Interest in antiquity increased in the second half of the 18th century not only in France, but also in England and Germany.

In England, in 1768, Robert Wood’s essay “An Essay on the Original Genius and Creations of Homer” was published, about which Goethe left an enthusiastic review: “In these images we no longer saw strained and pompous stories about heroes, but a truthful reflection of ancient reality and tried as close as possible to her.

Artists Cleron and Lequin, pupils of Voltaire, playing in the plays of Corneille and Racine, threw off the traditional costumes of the times Louis XIV, wigs and crinolines, and put on Greek and Roman costumes. The famous actor Talma followed suit.

Composer glitch, whose name then spread all over the world, a brilliant musician and innovator in the field of opera, aroused even greater interest in genuine heroic antiquity with his operas Orpheus, Alceste, Iphigenia in Tauris, first staged in Paris. Gluck's heroic music sounded revolutionary at that time. In June 1800, one German newspaper (AP-metete tissioisspe 2eUin^) rightly wrote: swarming and those strong feelings that were needed to stage a formidable drama - revolution.

In Germany, Winckelmann, with his famous work "The History of the Art of Antiquity", revolutionized the views on antiquity. The originality of Greek art, its nationality, its deep ties with the life of the people were first revealed by an outstanding thinker. Winckelmann's work in the 60s. XVIII century was translated into French.

Enlighteners were interested in antiquity, looking for images and paintings in it that were consonant with them in ideas. Diderot studies Lucretius, the materialist poet of antiquity. Rousseau is inspired by heroes. Plutarch and the writings of the Roman historian Tacitus, who castigated the depravity of the Roman aristocracy. Montesquieu writes a historical image "Reflections on the causes of the greatness and fall of the Romans", in which he exalts the valiant republicans of Rome.

In 1757, the famous French archaeologist Count Keilus published the book "Paintings of Homer and Virgil", urging contemporary artists to look for plots in heroic antiquity. Using the materials of the books of Keilus ("Collection of Egyptian, Etruscan, Greek, Roman and Gallic antiquities" in seven volumes, published from 1752 to 1767), Jean-Jacques Barthélemy published on the eve of the revolution (in 1788) his famous novel "Journey of a young Anacharsis in Greece”, in which he glorifies the political system of republican Athens, civil liberty and civic prowess of the ancient Greeks. All this prepared the fascination with the heroic images of antiquity, which was observed during the years of the French Revolution.

The artist David in 1784 completed his best painting, The Oath of the Horatii. Three patriotic brothers who fought for native city, for freedom, sung in antiquity, and in modern times - in the famous tragedy of Corneille, were now captured on the artist's canvas, symbolizing the revolutionary pathos that inspired the French people on the eve of the storming of the Bastille. In 1789, David painted the painting "Brutus".

In November 1790, the staging of Voltaire's tragedy Brutus was resumed in Paris. She aroused the warm sympathy of the revolutionary audience. The patriotism, civil courage and devotion of Brutus to the ideas of freedom deeply excited the audience. During the intermissions, rallies spontaneously arose, with passionate passionate speeches were made by revolutionary orators. Aristocrats who found themselves in the hall and expressed their dissatisfaction were expelled from the theater.

Modern ideas, dressed in ancient heroic images, acquired a special beauty and grandeur. The enlighteners themselves, who prepared the revolution but did not live to see it, now, in the days of war, in the eyes of the insurgent French, have risen to the height of the ancient ideal. In the play by an unknown author, The Shadow of Mirabeau, staged after the death of the famous orator (April 4, 1791), Voltaire is shown meeting the shadow of Mirabeau in the Champs Elysees. The philosopher places a civil crown on Mirabeau's head. Rousseau, the orator, and Brutus next to him are also welcomed here.

Passion for heroic antiquity was reflected in the work of Andre Chenier (1762-1784). The poet was executed before he had time to publish his poems. They saw the light only in 1819. The elegies, eclogues, iambs of Andre Chenier seemed to revive distant antiquity, but they lived in modern ideas. The French poet was greatly appreciated by Pushkin. “No one respects me more, loves this poet,” he wrote.

André Chenier's brother, Marie Joseph, a poet and playwright of the era of the revolution, also chooses ancient subjects for the theater, glorifying the republican prowess of the ancients. Such is his tragedy, Caius Gracchus. In the plays "Charles IX", "Henry VIII" he brings the married murderers of the new time to the stage, arousing hatred of absolutism in the viewer. The play "Charles IX", staged by the Comedie Francaise, was banned by the government of Louis XVI, but this caused such indignation among the people that the king was forced to cancel his decision. Marie Joseph Chenier wrote the play "Calas", reproducing very recent times.

The leaders of the revolution widely promoted the names and work of the enlighteners, especially Voltaire and Rousseau. On May 30, 1791, on the day of the anniversary of Voltaire's death, the ashes of the philosopher were solemnly transported to the Pantheon, and the popular enthusiasm that this event caused made the celebration itself an act of revolution. The artist David designed the procession, the poet Marie Joseph Chenier wrote a hymn in honor of Voltaire, the composer Gossec created the music.

Marie Joseph Chenier also wrote the ode “The Song of July 14”, in which, in the spirit of the enlighteners, he exclaimed: “Let the shackles break! May the earth be at peace! May the spirit of laws create a new state that will be as eternal as the rays of the sun! May the long-term crime of centuries of deceit be redeemed! Heaven created humanity for freedom." Composer Gossec set the poet's poems to music.

After the Jacobin coup in 1793, the name of Jean-Jacques Rousseau, the most radical of the French enlighteners, gained particular popularity. At the feast of August 10, 1793, Herault de Sechelles delivers a speech in the spirit of Rousseau's ideas:

“Oh nature! Take the expression of the eternal devotion of the French to your laws ... After so many centuries of error and slavery, it was necessary to return to your, oh nature, original simplicity in order to find freedom and equality again.

Promoting the ideas of Rousseau, Marie-Joseph Chenier, together with the composers Gossec and Mugel, creates solemn hymns full of revolutionary enthusiasm: “Hymn to Nature”, “Hymn to Equality” and “Hymn to Freedom”. “Dear freedom! Dear freedom, nature, fatherland!” - such exclamations sounded in the "Hymn of Equality". These hymns were sung by the choir on the days of celebrations or by all the people gathered in the square. During the years of the revolution, the play in verse "The Apotheosis of Jean-Jacques Rousseau" was staged in the theater. As an allusion to the constant depression of the philosopher, to his gloomy mood in last years couplets sounded in the play that Rousseau, "the foreman of the real sans-culottes", is cheerful, "since we have no despots."

Antiquity (from Latin this word means "antiquity" - antiquus) is the era of two great civilizations - Ancient Greece and Rome.

Periodization of antiquity

Answering the question of what an ancient society is, you need to know in what era it existed and what periods this time was divided into.

The following periodization is generally accepted:

1. Early antiquity - the time of the birth of the Greek states.

2. Classical antiquity - the period of unity of Roman and Greek civilization.

3. Late Antiquity - the time of the collapse of the Roman Empire.

Considering the ancient society, one must take into account the fact that it is impossible to establish the exact time frame here. Greek civilization appeared before the Roman, and the Eastern existed for some time after the fall of the Western. It is believed that the era of antiquity is the time from the VIII century. BC e. according to the VI century. n. e., before the beginning of the Middle Ages.

The emergence of the first states

On the Balkan Peninsula in antiquity, there were several unsuccessful attempts to create states. It was a period of prehistory

2700-1400 BC e. - the time of the Minoan civilization. It existed in Crete and had a high level of development and culture. Has been destroyed natural disaster(volcanic eruption that gave rise to a strong tsunami) and the Achaean Greeks who captured the island.

Around the 16th century BC. Mycenaean civilization arose in Greece. She dies in 1200-1100 BC. e. after the Dorians invaded. This time is also called the "Greek Dark Ages".

After the disappearance of the remains of the Mycenaean culture, the first period of antiquity begins. In time, it coincides with the end and formation of early class society.

The ancient Greek state was the primary civilization. It originates in the primitive system, and before it there was no previous experience of statehood. Therefore, ancient society experienced a strong influence of primitiveness. This was manifested, first of all, in the religious worldview. Man in this period was regarded as main feature antiquity - an active position in relation to the world.

Life in ancient society: structure and classes

The first Greek states developed very actively. This was facilitated by the struggle between the peasants and the nobility, when the latter tried to convert the former into debt slavery. In many other ancient civilizations, this was done, but not in the Greek. Here, the demos not only managed to defend its freedom, but also achieved some political rights. Of course, this does not mean that society in the ancient world did not know slavery. Both ancient Greece and later Rome were

What is an ancient society and what is its structure? Main public education ancient world was a polis, or city-state. Therefore, a society has developed here that is completely different from other countries. The community was its core. Everyone occupied his position in it. It was determined by the presence of civil status. The entire population was divided into three categories: full-fledged citizens, incomplete and disenfranchised. Civil status is the main achievement of ancient society. If in other countries the population lived within the strict limits of estates, then in Greece and Rome it was more important to have the status of a citizen. He allowed the demos to take part in the management of the policy on an equal footing with the nobility.

Roman society was somewhat different from Greek and had the following structure:

2. Free farmers and artisans. Columns were included in the same category of the population.

3. Merchants.

4. Military.

5. Slave owners. Here in the first place was the senatorial class.

Science and culture of ancient society

The first scientific knowledge was obtained in ancient times, in the states of the East. This period is called pre-scientific. In the future, these teachings were developed in ancient Greece.

The science of ancient society is the appearance of the first scientific theories, basic concepts, treatises and communities. At this time, the formation and emergence of many modern sciences.

In its development, the science of antiquity has come a long way:

1. Early stage - VII-IV centuries. BC. This is the time of natural science and philosophy. The first scientists-philosophers were mainly interested in the problems of nature, as well as in the search for the fundamental principle of all living things.

2. Hellenic stage - it is characterized by the division of a single science into separate areas: logic, mathematics, physics, medicine. This time is considered the highest flowering of ancient science. Euclid, Aristotle, Archimedes, Democritus create their great works.

3. The Roman stage - the time of the decline of ancient science. Among the most important achievements of this period is the astronomy of Ptolemy.

The main success of the science of ancient times lies in the formation of separate directions, the creation of the first terminology and methods of cognition.

The philosophy of ancient society and its famous representatives

It arose in the 7th-5th centuries. BC e. in Greece and is divided into the following stages:

1. Naturphilosophy, or early classics. Philosophers of this time were primarily interested in questions of cosmology. Outstanding representatives: Thales, Pythagoras, Democritus.

2. Classics is the heyday of the time in which its most prominent representatives lived: Socrates, Plato, Euclid, Aristotle. Here, for the first time, questions of natural philosophy were replaced by an interest in the problem of good and evil, ethics.

3. Philosophy of Hellenism - at this time, the active development of philosophical thought begins under the influence of ancient Greek scientists. The most famous representatives: Seneca, Lucretius, Cicero, Plutarch. There are many directions of Epicureanism, Neoplatonism and Stoicism.

The influence of antiquity on modern culture

Ancient Greece and Rome are poetically called the cradle of modern civilization. Undoubtedly, ancient society had a tremendous impact on the development of other countries and peoples. Science, theater, sports competitions, comedy, drama, sculpture - not to list everything that the ancient world gave to modern man. This influence is still traced in the culture, life and language of many Romanesque peoples and inhabitants of the Mediterranean region.

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mythologicalimagesantiquityinworkspaintingerarenaissance

Volotskov Anastasia - student 2nd course FIA MAI (NRU)

Zubanova S.G. - d.h.s., Professor,

head of department theories And practices second foreign

languages FIA MAI (NRU)- scientific supervisor.

annotation

The purpose of this article is to familiarize readers with the genre of ancient mythology in painting, disclosure and analysis artistic images on the canvases of the most famous artists of the Renaissance, as well as drawing parallels in fine arts with other areas of the spiritual culture of the corresponding era.

Anastasia Volotskova - 2nd year student of the foreign Languages Department of the Moscow Aviation university (National Research university)

S. G. Zubanova - doctor of history, professor, chairperson of the theory and practice of the second foreign languages department of the foreign Languages Department of the Moscow Aviation university (National Research university) - scientific advisor

mythologicalimagesofantiquityinmasterpiecesofRenaissance

The following article is aimed at readers" familiarization with the genre of antique mythology in pictorial art, analysis of artistic images appearing in canvases which belong to the most famous artists of Renaissance; also, matching art and other spheres of inner culture parallels of the same epoch.

Mythological images of antiquity in the paintings of the Renaissance

rebirth, or Renaissance(from French renaissance , ital. rinascimento) - an era in the history of European culture, which replaced the culture of the Middle Ages and preceded the culture of modern times. The approximate chronological framework of the era is the XIV-the very beginning of the XVII century. A distinctive feature of the Renaissance is the secular nature of culture and its anthropocentrism (that is, interest, first of all, in a person and his activities). There is an interest in ancient culture, there is, as it were, its “revival” - and this is how the term appeared. Drawing pictures of traditional religious themes, artists began to use new artistic techniques: building a three-dimensional composition, using the landscape in the background, which allowed them to make the images more realistic, lively. This sharply distinguished their work from the previous iconographic tradition, replete with conventions in the image. The genre dispersion of painting in the Renaissance is relatively small, the most popular were icon painting, vanitas, and portraits. But some artists often turned to ancient cultural roots for inspiration, as a result of which their brushes and canvases gave rise to mythological images of ancient gods and heroes from folk tales. Myth and legends are closely intertwined with the everyday life of people. Myth in the meaning of the Russian language is "a legend". Ancient mythology (from the Latin Antiquus - “ancient”) is manifested in the vivid pictorial images of artists who endow the characters of their canvases with a certain corporality and greater fantasy. From the very beginning of the Renaissance, the creators looked for inspiration and drew ideas from the plots of the mythology of Ancient Rome and Greece. Florence became the birthplace of the Renaissance and ReRenin, which in the 13th century. was a city of rich merchants, owners of manufactories, a huge number of artisans organized in workshops. In addition, the guilds of doctors, pharmacists, musicians, lawyers, attorneys, solicitors, and notaries were very numerous for that time. It was among the representatives of this class that circles began to take shape. educated people who decided to study the cultural heritage of Ancient Greece and ancient rome. They turned to the artistic heritage of the ancient world, the works of the Greeks and Romans, who at one time created the image of a man not bound by the dogmas of religion, beautiful in soul and body. Therefore, a new era in the development of European culture was called "Renaissance", reflecting the desire to return the samples and values ​​of ancient culture in the face of the "materialization" of myths and legends in new historical conditions.

For a modern viewer, the narration of mythological plots in canvases will seem commonplace, however, connoisseurs and connoisseurs who see the historical roots of the emergence of this genre, like ancient mythology in painting, appreciate with particular trepidation the art with which world artists of that time approached the creation of images and scenes of life fairy tale characters ancient mythology.

The most significant artists of this era who worked in the direction of painting ancient mythology are Sandro Botticelli, Titian, Antonio da Correggio and Nicolas Poussin.

Like a true Florentine, Botticelli the first began to write mythological heroes in his paintings. His most famous work, which to this day is considered not only a masterpiece, but also a symbol of Italian painting of the 15th century, is The Birth of Venus.

The theme is taken from ancient literature, more precisely, from Ovid's Metamorphoses. Naked Venus floats on the sea on a seashell, the gods of the winds fly to her left; on the right, on the shore, Venus is met with clothes in her hands by the nymph of the seasons Ora. Violets bloom under her feet - a symbol of the renewal of nature.

Among other literary landmarks is the poem "Stanza" by Angelo Poliziano, a contemporary of Botticelli and the main Neoplatonist poet from the Medici entourage. Neoplatonism is a philosophical movement popular in the Renaissance, which tried to find common ground between the cultural heritage of the ancient world and Christianity.

The philosophical interpretation of the work according to Neoplatonism is as follows: the birth of Venus is a symbol of the birth of love, the highest virtue and spiritual beauty, which is the driving force of life. Even the sign-symbol of the female sex (which, in fact, has the above qualities by nature) is called the "mirror of Venus."

In the pose of Venus, the influence of classical Greek sculpture is obvious: the goddess stands, leaning on one leg and chastely covers her nakedness. Botticelli was one of the greatest masters of line and drawing. . "Birth of Venus" is also unique in that it is for Tuscany firstexamplepaintingon thecanvas. The use of alabaster dust gives the paints a special glow and durability.

The picture can also be interpreted as an ode to the Medici dynasty - thanks to their culture and talented diplomacy, love and beauty reigned in Florence.

Venus "flaunted" on the canvas not only at Botticelli. At Titian we can also find a couple of pictures with her. I immediately remember his "Venus of Urbino". antique mythology painting revival

It was written by order of the Duke of Urbino, Guidobaldo II della Rovere. Creation presents many options for reflection and interpretation. Most likely, the picture is an allegory of marriage . According to one version, the naked woman depicted as Venus is the young bride of Duke Guidobaldo II Giulia Varano. The open look of Venus, the ancient goddess of love, is directed directly at the viewer. The obvious eroticism of the picture was supposed to serve as a reminder to the young wife about the fulfillment of her marital duty. But again, cultural roots go back to Ancient Greece, where human beauty was considered the height of beauty, magnificence, and was even sacred to some extent.

The naked body of a woman, painted in warm light colors, contrasts with a dark background. Roses, long considered an attribute of Venus, symbolize female fertility. . A small dog sleeping at the feet of a woman personifies fidelity, in this context marital fidelity (since it is no secret to anyone that a dog is the most faithful pet). In the background, two maids are depicted, busy with a chest with outfits - the dowry of a young girl.

Next in line is Venus performed by Antonio da Correggio, appearing on his canvas “Venus, Satyr and Cupid”. The viewer can observe the lustful gaze of the goat-legged Satyr on the naked but chaste Venus, who, with motherly care, holds her hand near Cupid. We all know that Cupid, like Venus, is a symbol of love (we even turn to Latin: Venus is translated as Venus, which also means "love, charm"; the second “name” of Cupid in Latin is Eris, the translation is absolutely similar); but the irony is that he, and as Satyr, is the epitome of love attraction. However, the antithesis between them is that Satyr carries a vulgar thought, and Cupid is correct, or rather, the idea of ​​continuing life. That is, roughly speaking, the picture is divided into two sides: bad and good, dark and light, evil and good, depraved and innocent.

The duet of Venus and Cupid is also found on the canvas by Agnolo Bronzino “Allegory with Venus and Cupid”. In the center, naked Venus compresses in her left hand Golden Apple- the award that caused the Trojan War; with her right hand, she disarms Cupid, who erotically hugs her and almost crushes the peace dove with his right foot. On the right, a playful little boy is about to shower them with rose petals, not noticing that he is stepping on thorns, one of which has already pierced his right foot. Behind him, a beautiful girl holds out a honeycomb, but her generous gesture is a deceit, as she holds the sting of her snake tail in her other hand.

Based on the frequent appearance of Venus in the paintings of great artists, we can conclude that this goddess is the brightest and most attractive heroine for painters. In the examples of paintings I have given above, all artists skillfully use oil, creating a play of color contrasts. In all canvases, Venus, a symbol of love, beauty and fertility, embodies idealwomeneraRenaissance.

Be that as it may, despite the admiration of mythology by the great figures of the spheres of material and spiritual culture, modern man tends to underestimate mythology, mistakenly equating it with children's fairy tales. Moreover, it is obvious that the role of mythology has become insignificant compared to previous eras. It can be said that myths, such as they were in antiquity or the Middle Ages, are already almost forgotten as a literary genre and are often studied only as part of the school curriculum. But they are overflowing with wisdom accumulated over the centuries, and like no other genre is able to enrich the human soul with its rich symbolic images. Therefore, we can speak with confidence about the relevance of this topic for modern society. Perhaps it will be able to arouse in the reader a keen interest in mythology and will be able to encourage the study of myths from the beginning.

The waning interest in mythology these days is easily explained. It's all about the philosophical understanding of myth. It occurs within the framework of consideration of the problem of mythological consciousness, since is the key to understanding the very nature and essence of human consciousness and being. For the ancient people, mythology was a kind of understanding of reality, since a person did not have the opportunity and means to explain certain phenomena of nature or his own body and consciousness (and subconscious), so he came up with higher powers that identify everything that exists on earth. In our post-industrial, informational age, we have science and technology with which we can explain almost everything, and the uselessness of mythology followed the possession of these means.

But still, painting in any of its manifestations, genre (in this case, mythology for us) is a culture. Culture is something that enriches us spiritually, gives some food for the mind and soul. Modern culture is characterized by a new understanding of the world and man's place in it, expresses its own "myth", forms its own mythological space. Thus, any mythology, being the first form of knowledge of the world, in historical development gives us inexhaustible material for mastering it in terms of ethics, aesthetics and for revealing its artistic impact in the literature and art of Antiquity. Therefore, it is imperative to take care of the preservation cultural heritage, because this is an amazing and irreplaceable path to self-development, containing a response to the "eternal problems" of being.

The indirect role of mythology today is that the heroes of ancient myths (both Greek and Roman, as well as Egyptian and many others) are actively used in such areas of modern culture as cinema (the films "Wrath of the Titans", "Battle of the Gods"), game production (video games "Viking - Battle for Asgard" and "God of War"), animation production (mainly Japanese animation based on local folklore). Because you should not forget for a second that mythology is one of the most important vectors of development artistic culture. Not only in the Renaissance, but also today!

LiteratureAndsources

1. Wikipedia - free encyclopedia - http://ru.wikipedia.org

2. General Encyclopedia of Art History (section: Renaissance or Renaissance, SS. 245-270).

3. Official source of the Uffizi Gallery in Florence - http://www.florence-museum.com/uffizi

4. http://gallerix.ru

5. Journal "Humanitarian, socio-economic and social sciences", issue No. 7/2015, article by Petrov N.V. "Philosophy of the Mythology of Antiquity".

6. Dissertation Piven M.G. "Interpretation of ancient plots and images in the paintings of the early Italian Renaissance", 2011; SS. 3-9.

7. Article « ancient mythology like significant part plot-thematic complex in European painting of the XVII-XVIII centuries" Kolchikova T.O. and Ulakhovich S.N.

8. Ancient myths in world art: gods and heroes. Plots and symbols. Painting and sculpture: [mini-atlas / comp. and resp. ed. S.Yu. Afonkin]. St. Petersburg: SZKEO: Crystal; Rostov n/a: Phoenix, 2003. -- 95 p.

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Text content of presentation slides: Ancient images in the lyrics of A.S. Pushkin Research students of grade 10B Tatarinova E. and Antipova M. Relevance of the topic The ancient heritage is relevant today, because it is in it that one should look for the origins of many values ​​that later formed European culture. According to A.S. Pushkin, "every educated European should have a sufficient understanding of the immortal creatures of majestic antiquity." Everything created by Pushkin is saturated to the limit with antiquity - mythology and history, people and events, images and pictures of Ancient Greece and, especially, Rome. Objectives To identify ancient images in the poet’s lyrics and in the novel “Eugene Onegin” To determine what function they perform in the work of A.S. Pushkin in the characterization of Pushkin's heroes Object of study 1. Lyrics of A.S. Pushkin 2. The novel "Eugene Onegin" Subject of study Images of ancient mythology Research methods Study and analysis of poems and the novel "Eugene Onegin". Acquaintance with the critical literature on this topic. Comparative analysis of literary sources. Systematization and generalization of the received material. Pushkin and antiquity Pushkin seriously studied ancient literature. Trained since childhood French, even before joining the Lyceum, he managed to deeply familiarize himself with French literature of the seventeenth and eighteenth centuries. And through it, the future poet was able to get an idea about the main luminaries of ancient poetry. The poems that Pushkin writes while studying at the Lyceum testify to the knowledge of poetry, elements of the history and philosophy of antiquity. Antique images can be traced in Pushkin's work throughout his conscious life. In his mature years, antiquity continues to inspire the romantic poet with its fabulous images. 1. The lyrics of A.S. Pushkin Nymphs - in ancient times Greek mythology the personification in the form of girls of living elemental forces, noticed in the murmur of a stream, in the growth of trees, in the wild charms of mountains and forests. In the grove the rustle subsides, All in lovely silence; The nymph steps on, Shyly entrusting herself to the wave. Ancient Rome is one of the leading civilizations ancient world and antiquity, got its name from the main city, in turn named after the legendary founder Romulus. Rome will disappear; deep darkness will cover it; And the traveler, fixing his eye on the piles of stones, Says, thinking, deepened in dreams: "Rome has grown by freedom - and ruined by slavery." Icarus - in ancient Greek mythology, the son of Daedalus and the slave Naucrates, known for his unusual death. Little was given to me by Phoebus: Hunting, a meager gift. Apollo, Phoebus - in Greek mythology, the golden-haired god - the guardian of herds, light (sunlight was symbolized by his golden arrows), sciences and arts, the god-healer, leader and patron of the muses. O gods of peaceful fields, oak forests and mountains, My timid Apollo loves your conversation, Between you I also found a young muse, A friend of my days, innocent, simple, But somehow sweet - isn't it, friends? Zephyr - the wind, according to the ancients, which dominated the eastern part of the Mediterranean Sea, starting from spring Narcissus - in ancient Greek mythology, the son of the river god Cephis and the nymph Liriope Eros, as well as Cupid, among the Romans Cupid - the god of love in ancient Greek mythology, the unceasing companion and assistant of Aphrodite, the personification of love attraction, ensuring the continuation of life on Earth. Cupid in the silence of the night Hands a lantern to his lover And he himself escorts the lucky man To his sleeping spouse in the house ... Decimus Junius Juvenal - Roman satirist poet. O muse of fiery satire! Come to my calling cry! Publius Virgil Maron - the national poet of Ancient Rome, the author of the Aeneid. Antiquity is reflected in many works of the poet "Remarks on the Annals of Tacitus", "Guests came to the dacha ...", "A Tale from Roman Life", "Egyptian Nights", the idea of ​​the tragedy "Romulus and Remus", an excerpt from "Journey Onegin", "Vesuvius Zev opened...", "The Bronze Horseman", "Message to Lida", "Feasting Students", "Gypsies", "Monk" Apollo 32 Parnassus 21 Lira 1491 Muse 1481 2. "Onegin" aerial mass ... A. S. Pushkin's novel "Eugene Onegin", written in the period from 1823 to 1831, is one of the most significant works in Russian literature. Even then, his contemporaries noticed that "Eugene Onegin" is "an encyclopedia of Russian life." But ancient images also play an important role in the novel. Without the use of images of ancient mythology, the heroes of the novel would not have such an attractive force that makes them sublime and romantic. Eugene Onegin The name Eugene comes from the Greek word "eugenes" - noble. However, Eugene Onegin is an example of all the most indecisive, cynical, impassive, refined and charming that can be in a man. The name Tatiana is of ancient Greek origin, from the word "tatto" - to establish, to determine Tatiana of Rome - a martyr. After cruel tortures, the tormentors brought her to the temple of the goddess Diana so that she would sacrifice to this goddess. But Tatyana crossed herself and began to pray. And suddenly there was a deafening thunderclap - and lightning incinerated the idol and the priests. The idea is realized through the names of ancient origin Onegin and Tatyana - these are a kind of conflict centers of the plot. Eugene's selfishness is opposed by the spiritual generosity and purity of the heroine. The poet says about the hero: "I liked his features." And he calls the heroine his "true ideal." Antique image In the novel, Tatyana Pushkin contrasts Diana, the goddess of hunting, eternal youth and the moon. The ancient goddess personifies the moon: Alone, sad under the window, Illuminated by the ray of Diana, Poor Tatyana does not sleep And looks into the dark field. Vladimir Lensky Lensky is inspired by the muse - the patroness of creators. The muse is a symbol of the brightness of life and youth. Not without reason, in the scene of farewell to Lensky, the poet also writes about farewell to his youth: He wandered the world with a lyre; Under the sky of Schiller and Goethe Their poetic fire The soul ignited in him; And the muses of sublime art, Lucky, he did not shame ... Istomina - the famous ballerina Terpsichore - in ancient Greek mythology, the muse of dances. In the dance, the ballerina moves lightly and gracefully, like a muse, she gives her soul to the art to which she belongs: Will I hear your choirs again? Will I see the Russian Terpsichore Soul fulfilled flight? Eugene Venus - in ancient Greek mythology, the goddess of love. Eugene is a dandy, he was scrupulous about costumes, he could sit for hours at the mirrors before going out. Pushkin chuckles at such an unmasculine feature of Onegin: He spent at least three hours in front of the mirrors And came out of the restroom Like a windy Venus, When, putting on a man's outfit, the Goddess goes to a masquerade. Olga Larina - the younger sister of Tatyana Fillida (ancient Greek Φυλλίδος - young leaf) - ancient Greek woman's name, was used in the poetry of the Vagants as a typical name for an idyll (pastoral) character. The comparison of Olga with Phyllida is quite justified, because it is not for nothing that Onegin says that although she is gentle, sweet and simple-hearted, her image is typical and uninteresting: Oh, listen, Lensky; Can't I See this Phyllida, An object of both thoughts and pen, And tears, and rhymes et cetera?.. Muses - the patroness of art He wandered the world with a lyre; Under the sky of Schiller and Goethe Their poetic fire The soul ignited in him; And the muses of sublime art, Lucky, he did not shame ... Conclusion Antique images in Pushkin's lyrics and in "Eugene Onegin" play by no means the last role. Without the use of images of ancient mythology, the heroes of the works of the great poet would not have such an attractive force that makes them sublime and romantic. An analysis of the work helps to understand why the author used these particular images, characterizing his characters and the world of his soul. Used resources A.S. Pushkin. Favorites. M. "Terra". 1996. G. Knabe. Years of the turning point. Phenomenon. No. 2 April-June 2007 Pushkin and antiquity. Notes in the margins.em-pushkin.ru

Ivanov D.I. Marfa Posadnitsa (Presenting by the hermit Theodosius Boretsky of the Ratmir sword to the young leader of the Novgorodians Miroslav, appointed by Marfa Posadnitsa as the husband of her daughter Xenia), 1808. Russian Museum

Antique Images in Russian Public Thought in the 18th - Early 19th Centuries (on the Example of Ideas about the Novgorod Veche Republic)

Today, among domestic and foreign researchers, the problems of the development of the culture of individual peoples, estates or other groups of the population are quite popular. In this regard, special attention is paid to the study of art, its forms and place in the life of society. At the same time, the authors focus their attention primarily on the external side of such a global cultural phenomenon as art - on its individual types, monuments or figures, which can be described as the most expressive in a particular historical period. Focusing on the external side of the problem of interaction between culture and society, researchers do not pay enough attention to the issue of its ideological significance, symbolic and educational potential for the formation of mass and individual historical consciousness and memory of future generations.

It should be noted the work of V.V. Mavrodina " Peasants' War in Russia in 1773-1775. Pugachev's uprising" [Mavrodin, V.V. Peasant war in Russia in 1773-1775. Pugachev's uprising. T. I. L., 1961. 587 pp.], in which the author managed, on the basis of numerous and diverse sources, to form a complete picture demonstrating the place of Pugachev in social thought and historical memory people. In this aspect, the question of the naturalness and artificiality of the penetration of certain images into various types of art is of particular interest. It is possible to answer it by analyzing the semantic content of works created over a sufficiently long period, comparable to the life of several generations. Given the high degree of subjectivity in works of art, it is possible to define the historical genre as the most objective material. This is due to the traditional politicization of assessments of the past and, consequently, the censorship of such works. In addition, the historical past is always edited in a certain way within the framework of the education system, which forms a semantic filter in advance for future artists.

This article analyzes the content of atypical, new for the Russian society of the XVIII century ancient images, their semantic load in period XVIII- the beginning of the 19th century in order to characterize the stereotypical ideas about the past of Russia that are formed in the viewer. This aspect of the study of cultural monuments is currently insufficiently developed by both art historians and historians. At the same time, it seems important in terms of studying the national identity of the Russian people and studying the issue of forming a national idea of ​​Russia.

The period of the 18th - early 19th centuries is significant in the development of Russian social thought. The process of formation of a new Russian culture, primarily among the representatives of the privileged classes, took place in the form of translation of Western European cultural patterns and their merging with traditional Russian cultural
values. This was accompanied, especially at the first stage, by a sharp antagonism between the two
cultural principles, which was caused by the accelerated pace of modernization of the Russian
states.

One can note many new trends in the most diverse areas of manifestation of social thought: science, literature, fine arts and dramaturgy, drawn from Northern Europe and often introduced by people from these countries. The fact that, simultaneously with modernization in Russia, there was a process of strengthening autocratic power and the formation of an empire, determined the sharp politicization of almost all spheres of domestic social thought: from historical science to fine arts. Each of them was used in its own way to promote and consolidate in the historical consciousness, first of all, representatives of the privileged estates, the idea of ​​the need for the existence of an absolute monarchy, as a guarantee of the stability and power of Russia. In this regard, it was necessary to downplay the importance of some historical facts from the past, associated with the possibility of a positive development of the democratic traditions of statehood in Russia. The most important of these historical places of memory can be called the Novgorod Veche Republic.

Estimates of this place of memory by figures of social and political thought of the 18th - early 19th centuries are ambiguous, sometimes opposite. However, a certain interesting trend can be distinguished - all authors use ancient allegories in their rhetoric. There are several reasons for this state of affairs. Firstly, a special interest in the historical past is already manifested within the framework of the activities of the Academy of Sciences, which refers to the second third of the 18th century. At this time, a stereotypical circle of ancient stories and allegories was already formed, understandable to representatives of the Russian educated society. So, for example, in "Journey from St. Petersburg to Moscow" A.N. Radishchev concluded that “trade was the cause of his (Novgorod’s) rise”, and “internal disagreements and a predatory neighbor made him fall” [“On the damage to morals in Russia” by Prince M. Shcherbatov and “Journey” by A. Radishchev / [Preface A .AND. Herzen; Intro. Art. and comment. N.Ya. Eidelman] Academy of Sciences of the USSR, Institute of History of the USSR. M., 1985. C. 158-159.]. This, in his opinion, brings medieval Novgorod closer to the ancient city-states - Rome, Troy, Carthage.

The question arises - how could, in such a relatively short chronological period, semantic images new to Russian society so firmly enter the consciousness of the population of Russia that they are used in their works by authors who are in opposition to the official authorities? What is the mechanism of such an effective plasticity of social consciousness and historical memory? The answer should be sought in special forms of reflection of social thought, based on the sensory perception of reality, perceived primarily not by reason and logic, but by emotions. With regard to Novgorod, Empress Ekaterina Alekseevna was one of the first to use this form of introducing new ideas and stereotypes. In her "comic opera in five acts, composed of a fairy tale, a song of Russians and compositions" "Novgorod Bogatyr Boeslavich" [Catherine II. Novgorod hero Boeslavich // Niva: Ill. magazine literature, politics and modern. life. 1893. No. 8. S. 345-355.] she retells the content of the Novgorod legends, slightly changing the names of the main characters.

In spirit and meaning, the opera "Novgorod Bogatyr Boeslavich" is one with "Historical Performances from the Life of Rurik" [Catherine II. From the life of Rurik // Lib.ru: "Classics" (Project "Collection of Classics" of the Moshkov Library). URL: http://az.lib.ru/e/ekaterina_w/text_0250oldorfo.shtml (accessed 09/14/2014)]. They sound the idea of ​​the inability of the Novgorodians to independently manage the city without mutual enmity. Only a strong-willed leader, relying on the force of arms, is able to contain anarchy and maintain peace and tranquility in the country. The Novgorodians' attempt at autocracy failed, and they themselves agreed to submit to the authority of the legitimate heir to the throne. The final part of the opera has much in common with chronicle stories. For example, Rurik received the right to the throne through the daughter of Gostomysl - Umila, his mother. Vasily Boeslavich, in turn, along with the reign, receives Umila as his wife.

These works, according to V.V. Rukovichnikova [Rukovichnikova V.V. Search case about the tragedy "Vadim Novgorodsky". URL: http://pandia.ru/text/78/237/20205.php (accessed 08/18/2015)], although they did not differ in outstanding literary qualities, they gave rise to a number of dramas dedicated to the same plot: “Vadim Novgorodsky" Ya.B. Knyazhnina, "Rurik" P.A. Plavilshchikov. Both tragedies develop the interpretation given by the empress of the place of autocratic power in the culture and statehood of Russia as an essential condition for prosperity, power and social stability. A special place in the process of interpenetration of traditional Russian cultural values ​​and Western European ones was the activity of the Academy of Arts. Firstly, education at the Academy was based on the traditions of Western European art of the Renaissance, and the best students were sent on a retirement trip to Western Europe. Graduates of the Academy of Arts, following the traditions of European art, relied on classical antique subjects and allegories. Secondly, to determine the topics of graduation works, quotations from the works of prominent domestic historians-encyclopedists were often used - for example, M.V. Lomonosov and N.M. Karamzin.

An interesting work by I.A. Akimov “Prince Rurik, entrusting the death of his baby Igor and with him the reign of his relative Oleg” [Painting under dramatic circumstances in the 1940s. was cut into several pieces. A number of fragments have been lost, the rest are stored in the Irkutsk Art Museum.], created at the end of the 18th century. The theme was determined by the Academy of Arts. The picture is a reflection of the author's ideas about the depicted historical event. The picture shows Rurik lying on his deathbed, who hands over the baby Igor to Oleg. Rurik's pose is close to the classic poses of a dying hero from ancient art. Rurik also resembles the central male image from the painting by Michelangelo Buonarroti “The Birth of Adam”. The clothes of the heroes are by no means a reconstruction of Old Russian and could rather belong to the characters of the Iliad, Odyssey or Aeneid. Nothing indicates that the events depicted relate to Russian history. It is important that the image of Prince Rurik is used in the picture. This historical figure is interpreted as the first Russian ruler who managed to transfer the rights to the throne to his son. It is the moment of inheritance of power that is reflected on the canvas. Thus, the idea of ​​the original existence of autocracy in Russia as a natural form of power that replaced veche democracy is affirmed.

Of great importance was the image of Martha Boretskaya, vividly and historically authentically conveyed by D.I. Ivanov in the painting “Marfa Posadnitsa (the hermit Theodosius Boretsky presenting the sword of Ratmir to the young leader of the Novgorodians Miroslav, appointed by Marfa Posadnitsa as the husband of her daughter Xenia)” (1808, Russian Museum. Ill. 1). This plot was reproduced not only by painters, but also by sculptors (bas-relief by M.G. Krylov “Marfa Posadnitsa at Theodosius Boretsky”, 1808). The named plot was the program of the 1808 competition for receiving the gold medal of the Academy of Arts. The painting depicts three characters: Martha Boretskaya herself, her grandfather Theodosius and kneeling Miroslav. The composition of the picture can be called traditional for fine art. Art XVIII- the beginning of the 19th century. The poses of the heroes, the clothes and expressions of their faces make it possible to draw a direct analogy with ancient subjects in European art.

Attention is drawn to the attempt to reliably convey the ancient Russian costume. This applies to the attire of the hermit Theodosius Boretsky and Martha Posadnitsa. Martha is represented in the center of the composition. Turning her gaze to Theodosius, she points to Miroslav, as if introducing a young man to him. The clothes of Martha Posadnitsa are a kind of combination of the traditional costume of a Russian noblewoman and the attire of a Roman matron. A subordinate position among the characters on the canvas is occupied by the figure of Miroslav. His posture simultaneously expresses impatience and readiness to fulfill his duty to Novgorod.

Of particular importance in the analysis of the image of medieval Novgorod is the image of the Volkhov River. It is represented in the sculptural compositions "Connection of the Volkhov and Neva Rivers"
I.P. Prokofiev (1801, State Russian Museum, St. Petersburg) and the statues "Volkhov" by I.P. Prokofiev (1805) and "Neva" by F.F. Shchedrin (1804), decorating the Grand Cascade in Peterhof. These works were created under the influence of ancient iconography, and are stylistically close to the images of Peter Paul Rubens: suffice it to recall his "Union of Earth and Water" (c. 1618, GE). I.P. Prokofiev. This work is dedicated to the construction of the Ladoga Canal, or the Canal of the Emperor Peter the Great, built on the initiative of the autocrat. In search of a figurative solution, the sculptor turns to the traditional iconography of Neptune and Amphitrite, but Russifies the characters. The Neva and Volkhov are represented reclining on stones - as if fragments of those granite blocks that were crushed during the construction of the canal - from which a source flows - a symbol of the unification of two rivers into a single system and the economic well-being of the state. The same idea is embodied in the sculptures "Volkhov" and "Neva" on the Grand Cascade in Peterhof, where there are similar figures.

However, in the first example, there is a more global symbolic image broadcast to the viewer. The lack of attributes of the figures causes some difficulties in the analysis of the symbolism of the image in the sculpture of I.P. Prokofiev "Connection of the Volkhov and Neva Rivers". Neva appears as a symbol of St. Petersburg - a young, actively developing capital Russian Empire. What, then, is Volkhov if not a metaphor for medieval Novgorod? The very location of the figures opposite each other emphasizes the identity of the political and economic status of Novgorod and St. Petersburg, the ancient and modern capitals of Russia. Thus, the images of the Volkhov and the Neva represent a symbolic image of the onset of a new historical era, inextricably linked with the origins of Russian statehood. Of considerable interest are the Rostral columns in St. Petersburg (1810). Made according to the sketches of the masters J. Kamberlin and F. Thibaut, the sculptures at the foot of the columns represent allegories of four Russian rivers - the Volga, Dnieper, Neva and Volkhov.

Each of the sculptures was decorated with attributes of ancient gods, symbolizing wealth, power, abundance and harmony. Volkhov is presented as an old man with a staff in his hands. This majestic figure inevitably gives rise to an association with the ancient Greek god Poseidon, the lord of the seas and earthquakes - the staff was replaced by a trident. In ancient mythology, the trident was a symbol of navigation and fishing - exactly those branches of the economy that Novgorod has been famous for at all times. Striking the trident on the seashore, the sea god caused earthquakes.

Novgorod, with its veche form of government, atypical for most Russian lands, also shook the autocratic order in Russia. Representing not just an alternative, but an economically and military-politically effective form of statehood development, the Novgorodians did not allow various forms of self-organization of the population to completely disappear in the Russian lands. In addition, a peculiar form of "earthquake" is the predatory attacks of the Novgorod ushkuins. Their campaigns kept in suspense not only the neighbors of Novgorod, but also the inhabitants of rather remote lands. As we can see, the choice of the image of Poseidon as an allegorical incarnation of Novgorod was quite justified. The sculptures decorating the foot of the Rostral columns also reflected the historical confrontation between Novgorod and Moscow.

The allegory of the Neva can be regarded as a metaphor for the capital of Russia [Novgorod is an allegory of the democratic principles of statehood in the Russian lands. After its ruin by Ivan the Terrible, it lost its economic, military, but not symbolic meaning. The reason is that after the 16th century there were no rises of any form of democracy except for the Cossack freemen on Russian lands. The Cossacks were located too far from the native Russian lands. Their way of life was extremely specific and, in many respects, far from the life of a communal peasant. In part, the image of the Cossack freemen merged with the image of Novgorod in the studies of the 19th century. The opposite symbol is the image of autocratic power, consistently displayed in the image of Moscow - the political center, the rulers of which systematically collected Russian lands, unified the system of government and strengthened the power of the monarch. Domestic politics Peter the Great had a similar vector. Since the capital was moved to St. Petersburg, he took on the semantic load of Moscow as the capital of autocratic Russia. In the works of the Decembrists, this concept can be traced quite unambiguously. To a certain extent, the ancestor and popularizer of this view is Radishchev and his “Journey from St. Petersburg to Moscow” (See for more details: Abramenko V.A. Medieval Novgorod through the eyes of descendants (based on documents of the 18th - early 20th centuries). Rostov n / a, 2011. 312 p.)], as well as the allegory of Volkhov as a metaphor for Novgorod.

The image of the Neva is largely associated with the image of the goddess Athena - the goddess of organized war and wisdom, and the image of Volkhov with the image of the sea god Poseidon - the patron saint of navigation. Thus, the fact of the confrontation between the Novgorod veche republic and the Moscow principality can be compared with the ancient plot of the confrontation between Athena and Poseidon for the right to own Athens. The Athenians recognized the goddess of wisdom as the patroness of the city. The allegorical meaning of this plot in the context Russian history can be interpreted as a reflection of the support of Moscow's claims during the conflict between the two ancient Russian cities by the people. It is noteworthy that the figures of the Neva and Volkhov are presented at the same column, which symbolizes the historical continuity from Ancient Russia to Petrine Russia, from Veliky Novgorod to Petersburg. Creation by foreign sculptors of works of art located in the capital Russian state, with a similar symbolic load, is a confirmation of the deep rooting in society of certain stereotypical images-symbols associated with state power. The formation of such images was the result of a consistent long-term process, which was reflected in the works of graduates of the Academy of Arts.

Thus, we can conclude that the emotionally oriented spheres of manifestation of social thought have a significant influence, i.e. fine arts and dramaturgy in the 18th - early 19th centuries, on the formation of ideas about ancient history Russia and specifically about medieval Novgorod. They made it possible to quickly and effectively introduce certain stereotyped ideas into the minds of large groups and were in demand in this capacity both by the emperors personally (Catherine II) and by enlightened intellectuals close to the throne who developed programs for works of art. In the context of the strengthening of the absolute monarchy and the need to fight against the noble opposition in the 18th century, such forms of influence on historical consciousness were especially necessary for the authorities. It is no coincidence that the named works of fine art and dramaturgy are concentrated mainly in the capital and are available (both materially and semantics) mainly to representatives of the nobility.

The result of such a systematic, purposeful formation of historical memory among representatives of the educated society of Russia was the addition of one-sided ideas about some facts of the historical past. In the minds of the generation of the first third of the XIX century. artificially formed images were fixed as natural ones. This can be seen in separate images with a semantic load, which were used, in particular, by the Decembrists and their sympathizers. A significant influence of ancient images and allegories remains, as well as stereotypical ideas about the historical past of Russia, introduced by the official authorities in the 18th century, but now accepted as axioms. The result was that the authors predominantly turned to rationally oriented forms of social thought (historical writings, literature, poetry) in order to popularize their own views as widely as possible. This became possible and logically justified under the condition of a deep penetration of the semantics of the images used into the public and individual consciousness.