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SYNTHESIS OF EASTERN AND ANCIENT TRADITIONS IN HELLENISM GIANTISM OF ARCHITECTURAL FORMS. EXPRESSION AND NATURALISM OF SCULPTURE DECOR Sleeping hermaphrodite. Venus of Melos Altar of Zeus in Pergamon

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HELLENISM - the final stage in the development of ancient Greek culture. The art of Hellenism (I-III centuries BC) was formed on the territory that was part of the huge empire of Alexander the Great, and represented a symbiosis of the Greek order and eastern artistic traditions. Cultural centers of the Hellenistic world: - Alexandria in Egypt, - Antioch in Syria, - Pergamon in Asia Minor, - Rhodes Island in Greece. Hellenistic art, despite its fragmentation, is united by a common aesthetic ideal - extreme individualism. The key myth of the era is the myth of Narcissus. Hellenistic states in the 3rd century. BC.

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The Myth of Narcissus The beautiful young man Narcissus did not love anyone and did not reciprocate anyone. The goddess of justice Nemesis, to whom there were pleas to punish the proud man, heeded them. One day, seeing his reflection in a stream, Narcissus fell in love with it and, unable to communicate with the object of his love, died of melancholy on the shore. In this place grew a flower of the same cold and lifeless beauty - a delicate and strong-smelling narcissus. Salvador Dali Metamorphoses of Narcissus 1937 Karl Bryullov Narcissus looking into the water 1819

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Hellenistic architecture. Corinthian order The East's love for decorativeness, pomp and ornamentation is clearly reflected in architecture. The Corinthian order began to be used. The proportions of the Corinthian order repeat the Ionic ones, but with a higher capital, reminiscent of a bunch of flowers with volute-stamens, intercepted from below by a belt. The order was like a painful fantasy, but a fantasy of grace and taste. The decoration of the order consisted of various types of colored marble, since the picturesque play of chiaroscuro on marble of the same color began to seem insufficient. The proportionality, harmony and calm, strong-willed purposefulness of the classics were replaced by decorativeness, emotional tension and pathos.

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“Oriental bliss” in sculpture The subject of the image is not something obscene. The sculptor depicted the son of Hermes and Aphrodite, who united with the nymph Salmacis, took her forms, but became a dual male creature, but with the breasts and forms of a woman. The sculptor found a theme that expressed the Greek style: relaxed nudity, the effect of surprise and theatricality were united centuries later in the art of the Italian Baroque. Strict classical beauty was replaced by grace; a simple, precise gesture - a voluptuous lazy movement; the image of an athlete warrior is a hermaphrodite. Sleeping Hermaphrodite Rome, National Roman Museum

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Altar of Zeus in Pergamon The disharmony of the soul of the Hellenistic man, his desire to bring everything to the point of passion - fear to horror, strength to the point of rudeness - determined the appearance of such a tragic, heartbreaking work as the relief of the altar of Zeus on the acropolis in Pergamum (Second century BC .) The battle of the Olympian gods with the mortal giants, born of the earth-Gaia from the blood of the castrated sky-Uranus and who had snake tails instead of legs, could end successfully if a hero came out on the side of the gods, which happened thanks to the intervention of Hercules. The Pergamon school, as well as all Greek sculpture of the Hellenistic era, is characterized by the depiction of acute feelings - dying and pain, horror and despair - and spectacular poses. The plastic arts of Hellenism used techniques that make one almost physically feel suffering and death, in contrast to the harmony and tranquility of the classical reliefs of the Parthenon. Altar of Zeus in Pergamon Reconstruction

>> Synthesis of eastern and ancient traditions in Hellenism. Sleeping hermaphrodite. Venus of Melos. Gigantism of architectural forms. Expression and naturalism of sculptural decoration. Altar of Zeus in Pergamon

SYNTHESIS OF EASTERN AND ANCIENT TRADITIONS IN HELLENISM.
Sleeping hermaphrodite. Venus of Melos

GIANTISM OF ARCHITECTURAL FORMS. EXPRESSION AND NATURALISM OF SCULPTURE DECOR

Altar of 3evsa in Pergamon

The final stage in the development of ancient Greek culture is Hellenism (Greek nellenes - to become like the Hellenes). The art of Hellenism was formed on the territory that was part of the huge empire of Alexander the Great, and represents a kind of symbiosis of the Greek order and eastern artistic traditions. The cultural centers of the Hellenistic world were Alexandria in Egypt, Antioch in Syria, Pergamum in Asia Minor, and the island of Rhodes in Greece. The art of Hellenism, while not being integral, is united by a common aesthetic ideal - extreme individualism. This is probably why the key myth of the era became the myth of Narcissus.

The beautiful young man Narcissus did not love anyone and did not reciprocate anyone. The goddess of justice Nemesis, to whom there were pleas to punish the proud man, heeded them. One day, seeing his reflection in a stream. Narcissus fell in love with him and, unable to communicate with the object of his love, died of melancholy on the shore. In this place grew a flower of the same cold and lifeless beauty - a delicate and strong-smelling narcissus.

Myth in artistic forms reflected a new aesthetics: proportionality, harmony and calm, strong-willed purposefulness of the classics replaced decorativeness, emotional tension and pathos.

The East's love for decorativeness, pomp and ornamentation was reflected primarily in Hellenistic architecture. In the construction of public buildings, the Corinthian order was used, creating an extremely elegant, but somewhat pretentious and far from harmonious clarity image. The proportions of the Corinthian order repeat the Ionic ones, but with a higher capital, reminiscent of a bunch of flowers with volute-stamens, intercepted from below by a belt*. The Corinthian capital initially pursued purely decorative purposes, so the function of support in it is completely disguised by luxurious leaves, which cannot serve as a support for anything.

The building was given an incredibly pompous, lush appearance by the so-called Great Corinthian order, in which the columns are equal in height to two floors of the building, reaching almost 18 m. The new order was like a painful fantasy, but a fantasy of grace and taste. It was aggravated by the decoration of various types of colored marble, since the picturesque play of chiaroscuro on marble of the same color began to seem insufficiently decorative. Bronze served the same purpose, which was used in abundance to decorate the bases of columns, capitals and frieze details. In Alexandria, for example, this is how the Museum was built - a habitat for muses 11 which became the largest scientific center in the entire Mediterranean with a huge library, halls where works of art were exhibited and learned men gathered.

A passion for picturesque architectural form inevitably entailed the predominance of “oriental bliss” in sculpture. The search for a “gentle form” led to the ideal merging in one figure of the forms of a youthful body and the elastic forms of an innocent girl, which resulted in the sculpture of the Hermaphrodite Capricorn (11th century BC). Strict classical beauty was replaced by grace; a simple, measured gesture - a voluptuous lazy movement; the image of an athlete-warrior is a hermaphrodite. The naked beauty of a woman became an end in itself, giving rise to an incredible number of statues of the goddess.

* According to legend, the Corinthian master Callimachus, passing by the cemetery. I saw on the tomb a forgotten basket entwined with young shoots of acanthus. Admired by the novelty of the look and form, the master made several columns for the Corinthians based on the beauty of Aphrodite (Venus), giving birth, bathing, and performing her morning toilet, as a model and determined their proportionality.

In the image of the Venus of Melos (11th century BC), whose torso is unusually, divinely beautiful, features characteristic of Hellenistic aesthetics are revealed: a small head with elongated proportions, delicate plasticity of the body, flowing draperies of the bedspread. Everything is graceful, soft, balanced.
But along with this interpretation of the image, there was another one. The disharmony of the soul of the Hellenistic man, his desire to bring everything to the point of passion - fear to horror, strength to rudeness - determined the appearance of such a tragic, heartbreaking work as the relief of the altar of 3eus on the acropolis in Pergamon (11th century BC).

The now reconstructed altar is a gigantic platform for sacrifices, raised on a four-stage stereobat. A wide staircase is cut into it in the center, giving the entire structure a U-shape. The upper platform, 26 m wide, is decorated along the perimeter with Ionic columns. The outer side of the platform is also surrounded by a frieze along the perimeter, bending onto the internal planes facing the stairs. A specific historical event is the battle of the Pergamon king Attalus 1 with the Galatian barbarians at the end of the 111th century. BC e. – the creators of the altar depicted in an allegorical form the struggle of the Olympian gods with the giants.

The battle of the Olympian gods with the mortal giants, born of the earth-gaia from the blood of the castrated sky-Uranus and who had snake tails instead of legs, could end successfully only if a hero came out on the side of the gods, which happened thanks to the intervention of Hercules.

The frieze is made in high relief, and the steps to the altar serve as support for the stone participants in the furious battle. The depiction of Athena’s fight with the winged giant Enceladus, whom the goddess has already brought to her feet, is filled with drama and expression. Nika rushes towards her on open wings in order to crown the flax of her curls with a victorious wreath. The sacred snake of the goddess Erichthonius stings the giant’s chest, and he, with a face distorted in pain and suffering, vainly strains his muscles in a last attempt to rise on his serpentine limbs and fly away. Gaia emerges from the bowels of the earth, bare-haired, tragically wringing her hands, grieving over the death of her sons.

The Pergamon school, as well as all Greek sculpture of the Hellenistic era, is characterized by the depiction of acute feelings - dying and pain, horror and despair - and spectacular poses. Let us remember that the harmony and tranquility of the classical reliefs of the Parthenon was achieved by a precise and simple line. In the plastic arts of Hellenism, which makes one almost physically feel suffering and death, completely different techniques were used. This includes the arrangement of the heads of the gods at the top and the giants at the bottom, creating a nervous broken line of the frieze. This is a complex turn of the bodies, conveying either the aggressive onslaught of the gods or the pathos of the thrown back heads and torsos of the giants. This is the whimsical drapery of clothes, scattering as if from gusts of wind. These include sharp contrasts of light and shadow, which increase anxiety. This includes the gigantic scale of the figures, overwhelming and depressing the viewer.

Questions and tasks
1. What features are characteristic of Hellenistic art? What is the reason for the appearance of two faces of beauty in Hellenistic plastic art?
2. What painting techniques did Hellenistic sculptors use to convey drama and expression? To answer, use the illustrations from task No. 8 in the workbook.

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The beautiful, welcoming nature and clear, calm worldview of the Greeks gave birth to equally beautiful and clear art. The scale of the surrounding world determined the Hellenes’ commitment to the proportionality of volumes and shapes. This found expression in the pure forms and precise lines of Greek architecture and sculpture. The principles of classical art as understood by the ancient Greeks were realism, rationalism, simplicity and beauty. They perceived any deviation from nature as a disregard for the ideals of art.

It is not surprising that it was the Greek ideal that was adopted by a variety of peoples and became a model for the cultural development of the entire Mediterranean enclave. The Greek colonies on the Apennine Peninsula also contributed to the penetration of architectural techniques into the Etruscan culture. The influence of Ancient Greece on the culture of the Etruscans and Ancient Rome, which subjugated it in the 2nd century, was great. BC e. The artistic culture of Egypt, Syria, the regions of Asia Minor, the Balkan Peninsula, where Greek art became known as a result of the aggressive campaigns of Alexander the Great, acquired a perfect example, the creative development of which provided a breakthrough to Hellenism. It was in the Hellenistic version that Greek culture became the forerunner of the refined Byzantine culture. The great era of the European Renaissance was guided by the Greek model, and the aesthetics of European absolutism in the 15th century. relied on the rational and constructive artistic thinking of the Greeks, which manifested itself in the architecture, painting, sculpture and theater of French classicism.

Emokhonova L. G., World artistic culture: textbook for grade 10: secondary (complete) general education (basic level) - M.: Publishing Center "Academy", 2008.

Collection of art lesson notes download, calendar and thematic planning, textbooks on all subjects online

Alexander's campaigns marked the beginning of a new Hellenistic era. The Greek and ancient Eastern worlds, which had previously developed separately, became a single power, and a synthesis of ancient and Middle Eastern civilizations arose. After lasting about 300 years, this period ended with the Roman conquest of the last Hellenistic kingdom, Egypt, in 30 BC.

Hellenism, having united Greek and Eastern principles, became a completely new cultural phenomenon: in some places ancient features dominated, and in others oriental ones. Many Persian and Egyptian cults gained popularity in Greece, merging with the old ancient gods. Buddha statues from Gandhara (Northern India) combine Greek influence and Indian traditions.

The culture of Hellenism is characterized by two most important points: firstly, the widest spread of Greek culture throughout all areas of the Hellenistic world, as a result of which the peoples and tribes inhabiting the vast territory of the Hellenistic world were introduced to the best achievements of classical Greece in the field of science, literature and fine arts. world - from Sicily in the west to Central Asia and India in the east, from the Bosporan kingdom in the Northern Black Sea region to Nubia in equatorial Africa.

The second most important point is the combination of elements of Greek culture with local, mainly Eastern cultural traditions. On the basis of processed Hellenic and ancient local elements, a number of peoples that were part of the Hellenistic states created their own culture, merging these elements in a unique new quality.

Hellenistic art proper is the art of mainland Greece and the adjacent islands of the Aegean archipelago, Asia Minor (mainly the Kingdom of Pergamon), Rhodes, Syria (the western part of the Seleucid state) and Egypt, that is, those regions and states of the Hellenistic world in whose art there are Greek traditions , reworked in accordance with new social ideas, received predominant importance.

While there are undoubted and very significant features of commonality, the art of each of these areas is also marked by features of originality. This originality was determined by the peculiarities of the economic, political and cultural development of each state, as well as the significance of the local artistic tradition. Thus, in Hellenistic Greece, the preservation of the social and artistic traditions of the classical era determined a closer connection between art and classical models than anywhere else. To a much lesser extent, this connection is felt in the artistic monuments of Pergamon and Rhodes - here the signs of Hellenistic art as a new stage in the history of art received their most clear expression. In the art of Hellenistic Egypt, features of syncretism (fusion) of Greek art forms with the local artistic tradition are more noticeable than in any of the named states.

The process of formation of individual local art schools took place in the presence of very close cultural ties between them, which was facilitated, for example, by the frequent movements of artists from one state to another. The similarity of social conditions, combined with artistic connections, was the reason that, for all its complexity and versatility, the culture of the Hellenistic world was marked by features of integrity, since it reflected the specific features of a certain period in the development of ancient society.

In general, Hellenistic art is divided into two main stages. Time from the end of the 4th century. before the beginning of the 2nd century. BC. constitutes the early period of Hellenistic art, when it experienced its greatest flowering and progressive artistic tendencies received their deepest expression.

2nd - 1st centuries BC, the time of a new crisis of slave society and its culture, constitute the late period of Hellenistic art, already marked by features of obvious decline.

Exercise:
Make up questions for the text.
Send by letter with an attachment to an address known to you.

Hellenism is a period in the history of the ancient states of the Mediterranean region, the beginning of which is considered to be the conquests of Alexander the Great, and the end - the fall of Egypt and the complete establishment of the dominance of the states of Ancient Rome

(around 30 AD).

The main feature of Hellenism

The main feature of Hellenism is considered to be the global spread of the Greek language and way of life in the territories conquered by Alexander the Great, as well as the mutual penetration and mutual influence of two great ancient cultures - Persian and Greek.

The Hellenistic era was characterized by a desire for monumentality. Huge statues are created, a typical example is the Colossus of Rhodes, a figure of the god Helios 32 meters high.

Nike of Samothrace ( 190 BC uh.)

Hellenistic art does not represent a single whole. During this period, there were independent art schools in Alexandria, Pergamon, Greece, on the island of Rhodes, and in the cities of Syria. The best works of Hellenic sculptors reflect the most exciting problems of the era with great completeness and artistic persuasiveness.

SLEEPING HERMAPHRODITE

Hermaphrodite is the son of Hermes and Aphrodite, a young man of extraordinary beauty, raised by naiads on Mount Ida in Phrygia.

AGESANDER

Together with his sons he sculpted the statue of Laocoon. The statue was found in 1488 in the Baths of Titus on the Esquiline in Rome, now in the Vatican Museum in Rome.

VENUS OF MILO

The famous sculpture, made of marble (c. 130–120 BC), dates back to the Hellenistic period in the art of Ancient Greece.

A common subject of ancient plastic art was Gigantomania.

It was built around 180 BC. e. on the acropolis of Pergamum, the capital of a small Hellenistic state in Asia Minor.

Pergamon Altar

The synthesis of eastern and ancient traditions, the use of highly emotional, dramatic plots are undoubted evidence of the influence that the political events that accompanied the decline and death of the Hellenistic states had on the spiritual life of the Greek world.

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Synthesis of eastern and ancient traditions in Hellenism The presentation was prepared by Bekasova I.A., teacher of fine arts and art at MBOU Secondary School No. 1, Chekhov, Moscow region.

Hellenism - (Greek Hellenes - to be likened to the Hellenes) a period in the history of the countries of the Eastern Mediterranean from the time of the campaigns of Alexander the Great (334-323 BC) until the conquest of these countries by Rome, which ended in 30 BC. e. subjugation of Egypt Hellenism is the final stage in the development of ancient Greek culture. The art of Hellenism is a kind of symbiosis of the Greek order and Eastern traditions. Characteristic features are decorativeness, emotional tension, and pathos.

Bronze statue of Alexander the Great. Roman copy from a Greek original from Herculaneum. Naples. Archaeological Museum. 330-320 BC.

Hellenistic Temple of the Sun (1st century) in Garni in the territory of modern Armenia. Hellenism During the construction of public buildings, the Great Corinthian order was used, in which the columns are equal in height to two floors of the building, reaching almost 18 m.

The Altar of Zeus in Pergamon is a memorial monument erected in the 2nd century. BC(?) in honor of the victory won by the Pergamon king over the barbarian Gauls.

Frieze of the altar of Zeus in Pergamon. II century BC. frieze of the Pergamon altar of Zeus. The struggle between gods and giants, depicted on the frieze, was supposed to recall the victory won by Pergamum over the barbarian Gauls. The relief shows huge snakes and predatory animals taking part in the battle. The rustle of wide-open wings, the rustle of snake bodies, the ringing of swords and shields create the sound accompaniment of the battle. The masters use high relief forms, showing some figures in almost circular sculpture: the sculptor’s chisel and drill cut deeply into the thickness of the marble, outlining the heavy folds of clothing. The relief acquires the contrast of illuminated and shaded surfaces. Black and white effects enhance the impression of battle tension, the sense of tragedy of the doomed giants and the delight of the victors. Episodes of struggle, Spanish. The struggle between gods and giants, depicted on the frieze, was supposed to recall the victory won by Pergamum over the barbarian Gauls. The relief shows huge snakes and predatory animals taking part in the battle. The masters use high relief forms, showing some figures in almost circular sculpture: the sculptor’s chisel and drill cut deeply into the thickness of the marble, outlining the heavy folds of clothing. The relief acquires the contrast of illuminated and shaded surfaces. Black and white effects enhance the impression of battle tension, the sense of tragedy of the doomed giants and the delight of the victors.

Three Moirai deal mortal blows to Agria and Foant with their bronze maces.

“Battle of Athena with Alcyoneus”

Laocoon. Rhodes and its sculptors Agesander, Polydorus and Athenodorus. Marble. Beginning 3rd century BC.

Statue of Aphrodite from the island of Melos (Milos) or Venus de Milo. 2nd century BC. White marble. It is believed that its creator is the sculptor Agesander or Alexandros of Antioch. The sculpture represents a type of Aphrodite of Cnidus (Venus the bashful): a goddess holding a fallen robe with her hand. It was found in 1820 on the island. Melos (Milos) in Southern Greece, one of the Cyclades islands of the Aegean Sea by peasant Yorgos Kentrotas while working in the soil. Her hands were lost after the discovery, during a conflict between the French, who wanted to take her to their country, and the Turks (owners of the island), who had the same intention. Venus of Melos

Nike of Samothrace 3rd century. BC. It stood in the form of a victory monument on the island of Samothrace. It seems to take off from a pedestal shaped like the bow of a ship.

Sources Thank you for your attention http://works.tarefer.ru/42/100420/index.html http://iskusstvu.ru/electronnoe_uchebnoe_posobie/3_1_2_Iskusstvo_Drevnej_Grecii_Jellinizm.html http://www.google.ru/imgres?hl=ru&newwindow= 1&sa=X&tbo=d&biw=1228&bih=879&tbm=isch&tbnid=xzP0c7yTacXnFM:&imgrefu

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