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The art of ancient Rome, like that of ancient Greece, developed within the framework of a slave society, so it is these two main components that are meant when they talk about “ancient art.” Usually in the history of ancient art they follow a sequence - first Greece, then Rome. Moreover, they consider the art of Rome to be the completion artistic creativity ancient society. There is a logic to this: Hellenic art flourished in the 5th - 4th centuries. BC e., the heyday of the Roman - in the I-II centuries. n. e. And yet, if you consider that the date, even legendary, of the founding of Rome is 753 BC. e., then we can attribute the beginning of activity, including artistic activity, of the people who inhabited this city to the 8th century. BC e., that is, a century when the Greeks had not yet built monumental temples, did not sculpt large sculptures, but only painted the walls of ceramic vessels in a geometric style.
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Portrait of Pompey It is necessary to note the evolution - from portraits of the Romans of the Early and Mature Republic, closed in their isolated family world, - to portraits of figures of the Late Republic, such as Pompey, Caesar, Cicero. The plasticity of these images embodies almost imperial claims. The significance of what is depicted, which acquires a strong public resonance, goes beyond republican ideas.
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Pompeii. Street in the city Sculptors of those years sought first of all to amaze people. The sculptor Zenophorus erected a huge statue of Nero, which stood for a long time near the vestibule of the Golden House. It was a grandiose portrait, which probably instilled fear in the Romans, and had nothing in common with the ears of the ancient Greeks themselves. However, chamber sculpture also became widespread in the first period of the flourishing of the art of the Empire - marble figurines that decorated the interiors, quite often found during excavations of Pompeii, Herculaneum and Stabia.
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Colosseum The Colosseum, the largest of the ancient Roman amphitheatres, is one of the famous ancient monuments of ancient Rome and one of the most remarkable structures in the world. It is located in Rome, in the hollow between the Esquiline, Palatine and Caelian hills, in the place where there was a pond that belonged to the Golden House of Nero. The Colosseum was originally called the Flavian Amphitheater because it was a collective structure of the Flavian emperors. Construction was carried out over 8 years, in 72-80. n. e.
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The symbol of Rome is the famous Capitoline She-wolf. The Capitoline Wolf (lat. Lupa Capitolina) is an Etruscan bronze sculpture, stylistically dating back to the 5th century BC. and has been kept in Rome since antiquity. Depicts (approximately life-size) a she-wolf feeding milk to two babies - Romulus and Remus, the legendary founders of the city. It is believed that the wolf was a totem of the Sabines and Etruscans, and the statue was moved to Rome as a sign of the merger of the Romans with these peoples.
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Basilica Aemilia The Basilica Aemilia, the remains of which can still be seen on the north side in front of the Basilica Julia, was built in 179 BC. e. Marcus Aemilius Lepidus and Marcus Fulvius Nobilior on the site of an older temple. Now it’s hard to believe, but Pliny the Elder called the basilica one of the most beautiful buildings in the world. The basilica had three naves and three entrances from the square, large windows to illuminate the interior, and relief decorations depicting the mythical foundation of the city. During the reign of Augustus, the portico of Gaius and Lucius was built opposite the basilica.
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Neptunov's Cart In 1736, the sculpture and fountain composition "Neptunov's Cart" was placed in the central pool of the Upper Park. The sculptures were cast from lead and gilded. The center of the composition was the figure of Neptune “with a carriage”, as well as dolphins and “riders” on horses. The central jet of the fountain raised a gilded copper ball. After repeated restorations, “Neptunov’s Cart” still had to be removed in 1797. Instead, they installed a new group - “Neptune”, which continues to this day. Initially, the fountain figures were created in Nuremberg (Germany). In 1660, Georg Schweigger and the goldsmith Christoph Ritter presented the model in the form of its component parts. Then Schweiger and his student Jeremias Eissler worked on the model until 1670, but a complete set of figures was completed only in 1688-1694. The casting was made by Heroldt (German: W.H. Heroldt). The fountain was never exhibited in Nuremberg, but became known as a unique landmark, even while in storage. In 1796, the bulk of the figures were purchased by Russia and sent to Peterhof. The copy currently installed in the Nuremberg city park has been there since 1902.
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Pantheon Pantheon (ancient Greek πάνθειον - a temple or place dedicated to all gods, from ancient Greek πάντεζ - all and θεόζ - god) - “temple of all gods” in Rome, a monument of centric-domed architecture from the heyday of architecture Ancient Rome, built in the 2nd century AD. e. under Emperor Hadrian on the site of the previous Pantheon, built two centuries earlier by Marcus Vipsanias Agrippa. The Latin inscription on the pediment reads: “M. AGRIPPA L F COS TERTIUM FECIT", which translated sounds like: "Marcus Agrippa, son of Lucius, elected consul for the third time, erected this."
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Fountain of the Turtles The Fountain of the Turtles in the small Piazza Mattei is the most charming of the fountains in Rome. Its beauty, its graceful lines make one believe in the legend that this pearl of art late XVI century belongs to Raphael. However, this is the work of Landini (1585).
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In relief with figures of Roman dignitaries, orators spoke, captivating the crowd: from here Cicero spoke against Catiline, and Antony moved the Romans with his eulogy on the death of Caesar. But the moments of splendor were followed by a gradual decline, and first the Forum had to give way to the new forums of the imperial era, after which it, along with the entire Roman civilization, shaken by the invasions of the barbarians, plunged into the darkness of the long Middle Ages. In the last century, however, interest in archeology arose and systematic excavations began.
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Temple of Antoninus and Faustina Erected by the Senate in 141 AD. in honor of Faustina, wife of Antoninus, deified after death. Later it was dedicated to the emperor himself. What remains of the temple are Corinthian columns supporting an amazingly painted entablature. In the 11th century the temple was converted into a Christian church dedicated to San Lorenzo in Miranda and rebuilt in the 17th century.
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Temple of Romulus It was believed that this temple was erected by Maxentius for the son of Romulus, who died as a child in 307 AD, but it is likely that we are talking about the temple of the Penates, built on the site of one previously destroyed temple, on the ruins of which a large basilica was built. Most The temple was preserved thanks to its transformation into the atrium of the Church of Saints Cosmas and Damian (VI century AD).
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Hippodrome of Domitian The great Hippodrome of the Palatine is 160 meters long and 50 meters wide. The wall structures were made of baked bricks with marble cladding. The stadium was surrounded by a portico; on one of its sides there was a platform from which the emperor watched the spectacles and performances of gymnasts.
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Roman art completes the centuries-old path begun by Hellenic culture. It can be defined as a phenomenon of the transition period from one artistic system to the other, like a bridge from antiquity to the Middle Ages. At the same time, just as each work is not only a link in a chain artistic development, but also a unique individual phenomenon, Roman art is holistic and original. The “audience” of ancient Roman art, especially during the Late Empire, was larger than that of Greek art. Like a new religion that was taking over wide circles population of the eastern, western and north African provinces, the art of the Romans influenced a huge number of inhabitants of the empire, including emperors, influential officials, ordinary Romans, freedmen, slaves. Already within the empire, an attitude was developing towards art as a phenomenon that united people of different classes, races, and social positions.
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But in ancient Rome, not only general aesthetic qualities were formed, which determined the nature of the future culture; methods were also developed that were followed by artists of later times. IN European art Ancient Roman works often served as original standards, which were imitated by architects, sculptors, artists, glass blowers and ceramists, gem carvers and decorators of gardens and parks. Priceless artistic heritage ancient Rome continues to live as a school of classical excellence for the art of modern times.
The art of ancient Rome, like that of ancient Greece, developed within the framework of a slave society, so it is these two main components that are meant when they talk about “ancient art.” Usually in the history of ancient art the sequence is first Greece, then Rome. Moreover, the art of Rome is considered the completion of the artistic creativity of ancient society. This has its own logic: the heyday of Hellenic art occurred in the 5th–4th centuries. BC e., the heyday of the Roman in the 3rd century. n. e. And yet, if we consider that the date, even legendary, of the founding of Rome is 753 BC. e., then we can attribute the beginning of activity, including artistic activity, of the people who inhabited this city to the 8th century. BC e., that is, a century when the Greeks had not yet built monumental temples, did not sculpt large sculptures, but only painted the walls of ceramic vessels in a geometric style.
Portrait of Pompey It is necessary to note the evolution from portraits of the Romans of the Early and Mature Republic, closed in their isolated family world, to portraits of figures of the Late Republic, such as Pompey, Caesar, Cicero. The plasticity of these images embodies almost imperial claims. The significance of what is depicted, which acquires a strong public resonance, goes beyond republican ideas. Portrait of Pompey. I century BC e. Copenhagen. New Carlsberg Glyptotek.
Pompeii. Street in the city Sculptors of those years sought first of all to amaze people. The sculptor Zenophorus erected a huge statue of Nero, which stood for a long time near the vestibule of the Golden House. It was a grandiose portrait that probably instilled fear in the Romans, and had nothing in common with the colossi of the ancient Greeks. However, in the first period of the heyday of the art of the Empire, chamber sculpture also became widespread, decorating the interiors with marble figurines, quite often found during excavations of Pompeii, Herculaneum and Stabia. Pompeii. Street in the city.
Colosseum The Colosseum is the largest of the ancient Roman amphitheatres, one of the famous ancient monuments of ancient Rome and one of the most remarkable structures in the world. It is located in Rome, in the hollow between the Esquiline, Palatine and Caelian hills, in the place where there was a pond that belonged to the Golden House of Nero. The Colosseum was originally called the Flavian Amphitheater because it was a collective structure of the Flavian emperors. Construction took place over 8 years, in n. e.
The symbol of Rome is the famous Capitoline She-wolf. The Capitoline Wolf (lat. Lupa Capitolina) is an Etruscan bronze sculpture, stylistically dating back to the 5th century BC. and has been kept in Rome since antiquity. Depicts (approximately life-size) a she-wolf feeding milk to two babies Romulus and Remus, the legendary founders of the city. It is believed that the wolf was a totem of the Sabines and Etruscans, and the statue was moved to Rome as a sign of the merger of the Romans with these peoples.
Basilica Aemilia The Basilica Aemilia, the remains of which can still be seen on the north side in front of the Basilica Julia, was built in 179 BC. e. Marcus Aemilius Lepidus and Marcus Fulvius Nobilior on the site of an older temple. Now it’s hard to believe, but Pliny the Elder called the basilica one of the most beautiful buildings in the world. The basilica had three naves and three entrances from the square, large windows to illuminate the interior, and relief decorations depicting the mythical foundation of the city. During the reign of Augustus, the portico of Gaius and Lucius was built opposite the basilica.
Neptunov's Cart In 1736, the sculpture and fountain composition "Neptunov's Cart" was placed in the central pool of the Upper Park. The sculptures were cast from lead and gilded. The center of the composition was the figure of Neptune “with a carriage”, as well as dolphins and “riders” on horses. The central jet of the fountain raised a gilded copper ball. After repeated restorations, “Neptunov’s Cart” still had to be removed in 1797. Instead, a new group “Neptune” was installed, which continues to this day. Initially, the fountain figures were created in Nuremberg (Germany). In 1660, Georg Schweigger and the goldsmith Christoph Ritter presented the model in the form of its component parts. Then Schweiger and his student Jeremias Eissler worked on the model until 1670, but the complete set of figures was completed only in the years. The casting was made by Heroldt (German: W.H. Heroldt). The fountain was never exhibited in Nuremberg, but became known as a unique landmark, even while in storage. In 1796, the bulk of the figures were purchased by Russia and sent to Peterhof. The copy currently installed in the Nuremberg city park has been there since 1902.
Pantheon Pantheon (ancient Greek πάνθειον temple or place dedicated to all gods, from ancient Greek πάντεζ all and θεόζ god) “temple of all gods” in Rome, a monument of centric-domed architecture from the heyday of the architecture of Ancient Rome, built during 2nd century AD e. under Emperor Hadrian on the site of the previous Pantheon, built two centuries earlier by Marcus Vipsanias Agrippa. The Latin inscription on the pediment reads: “M. AGRIPPA L F COS TERTIUM FECIT", which translated sounds like: "Marcus Agrippa, son of Lucius, elected consul for the third time, erected this."
Fountain of the Turtles The Fountain of the Turtles in the small Piazza Mattei is the most charming of the fountains in Rome. Its beauty, its graceful lines make one believe in the legend that this pearl of late 16th century art belongs to Raphael. However, it is the work of Landini (1585).
Reliefs with figures of Roman dignitaries spoke, captivating the crowd: from here Cicero spoke against Catiline, and Antony moved the Romans with his eulogy on the death of Caesar. But the moments of splendor were followed by a gradual decline, and first the Forum had to give way to the new forums of the imperial era, after which it, along with the entire Roman civilization, shaken by the invasions of the barbarians, plunged into the darkness of the long Middle Ages. In the last century, however, interest in archeology arose and systematic excavations began.
Temple of Antoninus and Faustina Erected by the Senate in 141 AD. in honor of Faustina, wife of Antoninus, deified after death. Later it was dedicated to the emperor himself. What remains of the temple are Corinthian columns supporting an amazingly painted entablature. In the 11th century, the temple was converted into a Christian church dedicated to San Lorenzo in Miranda and rebuilt in the 17th century.
Temple of Romulus It was believed that this temple was erected by Maxentius for the son of Romulus, who died as a child in 307 AD, but it is likely that we are talking about the temple of the Penates, built on the site of one previously destroyed temple, on the ruins of which a large basilica was built. Most of the temple was preserved thanks to its transformation into the atrium of the Church of Saints Cosmas and Damian (6th century AD).
Hippodrome of Domitian The great Hippodrome of the Palatine is 160 meters long and 50 meters wide. The wall structures were made of baked bricks with marble cladding. The stadium was surrounded by a portico; on one of its sides there was a platform from which the emperor watched the spectacles and performances of gymnasts.
Roman art completes the centuries-old path begun by Hellenic culture. It can be defined as a phenomenon of the transition period from one artistic system to another, like a bridge from antiquity to the Middle Ages. At the same time, just as each work is not only a link in the chain of artistic development, but also a unique individual phenomenon, Roman art is holistic and original. The “audience” of ancient Roman art, especially during the Late Empire, was larger than that of Greek art. Like a new religion that captured wide circles of the population of the eastern, western and North African provinces, the art of the Romans influenced a huge number of inhabitants of the empire, including emperors, influential officials, ordinary Romans, freedmen, and slaves. Already within the empire, an attitude was developing towards art as a phenomenon that united people of different classes, races, and social positions.
But in ancient Rome, not only general aesthetic qualities were formed, which determined the nature of the future culture; methods were also developed that were followed by artists of later times. In European art, ancient Roman works often served as original standards, which were imitated by architects, sculptors, painters, glass blowers and ceramists, gem carvers and garden and park decorators. The priceless artistic heritage of ancient Rome continues to live on as a school of classical excellence for modern art.
Description of the presentation by individual slides:
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Musical art Ancient Greece The work was carried out by Bezrodnykh Natalya MKOU Spitsynskaya Secondary School Leninskaya Iskra
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The music of Ancient Greece is preserved in a few fragments, which are inscriptions carved on stone columns and tombs. Letters from the Greek and Phoenician alphabet were used for musical writing.
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However, one can judge ancient Greek musical culture not only by these fragments, but also by works of fine art (for example, on antique vases there are images musical instruments) and literature (in particular, the works of Aristotle, Plato and other philosophers). Treatises on music have been preserved. In Ancient Greece, music or other creativity was inseparable from Greek mythology.
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The word music comes from the “muses” - goddesses, patroness of creative and constructive aspirations, daughters of the Greek god Zeus. Music was seen as an important component of a prestigious education and in maintaining the stability of society. It has been recognized as an art form that has a huge impact on a person to improve his moral and ethical values.
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Music played an important role in the life of the ancient Greeks. It sounded during marriages, feasts, wars, funerals, was an integral part of religious holidays and theatrical performances. IN ancient times singers and musicians did not have vocational education; their art was based on improvisation. The creation of the first music school dates back to approximately 650 BC. e.
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Orpheus Quite a lot interesting information can also be gleaned from mythology. Thus, the legends about the singer and musician Orpheus tell about the magical power of music: Orpheus with his art conquered not only people, but also gods, and even nature. The young man could not boast of the nobility of his family. He did not perform feats similar to those that glorified Perseus or Hercules. But his deeds are unparalleled, just as his glory is unparalleled. His mother gave Orpheus the gift of singing and poetry. Apollo gave Orpheus a lyre, and the muses taught him to play it, so much so that even trees and rocks moved to the sounds of his lyre.
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Orpheus fell in love with young Eurydice, and the power of this love had no equal. They got married and settled among wild forests. One day, Eurydice, while walking in the meadows, stepped on a snake and died from its bite. To dispel his grief, Orpheus went on a journey. He visited Egypt and saw its wonders, joined the Argonauts and reached Colchis with them, helping them overcome many obstacles with his music. The sounds of his lyre calmed the waves on the Argo's path and made the work of the rowers easier; they have more than once prevented quarrels between travelers throughout the long journey. But the image of Eurydice relentlessly followed him everywhere, shedding tears. Hoping to return his beloved, Orpheus boldly descended into the kingdom of the dead. He took nothing with him except the cithara and an unblown willow branch. Finding himself at the throne of Hades and Persephone, Orpheus fell to his knees, begging for his young wife to be returned to him.
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Lord of the Dead But the Lord of the Dead was adamant. Then Orpheus asked permission to sing to Hades and his beautiful wife and play the lyre. And Orpheus sang the best of his songs - a song about love. And while he sang, the willow branch he brought blossomed. The strong heart of the ruler trembled underground kingdom. Hades allowed Eurydice to return to the world of the living, but set one condition: on the way from the underworld, Orpheus should not turn around until Eurydice, who was following him, came out into the sunlight. Eurydice walked along a dark passage, led by the sounds of the lyre, and, already seeing the sunlight, Orpheus turned around to make sure that his beloved was following him, and at that very moment he lost his wife forever. The world of people became disgusted with Orpheus. He went into the wild Rhodope Mountains and sang there only for the birds and animals. His songs were filled with such power that even trees and stones were removed from their places to be closer to the singer. More than once kings offered the young man their daughters as wives, but, inconsolable, he rejected everyone. From time to time Orpheus descended from the mountains to pay homage to Apollo.
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Antique musical instruments Kifara - an ancient Greek stringed musical instrument Kifara - one of the most common musical instruments in Ancient Greece. Only men played the cithara, producing sounds with a bone plectrum. The kithara had a flat, heavy wooden body with straight or curly outlines; strings were attached to the body. In the classical cithara of the 6th-5th centuries. BC there were seven strings, later in “experimental” instruments their number increased to 11-12. Used as a solo or accompanying instrument. A singer accompanying himself on a cithara was called a kifared. The kithara was considered the instrument of Apollo, in contrast to the aulos, the instrument of Dionysus.
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Lyra Lyra - (Greek; lat. lyra) was the most significant string instrument of Ancient Greece and Rome, along with the lyre. According to myth, the lyre was invented by Hermes. To make it, Hermes used a tortoise shell; for the antelope horn frame. The lyre in the picture is a copy made from an image on an ancient Greek vase: the body of the lyre is made in the shape of a bull's skull.
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Marsyas One day, wandering through the fields, the satyr Marsyas found a reed flute. The goddess Athena abandoned her, noticing that playing the flute she herself had invented was disfiguring her beautiful face. Athena cursed her invention and said: “Let the one who picks up this flute be severely punished!” Knowing nothing about Athena’s words, Marsyas picked up the flute and soon learned to play it so well that everyone listened to this simple music. Marsyas became proud and challenged the patron of music, Apollo, to a competition. Apollo accepted the challenge and appeared with a cithara in his beautiful hands. No matter how good Marsyas’ playing was, how could he, a resident of forests and fields, extract from his flute such wondrous sounds as those that flew from the golden strings of the cithara of the leader of the muses, Apollo! Apollo won. Enraged by Marcia's insolence, he ordered the unfortunate man to be hung up by the hands and skinned alive. Marsyas paid so cruelly for his pride. And the skin of Marsyas was hung in a grotto near Kelen in Phrygia and they later said that it always began to move, as if dancing, when the sounds of the Phrygian flute reached the grotto, and remained motionless when the majestic sounds of the cithara were heard.
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Avlos The aulos also sounded in Ancient Greece - a wind instrument, the sound from which was extracted through a special reed plate inserted into the hole. The performer, pressing the tongue with his lips, adjusted the volume and even changed the timbre of the sound. The Greek aulos can be considered the prototype of European reed wind instruments - oboe, clarinet, etc. As a rule, a musician played two aulos at once and thereby got the opportunity to perform two-voice music. In paintings on ancient Greek vessels, musicians with aulos were usually depicted in scenes of feasts and various entertainments: it was probably believed that the bright, even harsh sound of the instrument inflames temperament and sensuality.
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Pan Once upon a time in Ancient-ancient Greece Once upon a time there lived a goat-footed god named Pan. He loved wine, music, and, of course, women. And then he walks through his forest - suddenly a nymph. Named Syringa. Pan to her... And the beautiful nymph disliked the goat-legged one and ran away. She runs and runs, and Pan is already catching up with her. Syringa prayed to her father - the river god, save me, they say, father, from the encroachments of the goat, even though he is also a god. Well, her father turned her into a reed. Pan cut that reed and made himself a pipe out of it. And let's play on it. No one knows that it is not the flute who sings it, but the sweet-voiced nymph Syringa.
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During the heroic period Greek history(around the 11th–7th centuries BC) the art of the traveling singer-storytellers of the Aeds and Rhapsods enjoyed the greatest love, recognition and respect. Aed is an ancient Greek epic singer from the era of unwritten poetry (9th–8th centuries BC). Aeds performed at feasts, public celebrations, and funeral ceremonies. The melodious recitation was accompanied by their playing of the forming instrument. Around 700 BC Aeds gave way to rhapsods and cyfareds. These “song stitchers” sang the deeds of heroes to the glory of native land. The texts of their epic tales were composed in the same hexameter verse, without dividing the stanza, as the works of Homer are presented. The singer sang, accompanying a tale in ancient string instrument- forming, the strings of which were stretched across a carved tortoiseshell, and later on a cithara. The melodies of earlier storytellers, the Aeds, were probably of a recitative-narrative nature; among later rhapsodists, singing itself was replaced by melodious recitation. These were the first professional Greek musicians known to us, truly folk poets and singers.
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Ancient Rome (8th century BC) Like all the art of the Ancient Roman state, musical culture developed under the influence of Hellenistic culture. But early Roman music was distinguished by its originality. Since ancient times in Rome, musical and poetic genres associated with everyday life have developed: songs of triumph (victory), wedding, drinking, funeral, accompanied by playing the tibia (the Latin name for aulos - a wind instrument such as a flute).
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The tunes of salii (jumpers, dancers) occupied a large place in the ancient musical culture of Rome. At the Salii festival, a kind of dance was performed: wearing a light armor and helmet, with a sword and spear in their hands, 12 people danced to the sound of trumpets to the beat of an ancient song addressed to the gods Mars, Jupiter, Janus, Minerva, etc.
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In addition to the salii, the tunes of the “Arval brothers” (the so-called Roman colleges of priests) were very popular. The festivals of the “Arval brothers” took place in the vicinity of Rome and were dedicated to the harvest. They expressed gratitude to the gods for the harvest and prayed for the future. The texts of some prayers and hymns have been preserved.
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During the classical period musical life Rome was distinguished by its diversity and diversity. Musicians from Greece, Syria, Egypt and other countries flocked to the capital of the empire. As in Greece, poetry and music in Rome are closely related. Odes of Horace, eclogues of Virgil, poems of Ovid were sung accompanied by strings plucked instruments- cithara, lyre, trigons (triangular harp). Music was also widely used in drama: singers performed cantos (from “kano” - I sing) - musical numbers of a recitative nature.
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The Roman Empire of the Classical period was characterized by a universal passion for music (even the consuls and emperors). In noble families, children were taught singing and playing the cithara. The profession of music and dance teacher was honorable and popular. The public concerts of the Greek classical music and performances by virtuosos, many of whom were favorites of the emperors, for example the singer Tigellius at the court of Augustus, the actor-singer Apelles - a favorite of Caligula, the cithared Mencrates - under Nero and Mesomedes of Crete under Hadrian. Some musicians even had monuments erected, like the cithared Anaxenor, who served at the court of Caesar. By the way, Emperor Nero introduced the so-called Greek competition, where he himself performed as a poet, singer and harpist. Another emperor, Domitian, founded the Capitoline competitions, in which musicians competed in singing, playing the cithara and aulos, and the winners were crowned with laurel wreaths. Music, singing and dancing were also accompanied by the Romans' favorite holidays of Bacchus - the famous Bacchanalia. And even in military legions there were large brass bands.
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After the conquest of Egypt, water organs - hydraulics - became fashionable among the Roman aristocracy, which were used to decorate luxurious villas and palaces. But the more militant the state became, the lower the tastes of its citizens became, and late Rome during the period of decline was characterized by a completely different musical culture. The admiration for classical art is fading into oblivion. Spectacular, often brutal spectacles come first, including bloody gladiator games. A passion for loud-sounding ensembles begins, consisting primarily of wind and noise instruments. There was a lot of music, too much, and at the same time there was none. It was not in the sublime sense that the ancient classics gave it. The Roman culture of the period of decline knew, saying modern language, only light music.
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Entertainment became the sole god of the vast majority of the indigenous population of Rome. Music had to worship this god if it didn’t want to die of hunger. Singing songs, dancing or playing the flute were not paid well and for the Romans they were on a par with tricks and tomfoolery. The position of a hanger-on and flatterer was the career limit for a musician. Pleasing the whims of the nobility and the crowd cannot be reconciled with the old worship of nature. It was in the readiness to commit any violation of the laws of nature that the measure of the musician’s helpfulness was manifested. Thus, in music the desire for the unnatural is affirmed, and with it indifference and even arrogance to the music of nature grows. Men ready to sing not only with women's voices, but also with children's voices, flutists and cithara players, surprising with their virtuosity of playing, giant choirs and grandiose orchestras sounding in unison, countless dance groups whipped up the revelry of the crowd, eager for entertainment. In such an era, it was not difficult to lose faith not only in the spiritual and moral power of music, but also in all its meaningful meaning.
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The decline of Roman culture lasted several centuries, so that a serious illness musical culture began to seem like an eternal property of music itself. Is it any wonder that many thinkers of that era began to look down on the musical beliefs of the Greek classics? They argued that music, if it arouses feelings, is no more than the art of cooking. According to the skeptic writer of the 2nd century. BC e. Sexta Empirica, music is not capable of expressing either thoughts or moods. Therefore, she cannot not only educate a person, but also teach him anything. It can temporarily distract you from grief and worries, but in this regard it is no more effective than wine and sleep. “The small number of strings, the simplicity and sublimity of the music turned out to be completely outdated,” the great historian and admirer of the classics Plutarch wrote with bitterness. This episode is typical for this era. At a festival in Rome, two of the best flutists who arrived “from Greece itself” performed in front of a huge crowd of people. The public very soon got tired of their music, and then they began to demand that the musicians... fight with each other. The inhabitants of Rome were sure that this is why artists exist, to give pleasure. Music became just a fun craft, without having time to develop to the level of a serious art. Therefore, it was considered a despicable craft and unworthy of a free person.
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PAINTING OF ANCIENT ROMEPAINTING OF ANCIENT ROME
The art of Ancient Italy and Ancient Rome breaks down intothree main periods:
1. Art before Roman Italy (3 thousand BC - 3 century BC);
2. Art of the Roman Republic (3rd-1st centuries BC);
3. Art of the Roman Empire (late 1st century BC - 5th century AD).
PAINTING OF ANCIENT ROME
In ancient Rome, painting was valued much more thansculpture. Roman palaces, public buildings,
amphitheaters were decorated with sculptures, wall
murals, mosaics and paintings.
The main pictorial subjects were myths.
But only easel painting was considered art -
as opposed to the artisanal creation of frescoes.
Unfortunately, to this day, examples of easel painting
(that is, paintings painted on canvas) of those times
have not survived, we know that the leader in this genre was
portrait.
PAINTING OF ANCIENT ROME
Most of the painting of ancient Rome were frescoes,they depict the artists themselves, created and various
easel paintings. These have survived to this day
greatest works of wall painting
indicate that ancient Roman artists in
mastered the brush perfectly. Of the surviving
monuments are frescoes from Pompeii, where we see
depicted bright colors everyday scenes,
still lifes and mythological scenes in which
gods and heroes appeared. These frescoes were painted in I-V centuries. They illustrate all major genres
painting that existed at that time: landscapes, still lifes, religious paintings (on
mythological and religious themes), portraits and nudes. Although
frescoes were considered more of a craft than an art, undoubtedly, many creators
wall paintings were Greeks and took inspiration from those lost today
easel paintings.
PAINTING OF ANCIENT ROME
Painting by purpose (Gender):Genres of painting:
1. Domestic (scenes of hunting, fishing,
1. Monumental (tomb paintings –
fresco; mosaic);
2. Decorative (vase painting, ornament);
3. Easel (Fayum portrait, landscape,
still life, iconic painting(on
mythological and religious themes),
battle, everyday scenes and nudes
nature).
Material: wax paints, stone,
smalt, glass, ceramics
dances, feast scenes);
2. Battle (scenes of bloody fights,
wrestling athletes);
3. Mythological (scenes from
ancient greek mythology, scene
death, travel in the afterlife
kingdom, judgment over the souls of the dead);
4. Portrait;
5. Still life (mid-1st century). Ancient Roman artists painted mainly on a white or black background. They
knew some laws of perspective and achieved imaginary expansion
space of the painting, framing it with decorative architectural
elements.
Fragment of a fresco from Boscoreale
PAINTING OF ANCIENT ROME
Landscapes, buildings, people and animalsthey depicted using almost
impressionistic techniques
overlaying paints and pastels
tones. The paintings were usually decorated
corridors and walls of the dining room. They
illuminated by fluctuating light
oil lamps, which gave
they look even more fabulous.
Julius Caesar is credited with introducing
fashion for fine art exhibitions
in public places. Near
I century in the capital there were hundreds
works by famous Greek
painters. The tranquil landscapes were meant to reflect the peace and prosperity that brought
Emperor Augustus and his descendants after decades civil wars who ruined the country
until the 1st century. The same idea should have been reflected in still lifes, in which there is an abundance of
fruits, vegetables, fish and game were depicted. This genre came to Rome from Greece
and was called xenia, just like the fruits that the Greek presented as a greeting
to your guests.
EASEL PAINTING
In a Roman easelpainting the most
common genre
there was a landscape. Typical
Roman elements
landscapes: “harbours, capes,
sea coast, rivers,
fountains, straits, groves,
mountains, cattle
and shepherds."
PAINTING TECHNIQUES
Painting technique:1. Fresco (painting based on
wet plaster);
2. Tempera painting;
3. Mosaic;
4. Encaustic (wax
painting);
5. Glue painting (paints
get divorced by the one who binds them
liquid, such as glue,
egg, milk, wood
juice and then applied to
homogeneous surface).
CHARACTERISTIC FEATURES OF PAINTING
1.2.
3.
Multifaceted
compositional construction;
Free plastic modeling
figures that naturally
are located in the surrounding
space, or exactly
connected to the plane of the wall;
Bright colorful combinations
(various shades) - II-I
centuries AD
Inlay style - it was a geometric pattern that resembled a lining
walls with precious stones.
MONUMENTAL PAINTING STYLES
MONUMENTAL STYLESPAINTINGS
"Architectural", or second
Pompeian style 1st century. BC e., the walls of the houses turned into
a semblance of a cityscape,
which included images of colonnades,
all kinds of porticoes and facades
buildings.
Wall painting. On absolutely
the smooth surface of the wall was depicted
life-size facades
landscape background. The interior is written like this
illusory, as if they
really stand around, forming
almost entire blocks.
Fersca from Boscoreale
MONUMENTAL PAINTING STYLES
"Candelabra style"(late 1st century BC) - 50s I century n.
e.). The masters returned to
flat decorative
ornaments. Among the architectural
forms were dominated by light openwork
structures reminiscent
tall metal
candelabra, between them
were placed enclosed in frames
pictures (“Narcissus”). Their stories
unpretentious and simple, often
associated with shepherd life.
Fresco painting "Narcissus"
MONUMENTAL PAINTING STYLES
Ornamental and decorative - light,graphic patterns, small paintings
set against a backdrop of vast
spaces.
Golden House of Emperor Nero
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
MONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii fresco Pompeii fresco Fresco "Isis and Io" from the Temple of Isis in Pompeii Pompeii fresco Pompeii fresco Pompeii fresco Pompeii fresco The Rape of Europa. Pompeii fresco Pompeii frescoMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii frescoMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii frescoMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Pompeii fresco Portrait of the spouses. Fresco from PompeiiMONUMENTAL PAINTING OF ANCIENT ROME (FRESCO)
Starting from the middle of the 1st century. in the visual artsa genre began to emerge in art
still life. Originating in the Late Classic
IV century BC e. and brilliantly developed in
Hellenistic era, still life has now acquired
new meaning. “High” and
"low" directions. The Romans often
depicted butcher shops with hanging
animal carcasses. However, they also wrote deeply
symbolic works full of secrets
sense. This type of painting was done
in the tomb of Vestorius Priscus in Pompeii. IN
the center of the composition is a golden table against the background
scarlet drapery. There are silver coins on the table
elegantly shaped vessels - all paired,
arranged strictly symmetrically: jugs,
wine horns, scoops, bowls. All these
objects seem to be grouped around
central crater - a vessel for
mixing wine and water, god incarnate
fertility of Dionysus-Liber.
Peaches and glass jug. Fresco from Herculaneum. About 50
Fresco
MONUMENTAL PAINTING OF ANCIENT ROME (MOSAIC)
It is impossible to imagine without Roman mosaicsancient Roman art. Mosaic floor compositions
from colored stones, smalt, glass, ceramics
found throughout ancient Rome.
The oldest examples of Roman mosaics,
found at archaeological excavations, belong to IV
century BC And during the heyday of the Roman Empire
mosaic has become the most common method of decoration
interior, both palaces and public baths,
and private atriums.
SUBJECTS OF ROMAN MOSAICS
Subjects of Roman mosaicsare limitless and vary from
relatively simple ornaments
to multi-figure artistic
paintings with complex
spatial orientation.
Wreaths made of grape leaves and
hunting scenes with detailed
images of animals,
mythological characters and
heroic campaigns, love
stories and genre scenes from
everyday life, sea
travel and military battles,
theatrical masks and dance steps. Selecting a plot for a specific
mosaics determined or by the customer
(sometimes the mosaic even captured
portrait of the owner of the house, for example),
or the purpose of the building.
In ancient Rome, mosaics were used
for decorating almost any
significant structures - urban and
country villas of the nobility, city
thermal baths, palaces.
Athletes. Mosaic of the floor of the Baths of Caracalla, 3rd century.
MONUMENTAL PAINTING (MOSAIC)
Featuresstone mosaic:
Background elements of Roman mosaics are light
and large enough, it is formed
plain stones with chaotic
laying in no particular order.
Elements of drawings and figures are smaller,
but often still large for the selected
drawing.
The variety of colors depends on
capabilities of a master in some
specific settlement or financial
customer capabilities.
If the mosaics of large palaces are sometimes
amazes with the sophistication of the color scheme,
then small compositions seem
limited in choice of colors.
MONUMENTAL PAINTING (MOSAIC)
Ancient Roman stained glass mosaicMosaic of Ancient Rome. I-IV centuries AD
The art of composing stone
mosaics began with simple
patterns of colored pebbles, which
the ancient Greeks decorated the interior
courtyards of their houses. Later at
interior design of palaces and
granite began to be used in temples,
marble, semi-precious and even
precious stones. First
laid out the floors, from the second they created
amazingly beautiful panels.
The villas of the nobles of Ancient Rome were decorated with marble floors and mosaics
made of multi-colored stone in the form of complex ornaments and entire paintings with
mythological stories
FLOOR STONE MOSAIC OF ANCIENT ROME
Thanks to these propertiesstone like strength,
resistance to destruction and
aging, we can still
admire the fragments
amazing mosaic floors
in ancient monuments
architecture preserved in
territory of Hellas. For example, in
Temple of Zeus (5th century BC)
images of sea deities in
framing ornaments
composed of small (about 1 cm in
diameter) chopped pieces
stones different colors. So
one of the main
mosaic technique
drawings - typesetting.
Roman mosaic. Cologne. Ceramics and stone
FLOOR MOSAIC OF ANCIENT ROME
Roman floor mosaics in the villaRomano del Casale in Piazza Armerina is a unique “window” to the Ancient World.
The resulting surface is either
polished, or, if it was on
sufficient distance from the viewer,
left rough. Seams between
cubes could differ in thickness,
what gave the image the effect
volume.
MONUMENTAL PAINTING (MOSAIC)
Battle of Alexander the Great with Darius III at Issus. Mosaic from the House of Faunin Pompeii. Naples. National Museum Alexander the Great. Fragment of a mosaic from Pompeii
MONUMENTAL PAINTING (MOSAIC)
Battle of centaurs with predators. Mosaic of Hadrian's Villa in Tivoli. Berlin.State Museum
MONUMENTAL PAINTING (MOSAIC)
Deer hunting.Dionysus.
Mosaic from the palace of the Macedonian kings in Pella
MONUMENTAL PAINTING (MOSAIC)
Mosaic of a Roman villa depicting a fishing scene in the gardenMONUMENTAL PAINTING (MOSAIC)
Mosaic of a Roman villa depicting a scene with animalsAncient Roman artists sought
to maximum similarity at
images of people. Example
famous people can serve this purpose
Fayum portraits (I-III centuries). They
formed under the influence
Greco-Roman tradition.
They were usually depicted
representatives of the Roman elite, about which
evidenced by clothing, jewelry
and the hairstyles of the people depicted.
EASEL PAINTING (Fayum portrait)
And these are perfectly preservedin the desert paintings, according to
specialists cannot be named
exclusively local
phenomenon - art
painting in Apennine
the peninsula achieved this
high level, at least
and has not survived to this day.
Portrait of an elderly man. Encaustic. End of the 1st century AD
EASEL PAINTING (Fayum portrait)
FAYUM PORTRAIT (by nameFayum oasis in Egypt, where we were for the first time
found and described). These are posthumous
picturesque images of the deceased
created using encaustic technique in Rimsky
Egypt I-III centuries. Got their name
at the site of the first major find in
Fayum oasis in 1887 British
expedition led by Flinders Petrie.
They are an element modified under
Greco-Roman influence of the local
funeral tradition: a portrait replaces
traditional funeral mask
mummies. Found in the collections of many
museums around the world, including the British
museum, the Louvre and the Metropolitan Museum of Art
New York.
EASEL PAINTING (Fayum portrait)
Fayum portrait distinguishedvolumetric black-and-white modeling of ceramic tableware from Ancient Rome. Were here
vessels with relief are widespread
ornament, covered with transparent glaze.
Roman builders widely used ceramics, from
it is performed by complex architectural details.
Ancient Roman vase painting. Red-figure style ORNAMENT
ANCIENT ROME
Ornament in the suit:
The color scheme in Roman costume is bright,
colorful, primary colors are purple, brown,
yellow. During the Empire, color scheme
acquires a complex, refined character in
shades and color combinations: light blue and
green with white, light purple with yellow,
grayish blue, pinkish lilac.
Late Roman fabrics had a geometric pattern
ornamentation - circles, squares, rhombuses with
with rosettes, quatrefoils inscribed in them,
stylized leaves of ivy, acanthus, oak, laurel,
garlands of flowers. The patterns were embroidered or woven
two or three colors, together with gold decor
gave the fabric a special splendor and luxury. ORNAMENT
ANCIENT ROME
Many forms of decoration were borrowed from the Greeks
by the ancient Romans. Having adopted many from the Greeks
ornamental motifs, the Romans creatively
reworked according to their tastes and mentality.
In the ornament a fundamentally new thing appears for
ancient culture quality - it appears
“personal” interaction between characters.
The main Roman elements of ornamentation are
leaves of acanthus, oak, laurel, climbing shoots,
ears of corn, fruits, flowers, figures of people and animals,
masks, skulls, sphinxes, griffins, etc. Along with
they depicted vases, war trophies,
flying ribbons, etc. Often they have
real form. The ornamentation carried within itself and
certain symbols, allegory: the oak was considered
symbol of the highest heavenly deity, the eagle -
symbol of Jupiter, etc.
Slide 1
Culture of Ancient Rome World artistic culture Lesson-presentation by Vasilyeva O.N. Lomovskaya secondary school Dyudkovo 2009Slide 2
Slide 3
Slide 4
Worship of the gods The Romans revered the gods of fate, cities, and the patron spirits of every person. The gods of the hearth occupied a special place in their beliefs. To perform rituals in honor of the household gods, the Roman family gathered around the home altar. Lararia were built in the houses - something like a small chapel, where there were wax figurines of Lars (patrons of the house) and Penates (guardians of the hearth and food supplies). The head of the family placed honey cakes, wine, flowers in front of the altar, or threw part of the dinner intended for the gods into the flames of the hearth. The cult of the Genius, the patron saint of the emperor and all men, was of national importance. Juno patronized women.
Slide 5
Slide 6
Rome During the heyday of the Empire, the Roman type of urban planning spread: the city consisted of residential neighborhoods, public buildings, squares (forums) and artisan districts. The Romans learned to make a concrete-type material from lime mortar, crushed stone and volcanic sand, which made it possible to build massive and durable structures. The Romans took these from the Etruscans architectural elements, like the arch and vault The Romans borrowed architectural orders from the Greeks
Slide 7
Appian Way Roman roads were of great strategic importance; they united various parts of the country. The Appian Way leading to Rome (VI-III centuries BC. Named after the builder - censor Appius Claudius Caecus) for the movement of cohorts and messengers was the first of a network of roads that later covered the whole of Italy. Near the Aricchi valley, the road, paved with a thick layer of concrete, crushed stone, slabs of lava and tuff, ran along a massive wall (197 m long, 11 m high) due to the terrain, dissected in the lower part by three through arched spans for mountain waters.
Slide 8
Aqueducts and viaducts Rome is gradually becoming the most water-rich city in the world. Powerful bridges and aqueducts (the aqueduct of Appius Claudius, 311 BC, the aqueduct of Marcius, 144 BC), running tens of kilometers, took a prominent place in the architecture of the city, in the appearance of its picturesque surroundings AQUEDUCT (lat. ., from “water” and “I lead”) - a bridge with a grooved water pipeline and arched spans, sometimes in several tiers in places where the earth’s surface is low. VIADUK (Latin, from “path, road” and “lead”) - a bridge over which a section of the road passes at its intersection with a ravine, gorge, another road, etc.
Slide 9
Thermal baths Public baths (thermal baths) were equipped with a gymnasium, playgrounds, and swimming pools with hot, warm and cold water. The baths were a favorite vacation spot for the Romans. There they exercised and exchanged news. Instead of soap they rubbed it into the skin olive oil. After the steam room we plunged into a pool of cold water. Then we had a massage and went home for dinner.
Slide 10
Roman Forum The center of life in Rome, the capital of the empire, was the square lying between two hills - the Capitol and the Palatine. It was called Forum Romanum. People's assemblies were held here, where laws were discussed, issues of war and peace were decided, and trade deals were concluded. The square was lined with buildings decorated with marble and bronze statues, columns and arches that were erected in honor of the victories of Roman emperors and generals.
Slide 11
Triumphal Arches Triumphal Arch of Constantine. IV century. Rome. The Arch of Emperor Titus was built in honor of his victory over rebellious Palestine. A bronze sculptural group was erected on it: Titus, accompanied by the food goddess Victoria, sat on a chariot drawn by four horses. Similar arches were called triumphal, as they were associated with triumph - the ceremonial entry of the conqueror into the city. 06 construction time triumphal arches spread throughout Europe.
Slide 12
Trajan's Column In addition to arches, monument columns were also built in Rome. This is Trajan's Column (architect Apollodorus), erected in 113 in honor of the Roman victory over the Dacians. The column, made of 17 drums of Carrara marble, rose 30 m and was crowned with a bronze statue of Emperor Trajan. The outside of the column was decorated with marble slabs with reliefs of the most important episodes of the war with the Dacians. This sculptural ribbon, about 22 meters long, encircles the entire column
Slide 13
The Pantheon - the temple of all gods For many centuries, this temple was an unsurpassed example of a building topped with a dome. The grandiose round space of the temple is covered by a spherical bowl of a dome with a diameter of 43.2 m. In the center of the dome there is a window with a diameter of 9 m, through which streams pour sunlight. The entire weight of the huge dome is supported by eight massive pylon supports hidden in the wall. They are connected to each other by a system of brick arches. The wide stone pediment of the portico rests on 8 columns. The Pantheon is considered the most perfect example of Roman architecture, both technically and artistically.
Slide 14
Colosseum During the imperial Flavian dynasty in 75-80. A grandiose amphitheater was built in the center of Rome. In the Middle Ages it received the name "Colosseum" - from Latin word"colossus" - colossal. The Colosseum is a huge oval bowl measuring 188x156 m with rows of seats that go down to the center - the arena. Gladiator fights and fights between people and animals took place here. They could be watched by up to 56 thousand spectators. The structure is surrounded by a powerful wall. It is divided into 4 tiers, consisting of pillars and arches. Each tier was decorated with columns of a different type: the lower one - Doric, the second - Ionic, the third - Corinthian. The fourth tier was a blank wall, dissected by Corinthian pilasters - projections. Thus, the Roman architect skillfully and in his own way used the Greek order system, supplementing it with Roman elements - an arch and a vault.
Slide 15
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Sculptural portrait The Romans borrowed from the Etruscans the custom of honoring dead ancestors. A plaster or wax mask was removed from the face of the deceased and displayed in the front room. During the funeral procession, masks not only of the deceased, but also of their ancestors were carried behind the coffin. This custom taught the Romans to see in a portrait not an ideal hero, but real personality, appreciate the authenticity of a sculptural portrait.
Slide 17
Sculptural portrait in the 2nd-1st centuries. BC e. The Roman nobility was given the right to erect their statues in public places. They depicted specific people, and the sculptors sought to convey external resemblance, but without idealization
Slide 18
Frescoes Wall frescoes - true masterpieces of painting - were found in the so-called Villa of the Mysteries in Pompeii. They depict not only mythical characters, participants in initiation into the cult of the god Dionysus, but also the mistress of the villa, the girl serving her, and the winged goddess. Roman frescoes often repeated the paintings of Greek masters. Landscapes, gardens and parks, cities and temples, birds and animals are depicted in these paintings.
Slide 19
Frescoes Fresco "Spring" from the city of Stabius, near Pompeii. The girl, symbolizing spring, moves away from the viewer into the depths of space, breathing coolness and freshness. In her left hand she holds a cornucopia, and with her right hand she gently touches a flower rising from the ground. Her golden yellow cape brown hair and the pink tone of the bare shoulders are in amazing harmony with the bright green background of the flowering meadow. The joy associated with the arrival of spring, with the warm spring sun, the fragrance of blossoming nature, the feeling of the lightness of the girl’s movements, as if floating through the air, permeate the entire pictorial composition.
