Design work on MHC Shamaili. Methodical piggy bank

Sections: MHC and ISO

World artistic culture is an educational subject, the growing importance of which in education is determined by its integrated and synthesizing nature. It is the fundamental information base where the most important experience of humanity is concentrated, since artistic culture is not the history of art, but a single process of cognition, expressed in a specific language. For students, studying this subject is a search for ways out of difficult life situations, and communication skills with art create an environment rich in value relationships and stimulating positive emotions.

Project activities on world artistic culture are a means of activating cognitive interest and broadening the horizons of students. The project method is focused on student research activities. Its use involves a constructive influence on the socialization of the individual, the development of independence in decision making; critical analysis of information obtained from the study of scientific, art history, journalistic, fiction literature, as well as information from mass media. By participating in project activities, students demonstrate mastery of basic research methods, computer literacy, the ability to work with audio, video and multimedia technology, and the ability to apply knowledge to solve cognitive problems. The project method allows you to organize independent creative activities of students and integrate educational and independent research extracurricular activities.

An effective MHC project is one in which students understand how the object of study (an artistic image or work) reflects the era, historical and moral quest of a particular time.

In educational activities, topics can be selected to create a project that complete the study of a particular section, deepen and expand the content, or present the opportunity for additional creative work.

My own teaching experience shows that MCC projects are usually short-term, designed for a period of two to five weeks, since practical activities in this area are minimal and do not require a long wait for results (as in biology, chemistry and other natural sciences) .

Work on the project is being built in stages.

At the first stage, the topic of the project is determined, a creative group is formed based on interest in the stated problem (up to 4 people). Next, a work plan is drawn up, tasks are formulated, sources of information are selected and the result is predicted - the final product of the research (in this case, the children themselves suggest the form of presenting the result, choosing the one that is closer to them). The result may be a problematic lesson taught by students; newspaper release; staging a play, presentation of a video film or exhibition, multimedia show, conducting an excursion, theoretical treatise, etc.

At the second stage, individual and collective activities are planned and responsibilities are distributed within the group. The tasks of each project participant are specified and the procedure for their interaction is agreed upon.

At the third stage, work is carried out to collect and process information, and conclusions are formulated. The results of the project are presented taking into account the chosen form.

The fourth stage is the defense of the project and feedback from other students, listeners, viewers, experts on the depth of content and the effectiveness of choosing the form of presentation of the material.

As a rule, project activities are carried out by students of the same age group, i.e. class, parallels. However, in extracurricular activities a different composition of students is possible.

In gymnasium No. 20 of the city of Saransk, a research society “Truth” was created, where students are engaged in search and research activities in sections in various areas. The “Art History” section is one of the most numerous. Every year, children present their projects at conferences of various levels, and research is carried out by groups of different ages. This has a number of advantages:

1. Firstly, while working on a project, mentoring, or “patronage,” is provided. Each project participant receives his own area of ​​study, and as a result of the exchange of information, seniors can give recommendations or express their opinions regarding the materials of peers or younger ones (feedback is not excluded). This is perceived more adequately and has a more effective effect than adjustments made by the teacher.

2. Secondly, areas of study are distributed based on age and psychological characteristics. Thus, for older students, a more global and complex task is determined that requires analysis and generalization. And for the younger ones - collecting information, working with dictionaries, selecting illustrations. Also, directions can be determined by interests: some are closer to historical events that define an era or style, some are closer to cultural concepts, while others want to identify the features of the language of art and aesthetic problems.

Let us dwell on the conditions for the success of MCC projects, based on practical experience.

1. It is important that the topic of the project is close to all participants, regardless of age. Consequently, it should be based on universal human values, regional community and the peculiarities of the students’ subculture (possibly of a specific educational institution). For example: “Why do people decorate themselves?”, “Why didn’t the Trojan Horse become a wonder of the world?”, “Is cinematography an art or an industry?”

For example, the 2007 project “The Cathedral of the Holy Righteous Warrior Theodore Ushakov - an object of historical and cultural heritage” solves a number of issues that are of interest not only to students, but also to part of the population of the Republic of Mordovia:

Why F.F. Ushakov was awarded this right and who is he – our fellow countryman or the pride of Russia?

What historical events associated with this person should remain in people's memory?

What idea is contained in this architectural object (spiritual-moral, aesthetic, political, etc.)?

2. The possibility of direct contact with the object of study is preferable (the original is incomparably better than the most beautiful copy).

3. It is necessary to make maximum use of the opportunity to obtain first-hand information: from the architect-designer, customer, designer, sculptor, painter, art critic, etc.

4. Attention should be paid to the available literature and its skillful use. For an objective assessment of an object or phenomenon, it is assumed to use all types: bibliographic sources, popular science, educational, artistic, journalistic, reference and scientific.

5. It is necessary to orient project participants towards a combination of various research methods. Conversation and interviewing methods are very popular. For example, at the cathedral you can ask the following questions: “Do you know who this cathedral is dedicated to? What building was on this site before? What is the idea behind building this church? Do you know what “rarities” were found when laying the foundation of the cathedral? Who was Fedor Fedorovich Ushakov?”

The project will be more successful the more creativity and initiative the teacher provides to the students themselves. Since the study of artistic culture is initially assessed by students as accessible, their personal interest in the results appears and self-esteem increases. The subjective nature of the relationship with art provides variability and freedom of choice for teenagers in finding their cultural niche.

The project method is one of the sources of students’ interest in studying world artistic culture. This is an effective way to resolve the contradictions between the destruction of worldview values ​​in real life and the need to develop moral priorities among the younger generation. By getting acquainted with the cultural heritage of different civilizations and mastering their spiritual and moral foundations, schoolchildren learn to more critically evaluate the values ​​of the current time.

Design work on MCC

"Seven Wonders of the World"

Completed:

Akopyan Lusine Nikolaevna,

Pliss Alina Nikolaevna,

Sotskova Yulia Vladimirovna

MAOU secondary school No. 28

10a class

Supervisor:

Mytsova Lyudmila

Alekseevna

Balakovo

Content

Introduction: purpose and objectives of the study______________________________3

Chapter 1:

National myths of the number "7". Origin of the list of “Seven Wonders of the World” ____________________________________________________________ 5

Chapter 2:

The First Seven Wonders of the World ________________________________________________7

1.Great Pyramids of Giza_______________________________________________8

2. Hanging Gardens of Babylon__________________________________________ 10

3. Statue of Zeus in Olympia________________________________________________11

4. Temple of Artemis in Ephesus_____________________________________________ 12

5.Mausoleum in Halicarnassus_____________________________________________ 13

6. Colossus of Rhodes________________________________________________14

7. Alexandria Lighthouse________________________________________________15

Chapter 3:

New Seven Wonders of the World_______________________________________________16

Chapter 4:

Contenders for the title of the new seven wonders of the world_____________________18

Conclusion: results of the study_________________________________20

Used literature and Internet sources ___________________22

Introduction

There are many amazing and unique things in our world. Sometimes, amazed at some natural phenomenon or work of art, we call it a miracle. This means that we have encountered something that we have never encountered before and, perhaps, will never meet again. We call only the most outstanding, most unique creation of nature or man a miracle.

Many centuries ago, a list of the most magnificent, amazing and grandiose buildings and monuments of art was created in Greece. For the originality and uniqueness of these human creations they were called Wonders of the World.

The Seven Wonders of the World are the oldest architectural monuments, which are rightfully considered the greatest creations of human hands. Many buildings from different times and peoples captured the imagination of not only contemporaries, but also descendants. And then they said: “This is one of the seven wonders of the world,” paying tribute to the famous wonders of antiquity, recognizing their primacy and perfection. They also said: “This is the eighth wonder of the world,” as if hinting at the opportunity to join the magnificent seven.

Everything in the world changes, and the most outstanding buildings, which have aroused the admiration of people for thousands of years, unfortunately, are not eternal, although their age in any case is longer than human. The former list of the Seven Wonders of the World, which is still inIVcentury, the Greek writer Philo of Byzantium began to compile it; in the opinion of many, it is hopelessly outdated. In addition, all 7 Wonders of the World have not survived to this day, and only the pyramid of Pharaoh Cheops in Giza miraculously remained “alive”. And so recently more than a hundred million people around the world voted for new wonders of the world. Never before in history have so many people been involved in a global solution, and seven project winners were announced.

Our contemporaries are not indifferent to the cultural heritage of the past. And therefore, the relevance of our work lies in the need to understand the historical and cultural heritage, get acquainted with world art monuments so that a person can better understand his ancestors and deepen the knowledge that will be useful to him in the modern world.

Thus, the purpose of this study was the following: to obtain a holistic understanding of the Wonders of the World as great cultural creations. We, working on this project, were faced with the following tasks: to find out the history of the list of the Seven Wonders of the World, to summarize the material about the old and new Wonders of the World, to get to know the candidates who were not included in this list.

To solve the problems that we set for ourselves, the following work methods were used: information search, comparison, analysis, generalization.

Chapter 1. National myths of the number “7”.

Origin of the list of "Seven Wonders of the World".

The Seven Wonders of the World are the oldest architectural monuments, which are rightfully considered the greatest creations of human hands. The number 7 was chosen for a reason. It belonged to Apollo and was a symbol of completeness, completeness and perfection. Indian ancient philosophy taught that the Universe is composed of seven elements. The ancient Egyptians believed that the Sun and all the heavenly bodies climb seven stairs and pass through seven gates. The famous philosopher of Ancient Greece, Aristotle, argued that the firmament consists of seven crystal spheres. The highest, seventh sphere, was called the “Seventh Heaven”. By the way, this is where the modern comic expression of being in seventh heaven (with happiness) comes from, i.e. "to be at the height of bliss." Perhaps of particular significance to the Greeks was the fact that the seven wonders of the celestial sphere can be observed from Earth with the naked eye: the Sun, Moon, Mercury, Mars, Venus, Jupiter and Saturn. These celestial bodies gave their names to the most important gods of antiquity. There were also 7 days in a week. Obviously, such an outstanding ancient civilization in the history of mankind needed the existence of precisely seven man-made wonders of the world.

The primacy of compiling a list of the seven Wonders of the Ancient World is attributed to Antipater of Sidon, who sang them for centuries in his poem:

I saw your walls, Babylon, on which there is spacious

And chariots; I saw Zeus at Olympia,

Miracle of the Hanging Gardens of Babylon, Colossus of Helios
And the pyramids - works of many and hard labors;

I know Mausolus, a huge tomb. But I just saw
I am the palace of Artemis, the roof raised to the clouds,

Everything else faded before him; outside Olympus

5
The sun does not see beauty equal to it anywhere.

Another first to list the Seven Wonders of the World was Herodotus, although we only know this through circumstantial evidence. Herodotus may have visited all seven wonders, which became major tourist attractions of the Roman era. The Greeks themselves called them" theamata", which translated means “a must-see place.” About 200 years later, another ancient Greek poet, Callimachus of Cyrene, compiled a similar list.

Chapter 2. The First Seven Wonders of the World.

The ancient Greeks and Romans, like us today, found pleasure in making lists. Making lists of certain objects in a certain sequence made them easier to remember. No one knows how many similar lists were compiled over the centuries, but after the fall of the Roman Empire, the list of the Seven Wonders of the World has already become part of Western mythology. The phrase “Seven Wonders of the World” has stood the test of time and has entered most languages ​​of the world. It is well known even to those who find it difficult to name these very miracles. The secrets of the 7 Wonders of the World have worried humanity for thousands of years. This is a famous list of the most famous sights of ancient culture. But now, probably, not everyone will remember this small list completely by heart. Each “miracle” is interesting in its own way and has some secret that only the builders knew about. The very first Wonders of the World are such architectural creations as:

1.Great Pyramids of Giza

2. Hanging Gardens of Babylon

3.Zeus statue at Olympia

4.Temple of Artemis in Ephesus

5.Mausoleum in Halicarnassus

6.Colossus of Rhodes

7.Alexandria lighthouse

1. GREAT PYRAMIDS OF GIZA

Some here include all the pyramids of Egypt, some of the great pyramids of Giza, but for the most part only the largest of them, the Pyramid of Cheops, is perceived as a miracle. The pyramid is also considered the oldest miracle on the list - its construction is estimated around 2000 BC. Despite its old age, this is the only structure of the seven old wonders of the world that has survived to our times.

The Egyptian pyramids of Giza on the west bank of the Nile north of Cairo are the only wonder of the world that has survived to this day. The three pyramids - Khufu, Khafre and Menkaure - were built between 2700 BC. and 2500 BC like royal tombs. The largest and most impressive is the pyramid of Khufu. Covering an area of ​​more than 5 hectares, it is believed to consist of more than 2 million stone blocks weighing between two and 30 tons each. For more than 4,000 years, Khufu's pyramid was the tallest structure in the world. It was only in the 19th century that man managed to build a taller building. Surprisingly, the almost symmetrical pyramids were built without the help of modern tools and surveying equipment. Scientists believe that the Egyptians built huge mounds around the pyramids, onto which they used wooden sleds, ropes and rollers to lift giant blocks and then set them in place. The slanted walls were supposed to imitate the rays of Ra, the sun god. Inside the pyramids there were narrow corridors and secret chambers to prevent robberies. Although modern archaeologists have found some items among the ruins, most of what was in the pyramids was looted within 250 years of their completion. The entire pyramid was lined with polished white limestone tiles; it sparkled under the harsh Egyptian sun. Unfortunately, in 1300 an earthquake loosened most of the tiles and they were dismantled for the construction of mosques.

This is the only wonder of the world of those seven that has survived to this day.

that were originally. And although you can look at it now, you still won’t be able to find out what its original appearance was.

2. THE HANGING GARDENS OF Babylon

Created by order of the king of desert Babylon, Nebuchadnezzar II, for his wife, these gardens were supposed to console her and remind her of her distant homeland. The name of Semiramis, the Assyrian queen, appears here by mistake,
but, nevertheless, firmly entrenched in history.

Ancient Greek poets claimed that the Hanging Gardens of Babylon were built near the Euphrates River in what is now Iraq by Babylonian King Nebuchadnezzar II around 600 BC. Architecturally, the Hanging Gardens of Babylon were a pyramid of four terraces supported by columns. The king allegedly built the Hanging Gardens so that his beloved wife Amytis would not mourn for her native Media, covered with beautiful mountains and forests. All the forces of the ancient kingdom, all the experience of its builders and mathematicians, were thrown into the construction of the gardens, a shelter for the queen. Later authors described that people could walk under beautiful gardens that were supported by high stone pillars. Modern scientists have concluded that for the normal functioning of the gardens, an irrigation system is needed, consisting of a pump, a water wheel and tanks for pumping water from the Euphrates to a height of several tens of meters. Although there are many references to gardens in ancient literature, none of them can be considered reliable, especially since no mention of gardens was found in Babylonian sources. Archaeologists also found no evidence of their existence. As a result, most modern scholars believe that the existence of the gardens was a widespread, yet fictitious story.

3. ZEUS STATUE IN OLYMPIA

The statue was created for a temple in a major religious center of Ancient GreeceOlympia. The giant Zeus of the sculptor Phidias amazed the local residents so much that they decided that Zeus himself personally posed for the master.

The authorship of the famous statue of Zeus belongs to the famous Athenian sculptor Phidias. When the sculpture was completed, it was installed in the Temple of Zeus in Olympia, a city where from 776 BC. e. to 394 AD. The Olympic Games were held every four years.

The statue depicts a seated, bare-chested god of thunder on a huge gilded throne. The sculptor carved the figure of the god from wood and covered it with slabs of pink ivory, so the body seemed to be alive. In one hand he held a symbol of power - a scepter with an eagle; on the open palm of his other hand stood a figurine of Nike, the goddess of Victory. On the armrests of the throne were carved two figures of sphinxes, mythical creatures with the head and chest of a woman, the body of a lion and the wings of a bird. The statue of Zeus adorned the temple at Olympia for more than eight centuries. Christian priests convinced the Roman emperor to close the temple in the fourth century AD. At that time the statue was moved to the temple in Constantinople, where it is believed to have been destroyed in a fire in 462. The statue of Zeus was so tall that his head almost touched the top of the temple. The legend says that after installing the statue in the temple, Phidias turned to Zeus himself with a question whether he was satisfied with the work. Soon after this, the temple was struck by lightning - thus, the thunder god expressed approval of the sculptor's work.

4. TEMPLE OF ARTEMIS IN EPHESUS

In the ancient steep port city of Ephesus, the goddess of fertility Artemis was especially revered. In honor of her, a huge and majestic temple was created here, which was included in the list of 7 ancient wonders of the world.

In fact, there were several temples of Artemis: a series of several altars and temples were destroyed and then rebuilt on the same site in Ephesus, a Greek port city on the west coast of modern Turkey. The most famous of these structures were two marble temples, respectively built around 550 BC. and 350 BC The first was built according to the design of the architect Hersiphron, and after his death the work was completed by his son Metagenes. The temple was decorated by the most famous masters of the Ancient world. The building burned down on July 21, 356 BC. on the night when the outstanding commander of the world, Alexander the Great, was born.

About six years later, construction of a new temple began on the site of the old one. The new building had marble stairs that led along a terrace more than 120 m long. In the middle there were marble columns 18 m high and a statue of Artemis. Archaeologists have not come to a common conclusion as to whether the building had a ceiling or whether it was covered with wooden tiles. The temple was destroyed by the Ostrogoths in 262 AD. and finally destroyed by a Christian mob under the leadership of St. John Chrysostom in 401 AD.

In 1869, the British archaeologist T. Wood managed to discover the first ruins of temple columns in the lower part of the Caister River. The temple was rebuilt three times, but in the end it was completely destroyed by Gothic raids, which looted it and set fire to the remains. Unfortunately, all that has survived to this day is one column assembled from ruins.

5. MAUSOLEUM AT HALICARNASUS

The rich king Mausolus wished to erect a mausoleum-temple in Halicarnassus, incomparable in beauty. The best craftsmen of that time worked on the construction. The work ended only after the death of Mavsol, but this did not prevent him from going down in history forever.

Located in what is now southeastern Turkey, the Mausoleum at Halicarnassus was built by order of Queen Artemisia II for her husband Mausolus, King of Caria, after his death in 353 BC. According to legend, she was so heartbroken that she drank water mixed with his ashes. The massive mausoleum, about 41 meters high, was built entirely of white marble. The complex structure of the building consisted of three levels. This may have been an attempt to harmonize Lycian, Greek and Egyptian architectural styles. The burial chamber was on the first floor. Together with the sarcophagus, the tomb was made of white alabaster and decorated with gold. The second floor with 36 Ionic columns resembled a Greek temple in its structure, most likely used for sacrifices. The structure was crowned with a pyramidal roof depicting a marble chariot drawn by four horses.

The mausoleum was destroyed by a series of earthquakes in the 13th century and its remains were used by the Knights of St. John to build the castle of St. Petra. In 1846, one frieze of the mausoleum was removed from the castle and is now, along with some other relics of the mausoleum, in the British Museum in London. The original mausoleum was built for Mausolus, the Persian governor. It was so beautiful that the modern word “mausoleum” came from it, meaning above-ground burial. Earthquakes eventually destroyed it, and the Knights Hospitaller used the remaining stones to fortify their castles.

6. COLOSSUS OF RHODES

In honor of the great victory, the inhabitants of Rhodes decided to build a huge statue of the god Helios. The plan was carried out, but this miracle did not last long, and was soon destroyed by an earthquake.

The Colossus of Rhodes was a huge bronze sculpture of the sun god Helios, built by the inhabitants of the island of Rhodes in the third century BC. At the beginning of the fourth century BC. The city withstood the siege of the soldiers of Demetrius I of Macedon for more than a year and still managed to defend its independence. According to legend, the inhabitants of the island of Rhodes sold the siege weapons abandoned by the Macedonians and, with the proceeds, decided to build a statue of the sun god Helios, revered by them, in order to thank him for his intercession. Made by the sculptor Hares, the height of the statue was 36 m, the largest sculpture of the Ancient World. It was made around 280 BC. and stood for only sixty years, after which it was destroyed by an earthquake. It was never restored. Hundreds of years later, the Arabs captured Rhodes and sold the remains of the statue for scrap metal. Therefore, archaeologists cannot determine the exact location of the statue and what exactly it looked like. Most believe that the sun god was depicted naked, holding a torch in one hand and holding a spear in the other. It was previously thought that the statue stood with its legs spread wide apart on either side of the harbor, but most scholars have now concluded that the monument's legs were most likely placed close together to support its enormous weight.

7 . ALEXANDRIAN LIGHTHOUSE

To navigate ships near the large port of Alexandria, it was decided to build the largest lighthouse at that time. The building immediately eclipsed the walls of Babylon and took a place on the list of the Seven Wonders of the Ancient World.

The Alexandria Lighthouse was located on the small island of Pharos, near the city of Alexandria. Designed by the Greek architect Sostratos and completed around 270 BC. During the reign of Ptolemy II, the lighthouse helped ships safely navigate the reefs when entering and leaving the city's crowded harbor. Archaeologists discovered ancient coins with the image of a lighthouse and came to the conclusion that the building had three levels: square at the bottom, octagonal at the middle and cylindrical at the top. On top was a 5 m high statue, most likely of Ptolemy II or Alexander the Great, after whom the city was named. According to various estimates, the height of the lighthouse varies from 60 to 180 m, but most modern scientists estimate its height to be between 120-140 m. The lighthouse was gradually destroyed during a series of earthquakes from 956 to 1323. Some of its remains were discovered at the bottom of the Nile River. The Alexandria lighthouse stood on the island of Pharos and was designed specifically to make it easier for sailors to enter the port of Alexandria.

Like many of the wonders on this list, the lighthouse was destroyed by an earthquake and eventually a medieval fortress was built in its place and from its ruins.

Chapter 3. New Seven Wonders of the World

The New Seven Wonders of the World is a project whose goal was to search for the modern seven wonders of the world. It was organized by a non-profit organizationNewOpenWorldCorporation ( NOWC) on the initiative of the Swiss Bernard Werber. So, the winners of the competition dated July 7, 2007 were the following structures:

a) The Great Wall of China -

this is the largest architectural structure in the world, the length of the wall is 8851.8 kilometers. The Great Wall of China was built to protect the northern borders of the Chinese Empire from raids by nomads. Today
the wall is rightfully considered one of the greatest structures ever built by man;

b) Colosseum –

the largest of the ancient Roman amphitheatres, a full-fledged symbol of the Eternal City, perhaps the most recognizable architectural monument in the world. Its second name - Flavian Amphitheater - was received in honor of the Flavian dynasty, which then ruled in Ancient Rome and organized the construction of the amphitheater. Gladiator fights and other events were held in the Colosseum for a long time.
entertainment shows for guests and residents of Rome;

c) Machu Picchu –

the legendary ancient city of the Incas, located in the territory of modern Peru. Machu Picchu received the nickname “city among the clouds” due to its location - it is located on the top of one of the mountain ranges, at an altitude of 2450 meters above sea level. The city was built by the Inca ruler Pachacutec as an imperial residence - a “sacred mountain refuge”;

d) Petra –

a city located in the Arava Valley, in the Siq canyon, surrounded on all sides by steep cliffs. You can enter the valley only through narrow gorges, which are a kind of gateway to the city. Most of the city's buildings are carved out of red sandstone cliffs - even the city's name "Petra" translates as "rock";

e) Taj Mahal –

The mausoleum-mosque made of white marble is located in the city of Agra in India, on the banks of the Jamna River. This is a real pearl of the Muslim world, the best example of architecture of Indian, Persian and Islamic styles. The magnificent mausoleum was built by Emperor Shah Jahan in honor of his wife who died in childbirth;

f) Statue of Christ the Redeemer –

a magnificent statue on top of Corcovado Mountain in Rio de Janeiro, Brazil. The statue is considered a symbol of Rio and all of Brazil, and is one of the tallest sculptures in the world; the height of the statue is 38 meters, the arm span is 30 meters, the weight of the statue is 1145 tons;

g) Chichen Itza –

the ancient city is the political and cultural center of the Mayan state, located on the Yucatan Peninsula in Mexico. According to archaeologists, Chichen Itza was one of the religious centers, the so-called “places of power” of the Mayan culture.

Chapter 4. Contenders for the title of the new seven wonders of the world

Hagia Sophia

A world-famous monument of Byzantine architecture, a symbol of the “golden

century" of Byzantium.

Athens Acropolis

The Acropolis in the city of Athens, which is a 156-meter rocky

hill with a flat top.

Alhambra

Architectural and park ensemble located on a hilly terrace in
eastern part of the city of Granada in Southern Spain.

Angkor

A giant Hindu temple complex in Cambodia dedicated to God

Vishnu.

Moai

Stone monolithic statues on the Pacific Easter Island, belonging to Chile.

Moscow Kremlin and Red Square

A fortress in the center of Moscow and its oldest part, the main public
political, historical and artistic complex of the city.

Neuschwanstein

Romantic castle of the Bavarian king Ludwig II near the town of Fussen and
Hohenschwangau Castle in southwestern Bavaria, near the Austrian border.

Sydney Opera House

The Musical Theater in Sydney, one of the most famous and easily recognizable buildings in the world, is a symbol of Australia's largest city and one of the main attractions of the continent.

Statue of Liberty

One of the most famous sculptures in the United States and the world, often called

“a symbol of New York and the USA”, “a symbol of freedom and democracy”, “Lady Liberty”. This is a gift from French citizens for the centennial of the American Revolution.

Stonehenge

Megalithic structure in Wiltshire, England, representing
is a complex of ring and horseshoe-shaped earthen and stone structures.

Timbuktu

Lost in the sands of the Sahara, the city of Timbuktu is known throughout the world as one
one of the largest cultural and historical centers in Africa. It is called “the city of three hundred and thirty-three saints”, “the pearl of medieval Mali”, “the queen of the desert”, “Baghdad of the Dark Continent”. The medieval Arab geographer Ibn Khaldun called Timbuktu “a harbor in the desert,” European merchants - "city of gold"

Kiyomizu-dera Temple

Buddhist temple complex in the Higashiyama district of Kyoto.

Eiffel Tower

Metal tower in the center of Paris, its most recognizable architectural
sight. Named after chief designer Gustave Eiffel.

Conclusion

Time is merciless to everything that is on Earth. But man himself is more merciless and unreasonable, although it is with his hands that the best works of art were created. Now the whole world is watching the progress of demining Palmyra, so that they can then begin the restoration of this majestic monument. And much of what was destroyed only at the beginning of the 21st century can never be restored. Therefore, it is in our hands to save what is still possible, so that future generations can admire sculptures, temples, cities not only from books...

So, in the course of our work, we became acquainted with such outstanding cultural monuments, which are usually classified as “wonders of the world.” These wonders of the world help us fully understand the culture of the people who lived before us. The Seven Wonders of the World, created by ancient masters, continue to inspire artists, architects and poets of subsequent generations. Thanks to them, we can analyze what has been done and use it to create something new, to improve our cultural and material world.

In the process of work, we learned a lot of new and interesting things, this allowed us to replenish our intellectual luggage, to become familiar with world art ourselves and our classmates. It is a pity that among the contenders for the title of the new seven wonders of the world from our great Russia, only two monuments are represented: the Moscow Kremlin and Red Square, and therefore one of our most important tasks is to promote Russian art, preserve cultural traditions, and conduct educational work.

It is hoped that those who experience this work will deepen their knowledge of man-made and cultural heritage. Perhaps someone will be inspired by our project and will continue its

spiritual development. Having done this work, we have achieved our goal and

significantly deepened their knowledge, which may be useful to us in the future.

Used literature and Internet sources.

Barbich V., Pletneva G. Spectacles of the ancient world. M., 1991.

- Chernyak V. 3. - Seven wonders and others. M., 1990.

Municipal budgetary educational institution "Bolsheignatovskaya Secondary School"

Research work

"An artist who paints good..."

(based on the work of A. Bargov)

Completed by a 10th grade student

Bochkareva Yulia

Head Kalyakova N.G.

Bolshoye Ignatovo 2015

Introduction 2 Nature in the works of Russian artists 4

Anatoly Bargov, childhood and youth 7

Main directions in painting 10

Erzya flavor in creativity 11

Social work

Conclusion 21

Literature 22

Introduction

Of course, fine art is an integral part of spiritual culture.

The art of artists and painters allows, through images, not only to talk about what they saw, but also to express their thoughts and feelings.

Everything lives and changes, is born, matures, grows old and dies. The paintings that capture the beauty of their native land are unique. Infinitely loving their little Motherland, artists at different times sought to embody its image in their work. For some of them, their homeland is a birch tree by the window, silvery frost, a winter forest plunged into quiet sleep, a pink sunset over the lake, cheerful daisies in a forest clearing, a fragrant lilac bush in the garden. For others, it is endless fields, meadows, rivers, nearby villages, fellow countrymen, the high sky with clouds floating across it.

Attachment to the father's land, keeping what is dearest, closest and dearest is evidence of the cultural value of the individual. This is patriotism. It gives a person an awareness of belonging to his native land and culture, the bearer and custodian of which he becomes. This needs to be taught from childhood. Acquaintance with the history of fine art of Mordovia, the work of the artist A.N. Bargova will help each person make a decision so as not to lose in his soul what strengthens and ennobles it.

Relevance We see our topic as an opportunity to systematize information about the fellow countryman artist in the analysis of his paintings from the point of view of the uniqueness of Erzya culture.

Purpose This work is an analysis of the reflection of Erzyan culture in the works of A.N. Bargov.

To achieve this goal, we set and decide the following:

tasks:

1. Select and study literature on this topic.

2. To study the features of fine art in the work of A.N. Bargov.

3. Determine the main direction of the artist’s fine arts.

Problem : It is not always possible for any resident of our area or guest to find information about the life and work of A.N. Bargov. It is necessary to spend a lot of time searching for the necessary literature in libraries, leafing through newspaper files in the reading room, in order to get acquainted with the artistic work of our fellow countryman.

Development of the problem under study: Thematic interview with the artist’s mother (biography of the interlocutor as part of a specific period of history); study and analysis of literature; comparison method; studying paintings from family archives; viewing information from newspaper sources of the museum archive.

Key informants:

The artist’s mother is Bargova Nina Ivanovna, archives of the Central Regional Library, editorial office of the regional newspaper “Voskhod”.

1 Nature in the works of Russian artists
Our people owe their moral qualities, talent and creative power, among other reasons, to our nature. The power of her aesthetic perception is so great that, without her, we would not have such a brilliant Pushkin as he was. But not only Pushkin, but also Lermontov, Chekhov, and finally, there would not have been a galaxy of wonderful landscape artists: Savrasov, Levitan, Nesterov, Polenov and many others.
It is clear that admiring nature is a consequence of love for it, and love for native nature is one of the surest signs of love for one’s country, love for one’s small homeland.
The paintings are good because at any moment you can enter the familiar, but always somehow new world of our nature - you just have to cross the threshold of the frame. It’s hard to believe that even at the beginning of the 19th century, some critics considered landscape unnecessary, and they said about landscape artists and writers that they “hide in the landscape from reality” and thereby reveal themselves as enemies of direct perception and reflection of reality.
In the high flowering of Russian painting of the 19th century, landscape played an outstanding role. Images of nature created by Russian artists have enriched Russian and world culture.

Russian landscape painting of the 19th century developed in accordance with the general trends of artistic development and the evolution of other painting genres and went through two stages of its development in the 19th century, the time boundary between which is considered to be the 1850s.

In the first quarter, the landscape was gradually freed from the canons of classical painting. Nature began to be understood as a sphere of expression of purely personal feelings. Thus, the beginning of the romantic direction in Russian landscape painting was laid, within which it is also customary to distinguish 3 trends: painting of urban views, the Italian direction and the national Russian romantic landscape, which gave impetus to the development of realistic tendencies.

In the early 50s, a qualitatively new direction began to take shape - a realistic, national landscape. It should be noted that this movement was inextricably linked with the historical events of the second half of the 19th century; the peasant question worried everyone and did not leave landscape painters indifferent. Within this direction, nature has ceased to be used as an expression of one’s own feelings. Artists now sought to realistically reflect the reality around them, without exaggeration or distortion. It was in this direction that landscape painters such as Shishkin, Savrasov, Polenov, Kuindzhi and many other outstanding artists worked and created works of world artistic significance. In terms of the number of talented video painters, the 19th century is noticeably superior to others, and it is not without reason that it is usually called the “golden” age of Russian painting; it marks the heyday of Russian landscape.

It should be noted that the evolution and achievements of this painting genre did not remain aloof from the attention of the progressive public. The development of landscape painting and its achievements were constantly discussed in Russian society both by professional researchers and critics and by ordinary connoisseurs and lovers of this genre. And this is not accidental, since in the 19th century Russian landscape artists created outstanding works, without which Russian artistic culture would have been unthinkable, there would have been no experience on which subsequent generations of landscape painters relied and created no less magnificent creations.

The development of the rural landscape was started by Alexey Venetsianov (1780-1847), who is known to everyone as an unsurpassed master of the everyday genre. Life in the village gave the artist rich material and opened up a new world, the beauty and poetry of his native Russian nature. The landscape in Venetsianov’s paintings was no longer just a background, but played an active role in conveying the mood and solving the image.
Venetsianov himself combined views of fields and meadows in his paintings with images of peasant girls and children. These reapers and shepherdesses embodied in his paintings the poetic collective image of peasant Rus'. The landscape backgrounds of his paintings introduce the theme of nature into Russian painting as a sphere of application of the labor of human hands.

Already in the first half of the century, artists A.V. Tyranov and G.V. Soroka, who were direct students of Venetsianov, tried their hand at working on rural landscapes, in the artists’ native places. Their paintings, “not always perfect in skill, are distinguished by their extraordinary purity of perception of nature and sincerity of feeling.” Being the successors of the Venetian traditions, these landscape painters with their creativity represent a characteristic phenomenon in the realistic art of the 40s.
Isaac Levitan is the greatest of those Russian landscape painters who, in the 19th century, revealed to their contemporaries the modest beauty of Russian nature. Starting to work under the guidance of Savrasov and Polenov, Levitan soon left his teachers far behind, forever inscribing his name in the pantheon of Russian culture. For a long time it was believed that in Russia there was no nature capable of arousing admiration and becoming a theme for a serious work. Instead of nature there was only a gray, faceless mass, dreary and endless, like human grief.

Our fellow countryman, the artist Fedot Vasilievich Sychkov (1870-1958), a talented, original, artist and writer of the village, who stood at the origins of Mordovian professional fine art, also turned to the beauty of his native land. The artist’s cheerful, masterfully executed works, the heroes of which were his fellow countrymen, are a kind of chronicle of life in his native land.

His purpose in the art of F.V. Sychkov saw it as revealing the beauty and uniqueness of rural life, which he felt and understood more deeply than many other masters, since he came from this environment and never broke with it. “I dedicated my art to depicting the life of the Russian village,” the artist wrote.

1. Anatoly Bargov, childhood and youth

From the memoirs of the artist’s mother N.I. Bargova:

...The distant Ural city of Magnitogorsk. There, on July 22, 1955, little Tolya was born. But he spent his childhood and youth in the villages of Andreevka and Bolshoye Ignatovo, Bolsheignatovsky district of the Republic of Mordovia.

It was his love for art that brought him, after graduating from school, to the Ichalkovo Pedagogical School, which he graduated from in 1974. With warmth and love, he remembers good people from the pedagogical school - Evgenia Petrovna Kuznetsova, Mikhail Fedorovich Edelkin, Vasily Trofimovich Vildyakskin. After graduating from a pedagogical school, Anatoly Nikolaevich is engaged in teaching activities in schools No. 16 and No. 18 in the city of Saransk. In 1975-1977 he served in the Soviet Army.

In 1987 A.N. Bargov enters the Chuvash State Institute named after. I.Ya. Yakovleva to the Faculty of Art and Graphics, to the workshop of the People's Artist of Russia R.F. Fedorov. And again he meets kind people - Ravel Fedorovich Fedorov, Ananiy Aleksandrovich Flegentov - teachers of the institute. Since 1987, he has been a participant in republican, regional, all-Russian art exhibitions. A.N. Bargov is accepted as a member of the Union of Artists of Russia.

3 Main directions in painting

Anatoly Nikolaevich started as a landscape painter, created series"Seasons" , "Boldino Autumn"(1999), "Monasteries of Russia"(2000-2003).

Anatoly Bargov associates the most vivid impressions of his childhood with the legendary places of Boldin and its environs, because he spent it nearby, in the villages of Bolshoye Ignatovo and Andreevka, neighboring the Pushkin places. And he easily covered the ten kilometers separating them on a bicycle when he and his friends rushed to catch the Pushkin holiday.

In Bargov’s style, the idea of ​​the painting is slowly revealed.“The road to the estate of A.S. Pushkin”, a path snakes up the mountain, along which people have been walking to the poet’s estate for many years. And the main idea of ​​the triptych becomes clear - you need to go to Pushkin slowly, thinking, contemplating the beauty of the surrounding nature, remembering the lines of poems familiar from childhood... The artist leads us along the path, which, going up the mountain, in his next canvas"Pond.Bridge" descends into the famous park, crosses a bridge over a pond and leads to the very house of A.S. Pushkin.

4 Erzyan flavor in creativity

Currently, he is one of the few Russian artists of Mordovia who turns to everyday life painting. The master is actively developing a national theme, striving for an artistic and philosophical understanding of his native culture, asserting the need to revive, preserve and continue the folk traditions of the Mordovians. With optimistic images of multi-figure compositions with a clearly expressed choral, cathedral principle in them, he shows the true strength of the people in unity, in turning to the spiritual life of their ancestors, in respect for the ethnic archaism of the national costume, dance, song, custom and its modern existence (“Shumbrat, festival !”, 2007; “Sunday Afternoon”, 2009.)

The national theme is revealed by the artist under the sign of a festive perception of existence, characteristic of the national worldview. The works are distinguished by their bright decorativeness and carry a charge of energy, expressed by a temperamental manner of painting. For a series of works on a national theme, A.N. Bargov was awarded the honorary title of laureate of the Prize of the Head of the Republic of Mordovia. The work of the landscape painter A. Bargov captivates with its sincerity precisely because he writes only what he knows well, what he loves and considers his own. The main theme of his landscapes is his native land. And although the artist himself was born in the Urals, his whole life is connected with Mordovia, with the land of his ancestors, who lived on it for centuries, sowed grain, raised children, and when they died, went into it, so that later, exploding with life, they would return to this world again .

...In a huge green meadow on a summer afternoon, an old Mordovian song sounds beautifully. A round dance flows like an endless ribbon around the high mound. These Erzyans from all over Russia came to the sacred clearing for them between the Mordovian settlements of Selishchi and Chukaly. The centuries-old custom of the ancient people, forgotten during the Soviet hard times, of getting together and solving pressing problems with the whole world is returning to us again, the national identity of the small peoples of Russia is being revived, people want to know their culture, history, and customs. And an endless stream of people reached out to the sacred mound in order, as of old, to bring to it a handful of earth from all corners of the country, from beyond its borders, where the Erzyan descendants of those who prayed here for centuries, trusting their troubles to the merciful gods, asking them to intercession, thanks for your help.

And, as then, a candle burns on the top of an ancient hill, giving hope to everyone who believes, to everyone who is able to feel the deepest meaning of the action taking place, becoming a participant in it. This custom is beautiful and poetic, and how can an artist resist the desire to tell the whole world about it?

The artist in his triptych"Erzyan Ozks" (Erzyan Holiday) managed not only to subtly sense the truly folk character of the holiday, but also to find the most convincing artistic means for its expression.

The artist paints the May greenery of the grove bright and juicy,"Spring" , and the forest in late autumn has ghostly silvery colors. The painter does not like harsh lighting and bright colors, rightly believing that they bring confusion to the structure of nature.

Winter freshness, on the contrary, is invigorating, and his winter landscapes are dominated by a clear pattern of branches, graphic clarity of the outlines of objects on a frosty day, and often a feeling of thaw, emphasized by a warm color. It is in the images of winter nature that A. Bargov especially manages to convey the national flavor. For example, in"Winter on Sura" the mood is determined by the melancholy motif of the road, so familiar and beloved in Russian classics, intensified by the small figure of a traveler riding on a sleigh, and the horizontal format of the canvas sets off the leisurely narrative nature of the story.

The themes of the landscapes of “pure” nature created by Anatoly Bargov are diverse; he does not give preference to any one time of year.

Yes, revealing a unique charm in each one. The painter senses with amazing subtlety the internal connection between the state of nature and man. It’s uncomfortable and sad in late autumn, but spring is a powerful surge of strength and energy. The artist associates summer with the sun-warmed trunks of pine trees on the sandy shore, emitting a fragrant aroma, mixing with the smell of the river; summer is the brightly blooming front gardens of village houses, the rich flashes of sunsets...

A river or lake is invariably present in almost all of the artist’s paintings. Water “attracts” his attention, its mirror-like surface creates an additional pictorial effect - the shore and sky are reflected in it, but, living on the canvas according to its own laws, it, nevertheless, is always organically included by the author in the surrounding landscape.

The painter's favorite rivers: Sura, Alatyr, Sivin. They flow through the Mordovian land, giving it a peculiar charm. We see these rivers in such paintings as"Awakening. Xiwin"(1998), "Spring. Ice drift on the Alatyr River"(1997), “Summer Sura” (1998).Restless Sura disturbs the world around her, drawing it into her whirlpool. “Stormy, strong”, it is precisely this that corresponds to the artist’s temperament - active, active.

Sivini has a completely different character - calm and shallow, she attracts with her discreet beauty and serene silence. And the painter draws attention first to an old dry tree on the shore, then to a lush flowering bush, then to a cliff overgrown with thick grass. For him, Si-vin, lost among fields and meadows, is “a spicy and fragrant river,” like a young girl.

In different years of his creative life, A.N. Bargov also painted still-

morts. They are distinguished by the artist’s sense of admiration for the beauty of the world in bouquets of elegant flowers -(“Flowers” ​​2009) , fragrant bunches of lilacs(“Lilac” 1993), lush peonies (“Peonies” 2000) . These paintings reveal a special festive feeling of life. Often the “main characters” of his still lifes are beautifully painted objects and details of the Mordovian national costume and folk life.(“Still life with a candle”

1987 ) .

He sees beauty and expresses with his line what he wants - his hand is under his control. The hand is strong and beautiful. And when he holds a brush, and when he holds the steering wheel of a car, and when he lifts a child.

In his studio, as a relic, there is a portrait of his grandmother, the late Anastasia Fedorovna Mamaeva, who long ago posed for two students of the pedagogical school: her grandson and his friend Vita Vechkanov, who became a famous artist, but died early. Bargov does not paint other portraits. He is restrained by natural caution and tact. After all, in a portrait, a real painter reflects not only external features, but also the character, the inner state of a person, which not everyone dares to admit...

In recent years, architecture has begun to actively enter A. Bargov’s landscapes. In search of a variety of subjects, he gradually moves away from the image of “pure” nature and strives to give it the effect of the presence of a person who created “man-made” beauty. At the same time, the painter is only interested in what does not compete with nature, organically combines with its beauty, emphasizes its advantages and, in turn, forms a single whole with it. Such qualities, according to A.N. Bargov, are possessed only by the architecture of ancient cathedrals and churches, which is brilliant in its simplicity and grace. And he, carried away by the new topic, creates a number of interesting landscapes

zhey, dedicated to local monasteries: Narovchatsky, Sanaksarsky and Makarovsky.

In the picture "Norovchatsky Convent"The green color is especially active, perfectly conveying the cool freshness of a May morning, this feeling is enhanced by the contrast with the large dark spot of a plowed field in the foreground, patiently waiting for its worker, and the beautiful and chiseled silhouette of the cathedral and bell tower in the distance.

The artist creates a major mood of awakening nature and in"Sa-Naxar Monastery", seen by him in early spring during the Moksha flood.

On canvas "Makarovsky Pogost"a bright spot of early greenery combines effectively with the nobility of ocher, emphasizing the high spirits that you involuntarily experience when contemplating the picture of awakening nature. In the background, the artist depicted many roads - from all sides they lead travelers to the temple standing on a hillock. And what unites all these architectural landscapes is the strip of pond in the foreground so beloved by the painter. It seems to separate the viewer from the fabulous images appearing on the far shore, beckoning and at the same time blocking the path to them - so beautiful and inaccessibly ghostly, like the epic image of the city of Kitezh. How easily and gracefully the painter’s brush inscribes the lines of cathedrals into the sky, how mysteriously they are reflected in the mirror of the river!

The artist Anatoly Bargov managed to create in his canvases a poetic image of the landscape of his native Mordovian land, inextricably linked with the history and culture of great Russia. But no matter how wide and varied the thematic range of the landscape painter’s work, his main idea is that for him nature is the temple in which the painter says his prayer every day.

5 Community service

A lot of strength and energy A.N. Bargov devotes himself to social work. Since 2002, he has been chairman of the board of the Union of Artists of the Republic of Mordovia. Under his leadership, the Union is actively engaged in exhibition activities at the level of the republic, region and Russia, organizes large art forums in Mordovia (Regional art exhibition “Big Volga. Art of the Volga Republics”, Saransk, 2004, International art exhibition “Yalgat”, as part of the Finnish festival -Ugric cultures “Shumbrat, Finno-Ugria!”, Saransk, 2007), works closely with the Unions of Artists of neighboring republics and regions, supports the emergence of new artistic groups (the Artoma group and the youth creative association “Siyazh-Art”), promotes the development a new direction of professional artistic activity - design, revives the practice of summer plein airs. Since 2004 A.N. Bargov works at Moscow State University named after N.P. Ogareva, as a professor at the Department of Traditional Mordovian Folk Culture and Contemporary Art of Mordovia at the Institute of National Culture, teaches painting to students of the specialty “Decorative and Applied Arts,” instilling in them the best traditions of Russian realistic art.

2012 was a significant year for the artist; Anatoly Nikolaevich fulfilled his long-time dream - an exhibition of his works was held in the regions of Mordovia, including in his native Bolsheignatovsky district. I was also lucky enough to be present at the opening. It was very interesting to see the artist “Live”, to listen to his memories of childhood, stories of people who knew the famous artist as a child.

Conclusion

...The word “painting” has two roots - “living” and “writing”. The great wisdom of the Russian language was manifested in this case as well. A painting painted by a true master is truly like a window into living life, a moment left by the artist’s hand.

The more talented the master, the brighter the painting or drawing he creates. It’s as if we are looking at the world through his eyes. Looking at the paintings of Anatoly Bargov, your soul calms down and a bright joy visits you, which is what everyone misses in the turmoil of days.

Who knows, maybe someday Anatoly Bargov will turn to another genre. In the meantime, he writes his native nature, whose splendor - in the snow, and in the lush greenery, and in the sparkle of water, and in the gold of autumn - is everlasting.

We, Ignatians, are proud of our fellow countryman - the Honored Artist of the Republic of Mordovia, painter, teacher and simply a wonderful person.

Literature

1 Bolshoye Ignatovo. The history of the Ignatovsky land, captured in archaeological finds, historical documents, memoirs, reasoning of its natives: Essays / T. Bargova, Saransk: Mordov. book publishing house, 2000, -224 p.: page 108.

Goals and objectives of the work Goal of the work: to determine whether graphic art is truly a form of art or still refers to simple hooliganism? Objectives: Study the history of graphics. Identify the features of graphics as a direction of fine art. Find out people's attitude towards graphics.

History of the emergence of graphics Graffiti - used graffiti (in the context of historical inscriptions, singular graphito; from Italian graffito, plural graffiti) images, drawings or inscriptions scratched, written or drawn with paint or ink on walls and other surfaces. Italian. Graphics can include any type of street wall painting, on which you can find everything: from simple written words to exquisite drawings.

Graffiti in the ancient world Wall inscriptions have been known since ancient times, they were discovered in the countries of the Ancient East, in Greece, in Rome (Pompeii, Roman catacombs. The meaning of this word over time began to mean any graphics applied to the surface. Graffiti in ancient Pompeii: a caricature of official Graffiti in Ancient Rome were the social networks of the time.

Medieval graphites in Rus' The Eastern Slavs have a long and rich history of graphites. In Novgorod, 10 graphits of the 11th century have been preserved. A large number of 19th-century graphics are available in the Cathedral of St. Sofia in Kyiv, they contain both drawings and (usually) text. For the most part, ancient Russian graphs are writings on the walls of churches, so their most common content is prayer requests to God or saints, but there are also humorous texts and folk spells. Inscription-graphics in the St. Sophia Cathedral in Novgorod (XII-XIII centuries) Graffiti of St. Sophia of Kyiv.

Graffiti in the Renaissance by Michelangelo Buanarota. A great artist in every sense! When Renaissance artists such as Pinturicchio, Raphael, Michelangelo descended into the ruins of Nero's Golden House, they carved or painted their names and upon returning from there began to use grotesque style in their works.

Features of graphics as a form of fine art. Graffiti is a form of street art that is one of the most current forms of artistic expression around the world. Many countries and cities have their own famous writers (people involved in graphic arts) who create real masterpieces on the streets of the city. Writers' Code: 1) do not paint houses of cultural value, and do not paint on residential buildings at all; 2) do not impose your worldview on people; 3) do not write in the names of other writers, especially on other people’s works; 4) do not write on tombstones: painting memorial walls is death!

“Trow-up” graphic styles are drawn very quickly, in 2-3 colors, sacrificing quality for speed. “Piece” (“piece”, “masterpiece”) is a more complex rendition of the rater’s name, which includes more stylized letters and more colors. “Blockbuster” or “roller” are huge pieces, usually made in a simple printing manner for the purpose of covering a large surface area using two contrasting colors. The “wildstyle” style is a more complex type of graphics. The name of the style comes from the wild, explosive, incomprehensible nature of the design, since often the letters are so intertwined and so many extraneous elements are introduced that readability practically disappears.

The influence of graphics on the life of society. Vandalism is “the senseless destruction of cultural and material values.” Reasons for creating graphics: - affirmation of personal and group identity; - protest against social and cultural norms; - angry reactions; - spools of creativity; - sexual reels; - entertaining reels.

Conclusion Graffiti is the freest of means of self-expression. Any artist strives not only for self-expression, but also for recognition and fame. Drawings on the walls are no longer equated with hooliganism. And of course, this cannot be called vandalism. Perhaps an abusive inscription on a wall can be called vandalism, but not every inscription on a wall is graffiti! Thank you for your attention!

This section includes project topics for MCC(world artistic culture), not included in the lists of topics for grades 7, 8, 9, 10 and 11.
The page asks you to select interesting research topics on MCC, which examines the architecture, painting and sculpture of the Ancient East, Egypt, Europe and Russia.

We distributed research topics on world artistic culture by class, below you can go and view topics on MHC for grades 7-11.

Topics for research papers on culture are also offered to introduce museums in different countries of the world.

Among the topics of project work on MHC, you can choose an interesting project topic for students in any grade of the school. Topics cover the culture of almost all known civilizations of the world.

Research topics on MCC (general)

Interesting topics of MHC projects for school students:

Project topics for MCC (continued)

Interesting research topics on MHC for students: