Schoolchildren's research projects in art. Creative project "An artist who writes goodness" project on the Moscow Art and Culture (grade 10) on the topic

Brief summary

The project method is an integral part of MHC training, because allows you to intensify the activities of students both during and after school hours.

The theme of the “Word” project was chosen taking into account the educational situation in the subject for students of different ages (grades 6-11) for a deeper acquaintance with the spiritual and moral values ​​of Russian art through the study of local history material. During the work, students make excursions to the Trinity-Sergius Lavra, meet with graduates of St. Tikhon's Theological University (art department), study materials on the official website of the Trinity-Sergius Lavra related to architectural monuments, use library material, and get acquainted with additional literature on the subject.

As a result of the joint activities of students, teachers and parents, creative works should be created: the newspaper “Slovo”, the almanac “Springs”, presentations, scripts for speeches of the volunteer detachment “Slovo” in the form of a “living newspaper” (head of the volunteer detachment Istomina E. E.) in front of school students and parents.

The project is creative by the type of activity, cultural by the nature of the subject area, and cultural in nature by the nature of coordination - open, explicit coordination, of medium duration.

Working with children is based on the principles of voluntariness.

Educational and educational goals

1. Develop the ability to analyze works of art, evaluate their artistic features, and express their own judgments about them.

2. To create motivation for studying the life of the lamp of the Russian land, Sergius of Radonezh.

3. Formation of national self-awareness of students during the study of the cultural heritage of their native land,immersion in the world of Russian history while studying its fateful moments (Battle of Kulikovo).

3. Enrich the vocabulary of project participants with words of spiritual, historical and cultural significance, increase the general erudition of children, and introduce students to speechChurch Slavonicisms that define the high style of Russian classical fiction.

4. Form values ​​for what is moral and traditional in the culture of the native land.

Educational and pedagogical tasks

1. Introducing to the values ​​of ancient Russian culture.

2. Studying the masterpieces of ancient Russian literature.

3. Setting and formulating the theme of your creative work, personal motivation for choice.

4. Formation and development of creative work skills.

5. Collection and systematization of material, the ability to apply acquired knowledge in practice.

Relevance of the project

Modern education is currently experiencing a period of growth, and this is primarily due to the appeal to eternal values. This project is aimed at studying the artistic and cultural heritage of their native land and should help students find accurate spiritual guidelines, assimilate moral norms and values ​​that are embodied in the Trinity-Sergius Lavra and the life of its founder Sergius of Radonezh.Work on the project involves integration into various disciplines studied at school (history, MHC, literature, fine arts).V.A. Sukhomlinsky wrote that “a child by nature is an inquisitive researcher, a discoverer of the world. So let a wonderful world open before him in living colors, bright and vibrant sounds, ... in his own creativity, in the beauty that inspires his heart, in the desire to do good to people.”

Expected results

Work on the “Word” project contributes to the development of children’s creative understanding of national culture, develops a sense of beauty, forms high aesthetic tastes, the ability to understand and appreciate works of art.

The media is the most important means of self-expression for teenagers, causing increased interest. Therefore, work on the project will make it possible, through the media (the newspaper “Slovo”, the almanac “Springs”), to most productively acquaint school students with the results of work on the development of the artistic and cultural heritage of their native land. In addition, with the help of theatrical techniques, through a “living newspaper,” students can convey their material to elementary school students and parents interested in the topic.

The creative works completed within the framework of the project (newspapers, drawings, photographs, models, etc.) will find their real practical application in the design of classrooms and school recreation areas, thus acquiring a living social meaning, becoming work for the benefit of others.

Implementation of the project.

The project is led by MHC teacher E. E. Istomina, coordinating the actions of students, providing the necessary information, and controlling the selection of material. The teacher develops the design of publications. The Slovo newspaper is decorated with a headband with a photograph of a student reading a book, the title is in capital letters (Georgia font). The almanac “Springs” consists of 5-6 sheets on color photographic paper (A4); on the cover there are questions that reveal the subject of the publication.

At the beginning of the school year, an editorial board is created from students in grades 6-10, which, under the guidance of the teacher, determines the directions of work and publishes the newspaper and almanac.The editorial board includes proofreaders, correspondents, photojournalists, and members of the Slovo volunteer group.

Achieving the goals and fulfilling the tasks of school media (the newspaper “Slovo” and the almanac “Rodniki”) is carried out through the publication of the following types of information: reports written in an accessible form and reports on school events on spiritual and moral topics. Analytical articles and materials aimed at studying the artistic and cultural heritage of the native land. Materials reflecting the participation of school students in spiritual and moral events of the school, city, district, region.

Stage 1 work includes posing a problem, formulating a topic, choosing topics by students, and visiting the Trinity-Sergius Lavra. General theme: “Bow to St. Sergius.”

Stage 2 of work- search engine.

Range of questions: “Temples of the Trinity-Sergius Lavra.” “What the Trinity Monastery looked like in ancient times.” "Trinity-Sergius Lavra: history and modernity." “For what deeds was Sergius of Radonezh glorified in Russian history?” “Tell us about the plot of M. V. Nesterov’s painting “Vision to the Youth Bartholomew.” “What spiritual covenants of Sergius of Radonezh do we learn from the “Life ...”, created for the glory of the saint by Epiphanius the Wise.” « The image of St. Sergius of Radonezh in the monuments of the Kulikovo cycle of ancient Russian literature". “Why is Andrei Rublev considered a student of Sergius of Radonezh.” The range of questions can be expanded at the request of students.

Stage 3- practical work. Preparation of a creative report in the form of newspaper and almanac issues, as well as in the creative form chosen by the student (multimedia presentation, presentation of a report or message at a conference, parent meeting, creative activities, participation in the work of the Slovo volunteer group, etc.)

Issues of newspapers, almanacs, and creative works are placed in recreation areas and stored in the school conference room.

The electronic version of the newspaper is posted on the school website.

The project was developed by the teacher of the MHC MBOU "KSOSH No. 7" Istomina E. E.

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 leadership 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.

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:

Project on world artistic culture on the topic: “Sculpture” by 11th grade student Anna Anishchenko

Sculpture is a type of fine art, the works of which have a three-dimensional form and are made using methods of turning, casting, carving, sculpting from hard or plastic materials (stone, metal, wood, clay)

The sculpture of ancient Mesopotamia is almost devoid of staticity and balance, which were inherent in Egyptian art. Reliefs and paintings of palaces, ancient sculptures of rulers or animals were depicted in motion. The skilled craftsmen of Sumer had the skills to make jewelry of amazing beauty and subtlety. They were excellent at minting and making complex alloys of precious metals. In contrast to architecture, the visual arts of Sumer look relatively poor and primitive. The development of fine art can be judged by small figurines of animals and, later, by small, 35-40 cm in size, figurines made of soft stones and clay.

Sculpture of Ancient Egypt Sculpture plays a vital role in the culture of the most ancient civilization on Earth. According to the ideas of the Egyptians, one of the human souls has the ability to reside in two worlds at once: the earthly and the afterlife. Hence the desire to preserve the body of a deceased person by any means (embalming and mummification), as well as the creation of a large number of sculptures that can serve as a shell for the soul.

The vast majority of ancient Egyptian sculptures are static. Most often, kings and gods are depicted sitting on a throne, or standing, the hands of the figures resting on their knees, or crossed on their chests, their gaze directed straight ahead. This angle created an amazing effect; it seems to the viewer that the statue is looking directly at him, no matter from what angle he looks at the sculpture. The huge eyes of the sculptures also have cult significance. The Egyptians were sure that a person's soul was in his eyes. Therefore, all sculptures were painted very carefully.

Ancient sculpture The creation of a generalized human appearance, raised to a beautiful norm - the unity of its physical and spiritual beauty - is almost the only theme of art and the main quality of Greek culture as a whole. This provided Greek culture with rare artistic power and key importance for world culture in the future.

The periods into which the history and art of the ancient world are usually divided: Ancient period - Aegean culture: III millennium - XI century. BC e. Homeric and early archaic periods: XI-VIII centuries. BC e. Archaic period: VII-VI centuries. BC e. Classical period: from the 5th century. until the last third of the 4th century. BC e. Hellenistic period: last third of the 4th-1st centuries. BC e. The period of development of the tribes of Italy; Etruscan culture: VIII-II centuries. BC e. Royal period of Ancient Rome: VIII-VI centuries. BC e. Republican period of Ancient Rome: V-I centuries. BC e. Imperial period of ancient Rome: I-V centuries. n. e.

ARCHAIC In my work I would like to consider Greek sculpture of the archaic and classical periods, as well as sculpture of the Hellenistic period. The sculpture of the Archaic era is dominated by statues of slender naked youths and draped young girls - kouros and koras. Archaic sculptures are characterized by some sketchiness and disproportion. On the other hand, each work of the sculptor is attractive for its simplicity and restrained emotionality. The figures of this era are characterized by a half-smile, which gives the works some mystery and depth.

Goddess with Pomegranate”, which is kept in the Berlin State Museum, is one of the best preserved archaic sculptures. Despite the external roughness and “wrong” proportions, the viewer’s attention is drawn to the hands of the sculpture, executed brilliantly by the author. The expressive gesture of the sculpture makes it dynamic and especially expressive.

“Kouros from Piraeus,” which adorns the collection of the Athens Museum, is a later, and therefore more advanced, work of the ancient sculptor. Before the viewer is a powerful young warrior. The disturbed proportions are no longer so striking. And the facial features are not as generalized as in early sculptures of the archaic period.

Classics The masterpieces of classical Greece are distinguished by harmony, ideal proportions (which indicates excellent knowledge of human anatomy), as well as internal content and dynamics. It is the classical period that is characterized by the appearance of the first nude female figures (the Wounded Amazon, Aphrodite of Cnidus), which give an idea of ​​the ideal of female beauty in the heyday of antiquity. In the classical era, such famous sculptures as Athena Parthenos, Olympian Zeus, Discobolus, Doryphorus and many others were created. History has preserved for posterity the names of outstanding sculptors of the era: Polykleitos, Phidias, Myron, Scopas, Praxiteles and many others.

Hellenism Late Greek antiquity is characterized by a strong Eastern influence on all art in general and on sculpture in particular. Complex angles, exquisite draperies, and numerous details appear. Oriental emotionality and temperament penetrates the calm and majesty of the classics.

The most famous sculptural composition of the Hellenistic era is “Laocoon and His Sons” by Agesander of Rhodes (the masterpiece is kept in one of the Vatican museums). The composition is full of drama, the plot itself suggests strong emotions. Desperately resisting the snakes sent by Athena, the hero himself and his sons seem to understand that their fate is terrible. The sculpture is made with extraordinary precision. The figures are plastic and real. The faces of the characters make a strong impression on the viewer.

The Renaissance The Renaissance is one of the most striking periods in the history of the development of European culture. The main thing in the Renaissance is the highlighting and affirmation of the human personality in culture and society.

Donatello worked in both classical and realistic styles, often successfully combining these two styles. Some of his most famous works were: the statue of St. George, a statue of David, a statue of the Apostle Mark and many others.

Baroque is a style that embodies solemnity, splendor, life-affirming character, and dynamics. The Baroque was based on religious ideas. Baroque sculptures were made thanks to the boundless imagination of the masters.

"David" Bernini

Municipal budgetary educational institution

"Ershichi Secondary School"

Educational and research project

Pyramids in modern architecture

Work is done

10th grade student

Kazybegova Anzhelika

Head of work

Simonova T.M.

Ershichi

2018

Content

Introduction ……………………………………………………………………….3

Main part

1.1. What are pyramids and why were they built…………………………….4

1.2. The phenomenon of the Egyptian pyramids…………………………………………. 5

1.3. Theories of the construction of the Egyptian pyramids…………. ……………….7

1.4. Pyramids in architectureXVIII - XIXcenturies…………………………….9

1.5. Pyramids in modern architecture

2. Research part

2.1. Where is the pyramidal shape found in nature and in everyday life?............ 15

2.2. Why are pyramids created? Their purpose and possible properties………………………………………………………………………………………19

Conclusion ………………………………………………………………….24

List of information sources

Introduction

For many millennia, according to various estimates from 4,500 to 200,000 years, humanity has been creating various pyramid-shaped structures. Pyramids have been found on all continents and have even been discovered on Mars. The creation of the Great Pyramids is attributed to the Egyptians, Atlanteans and even aliens. For hundreds of years, there have been debates about the age, purpose, properties and effects of the pyramids, as well as the technologies for their construction. A large number of hypotheses have been proposed, both complementary and contradictory. On the above-mentioned problems, various scientific institutions have been created and are functioning in many countries of the world, the sciences of “Egyptology” and “Pyramidology” have emerged, a huge number of monographs, scientific works, articles and popular science books have been published. A wide variety of architectural structures were created in the image and likeness of the Egyptian pyramids.

Target project:

study of pyramids as architectural structures.

Project objectives:

Get acquainted with the concept of a pyramid.

Explore the ancient pyramids of Giza and the theories behind their construction.

Collect material about modern pyramids.

Explore where you can see the pyramid, what the capabilities and unique properties of the pyramid are.

Hypothesis – “The pyramids are fraught with many mysteries and secrets.”

Main part

1.1. What is a pyramid and why were they built?

Pyramid- a polyhedron, the base of which is a polygon, and the remaining faces are triangles having a common vertex.

A pyramid is a special case of a cone.

A pyramid is called regular if its base is a regular polygon and its apex is projected into the center of the base.

The word "pyramid" is Greek. According to some researchers, a large pile of wheatand became the prototype of the pyramid. According to other scientists, this word comes from the name of a pyramid-shaped funeral cake.

There are several hundred pyramids on Earth - from relatively small ones to buildings the size of a 30-story building. But scientists still have questions about their functionality. Common features, despite the fact that the pyramids scattered throughout the planet vary in size, shape, and also in the time of construction, they have much more common features than might seem at first glance. Researchers note a largely similar style in the construction of the pyramids. This applies to both stone processing and its installation. Some pyramids, in particular Mexican ones and those located in the depths of the ocean, are united by the presence at the foot of a “stylized head” carved from a monolith. Scientists at the University of California recently mapped all known pyramids and found that they are located approximately on the same line. If we take the Giza pyramids as our starting point, then this line ends at the Guimara pyramids, built on the Canary Islands. According to the Norwegian traveler Thor Heyerdahl, the similarity of ancient megalithic buildings is explained by the fact that there was an exchange of experience between the islands and continents. With his expeditions, Heyerdahl proved the possibility of ancient people swimming over fairly long distances. One of the latest versions of the functional purpose of the pyramids suggests that they were built as a repository of knowledge of previous civilizations, in which astronomical and geographical information is expressed in the language of geometry. Domestic and foreign scientists, including the British mathematician John Legon, carried out numerous calculations of the length of the faces and bases of the pyramids, their volumes, areas and even the distances between the pyramids, and discovered strict patterns of multiplicity of series of numbers. In particular, the ratio of the perimeter of the base of the Cheops pyramid to its height is equal to the number 2 Pi. Based on this fact, scientists conclude that the pyramid serves as a map projection on a scale of 1:43200 of the Northern Hemisphere of the Earth.

Pyramids are considered conductors of cosmic energies. Their use in healing and meditation is well known. In fact, most temples, mosques, churches, cathedrals have a pyramid or dome-shaped roof. They say that enormous spiritual energy flows from the top of the pyramid into the room and the results of meditation become more tangible and vivid.

1.2. The phenomenon of the Egyptian pyramids.

The "calling card" of Egypt is the pyramids. There are about a hundred pyramids here - large and small, stepped and with smooth sides, which have reached us almost unchanged and look more like a shapeless pile of stones. They are located along the left, western bank of the Nile in small groups, not far from the place where the capital of the country, Memphis, was located during the era of the Old Kingdom. The most famous of the pyramids are on the outskirts of Cairo, on the edge of the desert Giza plateau, hanging over the green Nile Valley. Here, in Giza, there are three great pyramids - Cheops, Khafre and Mikerin.

Even in ancient times, the pyramids of Giza were considered one of the seven “wonders of the world.” But even today they are capable of hitting anyone. The largest of them is the pyramid of Cheops, the second pharaoh of the IV dynasty. This pyramid still remains the largest architectural creation of human hands. At its base it is a square with a side of 227.5 meters. The height during construction was 146.6 meters, and now the pyramid is 9 meters lower: the top stones fell during earthquakes. The construction of the pyramid (and it was completed around 2590 BC) took 2.3 million stone blocks weighing two and a half tons each. The total volume of the pyramid is 2.34 million cubic meters. The faces of the pyramid are oriented to the cardinal points, and their angle of inclination to the base is 51 o 52". The entrance is on the north side. The individual blocks, according to the Arab historian Abdel Latif (12th century), are so precisely fitted to each other that it is impossible to insert a knife blade between them.

There are no inscriptions or decorations inside the Cheops pyramid. There are three burial chambers there. The pharaoh's burial chamber is a room about 11 meters long, five meters wide and almost six meters high. The walls of the tomb are decorated with granite slabs. The red granite sarcophagus is empty. Neither the pharaoh's mummy nor the funeral utensils were found. It is believed that the pyramid was plundered in ancient times.

The second largest pyramid of Giza belongs to Pharaoh Khafre. It was built 40 years later than the first. Sometimes it seems that the pyramid of Khafre is even larger than Cheops. It's actually a little smaller. The side of the square base of the Khafre pyramid is 215 meters. Height - 136 meters. However, in ancient times, like the Cheops pyramid, it was 9 meters higher. The angle of inclination is sharper than that of the first pyramid: 53o8".

The ensemble of the great pyramids of Giza is completed by the pyramid of Mikerin. Its construction was completed in 2505 BC. This pyramid is significantly smaller than its predecessors. The side of the base is 108 meters, the original height is 66.5 meters (today - 62 m), the angle of inclination is 51o. The pyramid's only burial chamber is carved into its rocky base. The Pyramid of Mikerin emphasizes the greatness of the pyramids of Cheops and Khafre. The latter are not difficult to distinguish from each other: the Pyramid of Khafre has partially preserved white basalt cladding near the top.

1.3. Theories of the construction of the Egyptian pyramids.

The ancient Egyptian pyramids still keep many secrets and mysteries. Some of them, of course, have already been revealed, but questions remain that still trouble the minds of scientists and historians. How and by whom were these monuments created? What technologies were used during construction? How did builders manage to move huge stone blocks? Why did the pharaohs need this kind of tomb?

There have been debates about the method of building pyramids since ancient times. The Cheops Pyramid, the only “miracle of the world” of the ancient world that has survived to this day, has received a particularly large number of theories and assumptions. Herodotus also described a lifting machine based on the principle of a lever. True, judging by the images of “Herodotus’ machines” in 18th-century engravings, it is unlikely that these simple wooden structures helped much in lifting multi-ton blocks to a height (in the burial structures of the ancient Egyptians, some monolithic blocks reach a weight of tens and even hundreds of tons).

Herodotus examined the Great Pyramids of Egypt almost half a millennium BC, when the country of the pharaohs was under Persian rule. The Hellenic scientist came to the conclusion that the construction of giant pyramidal structures was carried out using a system of wooden lifts located at different levels. You can learn about more fantastic theories from the books “The Civilization of the Ancient Gods of Egypt” (Sklyarov) or “In Search of the Origins of Ancient Civilizations” (Graham). Both authors deny the ancestors of today's Copts the authorship of the construction of the pyramids and, without thinking twice, declare the real builders to be representatives of more ancient civilizations, about which, naturally, modern science knows absolutely nothing. “Ufologists” of various stripes followed a similar path, coming up with hundreds of “theories” about the construction of pyramids and other great monuments of antiquity by humanoids from Alpha Centauri and more distant corners of our Galaxy.

Authors of alternative theories especially often focus on multi-ton blocks, which in the funerary buildings of Ancient Egypt reach a weight of tens and hundreds of tons. Looking at the ancient architectural sights of Egypt, you can see that they are most often made of limestone or hard rocks (basalt and granite). In addition to transportation, lifting to heights and laying, they often appeal to processing methods (sawing, grinding, drilling), large differences in construction technologies within the same building, the similarity of construction technologies in Egypt and megalithic structures in other parts of the world (in particular, in Mexico, Peru and Bolivia).

Often, the mythology of different peoples becomes arguments for the authors of alternative theories. Representatives of more ancient civilizations are often appointed to the role of gods described in legends of the distant past. And the weaker the theorists’ arguments, the more often the words “lasers”, “Atlantis” and “aliens” are heard in their theories. Sklyarov also mentions the Great Sphinx with traces of water erosion and the amazing astronomical knowledge of the ancients, manifested both in the designs of ancient monuments and in the culture of local peoples.

The main material for the construction of Cyclopean religious buildings, such as the pyramid of Khafre, Cheops or the pyramid of Menkaure, was limestone. Solid basalt and granite elements were more often used to decorate the interiors of tombs. Limestone processing does not require the use of modern tools and is perfectly done using flint chisels, dolerite balls and other tools available to the ancient Egyptians. The weight of blocks installed at a height does not exceed one and a half to two tons. Such blocks can be moved and raised to a height using brute physical force and primitive technology, which in no way detracts from the achievements of the ancient builders and the majesty and uniqueness of the “eternal” pyramids they created.

More than once theories have been expressed about the casting of blocks for the construction of pyramids from limestone concrete. This theory was first put forward by Joseph Davidovits, a chemist from France who specialized in the development of new building materials. Davidowitz believed that the large blocks were made on site using stone chips and limestone "geopolymer concrete". A similar theory is promoted by Nosovsky, known for his pseudoscientific theories about mass falsifications of “real” historical chronology by official science.

1.4. Pyramids in architectureXVIII - XIXcenturies.

French engineer Alexandre Gustave Eiffel, a graduate of the Central School of Arts and Crafts in Paris, was one of the first to make extensive use of iron structures, the earliest and most significant use of which was the amazing glass “web” roof of the huge Bon Marché department store built by in the capital of France in 1876.

The end of the 19th century is the period of the emergence of new architectural thinking. By that time, the progress of science was so obvious that a new generation of scientists and engineers took on the solution of any problems, no matter how complex they were. Thus, the engineers embodied their ideas in bold construction and technical projects, which, admittedly, they succeeded brilliantly. Using metal as the main material, Eiffel built majestic bridges, viaducts and other structures, but gained worldwide fame thanks to his tower.

The openwork steel structure, erected in Paris for the 1889 World Exhibition, brought immortality to its creator. The tower was conceived as a decoration of the exhibition, its main “exhibit”, and was supposed to demonstrate
the amazing power of new technology. The height of the Eiffel Tower is 300 meters, which for many years made this building the tallest in the world; it is made up of 12,000 parts!

A new material – metal – in the hands of a talented person perfectly embodied the author’s artistic intent. A wide arch at the base, through which a view of the Military School and the Jena Bridge opens, gradually turns into a slender “body” of the tower, ending with an elegant spire. In appearance, the tower is similar to a pyramid. Neither the stone nor the wooden architecture of the past knew this.

The owner of the metal lace, the beautiful tower, received practical use later, when it began to be used as a radio mast. It should be noted that not everyone liked this gigantic building. Contemporaries of the construction of the Eiffel Tower for a long time could not get used to the new forms and materials.

Now, after so many years, the tower, bearing the name of its creator, is recognized not only as a worthy decoration, but also as a symbol of Paris.
In the architecture of St. Petersburg, the “Egyptian style” is one of the defining and most mysterious attributes of the city on the Neva.

“Egyptian "pyramid. Tsarskoe Selo. "Egyptian Gate". Tsarskoe Selo.

In the Catherine Park on the shore of the Lebyazhy Pond, among the surrounding greenery, rises one of the first pavilions of the landscape part of the park - the Pyramid, built in 1770-1772, according to the design of the architect Vasily Ivanovich Neelov, in the neo-Egyptian style,in its corners, four columns of gray and pink Ural marble on pedestals were installed in 1773.The artistic composition of this pavilion uses the pyramids of Cestius in Rome (a funerary monument of the 1st century BC). Pavilions in the form of a pyramid - an ancient symbol of eternity - were common in European landscape parks.

1.5. Pyramids in modern architecture.

We often see a pyramid on the street in the form of elements of buildings or architectural structures themselves.

For example, French architects designed the modern entrance to the Louvre.The pyramid in the Louvre today is one of the important symbols of the French capital and modern architecture as such. This object is very famous and iconic. It contains the denouement of the novel “The Da Vinci Code,” which was written by the famous Dan Brown.

Glass pyramid in the Louvre.

An architectural company from Japan called “Suppose Design Office” created a unique project, Black Pyramid House, according to which, in one of the suburbs of Tokyo, a unique house was built that looks like a pyramid.

For a long time, the Japanese have been developing a unique project. According to him, a city should soon appear there, in which more than 1 million people will live. The authors of this idea dream that this settlement will stand in the middle of the water, and its shape will somewhat resemble an ordinary pyramid. The height of the building is 1000 meters.

A unique pyramidal city in Japan “Shimizu Mega-City Pyramid”.Young architects from Mexico decided to stand out among the gray mass of skyscraper projects in 2010 at the eVolo Skyscraper Competition. The guys created the concept of an elegant pyramid structure, which should be located in the central square of Mexico City. The most unusual thing about this project is that it must be underground.

A skyscraper in the form of a pyramid underground in the center of Mexico City.In the city of Bratislava, for a long time there has been a unique structure that resembles an inverted pyramid. This building in our case is not underground. It is located on the surface of the earth. The structure houses the office of the National Radio of Slovakia.

Pyramid in Bratislava.

In ancient Egypt, the pyramids were considered the main miracle and the place of the afterlife of the pharaohs. In one of the Dutch towns of Spijkenisse, a unique pyramidal library called “Book Mountain + Library Quarter” was built several years ago. This object is considered a unique, amazing, extraordinary and large structure of this settlement. In this city quarter, residents can gain the necessary knowledge and also take a break from the bustle of the city.

A pyramid-shaped library located in the Netherlands.

One of the unique and modern symbols of Kazan can be safely called the concert hall called “Pyramid”. It was made in the appropriate form and opened in 2002.

Concert hall in Kazan in the form of a pyramid.

Today, one of the very first buildings of the legendary architect named Norman Foster in the CIS is the Palace of Peace and Reconciliation. It is located in the city of Astana (Kazakhstan) and has the shape of a pyramid.

Pyramid Palace of Norman Foster in Astana

In one of the US cities, only the name of the pyramid is Egyptian. It is here that a large number of famous objects are located. Among them, a sports complex called the Pyramid Arena in Memphis should be highlighted. Its height is 98 meters. For this, this structure was called the Great American Pyramid.

American pyramid called "Pyramid Arena" in Memphis.

The Korean city of Pyongyang can also boast of a large and luxurious pyramid. The 330-meter hotel called "Rügen" was supposed to open its doors to tourists and guests in 1989. However, the long-term economic crisis in the country, as well as a shortage of materials and labor, coupled with architectural miscalculations, slightly shifted such plans. Ultimately, the first hotel guests will appear only at the end of summer 2013. Today, this complex is being completed by two capitalist companies, Orascom group and Kempinski.

A hotel called "Ryugen" in the Korean city of Pyongyang.

Currently, translucent structures are becoming widespread.

2. Research part

2.1.

Where in nature and in everyday life is the pyramidal shape found?

The pyramidal shape is found primarily in nature. A typical example of a pyramidal f The form is spruce. Its trunk is most often straight, and the branches are evenly spaced relative to the trunk, so that a vertical straight line passing through its center of gravity intersects the base of the spruce trunk. Thus, a tree, developing under the influence of gravity, reaches a stable position. Towards the top of the tree, its branches become smaller in size - it takes on the shape of a pyramid. This is also understandable to us: after all, light should fall on the lower branches, as well as on the upper ones. In addition, the center of gravity should be as low as possible - the stability of the tree depends on this.

IN
methane molecule CH 4 a carbon atom is bonded to four identical hydrogen atoms. The physical equality of all four bonds between the carbon and hydrogen atoms is naturally consistent with the spatial structure of the methane molecule in the form of a tetrahedron, at the top of which are hydrogen atoms, and in the center is a carbon atom. The molecule has the shape of a regular triangular pyramid - a tetrahedron.

Considering special cases, you can see that the pyramid is widely used in everyday life, even in the household.

Pyramid elements are widely used in technology. Pay your attention to the computer, you don’t see any resemblance to a pyramid anywhere, but what about the keyboard? The buttons on which your fingers so often tap the necessary material - are also similar to a quadrangular truncated pyramid.

Entering a jewelry store, we see before our eyes a huge selection of millions of jewelry made in the shape of a pyramid. Numerous figurines, various stands, sculptures of extraordinary beauty - all these are pyramids.

We can also see the pyramid at home: towels, potholders, napkin holders, salt shakers, pots for house plants, vases, etc. Even an ordinary tube of toothpaste - pyramids surround us everywhere.

There is a well-known clay hollow pyramid 10 cm high with a square base 10x10 cm and an edge length of 12.25 cm. Inside the pyramid, directly at the top, there is a small (5-7 mm) rock crystal crystal (vertically along the height of the pyramid). One of the faces has four identical holes with a diameter of 5 mm, three of which are located in the corners of the triangle with sides equal to 25 mm, and the fourth at the intersection of its height with the base equal to 32 mm. The three lower holes are located on the same line at a distance of one third from the base of the pyramid.

Orientation of the face with holes to "North". In this situation, according to the authors, there isneutralization of geopathogenic radiation within a radius of up to 8 meters.

D Another version of the pyramid design, shown in the figure, is made with edges made of transparent ruby-colored glass plates, which are fixed with a metal edging. Crystal balls with a diameter of 2 cm are placed on the top and corners of the base. Inside the pyramid there are two horizontal plates dividing it into three parts equal in height. The presence of five balls provides a significant range and high radiation intensity.

Therefore, the properties and effects exhibited in addition toneutralization of geopathogenic radiation allows you to eliminate the adverse effects of the interior and process (charge) various objects.

Frame pyramids have been known for quite a long time. They usually have a height of 15-30 cm or more. They are made from wire with a diameter of 3-2 mm or from tubes, the diameter of which is selected taking into account the height of the Iramids.

Currently, translucent structures are becoming widespread.
On the roof there are 16 small and 3 large pyramids with transitions into vertical stained glass windows. The pyramids are equipped with a storm water drainage system and a hidden condensate drainage system.

2.2. Why are pyramids created? Their purpose and properties.

Of the created modern pyramids, the following pyramids stand out, from the point of view of design solutions and the validity of the properties and effects exhibited:

"Slavnikov's Bipyramid";

"Proskuryakov's Pyramid";

"Pyramid of Hunger".

"Slavnikov's Bipyramid", patented as a "Device for neutralizing harmful effects" (priority dated 12/30/96) is a double frame structure.

It consists of two regular pyramids, each with a triangular base (tetrahedron), connected symmetrically to each other by vertices, forming a common vertex. The bipyramid is equipped with an antenna and emitter. The latter is made in the form of two truncated cones, located symmetrically relative to the common vertex.

The orientation of the Bipyramid (functioning modes) in space along the cardinal points is carried out using a “selected edge”. There is an "off" mode - horizontal position of the Bipyramid.

The lengths of the ribs and sides of the base are the same size. Currently, the Bipyramid is made with ribs of two sizes: 12 cm and 25 cm (BI-12 and BI-25, respectively).

Bipyramid is intended for apartments, offices and cottages.

In recent years, a large number of experiments have been carried out using dowsing methods, methods of traditional science and appropriate instrumentation. A significant number of organizations of various forms of ownership, as well as a large number of specialists from various branches of science, participate in the experiments.

Especially for comparative analysis, based on the results of the experiments, tetrahedral Bipyramids were manufactured, in addition to trihedral ones.

Due to the abundance of information, only the properties and effects that have received experimental confirmation and are reflected in the corresponding reports are listed below:

vibration effect with a healing effect on the environment and humans, and, in the latter case, the predicted frequency range that is optimal for humans, namely the millimeter range, has been instrumentally proven;

the influence of the “energy field” on the human biofield, taking into account the phase periods of the moon;

neutralization of geopathogenic radiation;

reducing the values ​​of the electromagnetic components of the computer field;

changes in the structure and acid-base balance of water under the influence of the “energy field”;

restoration of diseased plants using the example of exotic deciduous cacti.

The properties and effects manifested in terms of health improvement and prevention are given separately:

prevention of certain diseases when exposed to the field and water treated in the active zone of the Bipyramid;

restoration of energy balance and energy of human organs and systems;

restoration of clinical indicators, for example, hemoglobin according to information from specialists of the Ministry of Emergency Situations of Belarus;

restoration of indicators characterizing the state of organs and systems (R. Voll method and START-1 device) in the presence of negative effects of geopathogenic radiation and various electromagnetic fields, for example, power lines by enhancing human protective functions;

the healing effect of the Bipyramid both in stand-alone mode and as an addition to the applied methods and devices by exposing the patient to its field in a given time interval;

reduction of stuttering in children (Novouralsk);

activation from a psychological point of view of human reserve capabilities;

compatibility of design features of properties and effects with architectural solutions in terms of energy and information well-being of the population.

Taking into account the accumulated experience, a testing system for the effects of Bipyramid in the presence of extraneous harmful influences has been developed.

It should be noted that other experiments were carried out, but due to the contradictory results, it was decided to double-check them.

"Proskuryakov's Pyramid" is a tetrahedral structure that differs from the classic one in the ratio of height and side of the base, as well as other ratios protected by a patent of the Russian Federation.

The two pyramids, erected in 1996 in South Korea, have height and base dimensions of 3.75 m and 6x6 m, respectively.

A standard pyramid design was developed and purchased by seven CIS cities. In 1998, two (out of three) pyramids 5 m high, with a base 8x8 m and an underground entrance, were commissioned near Sochi.

The main purpose of the pyramids is to harmonize the environment and improve health. These pyramids are intended for the needs of the sanatorium.

The "Pyramid of Hunger" belongs to the series of "Big" pyramids, because... even the first samples, for example, in the Ramensky district of the Moscow region, have a height of 11 m.

In 1997, a 22 m high pyramid was built on the shore of Lake Seliger. Currently, according to the author, a 44 m high pyramid is being built. According to the author, this will be a certain limit, at least in the near future.

The design of the pyramid is based on the proportion of the Golden Section, that is, the diameters of the balls inscribed in the pyramid form the indicated ratio and determine its structural dimensions.

The areas of application of the pyramid, according to the author, are very diverse and are based on the results of joint experiments with a number of Russian research institutes, leading clinics, as well as on hypotheses, analogies and expert assessments.

The most significant areas of application of the pyramid are as follows:

bringing the surface layer of the Earth into a harmonious state;

increasing the reliability of disposal of nuclear, chemical, bacteriological and other waste;

increasing the level of human adaptation to environmental conditions;

solving environmental problems through the improvement of reservoirs, forests, fields, parks, etc.;

increasing agricultural productivity;

improving the quality of food, drinks and medicines;

prevention and recovery;

solving problems of energy information protection;

information impact on the environment through the accumulation of information in water flows (rivers) and much more.

Conclusion

The pyramids are of interest to historians, architects, physicists, biologists, doctors, and philosophers. The more we learn about the pyramids, the more questions we have. As part of the project, I studied the pyramid as a geometric body, tried to delve into the secrets of the pyramids, learned about the location of modern pyramidal structures, and tried to find out the reasons why the pyramid is recognized as one of the perfect forms in the world.

While working on the topic of the project, I learned a lot about the pyramid; I was interested to know how they were built and are still being built, and what architectural value each of them represents.

BIBLIOGRAPHY

Nepomnyashchiy N. “Seven Wonders of the World.” - M. “Slovo/SLOVO” - 2000. – 3-6 p.

Shalaeva G. “Everything about everything” - M. “AST” 1997. – 21 p.

Electronic Collection of Abstracts "DISKaveri" - M. "Adept" 2003. - 6-10 p.

Mikhailovsky K. “Pyramids and scales.” - Warsaw 1973. – 12-14 p.

Dmitrieva N. A. “A Brief History of Arts.” - M. “Astrel” -2000.- 14-17 p.

Bonin I. Collected works. – M. “Orbita” - 2000.-18-19 p.

Bauval R., Gilbert E. “Secrets of the Pyramids.” – M. “Ripol\classic” -2003.- 14-17 p.

Internet resources

http://www.inetjob.info/pir.html

http://architect.claw.ru/shared/401.html

http://www.tmn.fio.ru/works/26x/304/d8_2.htm