School Encyclopedia. Etruscan art
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More than 2,500 years ago, a mysterious people lived on the territory between Rome and Florence and Central and Lower Italy. The Greeks called this people Tyrrhenians, and the Romans - Tusks, or Etruscans. The Etruscans came to the Apennine Peninsula in the 8th century BC. simultaneously with the Greeks The earliest traces of their civilization were found in the valley of the Arno and Tiber rivers. This area was called Etruria, and is now called Tuscany.
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1. The origin of the Etruscans Herodotus considered them to be from the Asia Minor city of Lydia. Others believe that this people arose in the process of merging newcomers from the Balkans - the Pelasts, settlers from Asia Minor - the Tyrrhens, and the local ancient Italian tribe. Etruscan mysteries
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2. Language of the Etruscans The language of the Etruscans, forgotten as far back as the 1st century BC. has not yet been deciphered. The difficulty lies in the fact that the Etruscan funerary texts that have come down to us are very brief and rather monotonous in content.
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The written monuments of the Etruscans are read by letters, since they used an alphabet close to the Greek. Scholars now understand about 500 individual Etruscan words. No close relatives of this language have been found.
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The Etruscans were engaged in trade and agriculture, drained swamps, grew grapes and olives, processed stone and metals, built beautiful roads and cities. They were brave sailors who dared to go even to the Atlantic. The Etruscan pirates are credited with such inventions as the Anchor, the grappling hook, the metal ram on the prow of the rostra ship.
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Many historical monuments have been preserved from the Etruscans: the remains of cities with stone walls and buildings, with a clear layout of streets that intersect at right angles and are oriented to the cardinal points. The cities were divided into quarters.
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Foundations of houses in the Etruscan city of Mariabotto
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The oldest Etruscan hut made of reed covered with clay, 9th century BC. Residential buildings have not been preserved. We have an idea about them from archaeological excavations on the basis of preserved urns and tomb structures that repeat the shape of a house. The center of the city house was an inner courtyard - an atrium, around which other rooms were located. Shops and workshops were located in the premises overlooking the street. In the roof of the house there was a hole - a compluvium, through which the living rooms were illuminated. And under the opening in the atrium there was an impluvium pool, into which rainwater flowed.
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The tombs were of two types: rock and free-standing volumes. Of interest are the tombs in the form of a round stone plinth, in which there were entrances to the burial premises, and on the plinth an earthen mound of a cone-shaped shape, tumulus, was piled up.
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Theme: Etruscan Art
Purpose: to form ideas about the developed civilization of the Etruscans, which existed 2500 years ago in the north-west of the Apennine Peninsula.
acquaintance with the culture of the Etruscans.
the formation of a conscious attitude to the art of the Etruscans.
development of artistic taste, speech, memory, thinking.
During the classes:
Organizing time
Conversation on the topic of the lesson
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The Etruscan country, located on the shores of the Tyrrhenian Sea, extended east to the Apennine mountain range. The northern border of Etrurrria at the end of the 7th century. BC. reached the Po River, and in the south captured Campagna (Naples region); from the end of the 6th c. BC. The Etruscans occupied what is now Tuscany.
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Etruria was a union of twelve city-states. The formation of a class society, the early development of slavery, a social system based on the undivided domination of the aristocracy (the ruling group of the Etruscans was the military-priestly nobility) - these are the social signs of the Etruscan state. The basis of the economy in Etrurrria was agriculture. Due to the abundance of marshes, artificial drainage was carried out on a large scale. Widely developed maritime trade played an important role in the economy of Etruria and contributed to the development of its culture. The Etruscans came into contact with the Greeks, Carthaginians, Egyptians and other peoples and adopted a lot from them, without losing their originality.
The largest number of surviving monuments of Etruscan art dates back to the 6th - early 5th century. BC. At this time, Etruria experienced a strong influence of Greek culture, and during the same period, Etruscan art experienced its heyday.
Vitruvius, the famous Roman theorist of architecture, who lived in the 1st century. BC, indicates the great positive role of Etruscan architecture in the development of Roman architecture. The correct layout of cities with the orientation of streets according to the cardinal points was introduced in Etruria earlier than in Greece - in the 6th century. BC. But the monuments of Etruscan architecture have survived to our time in very small quantities. Many of them died during the period of fierce wars, and especially during the allied war in the 1st century. BC, when the Etruscan cities were razed to the ground. Nevertheless, the remains of city walls and arched gates in Perugia, in New Faleria, in Sutria, paved roads in Perugia, Fiesole, Palestrina, bridges, canals and water supply near Mardabotto, as well as other engineering structures, testify to a high level Etruscan building technology.
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The architecture of the temples can only be judged by the remains of the foundations found in Seni, in Orvieto, in the Old Falerii. The Etruscan temple was placed on a high base (podium); unlike the Greek peripter, which was perceived equally harmoniously from all sides, the Etruscan temple was built according to the principle of frontal composition: one of the narrow sides of the building was the main facade and was decorated with a deep portico. On the other sides, the temple was enclosed by a blank wall. The interior - cella - was usually divided into three parts (dedicated to the three main Etruscan deities). Extremely typical for the Etruscan temple is the wealth of sculptural and pictorial decoration, as well as bright polychromy. The compositional principles of the Etruscan temple subsequently found their development in the architecture of Roman temples.
The architecture of Etruscan dwelling houses has not yet been clarified enough. In contrast to the free arrangement of premises in a Greek residential building, it should be noted here that the arrangement of premises is strictly symmetrical in plan, as if strung on one axis. Such an axial composition will find the widest application in Roman residential buildings.
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The oldest type of buildings were, apparently, round and oval huts, an idea of which is given by clay burial urns. A later rural Italic house can be judged by an urn in the form of a house from Chiusi. The building was rectangular in plan, the high roof formed large canopies that provided shade; in the roof there was a rectangular hole (compluvium), through which the house was illuminated. According to the hole in the roof, a pool (impluvium) was placed in the floor of the house, where rainwater flowed. Rural houses were built of rough stone or clay on a wooden frame. Roofs were thatched, thatched or tiled.
The center of the city house was an atrium (inner courtyard). Around it, other rooms were strictly symmetrical: on the right and left - rooms for men and for slaves and sometimes for livestock, in the depths, away from the entrance, were the rooms of the hostess, her daughters and maids. The remains of large one-story houses with many separate closets opening onto the courtyard provide an idea of the dwellings of the urban poor. In the same houses there were shops and workshops. They were located on the side of the house that faced the street, behind them there was usually a dwelling.
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Of the architectural structures of Etruria, the tombs are best preserved. Some of them, in the north of Etruria, are tumuluses - burial mounds with burial chambers and dromos built of stone blocks located under the bulk hill; others, in the south of Etruria, near Cervetri (Cere), retain the appearance of a tumulus, but are not composed of individual stones, but are entirely carved in tuff rocks (the tomb of Regolini Galassi, 7th century BC, the tomb of “Painted lions, etc. ), others are similar to rectangular houses, which together form a kind of city of the dead.
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The interior design of the burial chamber was often a reproduction of the architecture of dwellings (the tomb in Corneto, the tomb near Vei).
Of great interest are the wall paintings of these tombs. From the 6th - early 5th c. BC. Dozens of painted crypts have survived - in Corneto, Chiusi, Cervetri, Vulci, Orvieto, etc. Usually, two walls, in accordance with the shape of the ceiling, were higher than the others, ending with ledges in the form of a truncated pediment field. The arrangement of the painting emphasized the architecture of the crypt. On smooth, dense limestone, paints were applied directly; a coarse-grained or porous surface was covered with a layer of plaster, which served as a primer. Mineral paints were used; the paintings were carried out in the fresco technique, that is, on wet ground, only sometimes, to highlight individual places in the fresco, the paint was applied already on dry ground to the finished painting. The palette of the Etruscan artist in the archaic period consisted of black, white, red and yellow paint, later blue and green colors appear. White or yellowish ground served as a background for the images. The painting on the wall was arranged in belts. Decorative figures were placed at the top of the walls, mainly animals, often depicted in heraldic poses (for example, in the tomb of the Leopards); the middle, wide belt was occupied by the main images, above it, and sometimes below it, a narrow frieze with figures passed. The plinth was designated by a number of longitudinal multi-colored stripes. The picturesque decoration of the tombs is to a certain extent associated with painted Greek vases of the orientalizing and black-figure styles.
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The plots of the murals are relatively few and often repeated. Usually these are scenes where the deceased is depicted as a participant in a cheerful, crowded feast, accompanied by dancing young men and women. These images are saturated with many characteristic features both in poses, gestures, facial expressions of human figures, and in carefully rendered costumes, patterned fabrics, pillows, utensils and furniture. The feast and dancing apparently took place in an open-air garden, as indicated by the trees and birds. Sometimes there are portrait images of the dead, accompanied by an inscription. Images of gladiator fights, competitions of athletes, solemn funeral processions are widespread, in isolated cases there are scenes of hunting and landscapes. Some tombs are dominated by mythological subjects, as in the tomb of the Orc in Corneto, where the gods of the underworld - Hades and Persephone - and the three-faced giant Gerion, as well as the winged geniuses of the Etruscan pantheon, appear. Judging by the mythological plots, the Etruscan religion and mythology had a gloomy character, they were deprived of the bright harmony of the worldview of the Greeks.
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Etruscan painting is associated with Greek painting and goes through stages in its development similar to the stages in the evolution of Greek vase painting. Paintings of Etruscan tombs of the 6th - 5th centuries. with their usual flatness of the image, the silhouette nature of the figures and other features of convention, they still have a kind of vital persuasiveness, an understanding of expressive movement, a sense of compositional connection. Nude or dressed in colorful costumes, human figures are given in warm sonorous colors - yellow, brown, red, enriched with splashes of green and blue; being contrasted with each other and combined into a common composition, they produce a strong decorative effect. Painting was also used in the exterior decoration of buildings.
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An integral part of the scenery of Etruscan buildings were painted terracotta reliefs and statues, so common during the archaic period throughout the ancient world. The roofs of the buildings were decorated with acroteria ( acroterium(from the Greek - top, pediment) - a sculpture or a sculptural ornamental motif above the corners of the pediments of buildings built in antique orders.), with relief images of individual figures or groups, and antefixes ( antefixes- ornaments made of marble or terracotta, usually placed along the edges of the roof along the longitudinal sides of ancient temples and houses. Antefixes had a variety of shapes (leaves, plants, slabs, shields, etc.) and were usually decorated with ornaments made in relief, heads of people or fantastic creatures.), which often depicted the head of Medusa Gorgon, who averts evil from those living in the house, the head silena or girls. These images were brightly colored. The friezes outside and inside the building were also covered with painted terracotta relief slabs depicting mythological scenes, episodes of competitions and battles. The relatively small buildings of this period, richly decorated with painted terracotta reliefs and sculptures, made an elegant, picturesque impression.
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An important place in Etruscan art was occupied by sculpture, which flourished in the 6th century BC. BC. The most famous Etruscan sculptor was the master Vulka who worked in Bey; he owns a monumental terracotta statue of Apollo from Wei. The statue, apparently, was part of a sculptural group placed above the pediment of the temple, depicting a dispute between Apollo and Hercules because of a fallow deer. Despite the undoubted closeness to the Greek statues of the archaic era (the conventionality of the staging of the figure and plastic modeling, the archaic smile), Apollo from Wei also has features of originality - less constraint, more energetic, albeit conditional movement, a brighter emotional coloring of the image; stronger than in Greek sculpture, the Etruscan statue expresses a craving for abstract ornamentality (for example, in the interpretation of clothing). An excellent example of Etruscan sculpture from its heyday is the graceful head of the statue of Hermes from Vei. One of the important finds of recent times was the colossal Etruscan statues of warriors made of clay; their gloomy, intimidating appearance is imbued with brute power.
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The sculpture of Etruria not only served to decorate buildings, but also had independent significance.
An important place in Etruscan sculpture belongs to the portrait. The origin of the Etruscan portrait goes back far into the depths of centuries and is associated with a funeral cult. On the lid of the funeral urn, a portrait image of the deceased was usually placed. Already in an Italic urn from Chiusi from the early 6th c. with an image made in an almost geometric style, and in another urn from Chiusi with a portrait head and pathetically pressed "to the chest" hands, despite the primitiveness of their artistic language, elements of the portrait are captured. Head from an Etruscan funerary urn from Chiusi, early 6th c. BC. less primitive and characterized by sharply seized individual features, careful and bold modeling of the cheeks and mouth.
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A characteristic type of Etruscan sculpture are monumental terracotta sarcophagi with figures of the dead.
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Sarcophagus from Cervetri, 6th c. BC. It is a bed (1.73 m long) on figured legs, on which a married couple reclines. The composition is distinguished by solemn monumentality, the figures as a whole are characterized by great figurative and plastic expressiveness; the same can be said about the angular movements of the hands in terms of rhythm. In the faces, despite the preservation of the archaic scheme (oblique cut of the eyes, conditional smile), some individual originality is felt.
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In the 6th c. BC. the processing of bronze in Etruria had already reached great perfection: casting was used, subsequent chasing, engraving, and statues of large sizes were made. One of these works of the 6th c. BC. is the famous statue of the Capitoline she-wolf. The she-wolf is depicted feeding Romulus and Remus (their figures have been lost; the existing ones are made in the 16th century). In this sculpture, the viewer is struck not only by his observation in reproducing nature (the staging of the figure is conveyed with great accuracy - a muzzle stretched forward, a bared mouth, ribs showing through the skin), but also by the artist's ability to enhance all these details and combine them into a single whole - the image of a predatory beast. No wonder the statue of the Capitoline she-wolf in subsequent eras was perceived as a vivid symbol of the harsh and cruel Rome. Some features characteristic of the sculpture of the archaic period, for example, the somewhat simplified contours of the statue, the ornamental interpretation of wool, do not violate the general realistic nature of the sculpture in this case.
The artisans of Etruria were famous for their work in gold, bronze and clay. Etruscan potters used a special technique of the so-called buccheronero (black earth): the clay was pumped, thus acquiring a black color. After molding and firing, the product was subjected to burnishing (rubbing polishing). This technique was inspired by the desire to make earthenware vessels look like more expensive metal vessels. Their walls were usually decorated with relief images, and sometimes a rooster or other figures were placed on the covers.
Period 5 - 4 centuries. BC. in Etruria was a time of economic stagnation. The art of this period also experienced stagnation - it seemed to stop at the archaic stage. But it was precisely at this time that the peoples of Italy - the Etruscans, Samnites, Romans, Osci and others - came into especially close contact with the Greeks, primarily with those who inhabited Great Greece. In these rich Greek city-states, culture was at a high level of development, and the art of Magna Graecia only slightly differed from the art of the metropolis.
Etruscan art experienced a new upsurge in the 3rd - 2nd centuries. BC, however, under the influence of Greek, Etruscan art during this period loses its originality to a large extent. Works of Etruscan painting of the 3rd - 2nd centuries. adjoin the Hellenistic samples. In sculpture, images often receive a particularly heightened expression. The portrait figure of a noble Etruscan reclining on a bed with a libation bowl in his hand, on the lid of the urn, is amazing in sharp contrast to the solemn representativeness of the pose, and his almost grotesquely comic appearance. A number of other images on funerary urns are characterized by gross exaggeration. The bronze products of the Etruscan artisans of this time - mirrors decorated with engraving, bowls, goblets, cists for storing scrolls - are still distinguished by a high level of artistic craftsmanship.
By the end of the Hellenistic era, when the independence of Etruria was put to an end, Etruscan art should already be considered together with Roman art.
Summarizing
Homework
Etruscan art Ancient Rome The Etruscans are the people of Etruria, who lived in the 1st millennium BC. e. on the Apennine Peninsula, northwest of Rome. Culture arose in the 8th century. BC e. At the end of the 7th century BC e. in Etruria, religious unions of city-states arose - twelve cities. The whole life of the Etruscans was subject to rituals. It is no coincidence that the word "ceremony" comes from the Etruscan city of Caere. Approximately in the V-III centuries. BC e. warlike Rome conquered the Etruscan cities, and Roman soldiers settled in them. The Etruscans eventually forgot their language. Etruscan Art Etruscan art has a strong identity and is heavily based on the idea of death and the afterlife. The most striking art form associated with cremation was canopy - clay vessels with a lid for storing the ashes of the dead, found in the vicinity of the city of Chiusi (7th-6th centuries BC). They have many options: some are a vessel designed in the form of a human body, others are a human-like urn on a throne. Still others depict a human figure standing on a vessel. Finally, the fourth - a man at a ritual feast in the 7th BC. e. rich funeral gifts were placed in the tombs: Situla gold jewelry from the tomb in Chiusi Bronze. Fibula from the tomb of Regolini Galassi. 7th century BC e. Gold. Kalhant. Etruscan mirror. 4th century BC e. Bronze Etruscan architecture Cities City of the "Living" City of the "Dead" Wood, clay Stone Painting Etruscan fresco painting dates back to the 7th-3rd centuries. BC e. The most interesting and famous paintings were made in the VI-V centuries. BC e. These paintings were made in the tombs of Tarquinia, the oldest Etruscan city. For the Etruscans, death and the transition to a new life that accompanies it is an eternal feast. Fun, joy, carefree enjoyment of blessings distinguish the murals of many tombs Dancer from the tomb of the "Juggler". 5th century BC e. Fresco from the Tomb of the Buffaloes. 6th century BC e. Sculpture In the Etruscan tombs do not find the bodies of the dead. Sarcophagus of the spouses from Banditaccia. 6th century BC e. depicts a man and a woman reclining on a bed with long hair, wide eyes and joyful "archaic" smiles. With one hand, the man hugs his wife leaning against him. The couple are talking animatedly, looking at an imaginary viewer. Sarcophagi served as a memorial to the deceased. They kept the ashes of the dead Etruscan sarcophagus from the tomb in Chiusi. 2nd century BC e. Terracotta. Maenad. Antefix of the Temple of Juno Sospita. 6th-5th centuries BC e Chimera. 5th century BC e. Bronze Capitoline she-wolf. Around 500 BC e. Bronze. In III-I centuries. BC e. the magnificent art of the tombs fades. Increasingly, the ideas of immortality are embodied in small craft urns for ashes, on the front wall of which are depicted scenes from ancient Greek myths associated with betrayal and murder. The highest achievements of a mysterious people, whose culture is still not properly understood, were inherited by practical Romans: engineering, the ability to build roads and cities.
The Etruscans themselves called themselves races. Etruria and
Ancient Rome - neighbors and peers: both cultures
originated in the 8th century. BC e. Then in southern Italy and
in Sicily, the Greeks began to build their first
cities. All three peoples, not counting the numerous
local tribes, rooted in the Apennines
simultaneously. However, their paths were different.
They were skilled builders and engineers.
At the end of the 7th century BC e, the Etruscan cities united in
religious unions of city-states - dvenadtigradiya.
They were led by lukumons - rulers endowed with a secular
and religious authority.
The whole life of the Etruscans was subject to rituals. It is no coincidence that
the name of the Etruscan city of Caere comes from the word "ceremony"
(the ancient Romans called so some religious
rites). There were special sacred books under
called "Etruscan discipline", which established
rules of human behavior. The Etruscan people created the most powerful fleet in
Western Mediterranean. Until the VI century. BC e.
several kings of Rome are known, descended from
Etruscan kind.
Etruscan ship.
Reconstruction The Etruscans had an unusual fate. She was already interested
ancient Greek historians. How did the Etruscans appear in Italy?
Where did they come from? The famous historian Herodotus, who lived in V
V. BC e., believed that the Etruscan settlers arrived in the Apennines
from Asia Minor: they fled from hunger. Others thought that the Etruscans
moved to the Apennines from the north. Modern scientists
are inclined to think that the Etruscans lived in this territory
initially. The art of the Etruscans is striking in its unusualness and
deep commitment to death. Etruscan cities
poorly preserved, because the houses in them were built from
fragile material - wood or clay, and their
the place was occupied by medieval settlements, and then
Renaissance Italy. Often Etruscan cities
built on high rocky plateaus. nearest
the neighbor of each of them was a necropolis - a city
the dead.
Reconstruction of the necropolis Both cities were connected by the idea of
inseparability of life and death in a single cycle
being. And if the city of the living was built from
decaying material, the city of the dead was
made of stone, carved into the rock or stacked on
earth with tombs.
Etruscan tombs. Reconstruction. In ancient times the idea
Tomb of the Flabelli. 6th century BC e.
eternity was transmitted
the shape of a circle, sphere.
hemispherical
covered with embankments
many Etruscan
tombs, including
famous Tomb
Flabelli in Populonia
(about five meters in
diameter). To
the mound retained its shape,
it was reinforced with stone
protruding plinth
cornice at the top. The shape of tumuluses - tombs with a round base and
hemispherical mound - they also had burials in
Banditaccia. This is the most famous Etruscan necropolis,
belonged to the ancient city of Caere. Entrance to
the tomb is designed in the form of a rectangular opening with
stepped top.
Necropolis
Banditaccia - IV to
AD Inside the tomb they reproduced a residential building. Sometimes
a long corridor led to the chambers - dro "mos,
gradually sinking into the ground. Departed from him
rectangular rooms - one, two, sometimes
several interconnected rooms. In the rooms
there was a couch, seats, thrones and footstools.
Necropolis
Banditaccia - IV to
AD The rooms contained a bed, seats, thrones and stands
for legs. In the Tomb of Shields and Thrones of the Necropolis
Banditaccia armchairs, couch and benches are motionless. They
carved from stone. Above them on the walls "hung"
round shields are a metaphorical embodiment of eternity.
The flat ceiling is also made, as in a residential building. By shape
and the arrangement of rooms, you can study the unpreserved
Etruscan dwelling architecture.
Relief tomb
(Necropolis of Banditaccia IV BC) In the tombs with
bodies were placed
funeral gifts:
gold jewelry
products, beautiful bowls
and dishes of silver
bronze cauldrons.
Among the gifts were
mirror. famous
Etruscan mirrors from
bronze on one side
polished to a shine,
decorated on the other
magnificent
engraving.
One of the most famous
mirrors presents
soothsayer Calhant: his
name inscribed before
figure. Kalhant
haruspices:
he guesses by the liver
sacrificial sheep. holding
liver in left hand
bearded and winged
seer intently
looks at its shape.
Walking along the edge of the mirror
branch of flowering ivy, and
standing behind Kalhant
jug. Beautiful
the exact drawing is pierced
internal dynamics.
Etruscan mirror. 4th century BC e. The tombs could be symbolic - cenotaphs (from the Greek "kenotafion"
- "empty tomb").
However, more often "owners" are still present in the tombs. Sometimes they
represent large terracotta sarcophagi similar to the famous
Sarcophagus of the spouses from Caere. The monument depicts reclining on the couch
a man and a woman with long locks of hair, wide open
eyes and joyful "archaic smiles". One hand man
embraces his wife, who is leaning against him. They are talking animatedly, aiming
eyes on an invisible viewer. Such sarcophagi may have served as a repository
for the ashes.
Sarcophagus of the spouses from Caere. 6th century BC e. rite of cremation
Canopy from Sarteano. 6th century BC e.
ruled in Etruria
from the earliest time
up to the Roman
time. The brightest
kind of art,
related to cremation
steel canopy -
made from clay
jars with lids
storage of the ashes of the dead,
found in the vicinity
the city of Chiusi.
Some are
vessel in the form of a human body.
Other -
humanoid urn
throne. Still others depict
standing figure of a man
on a vessel. Fourth -
man behind the ritual
feast. The history of fresco painting - painting on wet plaster - in
Etruria lasted from the 7th to the 3rd centuries. BC e.
The transition to the new world is an eternal feast. That's how they imagined
return from death to new life many peoples of antiquity.
Fun, joy, careless enjoyment of goods are distinguished by murals
many tombs.
Feast scene. Tomb of the Leopards in Tarquinia. Fresco.
5th century BC e. Villa Giulia Museum, Rome. The murals of the Tomb of the Lionesses depict a swift, furious
dance of a tanned youth with long curls and a fair-skinned girl in
white clothes. Etruscans, like the Egyptians, Cretans and others
eastern peoples, distinguished in painting the male and female bodies
by bloom. A boy and a girl are dancing, gazing into each other's eyes
friend, jump high and seem to snap their fingers.
Tarquinia, Tomb of the Lionesses. Etruscans are not
shared
Greek ideal
beauty. Them
seemed
attractive in
people are not certain
common features, and
against,
unique.
Burial urn with scene
battles between Eteocles and Polyneices.
Terracotta. 2nd century BC e. The highest achievements of the mysterious people whose culture
still not adequately understood, inherited
practical Romans: engineering, skill
build roads and cities. However, they failed
inherit their soul. She was kept deep in the memory
peoples who inhabited this ancient land, reborn
centuries later in the genius of Dante and Michelangelo
Chimera. Bronze
statue. 5th century BC e. Approximately in the V-III centuries. BC e. warlike
Rome conquered long and hard
resisting Etruscan cities, and in them
settled Roman soldiers-veterans. Etruscans
gradually merged with the Romans to such an extent,
that they have forgotten their language.
SPb GB POU "Russian College of Traditional Culture" ETRUSC ART Presentation for the lesson of art history by teacher Kosyachenko N.S. Saint Petersburg 2018
The Etruscans are ancient European tribes that lived in the III millennium BC on the territory of the Apennine Peninsula. They were the creators of civilization, on the basis of which Roman statehood and culture arose.
The painting of the central wall of the burial chamber in the "Tomb of Hunting and Fishing" in Tarquinia, (ca. 510 BC) Already in the 8th century BC. The Etruscans declared themselves as brave sailors and merchants
The Etruscans built cities, including the port of Spina, as well as Volterra, Cervetri, Veii, Perugia and others. Etruscan cities had fortified walls with arched gates. This form was later borrowed from them by the Romans. The streets in the cities intersected at right angles. Cities were connected by roads and bridges.
Gateway to Volterra. 3-2 centuries BC.
Arch in Perugia. 3-2 centuries BC.
The Etruscans were pagans, polytheists. But their religion is darker, in which the deities of death played a large role. Tinia. 250-300 BC God of the sky, identified with Zeus by the ancient Greeks and Jupiter by the Romans
Turan - the personification of love and health, is identified with the Greek goddess Aphrodite and the Roman Venus - the progenitor
Turms - Etruscan Hermes - a god associated with funerary rituals. He accompanied the souls of the dead to Hades.
Etruscan architecture is close to Greek
But the Etruscans used stone only in foundations, the frame was made of wood, and the walls were made of mud brick
The Etruscan temple stands on a podium (high pedestal), a staircase leads to the colonnade of the portico
The Etruscans decorated the temple with painted terracotta reliefs and statues.
Apollo Weisky. 550-520 BC e The author of the statue was probably the sculptor Vulka - the only Etruscan sculptor whose name is known at the moment. The statue was part of a composition depicting Apollo and Hercules fighting for the Kerinean doe. This composition was located at a height of 12 m on the sanctuary of Minerva in Portonaccio
The dwellings of the Etruscans had an axial composition, but were of the most diverse layout - from rectangular to round.
Cerveteri. Italy. 500-600 AD BC e. An idea of the dwellings of the Etruscans is given by the tombs that have survived to this day.
Tomb of the Reliefs (4-3 centuries BC) - the tomb of the Matunas family. This is one of the most important and famous tombs found in Etruria. The reliefs of the tomb are painted in different colors, the walls are plastered, and the columns are lined. Household objects of the family are depicted on the walls.
Tomb of the Leopards. 5th c. BC. Tarquinii From the paintings of the tombs, you can learn a lot about the life of the Etruscans: costume, utensils, furniture, traditions of hunting, feasts and competitions, mythological representations
Urn. V II century BC e. Urn. 6th century BC e. The Etruscans developed early sculpture. Already in the V II - VI centuries. BC. have covers with a portrait image of the bust of the deceased.
Burial urn. 2nd century BC e. Burial urn. 2nd century BC e.
2nd century BC. Sarcophagus from the Banditaccia necropolis. 6th century before. n. e. The lids of sarcophagi were also decorated with figures of people.
The Etruscans burned the vessels to blackness, which is why they received the name "buccaronero" - "black earth". These vessels were polished so that they looked more like bronze or gold, and decorated with either scratched designs or relief images of animals or birds.
Figured clay vessel for toilet oil in the form of a sphinx from Phanagoria. 4th century BC e State Hermitage Museum
Vessel "Aphrodite". End of the 5th - beginning of the 4th century BC State Hermitage
Capitoline wolf. 5th century BC. The Etruscans excelled in jewelry, they knew filigree and filigree, but their bronze casting was especially famous.
Etruscan woman. End of IV - beginning of III century. BC e. Lucius Junius Brutus. 98-117 BC. The traditions of Etruscan art affected the formation and art of Ancient Rome, under whose authority the Etruscans fall in the 4th century. BC.
