Scene with a wounded buffalo. Lesson topic: The emergence of art and religious beliefs
Combarel, an Upper Paleolithic site in a cave (Combarel, near Les Eyzies in the Dordogne department (France). Over 400 images of various animals (mammoths, rhinos, horses, bison, deer) were found on the walls in the depths of the cave in a narrow corridor 237 m long in 1901 , Alpine lions, etc.), as well as anthropomorphic figures.The technique of drawing drawings is mainly engraving.
Zaraut-Sai, a gorge in the southwestern spurs of the Gissar Range. Drawings made with ocher were found on rocky sheds in the west-north, in niches and small grottoes. Investigated by G. V. Parfenov and A. A. Formozov. the hunters are armed with bows and arrows and dressed in camouflage; there are other images. The possible date of the drawings is the Neolithic Mesolithic. Later images have also been found. Zaraut-Sai, a gorge in the southwestern spurs of the Gissar Range. Drawings made with ocher were found on rocky sheds in the west-north, in niches and small grottoes. Investigated by G. V. Parfenov and A. A. Formozov. the hunters are armed with bows and arrows and dressed in camouflage; there are other images. The possible date of the drawings is the Neolithic Mesolithic. Later images have also been found. NeolithicMesolithicNeolithicMesolithic
The White Sea petroglyphs are compact - their distribution area does not exceed 1.5 sq. km. 10 points are known on large (Big Malinin, Yerpin Pudas, Shoyrukshin) and small nameless islands. The drawings are embossed on durable gray crystalline schists. In ancient times, they were located near the water. Most of the knockouts are small (20-50 cm), but there are also giants 3-3.5 m long; there are also very small ones - less than 5 cm.
Kobustan. Rock paintings. Within Kobustan, in the basin of the river. Jeirankechmaz, more than 4 thousand ancient rock carvings (silhouette and outline engravings, painting) are known, including scenes of harvesting, sacrifices, dances, images of boats with rowers, people and various animals (dated from the Mesolithic to the Middle Ages). Near the rock carvings, in caves and underground shelters, Stone Age sites were found. Kobustan. Rock paintings. Within Kobustan, in the basin of the river. Jeirankechmaz, more than 4 thousand ancient rock carvings (silhouette and outline engravings, painting) are known, including scenes of harvesting, sacrifices, dances, images of boats with rowers, people and various animals (dated from the Mesolithic to the Middle Ages). Near the rock paintings, in caves and underground shelters, Stone Age sites were found.
Tassili rock art Elephant (Oued Jerat) referring to the "buffalo period". The subject is very common in the rock art of the Sahara from the "buffalo period" to the present, especially in Aira, where elephants lived less than a hundred years ago. There are 96 images in oued Jerat dating from different periods. The elephant shown in the picture is carved on a vertical slab; the squares that line the ear should depict the folds of the skin on its outer side. Width 1.8 m.
The "buffalo period" drawing on a horizontal slab (oued Jerat) represents two felines; one, apparently, is going to cling to the other in the back; the lower one resembles a cheetah, the upper one can represent a canine hyena or a spotted wolf, the only animal of this family that lives in a shroud, but is able to make forays into desert areas, it is about the size of a hyena. Length cm.
Ram with a "helmet" (Bu Alem, South Oran); above it is a human figure with a shield; height about 1.5 m. This is one of the best drawings of the "buffalo period" both in terms of excellent reproduction of form and detail, and in terms of execution with the right stroke and excellently polished surface. Since there is a disk on the ram's head, it was long believed that he had a connection with the Egyptian ram god Ammon, but now it is already known that this is not so and that the drawing is much older than all the images of a ram in Egypt.
An ancient buffalo with a spiral on a vertical slab (oued Jerat), about 2 m high. Bubalus antiguus is a now extinct species of buffalo, probably extinct in the Neolithic. It plays in the Sahara the role of a "determinant fossil" for the drawings of the ancient period, which, by virtue of this very fact, has been given its name. This animal had huge horns, the distance between which could reach 3 m. In this case, its image is accompanied by a double helix carved on the body; this symbol is very common in the rock paintings of Ueda Jerat, but its meaning remains mysterious. There are other drawings on the same slab; many of them are polished, among these last one can distinguish a horse. There are also drawings whose outline is drawn with dots, for example, a giraffe between the horns of a buffalo and a human figure to the left of them.
Rock painting (oued Jerat), depicting palm trees and a chariot, the wheels of which were erased from the painting. Refers to the "period of the horse", which corresponds to approximately 1200 BC. e. It can be seen that the old withered trees are cut down - therefore, the palm tree was cultivated. In the hands of people something like long-handled sickles, which served, perhaps, for cutting bunches of dates. This is the oldest image of a date palm found in North Africa and the Sahara, in this case it is contemporary with chariots with horses "in a flying gallop".
Mural (Takededumatin site, Tassili) depicting cattle herders. The ovals on the left represent huts; there is no one in the first; in front of others, female and childish figures are visible; it is a reflection of the life of a polygamous family, such as we can still observe among the Fulbe shepherds in the cereal steppes south of the Sahara. In front of the huts, calves are tethered, and behind them the rest of the herd of bulls graze, but more cows, with udders full of milk. Some people have hairstyles in the form of helmets, others in the form of small caps, like the current Fulbe.
An image of a man in the headdress of a "justice of the peace". The figure has a height of 2 m and is remarkable from the decorative point of view, although it has suffered from time and is partially destroyed. The profile is fleshy, negroid; the lower part of the face seems to be covered by a mask; the hair is rendered with white, densely applied strokes, and the face is covered with small vertical strokes and white dots. To the right is a small human head in the same style, but the face is covered with a mask, and a ribbon with vertical multi-colored stripes written in red, yellow and white ocher is woven into the hair.
Detail of a large panel from the "bovid period", called "Court Scene". People dressed in ceremonial clothes have caps on their heads, decorated either with dots or with horizontal and vertical lines; large cloaks descend from neck to toe, covering the back. They move to the right, rounding their backs and slightly bending, depicting, as it were, elderly respectable people who have performed an act of justice; the last of them holds a bow in one hand. Above them, a younger and simpler man is holding another.
1 class. Extracurricular activities. 2 semester, January
Lesson-journey "Ancient wonder of the world - rock art".(primitive artist)
visual range - presentation "Rock paintings" (petroglyphs).
Literary series- a) "Art history for kids";
b) "The Artistic Culture of Primitive Society" (reader, author-compiler I.A. Khimik).
musical series - calm background music for work.
Materials and tools:white and gray paper, cardboard, charcoal, sanguine, pastel.
Target: to form in children the ability to "look and see", "listen and hear", "imagine and portray".
Tasks: develop observation, creative imagination, visual and motor memory, interest in art, emotional, aesthetic, figurative perception.
(develop, thereby give knowledge, instill skills, develop skills)
During the classes.
- Organizing part (setting) -1- 2 min.
- Introduction of new knowledge (message of study materials on presentation) - 10 min.
- Creative practical activity - 15-18 min.
Task: to give a clear idea of the work ahead!
- Training exercises - 2-3 min.
What and how does a graphic artist work?
A) acquaintance with new expressive means: line, stroke, spot and a combination of these elements (+ contour, + tone);
b) familiarity with graphic materials: charcoal, pastel;
c) familiarity with the technique: end (edge, butt), flat, rubbing.
3.2. s/r - 15 min
4. Summing up - 3-4 minutes. Express Exhibition
(posting of works with the story of his creative idea).
- Reflection - 1-2 min.
slide 1.
We have winter, a snowstorm outside the window. Maybe we will go on a journey to distant, warm, unexplored countries?
Your desk turns into a time machine. We adjusted the seats, sat down comfortably, fastened our seat belts. We press the start button: 5,4,3,2,1 - start! Let's go!
Slide 2.
We will be transported to distant ancient times, many thousands of years ago, when there were no cities or ancient castles on earth. It was a long time ago! The earliest man resembled a monkey. Those people didn't know how to talk yet. They communicated with each other like animals, using a variety of sounds.
Primitive people were afraid of predatory animals, thunderstorms, floods, forest fires. Why all this is happening - they did not know, could not explain.
It's time for us to go down. Before we get out of the time machine, remember: we are in ancient times, there are no roads, only paths where wild animals can meet. Be quiet, don't go anywhere.
Find the drop button, we land. Loosen your seat belts. We are in the cave age.
Slide 3.
Before us are beautiful mountains. Stepping carefully, let's get closer and climb higher. Look at the drawings. Among those primitive ancient people were skillful artists. It's hard to believe, but it's true. People who could not only write and speak, but could not even fashion a simple clay pot, but possessed the skill of an artist!
slide 4. Let's go around the rocky part, look at the mountain from the other side. This beauty is the work of nature itself. Take a closer look! We see a hunting scene. The image is very simple: red-brown figurines of running people and animals.
Slide 5.
We go down. Before us is the entrance to the cave. It was the caves that were the home (dwellings) and refuge of ancient people. There they hid from rains and cold winds, from evil people and wild animals.
The ancient people had many concerns. But when there was free time, they loved to draw. Painted on walls and ceilings. They drew what they saw, what surrounded them: life and death, plants and animals. They believed that if they drew an animal in the depths of the cave, then living predators would leave without harming them. And if you draw a wounded beast, it will help them in hunting.
There, inside the cave, it is dark, only torches and shadows from the fire will illuminate our path. We must stick together, be careful.
slide 6.
In the meantime, raise your heads and look up at the ceiling before we enter. We see images of animals.
Let's go deep into the cave and on the left on the wall we see a pair of deer. One of them is painted over completely in red, and the second is indicated only by an outline.
Slide 7.
We have a hunting scene. Everything is simple and clear: the swift-footed deer are rushing at great speed, and the arrows of the hunters are already pointing at them. An unknown artist used only one color, but achieved amazing liveliness.
And here he is a handsome bison (bull). The front part of the body is voluminous, and the legs seem a bit short - an impression of the gravity of the figures is created.
slide 8.
An ancient artist, using one black color, depicted a wounded bison struck by a hunter's spear. (This is a scene with a wounded buffalo in the Lascaux cave in France).
The hunter also dies. A long-haired woman, standing on one knee in front of the body of her deceased husband, mourns his death and prepares to send him to the kingdom of the dead. Ancient people believed that the souls of the dead, the souls of their ancestors, moved to a distant "land of the dead." And the way to the realm of death is sailing on a ship.
slide 9.
A herd of bison rushes at high speed, cutting through the air with huge sharp horns. The sound of hooves of strong bulls is heard, their terrible roar. In this picture there is a two-color image: black and red. Because these colors are clearly visible in the twilight of the caves, which were illuminated only by torches or the fire of a smoky fire.
Many ancient drawings are very mysterious, even strange and bizarre. There are a lot of things they don't understand. (Sometimes each figure is significant in itself, regardless of the whole composition). Images are schematic, simplified (stylized). Sometimes only dots, stripes, obscure images for us. We can only guess what the primitive artist wanted to say with his drawing.
Although it is clear here that 2 people are on the hunt, they are well armed.
slide 10.
A man in a horned helmet rides a two-wheeled cart (chariot) drawn by a goat or a horse. In front of a man, a snake is a symbol (sign) of lightning. (In Scandinavian mythology, this is God Thor in a chariot, and the image of a snake is a flash of lightning).
A scene with a man praying - a huge snake is approaching him.
Many rock paintings left us by ancient artists, they left their mark on history. Thanks to them, we can get a vivid picture of the life of a person of those distant times.
It's time for us to return. Having carefully examined the drawings inside the cave, we put out the fire, we take coals from the fire with us, they will be useful to us, carefully leave the cave.
Slide 11.
Close your eyes - it was dark there, open again - we are met by the bright sun. We extinguish the torches. Let's look back again, look at the drawings on the rock and sit in the time machine. We fasten the belts, 5,4,3,2,1! - start! We're flying home. Find the drop button. Landed. This is our class and our desk. Moving in time in prehistoric times ended safely.
Physical min. Get up. Shake your feet. Straighten your backs. Reach for the sun. Sit down.
Do you want to become ancient artists?
There are sheets on the tables. Take half, put in front of you. There are coals in front of you. Yes, yes, the very ones that we took from the fire in the cave. This is natural charcoal. And I gave you artificial, factory-made, compressed charcoal in the form of sticks. This is an ordinary burnt birch stick. I also added pastel crayons, what if they come in handy?
What do you think: where did the ancient artists get the red paint from? Know the right plants. They took clay. Before the paint was applied to the wall to fix it, it was mixed with blood or an egg, that's the paint.
Coal technique.
But how did ancient artists work with charcoal?
Training exercises.
Do it with me.
- End (edge, butt) - will be a line.
- Flat - the stroke is thicker.
- Rubbing - with a finger from the center to the edge of the sheet (do not rub!)
Let's try man! Circle, cucumber, sticks - ready.
Let's repeat the techniques: end, flat, rubbing.
Choosing the right material.
To work, you have to choose the right sheet. When you were in the cave, did you touch the wall with your hands? Is it smooth, or maybe uneven, rough? Place a rough white or dark sheet in front of you, as desired. It's not just a leaf, it's a cave wall (mountains, rocks). You will now be ancient artists.
Close your eyes. Imagine:
Someone will draw a fast bull or deer on the rock;
Someone primitive man in animal skin by the fire;
Or maybe your hunter will go hunting with a spear and arrows?
Open your eyes. Represented? How to arrange the sheet today is better: vertically or horizontally?
Physical min. Let's prepare our hands: we rub, we warm, we connect our fingers, we knock with our fists.
Ready? Get started.
Practical work. s/r.
Summarizing. Express Exhibition.
What did you picture?
We will choose the best work (mark it on the board with something - a smiley, a heart ...)
Reflection.
Are you satisfied with our trip to the ancient world? Wasn't it scary? Not tired? Will we travel again?
Federal Agency for Culture and Cinematography of the Russian Federation
Branch of Moscow State University of Culture and Arts
Department of Social and Humanitarian Disciplines
Test
course: "History of Fine Arts"
topic: Specific features of the art of primitive society
Completed:
2nd year student
group 802
Aleeva Yu. R.
Checked:
Rudneva Ya.B.
Naberezhnye Chelny, 2010
Introduction…………………………………………………………………………3
The Art of the Paleolithic……………………………………………………………4
Mesolithic Art…………………………………………………………..9
Neolithic Art………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
Art of the Bronze Age…………………………………………...15
Art at the beginning of the Iron Age…………………………………………20
Conclusion………………………………………………………………………24
References…………………………………………………………...25
Introduction
The amazing ability of a person to perceive and recreate the images of the world around him has its roots deep into the millennia. Primitive art developed over a very long time, and in some parts of the world - in Australia and Oceania, a number of regions in Africa and America - it existed until the 20th century. under the conditional name "traditional art".
The specificity of primitive art lies in its fusion with other forms of social consciousness. It reflects all spheres of society - economic, social and religious. Most often, ancient sculpture is found in special places of worship or in burials. This speaks of its inseparable connection with religious ideas and rituals. The consciousness of ancient people was a complex interweaving of realistic and illusory principles, and this syncretism of primitive thinking had a decisive influence on the nature of creative activity.
Primitive fine arts from the very beginning developed in two directions. The first of these includes monumental forms(drawings in caves and on rocks, megaliths), the second is presented monuments of art of small forms: small sculpture, clay plastic art, stone, bone and wood art carving.
Entire areas of ancient artistic creativity have disappeared without a trace in the depths of millennia. Even a tree is preserved only under special conditions - in the extremely wet soil of peat bogs, and materials such as birch bark, fur, fabrics are extremely short-lived and are extremely rare in archaeological excavations. Ethnographic observations indicate that they were widely used by primitive people for the manufacture of art objects. But those few monuments of primitive art that have come down to us are extremely diverse and expressive.
Paleolithic art
The Paleolithic (Old Stone Age) is the earliest and longest period in human history. Moreover, art originated only in the late (upper) Paleolithic, that is, about 40 thousand years BC, when, according to archaeologists, all types of fine arts appeared.
At its core, Paleolithic art is naively realistic. He is characterized by a powerful elemental sense of life, masculinity and simplicity. At the same time, while showing vigilance in relation to individual objects, primitive man could not yet capture the whole picture of the world, generalize and connect phenomena between themselves and nature. He did not master the composition, did not give a detailed plot, did not feel the space.
Monuments of the Paleolithic era have been found in large numbers in Europe, South Asia and North Africa. An outstanding place in this series is occupied by paintings on the walls and ceilings of caves, in the depths of underground galleries and grottoes. Early drawings are primitive: contour images of animal heads on limestone slabs (La Ferracy caves, Peche-Merle in France); random weaves of wavy lines, pressed into the damp clay with fingers - the so-called "pasta" or "meanders"; prints of human hands outlined in paint - the so-called "positive" or "negative" handprints.
Handprints of primitive man. 30-21st millennium BC e.
Monumental images were applied with a flint chisel on stone or paint on a layer of wet clay on the walls of caves. Earth paints, yellow and brown ocher, red-yellow iron ore, black manganese, coal and white lime were used in painting.
The art of the Paleolithic era reached its peak in Madeleine period(25-12 thousand BC). In rock paintings, the image of the beast acquires specific features, animals are depicted in motion. In painting, a transition is made from the simplest contour drawing, evenly filled with paint, to multi-color painting, volumetric forms are modeled by changing the strength of tones. The most characteristic examples of the Madeleine period are associated with cave paintings - single images almost life-size, but not connected by action into a single composition: Altamira (Spain), Lascaux, Nyo (Nio), Font-de-Gaume (France), Kapova Cave (Russia) ) and etc.
At the end of the XIX century. cave painting was still unknown. In 1877 in Spain, in the province of Santander, archaeologist Marcelino de Savtuola discovered images on the walls and ceiling of the Altamira cave. The discovery was published, but the material turned out to be so unexpected and sensational that the archaeological community considered it a fake. Only in 1897 did the French archaeologist Emile Riviere manage to prove the authenticity of the images he discovered on the walls of the La Mute cave (France). To date, as a result of targeted searches, about a hundred caves with images and other traces of primitive man have been found in France alone.
In September 1940, one of the most famous primitive caves, Lascaux (Lascaux) in France, was discovered quite by accident. This cave, which modern researchers call the "prehistoric Sistine Chapel", was discovered by four boys who, while playing, climbed into a hole that had opened under the roots of a tree that had fallen after a storm.
"Scene with a wounded buffalo". Rock painting. Upper Paleolithic. Lasko cave. Department of the Dordogne. France.
"Bulls". 15th-11th millennium BC e. Painting in the cave of Lascaux. France
Lascaux has now been turned into a first-class equipped museum. Lascaux painting is one of the most perfect works of art of the Paleolithic era. Its oldest images date back to approximately 18 thousand BC. The cave complex consists of several "halls". The most perfect part in terms of the quality of painting and excellent preservation is considered to be the “Great Hall” or “Hall of the Bulls”.
Shulgan-Tash Cave, better known as Kapova, is located in the Southern Urals in the Belaya River Valley on the territory of the reserve of the same name (Republic of Bashkortostan). Images of animals on the walls of the Kapova cave were discovered in 1959. They were contour and silhouette drawings made with red ocher based on animal glue. At present, speleologists have discovered 14 drawings of animals. Among them are mammoths, horses, rhino and bison. Most of the images are concentrated in the "Hall of Drawings", in addition, images were later found on the south wall in the "Hall of Chaos". In addition to the identified images of animals, geometric signs, anthropomorphic images and fuzzy contours shaded with ocher are marked on the walls of the cave.
In the era of the Upper Paleolithic, carving on stone, bone, wood, as well as round plastic art, developed. The oldest figurines of animals - bears, lions, horses, mammoths, snakes, birds - are distinguished by the exact reproduction of the main volumes, the texture of wool, etc. Perhaps these figurines were created as a receptacle for souls, which is in good agreement with the data of ethnography, they served as amulets-amulets that protected people from evil spirits.
The image of a woman - one of the main subjects in the art of the Late Paleolithic - was brought to life by the specifics of primitive thinking, the need to reflect in a "tangible" concrete-figurative form the idea of the unity and kinship of primitive communities. At the same time, a special magical power was attributed to these images, the ability to influence the successful outcome of the hunt. Figures of dressed and naked women of that period - "Paleolithic Venuses" - in terms of the perfection of forms and thoroughness of processing, testify to the high level of development of bone-carving skills among the hunters of the Ice Age. Made in the style of naive realism during the period of matriarchy, the figurines with the utmost expressiveness convey the main idea of this generalized image - a woman-mother, ancestor, homemaker.
If images of obese women with hypertrophied female forms are characteristic of Eastern Europe, then female images of Siberia of the Upper Paleolithic do not have such exaggerated modeled forms. Carved from mammoth tusk, they represent two types of women: "thin" with a narrow and long torso and "massive" with a short torso and deliberately exaggerated hips.
"Woman with Cup" Limestone relief (from Lossel, Hautes-Pyrenees, France). Upper Paleolithic. Museum of Fine Arts. Bordeaux.
T. n. Willendorf Venus. Limestone (from Willendorf, Lower Austria). Upper Paleolithic. Natural History Museum. Vein.
Mesolithic art
In the era of the Mesolithic (Middle Stone Age) and Neolithic (New Stone Age), the development of the population of the south and north went in different ways. This difference manifested itself most clearly in economic activity, which was most closely associated with the specific natural conditions of each of the two zones. The law of uneven development of different regions came into force. And if in the southern regions during this period people begin to lead a settled way of life - tribes of farmers and pastoralists appear, then in the north traditional forms of economy continued to develop - hunting, gathering. With the retreat of glaciers in Europe, warming begins.
Profound changes in climatic conditions have led to significant changes in flora and fauna. The reindeer, which served as the main prey of the Madeleine hunters, finally disappears in southern and central Europe. The object of hunting is elk, red deer, bison, wild boar, small animals, waterfowl. Fishing is developing intensively. The processing of stone tools is being improved, thanks to the invention of the boat, very vast spaces are beginning to be actively explored, the appearance of bows and arrows makes hunting more efficient. The emergence of patriarchy complicates relations between people.
The role of magic intensifies, the naive perception of nature disappears.
These changes were reflected in art, especially in rock art. If Paleolithic cave paintings consist of separate, unrelated figures, then Mesolithic rock art is dominated by multi-figured compositions that vividly reproduce various episodes from the life of hunters. Colorful and engraved images of a small size on the open rocks of Eastern Spain, the Caucasus, Central Asia demonstrate a clearly expressed new approach to solving the plot scene, due to the appeal to the compositional principle of organizing visual material, on the basis of which an expressive and semantic whole is created, the narrative beginning develops.
The central place, both in terms of quantity and quality of images, belongs to the scenes of hunting and battles. “Fighting Archers” is one of the most striking Mesolithic compositions (Eastern Spain). The content of the image is related to the person. The battle itself is reproduced with the help of eight human figures. They are variants of a single motif: a person in rapid motion is depicted by somewhat zigzag dense lines, slightly expanding in the upper part of the “linear” torso, and a rounded spot of the head. The main pattern in the arrangement of figures is their repetition at a certain distance from each other.
Neolithic art
Significant changes in the life of primitive society made it possible to call this period in the development of history the "Neolithic Revolution". The melting of glaciers, which left a trace in the memory of mankind in the form of a legend about the global flood, set in motion peoples who began to intensively populate new spaces. The most significant change was the transition to a productive economy, which involves a settled way of life with permanent settlements. Man learned to build new types of dwellings - on piles, structures made of sun-dried brick (raw), learned to defend his settlement. In the art of that time, images of people began to play an increasingly important role, the activity of the collective became the central theme of art.
Fine art of the population of Eurasia in the Neolithic era is represented by two areas: monumental rock paintings
"Leopards". rock relief
in Fezzan (Libya). Neolithic. Schematic representations of human figures. Rock painting. Neolithic. Sierra Morena mountains. Spain.
and monuments of small forms of art - wooden, stone and bone sculptures, clay plastics and images on ceramics.
Bucket from the Gorbunovsky peat bog (Sverdlovsk region, RSFSR). Tree. Neolithic. Historical Museum. Moscow
An ax in the shape of an elk head. Polished stone. Neolithic. Historical Museum. Stockholm
Tools decorated with reliefs. Bone (from the Isturitz Cave, Bas-Pyrenees, France). Neolithic. Private collection. Paris.
Ceramic production is one of the oldest on earth. The presence of an easily accessible material - clay - led to the early and almost universal development of ceramic craft. Initially, back in the Paleolithic, the main type of pottery was thick-walled vessels with porous shards and a round or conical bottom. They were molded by hand by building up individual bundles of clay. Crushed shells and crushed granite were added to the clay so that it would not crack when fired over an open fire. According to numerous fingerprints, it was established that the oldest ceramic vessels were made by women.
In the Neolithic era, mankind first learned how to skillfully make pottery. The richness of forms (jugs, bowls, bowls), ornamentation of Neolithic vessels allow us to consider them as artistically designed works of art. It is possible to trace the development of the ornament from the simplest patterns extruded with a stamp and a point (the so-called pit-comb type), covering the entire outer surface of the vessels in various combinations, to much more diverse and artistically expressive paintings, consisting of rhythmically alternating spirals, concentric circles, wavy lines , mesh and chess patterns, etc. The patterns were often multicolored. Combinations of red, white, black and other colors were used.
Neolithic masters knew and appreciated a clear rhythm, symmetry in the arrangement of the pattern, proportionality of forms and a strict ornamental composition. It is ceramics in its more or less mass production, due to its uniformity and slow evolution of decorative elements, that provides archaeologists with reliable chronological landmarks and allows us to talk about one or another archaeological culture, most often in one region.
The earliest samples include pottery from the settlements of Karadepe and Geoksyur in Central Asia. All signs of painting have a certain meaning associated with the emerging animistic (animate) perception of nature. In particular, the cross is one of the solar signs denoting the sun or moon.
Trypillian ceramics (Trypillia village, Ukraine) marks the next stage in the development of ceramics, dating back to the end of the 3rd millennium BC. Significant changes are taking place in the content of the paintings. Trypillian ceramics depict wavy, zigzag lines, a running spiral, rhombuses, crosses, as well as people, animals - in other words, many elements. At the same time, all abstract pictorial forms are full of semantic significance. A wavy line is a river, a running spiral is the continuous run of the sun, the movement of time, rhombuses are symbols of a female deity who sends “heavenly moisture” to the earth, a cross is a solar disk, a zigzag line is a snake, the patroness of the house, mediator between heaven and earth, a symbol of rain , "herringbone" - a plant or cereal ear.
Ceramic painting was a kind of narrative about the surrounding reality in all its versatility and diversity. The focus of human consciousness is no longer a single phenomenon (a beast), not a single action of people, a specific event in the life of human society (battle, hunting, dance, etc.), but the diversity of the surrounding world - a new, higher and more complex stage of development consciousness (including abstract thinking) of primitive man.
Separately, it is necessary to say about the development of the ornament, which appears not only on clay vessels, but also on other household items. The simplest ornament appears as a trace of weaving smeared with clay. In the future, geometric patterns appear (parallel stripes, double spirals, zigzags, concentric circles, etc.), plant motifs that have a variety of semantic meanings.
In the ancient sculpture of Neolithic hunters-fishers, two main themes were embodied: man and beast. Especially clearly the continuation of the traditions of Paleolithic art can be traced in zoomorphic sculpture. It is characterized by a realistic interpretation of the image, the thoroughness of modeling the muzzle of the beast, the stability of visual techniques in the transfer of individual details. The sculpture is dominated by images of individual animal heads, which is one of the features of primitive animalistic art. In the eyes of the ancient hunter, the head personified the very essence of the beast. The specificity of primitive thinking forced him to express this idea visually, and therefore the head was made disproportionately large, and its details were written out with particular care. This pattern is also observed when depicting the full figure of the animal.
Anthropomorphic figurines were made from the same materials as household items (wood, clay, bone, horn, stone). However, in certain historically formed groups, a certain selectivity of the material is traced, which is probably due to ethnic tradition and the purpose of specific images. One can also speak about the predominance of one or another type of image in individual centers of ancient art. The discovery of figurines of foreign types in such a focus indicates the existence of contacts between the population of different regions. Anthropomorphic and zoomorphic figurines, conveying certain images of ancient mythology, were undoubtedly integral accessories of very specific religious rites. Anthropo-zoomorphic figurines, found in small quantities, symbolized the inseparable connection of man with the nature around him.
anthropomorphic face. Rock image. Neolithic. Sheremetyevo rocks. Khabarovsk region.
Another characteristic genre of fine art in the Neolithic era was petroglyphs - multi-figure plot compositions dominated by images of humans and animals. Petroglyphs were common in Northwestern Europe, the Urals, Siberia, Transcaucasia, and Central Asia. They were knocked out on rocks or rocky river banks (“Boats, deer”, II millennium BC, Karelia).
Art of the Bronze Age
Usually, two large periods are distinguished - the Eneolithic (Copper Stone Age) - the transition period from the Stone Age to the Metal Age and the Bronze Age (III - II millennium BC). Important milestones in the history of mankind are connected with the Bronze Age. First of all, this is the further spread of the productive economy - agriculture and cattle breeding and the development of a new material - metal, primarily copper and its alloys. At the beginning of the metal era, there was an expansion of contacts between peoples who lived in vast territories. This process was especially noticeable on the territory of the steppe Eurasia, where a productive cattle-breeding economy has been developing since the Paleometallic era. This was largely due to new technical inventions, in particular, with the appearance of a wheeled cart, and in the Late Bronze Age, with the use of a horse for riding.
In the Bronze Age, with the introduction of new forms of economy and metal tools, a major social division of labor took place, which created conditions for regular exchange and increased property inequality. The craft is separated from agriculture, male labor is becoming increasingly important, which finally leads to the establishment of patriarchy, unquestioning obedience to the elder in the tribal community.
Since the end of the Neolithic, art has been enriched with more and more new subjects. The themes of images are expanding, new methods of conveying images are emerging, the role of figurative symbolism is sharply increasing, and the tendency to depict fantastic characters is becoming more and more tangible. On the other hand, there is a desire for stylization, simplification of the drawing. Images of animals appear less and less. Geometric ornament spreads everywhere, for which the main thing is the sign.
The art of the Bronze Age has a number of features. It is becoming more diverse and widely distributed geographically. Petroglyphs, images on stone steles and slabs, sculpture, small plastic arts, ornamentation, the use of artistic images in the design of tools and household items - all this is becoming a ubiquitous phenomenon. In the art of this time, for the first time, it is possible to trace vivid plots associated with the mythology of the ancient peoples, in particular the Indo-European ones. The images of ancient art become a kind of "pictorial language", a sign system understandable to related groups of the population. This feature of ancient art continues to manifest itself most clearly in the ornamentation of ceramics and other household items.
In the fine arts of the Bronze Age, two main areas can be distinguished: anthropomorphic and zoomorphic sculpture and household items - wooden, clay, stone, bone and bronze, as well as structures of megalithic architecture.
For the ancient art of the European northwest, a kind of anthropomorphic clay plastic is extremely characteristic. A special group in it is made up of small human figures with a strongly curved body. Despite the plastic properties of clay, which make it possible to vary widely in forms, these images are made in strictly regulated canons. The image itself is extremely generalized: the arms are missing, the legs are transferred together. Details such as a massive protruding nose and a “visor” hanging over the face are accentuated.
Among the early monuments of primitive canonized art are anthropomorphic sculptures, widespread in the southern regions of Europe and the Mediterranean, including the so-called “stone women” of the Northern Sea and the Sea - vertically standing, roughly hewn stone slabs with a more or less clearly marked head and arms folded on their chests. . Among the additional elements (bow, mace, staff), the images of a belt and a human foot are the most canonical. The signs of gender are not always indicated on the stelae, however, some indirect evidence indicates that most of the anthropomorphic sculptures of the Late Neolithic and the Bronze Age correspond to their Russian nickname "stone woman". In France, where such images are found not only on steles, but also in the form of reliefs carved on the walls of numerous caves, they are considered the personification of the Neolithic goddess - the "patron of the dead."
There are also images of people in a tree (Eastern Trans-Urals). The variety of forms of anthropomorphic sculpture in the Early Bronze Age clearly shows that already at that time, as a result of the awareness of the social essence of man by the primitive collective, his image occupies one of the central places in the work of ancient masters.
Mastering the technique of bronze casting expanded the creative possibilities of the ancient masters. Bronze items, tools, weapons appear. Quite often the hilts of bronze daggers are crowned with the heads of animals, in particular elks. Made in metal, they continue the tradition of ancient wood and horn carving.
The art of bronze casting was especially evident in the objects of the Galich treasure (middle of the 2nd millennium BC), found in the Kostroma region and now located in the State Historical Museum in Moscow. Particularly interesting is the bronze dagger, the hilt of which is crowned with the head of a snake with an open mouth. In the slot of the handle there is an image of a crawling snake. Among the objects of the treasure there is a bronze mask-mask, repeating the main features of the faces of anthropomorphic male idols. It is crowned with two profile images of animals looking in opposite directions. The hollow figure of an animal with a long tail and a "beak-shaped" muzzle is also included in the hoard. In general, the bronze items of the Galich treasure are probably attributes associated with the formation of shamanism.
The most important phenomenon, almost universally characterizing the Bronze Age, was megalithic architecture. Monuments of megalithic architecture were closely associated with religious and cult tasks and thus went beyond the scope of direct utility. The comparatively uniform nature of these ancient architectural structures, approximately the same time of their appearance in Europe, their huge number and unusually wide distribution testify to the existence of some kind of homogeneous beliefs that existed among various peoples who erected these gigantic monuments everywhere from Ireland to Burma and Korea, from Scandinavia and Madagascar. Only in France there are about four thousand of them.
There are three types of megalithic structures:
Menhirs- lone cigar-shaped stone pillars up to 20 meters high - bear the features of both architecture and sculpture. Sometimes reliefs were carved on them, sometimes their shape approached the human figure (conventionally, “stone women” can also be attributed to menhirs). They were erected on a hill, and the power of impact on the viewer was achieved by contrasting the proudly rising vertical mass of a powerful monolith with the surrounding small wooden huts or dugouts.
The architectural beginning is most strongly expressed in dolmens- most likely burial structures of several sheerly placed stones, covered with a wide horizontal stone slab. Dolmens are widespread in Western Europe, North Africa, the Crimea and Kakaz.
More complex buildings cromlechs. The most grandiose of them was erected at Stonehenge (beginning of the 2nd millennium BC, England) from huge roughly hewn tetrahedral blocks of blue stone. In plan, this is a round platform with a diameter of 30 meters, closed by four rings of vertically placed stones, connected by beams lying on them, forming a kind of giant round dance. The inner ring, in the center of which there is a stone slab, possibly an altar, is made up of small menhirs.
As a result of archaeological excavations inside megalithic monuments, either under them or near them, burial places are often discovered. This leads archaeologists to interpret the monuments as places of special significance for the funeral rituals that the agricultural communities of the area adhered to.
In New Grange (Ireland) there is a huge 11-meter mound of stones and peat. A corridor stretches 24 meters deep through the base of the mound, lined with massive stones from above and below. It ends with three rooms, also lined with stone. On certain days, the rays of the rising sun penetrate the corridor and illuminate the central hall, located in the very depths.
In Carnac (Brittany, France), rows of vertically standing stones stretched for several kilometers along the plain. Today, only 3,000 of the original 10,000 stones remain. Although not a single burial was found under the Karnak menhirs, there are many megalithic graves not far from them.
The hypothesis of some unknown unified cultural tradition is also supported by the fact that not only the very idea of such structures, but also some symbols and decorative elements associated with them, including solar signs, are spreading. The possibility of connecting megalithic structures with the cult of the sun is also indicated by the fact that some of them (for example, Stonehenge) are oriented with their main axis to the point of sunrise on the day of the summer solstice.
Art at the beginning of the Iron Age
The widespread use of iron finally supplanted stone tools and gradually completely replaced bronze tools in the 1st millennium BC, which led to further rapid development of human economic life.
The most famous works of art of that period are bronze and iron items found in Scythian mounds.
For the first time, the world learned about the Scythians more than 2.5 thousand years ago from the Greeks, who then began to explore the Northern Black Sea region and encountered warlike semi-nomadic tribes of skilled horsemen here. A whole book was dedicated to the Scythians in his “History” by Herodotus (5th century BC), who, it is believed, himself visited the Black Sea region and drove through these places.
There are two understandings of the term "Scythians": ethnographic and geographical. Actually, the Scythians lived in the Black Sea region, between the Danube and the Don. Greek and Latin texts preserved several Scythian names and toponyms, from which it is clear that their language belonged to the Indo-Iranian group of the Indo-European language family. Of the modern languages, the Ossetian language is closest to Scythian. In their appearance, as well as in the numerous definitions of skulls from excavated burials, the Scythians were undoubted Caucasians. Therefore, Blok's "slanting and greedy eyes" is a fantasy of the great poet. Conventionally, such tribes of the Scythians are called "European".
Nomadic tribes, close to the Scythians in language and culture, occupied a much larger territory - the entire belt of steppes from the Don to the Baikal region, including the foothills and mountain valleys of the Tien Shan, Pamir, Hindu Kush, Altai and Sayan. Recent excavations have found typically Scythian items not only in Xinjiang, where this is not surprising, but also in the hinterland of China, in Iran and Anatolia. Among the horsemen of the Asian steppes and foothills there were also many different tribes, whose names are mentioned in various ancient sources. In Greek, Iranian and Chinese texts, they were called respectively “Sauromats”, “Massagets”, “Saki”, “se”. These are the "Asiatic Scythians". Among the numerous finds in the mounds of European Scythia, along with objects bearing elements of the Greek and ancient Eastern artistic traditions, one can also see a “purely” Scythian style, the same in its stylistic features as in the images found in Central Asia and South Siberia.
Since the Scythians led a nomadic or semi-nomadic way of life, the main knowledge about their material culture was formed from the results of excavations of burial mounds, which are conditionally called “royal”, since it was in them that the most luxurious, precious things were found. The brightest and richest finds from the Scythian and later Sarmatian mounds are presented in the Hermitage collection, which has accumulated over 200 years. At first (since 1726) it was kept in the first Russian museum - the Kunstkamera, and since 1859, since the creation of the Imperial Archaeological Commission - in the Hermitage. Now the ancient art objects of the Scythians and related tribes of the steppe Eurasia are also in many other museums in Russia (in Moscow - in the State Historical Museum) and foreign countries. They are also kept in the museums of Ukraine, Kazakhstan, Kyrgyzstan, in the museums of Turkey, Iran, Afghanistan, China, Mongolia, in the USA (Metropolitan), in France (Guimet, Saint-Germain en Le), in England (British Museum) and in a number of private collections (for example, A. Sackler's collection in New York). Siberian museums store thousands of items of Scythian artistic bronze, found at different times, starting from the 17th century. and until today. Numerous gold and silver ornaments come from Siberian barrows.
The most famous burial mounds are Chertomlyk (right bank of the Dnieper) and Kul-Oba (Crimea). In each large Scythian mound, servants and concubines of the deceased were buried, as well as up to several dozen bridled and saddled horses. In one of the large burial mounds, about 400 horse skeletons, a whole herd, were found. A traditional "set" of personal adornments of the leader, adornments of horses and weapons, household items (in particular goblets) was found in the mounds. Numerous and varied weapons were decorated with gold plates, with embossed images covering almost the entire surface of scabbards, quivers, handles, axes, etc. A characteristic feature of the Scythian arts and crafts is the dominance of the so-called "animal style", where the full-blooded image of an animal was combined with an ornamental solution of details.
For example, a find is considered unique - a goblet from the Kul-Oba burial mound. A rounded electric goblet, decorated in the lower part with a typical Greek pattern, in the upper half is covered with images arranged in a circle, representing a kind of sequential visual storytelling. There are seven figures of male Scythians on the goblet, six of them are arranged in three pairs, and one Scythian drawing a bow is shown separately. This emphasis allows you to see the central figure in it. Another bow hangs from his belt. Since only one bow was included in the usual set of Scythian weapons, the question immediately arises, what is the function of the second one? In 1970, the famous Moscow Scythologist prof. D.S. Raevsky carefully studied various variants of the Scythian genealogical legend, fragments preserved in Greek and Latin texts. From these options, the following pivotal plot of the legend about the origin of the Scythians was formed. In the mythology of every nation, there is a primordial ancestor, as a rule, a king. Among the Scythians, such an ancestor was the king Targitai, born from the marriage of Heaven and Earth (a mythologeme common to all Indo-European peoples). He had three sons (also a very popular situation that turned into fairy tales): Kolaksay, Lipoksay and Arpoksay. Feeling the approach of old age and thinking about the heir, Targitai set a condition for his sons: the one who can pull his bow and gird himself with the royal armored belt will ascend the kingdom. The eldest son began to draw the bow, but the bow escaped from his hands and hit him on the jaw; the middle son's shin was injured by a rebellious bow, and only the youngest son coped with the task and became king.
Conclusion
Art in the early stages of its historical development has not yet emerged as an independent sphere of human spiritual life. In primitive society, there was only nameless artistic creation, which belonged to the whole society. It was closely intertwined with primitive beliefs, but by no means determined by them. Primitive art reflected the first ideas of man about the world around him, thanks to him knowledge and skills were preserved and transferred, people communicated with each other. Art was associated with human labor activity. Only everyday work experience allowed the ancient masters to create works that not only go beyond their original purpose, most often a cult, but still excite us with the expressiveness of their artistic images.
Primitive art played an important role in the history and culture of ancient mankind. The imagination of a person was embodied in a new form of being - artistic. Fixing his life experience and attitude in visible images, primitive man deepened and expanded his ideas about reality, enriched his spiritual world.
Having learned to create images (sculptural, graphic, pictorial), a person has acquired some power over time. Primitive art reflected the first ideas of man about the world around him, thanks to him knowledge and skills were preserved and transferred, people communicated with each other. In the spiritual culture of the primitive world, art began to play the same universal role that a pointed stone played in labor activity. The conversion of primitive people to a new type of activity for them - art - is one of the greatest events in the history of mankind.
Bibliography
1. Alekseev V. P., Pershits A. I. History of primitive society: Textbook for universities. - M.: Higher school, 1990.
2. Kravchenko A.I. Culturology: Textbook for universities. - 3rd ed. - M.: Academic project, 2001
2. Larichev V. E. Cave sorcerers. - Novosibirsk: West Siberian Book Publishing House, 1980.
One of features primeval culture is ... or a deity, led to specific motor drive, which... societies, i.e. performs an ideological function. At the heart of the works art preliterate and especially ...
Society and social processes
Abstract >> SociologyCultures - " art For art". Unlike... other processes. More specifically theories are suitable for modernization ... Marxism: it was believed that primeval society is replaced by a class slave, ... or groups in society. Peculiarities conflict: clear...
Lesson 4 The emergence of art and religious beliefs
Lesson Objectives:
Educational: to promote the formation of students' knowledge about the origin of art and religious beliefs;
Educational: contribute to the formation of a sense of respect and interest in the history of their people, humanity as a whole; formation and development of cognitive interest of students;
Developing: to promote the general cultural, personal and cognitive development of students, providing the ability to learn.
Lesson objectives:
development in students of educational and communicative (improving oral speech skills), educational and informational (working with a map, textbook), educational and logical (working with terms and concepts, comparative characteristics of hunting techniques of ancient and ancient people, their lifestyle) skills and abilities ;
the formation of students' attitude to labor and cognitive activity as the main difference between man and animals and the main factor in development;
to form students' knowledge about the origin of art, the most ancient monuments on the territory of our country;
to form students' knowledge about the origin of religious ideas and rituals;
formation of concepts: rock art, soul, "country of the dead", witchcraft rite, religious beliefs.
Lesson type: combined
Learning Approach : problem-activity personality-oriented.
Teaching methods: explanatory-illustrative method of problem presentation.
Forms of work of students in the lesson: frontal, individual, steam room.
Lesson organization principles: the minimum number of scientific concepts, the involvement of the maximum number of channels of perception, emotional richness, connection with needs, measurability of concepts, stimulation of independent activity of students, competitiveness.
Concepts and terms: rock art, soul, "country of the dead", witchcraft rite, religious beliefs.
Description of the necessary technical equipment for the lesson : textbook General history. Ancient world history. Grade 5: textbook for educational institutions / A. A. Vigasin, G.I. Goder, I.S. Sventsitskaya; ed. A.A. Iskenderov. - M .: Education, 2012, a computer with the ability to play presentations and multimedia files on a large screen, presentation PowerPoint .
Structure and course of the lesson:
Orgmoment
The readiness of the class for the lesson is checked, absent ones are noted. The topic and objectives of the lesson are announced. The topic is written by the teacher on the blackboard, students in notebooks.
II. Checking the studied material.
1 Frontally, orally, short answers from the floor to the teacher's questions
When did the first people settle in our country?
What changes did they have in comparison with the most ancient people?
How has the climate changed?
Why did it become possible for people to live in places with cold frosty winters?
What did the dwelling of the people of that time look like?
2. Detailed answer at the blackboard
Hunting. Hunting changes.
After answering, the student is asked to compare
3. Student's message "Mammoth". Students listen, then ask questions about the topic of the message. Both the work of the speaker and the quality of the questions asked are evaluated.
If necessary, other students or the teacher helps the speaker, supplements his answer. It is specified that mammoths were of different species. The smallest are up to 2 m tall and up to 900 kg in weight, and the largest species are about 5 meters high and weigh 12 tons, which is twice as heavy as the largest modern land animal - the African elephant. It is proposed to compare the mammoth in size with some modern objects.
4. Detailed answer at the blackboard
tribal communities.
Additional question . What signs of a tribal community expresses the word "community"? What are the signs of the word "generic"?
5. Performing a test task.
Orally, answers from the floor
Choose the correct option and complete the sentence
The appearance of new tools of labor was associated withIII . Preparing to learn new material
Problem statement.
IV . Learning new material
Frontal, oral, explanatory and illustrative narrative with elements of conversation and the use of ICT (presentation PowerPoint ).
1 Discovery of cave painting
In 1878 in Spain, the archaeologist Sautuola and his daughter went to the cave of Altamira. When Sautuola lit the torch, they saw pictures painted on the walls and roof of the cave. Later, other caves were discovered with drawings by ancient artists. Among the images are easily recognizable bison and deer, bears and rhinos. All drawings were made with amazing skill. There were images of animals with a large number of legs - this is how the artists tried to convey the movement
The archaeologist who discovered the cave painting suggested that it was created by primitive hunters many thousands of years ago. What was his assumption based on? 1) bison are depicted - animals that have long died out; 2) bones of another extinct animal were found nearby - a cave bear and fragments of stone tools; 3) the artists did not use modern paints, but colored clay - ocher, the deposits of which were found in the same cave. But almost none of the contemporary scientists believed that the images of bison were created by primitive people. How do you figure out why. What objections did scientists have? Some students may make correct guesses (“scientists thought that people could not draw so beautifully yet”), which the teacher helps to substantiate.
2. Riddles of ancient drawings
Work with textbook illustrations.
Look at the images of the rock paintings on pages 17-19 of the textbook. What do you see on them?
Many drawings contain riddles - incomprehensible signs and objects, people with bird heads, or in attire similar to a spacesuit. But most importantly, we cannot understand why the hunting scenes were painted in hard-to-reach, dark caves.
3. Drawing and magic ritual
Why do you think primitive people often painted dying animals struck by spears and arrows? 30 thousand years ago people were still dependent on the forces of nature; they did not know how to deal with forest fires, floods, diseases, and often suffered from hunger. Unlike the most ancient people, “a reasonable person” wanted to understand why people get sick and die, what determines the harvest of fruits and berries in the forest, and luck in hunting. Sometimes the forest was full of game, the river abounded with fish, but suddenly both disappeared. Where have the animals gone? Why aren't fish caught?
There was not enough knowledge for correct answers, people began to think that nature was controlledsupernatural strength. There is a belief that supernatural forces can be attracted to help oneself, for example, to enchant the beast, depicting it as wounded and dying, and if you depict such a beast in a cave, he will definitely fall into a trap.
It is possible that ritual ceremonies were played out before the drawings - the hunters, as it were, worked out the course of the future hunt. Look at the picture on page 24
4. The rise of religion
In those days, people began to believe in werewolves, in the miraculous properties of individual objects. People began to deify the phenomena of nature. Unable to explain the nature of the appearance of dreams, the ancient man began to believe in the existence of the soul. Fear of natural elements, the inability to explain the phenomena of the surrounding world led to the emergence of religious ideas.
5. Ancient stone structures
From primitive times, huge structures called megaliths have come down to us. The most famous of them is the Stonehenge complex in England. Ancient builders built a structure of forty stone slabs weighing tens of tons each. Over the mystery of Stonehenge, scientists have been struggling for several decades.
According to one version, the complex is an astronomical calendar, since many plates are oriented to the most important stars, and the Sun, Moon and stars are visible through the passages on key days of the year.
V . Anchoring
1 Parallel in the course of learning new material.
2 Discuss with students and answer the questionWhat caused the emergence of art and religion?
3 Look at the picture “Scene with a wounded bison and a hunter” on page 19. What do you think the artist wanted to show with this image? What could have preceded such an image?
4 Conversation on questions:
Why did primitive artists depict mammoths, bison, horses, deer?
What role did these animals play in their lives?
What is called religion, religious beliefs?
Has religion always existed?
When did it come about?
Why did religious beliefs arise?
What are the oldest religious beliefs you know?
What word can replace the following expressions:
Belief in gods and spirits...(religion).
Images of revered gods and spirits - ...(painting).
Gifts to gods and spirits - ...(sacrifice).
Defeat with spears of a painted animal - ...(witchcraft rite).
Creatures that were the fantasy of ancient people - ...(werewolves).
5 Describe the picture "Witchcraft rite before the hunt." What are these people doing? Why and why? What phenomenon does this picture show?
V . Homework
VI . Summarizing
1. Reflection.reflective circle.
1) All participants in pedagogical interaction sit in a circle.
2) The teacher sets the reflection algorithm:
what new have you learned?
what did you feel?
what are the reasons for this?
How would you rate your participation in the class?
3) All participants express their opinion.
4) The teacher completes the reflective circle by summarizing the information received.
2. Summary of the lesson
3. Evaluation of the lesson
Explain the meaning of the words: cave painting, witchcraft, soul, "land of the dead", religious beliefs.
- Cave painting - images in caves, made by ancient people, one of the types of primitive art.
- Witchcraft is the practice of magic as a craft in which the sorcerer declares contact with supernatural forces (demons, ancestral spirits, nature, and others).
- Soul - according to religious and some philosophical beliefs, an immortal substance, an intangible essence, in which the divine nature and essence of man are expressed.
- "Land of the Dead" - according to religious beliefs, this is the afterlife, where the soul of a deceased person goes.
- Religious beliefs - beliefs that appeared among primitive people in witchcraft, in the soul, in life after death.
Test yourself
1. How was cave painting discovered?
In 1879, the Spanish amateur archaeologist Marcelino-Sans de Sautuola, along with his 9-year-old daughter, accidentally stumbled upon the Altamira Cave in Northern Spain, the vaults of which were decorated with many drawings of animals made by ancient people. The discovery, which had no analogues, shocked the researcher extremely and encouraged him to study it closely. Subsequently, works of primitive art were found in many other caves in which ancient people lived.
2. Why did primitive artists depict mammoths, bison, deer, horses? What role did these animals play in people's lives?
The earliest artists painted the animals they hunted. The authors managed to convey the exact appearance and character of the animals: the deer were shown to be sensitive and alert, the horses were fast and swift, the mammoths were massive, heavy with a high convex nape. These animals played a huge role in the life of primitive people, who used their meat for food, veins - as fastening material, bones - for making tips and other tools, skins - for making clothes.
3. What ancient religious beliefs do you know?
Ancient people believed in hunting magic, in the human soul and the "land of the dead", where the souls of ancestors go.
4. How did primitive people imagine the life of their ancestors in the “land of the dead”?
Primitive people imagined the life of the souls of their ancestors in the "land of the dead" similar to their own life. The souls of the ancestors move to a distant "country of the dead", live there in tribal communities, hunt, fish and collect edible fruits. Burying a relative, people put in his grave everything necessary for traveling to the “land of the dead” and for life in this country: food and strong shoes, clothes, weapons, jewelry.
Think and Discuss
1. What did the artist want to tell about when he created the scene with the bison and the defeated hunter (see the picture on p. 19)? Guess what preceded what is depicted.
Probably, the artist captured the story of one of the hunts in which a member of the community died, but the bison was defeated, while the hunters managed to avoid meeting the rhinoceros. Perhaps this is part of the so-called primitive "hunting magic", and the drawing symbolizes and predicts a successful hunt, avoiding danger from larger animals, but also shows the inevitability of victims during the hunt.
2. Why did primitive artists sometimes depict a hand on the body of an animal painted in a cave?
Perhaps this is how primitive artists sought to show the power of man over animals, i.e. domesticated animal.
3. For what purposes do archaeologists dig up ancient graves? What and why can be found in them? (See drawing on page 19.)
Primitive people believed that when dying, the soul of a relative goes to a distant "land of the dead", where he continues to live, hunt and enjoy the fruits of hunting and gathering. In order for the path of the soul to the “land of the dead” and the afterlife to be good, people put in the grave everything that the deceased might need along the way: clothes, weapons, jewelry. Archaeologists are digging up ancient graves to learn more about the deceased person. From the bones you can determine who the person was, how he looked, how he lived, how he died. And according to the things in the grave, scientists can describe the life and level of development of the community. The totality of such data makes it possible to find out where and how the ancestors of modern man appeared, to determine the path that mankind has passed in its development.
Summarize and draw conclusions
Who are called primitive people? Where and when, according to scientists, did the most ancient people live?
Primitive people are representatives of numerous humanoid species that lived before the era of the invention of writing, after which there is the possibility of historical research based on the study of written sources. Man has come a long way of evolution from primitive apes, Australopithecus, Homo habilius, Homo erectus (Homo erectus) to Homo sapiens.
Human evolution has 5 million years. The most ancient ancestor of modern man - a skilled man (Homo habilius) appeared in East Africa 2.4 million years ago. He knew how to make fire, build simple shelters, collect plant food, work stone and use primitive stone tools. Many stone tools of various shapes and sizes have been found in the Olduvai Gorge (Tanzania).
A skilled man lived only in Africa. Homo erectus was the first to leave Africa and penetrate into Asia, and then to Europe. It appeared 1.85 million years ago and disappeared 400 thousand years ago. A successful hunter, he invented many tools, acquired a home and learned how to use fire. The tools used by Homo erectus were larger than the tools of the early hominids (man and his closest ancestors). In their manufacture, a new technology was used - upholstering a stone blank on both sides. They represent the next stage of culture - the Acheulean, named after the first finds in Saint-Acheul, a suburb of Amiens in France.
Compare ancient people and reasonable people. What is the difference between them? What is the similarity?
The ancient man was very similar to a monkey. He had a rough face with a broad, flattened nose, a heavy lower jaw without a chin, and a receding forehead. Above the eyebrows was a roller. The gait of people was still not quite straight, jumping, long arms hung below the knees. People didn't know how to talk yet. Homo sapiens differed from ancient people in a number of anatomical features, a relatively high level of development of material and non-material culture (including the manufacture and use of tools), the ability to articulate speech and developed abstract thinking.
However, the most ancient people and reasonable people also had similarities. All of them lived in groups, carried out joint activities for the extraction of food, the arrangement of dwellings and protection from predators.
Who were the oldest artists on Earth portrayed? What do you know about the religious beliefs of primitive people?
Ancient artists depicted animals, people and hunting scenes in the caves in which they lived. Due to the antiquity of rock paintings, there is no reliable evidence of the reasons for the creation and significance of cave painting. Modern researchers have a number of hypotheses regarding their meaning; Science has not been able to develop a consensus on the purpose and meanings that ancient artists put into their work. Some scholars suggest that the rock paintings served as part of the rituals of "hunting magic" and, according to the ideas of primitive people, were supposed to bring good luck in hunting. Other scholars, drawing on the examples of tribes that still live by hunting and gathering, believe that cave painting is part of the shamanic beliefs of primitive people, and that the drawings were created by tribal shamans who entered a trance state and captured their visions, possibly trying to get some special powers.
Primitive people had their own religious beliefs. They believed in hunting magic, performing rituals before hunting. They also believed in the existence of a human soul, which flew out of the body while the person was sleeping, and lived its own life. And when a person died, his soul went to a distant "land of the dead", where he continued to live and hunt. In order to ensure the long journey of the soul to the afterlife, the ancient people put in the grave of the deceased everything that he could need in life after death: clothes, weapons, jewelry, etc.
