural amateurism that the highest level of poetic verse that would emerge through the efforts of the poets of the early 19th century could grow.

1. Sakharov V.I., Zinin S.A. Russian language and literature. Literature (basic and advanced levels) 10. M.: Russian Word.

2. Arkhangelsky A.N. and others. Russian language and literature. Literature (advanced level) 10. M.: Bustard.

3. Lanin B.A., Ustinova L.Yu., Shamchikova V.M. / ed. Lanina B.A. Russian language and literature. Literature (basic and advanced levels) 10. M.: VENTANA-GRAF.

1. Analyze the work of poets and writers of the “golden age” of Russian culture. Using the example of several works, show the characteristics characteristic of this period.

2. Prepare a report on the meaning and influence of the “golden age” of Russian culture for the modern period.

3. * Make a comparative table of all directions of the “golden age” of Russian culture. Find commonalities.

Introduction

The relevance of this topic lies in the fact that it occupies a special place in the cultural history of Russia in the 19th century. This is a century of unprecedented rise of Russian culture, a century when Russia brought forward geniuses in all areas of spiritual culture - in literature, painting, music, science, philosophy, culture, etc. Russia of the 19th century made a huge contribution to the treasury of universal human culture. In the 19th century, the process of the formation of the Russian literary language and the formation of a national culture was completed. It was in the 19th century that Russian artistic culture became classical, having the significance of an immortal model for all subsequent generations of people. If in economic and socio-political development Russia lagged behind advanced European countries, then in cultural achievements it not only kept pace with them, but was also in many ways ahead of them. Russia contributed to the world cultural fund wonderful works literature, painting, music. Russian scientists of Russian culture of that time turned out to be relevant even now and therefore are at the center of ethical, philosophical reflections modernity. The rise of Russian culture was so great that it allows us to call this era the “golden age” of Russian culture.

The Patriotic War of 1812 and the patriotic upsurge associated with it gave a powerful impetus to the development of Russian national culture. The most educated class in Russia at that time was the nobility. Most of the cultural figures of this time came from 113 nobles or people who were in one way or another connected with noble culture. [Berezovaya L.G. part 2-p. 256]

The purpose of this work is to analyze the Golden Age of Russian culture.

When working on the abstract, I used the works of the following authors: Berezova L.G. , Bulgakova-Toporkova M.V. , Georgieva T.S. , Markova A.N.

To achieve the goal of the work, the following methods were used:

material selection method

according to the level of penetration into the essence - empirical: study of literature, study of performance results; theoretical: analysis and synthesis, abstraction and concretization.

1. Literature

In the first half of the 19th century, literature occupied a dominant position in the system of spiritual culture, and it was the main and, perhaps, the only area where it was possible to express the demands and aspirations of the people. The process of development and change of artistic directions took place in conditions of the decomposition of the feudal-serf system and social thought. These directions were: classicism, sentimentalism, romanticism. Realism has finally emerged. At the end of his work, the poet G.R. came to classicism. Derzhavin. The most prominent representative of sentimentalism was the writer and historian N.M. Karamzin.

The heroic events of the War of 1812 contributed to the emergence of romanticism. One of the creators of Russian romanticism was V.A. Zhukovsky. His poetry is imbued with melancholic dreams and romantic reimagined images of folk fiction. Another direction - civil, revolutionary romanticism manifested itself in the work of K.F. Ryleeva. His lyrics, historical “Dumas”, poems are full of political associations. Odes and poems by K. Kuchelbecker called for a fight against the autocratic-serf system. Romanticism also influenced early work A.S. Pushkina, M.Yu. Lermontov.

The founder of Russian realism is the brilliant Pushkin (1799-1837). It is with his work that the beginning of the golden age in literature is associated. Pushkin was the founder of new literature. Responding to questions that worried society and reflecting Russian reality in unsurpassed artistic images. [Markova A.N.-p.321]

He was the first to come to the conclusion that true nationality is not a description of the Russian sarafan, but the authenticity of life, the truth about the relationships between people, individuals and society. A.S. Pushkin turned to the hidden folk art and was imbued with a deep understanding of the soul, psyche and character of the Russian person. His genius soberly assessed the past of Russian history, its present and foresaw some pages of the future of Russia.

Pushkin created the poems “Caucasian Prisoner” (1823-1821), “Robber Brothers” (1821-1822), “Bakhchisarai Fountain” (1821-1823), “Gypsies” (1824-1825), these works shine bright colors of romanticism. In the southern poems, the realistic principle also makes its way, which is a feature of Pushkin’s talent. “You only want freedom for yourself,” these words addressed by the old gypsy to Aleko expressed Pushkin’s rejection of the romantic individualism that occupied the imagination of his Western contemporaries.

After the defeat of the Decembrist uprising, Pushkin begins to peer closely into reality, studies the life of the people in the past and present, strives for historical objectivity, unshakable realistic truth. Based on Karamzin and his own study of sources, he creates the national historical tragedy “Boris Godunov” (1824-1825), dedicated to the “era of many revolts” of the early 17th century. The amazing penetration into the spirit of Russian antiquity, the strict and clear form of the tragedy placed it at a tremendous height in Russian and world art. [Bulanova-Toporkova, 384c.]

At the end of the 20s, Pushkin turned to the image of Peter 1. In the poem “Poltava” (1828), the central moment of which is the Battle of Poltava, and in the first chapters of the unfinished historical novel “Arap of Peter the Great,” the poet depicts a turning point with historical objectivity in the life of Russia.

Since 1823, Pushkin has been working on his greatest creation, the novel in verse “Eugene Onegin” (1823-1831). “Onegin” gives a broad picture of the life of Russian society, and the lyrical digressions of the novel reflect in many ways the personality of the poet himself, sometimes thoughtful and sad, sometimes sarcastic and playful. In Eugene Onegin, Pushkin realistically continues what he began in romantic poems of an earlier period, revealing the image of his contemporary, young man noble era in the Russian social movement of the 19th century.

“Little tragedies” (30s) depict the clash of the daring human personality with laws, tradition and authority. Pushkin highly values ​​the beauty of free individuality, but he condemns demonic egoism, giving preference to artless folk truth. This theme is refracted in a unique way in the story “The Queen of Spades” (1833), which depicts the bearer of an egoistic passion for enrichment, striving to snatch the prize of life, to rise up at any cost.

In the poem “The Bronze Horseman” (1833), Pushkin embodied his ideas about historical development. In the old society, progress was achieved at the cost of individual suffering. A petty official, Eugene, rebels against the “ruler of half the world,” but retreats in fear, because the inexorable course of history cannot be delayed, it cannot be prevented.

Pushkin's particular attention was drawn to the problem of peasant movements. He touched on this topic in the novel “Dubrovsky” (1832-1833), but did not bring it to the end. Having carefully studied all the materials available to him about Pugachev, collecting information at the site of the uprising, Pushkin created the book “The History of Pugachev,” the first historical study about the peasant war of the 18th century. Based on the artistic principles of Walter Scott, Pushkin wrote “The Captain’s Daughter” (1836), historical story with classic clarity storylines and depth of psychological characteristics. In The Captain's Daughter, Pushkin showed not only the spontaneous nature of the peasant movement, but also its poetry and its doom.

The unique beauty of Pushkin’s art manifested itself with tremendous force in his lyrics. Pushkin's lyrics reveal the inner world of man no less deeply than the lyrical poetry of the romantics, but the great poet's soul and heart are harmoniously combined with the powerful power of the mind. Pushkin's works are filled with the spirit of humanity. According to the depth of feeling and classical harmony forms they, together with Goethe's lyric poems, belong to the best creatures world poetry.

Pushkin was central figure Russian literature of the first decades of the 19th century. Belinsky directly calls this period of Russian literature “Pushkin’s.” The name of Pushkin is associated not only with the high flowering of Russian poetry, but also with the formation of the Russian literary language. Pushkin showed the spiritual beauty and power of the Russian person, the charm of his native nature, folk poetry - fairy tales, songs, legends. Its significance for Russian literature is immeasurable. “He started everything for us,” Gorky said about Pushkin.

Pushkin contributed to the creation of scientific historiography, proving the need to rely on an objective analysis of facts and phenomena, a conscientious study of life, and argued that the individual is a full-fledged character in the great human history.

The significance of A.S.’s creativity Pushkin’s legacy is enormous; he ranks among the greatest and unique phenomena of world culture. In his creativity and views, he was accepted not only in the 19th century, not only in Russia. At the end of the 20th century, he came to people of different countries as a contemporary and teacher of noble feelings. [Bulanova-Toporkova M. V-p.385]

Pushkin passed away, having an heir and successor to his social and literary work - M.Yu. Lermontov (1814-1841), a remarkable poet and artist, who already at the age of 16 declared a powerful talent. Lermontov the poet's personality is close to romanticism. His early works are imbued with a dream of freedom, a longing for a rebellious hero. His romanticism is not characterized by contemplation and infantilism.

Hatred for the “secular mob”, for the blue gendarmerie uniforms of Nicholas Russia runs through all of Lermontov’s poetry. His lyrics contain motifs of rebellion, bold challenge, and anticipation of the storm. Images of rebels seeking freedom and rebelling against social injustice often appear in his poems (“Mtsyri”, 1840; “Song about the merchant Kalashnikov”, 1838). Lermontov is a poet of action. It is for inactivity that he castigates his generation, brought up in the era of reaction, incapable of struggle and creative work (“Duma”).

At the center of Lermontov's most significant works is the image of a proud personality seeking strong sensations in struggle. These are Arbenin (drama “Masquerade”, 1835-1836), Demon (“Demon”, 1829-1841) and Pechorin (“Hero of Our Time”, 1840). Disappointed in the petty life around him, the poet went through an infatuation with such a demonic personality, but in his works of recent years he debunks the romantic poetry of proud loneliness. In his work, a deep sympathy for simple people, but full of true selflessness and heroism, was clearly visible, the mood that forms the main pathos of Russian literature of the 19th century.

He confidently moved towards realism and romanticism. “A Hero of Our Time” with the image of an extra person who has lost the meaning of life, was a mature realistic work, filled with deep social and psychological resonance. Lermontov's creativity, imbued with fatalism, expresses the conflict of Russian society.

Nikolai Vasilyevich Gogol (1809-1852) completed an extremely important work for Russian literature in the 19th century. turn to prose genres - stories and novels.

Gogol's first significant work, “Evenings on a Farm near Dikanka” (1831-1832), introduces the reader to the world of folk legends. The fantasy of this book and its carefree cheerful tone have little in common with the subsequent works of Gogol the realist. This work is imbued with lyrical romanticism. The second book is “Mirgorod” (1835), although it is a continuation of “Evenings on a Farm near Dikanka”, it is of a more mature nature. The four stories that make up Mirgorod seem to contrast with each other. In Taras Bulba, Gogol conveys the daring and heroism of the Cossack freemen. The story “About how Ivan Ivanovich and Ivan Nikiforovich quarreled” shows the dominance of vulgarity and petty interests in modern life and insignificant incidents play out, from which every living soul becomes sad and bored. The terrible fantasy of “Viya” is opposed to the patriarchal idyll of “Old World Landowners”.

A special place in Gogol’s legacy is occupied by his “Petersburg Tales,” which depict Gogol’s contemporary big city with its social contrasts. One of these stories, “The Overcoat” (1842), had a special influence on subsequent literature. By sympathetically depicting the fate of a downtrodden and powerless petty official, Gogol opened the way for all democratic Russian literature from Turgenev, Grigorovich and early Dostoevsky to Chekhov. “We all came out of Gogol’s “Overcoat”” - in this phrase of Dostoevsky there is a true recognition of the significance of Gogol’s story.

In the comedy “The Inspector General” (1836), Gogol appears as a continuer of the tradition of Fonvizin and Griboyedov. He gives a deep and merciless exposure of the bureaucratic camarilla, its lawlessness and arbitrariness. Gogol rejected the traditional love affair and built his work on the image of social relations. Gogol’s satire is directed not against individual “abuses,” but against the very foundations social order, the reality that gives rise to the Khlestakovs and mayors.

In the 40-50s. In the 19th century, a new generation of Russian writers entered the literary path. This is I.S. Turgenev (1818-1883), I.A. Goncharov (1812-1891), M.E. Saltykov-Shchedrin (1826-1889), A.N. Ostrovsky (1823-1886), poets N.A. Nekrasov (1821-1878), F.I. Tyutchev (1803-1873), A.A. Fet (1820-1892) and others. Protest against autocracy and serfdom, the desire for happiness and freedom for the entire people and country permeated their work.

In the remarkable galaxy of Russian writers, the work of L.N. Tolstoy (1828-1910) and F.M. Dostoevsky (1821-1881) was a natural continuation and completion of the spiritual rise that makes Russian literature great.

Nikolai Alekseevich Nekrasov (1821-1878)

The people are depicted in many of Nekrasov’s poems, such as “Red Nose Frost” (1863), “Who Lives Well in Rus'” (1863-1877). The poet showed not only the suffering of people from the people, but also their physical and moral beauty, revealed their ideas about life, their tastes. The poet asserts the superiority of the peasants over the masters, depicts the self-interest and cruelty of bar-parasites. His poems also depict images of those whom Nekrasov calls “people's defenders” - fighters for the interests of the people. Nekrasov’s lyrical poems reveal the image of the poet himself, an advanced writer-citizen, feeling the suffering of the people, chivalrously devoted to him, ready to go “to death for the honor of the fatherland.” [Bulanova-Toporkova M. V-p.386]

Mikhail Evgrafovich Saltykov-Shchedrin (1826-1889) - satirist of world significance. His satire, imbued with a conscious revolutionary-democratic tendency, is directed against the social system of autocratic Russia, exposes the ugliness of this system, bringing them to caricature and grotesqueness. Shchedrin shows great freedom in choosing forms and genres, resorting to satirical essays and feuilletons, novels and dialogues, comedies and pamphlets. In “The History of a City” (1869-1870) he gives a generalized satirical image tsarism, the supreme power of the Russian Empire. The novel "The Golovlevs" (1870-1880) shows the collapse noble family, and in the image of Judas the abomination and stench of serfdom are embodied. Shchedrin clarified and supplemented his artistic analysis in “Poshekhon Antiquity” (1887-1889), where he processed the same life material in a form close to memoir. In “Fairy Tales” (1869-1886), Shchedrin, using a conventionally fantastic form, with exceptional power, clarity and expressiveness showed the social nuances of Russian life - peasants, officials, gentlemen generals, as well as the relationships between them.

Shchedrin is merciless to all liberal attempts to clean up and correct the old serfdom order, to “expose” its minor vices in order to save the main one. Mockery of liberal phrase-mongers who easily give up their positions and grovel before the serf owners is one of Shchedrin’s constant themes. At the same time, Shchedrin, an incorruptible and staunch defender of the people, was alien to sentimental embellishment and idealization of the “peasant”. On the contrary, with bitterness, anger and merciless irony, he speaks about servility, darkness and ignorance, which help the oppressors of the people.

Alexander Nikolaevich Ostrovsky (1823-1886) is an exceptional figure among the literature of the 19th century. In the West, before Ibsen appeared, there was not a single playwright who could be placed on a par with him. In the life of the merchants, dark and ignorant, entangled in prejudices, prone to tyranny, absurd and funny whims, he found original material for his stage works. Pictures of the life of the merchants gave Ostrovsky the opportunity to show an important side of Russian life as a whole, the “dark kingdom” of old Russia.

Ostrovsky is a folk playwright in the authentic and in a deep sense this word. His nationality is also manifested in the direct connection of his art with folklore - folk songs, proverbs and sayings, which even make up the titles of his plays, and in a truthful portrayal of people’s life, imbued with a democratic tendency, and in the extraordinary convexity and relief of the images he created, presented in an accessible and democratic form and addressed to the public viewer.

Ivan Sergeevich Turgenev (1818-1883) began his literary activity in the 40s, when liberal and democratic tendencies had not yet completely separated in Russian public life. He experienced the beneficial influence of Belinsky's ideas. The essays that Turgenev published on the pages of Sovremennik under the general title “Notes of a Hunter” (1847-1852) show the inhuman oppression of peasants under serfdom. In the novels “Rudin” (1856) and “The Noble Nest” (1859), the writer portrays an advanced representative of the nobility who feels deep dissatisfaction with the environment around him, but does not find the energy to break with it and become a fighter against it. Like Pushkin in Eugene Onegin, which served as the prototype for these novels, Turgenev pits his “superfluous man” against a woman with a strong moral character. Subtlety and depth psychological analysis, a heartfelt portrayal of Russian nature, and a classically complete style make these novels excellent works of Russian and world literature.

Turgenev did not limit himself to depicting “extra people.” In the novel “On the Eve” (1860), he showed the Bulgarian revolutionary Insarov, whom the Russian girl Elena Stakhova selflessly followed. But Turgenev was looking for a hero who had developed on Russian soil and dedicated himself to serving Russia. He found such an image in the person of the commoner Bazarov, depicted by him in the novel “Fathers and Sons” (1862). Bazarov denies poetry and sublime feelings, which representatives of the nobility are proud of (therefore, in their eyes, he is a “nihilist”, a denier), he thinks that the main task is to disseminate the natural sciences. Although some of Bazarov’s traits offend the writer, Turgenev still portrays his hero as deep and tragic personality, a true giant next to the small figures of educated landowners.

In the last years of his life, the writer lived abroad almost constantly. He acted in the West as a propagandist of Russian literature; his own writings contributed much to its worldwide influence.

The outstanding Russian novelist Ivan Aleksandrovich Goncharov (1812-1891) shared with Russian enlighteners hostility to serfdom and the belief that its destruction would bring prosperity to Russia. However, in his political views, Goncharov leaned towards a liberal-conservative position. Goncharov’s novels “Ordinary History” (1847) and “Oblomov” (1859) appeared before 1861, i.e. until the final demarcation of liberal and democratic tendencies. Like Turgenev, Goncharov was influenced by Belinsky. IN " Ordinary history“He ridiculed noble romanticism, the idleness and groundlessness of noble dreamers.

An artist of enormous talent, Fyodor Mikhailovich Dostoevsky (1821-1881) was a complex and controversial writer. He created pictures of the suffering of people under the yoke of capitalism, unsurpassed in strength and expressiveness, but rejected the revolutionary path and for many years waged a fierce struggle against the ideas of the revolutionary democratic camp.

Dostoevsky entered literature as a representative of the “natural school,” continuing the traditions of Pushkin and Gogol. His first story, “Poor People” (1846), was enthusiastically received by Belinsky. In this story, Dostoevsky with deep sympathy portrays the suffering of “poor people” living in a big city, defends the dignity of the common man, and shows his superiority over representatives of the aristocracy. But already in this story some features of Dostoevsky’s future views appeared in embryo. He does not see in the “little man” the ability to protest and fight, and does not believe in the possibility of active influence on reality.

Young Dostoevsky was a member of Petrashevsky’s circle and was sentenced in 1849 to death penalty, replaced by hard labor. After serving hard labor, he was enlisted in military service as a private. It was during these years that the writer experienced an internal breakdown. He became disillusioned with the ideas of the revolutionary intelligentsia, declared revolutionaries to be people far from the people, and called for them to turn to the people's truth, the basis of which he considered humility, patience, and simple-minded faith. Returning from exile, Dostoevsky, as a publicist and writer, repeatedly entered into polemics with supporters of the revolutionary camp, wrote pamphlets against them, and parodied them.

But even during this period of his work, Dostoevsky created works of enormous critical scope, depicting the glaring contradictions of post-reform Russia. This is his book “Notes from the House of the Dead” (1861-1862), which shows the suffering of people in the tsarist penal servitude.

Dostoevsky's largest work is the novel Crime and Punishment (1866). It depicts a person imbued with the consciousness of his exclusivity, contempt for the masses and confidence in his right to violate moral norms. Dostoevsky debunks this individualist and reveals the inner collapse of his aspirations. The novel provides a stunningly powerful depiction of the poverty and suffering of people under capitalism, shows the disintegration of the individual and family, humiliation and desecration of human dignity.

Dostoevsky's reactionary views are already clearly reflected in this book. The writer believes that bourgeois individualism is characteristic of representatives of the revolutionary camp and passes off the individualist as a revolutionary. By debunking him, Dostoevsky wants to debunk the entire revolutionary movement in his person. On the other hand, Dostoevsky can only oppose egoism and the “Napoleonic” principle of suppressing the weak with the morality of humility, obedience and meek faith.

Dostoevsky embodied his positive ideal, the ideal of a morally beautiful person in the novel “The Idiot” (1868). This book also provides an image of the cruelty, selfishness, and fanaticism of the ruling bourgeois-noble circles. They are contrasted with a positive hero, the embodiment of meekness, sympathy for human suffering, with the features of Don Quixote. He is helpless in the fight against social evil, but nevertheless represents the only principle that can be put forward against the cruelty of modern life.

Dostoevsky's work has received worldwide recognition. His reactionary ideas, his statements that dark, selfish instincts dominate in the human mind, which must be suppressed with the help of religious humility, were used by the ideologists of the ruling classes for reactionary propaganda. But, as a great realist and passionate denouncer of capitalism, Dostoevsky serves progressive humanity with his art.

Lev Nikolaevich Tolstoy (1828-1910) occupies an outstanding place among the figures of world culture. Tolstoy came from the highest noble nobility, but he broke with his class and acted as a spokesman for the ideas and sentiments of the multi-million Russian peasantry, embodying in his work both his hatred of the dominant landowner-bourgeois regime, and his ignorance of the ways of struggle, political backwardness, and appeal to God , naive ideas about the possibility of “non-resistance to evil.” In the biographical trilogy “Childhood, adolescence and youth” (1851-1856) main character Nikolenka Irteniev is one of those morally sensitive people from the ruling class who are acutely aware of social injustice and the lies of life around them. The image of such a person, painfully searching for the truth, wanting to understand what is happening, runs through Tolstoy’s entire work.

Service in the army in the Caucasus and Crimea, participation in the heroic defense of Sevastopol brought Tolstoy closer to by the masses, with peasants dressed in soldiers' greatcoats. In a number of works dedicated to the war in the Caucasus, and in his wonderful “Sevastopol Stories” (1855-1856), Tolstoy painted pictures of the war, free from false battle heroism, and depicted the greatness of the Russian soldier , performing his duty simply and calmly, without posturing or loud phrases.

Tolstoy brought out in his novel numerous Russian people who courageously and modestly accomplished great feats. These people represent people's Russia, which is infinitely far from the false life of the ruling classes. Tolstoy also sees the greatness of commander Kutuzov in his alienation from the narrow interests of the ruling elite and in his closeness to the people. Russia won the war of 1812 because this war was of a patriotic, national character.

But in “War and Peace” the reactionary aspects of Tolstoy’s views were also reflected. Defending the idea of ​​the impossibility of active and conscious leadership of military operations, he attributes to Kutuzov fatalistic passivity and non-interference in the spontaneous course of events. False idea Tolstoy was also manifested in the fact that the image of Kutuzov is internally connected in the novel with the image of the peasant Platon Karataev, who personifies humility and Christian submission to fate.

Tolstoy, a brilliant psychologist, a master of depicting people's life, already in the period under review represents one of the peaks to which world literature has risen.

2. Theater

From the end of the 18th century. theater in Russia, as in other European countries, is entering a new era of its development. A rapid increase in the number of theaters in the province began, often due to the transition of landowner serf theaters to a commercial basis. Large theatrical enterprises, uniting drama, opera and ballet troupes, are being created in St. Petersburg and Moscow. In 1824, an independent drama troupe of the Maly Theater was formed in Moscow. In St. Petersburg in 1832, the dramatic Alexandria Theater appeared.

At the beginning of the century, Russian theater was a theater of classicism, sentimentalism and romanticism. The theaters' repertoire included tragedies based on ancient mythological and historical subjects.

The establishment of realism in the theater is associated with the productions of the plays “Woe from Wit” by A.S. Griboyedov (1829), and “The Inspector General” by N.V. Gogol (1836) on the stage of the Maly Theater in Moscow, where M.S. brilliantly played. Shchepkin (1788-1863). Having developed his realistic style of acting, he created generalized images that denounced serfdom, tyranny, ignorance and stupidity of the nobles, merchant and bureaucratic life.

At the end XVIII beginning XIX century in the Russian theater leading value acquires educational sentimentalism. The educational idea of ​​the innate equality of all people, the idea of ​​“natural man”, addressed in the works of a number of playwrights and actors to reveal contradictions serfdom, helped to identify the social and moral unacceptability of slavery. The attention of playwrights was attracted by the inner world of man, his spiritual conflicts (dramas by N.I. Ilyin, F.F. Ivanov, tragedies by V.A. Ozerov, etc.). On the other hand, in those sentimental dramas that were imbued with protective tendencies, there was a desire to smooth out life’s contradictions, traits of sugary idealization, and melodrama (works by V.M. Fedorov, S.N. Glinka, etc.). [Berezovaya L.G part 1 - 254c.]

Increased “sensitivity” and sincerity of stage experience, often enriched with elements of social and everyday truth in the depiction of the character, distinguished the performance of Ya.E. Shusherina (1753-1813), A.D. Karatygina (1777-1859) and other actors of that time. Sentimentalism liberated the acting from the power of the rationalistic principles of classicism and contributed to the destruction of the epigonic traditions of this system and the development of romantic and realistic tendencies in the performing arts.

The development of romanticism in Russian theater at the beginning of the 19th century. is associated with the growth in drama and acting of motives of dissatisfaction with the existing reality, individualistic protest, and violent experiences of a freedom-loving personality. These romantic features are characteristic of the art of the outstanding Russian actor A.S. Yakovleva (1773-1817).

The aesthetic views of the Decembrist writers had a significant impact on the development of the theater. The themes of the struggle against national and political oppression are developed, images of strong, freedom-loving heroes are created, seized by a thirst for patriotic feat (“Martha the Posadnitsa, or the Conquest of Novagorod” by F.F. Ivanov, “Velzen, or Liberated Holland” by F.N. Glinka, “Andromache” "P.A. Katenina, "The Argives" by V.K. Kuchelbecker, etc.). The performing style was determined by a combination of great emotionality, sincerity and naturalness in the expression of feelings with the heroic scale of the characters and the plastic rigor of the external design of the image. This style found its highest and most complete expression in the work of the greatest tragic actress of that era, E.S. Semenova (1786-1849).[Georgieva T.c.-313]

At the same time, the development of realistic trends in comedy and drama continued, limited, however, by the narrow possibilities of vaudeville (A.A. Shakhovskaya, N.I. Khmelnitsky, A.I. Pisarev) and family-everyday plays, conservative in spirit (M.N. Zagoskin). The actors' desire for truth in life was based both on the sincerity of experience, simplicity, naturalness (young M.S. Shchepkin), and on the art of external transformation, copying individual bright types (I.I. Sosnitsky, E.I. Guseva, etc.) .

In the 1930s, in an atmosphere of brutal political reaction that followed the defeat of the Decembrist movement, important tasks follows the direction of progressive romanticism. Romantic theater reveals the inner drama of a person endowed with the desire for freedom and social justice, and expresses the rebellion of a thinking person against the world of violence and tyranny that surrounds him. On the Russian stage in these years, many works of world classics and, above all, Shakespeare's tragedies, in which the theme of the struggle for human dignity appears with extraordinary force, receive a deep interpretation. The revolutionary tendencies of theatrical romanticism of the 30s were most fully revealed in the work of the brilliant Russian romantic actor P.S. Mochalov (1800-1848) - an artist of extraordinary spiritual power and expression, who shocked viewers with the rapid rise of his inspiration and the high humanistic aspiration of his art. The development of progressive liberation tendencies in the theater was strictly limited by the government. Outside the theater, the dramaturgy of M.Yu., imbued with critical, freedom-loving ideas, remains. Lermontov: his drama “Masquerade” in 1835-1836. prohibited three times by censorship (excerpts from the play were first staged thanks to the persistence of the actors in 1852, and it was performed in full only in 1864). They are not allowed to stage V. Hugo’s drama. A prominent place in the repertoire is occupied by Russian and translated melodrama and romantic drama, expressing conservative tendencies (including monarchist plays by N.A. Polevoy, N.V. Kukolnik, R.M. Zotov, etc.). The influence of reactionary ideology also affects the art of acting. Progressive criticism rightly pointed out the internal limitations of the St. Petersburg tragedian V.A. Karatygin (1802-1853) and actors of his type, on the lack of great humanistic content in their work, on their commitment to pomp and external effects.

literature theater architecture romanticism

3. Painting

The official direction in painting in the first half of the 19th century was classicism. The achievements of academic classicism were deep knowledge of the European culture of the past, excellent mastery of drawing, high craftsmanship in creating a complex.

Large role in this conquest real world art, in enhancing the emotional, lyrical beginning, romanticism played a role, which manifested itself especially noticeably in portraiture and landscape painting. The everyday genre received fruitful development during this period. Portraits marked by romanticism by O.A. Kiprensky (1782-1836) stand out among his contemporary works portrait art spirituality and captivating simplicity of images. In the portraits of O.A. Kiprensky (1782-1836) reflected the influence of romanticism and at the same time they clearly show elements of realism, a view of man as an independent person. The founder of realism in painting was P.A. Fedotov (1815-1852) creator of the paintings “Fresh Cavalier”, “The Picky Bride”, “The Gambler”.

S.F. knew how to sense subtle poetry in the nature of Italy. Shchedrin (1751-1830). In his landscapes, filled with a soft, dreamy mood, he sought to capture the living life of nature, its various states. The deep attention to the people, awakened by the progressive social movement, was reflected in the work of V.A. Tropinin (1776-1857) and especially A.G. Venetsianov (1780-1847), whose genre paintings and portraits revealed the moral qualities of serfs, painted a sincere image of Russian nature. [Markova A.N-p.232]

Alexander Andreevich Ivanov (1806-1858) deeply reflected the exciting ideas of modernity in his work. Acutely aware of social injustice, full of anticipation of impending changes, he sought to find a topic that would allow him to show, according to his concepts, a turning point in the life of mankind. He settled on the Gospel story about the coming of the Messiah, which seemed to him full of high historical meaning. For more than 20 years, the artist worked on his monumental canvas “The Appearance of Christ to the People,” the main theme of which was the spiritual rebirth of people mired in suffering and vices. The complex religious and moral idea about the need to liberate humanity from oppression and slavery reflected the contradictions in the artist’s worldview, which were characteristic in those years of many representatives of the noble intelligentsia, who resolved social issues in moral terms. As he worked on the painting, the image of a slave acquired especially great importance in it, in which, according to the artist himself, “through habitual suffering, joy first appeared,” the consciousness of oneself as a human being. Ivanov’s numerous sketches for paintings, especially his landscapes, were of great importance in the development of realistic art. IN late period Ivanov tried to embody his ideas and artistic quests in a series of sketches on biblical subjects, rethinking religious myths. In a highly poetic and perfect artistic form, he conveyed the beauty of ancient tales born of folk imagination, going far from the church understanding of the Bible.[Georgieva T.S. -149c.]

The products of decorative and applied art of this time are distinguished by great perfection, marked by classical clarity and simplicity of form. Furniture, works of cast iron and bronze, ceramics, and wood carvings contribute to the richness and attractiveness of the interior and exterior decoration of buildings, participating in the overall creation of the style of mature classicism.

Development of painting and graphics at the beginning of the 19th century. was determined by realistic quests, the desire of artists for direct observations of life, which reflected the general process of bringing art closer to reality. Having broken the old, conventional and limited framework of artistic creativity established by classicist aesthetics, painters and graphic artists of this time approached a freer and broader perception and comprehension, sometimes tinged with emotional emotion. surrounding nature and man.

In the 30-50s, the aggravation of social contradictions after the defeat of the Decembrist uprising, the oppression of reaction and at the same time the continuous search by progressive people for ways further development Russia, the maturation of revolutionary democratic ideology determined the complex nature of art.[Georgieva T.S-c.312]

During this period, classicism finally lost its progressive sides, degenerating into reactionary academicism. Due to the denial of the autocratic system and, at the same time, disappointment in the possibility of imminent social changes, which gripped many circles of Russian society, as well as with the advent of new philosophical views, romanticism became widespread, gaining in comparison with the beginning of the 19th century. more controversial. Along with this, a new, harshly objective perception of reality gave rise to profound realistic aspirations, sometimes realized within the framework of the same romanticism (in its advanced manifestations). But already by the 40s there was a clear elimination of romantic tendencies and the establishment of consistently realistic principles in art.

4. Architecture

Russian architecture of the first three decades of the 19th century is associated with the Empire style, completed by the development of classicism. Empire style, like classicism, focused on decorativeness, monumentality and should be, as it were, the personification of a powerful state. This style manifested itself in the work of architect A.D. Zakharova (1761-1811), A.N. Voronikhin (1750-1814), K.I. Rossi (1775-1849), V.P. Stasova (1769-1848).

A characteristic feature of the architecture of that time was the creation of large architectural ensembles, which was especially evident in St. Petersburg, many apartments, many apartments that amaze with their amazing harmony and unity. The Admiralty was built according to Zakharov's design. On Nevsky Prospect, Voronikhin built the Kazan Cathedral, according to the design of A.A. St. Isaac's Cathedral was created by Montferrand (1786-1858).

After the fire of 1882, Moscow was rebuilt in the traditions of classicism and empire style. The architectural structures of Moscow at that time were characterized by features of lyricism, intelligence, simplicity and care.

But then classicism and empire style were replaced by various eclectic movements, including the Russian-Byzantine style. [Markova A.N-p.239]

In the architecture of the 30s-50s, the style of late classicism dominates, but the features of official coldness and abstraction are growing in it. The buildings of this time are distinguished by a violation of the previous harmonious relationship of forms and in some cases are overloaded with decorative decoration. Everyday features are noticeably enhanced in the sculpture. In the most significant monuments - monuments to Kutuzov and Barclay de Tolly B.I. Orlovsky and in sculptures. PC. Klodt (figures of horses on the Anichkov Bridge) - the desire to combine classical severity and monumentality with new techniques of realistic characterization of the image is reflected.

The tasks of depicting the surrounding everyday Russian life, which did not receive a real response from the masters of historical painting, were answered by the development of the everyday genre, as well as satirical graphics. Imbued with lively sympathy and sometimes great bitterness, scenes of folk life are found in watercolors and drawings by T.G. Shevchenko, paintings by a number of students of A.G. Venetsianova. By the end of the 30s, a group of draftsmen appeared, illustrating the works of writers of the so-called natural school. [Berezovaya, 292c.]

In the mid-40s, the art of Pavel Andreevich Fedotov (1815-1852), deeply democratic in its content, took shape, marking new stage in the development of the everyday genre. Drawing the life of officials, merchants, and impoverished nobles, although they had not lost their claims, Fedotov brought into the reach of art images and themes that had not previously been touched upon by genre painting. He showed the arrogance and stupidity of officials, the naive complacency and cunning of wealthy merchants, the hopeless emptiness of the existence of officers in the provinces in the era of the Nicholas reaction, and the bitter fate of his fellow artist. With keen observation, he was able, with the help of eloquent details, to characterize the situation, the typical life environment of the figures, to unfold a complex, sometimes dramatic action, with satirical wit depict the characters and behavior of people. The small intimate portraits he painted were also distinguished by their subtle psychologism. Showing the ugliness and dark sides of social life, Fedotov’s work, in tune with the contemporary trend of Russian literature, laid the foundations for critical realism in painting.

5. Music

The traditions of Russian musical culture developed by the end of the 18th century. Composers A.A., Alyabyev (1787-1851), A.E. Varlamov (1801-1848), A.L. Gurilev (1803-1858), N.A. Vitov (1800-1875) created wonderful works in the first half of the 19th century chamber genre. Representative of the romantic trend in music A.N. Verstovsky (1799-1862) created the opera “Askold’s Grave,” which is still very popular today. The founder of Russian classical music was M.I. Glinka (1804-1857). According to the significance of the contribution to development musical culture Glinka occupies a place equal to Pushkin in literature. He laid the foundations for two main directions of Russian opera classics: folk musical dramas and operas, fairy tales of the epic genre. His style was truly Russian in its melodic sound and expression of the thoughts, aspirations and worldview of the people.

Glinka's work is a magnificent beginning of the classical period of Russian music. Glinka's historical merit lies, first of all, in his deep understanding of the problems of nationality and realism. In his art, he expressed the fundamental features of the Russian national character, the best aspirations, thoughts and aspirations of his people. Having creatively mastered the advanced achievements of Western European culture, he managed to become a great national artist and singer of his homeland. Folk song appeared for him not only creative material, but also the basis musical thinking, which determined the characteristic features of the classical “Glinka” style. The essence of Glinka’s aesthetics is expressed in his famous words: “The people create music, and we, artists, only arrange it.” [Georgieva T.S-c.311]

Glinka also distinguished himself in the field of chamber lyrics. His romances are inherent typical features his style: plasticity and clarity of a wide, sing-song melody, completeness and harmony of the composition. In his quest for artistic perfection of form, Glinka draws closer to Pushkin. Poetic thought finds in him a uniquely beautiful, harmonious, clear expression. Like Pushkin, Glinka can be called “the poet of reality” (Belinsky). In Russian musical art he brought high, truly realistic content, enormous power of artistic generalization.

A younger contemporary of M.I. Glinka was A.S. Dargomyzhsky (1812-1869). His first opera “Esmeralda” (based on the novel “Notre Dame de Paris”) by V. Hugo revealed the romantic features characteristic of the early period of his work. Following Glinka, he strengthened realism in Russian music and was the first to create the folk musical drama-opera “Rusalka”, in which the image of a miller poisoned sympathy for the “little” person.

Dargomyzhsky's innovative quests find their greatest expression in his the last opera“The Stone Guest” based on Pushkin’s drama. Having preserved the entire Pushkin text, the composer builds the opera on the basis of a continuous recitative, without division into complete parts, and subordinates the vocal parts to the principles of speech expressiveness and flexible intonation of verse. Dargomyzhsky consciously abandons the traditional forms of opera - ensembles and arias, turning it into a psychological musical drama. Russian opera did not follow the path of The Stone Guest. However, Dargomyzhsky’s innovative principles played an important role, enriching opera music new means of flexible, expressive recitative.

Thus, by the middle of the century, Russian realistic traditions had become established in Russian musical art, and the growing importance of Russian culture, both advanced and artistic images enormous sound have merged into world culture.

The nineteenth century is a brilliant time in the history of Russian music. [Markova, p. 96.]

Under the influence of events Patriotic War 1812, the heroic-patriotic theme embodied in the works of S.A. was widely reflected. Degtyarev, author of the first Russian oratorio “Minin and Pozharsky”, D.N. Kashina, S.I. Davydova, I.A. Kozlovsky. On the basis of folk melodies, rich and diverse song lyrics emerge that deeply express the world of feelings of a common man. “Russian songs” in the folk spirit, everyday romances, and ballads are created.

In the 60s, Russian music entered a period of maturity and all-round flourishing. In the new historical conditions of post-reform Russia, there is an upsurge in musical and social life. Through the efforts of outstanding musicians and educators - M.A. Balakireva, A.G. and N.G. Rubinshtein - a new type of musical organizations are being created, the first Russian conservatories. In the works of major art scientists V.V. Stasov and A.N. Serov lays the solid foundations of classical Russian musicology.

The ideological and artistic principles of the Glinka school find fruitful development in the works of great composers of the new generation: Tchaikovsky, Mussorgsky, Borodin, Rimsky-Korsakov. Their activity, which began in the 60s, marked the highest rise of Russian music, the culmination of its historical path in the next period.

Conclusion

I believe that none of the previous periods of Russian history saw such a rapid flowering of culture as the 19th century, which began with the work of the brilliant Pushkin. The phenomenal rise of Russian spiritual culture meant achievements highest peaks in literature, music, painting, history and philosophy. This allows us to call the 19th century the “golden age” of Russian culture, which acquired worldwide significance. There are two stages in the development of culture in the 19th century. The first covers the time from the beginning of the century to 1861. In this period cultural achievements were concentrated among the nobility; it was this class that was the bearer of culture. In figurative and cultural level between the privileged classes and working people there was a huge gap. In addition, the cultural life of Russia was complete only in the capitals, while in the provinces and outskirts they were in cultural stagnation. The second stage covers the 60-80s. XIX century. This is the time of development of capitalism, which required the solution of theoretical and practical problems of education and science. Literature occupied a special place at the end of the 19th century. Developing in various directions (as well as other types of art), the leading of which was critical realism. She was distinguished by her humanism, genuine nationalism, social focus, and attention to difficult fate “ little man”, which was in tune with the sentiments of private Russian society. Therefore, the works of Pushkin, Lermontov, Gogol, Saltykov-Shchedrin, Dostoevsky, Tolstoy constituted the golden fund of world literature of the past.

So, XIX century. was the time of the final formation of Russian national culture and the Russian nation as a community of people emerging in the process of development of capitalist relations. Humanistic ideas have been embodied in all directions of Russian culture, designating the extra-class value of the individual as a dominant. Social transformations and patriotic enthusiasm changed the spiritual appearance of the population, their way of life, living conditions, and the growth of cultural needs. Russia entered the world cultural community with the undeniable advantage of its own national culture. [Bulanova-Toporkova -385c.]

Bibliography

1. Berezovaya L.G. Berlekova N.P. History of Russian culture

part 2002.- 396 p.

Berezovaya L.G. Berlekova N.P. History of Russian culture, part 2, 2002. - 383 pp.

Bulanova-Toporkova M. V. Culturology for technical universities. Series K90 “Textbook for technical universities.” Rostov n/d: “Phoenix”, 2001. - 448 p.

Georgieva T.S. History of Russian culture 1998. - 356 p.

Markova A.N. Textbook on cultural studies. -M: Bustard, 1998. - 469s.

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What period of Russian culture is called the Golden Age? The answer to this question is the unprecedented peaks in architecture, music, painting, and theater achieved by Russia in the 19th century. The greatest contribution to world culture in this century was made by Russian literature.

Golden Age architecture

After the victory in the Patriotic War of 1812, the leading style in Russia became the Russian Empire style.

Empire (from the French - “empire”) is a style of late classicism, which is characterized by extreme monumentality and the use of military emblems.

The most famous architectural structures Golden age of Russian culture of the 19th century:

• Kazan Cathedral (A. N. Voronikhin);
• Admiralty (A. D. Zakharov);
• Alexandrinsky Theater (K. I. Rossi);
• Moscow Bolshoi Theater (O. I. Bove).

Rice. 1. Kazan Cathedral in St. Petersburg.

In the 30-50s. In the 19th century, classicism was replaced by “historicism” or “eclecticism.”

TOP 5 articleswho are reading along with this

Eclecticism is a trend in architecture that uses a combination of various historical architectural styles.

In Russia, eclecticism is most clearly represented by the Russian-Byzantine architectural style:

• Cathedral of Christ the Savior;
• Grand Kremlin Palace;
• buildings of railway stations in Moscow and St. Petersburg.

Music of the Golden Age

The formation of Russian classical music and the national music school is associated with the name of M. I. Glinka. He became the author of the first Russian operas: “A Life for the Tsar” and “Ruslan and Lyudmila”.

In the 19th century, Russian music became famous by other great composers:

• N. A. Rimsky-Korsakov;
• P. I. Tchaikovsky;
• A. N. Scriabin.

Golden Age Painting

At the beginning of the 19th century, fine art in Russia was represented by two main directions: classicism and romanticism.

Biblical and mythological subjects were used on classical canvases:

• “The Copper Serpent” by F. A. Bruni;
• “Priam asking Achilles for the body of Hector” by A. A. Ivanov.

Romanticism is represented by the works of O. A. Kiprensky and S. F. Shchedrin.

A fusion of classicism and romanticism is the work of the famous Russian artist K. P. Bryullov.

The painting “The Last Day of Pompeii” depicts K. P. Bryullov himself (with a box of paints).

Rice. 2. The last day of Pompeii. K. P. Bryullov.

In the second half of the 19th century, realism became the leading direction in painting.
The most famous works of this period:

• “Hunters at a halt” by V. G. Petrov;
• “Barge Haulers on the Volga” by I. E. Repin;
• “Boyaryna Morozova” by V. I. Surikov.

Theater during the Golden Age

In 1824, the Maly Theater troupe was formed in Moscow. In 1832, the Alexandrinsky Theater began operating in St. Petersburg.

Romanticism and sentimentalism are gradually giving way to realism. The founder of realism on the Russian theater stage is the famous actor M. S. Shchepkin.

The theater was one of the most available types art and enjoyed great popularity in Russian society. The following outstanding actors developed realistic traditions in the art of acting:

• M. P. and O. O. Sadovsky;
• G. N. Fedotova;
• M. N. Ermolova.

Literature of the Golden Age

In the 19th century, classical Russian literature appeared and rose to unattainable heights. Sentimentalism (N. M. Karamzin) and romanticism (V. A. Zhukovsky) in the 30s. replaced by realism. At the origins of Russian realism are A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol.

Rice. 3. Portrait of A. S. Pushkin, art. O. A. Kiprensky.

Paradoxically, the beginning of the Golden Age in literature falls on the years of reaction and brutal censorship of Nicholas I.

The second half of the 19th century is the heyday of Russian literature with its ardent preaching of Christian morality, justice and truth. The famous names of Russian writers speak briefly about the Golden Age of Russian culture of the 19th century in literature:

• L. N. Tolstoy;
• F. M. Dostoevsky:
• A. P. Chekhov;
• I. S. Turgenev.

What have we learned?

The 19th century became the Golden Age of Russian culture. Russian poets and writers, architects, composers and artists made a huge contribution to the development of world culture. An important feature of Russian culture of the Golden Age is anxiety for the fate of the homeland and all humanity.

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General remarks

The culture of the 19th century is called the “Golden Age” of Russian culture. There have never been as many geniuses as were created during this period either before or since. Moreover, the socio-political conditions of this period were very difficult - it was the darkest era of the Nikolaev reaction, and this demonstrated the high adaptability of Russian culture.

Note 1

After high prosperity, scientists believe, global changes begin in history. In Russia, the “Golden Age” ended with strikes, popular unrest, the abdication of the Tsar and revolution.

The culture of Russia and the formation of the Russian mentality were greatly influenced by such historical events as:

• war with Napoleon,
• reforms of Alexander II,
• abolition of serfdom,
• English and French revolutions,
• promotion of Marxism.

Cultural situation in Russia in the 19th century

First of all, it should be noted the rise of Russian education, as well as the fascination of the noble intelligentsia with the ideas of the French Revolution about freedom, fraternity and equality. Of course, the growth of cities and industry, and, as a consequence, the formation of new capitalist enterprises, also had an impact.

The formation of Russian classical culture began only at the turn of the $18th and $19th centuries, and the first Russian classics - N.M. Karamzin and A.S. Pushkin – laid two trends in Russian culture:

1. focus on preserving national identity;
2. tendency towards erosion of national specificity.

These two trends determined the division of the Russian intelligentsia into Westerners and Slavophiles.

Slavophilism was based on the “Russian idea” (N. Berdyaev, Vl. Solovyov), which was of particular importance for characterizing the mentality of the Russian people of the 19th century. Understanding Russia's historical special path between East and West became fundamental for Slavophilism. But this same idea in relation to politics was conservative, since it did not give a person freedom.

Westernism was based on a radical modernist idea, which was based on the idea that Russia was organically included in European civilization. This idea was supported by P.Ya. Chaadaev, P.V. Annenkov, V.P. Botkin, K.D. Kavelin, M.N. Katkov, I.S. Turgenev, B.N. Chicherin, V.G. Belinsky, A.I. Herzen and others.

This binary permeated all aspects of culture and was leading in Russian culture of the 19th century.

Features of Russian culture in the 19th century

Literature performed a special function, acting as a universal form of social consciousness. This was expressed in the fact that representatives of Russian enlightened society oriented their life positions towards the lofty images of literature.

Note 2

With the name A.S. Pushkin is associated with the beginning of the golden age in literature, which was the founder of Russian realism.

Works of great Russian writers such as A.S. Pushkin, N.V. Gogol, M.Yu. Lermontov, I.A. Krylov, A.S. Griboedov, I.A. Goncharov I.S. Turgenev, F.M. Dostoevsky, M.E. Saltykov-Shchedrin, A.A. Fet, N.S. Leskov, L.N. Tolstoy, V.G. Korolenko, A.P. Chekhov is included in the treasury of world literature.

In the music of M.I. Glinka laid the foundations of Russian classical music, and in the second half of the 19th century, achievements in musical culture are associated with a group of Russian composers, which was called the “Mighty Handful”. It is associated with the names of A.P. Borodina, M.A. Balakireva, M.P. Mussorgsky, N.A. Rimsky-Korsakov. These composers in their work developed the traditions of classical music by M. Glinka and pushed the boundaries of genres and enriched them with new forms of symphonic, operatic, and instrumental music.

The beginning of the heyday of Russian painting of this period is associated with the name of K.P. Bryullov and his painting “The Last Day of Pompeii”, which is an example of the academic school. Realism in painting is associated with the names of the Itinerant artists I.E. Repin, V.I. Surikov, A.M. Vasnetsov, I.I. Levitan V.G. Perov, A.K. Savrasov, I.I. Shishkin, K.E. Makovsky, A.I. Kuindzhi, K.A. Savitsky. They organized traveling exhibitions to educate the people.

Russian scientists during this period made many scientific discoveries which have become world heritage.

Note 3

These achievements are associated with the names of naturalists A.M. Butlerova, D.I. Mendeleeva, I.M. Sechenova, K.A. Timiryazeva, V.V. Dokuchaeva; mathematics was glorified by N.I. Lobachevsky and P.L. Chebyshev, and P.L. Schilling, B.S. Jacobi, A.S. Popov, N.E. Zhukovsky, S.A. Chaplygin were great inventors.

In the field of culture XIX The century became for Russia a time of unprecedented rise and prosperity. In terms of the richness of literature, fine arts, and music, this century is incomparable with any other period in the history of not only Russian, but also world culture. If in XVIII V. Russia loudly announced its existence to the whole world, then in XIX V. she literally burst into world culture, occupying one of the most honorable places there. This happened due to the fact that Russia gave the world geniuses in literature, painting, music, architecture, philosophy and thereby made a huge contribution to the treasury of universal human culture. Exactly at XIX V. Russian culture, having become classical, created perfect images and works that many generations of people and artists were guided by in their lives and works.

All this allows us to call XIX century the golden age of Russian culture.

“GOLDEN AGE” OF RUSSIAN CULTURE AND ITS CHARACTERISTIC FEATURES

The Decembrist uprising had a huge impact on the further evolution of Russian culture. A powerful upsurge of social and philosophical thought followed - the central problem of choosing the path of development and the future of Russia became central. This issue was not new for the country, but now it has taken the form of two the most important trends spiritual culture - Westernism And Slavophilism. Both movements rejected the regime of autocracy and serfdom, but took opposing positions in understanding the ways of reorganizing Russia.

Westerners stood on the positions of cultural universalism and rationalism. They highly valued Peter's reforms and advocated the development of Russia along the Western path, considering it common and inevitable for all peoples. Westerners were supporters of European education, science and enlightenment, bourgeois transformations, which could be implemented, in their opinion, only through reforms.

Slavophiles, on the contrary, stood on the positions of cultural relativism and Orthodoxy. They negatively assessed Peter's reforms, which, in their opinion, disrupted the natural evolution of Russia. They advocated a fundamentally different path of development for Russia than the Western European one. Slavophiles insisted on the original development of Russia, emphasizing its religious-historical and cultural-national identity, relying on forms, methods and traditions, the sources of which were the Russian community, artel and Orthodoxy.

The ideas of the Slavophiles received a wide public response and laid the foundation for the development of an original and distinctive direction in Russian philosophy, the basis of which was not Western rationalism, but Orthodox religiosity. In the knowledge of truth, Western philosophy gives preference to reason. Slavophiles developed the concept of the integrity of the spirit, according to which all human abilities - feelings, reason, faith, will and love - participated in cognition.

Truth can belong not to an individual, but only to a collective of people, united by a common faith, hope and love, from which a collective consciousness is born. Sobornost, therefore, is opposed to individualism and disunity. The main regulator of relations between people should be true faith, the bearer of which is the Orthodox Church. The Slavophiles were convinced that it was Russian Orthodoxy embodies truly Christian principles with all possible completeness, while Catholicism and Protestantism have moved away from the true faith. In this regard, they put forward the idea of ​​the messianic role of Russia in the salvation of humanity and world culture.

By the middle of the century, the “ferment of minds” reached its climax. Writers, artists, composers of that era did not remain aloof from the burning problems of our time. Socio-political thought and artistic creativity developed in close interconnection, sometimes echoing and complementing each other. Culture became a vivid and direct reflection of the social problems of its time.

Finally, the cultural and historical process in Russia XIX V. had another one important feature, which to a large extent determined its results. The fact is that over the course of a century, the main creators and bearers of Russian culture were two social strata: in the first half of the century, the noble intelligentsia, and in the second half, commoners, i.e. educated representatives of all classes of the bourgeoisie. This layer consisted mainly of people from the bureaucratic, bourgeois, merchant and peasant classes. They introduced a new worldview, ideas and images into artistic culture, increased the number of writers, poets, artists, and thereby significantly changed its face in the second half of the century. On this basis, Russian culture XIX V. It is customary to divide it into two main stages, the time boundary between which runs right through the middle of the century, i.e. at the turn of the 50-60s.

CULTURE OF THE FIRST HALFXIX CENTURY

Culture of the first half XIX V. characterized by rapid changes in direction. In the public consciousness there was a gradual departure from the normativity of the educational ideology that underlay the style of classicism. And as a result, attention to the person has increased, his inner world, where feeling, and not duty, was an important motive for his actions.

Widespread and influential in Russian culture at the beginning of the century was romanticism. In Russia it arose during the turning point of the Patriotic War of 1812. The essence romantic style there was a desire to contrast reality with a generalized ideal image, whose bright individuality and unique appearance did not fit into the framework generally accepted stereotypes thinking and behavior. The personality is in conflict with the reality around it - this is the starting point of romanticism. The fact is that Romanesque art was created by artists who were often themselves at odds with “hostile reality.” They sought peace in an idealized past, in folk legends, in the peace and quiet of nature. Based on a passion for “eternal beauty” folk art interest in the original origins of culture is being revived.

Russian romanticism is inseparable from pan-European romanticism, but at the same time it has a pronounced specificity, determined by the entire course of previous historical and spiritual development. Attention to national history was characteristic of the entire culture as a whole. Many writers, poets, and composers turned to historical issues. But the Russian artistic intelligentsia, in accordance with its mission as a herald of freedom and liberalism, was not committed to the abstractions of dreams and illusions, to fantasies far from reality. The world around us was perceived by Russian artists XIX V. as the main subject of creativity. This stimulated the development of realistic imagery, which was combined with romantic means of expression. Historians of Russian culture rightly believe that romanticism has become an important link in the general process of cultural development from classicism to realism. It was this simultaneous interweaving of styles that contributed to the birth of outstanding works of Russian art.

In the culture of the “golden age,” literature played a major stabilizing and creative role, since it was, perhaps, the only art form that could most fully express the needs of its time. Classic writers have always gravitated towards a three-dimensional, multidimensional worldview that preserves ambiguity and imagery. Classic literature XIX V. was more than literature. It became a synthetic artistic phenomenon and turned out to be, in fact, a universal form public consciousness, performing the functions of other forms of art.

The character and content of Russian culture was significantly influenced by the Decembrist movement, which gave it special features of citizenship and political freedom. This influence was the reason for the emergence of a new way of reproducing reality, which was later called critical realism, one of the main methods in Russian literature XIX V. The ideas of struggle and personal freedom are reflected in the works of leading Russian writers Pushkin, Gogol, Lermontov.

Starting with Pushkin and Gogol, Russian writers and poets - I.S. Turgenev, I.A. Goncharov, M.E. Saltykov-Shchedrin, A.N. Ostrovsky, N.A. Nekrasov, F.I. Tyutchev, A.A. Fet and others constantly strived to embody a high social and humanistic moral ideal in their work.

In the first decades of the century, architecture, developing in the forms of late classicism - empire style, takes on a special solemnity. Unlike the palace and temple buildings of the previous era, architects work mainly on projects of buildings of a public and utilitarian nature: theaters, ministries, barracks, etc. In other words, the appearance of architecture was determined by buildings of a citywide purpose.

They were the first to create in line with late classicism (Empire style) in Russian architecture A.N. Voronikhin And A.A-Zakharov.

By the beginning of the 30s. classicism as the leading style of Russian architecture has completely exhausted itself: the rise of national feeling, the civic pathos of serving the fatherland, which were the spiritual basis of classicism in the first quarter of the century, practically lost their significance after the defeat of the Decembrists. This was precisely the main reason for the crisis in architecture in the second third XIX V. Externally, the crisis manifested itself in the loss of harmony of architectural forms, their excessive geometricity, and overcomplication of decorative details. An example of this is the buildings included in the ensemble Isaac's Square in St. Petersburg, and the main one is St. Isaac's Cathedral, built according to the design of Auguste Montferrand.

In the 30s Due to the decline of classicism, the Empire style was replaced by various eclectic forms, including the Russian-Byzantine (or pseudo-Russian) style. One of the leading architects of this style was K.A. Tone- author of projects for the Cathedral of Christ the Savior, the Grand Kremlin Palace, and the Armory Chamber.

From the first years XIX V. V artistic tastes Russian society has seen obvious changes due to the abandonment of artistic canons classicism. In Russian painting there is a growing interest in the human personality, the life of ordinary people. As in literature, in painting the world of romantic feelings combined with real images, giving rise to new names of artists and creative discoveries.

The development of romanticism and then realism in the fine arts led to serious changes in academic painting. In the 30-50s. ideological foundations academicism, based on the hierarchical value of genres, became increasingly outdated. The artistic guidelines of academicism came into conflict with the demands of life and the social goals of art. The need for new expressive means in painting became more and more obvious. Under these conditions, priority still remained historical genre, while the everyday genre has not yet received recognition as an independent genre. The establishment of romantic ideas then predetermined the rapid development of the portrait genre in painting.

In the first half XIX V. Russian musical culture has entered a qualitatively new era of its development. Under the influence of the historical events of 1812, composers increasingly turned to heroic, patriotic and national subjects. On this wave already in the first decade XIX V. many composers gravitated towards romanticism. The leading genre of that time was romance, and prominent adherents of this genre were A.A. Alyabyev, A.E. Varlamov, Ya.N. Verstovsky, P.P. Bulakhov, A.A. Turilev. It was these composers who wrote romances that are still very popular today: “The Nightingale” (Alyabyev), “Troika” (Bulakhov), “A blizzard is blowing along the street,” “Don’t wake her up at dawn” (Varlamov), “Bell ;" (Gurilev).

Russian culture of the first half XIX c., reflecting the fruitful dialogue of different directions, took an important step forward. The idea of ​​Russian national identity was embodied in the work of artists of all types of art. The fruitfulness of this idea was confirmed in even greater achievements in literature, painting and music in the second half of the century.

CULTURE OF THE SECOND HALFXIX CENTURY

The capital's nobility was the main carrier of culture until about the middle of the century, when new socio-political forces emerged in Russia - commoners, people from new social strata and revolutionary-minded intelligentsia. These forces saw their historical mission in solving two main problems - the image of Russia and the fate of man. Ways to solve these problems have received various socio-political, moral, religious and spiritual expressions. In the works of writers, composers, artists, architects, the solution to these problems and their corresponding expression acquired the features of a new picture of the world, through the prism of which a revaluation of the social role and significance of culture took place.

In addition, the raznochintsy made Russian culture more social in its issues and much more democratic in its orientation and forms. From now on, the main social conflicts of Russian reality are being realized much more actively and critically. Never before has culture participated so directly in major social movements. Hence her characteristic features became citizenship, high morality and democratic orientation.

The style of realism is increasingly taking on a critical character and, as such, is becoming the main artistic direction. Critical realism significantly changed the social functions of art, which was supposed not only to reproduce and explain life, but also to pass “a verdict on its phenomena.”

Russian literature of the post-reform era gave the world a “bright constellation of great names.” A new generation of realist writers came to literature in the 60s and 70s. and offered society new themes, genres, ideological and artistic principles. Rethinking and reworking of old principles and forms of depicting life led to the development of the genre of social and everyday novels and stories. Outstanding achievements in this genre belonged to I.S. Turgenev, F.M. Dostoevsky and L.N. Tolstoy.

Start creative activity Ivan Sergeevich Turgenev dates back to the 40s, when the writer was interested in the philosophy of romanticism. Under her influence, Turgenev's life credo was formed - he was opposed to violent measures to solve any problems, including social ones. However, the passion for romanticism passed quite quickly, and already from the mid-40s. Turgenev becomes a realist writer.

At the turn of the 40-50s. In the public life of Russia, a new generation of intelligentsia, distinguished by its sharp radicalism and rejection of serfdom, began to make itself known more and more clearly. Turgenev was the first Russian writer to introduce characters who expressed the views of “new people” in his novels “On the Eve” and “Fathers and Sons.” In these novels, he reflected the conflict of generations in the form of the antagonism of two worldviews - noble liberals and commoner revolutionaries. The writer presented the views of the new heroes of the era as a destructive force that breaks the usual foundations of social life. At the same time, the author himself does not approve of their radicalism, but treats their moral principles, courage, dedication, and asceticism with sympathy and respect. The writer (being a nobleman himself) considers the nobility to be the bearer of the highest spiritual values ​​of Russian culture. At the same time, he understands that the “time” of the nobility is running out and it is no longer able to actively resist the extremism of the “new people.” In his novels, the writer reveals the best features of the Russian noble intelligentsia, their love for the people, and devotion to the interests of the country. These qualities serve as a justification for the romantic pessimism that permeates many images of the best people of the noble class.

Played a completely different role in Russian culture Fedor Mikhailovich Dostoevsky, who made an invaluable contribution to world culture. Possessing a unique gift of prophecy and the ability to analyze the human soul, the writer professed ideas that went beyond the ideas of a specific historical time into the sphere of “eternal” interests of people.

Dostoevsky entered Russian literature as an established master. Already in his first novels (“Poor People”), the writer addressed the problem of the “little man.” However, unlike his predecessors, he does not idealize poverty. The desire to show the realism of life forced Dostoevsky to abandon the romanticization of images of the “common people.” He portrays them in accordance with the logic of their characters and the truth of life.

60-70s became the most important stage in Dostoevsky’s work - he wrote the famous novels “Crime and Punishment”, “The Idiot”, “Demons”, “The Brothers Karamazov”. In these novels, he substantiated and developed a number of deep philosophical ideas. Expressing his disagreement with the existing world order, the writer at the same time denies violent measures to restructure the world. He thinks he's special historical path Russia and the rapprochement of the people with the intelligentsia will help resolve social problems without revolutionary upheavals. Dostoevsky warned that revolutionary practice is capable of adopting the principle “the end justifies the means.” At the same time, the writer was convinced that social means of combating evil alone were not enough. He believed that a person necessarily needs moral support, faith in God.

Lev Nikolaevich Tolstoy entered the history of Russian and world culture not only as a realist writer, but also as the founder of Russian nihilism, the creator of a unique philosophy and pedagogy. Tolstoy saw his purpose in criticizing socio-historical experience, as well as philosophical, religious, and ethical teachings. The writer considered the source of his judgments to be the opinion of the people. The theme of the search for a moral ideal corresponding to the “natural life” of ordinary peasants runs through all of his works (novels “War and Peace”, “Anna Karenina”, “Sunday”, stories and dramas).

Tolstoy's work was devoted to depicting post-reform Russia. In his works, he posed many great questions, conveyed the mood of the broad masses, their indignation and protest against the existing order. A wide scope of reality, the deepest penetration into human psychology, a reflection of the history of a people through the private life of an individual, a tireless search for a spiritual ideal - all this makes the phenomenon of Tolstoy a unique phenomenon in Russian and world literature.

The fine arts of the post-reform period, as well as literature, were closely connected with the turbulent processes of social life. It reflected debates about ways to transform Russia, a harsh assessment of social reality, populist views on the peasantry, and the eternal search for a moral ideal. The social function of painting has changed radically. If the art of classicism was subordinated to the idea of ​​decorating life, then in the art of the 60-70s. the aesthetic side is no longer considered the main one. It seemed much more important to artists to truthfully reflect social problems, thoughts and feelings of people of different classes. The desire to reflect and convey the main thing that distinguishes one’s time, educational beliefs and illusions gave rise to critical painting.

The most important role in the Russian art of painting of that time was played by the Itinerant artists, who opposed official academic classicism with its outdated canons.

As Russian realistic painting developed, artists increasingly became interested not in momentary, but in “eternal” questions of social existence, to which history helped answer. A talented exponent of the genre of Russian historical painting was Vasily Ivanovich Surikov.

By the beginning of the 80s. the radicalism that dominated the previous 20 years lost its militant character and was replaced by a calmer perception of reality. In this environment, painting had the opportunity to free itself from the dictates of journalism. Landscape has acquired a very special significance in Russian art. At art exhibitions of the 80s. Mostly landscapes were exhibited. Remarkable masters who managed to reveal the amazing beauty and sincerity of Russian nature were A. I. Kuindzhi(“Moonlit Night on the Dnieper”), I. Shishkin("Rye"), I. Levitan(“Over Eternal Peace”), K. Savrasov("The Rooks Have Arrived"), V.D. Polenov(“Overgrown Pond”), etc.

In Russian music of the second half of the century, there was a clear tendency to assimilate the best achievements of other types of artistic culture, especially literature. And this was not a simple translation from the language of literature to the language musical images; interacting with the achievements of other arts, music simultaneously formed its own picture of the world and its own ways of understanding the life and history of the fatherland. Therefore, the musical art of these years is distinguished by a wide variety of genres. The art of opera, which used subjects from Russian history, culture, and everyday life, and revealed the psychology of the national character, reached perfection. A whole galaxy of composers appeared in whose works a central place was occupied by man with his complex spiritual world and a people oppressed, suffering, but possessing enormous moral strength. Let's call here A.P. Borodin(“Prince Igor”), MP. Mussorgsky(“Boris Godunov”, “Khovanshchina”), ON THE. Rimsky-Korsakov(“The Pskov Woman”, “The Tsar’s Bride”).

However special role in the musical culture of the post-reform period, a circle of St. Petersburg composers, organized M.A. Balakirev and went down in history under the name “Mighty Handful”, or “New Russian Music School”. This team, a creative community of like-minded people, consisted of five Russian composers - M.A. Balakireva, A.P. Borodina, Ts.A. Cui, M.P. Mussorgsky And ON THE. Rimsky-Korsakov.

CONCLUSION

Despite the fact that there are practically no eras in history that would not have a strong influence on the subsequent course of cultural development, XIX century in Russia can be called its brightest stage. This is a period of growth of national self-awareness, formed in the process of struggle against the French invasion. But at the same time, a sharply critical view of the social structure of Russian reality is taking shape and developing. The result is the Decembrist uprising, which demonstrated the emergence of a new mentality of the Russian intelligentsia and, to a certain extent, marked the separation of this layer of society.

Social thought of this period is trying to find a solution to the main problems of the time: state reorganization, peasant reform and man himself. This is how we look for the path that Russian society should follow. The views of thinkers are radically divided: not only Slavophiles and Westerners, but also Petrashevists, populists, socialists, etc. offer their own radical ways to resolve Russian problems.

Reaches special prosperity in XIX century, Russian art, in all its forms and forms, showed the world an inflorescence of great names of geniuses of global scale. In art, in just one century, the process of development of a variety of styles and trends from classicism to realism took place.

Thus, Russian culture of the second half XIX centuries has the right to be proud of great names. Literature, painting and music have reached classical perfection. The works of the geniuses of Russian art made it possible to reveal the vast world of the human personality. The method of realism was the first attempt at understanding this world. In Russian culture XIX century, all the prerequisites for modern Russian culture were formed.

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N. N. Kurnikova, Municipal Budgetary Educational Institution Secondary School No. 15, Korolev, Moscow Region