Yu and Maltovnikov world artistic culture. to the work program

Back in the 60s. last century, composer D. B. Kabalevsky, artist B. M. Nemensky and historian L. M. Predtechenskaya began work to update the content of humanitarian education, thanks to which, along with classical subjects in the educational field “Art” - “Music”, “Fine Arts” and artistic work" has taken a strong and quite stable place in the educational space of secondary schools academic subject"World art culture».

Development of information technologies (computerization) in beginning of XXI V. showed that “information about the fact” has become quite accessible and easily obtained. However, simply memorizing a fact does not create the educational competence of students, does not instill in them the need for continuous self-education, and does not form the ability for independent creative and constructive activity. According to the modern concept of modernization of school education it is necessary to eliminate the overload of the subject, placing emphasis on independent work. When applied to the academic subject “World Artistic Culture,” this means that the artifact presented on the pages of the textbook is just a reason for independent analysis and reflection. The modern concept of school education, adopted by the Ministry of Defense of the Russian Federation at the beginning of the 21st century, considers the academic subject “World Artistic Culture” as an independent and independent subject, which not only generalizes the knowledge acquired in music, fine arts and literature lessons in primary and secondary (incomplete) school, but also creates a holistic picture of the world on their basis. To reach such high level and become an instrument for the formation of a “thinking worldview” (A. Schweitzer), it was necessary to find a methodological approach that would make the educational subject “World Artistic Culture” a truly new, developing and independent subject.

When studying world artistic culture, it is not so much the fact itself that is important, but the person who objectified himself in this fact. That is why the content of the programs of the educational subject “World Art Culture”, textbooks and the methodology of the subject created by the author develop this position, enshrined in the formulation "Man in world artistic culture." The main thesis, constantly defended by the author in any part of the educational and methodological set, be it programs or textbooks, or even teaching aids, is formulated as follows: world artistic culture is a specific form of knowledge, the results of which are recorded in works of art or artifacts created by human hands. In this case, “world artistic culture” appears as the history of a person in world artistic culture, who objectified his “I” in the artistic values ​​he created.

The author called this new theoretical and methodological principle, which unites all artistic models of the universe into a single whole the principle of two worlds, which will allow us to more accurately indicate a person’s place in the system of value relations with the reality around him. This principle is also important because the “knowledge of the world” carried out by a person in specific form, is not a scientific problem at all, but a value-based, axiological problem, the problem of the struggle not only between man and the world, but also the struggle within man himself, for only the internal, deep foundations of his essence, realized in external activity, determine his own human qualities and qualities of the world around him. The artistic model of the universe is the world in which man himself is located. Remembering the existence of a single principle of dual worlds, we should once again trace through the prism of world artistic culture history of spiritual development of society with all the contradictions and doubts inherent in human knowledge.

Before we begin to present the main provisions of the principle of duality, it is obviously worth remembering that even the sophists of antiquity well understood that only man could be the “measure of all things.” According to A. Bonnard, we don’t know the sophists well. And this is confirmed by the fact that the famous position of Protagoras, as a rule, is quoted only in part, giving preference to the beginning. It reads in full like this: “Man is the measure of all things that exist in that they exist, and that do not exist in that they do not exist.” The first part of his sophism, thanks to the positive meaning affirming humanism, separated from its doubtful, and after it denial, continuation and turned into a formula that became universal. Numerous commentators on the surviving passage agree that the philosopher called the criterion “measure,” and by “things” he meant “what is done,” and, therefore, the famous aphorism should be understood to mean that “man is the criterion of all things.” Much later, already at the very beginning of the 20th century, Academician V.I. Vernadsky will say: “A thinking person is the measure of everything.” Following the principle of reversibility, or the principle of feedback, we can assume that the quality of things, phenomena or even systems created by a person, for example artistic ones, can also serve as a measure, but a measure of the person himself. And therefore the study of things and phenomena, in in this case works of art created by man are a study of man himself.

And if this is so, and if by deeds we mean not only the creations of human hands, but also his moral actions, That Human as a measure most suitable for that sphere of activity where it is not the things and phenomena surrounding him, but he himself, as an object correlated with these things, and as the subject of these phenomena, becomes the main subject of knowledge.

Thus, it is not the world’s masterpieces, but a person who has recorded in them through the means of art the result of the process of man’s cognition of the foundations of existence, the process of his eternal search for an answer to the universal question about the meaning of life, the process of tirelessly creating an image of the world in himself, and is the main core, main idea, the main nerve, which, like blood vessels, permeates all educational material.

The theoretical and methodological basis of the created educational and methodological set (program, textbook, teaching aid) was the “historical and typological model of the educational subject “World Artistic Culture”. Developed based on it didactic principles of organizing educational material can be briefly formulated as follows:

The principle of historical and typological unity (Ancient world);

The principle of territorial and ideological unity (Middle Ages);

The principle of rational-aesthetic unity of method and style (New Time);

The principle of subject-object unity of world artistic culture (Modern times).

The historical-typological model of the educational subject “World Artistic Culture” and the didactic principles of organizing knowledge must be implemented meaningfully. Consequently, problems inevitably arise in selecting the necessary material and its logical relationships, which can be divided into four blocks or levels:

The first level of relationships is historical and typological, carried out between cultures, eras, arts and within individual arts;

The second level of relationships is sociological, carried out between ideas and eras, arts and eras, ideas and art;

The third level of relationships is ideological, carried out between artistic culture and the needs of the time, its level scientific knowledge, perception of the picture of the world and man embodied in works of art;

The fourth level of relationships is semiotic, carried out through the transformation of the hero and the image, through the transformation of the sign, through a change in artistic and figurative means. This level is the most complex, since the sign system of artistic culture consists of the language of art, its symbolism, interpretation of time and space, and the nature of thinking in a particular era.

To the didactic principles of organizing educational material formulated above and the logical relationships carried out within it, it is necessary to add three more features of the built model of the educational subject “World Artistic Culture”.

The first feature is that the educational and methodological set (programs, textbooks, teaching aids) is structured in such a way as to prove with the greatest completeness and at the same time with the greatest brevity that in world artistic culture, through all forms of art, a person learns the world in which he lives, knows himself, living in this world.

The second feature is that the distribution of material, coming from the genesis of historical-typological and cultural-logical connections, determines the gradual “Europeanization” of the content, presented in the form of a certain pattern of movement from world artistic culture as a collection of local centers of culture that constitute its sociological foundation, to world artistic culture, understood as the unity of artistic and imaginative thinking.

The third feature is the clearly visible visualization of the subject, which means the predominance of fine art as the most vivid way of materially embodying the artistic picture of the world, in which the results of knowledge are enshrined.

When creating an educational and methodological set, the author, of course, proceeded from the specifics of the educational subject “World Artistic Culture” and the ability of the selected material to reveal the content of this subject. Therefore, a fairly complete implementation of the author’s concept is possible only if the following conditions are met:

Preservation of the aesthetic triad “word - sound - color” as the content basis of the subject, which means the existence of literature, music, and fine arts in its educational space;

Identification as a didactic organization of knowledge of a given type of culture not only its “main idea”, but also the “main artifact of the era” (fine arts, literature, music), in which these ideas are adequately reflected;

Identification of the relationships between artefacts of artistic culture involved in the creation artistic painting world (synthesis of arts), both in their related sociocultural environment and in subsequent cultures ( eternal themes, ideas, plots).

Thus, the educational subject “World Artistic Culture” as a necessary component of the educational space of a secondary (high) school must fulfill the following tasks:

Reliance on previously acquired knowledge in the humanities (history, literature, art, music);

Organization of conditions for systematic independent educational and research work ( Additional tasks with access to related areas of humanitarian knowledge);

Combining the historical principle with elements of cultural studies and aesthetics (an artistic picture of the world).

For many centuries and many times, people never tire of asking themselves four main questions: “What is the universe?”, “What is the meaning of life?”, “What is the world around me?” and, finally, “What am I like, living in this world?” The natural and mathematical sciences, which study the external manifestations of things, could not solve the most complex mystery of nature - the mystery of man. The sciences that study man himself, the so-called humanities and border sciences, as well as religion, also did not appreciate him with any certainty. But is it even possible to solve the mystery of man? Maybe it’s enough to make him a guide into the depths of his own “I” and try, without giving final assessments, to understand with him the course of his thoughts on the path of knowledge and self-knowledge?

But if you have the intention, while studying a person, to trace the history of cognition and self-knowledge expressed through the means of art, it is obviously necessary to determine the initial categories, without which the process of cognition will not be understood. To the basic, or fundamental, concepts that run through the entire world artistic culture, its typology and its historical views, the following should be included:

An artifact, i.e. a work of art created in a certain sociocultural world, in a specific historical era, which must be read “through the eyes of the era itself” and understood by subsequent generations;

An object of knowledge, or created by means of art " art model of the universe”, passing through the entire history of mankind and not being the equivalent of a scientific picture of the world;

The subject of knowledge, or the main problem of a given historical period, “ main idea" or " main question”, to which a person wants an answer;

A form of cognition, or “dominant of the era,” implying a certain way of thinking that prevails at a given historical stage;

A subject of cognition, or actually a person in world artistic culture, who objectified himself in a “model of behavior” corresponding to the picture of the world he created.

Thus, the logic of the development of culture within itself is built according to the following scheme: natural and social conditions for the emergence of sociocultural worlds; basic understanding of the peacemaking process; embodiment of the artistic picture of the world in works of art; model of behavior, or moral and ethical foundations of life in this type culture.

To determine the logic of cultural development over time, it is necessary to introduce another terminological concept - stages of cognition. In the process of historical development, a person, having received an answer to the main question of the era, moved on to the next stage of knowledge, the next main question, which determined the qualitative transformation of culture, or, as Nicholas Roerich said, its “face”, which even makes it possible to visually distinguish, for example, Antiquity from artistic style of the Middle Ages.

Now, using the conceptual apparatus developed for this topic and returning to the educational and methodological set on the subject “World Artistic Culture” for grades 6-11, let’s consider the main provisions of the principle of dual worlds and try to trace the history of man in world artistic culture, or, in other words, once again go through the history of knowledge and self-knowledge with him.

The first social forms of being are usually called primitive society or prehistory. The time of its occurrence and formation cannot be accurately calculated; The arena of action was practically the entire globe. Primitive felt his kinship with nature and the animal world, marking sacred places with sacred signs: stone, tree, cave, while at the same time trying to influence it with special rituals and spells. Primitive people revered the mother goddess as the Progenitor, as a symbol of fertility, and even then they realized the mystical connection of life and death with the withering and rebirth of nature. Observations of the realities of nature - the flow of rivers, the movement of the sun, the change of seasons, day and night - were starting points in constructing a picture of the world. Even then, people understood the main regularity of the cosmic world order - the orientation of all things in space, the regularity and immutability of the cosmic course of things. The artistic embodiment of this concept was Stonehenge, an outstanding monument of the megalithic era, which marked the end of the so-called stone civilization. The form of thinking of primitive man is called syncretic, since for him there was no concept of dual worlds as the opposition of one thing to another, leading to clashes and conflicts.

The ancient world reveals history itself in its classical sense. During this period, three types of culture were formed: ancient civilizations, Antiquity, and the East. The main issue, or “the main idea of ​​the era,” during this period was the knowledge of the world, that is, the laws of peacemaking. The primary basis of the cosmos was the global ocean, emptiness, nothingness, from which cosmic principles arise - chaos, eros, giving rise to gods who independently begin the process of peacemaking. Moreover, if the first experiments were, as a rule, unsuccessful, then after their destruction (topic Flood) a new stage began, leading to a better result. There is no dual world in the way that people began to understand it later, although they already realized that the main principle of the creation of the world is the principle of the struggle between chthonism and heroism, good and evil, man and fate as an inevitable predetermination of the end of life. The process of peacemaking during this period was conceptualized in a mythopoetic form. A so-called cultural hero appears, independently forming his own model of behavior: submission to the will of the gods ( Ancient Egypt), an attempt to become equal to the gods, challenging fate (Antiquity), the right to independently choose between good and evil (Avesta religion).

Thus, the main result of the first stage of cognition was the conclusion that a person is an active participant in peacemaking, on whose actions and lifestyle depends final result and the quality of the world. The moral and ethical laws of behavior patterns in the Ancient world were first clearly formulated in the monument of artistic culture of Ancient Egypt - in chapter 125 of the “Book of the Dead”, later called the “Confession of Denial”. The artistic model of the universe in its completed form becomes the pyramid and the temple, where all the arts were subordinated to the idea of ​​horizontal movement in space, called the road of ascension.

The medieval world was not like the ancient world. Once powerful civilizations disappeared, along with their many gods. Barbarians and rude northern peoples took possession of devastated territories and founded new states. Pagan idol worship no longer made sense. New guidelines were needed and new faith. They were determined not by mythical gods, but by very real individuals, for whom the main question was the question of the meaning of life. In the Ancient world, these were Buddha and Christ; in the Middle Ages, Muhammad became such a person. Their views were so different from the generally accepted ones that they managed to overcome not only state borders, but also itself historical time. The universe of the Middle Ages no longer appeared in the form of a harmoniously arranged cosmos in which people and gods carried out their predetermined highest principle function, but in the form of a kind of dual world, the existence of a world above, higher, divine and a world below, full of sorrows and sorrow, in which man “by the sweat of his brow obtains and eats his bread.”

The emergence of three world religions (Buddhism, Christianity, Islam), which replaced paganism, completely changed the “face” of the era. The second stage of knowledge began - knowledge of the highest reality, which appeared during the Middle Ages as the “main idea of ​​the era.” All three religions recognize the existence of One God, who created a perfect world and placed man in it. But man did not accept God, moved away from him, became sinful, and thereby violated the harmony created by God. World religions offer a path to return to God, creating an appropriate model of behavior. In Buddhism, this is the knowledge of the four truths and eight stages of improvement to achieve nirvana as a completely independent state from everything worldly. In Christianity, this is the observance of the ten laws written on the stone tablets of Moses and the nine beatitudes proclaimed by Jesus Christ. In Islam, this is absolute faith in Allah, his prophet Muhammad and the fulfillment of the sacred injunctions of the Koran for every Muslim.

The dominant of the era in the Middle Ages was the religious-mystical form of knowledge, which is why all the art of the Middle Ages acquired a religious-didactic orientation. The artistic model of the universe, embodied in the symbolism of a Buddhist monastery, a Christian temple, an Islamic mosque, is an image of the heavenly world, and therefore the pagan horizontal is replaced by a vertical, connecting both worlds (high and low). The picture of the world is supplemented in Orthodox Christianity by the iconostasis, in which color, light, plane, time and space are imbued with symbolism and special meaning. The dogmatic foundations of world religions are enshrined in the Buddhist canon, the Bible, the Koran, which do not require artistic interpretation, because they are also canonical and full of religious and mystical meaning. As is known, the Koran generally prohibited the depiction of a person and was decorated only with ornamental script, and numerous miniatures of the Bible cannot be considered as an interpretation of the text, they only repeat the pictorial canon.

Thus, the main result of the second stage of knowledge was the conclusion about the universal sinfulness of man, the incomprehensibility of God and that the highest goal, the highest meaning of life is that through the improvement of the soul, that is, oneself, the gradual improvement of the world occurs . The artistic model of the universe created by medieval art is that image, that height, that ideal with which the man of the Middle Ages measured himself and to which he strove all his life.

However, the grandiose task posed by world religions in the Middle Ages turned out to be unresolved. Perhaps that is why, having ceased to be the dominant of the era, world religions in new historical conditions continue to exist as a sum of views, as a certain ideology and model of behavior of a part of society, no longer exerting a significant influence on the entire course of world history. The Renaissance was the “greatest revolution” precisely because, in the words of A.F. Losev, it was able to look at the world as an aesthetic given. The Titans of the Renaissance, or there is no other way to describe those who worked during this great time, admired the distances that opened up in space, took pleasure in depicting things and objects that had acquired materiality, they again returned to the naked body, so long and firmly forgotten in the Middle Ages. Impression real world poured into their religious paintings in such a stormy stream that nothing remained of their former mysticism and asceticism. Religious thinking gave way to secular thinking, and man, and not God, became the center of the artistic model of the universe. Of course, it all started gradually, progressed gradually, but the contrast was so striking that as a result, the Renaissance, with all its roots in the Middle Ages, began to be perceived as an independent historical type of culture, unlike anything else.

The New Age that came after the Renaissance was the third stage, in which the main idea of ​​the era became knowledge of the surrounding reality. Now it is not churches and temples surrounded by gloomy walls, but grandiose palaces and luxurious squares that adorn the space of cities. They are inhabited by free and educated people, alien to medieval prejudices, who see unlimited possibilities in themselves. Now it is not the religious-mystical, but the rational-aesthetic form of knowledge that dominates. Everything is subject to analysis and strict mathematical calculation. Even in the mysteries of creativity, scientifically based patterns are sought.

But time hastened its pace, and the former unity has lost its integrity. The arts have divided and become independent, styles and trends replace each other with kaleidoscopic speed, national schools often know only a short period of prosperity and success. The imperfection of the real world was suddenly clearly revealed before the astonished gaze of a rationally thinking person. Man tried to change it, first by believing in the enlightening power of reason and art, then through critical analysis and finally through violent social upheaval. Appeared new hero and a new model of behavior - a fighter for justice. The era was swept by revolutions, entire dynasties and classes died in the name of an idea, blood and violence were justified high goals. And if the cultural hero of ancient mythology, at the cost of his own death, asserted a more perfect world, then the hero of the New Age, the revolutionary hero, never achieved the noble goal he set for himself. Eventually everything returned to normal. Ideal and reality came into conflict. A special dual world of the New Age was created, dual world as the opposition of the ideal world, living inside a person, and the real world, in which this person must live, but against which his entire inner essence rebels. Modern art reflected this duality. Feeling disillusioned with the world around them, the romantics of the 19th century. for the first time they turned their gaze inward and tried to seriously explore the secret springs of all the “crimes and punishments” being committed.

The 20th century in human history turned out to be the most difficult. Philosophy and psychology took it seriously, and “human studies” itself was born - a new science that explores the whole complex of problems associated with those of its secrets that already relate to the subconscious, irrational, preserved from the ancient essence of the chthonic forces of nature. Only in the 20th century. a person truly becomes “the main idea of ​​the era” and with all his might - science and the arts - he comes to know himself. The hero is created with so-called extreme situations, often impossible to reproduce in reality, as, for example, in the novels of John Fowles or KoboAbe. The inner world of a person appears in art as an artistic model of the universe, recreated through the individual, through the subject of culture.

This is how the last fourth stage was prepared in world history development of mankind and a new one, born only in the 20th century. a subject-object form of cognition that explores the existing dual world within a person, the essence of which is in his torment, in the struggle between the irrational and the rational, between conscious actions and unconscious, unmotivated actions. Obviously, the ultimate goal of this stage of knowledge should be to achieve internal harmony among oneself, harmony within oneself and harmony with the entire external world.

Having briefly traced the history of artistic culture, it is obvious that we should return to the original thesis and draw a final conclusion: “two worlds” is that principle that passes through all stages of knowledge and self-knowledge of a person, subjectively manifested as “creating an image of the world in oneself” and objectified through art in his artistic models. It is in this sense that world artistic culture shapes man, and it is in this sense that man is its ultimate goal.

Developing his concept of understanding culture, A. Schweitzer, for example, considered its main content ethical principle and in this sense he distinguished between ethical and unethical culture or ethical and unethical civilization. Reasons for the spiritual state of the 20th century. as a century of general decline of culture, he saw the loss of its ethical principle, which, in his opinion, can be returned only through the formation of a “thinking worldview”, which “should ultimately result in a meaningful experience of life.” Deeply convinced that the revival of culture is impossible without the revival of personality, A. Schweitzer wrote: “The calling of every human being is to, having developed his own, thinking worldview, become true personality" (Schweitzer A. Decline and revival of culture. - M., 1993. - P. 270.)

The beginning of the new millennium brings to an end the classical phase of human history. A new, non-classical period begins. “Meaningful experience of life” in the new conditions of the projected post-industrial society, intellectual and information space, will more than ever demand a genuine personality, ready to accept the artistic and moral experience of humanity from its origins to the 20th century.

World Art. 7th grade. Solodovnikov Yu.A.

M.: 2010 - 276 p.

The textbook gives an idea of ​​the features of the artistic culture of the Middle Ages using an example creative achievements peoples of India, China, Japan, Western Europe, Ancient Rus' and the Arab-Muslim world.

Format: pdf

Size: 57 MB

Watch, download:yandex.disk

CONTENT
Preface
Artistic culture of the Ancient and Medieval East 4
§ 1. “The Beginning of All Beginnings,” or How Civilization Arose Ancient India 6
§ 2. “Great battles,” or How the ancient Indians told about their history 24
§ 3. “The Wheel of Being”, or How the teachings of Prince Gautama became a world religion 38
§ 4. “The Celestial Empire,” or About how the origin of the world was explained in Ancient China 52
§ 5. " Forbidden City", or About how general order was maintained in the Celestial Empire 66
§ 6. “Shinto” - the way of the gods, or How the Land of the Rising Sun arose 80
§ 7. “The man-made universe,” or How, by contemplating the small, one can see the eternal 96
Test yourself 113
Art culture medieval Europe and Ancient Rus' 114
§ 8. Chosen by God, or How the second one arose world religion 116
§ 9. Looking through the sky, or How the picture of the world is embodied in a Christian church 132
§ 10. The choice of faith, or How the pagans of Ancient Rus' became Christians 150
§ 11. Spiritual work, or How a person of the Middle Ages comprehended the meaning of life 168
§ 12. “Speculation in colors,” or About how and what he tells religious painting 182
§ 13. Divine chant, or How they glorified God in the Middle Ages 200
Test yourself 215
Artistic culture of the countries of the Arab Caliphate 216
§ 14. The calling of Muhammad, or How the third world religion arose 218
§ 15. The Book of Books, or About What Allah Taught His Prophet 232
§ 16. Cast of eternity, or How the beauty of the world was embodied in the art of Islam 244
Test yourself 259
Tesarus 260

EXPLANATORY NOTE

To work program

Educational and methodological kit for training course“World artistic culture” 8th grade includes: program, textbook, Toolkit 8-9 grade.

The number of hours in the program can vary from 34 to 68 hours per year. In this case, 1 option was chosen to include the course “World Art Culture”, grade 8, in the curriculum of MAOU Secondary School No. 14.

This work program has been developed taking into account State standard based author's program Solodovnikova Yu.A., Predtechenskoy L.M. World artistic culture: 6-11 grades.

Purpose of the program: to form in students a holistic understanding of historical traditions and the values ​​of the artistic culture of the peoples of the world and their correlation with the heritage of Russian artistic culture.

Course objectives:- reveal the origins and main stages of development of the artistic culture of the peoples of the world in dialogue with Russian artistic culture;

Reveal in a multifaceted historical heritage world artistic culture the most significant phenomena and generalize them in the context of cultural ideas about the artistic picture of the world of different eras;

Introduce students to creators works of art who left the most noticeable mark in the history of artistic culture, both Russian and foreign;

Analyze the masterpieces of Russian and foreign art(literature, architecture, painting, sculpture and music) from the position of aesthetic relevance and spiritual and moral value of artistic images.

The basis of the program the principle of historicism was established as a way of “immersion in the culture” of a certain historical era. The difference between this program and the author’s is the concentration of material covering the dominant ideas of the Renaissance and Modern times, which are of current importance for the spiritual, moral, aesthetic and creative education students of MAOU Secondary School No. 14.

Course Concept is based on methodological provisions, according to which the priority area of ​​content of this academic discipline is Russian artistic culture.

Based on this, in this program:

A) the historical logic of the formation and development of Russian national artistic values, the problems associated with identifying the spiritual and moral significance of works of Russian art are highlighted different types and genres;

B) the method of comparison of Russian and European artistic cultures was used. At the same time, the works of Russian masters are not “interspersed” into the pan-European cultural and artistic process, but are presented in the context of Russian national spiritual, moral and aesthetic priorities in their historical development.

Course structure: Principle comparative comparison foreign and Russian artistic cultures found expression in the structure of presentation of the course material. So, in contrast to the Avrot program of Solodovnikov Yu.A. the course program was divided into 4 chapters: the first three are devoted to the study foreign culture the Renaissance and New Time, the latter - Russian culture of the 18th century. At the same time, the program for the course of Russian artistic culture is expanding from 2 hours, provided for by Yu.A. Solodovnikov’s program, to ten hours. In order to correlate the material being studied both historically and substantively, paragraphs 14, 15 and 16 (covering the artistic culture of Germany) were moved to the third chapter of the course, and paragraphs 12 and 13 (covering the features of Russian artistic culture) - to the fourth.

In connection with the expansion in the program of the volume of studied material on Russian artistic culture, the material on literary monuments was reduced, since most of the works are quite widely represented in the corresponding school curriculum on literature.

Studying "World Artistic Culture" aimed at creating sustainable interest and knowledge of domestic and world artistic culture; knowledge and understanding of the cultural dominants of various historical eras and styles, by which one can determine the time of creation of masterpieces in various types of art, national schools; for the development of artistic and aesthetic taste and feelings; associative-figurative thinking; creativity; adequate perception And critical assessment works of art; tolerant attitude To cultural traditions and behavioral motivation of various peoples. Studying world artistic culture involves acquiring the necessary skills for the conscious formation of one’s own cultural environment and continuous expansion of horizons.

The educational potential of the content of the subject “World Art Culture” is associated primarily with its ideological character, with the specificity of the art of creating a holistic picture of the world in vivid sensual images that directly appeal to human feelings and emotions. As a result of mastering a course on world artistic culture, students are introduced to the ethical and aesthetic values ​​of national and world culture, the highest aesthetic values ​​are formed, and the ability to perceive their own national culture as an integral component of world culture and, as a result, better evaluate its uniqueness and uniqueness. Educational character subject "World artistic culture" is the ability to assimilate the classical heritage and modern culture, which allows you to successfully adapt to modern world, choose an individual model cultural development, organize personal leisure and independent artistic creativity.

The developmental potential of the subject is directly related to the use of analysis methods characteristic of cultural studies and art history, in particular cultural and historical comparative analysis, which allows you to solve the problems of developing a systematic view of world artistic culture among schoolchildren; gives an idea of ​​its unity and diversity; the infinity of its development and the multiplicity of personal interpretations of its phenomena.

Pedagogical tasks:

1. Foster an interest in learning about the world and art.
2. Help acquire additional knowledge in this area.
3. Develop skills scientifically - research work design method.
4. Teach to analyze and synthesize scientific knowledge.
5. Develop artistically - creative thinking through the perception of the world of art and culture.
6. To develop knowledge and skills, students should be taught to work with literature on art and culture, various historical sources, bibliographies of masters of art, to develop research skills.
7. Work on this program involves the use of video recordings, slides, and musical soundtracks.
8. The content of the program is reviewed eternal questions, defining a person’s place in the world around him, through the synthesis of arts and means of expression of the dominant art of each specific era in the history of mankind. Introducing to the “historical connection of times”, to the dialogue of past and present when mastering styles, genres, trends of individual works of art, is realized in the process of creative reflection.

As a result of studying “World Artistic Culture”, the student must know/understand:

Features of cultural dominants of various historical eras and styles, by which one can determine the time of creation of masterpieces in various types of art, national schools;

Basic means of expression artistic language different types of art;

The role of the sign, symbolism in works of artistic culture.

be able to:- compare art styles and correlate them with a certain historical era, direction, national school, name their leading representatives;

Use art historical terms;

Search, select and process information in the field of art;

Argue your point of view in discussions on problems of world artistic culture;

Complete academic and creative tasks (messages, abstracts, essays, reviews, presentations).

Use acquired knowledge and skills in life.

Planning is based on (program (state, author), title, author, publisher, year of publication)

Educational complex for students (title, author, publisher, year of publication)

Textbook for 8th grade educational institutions World Art Culture /Yu.A. Solodovnikov, ed. "Enlightenment", 2008

Availability methodological developments for teachers, additional literature

Methodical manual on World Artistic Culture / Yu.A. Solodovnikov, ed. "Enlightenment" 2006

Textbook on MHC, Variations of the Beautiful / A.M. Vachyants. – 4th ed. – M:Iris-press, 2008

World artistic culture: lessons of teaching skills / N.A. Leukhina. – Volgograd: Teacher 2008

СDROM “World artistic culture: from rock paintings before cinematography" - multimedia tutorial By MHC rate for secondary school students.

(1800 photographs and illustrations of cultural monuments, more than 150 fragments musical works, 30 video clips, dictionary, creative tasks)

35 lessons per year, tests - 2, creative works - 6

Download:

Preview:

Total: in the 1st quarter - 9 lessons, tests - 0, creative works - 1;

In the 2nd quarter - 8 lessons, tests - 1, creative works - 1;

In the 3rd quarter - 10 lessons, tests - 0, creative works - 2;

In the 4th quarter - 7 lessons, tests - 1, creative works - 2;

Total: 35 lessons per year, tests - 2, creative works - 6

MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION "SAMODEDSKAYA SECONDARY SCHOOL"

Reviewed Agreed Approve

Head Deputy School Director

methodological director for water management

teachers' associations

____________________ _______/__________ _______/_________

________/____________ Full name Full name

Full name

Protocol No. _________ “___”_________ 20__ Order No. _______

from “__” ________ 20__ g from “__” ________ 20__ g

Work program for MCC

Grade 11

Developed

Ferina Yulia Nikolaevna

n. Samoded

2014-2015

EXPLANATORY NOTE to the MHC course grades 10-11

Program “World artistic culture. Grades 10-11” author Yu Solodovnikov is a revised version of the program “World Art Culture. 6-9 grades." The content of the program corresponds to the federal component of the State educational standard general education and implemented in the educational and methodological set “World artistic culture. 10-11 grades." The general didactic principle of constructing the program was the principle of comparative consideration of the main problems of the era, which are embodied in typologically similar monuments of artistic culture - artifacts. For example, in the Ancient World, the main problems identified were the problems of the emergence of civilizations, the problem of the origin of the world, the problem of immortality, and the problem of man. Thus, the program for grades 10-11 is designed both for students already familiar with the basics of world artistic culture (grades 6-9), and for students who have begun to study it for the first time (grades 10-11, a basic level of). Considering age characteristics, when studying artistic artifacts the program assumes significant creative independence in their study and expansion of the educational base of students by turning to interdisciplinary connections. The main form of art for creating the emotional environment of a lesson remains art(architecture, sculpture, painting), supplemented by reading fragments of works of literature and listening to music. At the same time, the program is designed for the active use of knowledge acquired by students in lessons in the field of humanities.Goals: familiarization with the perception, cognition and assimilation of the spiritual, moral and aesthetic experience of humanity through communication with art in the entire complex of its types and the development of an actively “thinking worldview”, the formation, based on acquaintance with the artifacts of world artistic culture, of the ability to freely navigate its space from its origins ( primitive art) until modern times (second half of the 20th century); focusing attention when analyzing the artistic and figurative content of monuments of world artistic culture on universal human value orientations, which form the basis for the formation of personal individual worldview positions; the formation of internal openness and loyalty to the unfamiliar and new, combined with stable individual ideological positions.

Tasks: give an idea of ​​the features of world artistic culture on the most important historical stages its development in the process of studying artifacts from its origins (primitive art) to modern times (second half of the 20th century) and identifying the main problems of each era:primitive society reveal the features of the artistic development of the world using the example of petroglyphs, ornamental patterns, samples cave painting And megalithic structures(menhirs, dolmens, cromlechs); highlight as main feature primitive intellect syncretism of thinking; focus on the fact that the result of understanding the laws of nature at an early stage of development human society became the first artistic models of the universe, embodied in the main type of megalithic buildings - cromlechs (New Grange, Stonehenge);

Ancient world identify the influence of natural conditions (river, desert, sea) on the formation of types ancient civilizations(Mesopotamia, Ancient Egypt, Ancient World); highlight as the main idea of ​​the era the problem of knowing the world, expressed in the mythological form of thinking; to identify, using the example of a comparative analysis of the main mythological systems of the Ancient World (Ancient Egypt, Ancient Greece, Mesoamerica, Zoroastrianism) as an objective dialectical guess, the general multi-stage logic of the mythological version of the origin of the world - the movement from chaos to an ordered cosmos (heaven - earth - underworld); determine the features of the mythological model of human behavior in the Ancient World - maintaining the world order established by the gods (Ancient Egypt, Mesoamerica), human participation in peacemaking (Ancient Greece), personal responsibility for the “quality of the world” (Zoroastrianism); prove that outstanding monuments artistic culture of the Ancient world ( architectural ensembles, fine arts, sculpture, literary works) reflect the main problems of the era, in which mythology and art appear as an inextricable whole; show the example of a comparative analysis of religious buildings of the Ancient world (the ancient Egyptian temple at Karnak and the Parthenon at Athens Acropolis V Ancient Greece), that the design features of the temple embodied not only the artistic model of the universe, but also the features mythological thinking; highlight as the most important problem of the Ancient World the problem of immortality, which the man of that time solved as cultural immortality, preserved in the memory of descendants (“ Book of the Dead", "About having seen it all..."); show that the artistic culture of Ancient Greece and Ancient Rome, despite obvious differences in the cultural space ancient world, is an inextricable whole in which man has become the “measure of all things”; bring to the final conclusion that works of art created in the Ancient world constitute not only part of universal human culture, but also have a huge influence on its further development;Middle Ages show that the cultural basis of the Middle Ages consists of two types of culture - Eastern and Western European; explain that the ancient and medieval periods in the history of the civilizations of the East (India, China, Japan) constitute an inextricable process based on the preservation of traditions and the cult of ancestors; to focus on the fact that the transition from the pagan polytheism of the Ancient world to monoreligions largely determined the features of the artistic culture of the Middle Ages, which found expression in the new main idea of ​​the era - knowledge of the highest reality; explain that the emergence of world religions (Buddhism, Christianity, Islam) caused changes not only in the artistic picture of the world, but also in the behavior patterns of medieval people; prove that in the artistic culture of Ancient and Medieval India, China and Japan, Western Europe, Ancient Rus' and the Arab-Muslim world, despite their differences, there is a cultural unity based on universal moral principles aesthetic values developed in mono (Confucianism) and world religions (Buddhism, Christianity, Islam);

Find out that the content of the monuments of artistic culture of the peoples of the countries of the East, Western Europe, Ancient Rus' and the Arab-Muslim world, created in the Middle Ages, is largely determined by the canonical books of world religions - the Buddhist canon, the Bible, the Koran; show that the image of the picture of the world created in religious systems, is reflected in religious monuments of architecture (Buddhist temple, Christian cathedral, Islamic mosque), based on the common spatial orientations to the cardinal points and the symbolic connection between heaven and earth; to identify and focus on the fact that the religious-mystical form of thinking in the artistic culture of the Middle Ages is the defining dominant in which both the main idea of ​​the era (cognition of a higher reality) and the model of behavior of a medieval person (restoration of lost unity with God) are realized; Renaissance show that the artistic culture of the Renaissance occupies a borderline position between the artistic culture of the Middle Ages and the artistic culture of New and Contemporary times, being a historically necessary and natural embodiment of the transition from religious to secular thinking; show by example outstanding works literature, architecture, sculpture and painting created by the titans of the Renaissance, features of the transition to new form art, as well as the growing role of the artistic and creative personality as a new understanding of the humanistic attitude towards oneself, expressed in personal freedom and freedom of thinking and creativity. (“Do what you want, do good.” F. Rabelais.); New and Modern times define the typology of New and Contemporary times as a natural stage in the history of world artistic culture, characteristic only of Western Europe and Russia; explain that the unity and diversity of the artistic culture of New and Contemporary times is determined by the formation of European states (national schools) and the active entry of Russia into European artistic culture; to focus on the emergence of new main ideas of the era - knowledge of the surrounding reality and knowledge of oneself, expressed in a new secular rational-aesthetic (XVII-XIX centuries) and subject-object (XX century) form of knowledge; identify the distinctive features of the artistic culture of New and Contemporary times, the main of which are: the emergence and coexistence of styles (Baroque, classicism), creative methods(romanticism, realism) and trends (impressionism, surrealism, etc.), professionalization of art (Academy of Arts), alignment and genre diversity arts (in literature, painting, music), the emergence of new synthetic types of art (opera, cinema) - from the artistic culture of previous historical periods; define literature, painting and music as forms of art that can most clearly express the problems of the era, and as the main components of the artistic culture of New and Contemporary times; show by example Russian art Soviet times, the social orientation of art of the 20th century, intensifying in the era of totalitarianism.

Criteria for assessing student knowledge

Monitoring student progress is identifying, measuring and assessing

knowledge and skills of trainees.

Identifying and changing is the test that is integral component control, the function of which is to ensure feedback between teacher and students. Control also includes assessment (as a process) and grades, which are recorded in journals in the form of marks.

Forms of accounting: assessment (value judgment), mark, self-assessment, lesson point.

The criteria for assessing student knowledge are as follows:

deep, involving additional material and by demonstrating flexibility of thinking, the student’s answer is evaluatedfive points ;

solid knowledge of the material within the program requirements -four ;

uncertain knowledge, with minor errors and lack of independence of judgment is assessed -three points ;

the presence of gross errors in the student’s answer, a lack of understanding of the essence, or lack of mastery of a skill is assessed negatively, with a mark"2" ;

lack of knowledge, skills, abilities and basic diligence entailsunit (used very rarely).

Educational and thematic planning

hours

Regional.

component

World artistic culture (34 hours)

Artistic culture of the 17th - early 19th centuries

Artistic culture ser.19-per. half 20th century

Total

Calendar and thematic planning

lesson type

basic concepts

requirements for the level of student preparation

control

Section 1: Artistic culture 17th century 19c

The immortality of an old myth.

Right to knowledge

Great astronomers.

Victory of scientific knowledge. Historians about the bourgeois revolution. John Milton.

Be able to compare the achievements of science and philosophy.

syncwine, compilation

"Marble is as flexible as wax"

Combine

Baroque style. Its origin. Renaissance.

Italian architecture.

Be able to distinguish the Baroque style from other styles

Answers to questions p.19

“The State is me”

combined

France 17th century. Classicism style.

classicism

Be able to identify the signs of classicism

do a crossword puzzle

The Birth of Opera

The birth of opera. Types of operas

drama, opera

Know the differences between opera

Questions: 1.5

Real world painters

The city and its inhabitants

Spain and Holland 17th century. Artists. Still lifes and landscapes

still life

Be able to compare paintings from different directions

drawing up a table

The artist and his model

combined

Artists of Flanders, Spain, Holland: Rubens, Velazquez, Rembrandt.

self-portrait

Know the symbols and techniques of artists.

questions 1-3

Theater on an easel

William Hogarth and his series of paintings on the same theme

educational realism

be able to describe all of Hogarth's paintings

make a crossword puzzle

To be youreself

combined

French writer 18th century Beaumarchais. Creator of Figaro.

Genius french revolution

Early 19th century neoclassicism. French artists: David

neoclassicism

Distinguish David's paintings from other artists' works

Chapter 3 Russia on the way to Europe

“Paradise is no worse than Versailles”

combined

Peter's founding of St. Petersburg

Know the architects who built buildings in Pet-ge

"Tamers of Malice"

Founding of the Academy of Arts by Catherine II. Russian portrait.

educational classicism

Be able to compare different kinds portraits

questions4,5

Glory to our citizens

combines

Architecture of St. Petersburg

eclecticism

Be able to compare the architect and the architect. construction

making a presentation

Workshop

Systematization and control of knowledge

be able to summarize all acquired knowledge

test solution

Section 2: Artistic culture ser. 19th - first half. 20 centuries.

Chapter 4 Collision with reality

Reality and fiction

The tragedy of the modern era

in the works of Francisco Goya

coprichos, romanticism

Be able to express your point of view using pictures

making a presentation

Romantic battle

combined

French painters 19th century

Know the history of paintings

drawing up a table

Ends and beginnings

Russian art lane floor. 19th century. Bryullov. Ivanov

classicism, academicism.

Be able to compare biographies of artists

presentation

Everyday drama of the “little man”

combines

Artists Venetsianov,

critical realism

be able to present a picture to the audience in Fedotov’s style.

Make a table

R\K Artists of the Arkhangelsk North

artists

Shevelev V.D.

know about northern artists

making a presentation

Repetitive-generalizing

lesson in consolidating and systematizing knowledge

test tasks

Chapter 5 “What to do?”

Verdict on the phenomena of life

A way out for painful tragedy

combined

Russian artists:

Perov, Repin,

Mid-19th century Russian artists: Flavitsky, Repin, Surikov

Itinerants

naturalism

Be able to distinguish forward from other directions

Be able to connect pictures with historical events

making a crossword puzzle

answers to questions 1,2

A hieroglyph that everyone understands

combined

Peredvizhniki artists:

Kramskoy,

Polenov, Ge

evangelical

subject matter

Be able to analyze the picture.

answers on questions:

R\K Iconography in the North

Chapel of the Intercession Holy Mother of God.

Painter

Zakharov Jacob. Depicted circular skies

circular

Know architecture

Russian North

Chapter 6 Turn of the Centuries

Seize the moment

combined

19th century impressionists

in France,

Akfe "Gerbois"

impressionism

Be able to distinguish

impressions

from other directions

in art

syncwine

Looking for a new style

From the truth of life to the truth of art

Art Nouveau era early 20th century

Artists: Vrubel, Roerich

Exhibition of the Peredvizhniki

1888 Serov,

Vrubel, Nesterov

antique

mythology

Be able to identify artists

composers.

architects

Know the techniques that

enjoyed

Itinerants

crossword

questions 1-5

R\K Peredvizhniki in the North.

Peredvizhniki in Arkhangelsk.

Know the history of the Northern Territory

presentation

Rebellion against reality

combined

Early 20th century

the emergence of cubism. Artists: Matisse,

surrealism

Distinguish between periods

cubism, correlate them with paintings

artists.

crossword

Chapter 7 Bloody

wheel of history

Propaganda for happiness

Tragic

events of the 20th century.

The wish for happiness by artists.

avant-garde

Differ

avant-garde from cubism,

surrealism.

drawing up a table

"We are ours, we are new world let's build"

combined

Artists Association revolutionary Russia. (AHRR)

Deineka, Petrov-Vodkin,

Kustodiev.

artists-

easel painters.

socialist

Be able to explain

appearance

socialist

realism.

drawing up a table

To be remembered

Repeating and generalizing lesson

generalization lesson and

systematization of knowledge

Conversation about the Great Patriotic War in works of art

Be able to analyze

works in the light of war

presentation

Final lesson