Russian avant-garde in the literature of the 20th century. Russian avant-garde in painting - artists, trends, characteristics
Avant-garde (constructivism) in the architecture of Leningrad - a trend in Russian (Soviet) architecture in the second half of the 1920s and early 1930s (some objects were introduced before the end of the 1930s). Russian revolution, building a new ... ... Wikipedia
avant-garde- a, m. avant garde f. 1. military Part of the troops located ahead of the main forces. It is necessary to look, so that at first a strong corps .. in advance all the roads and passes were examined .. which corps is called the avant-garde. UV 1716 188. Enemy vanguard. JCF… … Historical Dictionary of Gallicisms of the Russian Language
Vanguard (cinema)- This term has other meanings, see Vanguard. Poster for Dziga Vertov's film "A Man with a Movie Camera" Av ... Wikipedia
Vanguard (in film)
Vanguard (film direction)- DVD cover "Avant-garde: Experimental cinema of the 1920s of the 30s" Avant-garde (fr. Avant garde, from fr. avant before and fr. gard guard, guard) is a direction in the development of cinema that arose as a counterweight to commercial cinema. Movie avant-garde ... ... Wikipedia
Vanguard (film)- DVD cover "Avant-garde: Experimental cinema of the 1920s of the 30s" Avant-garde (fr. Avant garde, from fr. avant before and fr. gard guard, guard) is a direction in the development of cinema that arose as a counterweight to commercial cinema. Movie avant-garde ... ... Wikipedia
Vanguard- (French avant garde, literally: avant ahead; guard garde): Wiktionary has an entry for "avant-garde" ... Wikipedia
Vanguard (football club)- Avant-garde (fr. avant garde, literally: avant ahead; garde guards): Vanguard (military affairs) military term Avant-garde (art) term in art Avant-garde (cinema) direction in the development of cinema Avant-garde metal substyle Avant-garde ... Wikipedia
Art— Vincent van Gogh. Starry Night, 1889 ... Wikipedia
VANGUARD- VANGUARD (French avant garde forward detachment) a category that means in modern aesthetics and art history the totality of diverse innovative movements and trends in art of the 1st floor. 20th century In Russia, he first used it (in a negative ... ... Philosophical Encyclopedia
Books
- The Art of the Book in Russia in the 1910s-1930s. Masters of the Left. Materials for the catalog, S. V. Khachaturov. The readers are offered the first attempt at a systematic catalog of publications designed by artists of the so-called 'avant-garde' (or 'left') movements of the 1910s-1930s. Collected materials… Buy for 1078 UAH (Ukraine only)
- The art of the book in Russia 1910-1930, S. V. Khachaturov. The attention of readers is offered the first attempt at a systematic catalog of publications designed by artists of the so-called "avant-garde" (or "left") movements of the 1910-1930s. Collected…
Avant-garde - (fr. avant-garde - "vanguard") - a set of diverse innovative movements and directions in artistic culture modernism of the first third of the 20th century: futurism, dadaism, surrealism, cubism, suprematism, fauvism, etc. The avant-garde is an extreme manifestation of modernism as a whole. Avant-garde is a dynamic, experimental art. The beginning of the avant-garde is 1905-1906, and people talk about his death already in the 20s.
The social base of the avant-garde is protest, enmity with modern civilization. The avant-garde works are based on playing with classical culture, combined with the idea of destruction. A characteristic feature of the avant-garde is an innovative artistic practice, both in the field of artistic form and in the field of pragmatics (the interaction of the text with the reader, the inclusion of the one who perceives in the structure of the artifact).
Vanguard, unlike classical modernism, consciously focuses on the audience, actively influences it. In the avant-garde there is no concept of evolution, it does not develop - this is a sharp protest against everything that seems conservative to the avant-garde. As the Russian philosopher V.F. Petrov-Stromsky noted, “in its destructive tendencies, this art was a premonition and harbinger of the humanitarian catastrophe of 1914, which exposed all the empty talk of the Nietzsche-Gorky claim that “man sounds proud.”
The year of origin is 1907, when the young Pablo Picasso (1881-1973) painted his programmatic cubist painting The Maidens of Avignon. Cubism arose as a logical continuation of the analytical searches in the art of post-impressionists, for example, Paul Cezanne, who in 1907 turned to artists with the famous call: "Interpret nature through a cylinder, a ball, a cone."
There are three phases in the history of cubism:
1. Cezanne (1907-1909), when the cubists tried to find the simplest spatial structures of the phenomena of the world, they did not depict reality, but created a "different reality", conveying not the appearance of the object, but its design, architectonics, structure, essence.
2. The analytical phase of Cubism (1910-1912) consisted in the application of specific geometric techniques and the combination of different points or angles of view on an object. In a cubist work, all subject-spatial relationships of the visible world are deliberately violated. Dense and heavy objects can become weightless here, and light objects can become heavy. Walls, surfaces of tables, books, elements of violins, guitars float in a special optically surreal space.
3. In the last, synthetic phase of cubism (1913-1914), the cubists introduce non-pictorial elements into their canvases - stickers from newspapers, theater programs, posters, matchboxes, scraps of clothing, pieces of wallpaper, mix sand with paints to enhance the tactile texture, gravel and other small items.
N. Berdyaev saw in cubism the horror of decay, death, the "winter cosmic wind" sweeping away old art and being.
Representatives of cubism: P. Picasso, J. Braque, H. Gris.
Fauvism - (fr. Les faues - "wild animals; experiments with open color") color became the main means of emotional self-expression, showing sympathy for the objects of the surrounding world. The Fauvists were worried about the transfer of colorful, expressive manifestations of objects, the magic of color effects on inner world person. In 1905, the painting "The Joy of Life" by Henri Matisse (1869-1954) appeared at an exhibition in Paris, in which the tendency towards abstract beauty was clearly identified.
Representatives of Fauvism: J. Rouault, R. Dufy, A. Matisse, M. Vlaminka, A. Marquet, A. Derain.
Futurism and Cubofuturism.
Futurism - (lat. Futurum - "future") - one of the most outrageous trends in avant-garde art, most fully realized in the visual and verbal arts of Italy and Russia. The beginning of futurism - the publication on February 20, 1909 in the Parisian newspaper "Figaro" of the "Manifesto of Futurism" by the Italian poet F.T. Marinetti (1876-1944). At the center of the aesthetics of futurism is the admiration for modern civilization: intoxicated with the latest advances in technology, the futurists idealized urbanization, the development of industry, and material values. Futurism rejected classical high art and its "mystical ideals".
Russian futurism arose independently of Italian and was more significant. The basis of Russian futurism is the feeling of collapse, the crisis of everything old. The closest to futurism was the association of cubo-futurists "Gilea", which included A. Kruchenykh, V. Mayakovsky, V. Khlebnikov, brothers V. and D. Burliuks, V. Kamensky and others, who called themselves "futurists", "budetlenami" .
Russian cubo-futurists-artists who creatively interact with poets stand out in particular: N. Goncharova, M. Larionov, M. Matyushin, K. Malevich.
Abstractionism.
Abstractionism is a general trend in a number of avant-garde areas of the 1910s-1920s. in painting to create pictorial-plastic compositions, color combinations, devoid of any verbalized meaning. In abstractionism, two currents have developed: psychological and geometric.
The founder of psychological abstractionism was Wassily Kandinsky (1866-1944), in the paintings "Mountain", "Moscow" and others, he emphasized the independent expressive value of color. Musical associations of color combinations are important, with the help of which abstract art sought to express the deep "truths of being", the movement of "cosmic forces", as well as the lyricism and drama of human experiences.
Geometric (logical, intellectual) abstractionism is non-figurative cubism. Artists created a new type of artistic space by combining various geometric shapes, colored planes, straight and broken lines. For example, in Russia - Rayonism of M. Larionov (1881-1964), which arose as a kind of refraction of the first discoveries in the field of nuclear physics; "non-objectivity" by O. Rozanova, L. Popova, V. Tatlin; Suprematism by K. Malevich.
Suprematism.
Kazimir Malevich (1878,1879-1935) discovered Suprematism in 1913 with the painting "Black Square". "What I depicted was not an "empty square, but a perception of bias"" (K. Malevich).
Later, in the essay "Suprematism, or the World of Non-Display" (1920), the artist formulated his aesthetic principles: art is enduring, pure plastic sensibility, universal (Suprematist) pictorial formulas and compositions - ideal constructions from geometrically correct elements. The plot, drawing, spatial perspective are absent in Suprematism, the main thing is the geometric shape and open color. Care in abstract forms. 3 periods of Suprematism: black, color and white. White: when the artist began to write white forms on a white background.
Constructivism.
Constructivism is one of the main directions of the avant-garde, which placed the category of construction at the center of its aesthetics. Constructivism appeared at the dawn of the scientific and technological revolution and idealized the ideas of technism; he valued machines and their products above the individual, called for a fight against art. Design - the expedient organization of elements artistic structure, which has a specific utilitarian or functional value. The ancestor of constructivism in Russia is Vladimir Tatlin (1885-1953), who created a number of so-called corner reliefs: bringing plastic images from the picture into the real space of exposure using real materials: tin, wood, paper, painted in the appropriate colors. His famous project "Monument to the Third Communist International", which embodied the idea of the socio-political role of the Third International. Russian constructivism was in the service of the revolutionary ideology of the Bolsheviks.
The first official confirmation of constructivism in Europe took place in 1922 in Düsseldorf, when the creation of the "International Constructivist Faction" was announced. According to constructivist aesthetics, the goal of artistic creativity is "life-building", the production of expedient "things". This contributed to the development of design. Theorist and practitioner of functionalism (constructivism) Le Corbusier (1887-1965) sought to turn the city into a sun-drenched and open-air park. He created a model of a "radiant city" not divided into districts of hierarchically different levels. Corbusier asserted in architecture the ideas of rationalism, democracy and equality.
A special place in the history of constructivism was occupied by the "Bauhaus" (Bauhaus - "guild of builders") - an art and industrial school organized by the architect W. Gropius in 1919 in Germany, which actively functioned in Weimar, Dessau, Berlin until it was closed by the Nazis in 1933 The purpose of this school was to train designers based on the combination of the latest achievements of art, science and technology.
Dadaism is an avant-garde movement in art and literature. Western Europe. Formed in Switzerland and developed from 1916 to 1922. The founder of the direction is the Romanian poet Tristan Tzara (1896-1963). The origins of Dada go back to the cafe "Voltaire", opened in 1916 in Zurich, where the Dadaists (H.Ball, R.Hülzenbeck, G.Arp) held theater and musical evenings.
French "dada" - a wooden children's horse (Tzara randomly opened the "Dictionary" of Larousse),
- "dada" - incoherent, baby talk,
Dada is emptiness. Basically, this word means nothing. In the absence of meaning, there is meaning.
One of the founders of dadaism, the German poet and musician Hugo Ball (1886-1927) believed that for the Germans it was "an indicator of idiotic naivety" and all sorts of "childishness": "What we call dada is tomfoolery extracted from the emptiness in which we are wrapped ever higher concerns; the gladiator's gesture, the game played by decrepit remains... the public performance of a false morality."
The principles of Dadaism were: a break with the traditions of world culture, an escape from culture and reality, the idea of the world as chaos and madness, into which a defenseless person is thrown, pessimism, unbelief, denial of values, a feeling of general loss and meaninglessness of being, the destruction of ideals and the purpose of life . Reality in the work of the Dadaists was brought to the point of absurdity. They fought society with the help of a revolution in language: destroying language, they destroyed society. Dadaists are known primarily for their slogans and shocking behavior, and only then for their artistic texts. The works of the Dadaists are designed to shock and represent an irrational anarchic combination of words and sounds that at first glance seem meaningless. Irony, eroticism, black humor, an admixture of the unconscious are the components of the artifacts of Dadaism.
Readymades.
Ready-mades - (eng. Ready-made - "ready") - works - utilitarian items removed from the environment of their normal functioning and exhibited at an art exhibition as works of art without any changes. Founder Marcel Duchamp (1887-1968), who exhibited the first readymades in New York in 1913: Bicycle Wheel (1913) mounted on a white stool, Bottle Dryer (1914) bought on occasion from a junk dealer, "Fountain" (1917) - a urinal, delivered directly from the store to the exhibition.
Duchamp believed that no pictorial copy can show the subject better than he himself with his appearance. It is easier to expose the object itself in the original than to strive to depict it. The introduction of any object into the space of an art exhibition legitimized its status as a work of art, if this "introduction" was carried out by a recognized artist.
Surrealism.
Surrealism (fr. Surrealism - "superrealism") appeared in the 1920s. in France as a direction that arose on the artistic and aesthetic soil of the ideas of Freudianism, intuitionism, artistic discoveries of Dadaism and metaphysical painting.
The aesthetics of surrealism is set forth in 2 "Manifestos of Surrealism" by Andre Breton (1896-1966). Surrealists called for the liberation of the human spirit from the "fetters" of scientism, logic, reason, traditional aesthetics. 2 main principles of surrealism: automatic writing and dream recording. Aggravation of methods of illogicality, paradoxicality, surprise. An surreal (super-real) artistic atmosphere that takes the viewer to other levels of consciousness. For surrealism, man and the world, space and time are fluid and relative. The chaos of the world causes chaos artistic thinking- this is the principle of the aesthetics of surrealism. Surrealism brings a person on a date with a mysterious and unknowable, dramatically tense universe. A lonely man faces a mysterious world.
Surrealism in painting: J. Miro, I. Tanguy, G. Arp, S. Dali, M. Ernst, A. Masson, P. Delvaux, F. Picabia, S. Matta.
Vast is the cosmos of paintings by the Spanish painter, sculptor and graphic artist Salvador Dali (1904-1989), who declared: "Surrealism is me." (works "The Persistence of Memory", "Gala", etc.). His canvases are like a magnificent "funeral of God", a dying person in the chest, and cold tears for this loss. The shifted and skewed unrecognizable world on his canvases either freezes or convulses. The goal is to show that everything in the world is interconvertible. An unfortunate irony.
Surrealism in cinema is represented by the work of director Luis Buñuel (1900-1983)
Cinema resembles dreams and is associated with mystery. Buñuel's film "The Andalusian Dog" is famous for the scene of cutting the eye - this is the scene of a surreal gesture (act), his films "Beauty of the Day", "Woman without Love" are remarkable.
The term "pop art" (eng. Popular art - "popular, public art") was introduced by the critic L. Allway in 1965. abstract art. Pop art theorists argue that in a certain context, each object loses its original meaning and becomes a work of art. The task of the artist is to give artistic qualities to an ordinary object by organizing a certain context for its perception. Poetics of labels and advertising. Pop art is a composition of everyday objects, sometimes combined with a model or sculpture.
Representatives: R. Hamilton, E. Paolozzi, L. Allway, R. Banham, P. Blake, R.B. China, D.Hockney, P.Phillips. In America: Robert Rauschenberg (1925-2008), Jesper Johns (b.1930), Andy Warhol, R. Lichtenstein, K. Oldenburg, D. Dyne and others.
Andy Warhol used stencils to mass-produce his work at The Factory. His famous diptych "Merlin", with which he was personally acquainted. The idea of waning, fading "photocopy" paint: becoming a celebrity, you become repeatable, vulnerable, and gradually cease to exist, erased in the darkness of death. Jasper Johns painted the American flag: he cut newspaper into pieces and covered it with paint and wax.
Minimalism.
Minimalism is a reaction to the motley world of pop art, a trend in art that proclaimed the principles of marginal economy of "graphic and expressive means", which were technical details and designs in their minimum quantity and with minimal intervention of the artist in the organization of the created object. More often these were metal sculptures, painted in discreet colors.
Representatives: S. LeWitt, D. Flavin, K. Andre, R. Morris, D. Judd, F. Stellar.
Land art.
Land-art (eng. Land-art - "nature-art") is an art practice in which the artist's activity is taken out to nature and the material for art objects is either purely natural materials or their combinations with a minimum number of artificial elements. In the 1960s-1980s. artists V. de Maria, M. Heitzer, D. Oppenheim, R. Smithson, Christo and others carried out large projects in inaccessible places of the natural landscape and in deserts. On the mountains, at the bottom of dried-up lakes, artists dug huge pits and ditches. various shapes, built bizarre heaps of rock fragments, laid out spirals of stones in sea bays, painted some huge drawings in meadows with the help of lime, etc. With their projects, Land-arists protested against modern urban civilization, the aesthetics of metal and plastic.
Conceptualism.
Conceptualism (Eng. Concept - "concept, idea, concept") was substantiated in 1968 by American artists T. Atkinson, D. Bainbridge, M. Baldwin, J. Kossuth, L. Weiner. Joseph Kossuth (b.1945) in the program article "Art after Philosophy" (1969) called conceptual art cultural phenomenon that replaced traditional art and philosophy. The concept is the idea behind the work. The work must be a documented project, a documentary fixation of the concept and the process of its materialization. For example, J. Kossuth's composition from the Museum of Modern Art in New York "One and Three Chairs" (1965), which represents three "hypostases" of a chair: the chair itself actually standing against the wall, its photograph and a verbal description of the chair from the encyclopedic dictionary.
Modernism in theater and cinema.
One of the ideologists of modernism, the French philosopher Jacques Lacan (1901-1981), believed that the cause of many neuroses, psychoses and other disorders that pose a threat to mental life man, are "the theatrical effects of the human self." Being involved in the process of identification (search for one's own real "I"), a person exposes himself to the temptation of the game, changing masks. The modernist theater reflected this tragedy of human split, the fragility of the "I", showing the absurdity of the world and, at the same time, performed a kind of therapeutic-cathartic function of releasing the human psyche from self-isolation in the wilds of loneliness.
Tragedy theatre. Realization in the stage space is not a specific work of the playwright, but his entire work, perceiving it as a holistic world of interacting images and interrelated conflicts.
Representative: English filmmaker-reformist Gordon Craig.
Epic theatre. Creates a system of new relationships based on cheerful relativity and moralizing immorality, cynical freedom of communication between the actor and the image.
Representative: German playwright and director Bertolt Brecht (1898-1956) - founder of the theater "Berlin Ensemble".
Theater of the social mask. The theatrical mask expresses a certain social type, without individual traits. For example, each character in the performances of V. Meyerhold ("The Bedbug", "The Forest", "The Lady with the Camellias", etc.) was facing the auditorium and independently reported about himself to the audience. Relations between people are weakened, conflicts are obscured.
Representative: Russian experimental director Vsevolod Meyerhold (1874-1940).
"Theatre of Violence" They tried to return the theater to the ancient form of a ritual sanctuary, where the viewer can join the original, "cosmic" elements of vitality, falling into a "transcendental trance".
Representative: Antonin Artaud (1896-1948).
theater of the absurd.
The main motto: "There is nothing to express, there is nothing to express from, there is no power to express, no desire to express, as well as an obligation to express."
The main representative: Eugene Ionesco (1909-1994), in his works "Bald Singer", "Lesson", "Chairs" and so on. through bringing everyday life to fantasy, exaggerating human relationships and feelings, he seeks to show the absurdity of human existence. For example, in the play "Lesson": a mathematics teacher kills his student, following the logic: "arithmetic leads to philosophy, and philosophy leads to crime", "words can kill." In the play "Chairs" two old men carry chairs, wait for a speaker who does not come - they kill themselves. The image of the emptiness of space in the hall and in the souls of these old people is brought to the limit. In Ionesco's tragicomedy "Waiting for Godot", the scene is a road, on the side of which there is a lonely tree, under which 2 heroes are sitting. Their meeting is a moment, a moment. The past is no more, and the future has not come. The heroes do not know where they are coming from, they have no idea about the passage of time. They are powerless to do anything. They are weak and seem to be sick. They are waiting for Godot - and they themselves do not realize who it is. In the play "Endgame" the action takes place in one room in which the hero is confined to a chair, unable to move independently. In the play "Oh happy days" in the desert space, the heroine Vini is chained to one point. In the 1st act, she is covered up to her waist with earth, in the 2nd act only her head is visible. The metaphor of a point in space, to which the heroine is attached, is death, a grave that draws everyone towards itself, although not everyone notices until the time of her presence.
Representatives of the "theater of the absurd": A. Adamov, J. Genet, S. Beckett.
"Photogeny" - the style of the French director and film theorist Louis Delluc (1890-1924), including the methods of fast and slow shooting, associative editing, double composition to emphasize the inner significance, mystery of the subject.
monumental style.
Films of the monumental style are films without a script, the meaning of the work was conveyed to the audience not through the development of characters or plot, but through a new type of montage - "montage of attractions", in which gestures played an important role.
Representative: Russian film director Sergei Eisenstein (1898-1948), his films "Battleship Potemkin", "Ivan the Terrible", "Alexander Nevsky", etc.
Post-Hollywood style.
It arose as a reaction to the consequences of the "economic miracle" in Europe after the Second World War. The philosophical base is the ideas of F. Nietzsche ("about the death of God") and O. Spengler (about the decline of Europe). The hero of the films is an extra person in the welfare society.
Thus, the German director and screenwriter Rainer Werner Fassbinder (1945-1982) combined the motifs of the works of T. Mann with elements of the criminal chronicle, the music of L. Beethoven with the screams of football fans, and so on.
Modernism in music.
German philosopher and sociologist of the middle of the XX century. Theodor Adorno (1903-1969) believed that the true music is the one that conveys the feeling of confusion of the individual in the outside world and is completely fenced off from any social tasks.
specific music.
Recording natural or artificial sounds, which are then mixed and edited.
Representative: French acoustician and composer Pierre Schaeffer (1910-1995).
Aleatorica.
In music, the main thing is randomness. So, a musical composition can be built with the help of lots, on the basis of the moves of a chess game, splashing ink on music paper, throwing dice, and so on.
Representatives: German composer, pianist and conductor Karlheinz Stockhausen (born 1928), French composer Pierre Vulez.
Pointillism.
Music in the form of jerky sounds surrounded by pauses, as well as short 2-3 sounds, motifs.
Representative: Austrian composer and conductor Anton Webern (1883-1945).
Electonic music.
Music created with the help of electronic-acoustic and sound-reproducing equipment.
Representatives: H. Eimert, K. Stockhausen, W. Mayer-Epper.
AT THE TURN OF THE XIX-XX CENTURIES
Introduction
The history of the culture of the milestone periods of human development is always interesting, since it is at the turn of the century that new phenomena in music arise, new trends represented by young composers, artists and writers who not only reject the techniques and techniques of previous times, but also offer their own vision of the world, filling his new philosophy and ideology, as well as their own methods of writing paintings, poetry and music.
Despite the fact that the phenomenon of the Russian avant-garde did not exist for long, only a few decades, thanks to it such great artists as Kazimir Malevich and Wassily Kandinsky were "born", who left a large number of works of art. The second decade of the last century put Malevich and Kandinsky on a par with Picasso. special meaning has the fact that the general concept of "Russian avant-garde" consists of several trends that were characteristic not only for painting, but for all art of that time, including architecture, sculpture, cinema, design and literature. Despite the fact that the avant-garde trend in art developed in other countries, many trends appeared in Russia. They also received the name "Russian avant-garde". The legacy of Russian avant-garde artists is still very popular. These are paintings by artists, and poems by poets, among which a special place is occupied by the work of Vladimir Mayakovsky; and unsurpassed buildings and constructions, which in our time delight the eyes of Muscovites.
The relevance of the project.
The turn of the 20th and 21st centuries is the very time in which we live. That is why I was interested in turning to the history of culture of the last century, when the romantic and post-romantic art was replaced by composers, artists and poets who proclaimed the ideas of avant-garde in their works. I wanted to understand the ideas of the heralds of avant-gardism, because even today many of the ideas put forward by them more than 100 years ago are manifested in the art of our time, many composers still use the composing technique proposed by the authors of music back in the early twentieth century, still paintings avant-garde artists attract attention, causing controversy in their defense and against.
Stages of work on a creative project.
In the work on the project, you can identify the main stages of work that were associated with the solution of certain tasks.
I. Problematization stage . The formulation of the problem, the topic of the project, on which we tried to answer the following questions.
Fundamental question:
What is avant-garde in art?
What is the history of the emergence of avant-garde?
How do new, avant-garde views manifest themselves in philosophy, painting, poetry and music of the early twentieth century?
What ways of conveying content in a work do young authors offer?
How are the features of avant-garde manifested in various types of art?
What new techniques of composing music appear at the beginning of the 20th century?
What is the significance of avant-gardism in the first decades of the 20th century in the history of world culture?
Thus, subject of study is avant-garde writings and works in music, poetry and painting of the XX century.
Expected results:
1. Conducting a historical study of the emergence and development of avant-garde ideas will help broaden your horizons;
2. Expansion own ideas about cultural phenomena that took place at the turn of the XIX-XX centuries;
3. Development of analytical skills when considering and studying the dodecaphony technique proposed by the composers of the Novovensk school;
4. Creating a presentation that reflects the manifestation of avant-garde in various types art.
2. Stage of goal setting. The purpose of our activity is to search for and study this topic and its practical implementation.
Objective of the project: acquaintance with various areas of avant-garde art of the first decades of the 20th century.
Project objectives:
Learn about the various directions of art within the framework of avant-garde;
Determine the specifics of some of them, their ideological content;
Reveal the importance of avant-garde for the development of world culture;
Create a presentation based on a creative project that reflects the content of this topic.
We planned to complete the research part of the project in 2 months (60 days), so the following work plan was drawn up.
|
№ |
What should be done |
Period of execution |
Performance |
|
1. |
Thinking through the purpose and objectives of the project |
1 day |
Done |
|
2. |
Recording stages of work and planning |
1 day |
Done |
|
3. |
Drawing up a project development |
2 days |
Done |
|
4. |
Selection of material about varieties and specifics artistic language within the avant-garde. |
15 days |
Done |
|
5. |
Working with sources: Review of literature on the topic; Acquaintance with musical, poetic and pictorial works of art;
|
25 days |
Done |
|
6. |
Creation of the text of the project. Systematization of the studied material. |
5 days |
Done |
|
7. |
Evaluation of the work done |
2 days |
Done |
|
8. |
Editing your work |
1 day |
Done |
|
9. |
Work on creating a presentation |
8 days |
Done |
Project completion time - 2 months (60 days)
In our work, we used the following methods:
The method of a comprehensive comparative analysis of the manifestation of the features of avant-garde in works of various types of art (painting, music, literature)
By the method of historical analysis, as in works of art, the features of new philosophical ideas, new figurative content are manifested;
The method of describing the studied material.
Study and analysis of research material.
Production and design of the project product.
Preparation for the presentation of research material.
Acquaintance of classmates with the history of the emergence and artistic significance of avant-garde art at the beginning of the 20th century.
Presentation of the content of the project and presentation at the lessons of musical literature in the Children's Art School, lessons of the Moscow Art Theater in a secondary school.
To write a report on the progress of work on the project, the capabilities of the WORD text editor were used.
When developing the presentation, the following computer technologies were mastered: office programs Microsoft Word, Microsoft PowerPoint.
As a result of the implementation of this project, the skills of working with information search, the ability to select and evaluate the most significant material for the disclosure of the topic were improved.
A creative report was held for students in the form of a presentation.
The project was presented at All-Russian competition creative project s students.
Preparation for the presentation of the results.
Presentation of the results obtained at the All-Russian competition of creative projects of students.
Literature
Internet
Conversations with teachers at the Children's Art School on issues of interest.
Working with a dictionary;
Work with Internet sites;
Analysis of musical, poetic and artistic works.
Apply the acquired knowledge in the lessons of history and world art culture in a secondary school.
Use this creative project as an illustrative material in the lessons of musical literature at the Children's Art School.
The term "avant-garde" appeared in the 1920s and was finally established after the Second World War. The phenomena of the avant-garde are characteristic of many types of art - theatre, literature, music, but especially - for the visual arts. The avant-gardists abandoned the traditional techniques characteristic of realistic art movements. New trends in the visual arts (cubism, suprematism, abstractionism, etc.) converged in an effort to free themselves from objectivity and figurativeness. Avant-gardism is characterized by the denial of all foundations; this direction denies any manifestation of the continuity of artistic traditions.
At different historical stages, the role of the avant-garde was played by successive currents: 1900-1910. - the time of the appearance of Fauvism, Cubism, Futurism, Expressionism, Dadaism, abstract art; in the 1920s-1930s surrealism comes to the fore, in the post-war period, new trends of abstractionism arise - abstract expressionism, tachisme, informal art, etc .; 1960s-1970s - a transitional era from the "classical" avant-garde to neo-avant-garde, or postmodernism. By creating many techniques, methods, forms of artistic and anti-artistic expression, avant-garde artists contributed to the emergence and development of new types of art, such as photography, cinema, and electronic music.
With all the diversity creative programs avant-garde, one can still single out a number of such common features as the position of constant protest, the rejection of classical forms of fineness and beauty in favor of focusing on the primitive, the ability to constantly renew itself. The image is subjected to expressive deformations, analytical articulation and various game transformations, up to the complete displacement of pictoriality. Rejecting the self-contained form, avant-garde artists strive to "open" it, imparting dynamics to the work in various ways. Such an "open" work presupposes the participation of the viewer in the process of revealing the meaning of the work: the viewer solves the riddles and paradoxes offered to him, endows the signs and symbols with their own meaning. A prime example such is the “unraveling” of Suprematism in painting. Suprematism Created by K. Malevich in 1910. The purpose of the direction is to express reality in simple forms (square, circle, triangle, straight line), which underlie other forms of the physical world. In the paintings of this direction, there are no concepts of top, bottom, right, left - all directions are equal, as if in space. A self-contained world emerges. Malevich's famous "Black Square" became the pictorial manifesto of the trend.
The transitional phenomenon that served as the basis for many other currents of the Russian avant-garde was cubo-futurism. This direction combined the traditions of Italian Futurism and French Cubism. O. Rozanova, L. Popova, N. Udaltsova, N. Goncharova, A. Exter, K. Malevich in a certain period of their work worked in the spirit of cubo-futurism. These works were as abstract as possible, abstracted from the specific forms of reality and the traditional rules for creating a painting.
The main features of avant-garde
1. Rejection of the traditional division of literature into professional and non-professional, accompanied by an energetic rejection of everything that is labeled as “academic”, “museum”, and, on the contrary, a creative interest in folklore.
2. A conscious and sometimes shocking attitude towards “incomprehensibility” as a way to overcome the automatism of aesthetic perception, therefore, according to Maxim Shapir, “misunderstanding, complete or partial, organically enters into the avant-garde artist’s plan.
3. The desire to blur the lines between different genres and, moreover, individual art forms, culminating in such hybrid forms as visual poetry.
4. The search for one's own, "certified" genre, technique or technique, which in the minds of the public and in the memory of culture will henceforth be strictly associated with this and no other name. So, the calling card of Dmitry Avaliani was leaf-turners, Alexander Gornon is exclusively interesting in phonosemantics.
5. The outrageous and scandalous nature of the presentation by avant-garde artists of themselves and their works.
Avant-gardism has touched many areas in art: painting, literature, cinema, music and more. Consider several avant-garde movements. Let's turn to avant-garde literature.
Futurism- an offshoot of modernism, an avant-garde movement of the 10-30s of the XX century. It arose in Italy in 1909. The author of the first manifesto of the futurists would have been the poet Filippo Tommaso Marinetti (1876-1944). Futurists opposed literary traditions. They called for the destruction of museums and libraries, to free Italy from professors and archaeologists. The old culture, which, according to them, sang of laziness of thought and inaction, was opposed by the futurists to the new one. Futurists opposed psychologism in literature, because psychology has been exhausted to the bottom and it will be replaced by the lyrics of inanimate matter. In their opinion, a red-hot wood or iron causes stronger feelings than a woman's smile or tears. The Futurists carried out the destruction of vocabulary, called on nouns to be put as they come to mind, to cancel the adjective, which delays the dynamics of perception, to connect words without auxiliary words. Futurists shocked the audience with abstruse language. In the visual arts, the dynamics, the spirit of the era, the futurists conveyed with abstract lines and amazing shapes, variegated colors. The music accumulated roar, noise.
Futurism had other features in Slavic countries. Most clearly manifested itself in Russia. The Futurists declared themselves in 1911. Russian futurists created artificial words, illogical syntactic constructions. Russian futurist O. Kruchenykh, for example, wrote such a poem
hole, bul, schyl
ubeshur
skoom
you with boo
g l ez
He stated that in these five lines there is more Russian national than in the entire poetry of A.S. Pushkin.
Vanguard in painting .
E 
expressionism- current in European art era of modernism, which was most developed in the first decades of the 20th century, mainly in Germany and Austria. Expressionism seeks not so much to reproduce reality as to express the emotional state of the author. Expressionism arose as an acute, painful reaction to the First World War and revolutionary movements. The generation traumatized by the massacre of the World War perceived reality in an extremely subjective way, through the prism of such emotions as disappointment, anxiety, and fear. Motifs of pain and screaming are very common. The German Expressionists considered their predecessors the Post-Impressionists, who in late XIX century, opening up new expressive possibilities of color and line, they moved from reproducing reality to expressing their own subjective states. The dramatic canvases of Vincent, van Gogh, Edvard Munch and James Ensor, with all the individuality of the manners of these artists, are permeated with overwhelming emotions of delight, indignation, horror. Banality, ugliness and contradictions modern life gave expressionists feelings of irritation, disgust, anxiety, which they conveyed with the help of angular, twisted lines, quick and rough strokes,
Edvard Munch. scream
screaming color. Preference was given to extremely contrasting colors in order to enhance the impact on the viewer, not to leave him indifferent. Unremarkable, at first glance, pictures of modern street life received under the brush of the expressionists overflowing emotional coloring.
At the beginning of the twentieth century, a new direction appeared in art - cubism. This direction is based on the decomposition and deformation of objects. The depicted objects are decomposed into geometric planes, their shapes are shifted in a certain way. The origins of cubism are closely connected with the name of the famous Pablo Picasso. Picasso's cubism is caused by the artist's interest in the primitivist African sculpture. He became interested in her at the turn of 1907-1908. Chopped forms African art consolidated Picasso's desire for an abstract generalization of images
Cubism in painting - not just an image of an object, it is an image of an object, 
which is mentally destroyed and re-created in the mind of the artist. Most often, objects on canvases in the style of cubism completely lose touch with their actual prototypes and turn into abstract symbols, the meaning of which is available only to one author. The style of cubism expressed a huge influence on the development of painting, changed the idea of artists about how to convey texture and volume and space.
If we talk about Russian cubism, it should be understood that the development of this direction in this country went in a slightly different way than in European countries. The works of Chagall, Malevich, Archipenko, Altman and Lentulov are often attributed to Russian cubism, however, their works can also be taken as an example of other trends in art. Undoubtedly, cubism in painting produced a tremendous shock. It was he who opened the way for abstract creativity, gave the audience the opportunity to interpret the symbols that are depicted in the works of the Cubists. Cubism in painting prepared the mass consciousness of spectators and artists, serving as the basis for the development of such abstract art movements as futurism, constructivism and much more.
father theatrical avant-garde Alfred Jarry is considered to be the author of the play King Ubu, first staged in 1896 on the stage of the symbolist theater "Creativity" in Paris. The Parisians, brought up on classicism, were shocked by the obscene style and puzzled by the unaccustomed form of the play. Many theater historians claim that Alfred gave birth to all the avant-garde theatrical movements of the 20th century: surrealism, absurdity, and the "theatre of cruelty". In Russia, this play was practically not staged, in 2001 it was performed by one of the Moscow theaters.
All representatives of the avant-garde movements were in favor of the reform of the theater, but the Futurists, led by F.T. Their theatrical theories influenced all subsequent European stage direction in the 20th century. Italian futurism and Dadaism have common roots - the work of A. Jarry. .
Futurists and Dadaists questioned the contemporary theatrical system. New theater solutions futurists substantiated in twelve theoretical manifesto documents. Their criticism began with a condemnation of the primacy of dramaturgy in theatrical art, which was regarded as violence against the game - a free creative element. In the Manifesto, the futurists announced the creation of a new theater - improvisational, dynamic, surreal. They took priority from the word, the main element of academic theater, and gave it to physical action. The place of dramaturgy was occupied by short plays without words, in which there were skeletons of scenes, but there was no logic of action, psychological development of the image. Subsequently, in the second half of the 20th century. the plastic theater of the artist arose. Both Futurism and Dadaism were skeptical about the main conquest of the early 20th century. - director's theatre. In the director they saw a bourgeois from art. They also rejected the position of the actor, who was considered nothing more than an object on the stage, the same as a table or chair.
How does the avant-garde of music manifest itself?
Turning to a discussion of music, it is especially interesting to note how in a relatively short time these musical innovations arose in different points of the globe, among composers who had no contact with each other at all, so one cannot speak here of the “malicious influence of one apostate from age-old musical norms”, who, “violating the laws of music”, and then converted his other colleagues to his faith. As you know, such authors as Scriabin, Schoenberg, Stravinsky, Bartok, Ives, Roslavets, Lurie and others acted absolutely independently and came to results that were as contrasting with each other as they were similar to each other in courage, inventiveness and separation. from the musical language of the past. It can be said that the most important thing that united all these dissimilar composers is the hearing of cosmic processes invading the space of that time. And it was this factor that turned out to be decisive in their aesthetic formation. The path of development of the musical language of the late nineteenth century. was dramatic and poignant. As always in art, some systems become obsolete and new ones take their place. This is the essence of the avant-garde. In the Russian musical avant-garde, two fundamentally different generations should be distinguished: the avant-garde of the 1910s–1920s and the avant-garde of the 1960s–1980s. Although there is some continuity between them, it is not significant.
Avant-garde 1910s–1920s
Researchers note that the early musical avant-garde is a very heterogeneous phenomenon. The main thing here was the search for some kind of "new worldview", "sound worldview". In line with the "new world hearing" many basic musical categories were rethought - sound, pitch system, timbre, harmony, etc. Almost all of the early avant-garde artists in one way or another were updating the traditional temperament system and inventing new systems of tone division. In connection with the renewal of temperament, the question arose of a new attitude to sound. Ideally, avant-gardists strove to invent new instruments or devices corresponding to this approach: the famous theremin (the world's first electroacoustic instrument built by engineer L.S. ” and “Crystal”. These instruments gave a fundamentally new sonorics, but just as often attempts were made to "improve" traditional pianos, organ and apply new playing techniques to them.
One of the creations of the avant-garde movement in the music of the 20th century was dodecaphony. The author of this technique was Arnold Schoenberg, an Austrian composer, creator of the "New Vienna School", a teacher who taught such outstanding students as Anton Webern, Alban Berg and others.
Dodecaphony replaced the diatonic system familiar to us. The essence of the diatonic system is that of the 12 sounds that the European ear distinguishes (the so-called temperamental system), you can take only 7 and build a composition based on them. Seven sounds formed a tonality. For example, the simplest key in C major uses the well-known scale: do, re, mi, fa, salt, la, si. Simply put, this key uses only the white keys on the piano. The tonality of C minor differs in that instead of mi, E-flat appears. That is, in the key of C minor, it is no longer possible to use a simple mi, with the exception of the so-called modulations, that is, transitions to a related key that differs from the original one by a decrease or increase by half a tone. Gradually towards the end of the nineteenth century. modulations became more and more daring, composers, in the words of Webern, "began to allow themselves too much." And now the contrast between major and minor gradually began to fade away. It begins with Chopin, is already clearly visible in Brahms, and the music of Gustav Mahler is built on this. By the beginning of the twentieth century. Novye composers who experimented with musical form reached a dead end. It turned out that you can compose music using all twelve tones: it was chaos - a painful period of atonality.
There were two opposite paths out of the musical chaos. The first is the complication of the diatonic system through polytonality, i.e. by way of simultaneity of sound - went Stravinsky, Hindemith, Shostakovich. The second, tough path was taken by the New Viennese, and this was the creation of an entire system from a fragment of the old system.
The fact is that by the end of the nineteenth century. not only the diatonic principle fell into decline, but also the classical Viennese harmony itself, that is, the principle according to which there is a voice leading the melody, but there is an accompaniment. In the history of music, Viennese harmony was preceded by counterpoint, or polyphony, where there was no hierarchy of melody and accompaniment, but several equal voices.
The Novovenets largely returned to the system of strict pre-Bach counterpoint. By abandoning harmony as a principle, they were more easily able to organize music in a new way. Without abandoning the equality of 12 tones (atonalism), Schoenberg introduced a rule according to which, when composing a composition, a sequence of all non-repeating 12 tones must pass, after which it could be repeated and varied, that is, be 1) direct; 2) rakhodnaya, that is, going from end to beginning; 3) inverted, that is, as if inverted relative to the horizontal, and 4) inverted in a shell. The composer had four series in his arsenal. This was, of course, very little. Then a rule was introduced, according to which the series could start from any step, retaining only the original sequence of tones and semitones. Then 4 series, multiplied by 12 temperament tones, gave 48 possibilities. This is the essence of 12-tone music. Its basis is the equality of all sounds.
Russian avant-garde as a phenomenon of art of the 20th century
Russian avant-garde is a general term for a significant artistic phenomenon that flourished in Russia from 1890 to 1930, although some early manifestations date back to the 1850s and later to the 1960s. The phenomenon of art of the 20th century, defined by the term "Russian avant-garde", does not correspond to any particular artistic program or style. This term is finally assigned to the radical innovative trends that took shape in Russian art in the pre-war years - 1907-1914, coming to the fore during the years of the revolution and reaching maturity in the first post-revolutionary decade. The various currents of the artistic avant-garde are united by a decisive break not only with the academic traditions and eclectic aesthetics of the 19th century, but also with the new art of the Art Nouveau style - dominant at that time everywhere and in all forms of art from architecture and painting to theater and design. Common to the Russian avant-garde was a radical rejection of cultural heritage, a complete denial of continuity in artistic creativity and a combination of destructive and creative principles: the spirit of nihilism and revolutionary aggression with creative energy aimed at creating a fundamentally new thing in art and in other spheres of life.
The main representatives of this trend in Russia are V. Malevich, V. Kandinsky, M. Larionov, M. Matyushin, V. Tatlin, P. Kuznetsov, G. Yakulov, A. Exter, B. Ender and others.
All currents of avant-garde art are indeed characterized by the substitution of spiritual content with pragmatism, emotionality with sober calculation, artistic imagery with simple harmonization, aesthetics of forms, composition with construction, big ideas with utilitarianism. Traditional Russian maximalism, which was clearly manifested in the movement of the Wanderers and the "sixties" of the 19th century, was only strengthened by the Russian revolution and led to the fact that Soviet Russia is considered the birthplace of avant-garde art all over the world.
The new art conquers with unbridled freedom, captivates and captivates, but at the same time testifies to degradation, destruction of the integrity of content and form. The atmosphere of irony, play, carnivalism, and masquerade inherent in some trends in avant-garde art not only masks, but rather reveals a deep inner discord in the artist's soul. The ideology of avant - gardism carries within itself a destructive force . In the 1910s, according to N. Berdyaev, a "hooligan generation" was growing up in Russia.
The avant-garde was aimed at a radical transformation of human consciousness by means of art, at an aesthetic revolution that would destroy the spiritual inertia of the existing society, while its artistic utopian strategy and tactics were much more decisive, anarchist and rebellious. Not satisfied with the creation of exquisite "centers" of beauty and mystery, opposing the base materiality of being, the avant-garde introduced into its images the rough matter of life, the "poetics of the street", the chaotic rhythm of the modern city, nature, endowed with a powerful creative and destructive force. More than once, he declaratively emphasized the principle of "anti-art" in his works, thereby rejecting not only the former, more traditional styles, but also the well-established concept of art as a whole.
The spectrum of avant-garde trends is great. Transformations covered all types of creativity, but fine arts constantly acted as the initiator of new movements. The masters of post-impressionism predetermined the most important tendencies of the avant-garde; its early front was outlined by group performances by representatives of Fauvism and Cubism. Futurism strengthened the international contacts of the avant-garde, introduced new principles for the interaction of the arts (art, literature, music, theater, photography and cinema). In the 1900-10s, new trends are born one after another. Expressionism, Dadaism, Surrealism with their sensitivity to the unconscious in human psyche marked the irrational line of the avant-garde, in constructivism, on the contrary, its rational, constructive will manifested itself. Not all currents of the European avant-garde found reflection in the Russian avant-garde. Such currents as Dadaism, Surrealism, Fauvism and some others were typical only for Europe.
During the wars and revolutions of the 1910s, the political and artistic avant-garde actively interacted. The left forces in politics tried to use the avant-garde for their agitation and propaganda purposes, later the totalitarian regimes (primarily in Germany and the USSR) sought to suppress it with strict censorship, driving the avant-garde underground.
Under the conditions of political liberalism, since the 1920s, the avant-garde has been losing its former pathos of confrontation, entering into an alliance with modernity, establishing contact with popular culture. The crisis of the avant-garde, which by the middle of the 20th century had largely spent its former "revolutionary" energy, was an incentive for the formation of postmodernism as its main alternative.
1917 changed everything. It didn't become obvious right away. The first 5 years - the heroic five-year period 1917-1922 - still left ground for hope. But soon the illusions dissipated. The drama of the destruction of the grandiose bastion of modernist art, created in Russia by genius and labor, manifestos and heated discussions of world famous masters, began. By the turn of the 1920s and 1930s, non-realistic trends were completely banned; some artists left for other countries; others were repressed or, succumbing to cruel inevitability, abandoned the avant-garde search. In 1932, numerous art associations were finally closed; the authorities created a single Union of Artists.
It can be concluded that the Russian avant-garde is in fact a phenomenon of the 20th century, since before it no other art style had dared to make such a challenge to traditional art.
Conclusion
Having studied this topic, we can safely say that the entire further development of the music of the 20th century was determined by the creative explosion of the beginning of the century. The manifestation of a new aesthetic experience at the beginning of the century can be compared with this transition from the world of two to the world of three dimensions. There are two possible explanations for the phenomenon of the artistic surge of the early twentieth century - the first is a miracle and a providential phenomenon, and the second is the progressive accumulation of spiritual wealth, which one day suddenly manifested itself in this way. After all, the high culture that preceded it was the nutrient soil for the New Culture. Schoenberg could never have formed as Schoenberg if he had not grown up in the traditions of Bach, Beethoven, Wagner and Brahms. This idea is quite relevant for literature and painting.
Hypothesis that the emergence of new philosophical scientific views causes a variety of new trends in the cultural life of a person, as an expression of the philosophy of life, the worldview of a person is true. This confirmed the acquaintance with the paintings of artists, musical works and poetic creations.
Working on this project helped me expand my understanding of various types of art, contributed to a deeper understanding of the culture of the early twentieth century. Helped to see and learn a lot of interesting things musical compositions, works of literature and painting
Based on the results of the work on the project, I presented a presentation and a story about the avant-garde of the early twentieth century in front of the students of my group in the classroom musical literature. The guys showed interest in my project and were keenly interested in the information I offered.
Bottom line project activities was the creation of a computer presentation, which showed that the material on the study of avant-garde works contributed not only to my intellectual growth, but also activated my imagination, inspiration, realizing my creative potential.
Bibliography
Alpatov M. Art. - M.: Enlightenment, 1969.
Album. Russian artists from “A” to “Z”. - M.: Slovo, 1996.
Vlasov V.G. Styles in art. Dictionary. - St. Petersburg: Lita, 1998.
History of Russian and Soviet Art - M.: Higher School, 1989. S. 53.
Krusanov A.V. Russian Avant-Garde 1907-1932: A Historical Review. T.1. - St. Petersburg, 1996.
Culturology: Proc. for Universities / Ed. N.G. Baghdasaryan. - M.: Higher school, 1998.
Popular art encyclopedia. - M.: Pedagogy, 1986.
Russian artists. - Samara: AGNI, 1997.
Russian artists of the XII-XX centuries: Encyclopedia. - M.: Azbuka, 1999.
Site futurism in pictures http://www.woodli.com
Wikipedia site http://www.wikipedia.org
Site http://www.Artonline.ru
Site http://www.krugosvet.ru
uploads -> Research work Ecological situation in the forests of the Arsky forestry on the example of the Baltasinsky district forestry
One of the main directions of the avant-garde. Unlike traditional art, it does not imitate reality and does not reproduce its elements. The object of abstract art is the artist's toolkit: color, line and form. The first abstract works were created by Wassily Kandinsky in the late 1900s and early 1910s; The first abstract work is considered to be his "Picture with a Circle" (1911). In 1912-1915, abstract pictorial systems of Luchism (Larionov, 1912) and Suprematism (Malevich, 1915) appeared.
Vanguard
At first, the term was used in military affairs and in relation to political events- until in 1885 the French critic Théodore Duret used it in art criticism. However, in this sense the word did not take root. Only in the 1950s did it return to art history thanks to the French critic Michel Sefort, who for the first time called Russian art of the early 20th century avant-garde.
Allness
The term was coined in the spring of 1913 by Ilya Zdanevich, an artist, writer, publisher and journalist. The artistic and aesthetic ideas of Mikhail Larionov and the artists of his circle formed the basis of omnipotence: in the catalog for the exhibition "Target", he recognized all existing styles - cubism, futurism, orpheism and others. On November 5 of the same year, Zdanevich publicly presented his concept in Moscow at the closing of the exhibition of Natalia Goncharova. The lecture was called "Natalia Goncharova and All-Happiness". After that, Zdanevich went to St. Petersburg to propagate the ideas of omnipotence there in lectures and debates. These performances were characteristic of the avant-garde outrageous character. So, at the end of the “Face Painting” performance on April 9, 1914, Zdanevich painted his face with black paint, and on April 17 of the same year, at the “Worship of the Shoe” action, he denied everything that was considered beautiful, and sang the beauty of the shoe, “beautiful, like cars and engines ".
fence painting
Appeal to the plots and style of the inscriptions on the fences is one of the most characteristic features of the avant-garde and neo-primitivism. This direction is especially noticeable in the works of Larionov of the neo-primitivist period.
Constructivism
El Lissitzky. Project of a skyscraper near the Nikitsky Gates, view from Tverskoy Boulevard charnelhouse.org From the Latin constructio - "construction". The main features of constructivism are rigor, conciseness and geometric forms. The style was officially designated in 1922 in the book of the same name by the artist and art theorist Alexei Gan. Among the most famous constructivists are Vladimir Tatlin, Alexander Rodchenko, Varvara Stepanova, architects Moses Ginzburg, Konstantin Melnikov, and the Vesnin brothers. Constructivism spread in the most different areas artistic creativity: theatrical scenery and costumes, book design, architecture, etc.
Cosmism
Lazar Khidekel. Cities of the future. Above ground city. 1927 newsfeed.kosmograd.com A philosophical concept that originated in the 1870s and refers to philosophers and scientists who thought about extraterrestrial space and the cosmos. Non-objective, or abstract, art contributed to the development of cosmism, while Malevich's students — the artist Ivan Kudryashov and the architect Lazar Khidekel — developed the cosmic aspect of geometric non-objectivity and the ideas of cosmism.
Cubism
Georges Braque. Violin and candlestick. 1910 San Francisco Museum of Modern Art Cubism was formed in France in the autumn of 1908 in the works of Georges Braque and Pablo Picasso. It penetrates into Russia in different ways. Thus, the artist Alexandra Exter regularly brings various information about the new fashionable style from Paris, and in 1908 the collector Sergei Ivanovich Shchukin opens his mansion in Bolshoy Znamensky Lane to everyone. Among other things, the collection contains works by the Cubists, and future tambourines regularly visit the gallery. In 1912, an article by the artist and poet David Burliuk "Cubism" was published in the collection "A Slap in the Face of Public Taste". Cubism, he writes, implies a flat understanding of the world or a canon of a shifted construction, and its most important technique is the depiction of an object from several points of view. Three years later, in the manifesto “From Cubism to Suprematism”, Kazimir Malevich defines the essence of the movement as “dissonance” resulting from the “meeting of two forms”: “In the principle of Cubism, there is still a very valuable task, not to transfer objects, but to make a picture.<...>In our era of cubism, the artist destroyed the thing as such, with its meaning, essence and purpose.
cubofuturism
Natalia Goncharova. Factory. 1912 State Russian Museum For the first time this concept was used in 1912 by the French critic Marcel Boulanger, and the next year the term becomes widespread in Russian culture. The poetic-artistic group "Gileya", as well as the artists of the circle of the "Union of Youth" consider themselves to be Cubo-Futurists. In cubo-futuristic works, the world appears fragmented into fragments or disassembled into elements. In November 1913, Malevich calls his works cubo-futuristic in the catalog of the Union of Youth exhibition. In 1912-1913, the cubo-futuristic painting of Natalia Goncharova ("Factory") appeared.
left art
Alexander Rodchenko. Magazine cover option "Lef" "Lef"- "Left Front", a magazine published in Moscow in 1923-1925, editor-in-chief - Vladimir Mayakovsky. Several rooms are decorated by Alexander Rodchenko.(cartoon of O. Brik). 1924 State Museum fine arts them. A. S. Pushkin
In the spring of 1915, after the Exhibition of paintings of left currents in Petrograd, the term "left art" along with the concept of "futurism" began to be applied to innovative art. Three federations were created in 1917; one of them was called "left" and united the majority of avant-garde artists. By 1919, the term changed its meaning: now it is called non-objectives and proletarian artists. In the early 1920s, the latter formed a group around the Lef magazine.
Lineism
Alexander Rodchenko. Linear design No. 108. 1920 monoskop.org In 1919, the term was invented by Alexander Rodchenko, denoting one of the currents in non-objective art. “Introduced and announced the line as an element of construction and as an independent form of painting,” he wrote in the Manifesto of Early Constructivism.
Rayism
Mikhail Larionov. Rooster (Radiant study). 1912One of the first non-objective painting systems developed by Mikhail Larionov. Rayonism, Larionov believed, should connect the visible material world and the spiritual world in a single harmony. The artist created the first Luchist works in 1912, and at the same time they were shown at the exhibitions of the World of Art. In 1913 and 1914, Larionov's Luchist painting was exhibited at the Target and Number 4 exhibitions. Realistic Rayonism is characterized by animalistic plots. For the next stage of rayonism - pneumorayism - the use of other techniques (for example, papier-mâché inserts, signs like notes, crosses, etc.).
Orientalism
An important part of the artists program early avant-garde. The influence of Oriental art was mainly reflected in theories and manifestos and attracted avant-garde artists more with plots and themes than with techniques. What was important was the very immersion in the atmosphere of the East, and not the study of the features of art. The theoretical justification for Orientalism was developed by Mikhail Larionov and Ilya Zdanevich. And it was precisely the love for the East that became the reason for Larionov’s break with the “Jack of Diamonds” - the artist accused its members of imitative Westernism. However, by the mid-1910s, the theme of the East was forgotten, and Orientalism had exhausted itself.
Primitivism
Mikhail Larionov. Spring. Seasons (New primitive). 1912 State Tretyakov Gallery The direction of the early Russian avant-garde (late 1900s - early 1910s). Among the features of primitivism are infantile, childish forms and proportions of figures, awkward plasticity, imitation of amateur drawing, and naive fabulousness. The fundamental role here was played by reliance on national tradition, on samples of ancient and folk art, first of all, the icon, splint, sculptural archaic. For the first time, the word was used by the poet and critic Sergei Makovsky in an article about the Blue Rose exhibition: “They are heralds of the primitivism that modern painting has come to, seeking revival at the very springs - in direct creativity, not exhausted by the weight of historical experience.<...>Modern conscious primitivism, understood as the main task, is the last victory of artistic liberation. In the summer of 1907, the term was also used in the announcement of the Burliuk exhibition in Kherson.
Suprematism
Kazimir Malevich. Untitled. Around 1916 The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice So in December 1915, Malevich described his works shown at the "Last Futurist Exhibition" 0.10 "". His "Black Square" opened up a new field of experiments - a purely geometric non-objective form. At the beginning of 1920, Malevich left to teach in Vitebsk, and there Suprematism became the basis of the new pedagogy of Unovis - "Affirmatives of the New Art".
Futurism
Giacomo Balla. Speed + sound. 1913-1914 The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976 From the Italian futuro - "future". Futurism originated in Italy in 1909 thanks to Filippo Tommaso Marinetti and spread to all areas of artistic creativity. The basis of futurism is a new language of art, corresponding to the changed world. According to David Burliuk, Russian artists and writers began to use the term in 1911. The Futurists themselves, however, at that time called themselves futurists or future people. The groups closest to futurism were the Donkey Tail and the Youth Union. Futurism was especially popular in Russian painting until 1914.
The word avant-garde itself came from military vocabulary, where it denotes a small elite detachment that breaks into enemy territory in front of the main army and paves the way for it, and the art historical meaning of this term, as a neologism, is used Alexandre Benois(1910), acquired in the first decades of the twentieth century. Since then, the classical avant-garde has been called the totality of heterogeneous and differently significant artistic movements, trends and schools that were born in the bosom of classical or, in other words, First Modernism and manifested their rebellious opposition to both the contemporary modernist norm and, in particular, the traditional idea of art. , its tasks and forms. “Modernism,” Lev Rubinshtein notes today, “as if accepts the basic values of traditional art, but is engaged in the renewal of artistic means in solving the so-called eternal tasks of art. In this sense, it's the same traditional art, but taken up with a new language to describe the same. Avant-gardism, on the other hand, creates another art all the time, it does not renew its means, but the object of art itself. These principles, i.e. demonstrative, and often aggressive radicalism, "the dominant of non-traditionality", which Alexei Zverev singled out as the "main distinguishing feature" of the whole phenomenon as a whole, as well as the leap from setting to recreate reality in recognizable and vitally authentic forms to its total analytical deformation, avant-gardism has retained and in its new advent, which, being an aesthetically sharp reaction to the second period of modernism in our country, coincided in time with the short-term but stormy triumph of the “counterculture” in Western artistic practice.
Now avant-gardism is “archived”, to use the term of Boris Groys, no less than modernism or, say, classicism. But since art revolutionaries, with enthusiasm that has not cooled down over a century, are still ready to exclaim: “The avant-garde is dead, but I’m still alive!” It makes sense, firstly, to inventory genetically common features and the signs of this phenomenon as a whole, and secondly, to point out the differences between classical avant-garde and the one that, having revived in the 1950s and 1960s and later entered into a dramatic relationship of alliance-hostility with postmodernism, is still felt as modern.
So, if we talk about constants, they should include:
- a) the unconditional preference for expressiveness over pictorialism, and the creative process - for creative results, which in the field of theater leads to a cult of rehearsals with Anatoly Vasiliev, in the field of cinema - to exhaustingly long shoots with Alexei German and Yuri Nordshtein, and in the field of literature - to the priority of drafts over already replicated “masterpieces” (the legendary Khlebnikov pillowcase stuffed with manuscripts is a capacious metaphor for this discourse);
- b) the rejection of the traditional division of literature into professional and non-professional, accompanied by an energetic rejection of everything that is labeled as “academic”, “museum”, and, on the contrary, a creative interest in folklore (primarily exotic), naive art, graphomania, creativity of children, the mentally ill, alcoholics and drug addicts;
- c) a conscious, and sometimes shocking attitude towards “incomprehensibility” as a way to overcome (or destroy) the automatism of aesthetic perception, therefore, according to Maxim Shapir, “misunderstanding, complete or partial, organically enters into the avant-garde artist’s plan and turns the addressee from the subject of perception into an object, into an aesthetic thing admired by its creator-artist”;
- c) the desire to blur the lines between different genres and, moreover, individual types of art, culminating in such hybrid forms as visual (including vacuum) and sonorous poetry;
- d) an "engineering" approach to combining materials that seem to have accidentally turned up under the arm, and the use in one's practice of the achievements of scientific and technological progress, as well as, as Boris Groys emphasizes, - the willingness and "ability to give value to an object that" does not deserves”, i.e. is not valuable in itself, before and apart from his election as an artist” (the famous toilet bowl brought by Marcel Duchamp to the Louvre and the crumpled, slightly soiled sheets that Sergey Provorov and Ignat Filippov position as visual poetry are aesthetically synonymous in this respect );
- e) the search for one’s own, “certified” genre, technique or technique, which in the minds of the public and in the memory of culture will henceforth be strictly associated with this and no other name (thus, the calling card of Dmitry Avaliani was leaf-turners, Alexander Gornon is exclusively interesting in phonosemantics , and Lev Rubinstein is the one who writes poetry on index cards);
- f) active life-building pathos, because biographies for avant-garde artists are no less an object of manipulation than works of art, and rightly in this sense they say about Dmitry Aleksandrovich Prigov that his own image is his highest creative achievement;
- e) the outrageous and scandalous nature of the presentation by avant-garde artists of themselves and their works, due to which these presentations are often played out as plays or performances.
All of the above indicates that, in its own immersion into the chaotic, aesthetically flabby and ethically uncoordinated context of postomodernism, which has already happened in our century, with its total irony and fundamental rejection of any goal-setting, both in art and in life, avant-gardism had to undergo serious transformation. He suffered - almost completely losing his utopianism and revolutionary impulse to reorganize not only art, but also reality. Perhaps this happened because, as Boris Groys says not without irony, “in Stalin’s time, it was really possible to realize the dream of the avant-garde and organize the entire life of society in unified art forms, although, of course, not in those that seemed desirable to the avant-garde itself. ". But be that as it may, “today’s avant-garde artists inherited not Mayakovsky’s messianic pretensions, will to power, and tribune-like nature, but Khlebnikov’s role as a private, “little man,” who, of course, appoints the “Zemshar chairmen,” but does not object to these orders remained unfulfilled or feasible only in dreams. Avant-gardists either hide from the public in their laboratories, open only to a narrow circle of initiates (like Ry Nikonova or Viktor Sosnora), or, in the case of a public manifestation, they are more like show business figures than a monument to Mayakovsky or Svoboda on the barricades.
It is possible that this loss of social ambitions, when life-building design is deliberately aimed not at society, but only at one's own image, was one of the reasons for the marginalization of today's avant-garde, its falling out of the zone of artistic risk and the focus of reader expectations. However, to name two more possible reasons. Here is the first, formulated by Jan Shenkman, who observed that “the reader does not like experiments. Because they rarely succeed. For one successful experimenter, there are fifteen to twenty victims of progress and civilization. Their names are immortal, their feat is immortal. literary process almost impossible without them. Literature - quite. And about the second reason, the Novosibirsk researcher E. Tyryshkina delicately said: “The moment of mastery in avant-garde is reduced,” and, one can also assume, the concept of talent, creative talent is also reduced, which in the end - who will argue? - they decide absolutely everything in art.
It is generally accepted that the avant-garde trend in art arose in the twentieth century. This is indicated by all modern authoritative sources. We read in the dictionary of foreign words: “avant-garde (fr. avant-gardisme) - avant-garde - the name of a number of trends in the art of the twentieth century, breaking with existing realistic norms and traditions, updating means artistic expressiveness. Avant-gardists view art as a special aesthetic sphere devoid of social significance; the formal renewal of the means of artistic expression is of paramount importance.
In the Soviet Encyclopedic Dictionary: “Avant-gardism (French Avant-gardisme) is a movement in the artistic culture of the 20th century, breaking with existing norms and traditions, turning the novelty of expressive means into an end in itself. Avant-gardism is closely related to modernism and reflects an anarchist-subjectivist individualistic worldview. The principles of avant-garde were adopted by such literary and artistic movements as expressionism, cubism, futurism, dadaism, surrealism. It was also received by "stream of consciousness literature", "new novel", absurd drama and others".
In the Humanitarian Encyclopedic Dictionary: “Avant-gardism (French Avant-garde - forward detachment) is a movement in the artistic culture of the twentieth century, breaking with the established principles and norms of art; striving to find fundamentally new expressive means of artistic language and ways of influencing the audience. Avant-gardism unites a number of outwardly different currents, the aesthetic essence of which boils down to an openly declared or hidden substitution of the central aesthetic category by the beautiful category of the new, original.
So, the official, academic, authoritative publishing houses of encyclopedias unanimously admit that avant-garde, as an advanced movement in fiction, arose in the 20th century. It seems that in the new edition of the twenty-volume Great Russian Encyclopedia, it will also be recognized, as it was believed before, that the current of avant-garde, as such, arose in the twentieth century. Is it really? The question is not idle, since it is known that if any link in the system of artistic values is broken, this indicates the weakness of the entire chain to one degree or another.
To clarify the question: did avant-gardism, as a trend in artistic culture, really arise in the 20th century? -- the author of this article analyzed the processes of poetic creativity in world literature from the Renaissance to the middle of the 19th century, and also analyzed the history of the development of poetic lyrics of the past from ancient times. The author of this article in his study drew attention to the work of the American poet Walt Whitman. More than a century and a half has passed since Walt Whitman published the poetry book Leaves of Grass (June 4, 1855). The book literally discouraged American readers, stunned them with courage and innovation, excited the American newspaper world, and reproaches and accusations of all mortal sins rained down on the author; tubs of vulgar parodies and insults poured out against him.
But who is he, this upstart, - the readers were perplexed, - and what does he allow himself to do? This is blatant blasphemy against believers. He pretends to be God. He is simply an immoral and impudent scribbler...
“According to Whitman, it turns out,” wrote Lanier, “that if the prairie is vast, then debauchery is commendable, and if the Mississippi River is full-flowing, then every American is God.”
In his writings, Walt Whitman endowed sinful man with the traits of the Son of God. He did not deny his commitment to all the gods and gods that have ever been revered and revered on earth. Criticizing the perverse society, its hypocrisy and hypocrisy, Whitman argued that everyone is equalized in it. human dignity with the virtues of all life on earth.
Whitman's miniatures, written in free (free verse), were a school for many Anglo-American Imagists - Richard Aldington, Hilda Doolittle, Ezra Pound, David Herbert Lawrence. Whitman was followed by Carl Sandburg, who adopted the style of his work and Edgar Lee Masters.
Whitman's innovation was applauded by Russian poets. Russian poets not only became his admirers, but some of them in their poetic work in certain cases, to one degree or another, followed the example of his avant-garde. So, for example, Fet's space themes are undoubtedly inspired by Whitman's poetics. Whitman in "Song of Myself" exclaims:
Great bright sun, how quickly you would kill me
If the same sun did not rise in me...
Undoubtedly, under the influence of this fragment, Fet turns to God:
No, you are powerful and incomprehensible to me
The fact that I myself, powerless and instantaneous,
I carry in my chest, like that seraph,
Fire is stronger and brighter than the whole universe...
I. S. Turgenev was fascinated by Whitman's poetic translations, although they were not published by him:
Beat, beat, drums! - Blow, blow, blow!
Through the windows, through the doors - rush in like the brazen force of ruthless people.
The prototype of the nihilist Bazarov in the work of I. S. Turgenev "Fathers and Sons" was Whitman. It is known that Whitman, during the war of the North and South of America, while working in a military hospital, touched his hand, on which there was a cut, to the gangrenous wound of a soldier, received blood poisoning, and for the rest of his life was bedridden, paralyzed. Despite this, Whitman remained cheerful. The fate of Turgenev's Bazarov, who suffered from blood poisoning while assisting the patient, turned out to be just as tragic.
At the beginning of the 20th century, Konstantin Balmont "touched" Whitman's poetic school. A little later, a whole galaxy of followers of the Whitman school appeared in Russia - Blok, Mandelstam, Mayakovsky. It was widely believed that Mayakovsky took over from Whitman in general his poetic manner of writing. In this regard, the well-known unfriendly epigram of Yesenin on Mayakovsky appeared:
Eh, rash! Eh, heat! Mayakovsky - mediocrity!
The face is nourished with oil,” Whitman skinned.
It can be considered that at the beginning of the twentieth century, the avant-garde direction in poetic creativity developed along two main channels, the Whitman school and the Nietzsche school. Symbolism and acmeism gravitated more towards Nietzsche, while Futurism and Imagism were fed from Whitman's source. It is also noteworthy that Whitman's ideas were accepted even by some Orthodox hierarchs. So the well-known expression of Anthony of Surozh exactly repeats Whitman's idea that "... Man finds bliss nowhere but in himself, but in the presence of God."
Walt Whitman's book "Leaves of Grass" amazed the world with courage and innovation, radically influenced the process of the formation of world literature, was truly avant-garde, in the highest and broadest sense of the word. Thus, the starting point for the emergence of world avant-garde poetry should be considered not the 20th century, but the middle of the 19th century.
The further development of avant-garde art, including in Russia, is well known up to the present, including its current state with the advent of new school absurd miniature, the founder of which is a young, gifted writer, Yuri Tuboltsev, a native of Russia, now living in Germany. Readers of the magazine “Knowledge. Understanding. Skill” already knows the content of his “Poetics of Expanded Absurdity”, from the published article “Yuri Tuboltsev and the literary miniature of the avant-garde”.
Yuri Tuboltsev was the first to feel critical situation in literature and immediately directed the main vector of his creative efforts to a new, unknown landmark in avant-gardism - absurdosophy, the philosophy of expanded absurdity. He will face the difficult task of establishing himself on the resulting foothold on the Internet and in the traditional literary sphere. Avant-gardism is brought to life by life itself; reality itself calls for the corresponding creativity of the masters of the word, and, as a rule, young authors become the leaders of the new direction. Yuri Tuboltsev purposefully and persistently, overcoming hardened habits, enters the expanses of a new literary field. The young author has many aesthetic beauties expressed in an unusual, grotesque manner. Poems and miniatures in his poetics of the absurd are distinguished by their versatility and originality in their approach to the relationship between reality and fiction. His exquisite miniature works are of significant value both in terms of artistic word, and their practical purpose; they show the underside of a comprehensive lie, hypocrisy, disgusting, greed, unreliability of those in power, etc. His themes are about modern absurd life (“poetics of expanded absurdity”), where figurative representatives (“heroes of swine times”) abound.
So, the time of the emergence of avant-garde poetry is determined - the middle of the nineteenth century, from light hand Walt Whitman (1855, Leaves of Grass). The modern trend of avant-garde literature has also been defined - the "poetics of the expanded absurdity", absurdosophy. But another question arises: was avant-garde poetry known in an earlier historical period? Let's try to penetrate into the most ancient sources of poetry - ancient Indian slokas (verses). Many advanced people of our time in the period of the current exacerbation of the world crisis in European civilization in general and in spirituality, art, culture and literature in particular, they thought about everything that was happening. Disappointment set in and a period of reflection on the topic: “Where can we go next?” Increasingly, people began to turn their eyes to the "Star of the East" - to the land of ancient Bharata, the cradle of mankind. Let's turn our mind's eye and we towards the East. Let's try to find the answer to the question that interests us: was avant-garde poetry known in ancient times on the territory of modern India?
The Devanagari language is the oldest language on earth. IN golden age of humanity, all people spoke the same Devanagari language, which was the original syllabary system of writing, which was transformed into the Sanskrit language. Similarity of the Sanskrit language with Slavic striking, especially with the East Slavic languages - in terms of the basic lexical fund, grammatical structure, the role of formants and many other particulars. Like the Russian language, the Sanskrit and Devanagari languages have an exceptional richness, flexibility of consonant sounds, as a visual means of the sound structure of words, which is only to a small extent characteristic of other languages. The instrumentation and sound structure of a Sanskrit and Russian phrase may differ significantly from the instrumentation and sound structure of its constituent words, taken separately. Such properties of the language create a very powerful and original means of artistic expression, almost not transmitted in translation. This is a very important originality inherent in the poetics of Russian poetry and Sanskrit poetic slokas.
Like Russian poetics, in Sanskrit poetry an important role belongs to internal rhymes, associations and alliterations as means of artistic expression. Although such poetic techniques, as Bryusov showed, were already widely used by Pushkin, they were theoretically developed by poets of the late nineteenth and early twentieth centuries. Of the Russian poets, they were carefully studied by A. Bely, V. Bryusov; the symbolists and futurists considered these techniques a special achievement of modern poetics and flaunted them (“... And the assonances, like sabers, cut the rhyme in a rush”, I. Severyanin). However, this is not the case at all. All the mentioned techniques were already known in ancient times. They were perfectly owned by the poets of Greece and Rome.
One has only to wonder to what extent Sanskrit poetry, even epic poetry, subtly and thoughtfully uses this "latest cry of fashion". What Russian modernity and avant-gardism breathes Sanskrit poetry. In such epic monuments as "The Tale of Rama", chased in form and perfect in language, there are all kinds of alliterations, internal rhymes. Their riches seem to be inexhaustible, “Lakshmana’s Motif” - on Sh, sometimes - on L, with a variety of instrumentation, and various variations of alliterations (Russian poets A. S. Pushkin, V. V. Mayakovsky, V. Ya Bryusov and others). It is even appropriate here to speak of "characteristic motifs" in the Wagnerian sense, developed with unusual complexity both in terms of construction and instrumentation.
"The Tale of Rama" is a poetic tale about the mastery of the new land by the Aryans, where they were destined to establish a state and culture for many millennia. Rama is honored as the founder of Aryan India. Over time, the Ramayana took on the form of the Mahabharata. As an example of the presence of avant-garde expression in the Mahabharata epic, let us cite an excerpt from the widow's song on the battlefield of Kurukshetra after the battle.
Widow (recitative)
My Lord Supreme,
Am I not right?!
Let him come alive
Without a friend - I'm dead ...
Don't need a friend
I have bread and blood!
Don't need a friend
Me the sky of the day!
No need to bring a friend
I'm spring color!
Don't need a friend
I am happy and light!
I don't need a home
Fields and gardens!
Without a friend, my life
No need! No need!..
Let him live!
I'm dead without a friend!
My Lord Almighty
Am I not right already?
And another example of the presence of avant-garde in the Sanskrit slokas of the Mahabharata: an excerpt from the play "Vision of the Mahabharata" during the battle on the battlefield of Kurukshetra.
Losing wheels and axles, and drawbar,
Colliding in the battle of the chariot. And the stranger
And the local one, they were tormented in torment.
The elephants crashed menacingly into the thick of the riders.
Trampling horses, chariots and cavalry.
And the arrows pierced the enraged elephants.
And the elephants fell into a pile on top of each other,
And the districts resounded with their roars.
And the people groaned, and the horses neighed.
And the valleys shook and the peaks trembled,
The Pandavas on Bhishma are filled with anger
They attacked with arrows on the right and left:
Grab, knock over, hit in the lower back! --
The fighters shouted, surrounding the chariot ...
And there was no place for Bhishma on the body,
Where would the arrows, like streams of rain, not shine b:
Sticking out like needles in the middle of blood and dirt,
Like on a bristling porcupine!..
So Bhishma fell before the eyes of his rati,
Fell from his chariot at sunset.
To the east fell head, menacing -
Immortals and mortals heard cries,
Falling at sunset - on a bloody field,
He gave courage and firmness to the Pandavas.
But this, the strongest in the family, is a fall,
Then the Kauravas were thrown into confusion.
That trunk, they lamented, fell from the chariot,
Without measure he measured the Kuru of the frontier.
From the destructive battle in fear, recoiling,
Warriors of two internecine camps…
They are without shields and warlike steel,
Around Bhishma, the famous warrior of steel…
He was surrounded by friends and enemies,
How the creator of the world is surrounded by deities
Honor the brave man, forgetting about the place,
The Pandavas came with the Kauravas together!..
The essence of the tragic conflict in Indian philosophy is to resolve moral question, and the victory is always behind the moral Law, behind the Truth. (The same moral law was laid down by our distant ancestors in Rus', let us recall the Russian proverb: God is not in power, but in Truth). For a comparative example, let's say: the essence of the tragic collision in Greek literature is the struggle of a personal and moral principle with blind Fate, and the advantage always remains with Fate. “Oh earth, my Mother, oh eternal Ether, look what suffering I endure from God - innocent” - this is how the collision of the chained Prometheus ends tragically - the personification of the entire Greek worldview (Aeschylus).
An interesting fact is the poetic parallels of the ancient Indian epic "Ramayana" with the work of the genius of Russian poetry A. S. Pushkin. The complete coincidence of the scheme of "The Tale of Rama" with the scheme of "Ruslan and Lyudmila" by Pushkin is striking (the sorcerer kidnaps his wife, the husband finds the sorcerer, fights with him and returns his wife). It would be of great literary interest to find out in what ways this scheme reached Pushkin.
Thus, the art of the avant-garde in poetry did not arise in the 20th century, as it is officially accepted today, but in the middle of the 19th century. The publication of Walt Whitman's book "Leaves of Grass" marked a whole system of currents of avant-garde poetry in the world. Moreover, all the most modern techniques of avant-garde poetry were known and successfully used even in Sanskrit poetry, in such epic works like Ramayana and Mahabharata.
Modern dictionary of foreign words. M.: Russian language. 1992, p. 12.
Soviet encyclopedic dictionary (Third ed.), M .: Soviet encyclopedia, 1985. C. 11.
Russian humanitarian encyclopedic dictionary. M.; SPb.: GIC "Vlados", 2002. S. 10.
Cit. Quoted from: Sharapova A. Foreword // Whitman W. Leaves of Grass. M.: Eksmo, 2005. S. 7.
Whitman W. Grass Leaves. Moscow: Eksmo, 2005.
Sigachev A. A. Yu. Tuboltsev and literary miniature of the avant-garde // Electronic journal"Knowledge. Understanding. Skill". 2009. No. 5. Philology. URL: http://www.zpu-journal.ru/e-zpu/2009/5/Sigachev/
Sigachev A. A. About the avant-garde, about time and absurdosophy // Electronic journal “Knowledge. Understanding. Skill". 2009. No. 5. Philology. URL: http://www.zpu-journal.ru/e-zpu/2009/5/Sigachev_Absurdsophy/
Sigachev A. A. Indo-Rus. M .: Medina-Print LLC, 2006. P. 96. (Vision of the Mahabharata - a play)
