Masterpieces of world culture. Architecture

The buildings in El Giza, with their grandiosity and apparent uselessness, amazed the imagination already in antiquity, which best conveys Arabic proverb: "Everything in the world is afraid of time, but time is afraid of the pyramids." EGYPTIAN PYRAMIDS - the tombs of the Egyptian pharaohs. The largest of them are the pyramids of Cheops, Khafre and Mikerin in El Giza in ancient times were considered one of the Seven Wonders of the World.

HANGING GARDENS OF SEMIRAMIS - gardens in the palace of the Babylonian king Nebuchadnezzar II (c. BC), which he ordered to break for his beloved wife, the Median princess. The gardens were located on a wide four-tiered tower. The terrace platforms were built of stone slabs covered with a layer of reeds and filled with asphalt. Next came the laying of two rows of bricks fastened with plaster and lead slabs, which did not let water into the lower floors of the garden. All this complex structure was covered with a thick layer of fertile earth, which made it possible to plant the largest trees here. The tiers rose in ledges, connected by wide staircases with slabs of pink and white. Every day, thousands of slaves pumped water from deep wells to the top into numerous canals, from where it flowed down to the lower terraces. The murmur of water, the shade and coolness among the trees seemed a miracle.

OLYMPIAN ZEUS - a statue of Zeus by the Greek sculptor Phidias. The statue was placed in the cult center of the Olympic sanctuary - the temple of Zeus, in the sacred grove of Altise. The exposed parts of the body were lined with ivory plates, the robes were cast in gold, and the base of the sculpture was wooden. The height of the statue reached approx. 17 m. If the god "rose", his height would far exceed the height of the temple itself. In his hand, the Thunderer held a statue of Nike (a symbol of victory). The throne of Zeus was also made of gold and ivory. The back, armrests and foot were decorated with ivory reliefs, golden images of the gods and goddesses of Olympus. The lower walls of the throne were covered with drawings of Panen, his legs with images of dancing Nik. Zeus's feet, shod in golden sandals, rested on a bench decorated with golden lions. In front of the pedestal of the statue, the floor was paved with dark blue Eleusinian stone, a basin carved into it for olive oil was supposed to save the ivory from drying out. The light that penetrated the doors of the dark temple, reflected from the smooth surface of the liquid in the pool, fell on the golden clothes of Zeus and illuminated his head; it seemed to those who entered that the radiance emanated from the very face of the deity.

MAUSOLEUM IN HALICARNASS - the tomb of King Mausolus of Caria (died in 353 BC). The mausoleum was famous not only for the grandeur of its architecture, but also for the collection of sculptures of the base of the pyramid, on which Greek type the temple and another pyramid were adorned with reliefs with scenes of Amazonomachy by the most famous sculptors of the 4th century. BC e. Leochar, Skopas, Briaxis and Timothy. The almost untouched mausoleum stood for about a year in the middle of the deserted city until the 15th century, when it was dismantled by the crusaders, who reinforced it with plates of their stronghold on the Aegean Sea, the castle of St. Petra (modern Bodrum in Turkey). It was within the walls of the fortress and the surrounding houses that in 1857 the English archaeologist C. T. Newton discovered relief slabs from the basement of the tomb (now in the British Museum in London and the Archaeological Museum in Istanbul), the statues of Mausolus and his wife Artemisia (who continued after her death king, the construction of their common tomb) and a colossal chariot that crowned the entire structure.

TEMPLE OF ARTEMIS (Artemision) in Ephesus is one of the most famous and revered pilgrimage centers of the ancient world. The temple of the goddess was built in the 6th century. BC e. architect Hersiphron of Knossos. During one of the sieges, the inhabitants of Ephesus stretched a rope from the temple to the city, thereby turning it into an inviolable sanctuary. The glory of Artemision was so great that people from all over the Greek ecumene placed their savings in it. July 21, 356 BC e. the temple of Artemis of Ephesus, the main shrine of the Greeks of Asia Minor, was burned by Herostratus. When Alexander the Great approached the city 25 years later, he wished to restore the temple in all its splendor. The architect Alexandra Deinocrates, who supervised the work, retained his previous plan, only raised the building to a higher stepped base. The temple occupied a huge area of ​​110 x 55 m, the height of the Corinthian columns (there were 127), a double row surrounding the structure, was also grandiose about 18 m; the roof of Artemision was covered with marble tiles. One of the sights of the building were 36 columns, decorated at the base with reliefs almost in human height.

FAROS LIGHTHOUSE (Lighthouse of Alexandria) - a lighthouse on the eastern shore of about. Pharos within the boundaries of Alexandria, the Hellenistic capital of Egypt. The builder of this miracle of technology, the first and only in everything Greek world a lighthouse of colossal proportions was Sostratus of Knidos. Travelers who saw the lighthouse wrote about the ingeniously arranged statues that adorned the lighthouse tower: one of them always pointed to the sun along its entire path and lowered its hand down when it set, the other beat every hour day and night, the third one could find out the direction wind. The amazing building stood until the 14th century, but even in its already badly destroyed form, its height was approx. 30 m. At present, only the base of the lighthouse has been preserved, entirely built into a medieval fortress (now the base of the Egyptian fleet).

COLOSS OF RHODES - a giant statue of Helios by the sculptor Hares on the island of Rhodes. The statue of the god towered right at the entrance to the harbor of Rhodes and was visible to swimmers already from the neighboring islands, the height of the statue was approx. 35 m, i.e., almost three times higher than The Bronze Horseman in St. Petersburg. At the base, the statue was made of clay with a metal frame, finished with bronze sheets on top. To work on the image of the god directly at the site of its installation, Chares used a cunning technique: with the gradual elevation of the sculpture, the earthen hill around it also rose; the hill was subsequently torn down, and the statue in its entirety was revealed to the astonished inhabitants of the island. It took 500 talents of bronze and 300 talents of iron to make a grandiose monument (about 13 and about 8 tons, respectively). "Bronze Horseman"

"The Eighth Wonder of the World" The most important thing in this wonder of the world is, of course, the scale laid down by the first Chinese emperor Qin Shi Huang The most important thing in this wonder of the world is, of course, the scale laid down by the first Chinese emperor Qin Shi Huang - this, of course, is the scale laid down by the first Chinese emperor Qin Shi Huang The most important thing in this wonder of the world is, of course, the scale laid down by the first Chinese emperor Qin Shi Huang Emperor Qin ShihuanThe most important thing in this wonder of the world is, of course, the scale laid down by the first Chinese emperor Qin Shihuan The most important thing in this wonder of the world is, of course, the scale laid down by the first Chinese emperor Qin ShihuanThe most important thing in this wonder of the world is Of course, the scale laid down by the first Chinese Emperor Qin Shi Huang The Eighth Wonder of the World is located in the center of China. The exposition of this wonder of the world is located in the northern spurs of Mount Lishan east of the city of Xi'an and consists of funeral statues of warriors and horses from the tomb of Qin Shi Huang. This is by no means an ordinary museum exposition, for the ensemble consists of three huge crypts. The total exposition area is more than 20 thousand square meters. In three crypts, there are more than seven thousand figures, more than two hundred chariots and a huge amount of bronze weapons. The museum was created during excavations, that is, directly at the place where the burial was discovered. The most important thing in this wonder of the world is, of course, the scale laid down by the first Chinese emperor Qin Shihuan, who managed to unite the disparate principalities of China into a single state more than two thousand years ago. The perspicacious lord, trying to get into immortality during his lifetime, began to build for himself a huge tomb near the city of Chang'an in western China, and it later became a tomb in which funeral statues of warriors and horses were found. Twenty years ago, this ancient monument was included by UNESCO in the Catalog of World Cultural and Natural Heritage.

Masterpieces of world culture through the eyes of a general from the poem " Railway". - I was recently in the walls of the Vatican, I wandered around the Colosseum for two nights, I saw St. Stephen in Vienna, What ... did the people create all this? Excuse me for this impudent laugh, Your logic is a bit wild. Or is Apollo Belvedere for you Worse than an oven pot? Here are your people, these terms and baths, A miracle of art - he pulled everything away! .. -Your Slav, Anglo-Saxon and German Do not create - destroy the master, Barbarians! A wild crowd of drunkards!

1. Vatican. The Vatican is a grandiose architectural complex, where temples, palaces and fortifications are combined with works of garden and park art. The solemn entrance to the Vatican is St. Peter's Square framed by colonnades. The colonnades lead to St. Peter's Cathedral, the largest Catholic church in the world. World famous museums are located in the palaces of the Vatican antique sculpture, and in the Vatican gardens, the casino of Pius V and the building of the Vatican Pinakothek, where works of Italian painting of the XIV-XVII centuries are collected.

4. Apollo Belvedere. Statue of Apollo marble roman copy of bronze original work ancient Greek sculptor Leohara (c. BC, Pio-Clementino Museum, Vatican). The name comes from the Belvedere Palace in the Vatican where the statue is on display. For a long time considered the pinnacle of Greek art.

Electronic resources: Big Encyclopedia Cyril and Methodius. DVD-ROM. - M.: LLC Cyril and Methodius, CD Global Deejays / SoundofSanFrancisco (Progress) mp3.

I had to dig and scan to show some of the masterpieces, stored mainly in the British Museum. These are miniatures from the manuscripts of the Herat and Tabriz workshops of the late 15th - early 16th century.

So, the time of the final split between Sunnis and Shiites. The time of the highest flourishing of the art of Persia, Afghanistan and Central Asia. In the center of the world - Herat (Afghanistan), a brilliant school of miniaturists gradually appears, at first strict and geometric, rather dry. Here is Ben Hur in the Black Palace:

But the most famous artist of the Muslim world - Behzad (Bihzad) became a true genius.

Behzad, Alexander (Macedonian) meets with a hermit:

The amazing brightness and boldness of color contrasts are combined with certain attempts to convey the realities of life:

Behzad, public bath scene:

and experiments that could lead to perspective:

But if he did not succeed in this, then he advanced the coloring powerfully:

In connection with the transfer of the capital, Behzad moved to Tabriz. Under his influence, the school of miniature that already existed there blossomed wildly. Artists are recognized by their favorite colors and techniques. Sultan Muhammad:

It is this miniature attributed to the legendary Aqa Mirak that impresses me the most. Rectangles nested into each other, with a decreasing ornament, and the final tree in the opening of the gazebo, even crossing the frame of the picture, is mesmerizing

Of course, the miniature flourished in other cities as well. And neighboring countries. Rate the combination of colors - Qazvin, thin. Sheikh Muhammad, "The poet Lagari and the obese nobleman", "Tuhfat-al-Ahrar"

Let's finish with this artist...

It remains to be said that in Russia there is one of the best collections of these manuscripts - the State. library to them. Saltykov-Shchedrin, St. Petersburg. However, most of the miniatures shown here are from the British Museum, London.

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What is the difference between Malevich's Black Square and Vasya Vatnikov's red circle with green polka dots? I dare say nothing. True, any esthete will tell you (despite the fact that Malevich himself noted that his picture does not mean anything) about the deepest hidden meaning of the work. However, the same can be said about Vasya Vatnikov's red circle with green polka dots: the circle of peas symbolizes the vicious circle of being, and so on. So why is the price of two completely uninteresting paintings, other things being equal, so different? The answer to this question is to be found in the field of science known as Ethology rather than in art.

1. Aesthetic pleasure from the picture.

It is logical to assume that the picture, like any other product creative expression, is designed to deliver aesthetic pleasure from the contemplation of a masterpiece, for which people allegedly pay millions. However, if you look deeper, it becomes clear that aesthetic pleasure is the last thing that affects the cost of the canvas. It doesn't count at all. After all, if the main value of a masterpiece lies in how it looks and, due to this, affects a person, then why do its copies cost a penny, unlike the original? Therefore, the masterpiece itself, the image itself - does not cost anything, it costs only the exclusivity of the canvas. Or is something lost when copying, which actually makes a masterpiece a masterpiece? Hardly, especially given today's copying technology, as well as the high skill of artists (if we are talking about redrawing). There is only one conclusion: the price of a painting is generally not affected by what is commonly called artistic value. Artistic value is worth a penny. And here it is clearly a matter of exclusivity.

2. Is there any aesthetic pleasure from a masterpiece at all, and how strong is it?

Apparently, even the very aesthetic pleasure from all sorts of black squares, people also came up with themselves. An example of this is Van Gogh, who during his lifetime sold only one painting, and that one was bought from him out of pity. Why were his paintings of no interest to anyone during his lifetime? Probably because no one experienced pleasure, delight and admiration from his "skill". And no one saw the point in them, and if he was in them, then no one cared about it.

But suddenly, some time after his death, his paintings suddenly begin to deliver the strongest aesthetic pleasure to the broad masses, and acquire a certain deep meaning that millions of aesthetes admire. Somehow this is strange! How is it that at one point in time no one likes your paintings, but suddenly, as if by magic, the whole world falls in love with your paintings? By the way, this applies to most artists, there is even a saying: recognition comes to an artist after death. For some reason, great poets, like Pushkin and Vysotsky, and writers like Orwell and Bulgakov, it comes during their lifetime, but to great artists only after death. Something is wrong here.

If you considered a certain girl scary 20 years ago, then she will be so for you today. He also enjoyed viewing pictures. The fact that at one time the artist’s paintings are not pleasing to the eye, and then abruptly begin to please, only confirms what was described in the paragraph above: the artistic value of the canvas is of no interest to anyone and does not play any role in the value of the painting, as well as in recognizing it as a masterpiece. Aesthetic pleasure in most cases is simply invented by the audience. The quality of the canvas can only be assessed professional artist, and this is a very limited category of the population, and certainly they are not buying such paintings for such money.





Mark Rothko, Orange, Red, Yellow. The price of the painting is 86.9 million dollars.

Received aesthetic pleasure from the picture? Even if they received; even if some super-complex drawing styles were used to create this Mui Ne, this cannot even cost thousands of dollars, no matter how deep, supposedly, the meaning is invested in it. The price of this painting is equal to the price of the materials spent on its creation + an extra charge for the work. True, with such work, it is clearly worth a penny. I have a painter in the entrance somehow slipshodly completed his work - the result was a reconstruction of Rothko's works. Only the painter is paid much less.

From the first two points, it turns out that neither the aesthetic pleasure of viewing the picture, nor the artistic value in the price formation play any role. For copies of paintings cost a penny. So, it's all about exclusivity and limited circulation - this is one and two - the point is whose brush the work belongs to. At the time of Van Gogh there was not a single worthy artist? Why is it that his paintings are worth millions, and the rest are not needed by anyone for nothing? Why in today's Russia, the paintings of Nikos Safronov cost thousands of times more than equally high-quality (and often more) works by thousands of other artists?

3. Exclusivity of the canvas.

Man, as you know, is a social animal, and for all animals living together in a community, the issue of status plays an extremely important role, because. status determines how other members of the community will treat this individual. Every animal community uses various tools- the size of the genitals, tail, mane, the volume of the roar and much more. Since a person has gone quite far from animals in terms of the complexity of the community in which he lives, then a person has much more tools for demonstrating status. Status is important in absolutely every social stratum of the population and in each of its groups, regardless of the number of individuals. Even people who verbally completely reject consumerism (suppose skinheads or punks) are completely dependent on this instinct. And status in the first place can be achieved precisely through consumption. For example, every skinhead of the 90s dreamed of reptiles with white laces - such an outfit demonstrated his high status among the primates around him. And for punks, measured by the steepness of the Iroquois - this feature of demonstrating status is generally removed from the wild like tracing paper.

For richer people, to demonstrate status, they serve, for example, expensive cars, yachts and aircraft. It is not enough for a very rich person to buy just a cool yacht - it must be the largest in the world. why does he need the largest private yacht in the world, most of whose functions he will not even use? The yacht is called just stand and show his status. All!

But the most expensive things in the world are exclusive or limited edition. For a very rich person, a Mercedes is no longer enough to demonstrate status, because. Many people have Mercedes. You could observe a simplified version of this mechanism on the example of the behavior of human females: how she rejoices when she has acquired expensive, beautiful clothes, but how upset she is if suddenly her work colleague came in exactly the same blouse. She lost exclusivity, and with this loss she averaged out in status, which was the reason for grief. In order to avoid such incidents, a very rich person buys a limited edition watch for crazy money, which is essentially no different from other cool watches, except for its exclusivity. Those. he pays for exclusivity. Rolex watches, for example, also serve this purpose. If Rolexes are given away to everyone for free, then they will lose their value and become useless to anyone, just as Montana watches once became unnecessary.

Hence the scandals with Peskov's super-expensive watches. They use these blues as a means of demonstrating status. If Peskov's watches were released in an unlimited series, they would cost a thousand times cheaper. Artistic masterpieces are used in the same way. The main thing is not what is drawn - even if it is a frank bucket. The main thing is to have an exclusive that no one else has! Hence the high price for originals and low for copies. Peskov comes to visit the Patriarch, looks - and his watch is even cooler. What remains to be done by the unfortunate Peskov in his grief? Buy for your private collection painting for $50 million. In this regard, art is the most effective method of demonstrating status: a watch may be a limited edition, but someone in the world still has it. But no one has the original of such a picture. What is painted on it? Yes, hell will understand, the main thing is that only I have!

It is especially interesting that all those complex rules that a product must comply with are created by the experts themselves together with the manufacturers of the product and cannot be objectively assessed by the consumer. the functionality of such a product is a secondary criterion - remove the value contained on them in the form of trademarks from many exclusive products - and most of them immediately lose their high value.

It remains only to understand what criteria are used to select candidates for future masterpieces? Why exactly the dauber of Rothko, Lucho Fontano, Barnet Newmon, and not the painter from my entrance? Why Nikas Safronov and not an artist from the Arbat?

4. Exclusivity of the artist.

Consider the example of the same Rothko. When Rothko first started painting, there was no art market at all. These were the first post-war years, Europe lay in ruins, the early enthusiasm of the early patrons of the century had already been washed away by the Great Depression, and american artists were left entirely to themselves - in a country that, for their reasons, had neither its own tradition, nor its own mythology, nor culture. No galleries, no curators, no collectors, no critics. It was impossible even to convincingly formulate what now needs to be written: the old paradigms have long since departed, giving way to the European avant-garde, but the avant-garde has not been able to justify itself. And then Rothko appears with his freaking - the founder of the painting of the abstract field. What favorably distinguished Rothko from thousands of other artists, and NORMAL artists? He was the first to start exhibiting this here. Those. exclusive. Plus, the cost of paintings is affected by the tragedy of the artist's life. And Rothko cut his veins with a razor. Hence, years after his death, and the cost of paintings. It was exclusive in its specificity. Specificity not as an artist (his work to fine arts have nothing to do), but as a person.

You probably noticed that few people are interested in normal artists? The main hype around frankly traveled, such as Frida, Van Gogh, and so on.

By the way, Van Gogh! For all my hard life he never sold any of his paintings (more precisely, one, and even that one was bought out of pity). But still he continued to write and draw with the frenzy of a fanatic. And if a dilemma arose before him - to starve or to draw, then he chose drawing ... In one of the psychoses, he even chopped off his ear. His biography clearly stands out from the background of many other contemporaries. He is an excellent candidate for celestial arts. He was raised, singled out from the mass of artists for his torment and passion for painting, and everything else for blurring the eyes and minds of the townsfolk.

Those. Roughly speaking, for a long time in the world of art there has been a circle of people who sell the townsfolk the status of a "masterpiece" in relation to almost any picture of any artist, and those townsfolk give them money for this. In fact, it is not the paintings themselves that are worth the money, but the biographies of the chosen artists. And another nuance: the future success of the artist and the cost of his paintings is also influenced by who will be the first to buy his painting. If a billionaire, then this automatically raises the status of the author and, accordingly, the cost of his paintings. An excellent example of this is Nikas Safronov.

5. The ingenuity of the artist, or competent marketing.

It is impossible to think of a more brilliant example than Nikas Safronov! most expensive picture this artist's "Dreams of Italy" is worth $106,000. There is nothing special in Safronov's paintings, such dreams of Italy - tens of thousands lie in the galleries. But only one is worth a hundred thousand dollars. Why? As I wrote in the last paragraph, one of the most important factors in the status of an artist's paintings is who owns his paintings. Safronov in the 90s worked in the theater of the authoritative show business figure Donatas Bonionis, through whom he had the opportunity to contact the stars Russian stage and famous politicians, who, taking the opportunity, gave self-portraits. So his paintings ended up in the homes of the elites. And so that they would be there for sure, he painted celebrities only as nobles, kings, etc.

And then it went like this: “Wow. A picture of some Safronov hangs at Pugacheva's house. Apparently he's cool. Find me his number - I’ll buy it too, ”the oligarch, or politician, admired. So Safronov became the "Great" artist.

The clearest example of such a feature you could observe during the exhibition of one artist in Moscow (I don’t remember who exactly). Everyone didn’t care about her from the high bell tower, when suddenly she was visited by ... Putin. The next day, a gigantic line of those wishing to join the high artistic value lined up at the gallery. It's just that Putin, with his campaign, showed a flock of primates that the exhibition of paintings by this artist is a status event, that's all.

6. Pictures and Stock Exchange

“Masterpieces” for their private owners, in addition to show-offs, are banknotes of a very large (and, as the owner hopes, growing) denomination. This is a specific financial instrument in which money is invested when there is a lot of this extra money. For example, one can recall Japanese collectors who began to buy works of art and rare things around the world just when the CBA rate became obscenely low.

Well, you can trade them, like on the stock exchange: you buy a painting and wait for its price to grow. And how much it will increase depends on how much it and its author will be promoted, how deep the meaning will be invented for it. By the way, the price is growing not only because of the hard life of the author, as mentioned above, but also because of the difficult history of the painting itself. So, from time to time, some crazy people attack the paintings, dousing them with paint. In the same Louvre, this is already generally the norm. The paradox is that after such attacks, the paint is, of course, erased, but the paintings are rapidly growing in price, because they have such a history: they attacked the painting, doused it with paint, miraculously saved it. Personally, I am inclined to believe that such attacks are organized directly by the owners of the paintings (physical, or legal), so that this asset continues to grow in value.

If the unbelievable suddenly happens and the price of paintings starts to plummet, I assure you that all their owners will instantly forget about their unsurpassed historical value, and will maniacally start selling them, as happens with illiquid securities on the market.

I am in no way saying that any of these artists are bad: no, they are all talented in their own way. Even Nikas Safronov, who among experts is subjected to the most severe criticism. In any case, in my life I will not draw the way he draws. This is about something else. It's about the reasons for the inadequate cost of painting. And it seems to me that I described the whole process of price formation, and most importantly, the reasons that prompt the consumer to form such prices, more than convincingly! And the quality of the picture, its artistic value and aesthetic pleasure from contemplation have nothing to do with the cost. And if someone starts rubbing you about it, then he is just a starball.

ACROPOLIS OF ATHENS

PHIDIUS

HISTORY OF ONE MASTERPIECE

Athens Acropolis

Name Acropolis in Athens

Date of creation V c. BC.

art form architecture

Architectural styleantique architecture

Purpose acted as a religious sanctuary throughout Attica

Architectural appearanceThe Acropolis rises above all of Athens, its silhouette forms the skyline of the city. In ancient times, the Parthenon rising above the hills could be seen from any part of Attica and even ships sailing to the shore. The thoughtful composition of the entire ensemble, perfectly found proportions, a flexible combination of various orders, the finest molding of architectural details make the Acropolis buildings the highest achievement of ancient Greek architecture and one of the most outstanding monuments of world art.

Structural solutionin the construction of the Acropolis, Phidias applied an order system, which included three orders: Ionic, Doric and Corinthian. Moreover, during the construction of the Erechtheion, he did not use the order system, but used caryotes. In all the temples on the Acropolis, figures of gods mixed with people are depicted.

materials All elements of the construction of the Acropolis, including the roof tiles and steps of the stylobate, were hewn from local Pentelian marble, almost white immediately after mining, but over time acquiring a warm yellowish tint. Mortar or cement was not used, the laying was carried out dry. The blocks were carefully fitted to each other, the horizontal connection between them was carried out with the help of I-beam iron clamps placed in special grooves and filled with lead, the vertical connection was made with the help of iron pins.

Dimensions approx. 300 m long and 170 m wide

Phidias (c. 490 BC Athens)

Major works

• Athena Promachos on the Acropolis, c.460 BC e.
• Zeus Olympian

The idea of ​​the workThe Acropolis of Athens, which is a 156-meter rocky hill with a gentle top. In 447, the direction of the work was entrusted to the famous sculpture Phidias, who, apparently, was the author art program, which formed the basis of the entire complex, its architectural and sculptural appearance.

437-432 Propylaea and Temple of Nike Apteros

421-406 Erechtheion

448-432 Parthenon

The fate of the work

Destruction Many times the temples on the Acropolis were rebuilt from frequent warriors.

Reconstruction After the proclamation of the independence of Greece, during the restoration work (mainly at the end of the 19th century), the ancient appearance of the Acropolis was restored as far as possible.

Today's lookRemaining under open sky the sculptures have now been replaced by copies. Many reliefs and sculptures are in the museums of the world.

Interesting FactsIn the 15th century, the Parthenon was turned into a mosque, to which minarets were attached, and the Erechtheion became the harem of the Turkish Pasha.

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COLISEUM

HISTORY OF ONE MASTERPIECE

Coliseum

(Flavian Amphitheater)

Brief information about the work

Name Colosseum (Flavian Amphitheatre).

Date of creation 75 - 80 years. AD

Place of construction Italy, Rome

art form architecture

Architectural styleancient architecture

Purpose in the amphitheaters they gave different performances: naval battles, battles

people with exotic animals, gladiator fights.

Architectural appearanceThe Roman Colosseum was a huge bowl with

stepped rows of seats, closed on the outside of the annular elliptical

wall.

Structural solutionin terms of the Colosseum - an ellipse. The arena is separated by a high

wall from the seats of the audience. Around the arena, gradually rising, were

seats for spectators separated by wide aisles. There were four inside

tiers of seats, which on the outside corresponded to three tiers of arcades: Doric

Ionic and Corinthian. The fourth tier was deaf, with Corinthian pilasters.

materials The Colosseum is built of tuff, the outer walls are of harder

traventine, brick and concrete were used for vaults and walls.

Dimensions length - 188 m., height - 48.5 m., circumferential length - 520 m.

The history of the creation of the work

The idea of ​​the workin the Colosseum, spectacles popular in Rome were staged - gladiator fights, fights with animals and even sea battles - naumachia (then the arena was filled with water). In addition, there were equestrian competitions, sport competitions and something similar to modern concerts. The organization of such spectacles was one of the unspoken duties ruling class and was a sure way to win the love of the people. As a matter of national importance, which is also associated with high costs, the holding of games was regulated by many laws.

Duration and stages of constructionThe Colosseum was used by intended purpose for four and a half centuries, and during this time it was repeatedly completed, partially rebuilt and repaired, without changing the overall design. In 217, the upper tiers burned down as a result of a fire caused by a lightning strike, but they were restored. In 248, the millennium of Rome was solemnly celebrated in the Amphitheater. The last gladiator fight took place in 404, and in 405 such spectacles were banned as contrary to the spirit of Christianity, which by that time had become the dominant religion. According to a number of testimonies, in the middle of the 5th century the Colosseum still retained its original appearance, but already 50 years later it was badly damaged, possibly as a result of an earthquake. Animal persecution was organized in the Colosseum for more than a century - the last one was held in 523, after the fall of the Roman state. For some time the Amphitheater was occasionally used as an arena, but by the 8th-9th century it was completely abandoned.

The fate of the work

Destruction Gradually, the Amphitheater melted away - its stones were dismantled, the lower tier of the arches gradually went underground, trees grew on the ruins and even wild animals lived. As a monument of history and architecture, the Arena began to be perceived only in the 18th century. The first pope to be touched by the fate of the Colosseum was Benedict XVI. He revered it as the place where many Christian martyrs met death (although not all modern scholars agree with this), and in memory of their suffering, he installed a huge cross in the middle of the arena, and several altars nearby. These symbols existed until 1874.

Reconstruction And since that time, the Colosseum has been constantly restored: at different periods, the surviving walls were strengthened, which threatened to collapse, the internal stairs were repaired, some lost parts were completed, excavations were carried out and underground rooms were discovered. In 1997, a grandiose survey of the Colosseum was carried out using modern laser and infrared equipment. These works made it possible to create an accurate map of the Amphitheater and identify the places of the greatest deformation of the structure.

Today's lookThe Colosseum is still so impressive and uniquely original that anyone entering it can, if he wants, see for a moment this gigantic building as it was, when thousands of excited faces were turned towards the arena, and there, among the whirlwinds of dust, blood flowed in streams and there was such a fierce struggle, which human language is powerless to describe. But in the next moment, the emptiness and gloomy grandeur of these ruins give rise to a quiet sadness in the visitor; and, perhaps, he will never again be so excited and shocked by any other spectacle that is not directly related to his personal feelings and experiences ... This is the most impressive, most solemn, majestic and gloomy spectacle that you can imagine.

Interesting FactsFor the construction of the Colosseum, it was necessary to drain the lake. He was

designed for 50,000 spectators. It was possible to simultaneously release into the arena

3,000 gladiators. The placement of people was carried out on a social basis:

places of the lower tier for the emperor, his entourage, senators; second, third -

for horsemen and Roman citizens; the fourth is for freedmen. System

galleries and many entrances helped to quickly fill and empty the building.

To protect spectators from the sun over the entire amphitheater on high masts,

Fortified on the wall of the fourth tier, an awning (velarium) was stretched. In deep

the cellars of the Colosseum were rooms for gladiators, cages for animals.

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PARTHENON

IKTIN AND KALLIKRAT

HISTORY OF ONE MASTERPIECE

Parthenon

Brief information about the work

Name Parthenon

Date of creation 447-438 years. BC

Place of construction Greece, Athens

art form architecture

Architectural styleancient architecture

Purpose the main temple of the Acropolis, dedicated to the goddess Athena

Architectural appearance.The Parthenon in its current form is a Doric peripter standing on three marble steps (total height approx. 1.5 m), having 8 columns at the ends and 17 at the sides (if you count the corner columns twice). The height of the peristyle columns composed of 10–12 drums is 10.4 m, their diameter at the base is 1.9 m, the corner columns are slightly thicker (1.95 m). The columns have 20 flutes (vertical gutters) and taper upwards. The interior of the temple, or cella (outer size 21.7-59 m), is raised above the stylobate by two more steps (total height 0.7 m) and has six-column prostyle porticos at the ends, the columns of which are somewhat lower than in the outer colonnade. Cella is divided into two rooms. The eastern one, longer and called the hecatompedon (internal size 29.9-19.2 m), was divided into three naves by two rows of 9 Doric columns, which closed at the western end with a transverse row of three additional columns. It is assumed that there was also a second tier of Doric columns, which was located above the first and provided the required height of the ceilings. In the space bounded by the inner colonnade, there was a colossal (12 m high) chrysoelephantine (made of gold and ivory) cult statue of Athena by Phidias. Ceilings of the western chamber of the cella (internal size 13.9-19.2 m) rested on four high columns, presumably Ionic.

constructive solution.All lines of the temple seem perfectly straight, because the architects took into account the peculiarities of human vision: so that straight lines do not seem concave, they were made convex. All the lines of the Parthenon, all its planes are bent, slightly rounded, the columns lean inward, the distances between them are different, although they seem to be the same, the corner columns are more massive and closer to their neighbors, otherwise they would seem thin in the bright sun.

Materials. All elements of the construction of the Parthenon, including the roof tiles and steps of the stylobate, were hewn from local Pentelian marble, almost white immediately after mining, but over time acquiring a warm yellowish tint. Mortar or cement was not used, the laying was carried out dry. The blocks were carefully fitted to each other, the horizontal connection between them was carried out with the help of I-beam iron clamps placed in special grooves and filled with lead, the vertical connection was made with the help of iron pins.

Dimensions. The dimensions of the temple in plan (according to the stylobate) are 30.9-69.5 m.

Iktin (second half of the 5th century BC)

Years of creative activity.Ancient Greek architect 2nd floor. 5th c. BC e. The largest architect of the classical period.

Major works

• Odeon of Pericles in Athens
• Temple of Apollo at Basy, c. 430 BC

Callicrates (mid. 5th century BC)

Years of creative activity.ancient greek architectser. 5th c. BC e. Representative of the classic period

Major works

• Parthenon, Athens, 5th c. BC.
• Temple of Nike Apteros, Athens, c. 420 BC

Phidias (early 5th c. BC e. - OK. 432-431 BC e.)

Years of creative activity.Ancient Greek sculptor of the High Classic period.

Major works

• Athena Promachos on the Acropolis, c.460 BC e.
• Zeus Olympian
• Athena Parthenos, Athens, consecrated 438 BC e.
• Sculptural decoration of the Parthenon, Athens

The history of the creation of the work

The idea of ​​the work.Parthenon - the center of the Athenian Acropolis, one of the most majestic temples of Ancient Greece, dedicated to Athena, it has a number of unique features. (The Parthenon is built in the form of a peripter).

Duration of construction.The construction of the Parthenon lasted 16 years and was completed in 432 BC. e.

The fate of the work

Destruction. In the Byzantine era, at the beginning of the 7th century, the Parthenon became Christian church Hagia Sophia. The interior structure of the temple has undergone a radical alteration. During the construction of the apse, all the central figures of the eastern pediment were destroyed. In 1456 Athens was captured by the Turks. The Acropolis became a Turkish fortress. The Parthenon was converted into a mosque. In 1685, a war broke out between Turkey and the Republic of Venice. In the Parthenon, the Turks set up a powder warehouse. During its explosion, the entire central part of the temple was destroyed, except for the western wall, and most of the colonnade. The Venetians wanted to take away the sculptures as a trophy, but they crashed because they did not hold well after the explosion.

Reconstruction The restoration of the temple began in the 19th century. The northern colonnade was restored, as well as the pediment sculptures (casts made of cement with the addition of cement chips). In the 1950s, the floor of the temple was restored.

Today's look.Now only the western wall remains of the central volume. From authentic sculptures only two figures of the western pediment and a frieze on the western wall remain. Today's Parthenon, or rather, its majestic ruins, is white.

Interesting Facts.Today, the Parthenon is rightfully considered one of the greatest examples of ancient architecture, a masterpiece of world art and plastics.

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PYRAMIDS IN GIZA

HISTORY OF ONE MASTERPIECE

Brief information about the work

The name of the pyramid at Giza

Date of creation Vv. BC .

Place of construction Egypt, Giza

art form architecture

Architectural style

Purpose tombs of the pharaohs

Architectural appearancethe ensemble includes the Sphinx and three large pyramids: Cheops, Khafre and Mekerin. The latter has three more small satellite pyramids. Each pyramid includes a mortuary temple upstream and downstream of the Nile, as well as a corridor connecting them. The Sphinx is a statue of a lion with a human head.

Structural solutionthree monuments are arranged diagonally, but in such a way that none obscures the sun of the other.

Materials stone

Dimensions The pyramid of Cheops is the largest: it is square, each side is 250m. Each stone is not less than 10m. Having at first 146m height, today it reaches only 137m, and on the site of the top a platform 10m wide was formed. The height of Khafre's pyramid is less than that of the previous one, but its top is on the same level with it, since it stands on a higher place. The pyramid of Mekerin barely reaches 66m. The length of the Sphinx is 73m.

(Date and place of birth)

Education

Years of creative activity

Date and place of death

Major works

• (Name, place and date of construction)

The history of the creation of the work

The idea of ​​the work

Duration and stages of constructionfirst they spent 10 years laying a road along which stones were dragged, but this was nothing compared to the construction of the pyramid itself. It required 20 years of work. The pyramid was first built in the form of a great staircase, composed of what some call merlons, others call steps. This shape allowed the rest of the stones to be lifted.

The fate of the work

Destruction the ensemble of the pyramid of Cheops is almost completely destroyed, and the ensemble of the pyramid of Khafre, on the contrary, is mostly preserved.

Reconstruction was not carried out.

Today's lookhave survived to our times.

Interesting Factsthere are inscriptions on the pyramid of Cheops that indicate how much money was spent on the purchase of horseradish, onions and garlic to feed the workers. The amount of expenses reached 6,000 talents of silver, which is 40,000 kg.

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STONEHENGE

HISTORY OF ONE MASTERPIECE

stonehenge

Brief information about the work

Name Stonehenge

Date of creation 3500 - 1100. BC.

Location UK, England

Art form Architecture

Architectural styleprimitive art

Purpose Perhaps Stonehenge, acting as a temple of the Sun, was a place of ritual ceremonies and burials, and also served as an awesome symbol of the power of the priests. Another version is not excluded, according to which Stonehenge, acting as an astronomical observatory, allows you to keep a calendar count of days with great accuracy, mark the beginning of the season, predict the onset of solar and lunar eclipses.

Architectural appearanceStonehenge consisted of two circular halls in the center, which had a horseshoe-shaped altar.

materials For the construction of the complex, stones were delivered from a quarry, which was located more than 300 kilometers from the construction site.

Dimensions In general, Stonehenge is a structure of 82 five-ton megaliths, 30 stone blocks, weighing 25 tons each, and 5 huge so-called triliths, stones weighing up to 50 tons. Stacked stone blocks form arches that once served as a flawless indicator of the cardinal directions.

The history of the creation of the work

Duration and stages of constructionStonehenge I was a circular moat with two halls. In a circle along the outer rampart there are 56 small burial "holes" of Aubrey. To the northeast of the entrance to the ring stood a huge, seven-meter Heel Stone. During the construction of Stonehenge II, an earthen alley was laid between the Heel Stone and the entrance. Two rings of 80 huge blue stone blocks were erected, which were probably delivered 320 km from South Wales. At the final stage of construction, the megaliths were rearranged.The blue stones were replaced by a ring colonnade of 30 triliths, each of which consisted of two vertical stones and a horizontal slab resting on them. A horseshoe of five separate triliths was installed inside the ring.

The fate of the work

Today's lookToday there is no unequivocal answer to the question of what these amazing ancient architectural structures were: a temple, a necropolis, an observatory, but in any case, the history of architecture began with them.

Interesting FactsThe famous astronomer Fred Hoyle, having studied all the geometric features of Stonehenge, determined that the creators of this structure knew the exact orbital period of the Moon and the duration of the solar year. According to the conclusions of other researchers, the holes located inside the circle formed by stone blocks exactly indicate the trajectory of the Pole of the World 12-30 thousand years ago.According to local legend, giant blue stones have healing powers, they appeared on this earth thanks to the magician Merlin, a sorcerer in the court of King Arthur, who brought them from Ireland. The origin of the huge Heel Stone is connected with another legend. They say that once the devil saw a monk hiding among the stones. Before the unfortunate man could escape, the devil launched a huge boulder at him, which crushed him at the heel. For a long time, the ruins of Stonehenge were associated with the priestly cult of the ancient Celtic Druids, although experts deny this connection.

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MIKHAILOV PALACE (RUSSIAN MUSEUM)

DATE OF CREATION 1819-1825

HISTORY OF CREATIONIn 1798, Paul I ordered to set aside several hundred thousand rubles every year for the construction of a palace for his youngest son Mikhail. The emperor never had a chance to see the embodiment of his idea; as a result of a palace coup, he died. The decision to start construction was made by Emperor Alexander I. The architect of the Mikhailovsky Castle under construction isKarl Ivanovich Rossi . He began working on the project in 1817, when it was planned to arrange the residence of the Grand Duke, first on the spot.Vorontsov Palace and then in placeChernyshev's house . After the decision to build a palace on this wasteland,Russia began to create a project not just for the reconstruction of existing buildings, but for a new urban architectural ensemble. The ceremonial laying of the building took place on July 14, and construction began on July 26. Mikhailovsky Palace Rossi associated withNevsky prospect new Mikhailovskaya street, turning intoMikhailovskaya Square directly in front of the palace. Mikhailovskaya street overlooking main building building, which is flanked by two service buildings. One of them housed the kitchens, the other housed the arena and stables. From the sidefield of mars a garden appeared at the palace - Mikhailovsky. The construction of the building was completed by 1825.

ARCHITECTURAL LOOKThe Russian Museum is part of the ensemble of the Mikhailovsky Palace and the Engineering Castle.The Mikhailovsky Palace stands between Nevsky Prospekt and the Field of Mars. Already from Nevsky Prospekt, in the perspective of the street, one could see how, above the arcade of the first floor, a beautifully proportioned, magnificent portico with Corinthian columns, with a pediment richly decorated with sculpture. A colonnade of twenty trunks is located in the entire breadth of the facade, resting on the side ledges. From the side of the garden, in the same Corinthian order of twelve columns, there is a loggia set between two massive, crowned with small pediments.The wide granite staircase at the entrance to the building is decorated with two statues of lions.

INTERESTING FACTSThe Russian Museum is one of the most famous not only in St. Petersburg, but throughout Russia. Here you can see works of art Andrei Rublev, F. Shubin, K. Bryullov, F. Bruni, O. Kiprensky, A. Ivanov, I. Repin, A. Kuindzhi, I. Shishkin, V. Serov, M. Vrubel, B. Kustodiev, K. Malevich , M. Chagall, K. Petrov-Vodkin and other great Russian artists.

DATE OF CREATION 1806-1819

HISTORY OF CREATIONSince 1704, on the Admiralteysky Island, located on the left bank of the Neva and bounded on the south side by the Moika, the construction of the shipyard-Admiralty began - according to the drawing of Peter I himself. Together with Peter and Paul Fortress it was the basis of the architectural composition of the city. In the 1730s, a terrible fire devastated the central part of St. Petersburg, and a specially created commission began to develop a plan for its new development. Architect Ivan Korobov, leaving the original general U-shaped layout of the Admiralty, replaced the half-timbered buildings with stone ones. IN early XIX century Andrey Zakharov began to work on the creation of a new building of the Admiralty.

ARCHITECTURAL LOOKThe new Admiralty was conceived as a kind of monument to the Russian fleet, and therefore the central entrance to it was decided in the form of a triumphal arch. The building consists of two U-shaped buildings in terms of the people's external, intended for the Admiralty department, and the internal, where the workshops were located. The architect repeated the motif of the arch in the facades of symmetrically located pavilions facing the Neva. The sculptural decoration of the Admiralty is united by one theme - the glorification of the power of Russia. In front of the main entrance on both sides are monumental figures of nymphs supporting the heavenly spheres (1812, sculptor F.F. Shchedrin). Above the arch of the tower there is a high relief “The Establishment of the Fleet in Russia” (1812, sculptor I.I. Terebenev) about 22 meters long.

According to the project of Ivan Korobov, a tower with a spire was built. Later, the architect Andreyan Zakharov increased the height of the spire to 72m and crowned it with a weather vane in the form of a three-masted frigate.

DATE OF CREATION 1819 - 1829

HISTORY OF CREATIONRossi's draft of the General Staff building provided for the connection of two large buildings located in an arc with a central triumphal arch. It was decided to place the General Staff of the Ground Forces in the right (western) wing, and the ministries of foreign affairs and finance in the left (eastern) wing. Construction work went quickly on October 23, 1824. Rossi reported to his superiors that the entire huge facade was ready. As soon as the wings were erected, an arch was laid out between them.. The triumphal arch was conceived by Rossi as a monument to the heroic deeds of the Russian people in the liberation Patriotic war 1812.

ARCHITECTURAL LOOKThe arch - the main compositional and spatial core of the building - is reinforced by double Corinthian columns on the sides and an attic with a stepped top. The construction is crowned by the chariot of Victory, harnessed by six horses. This whole spectacular central composition, approaching a square in proportions, is still supported on both sides by a clear vertical rhythm of the nine-columned Corinthian porticos.Saturated with sculptural decor, the monumental solution of the center andthe harmonious rhythm of the columns of the porticos of the side wings is especially expressive against the background of a strict neutral facade facing the square.The array of foundations of the arch is emphasized by the armature - beautifully arranged high reliefs from military armor and weapons. Above them, between the columns, are statues of warriors and fittings, and on the sides of the arch are high reliefs in the form of flying figures.Simply and at the same time so beautifully arranging a half-kilometer facade of a building is extremely difficult. Such an effect, with a generally calm background, is created by an actively identified center, which is created by the arc of the building and a powerful arch of perfect proportions.

INTERESTING FACTSAs Rossi's daughters told, the architect, together with the workers, climbed to the very top on the day of the opening of the arch. “If the arch falls, I am ready to fall with it,” he said at the same time.

DATE OF CREATION 1858

HISTORY OF CREATIONInitially, a small wooden church was built on the Admiralteisky meadow, distinguished by the modesty of architecture, typical of the first buildings of the Petrine era. With its construction, Peter I decided to perpetuate his birthday - May 30, which coincided with the day of the celebration of the memory of St. Isaac of Dalmatia. On August 6, 1717, on the banks of the Neva, approximately where the monument to Peter I now stands, with the participation of the emperor, the highest dignitaries of the state and the clergy, the second St. Isaac's Church was laid. In May 1735, a fire broke out from a lightning strike, which completed the destruction that had begun.

On July 15, 1761, by decree of the Senate, the design and construction of the new St. Isaac's Church was entrusted to S.I. Chevakinsky, but the talented architect did not have to carry out his plan. Construction dates have been pushed back.

Having ascended the throne in 1762, Catherine II approved the idea of ​​recreating the cathedral associated with the name of Peter I, but the design and construction was entrusted to the architect Antonio Rinaldi. The cathedral was conceived with five complex domes and a high bell tower. Marble cladding was supposed to add sophistication to the color scheme of the facades. But construction progressed very slowly. Rinaldi was forced to leave St. Petersburg without completing the work he had begun. Construction management was headed by O. Montferrand.

ARCHITECTURAL LOOKGigantic, lined with marble, crowned with a giant dome and small domes of bell towers, the building of St. Isaac's Cathedral dominates the square (height 101.5 m), it is surrounded by 112 monolithic columns, weighing from 64 to 114 tons. The temple accommodates about 14 thousand people.The temple is decorated with 350 reliefs and statues. All the sculptural decoration of the cathedral was made according to the models of I. Vitali, S. Pimenov, A. Lemaire. A grandiose ensemble of statues, bas-reliefs, door leaves, two pediments, sculptural decor, connected by the unity of biblical and gospel narratives, is organically included in the architectonics of the building.

INTERESTING FACTSThe ceiling of the dome (diameter 21.83 m), made of iron and cast iron, as well as the use in the construction of a new galvanoplastic method for the manufacture of bas-reliefs, engineer B.S. Jacobi testify to the development of technology and engineering.

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