Mythical and historical in art. Historical and mythological themes in the art of different eras
Fine art lesson in 7th grade.
"A sumptuous feast for the eyes."
Karl Ivanovich Bryullov
about historical pictures.
Outline of a lesson in fine arts
Teacher of Fine Arts MBOU "Tumaninskaya basic comprehensive school" Shakhunsky district Kudryavtseva Vera Hanifovna
date December 2013
Type of occupation
Art Conversation
in the 7th grade.
Lesson topic:
"Historical and mythological themes in the art of different eras".
Goals:
Repeat with students the concept of "genre" in the visual arts;
To form an idea of the historical and mythological genre in painting;
to acquaint with the outstanding works of this art and their masters.
To cultivate a moral and aesthetic attitude to the world and love for art;
Develop associative-figurative thinking, creative and cognitive activity.
Equipment:
For the teacher. Computer, screen, presentation.
For students. Notebooks, pens.
Visual range:
Velazquez "Surrender of Breda";
A.P. Losenko "Vladimir and Rogneda", "Farewell of Hector and Andromache";
Valentin Serov "Peter I";
Andrey Petrovich Ryabushkin "Wedding Train in Moscow";
Sergei Ivanov "The Arrival of Foreigners in Moscow in the 17th Century".
Nicholas Roerich "Patrol", "I See the Enemy", "Slavic Land";
Appolinary Mikhailovich Vasnetsov "Moscow at the end of the 17th century", Konstantin-Eleninsky Gates", "All Saints Monastery of the Century".
S. Botticelli "The Birth of Venus", "Mystical Christmas".
Lesson plan
1. Organizational part - 2-3 minutes.
2. Presentation of the material - 40 min.
A) About the concept of "Genre";
B) Historical genre:
1) during the renaissance Diego Velasquez;
2) Anton Pavlovich Losenko (XVIIIV);
3) in artXXcentury:
V. Serov "Peter I";
L. Ryabushkin ""Wedding train in Moscow";
S. Ivanov "The arrival of foreigners in Moscow in the 17th century."
4) historical landscape
C) mythological genre:
1)Botticelli "Birth of Venus", "Mystical Nativity".
2) Giorgione "Sleeping Venus";
3) Velasquez "Bacchus".
3. Completion of the lesson - 2 min.
During the classes
I. Organizational moment (greeting, checking the readiness of students for the lesson).
Introduction by the teacher.
Word "genre" derived from French genre, those. "genus", "kind". Genre is a historical division of works of art in accordance with the theme and object of the image. The plot-thematic genre is divided into historical, mythological, everyday, battle.
The concept of "genre" appeared in painting not so long ago, but genre differences in painting have been noted since ancient times. Its formation as an integral system began in Europe in the 15th-16th centuries. and ended in the middle of the 17th century. Masters of fine art began to divide the genre into high and low depending on the chosen theme and plot of the image.
TO high the genre was attributed historical and mythological, To low - landscape, portrait, still life.
historical genre.
This genre is dedicated to historical events and characters, it is characterized by monumentality, i.e. content, expressed in a majestic plastic form, imbued with the heroic-epic principle and the pathos of asserting a positive ideal. For quite a long time it developed in wall painting.
The historical genre originated in antiquity, combining real historical events with myths. That is why the paintings of this genre are often saturated with mythological and biblical characters.
Plots of ancient mythology, Christian legends are the basis for creating paintings of the historical genre.
Historical events were reflected in the sculptures of Ancient Greece, the reliefs of Ancient Egypt, which depicted scenes of military campaigns and triumphs.
In the medieval art of Europe, the historical genre was expressed in miniature chronicles, in icons.
IN easel painting historical genre formed during the Renaissance (XVII-XVIII centuries).
Spanish artist Diego Velasquez.
Magnificent, mysterious, incomprehensible, more vital than life itself - this is how researchers characterize the work of Diego Velasquez. Velasquez was incredibly lucky. court painter, who spent his life in communion with monarchs, who had the opportunity to travel and admire the most beautiful treasures of world art, he was favored with fame during his lifetime, receiving well-deserved recognition not only from the royal family, but also from other painters of his time. And this despite the fact that he managed to achieve the greatest truthfulness in their works without flattering anyone, not even the most powerful persons of this world.
Velazquez deserves such exceptional recognition. Gifted with extraordinary talent, the artist hones his skills throughout his life and, thanks to his extreme diligence, eventually reaches the highest creative heights.
D 
Iego Velasquez created one of the first realistic easel paintings "Surrender of Breda". The canvas was intended to decorate the hall of the royal palace in Madrid. The picture is a dramatic episode of the war between Spain and Holland, when the Spanish army conquered a fortress in the Dutch city of Breda. The artist portrayed the winners without the usual solemnity, impartially. On right part of the picture we see the orderly ranks of the Spaniards, the underlined character of their army.
On left parts are located by the Dutch. In the very center paintings, the artist depicted the commandant of the fortress and the Spanish leader. By your work Velasquez shows not only the Spanish winners, but also the Dutch, who honorably fulfilled their civic duty, not ashamed of defeat. (1, p 98.99)
Pictures of the historical genre are most often filled with dramatic content, they show us the full depth of human relations, they clearly express the ideas of high patriotism, national position.
M 
master of historical genre artist Anton Pavlovich Losenko created a beautiful composition on a national theme "Vladimir and Rogneda".
The work depicts the daughter of the prince of Polotsk, whom Vladimir forcibly took as his wife, defeating the army of her father and brothers. (1, p99).
Look at work Anton Pavlovich Losenko "Farewell of Hector to Andromache".
TO 
artina serves as a clear example of the basic principles adopted in historical painting. The construction of the picture is quite interesting - left and right secondary characters are placed along the edges of the canvas, in the background pictures focus on the main action. This technique is typical for historical painting. (1,100)
In the art of the 20th century, the historical genre was perceived by artists as an interest in antiquity, the spiritual atmosphere of a bygone era. (1, p. 100).
Valentin Serov "PeterI”, Andrey Petrovich Ryabushkin “Wedding train in Moscow”, Sergey Ivanov “Arrival of foreigners in MoscowXVIIcentury."
Valentin Alexandrovich Serov "PeterI».
The painting was commissioned by the publisher and bookseller Iosif Nikolaevich Knebel to be reproduced in a series of "school pictures" on Russian history. "Scary, convulsively, like an automaton, Peter walks ... He looks like the Deity of Rock, almost like death; the wind hums at his temples and presses into his chest, into his eyes. The experienced, hardened "chicks" from which he washed away the last raid of lordly sybaritism, whom he turned into batmen and messengers.Looking at this work, you feel that ... a formidable, terrible god, savior and punisher, a genius with such gigantic inner strength that he owes him was to submit to the whole world and even the elements,” wrote Alexander Benois about the painting. “Genius is a friend of paradoxes” - Serov saw Peter in that paradoxical “two-unity” that Benois expresses in the words “savior and punisher” and which Pushkin formulated in Poltava with striking accuracy and laconism:
His eyes
Shine. His face is terrible.
The movements are fast. He is beautiful,
He's all like God's thunderstorm.
Serov's painting represents not only Peter, but also his equally "terrible and beautiful" creation, like himself, - Petersburg. Peter and his retinue march through the uninhabited, harsh land, where cows roam, "along the mossy, marshy shores," to which the heavy Neva waves approach, "boiling and swirling like a cauldron." In the background is a panorama of the city, a number of buildings along the river bank, among which rises the sparkling spire of the Peter and Paul Cathedral, as if illuminated by the sun, peering into the distance during a thunderstorm. This panorama, this pale lilac water, the color of which contrasts so sharply with the general tone of the picture, resembles a somewhat conventional theatrical scenery against which the action unfolds. It is known that the construction of the Peter and Paul Cathedral with its famous spire was completed only almost a decade after the death of Peter. The spectacle in the background is a beautiful vision, like a prophecy about the future great city:
A hundred years have passed, and the young city,
Midnight countries beauty and wonder,
From the darkness of the forests, from the swamp blat
Ascended ardently, proudly.
Andrey Petrovich Ryabushkin "Wedding Train in Moscow".
IN 
In 1901, the most charming and lively, the most Ryabushkinian of his historical and everyday paintings, “Wedding Train in Moscow (XVII century)”, was painted. Pre-Petrine Moscow appears before us on the canvas, distant and at the same time tangibly quivering, colorful and full-blooded. Evening of early spring. The wooden street of ancient Moscow plunges into a gray-greenish haze. Evening twilight envelops the log walls of houses, a snow-covered street with a spring puddle. Only in the distance, on the domes and drums of churches, the red-orange rays of the sun burn out. And in the midst of this silence, in the soft haze of the evening, the bright radiance of the festive train suddenly appears. A red carriage, red-orange and yellow-gold caftans, colorful clothes of women - everything merges into a single color chord. Swiftly, like a rapidly fading vision, the train rushes by. Figures of people, carriages, horses slide easily..
WITH 
ergey Vasilyevich Ivanov "The arrival of foreigners in MoscowXVIIcentury."
AND 
Vanov acted as an innovator of the historical genre, composing episodes of the Russian Middle Ages - in the spirit of Art Nouveau - almost like film shots, captivating the viewer with their dynamic rhythm, "presence effect" (Arrival of foreigners in Moscow XVII century, 1901
); "Tsar. XVI century "(1902), Campaign of the Muscovites. XVI century, 1903). In them, the artist took a fresh look at the historical past of the motherland, depicting not the heroic moments of events, but scenes of everyday life from ancient Russian life. Some images are written with a touch irony,grotesque. (5, Wikipedia)
Historical landscape.
IN 
In the landscape genre, historical events are indirectly embodied, which are reminded of by the depicted architectural and sculptural monuments associated with these events. Such a landscape is called historical. He revives the past in memory and gives it a certain emotional assessment.
Representatives of the historical landscape First of all, you need to name Nicholas Roerich and Appolinaria Vasnetsov. Both were fond of archeology and were great connoisseurs of Russian antiquity. In 1903 Roerich paints Izborsk towers, a cross on the Truvorov settlement, later resurrects the military past of the ancient city in paintings "Watch", "I See the Enemy", "Slavic Land".
X 
The artist set himself the task of glorifying the beauty of ancient Russian architecture in the language of painting, convincing his contemporaries of the great value of ancient monuments.
Appolinary Mikhailovich Vasnetsov in urban landscapes he restored pictures of the life of our ancestors. He wrote to MoscowXVIIcentury. (2, p. 93.94).
Moscow at the end of the 17th century Konstantin-Eleninsky Gate All Saints Monastery of the century
As an independent genre, landscape appeared in Chinese art as early as the 6th century. The landscapes of Chinese artists are very spiritual and poetic. They seem to absorb ideas about the immensity and boundlessness of the natural world.
in European art until the 16th century. the landscape served only as a background for a thematic painting or portrait. The prerequisites for the formation of the landscape genre are formed in the Renaissance. Why is this happening? Artists turn to a direct study of nature, build space in paintings based on the principles of a scientifically developed perspective, the landscape becomes a real environment in which the characters live and act. At the same time, the difference in the approach to the image of nature among Italian artists and masters of the Northern Renaissance is revealed. (4, p. 109).
Benois Alexander Nikolaevich "Parade under PaulI»
Painting by Alexandre Benois Parade in the reign of Paul I was part of a series of paintings on scenes from Russian history commissioned by the artist in 1907 by the historian S. A. Knyazkov.
The artist takes the viewer to the end of the 18th century. A picture of an army parade unfolds on the winter parade ground. Emperor Paul I, in the company of his two sons, is watching what is happening. Representatives of the royal dynasty are depicted on horseback. The figures of the riders are full of comic grandeur. They arrogantly look at a group of soldiers and officers. One of the servicemen, stretching out and tearing off his cocked hat, froze, numb with horror under the withering gaze of the royal person.
H 
in the foreground of the picture Parade in the reign of Paul I Alexandre Benois depicts a barrier. Introduction to the composition of this subject is quite symbolic. On the one hand, he does not allow the viewer to immerse himself in what is happening, on the other hand, he closes the emperor’s exit: in the background of the canvas, against the background of the gloomy sky, the fatal facade of the unfinished Mikhailovsky Castle was menacingly marked - here on the night of March 12, 1801, as a result of a conspiracy, Paul I will be killed by officers .
Vasily Ivanovich Surikov
What we see in the picture happened on November 17 or 18, 1671 (7180 according to the old account "from the creation of the world"). The Boyarina had been in custody for three days "in people's mansions in the basement" of her Moscow house. Now they “put a chain on her neck”, put her on firewood and took her to prison. When the sleigh caught up with the Chudov Monastery, Morozova raised her right hand and, “clearly depicting the addition of fingers (Old Believer two-fingered), lifting high, often enclosing the cross with a cross, and often ringing with a chain.” It was this scene in "The Tale of the Boyar Morozova" that the painter chose.
In Surikov's picture, the noblewoman addresses the Moscow crowd, to the common people - to the wanderer with a staff, to the old beggar woman, to the holy fool, and they do not hide their sympathy for the noble prisoner. And so it was: we know that the lower classes rose up for the old faith, for whom the encroachment of the authorities on the rite sanctified by centuries meant an encroachment on the whole way of life, meant violence and oppression. We know that wanderers, the poor, and the holy fools found bread and shelter in the noblewoman's house. We know that people of her class blamed Morozova precisely for her adherence to the "simple" people: "You accepted into the house ... holy fools and others like that ... holding on to their teachings." But there was another person to whom on that November day Morozov stretched out two fingers, for whom she rattled the chains. This man is Tsar Alexei Mikhailovich. For the tsar, she was a stumbling block: after all, it was not about an ordinary disobedient, but about Morozova - this name sounded loudly in the 17th century!
And yet a special place belongs historical genre, which includes works on themes of great public resonance, reflecting events significant for the history of the people. When a painting or sculpture tells about the life of the distant or recent past, it approaches the everyday genre. However, the work does not have to be devoted to the past: it can be any important events of our day that are of great historical significance (3, p. 198).
mythological genre
Gradually becoming an independent genre, in the XVII century. the landscape still retains a connection with the historical or mythological picture. Nature appeared on the canvas not in its ordinary form, but as a kind of beautiful world. Such are the landscapes Claude Lauren, French artist who worked in Italy .. In his paintings - a magical land where mythological heroes live ("Landscape with the Abduction of Europe", "Morning in the Harbor", "Noon", "Evening", "Night"). This is an ideal landscape, an image of a dream, an idyll. (4, p. 110).
Landscape with the Rape of Europa Morning in the Harbor Noon
With great skill, the artist depicted the play of the sun's rays at different hours of the day, the freshness of the morning, the heat of midday, the melancholy shimmer of twilight, the cool shadows of warm nights, the brilliance of calm or slightly swaying waters, the transparency of clean air and the distance covered with light fog.
The mythological genre in the visual arts is dedicated to the heroes and events that the myths of ancient peoples tell about. This genre is closely related to the historical and receives the greatest recognition in the Renaissance. The basis for creating paintings of the mythological genre are ancient legends. Prominent representatives of this genre are Botticelli "The Birth of Venus", "Mystical Christmas"; Giorgione "Sleeping Venus", Velasquez "Bacchus".(1, p. 100).
Botticelli "The Birth of Venus"
AND 
art of Italy in the 15th century. Renaissance.
The painting “The Birth of Venus” is far from pagan chanting of female beauty: the artist seeks to glorify spiritual beauty, and the naked body of the goddess means naturalness and purity that do not need decorations. Venus is depicted as a bashful girl with timid sadness in her eyes.
ABOUT 
One of the main ideas of the picture is the idea of the birth of the soul from water during baptism. Nature is represented by its main elements - air, earth, water. A light breeze, blown by Aeolus and Boreas, excites the sea, depicted as a bluish-green surface with schematic signs of waves. Three rhythmic episodes with different intensity develop against the background of a wide sea horizon: blowing winds, Venus emerging from a shell, and a maid accepting the goddess in a flower-adorned veil - a symbol of the earth's cover. Three times the rhythm is born, reaches its maximum tension and goes out. It is felt in the curve of the young body of the goddess, and in the curly strands of her golden hair, beautifully fluttering in the wind, and in the general consistency of the lines of her hands, her legs slightly set aside, and the turn of her head.
Alessandro Botticelli "The Mystical Nativity"
AND 
Italian art of the 15th century. Renaissance.
Painting by artist Sandro Botticelli "Mystical Christmas". The size of the master's work is 108.5 x 75 cm, tempera on canvas. In this picture, Botticelli depicts a vision where the image of the world appears without boundaries, where there is no organization of space by perspective, where the heavenly is mixed with the earthly. Christ was born in a wretched hut. Mary, Joseph and the pilgrims who came to the place of the miracle bowed before Him in reverence and amazement. Angels with olive branches in their hands lead a round dance in the sky, glorify the mystical birth of the Child and, descending to earth, worship Him. The artist interprets this sacred scene of the appearance of the Savior into the world as a religious mystery, presenting it in a “common” language. He consciously primitivizes forms and lines, complements intense and colorful colors with an abundance of gold. Sandro resorts to the symbolism of scale ratios, increasing the figure of Mary in comparison with other characters, and to the symbolism of details, such as branches of the world, inscriptions on ribbons, wreaths. Angels in the sky are circling in an ecstatic round dance. The whirlwind of their robes is outlined with a piercingly clear line. The figures stand out clearly against the blue and gold of the sky. On the ribbons wrapping around the branches, inscriptions from prayer hymns are read: “Peace on earth, goodwill towards men” and others.
Giorgione "Sleeping Venus"
P 
The poetic peak of Giorgione's art was "Sleeping Venus" - the only one of the artist's paintings on a mythological plot that has come down to us. It also became a kind of result of all Giorgione's thoughts about man and the world around him, it embodied the idea of a free, unclouded existence of man among poetic nature. In 1525, M. Michiel wrote about her: “The painting on canvas depicting a naked Venus, who is sleeping in a landscape, and Cupid, was painted by Giorgione from Castelfranco, but the landscape and Cupid were completed by Titian”
Velasquez "Bacchus"
T 
Ryumph of Bacchus the Drunkard. The painting was painted, or, in any case, completed by Velázquez in 1629. In this picture, the bright creative independence of the artist is revealed. His idea is bold and unusual. A picture painted on a mythological plot. Velázquez depicts a feast of Spanish vagabonds in the company of the ancient god Bacchus against the backdrop of a mountain landscape. The god of wine and fun is depicted here as a friend and helper of the poor. Bacchus crowns a kneeling soldier with a wreath, who probably deserved such a reward for such an addiction to drinking. Half-naked, like his satyr companion, the god sits cross-legged on a barrel of wine. One of the participants in the feast brings a bagpipe to his lips to mark this jokingly solemn moment with music. But even hops cannot drive out of their minds the thought of hard work and worries.
But especially charming is the open and straightforward face of a peasant in a black hat with a bowl in his hands. His smile is conveyed unusually vividly and naturally. It burns in the eyes, illuminates the whole face, makes his features motionless. The nude figures of Bacchus and the satyr are painted like everyone else, from nature, from strong village boys. Velazquez captured here the representatives of the social lower classes, conveying truthfully and vividly and expressive appearance, faces hardened under the hot sun, full of ingenuous fun, but at the same time marked with the seal of harsh life experience. But this is not just a drunken revel, there is a feeling of a Bacchic element in the picture. The artist is not interested in the actual mythological side of conjecture, but in the atmosphere of the general elation of images that arises due to the introduction of mythological characters, as if familiarizing with the forces of nature. The artist finds such forms of characterization that do not separate the sublime from the base. In his depiction of Bacchus, a dense young man, with a peaceful, ingenuous face, acquired purely human qualities.
Reflection.
Answer the questions:
Name the Spanish painter, court painter of King Philip IV, who painted on religious, mythological, historical themes, scenes from folk life (“Bacchus”, “Surrender of Breda”, “Innocent X”, “Spinners”, etc.)
A) B. Murillo;
B) L. De Morans;
C) S. Coelho;
D) D. Velazquez.
Which of the Russian classicist artists painted the paintings “Zeus and Thetis”, “Vladimir and Rogneda”, “Farewell of Hector and Andromache”?
A) G.I. Ugryumov;
B) D.G. Levitsky;
C) I.N. Nikitin;
D) A.P. Losenko.
Summing up the lesson.
Literature:
Guseva O.M. Lesson developments in fine arts: Grade 6. – M.: VAKO, 2012. – 192 p.
Art. 6th grade. Lesson plans for the L.A. Nemenskaya. At 2 o'clock. Part I / Comp. M.A. Porokhnevskaya. - Volgograd: Teacher - AST, 2004. - 96 p.
Art. Grade 6: lesson plans for the program, ed. B.M.Nemensky / ed.-comp. O.V. Pavlova. - Volgograd: Teacher, 2008. - 286 p.
Fine art lessons. Art in human life. Lesson developments. Grade 6 / [ L.A. Nemenskaya, I.B. Polyakova, T.A. Mukhina, T.S. Gorbachevskaya]; ed. B.M. Nemensky. - M .: Education, 2012. - 159 p.
http://ru.wikipedia.org/ Wikipedia. Sergey Ivanov.
http://images.yandex.ru/yandsearch? Serov artist
? Nicholas Roerich
http://images.yandex.ru/yandsearch? Appolinary Mikhailovich Vasnetsov
http://images.yandex.ru/yandsearch? Benois Alexander Nikolaevich
http://webstarco.narod.ru/ Benois "Parade under Paul I
http://www.centre.smr.ru"Boyar Morozova" painting by Surikov
http://en.wikipedia.org/wiki/ Lauren "Afternoon"
http://gallerix.ru/storeroom
http://images.yandex.ru/yandsearch Sandro Botticelli
The first chapters of the book that you are holding in your hands give a general idea of what myth and mythology are, the classification of myths and the history of the study of mythology. Further chapters tell about the features of the mythological representations of different peoples: the ancient Slavs, Scandinavians, Celts, Egyptians, Indians, Iranians, Chinese, Japanese, American Indians and Australian Aborigines. Particular attention in the book is given to ancient mythology (Greek and Roman). However, it should be noted that each of the described mythological systems has a unique originality and is therefore interesting in its own way.
INTRODUCTION WHAT IS MYTH AND MYTHOLOGY? 1
DEVELOPMENT OF MYTHOLOGICAL REPRESENTATIONS 1
WHAT ARE THE MYTHS 3
MYTHOLOGY STUDY 6
MYTHOLOGY OF ANCIENT EGYPT 8
MYTHOLOGY OF THE ANCIENT MEMOREAS (SUMERO-AKKAD MYTHOLOGY) 15
MYTHOLOGY OF ANCIENT GREECE 24
ROMAN MYTHOLOGY 38
INDIAN MYTHOLOGY 45
IRANIAN MYTHOLOGY 56
SLAVIC MYTHOLOGY 62
CELTIC MYTHOLOGY 72
GERMAN-SCANDINAVIAN MYTHOLOGY 83
CHINESE MYTHOLOGY 89
JAPANESE MYTHOLOGY 95
MYTHOLOGY OF THE INDIANS OF CENTRAL AMERICA 101
MYTHOLOGY OF THE INDIANS OF SOUTH AMERICA 106
MYTHOLOGY OF AUSTRALIA 110
ILLUSTRATIONS 113
Elena Vladimirovna Dobrova
Popular history of mythology
INTRODUCTION WHAT IS MYTH AND MYTHOLOGY?
We are familiar with the myths and legends of ancient peoples from school. Every child rereads these ancient tales with pleasure, telling about the life of the gods, the wonderful adventures of heroes, the origin of heaven and earth, the sun and stars, animals and birds, forests and mountains, rivers and seas, and, finally, the man himself. For people living today, myths really seem like fairy tales, and we don’t even think about the fact that many millennia ago their creators believed in the absolute truth and reality of these events. It is no coincidence that the researcher M. I. Steblin-Kamensky defines a myth as "a narrative that, where it arose and existed, was taken for truth, no matter how implausible it may be."
The traditional definition of myth belongs to I. M. Dyakonov. In a broad sense, myths are primarily "ancient, biblical and other ancient tales about the creation of the world and man, as well as stories of gods and heroes - poetic, sometimes bizarre." The reason for this interpretation is quite understandable: it was the ancient myths that were included in the circle of knowledge of Europeans much earlier than others. And the very word "myth" is of Greek origin and translated into Russian means "tradition" or "tale".
Ancient myths are highly artistic literary monuments that have survived to this day almost unchanged. The names of Greek and Roman gods and stories about them became especially widely known in the Renaissance (XV-XVI centuries). Around the same time, the first information about Arab myths and the myths of the American Indians began to penetrate into Europe. In an educated society, it became fashionable to use the names of ancient gods and heroes in an allegorical sense: under Venus they meant love, under Minerva - wisdom, Mars was the personification of war, the muses denoted various arts and sciences. Such word usage has survived to this day, in particular in the poetic language, which has absorbed many mythological images.
In the first half of the 19th century, the myths of such Indo-European peoples as the ancient Indians, Iranians, Germans and Slavs were introduced into scientific circulation. A little later, the myths of the peoples of Africa, Oceania and Australia were discovered, which allowed scientists to conclude that mythology existed among almost all the peoples of the world at a certain stage of their historical development. The study of the main world religions - Christianity, Islam and Buddhism - showed that they also have a mythological basis.
In the 19th century, literary adaptations of myths of all times and peoples were created, many scientific books were written on the mythology of different countries of the world, as well as on the comparative historical study of myths. In the course of this work, not only narrative literary sources were used, which were the result of a later development of the original mythology, but also data from linguistics, ethnography and other sciences.
Not only folklorists and literary critics were interested in the study of mythology. Myths have long attracted the attention of religious scholars, philosophers, linguists, cultural historians and other scientists. This is explained by the fact that myths are not just naive tales of the ancients, they contain the historical memory of peoples, they are imbued with a deep philosophical meaning. In addition, myths are a source of knowledge. No wonder the plots of many of them are called eternal, because they are consonant with any era, they are interesting to people of all ages. Myths are able to satisfy not only children's curiosity, but also the desire of an adult to join the universal wisdom.
What is mythology? On the one hand, this is a collection of myths that tell about the deeds of gods, heroes, demons, spirits, etc., which reflect the fantastic ideas of people about the world, nature and man. On the other hand, it is a science that studies the origin, content, distribution of myths, their relationship with other genres of folk art, religious beliefs and rituals, history, fine arts, and many other aspects related to the nature and essence of myths.
DEVELOPMENT OF MYTHOLOGICAL REPRESENTATIONS
Myth-making is the most important phenomenon in the cultural history of mankind. In primitive society, mythology was the main way of understanding the world. At the earliest stages of development, during the period of the tribal community, when, in fact, myths appeared, people sought to comprehend the reality around them, but they still could not give a real explanation for many natural phenomena, therefore they composed myths, which are considered the earliest form of world perception and understanding by primitive man of the world and of himself.
Since mythology is a kind of system of man's fantastic ideas about the natural and social reality surrounding him, the reason for the emergence of myths, in other words, the answer to the question why the worldview of primitive people was expressed in the form of myth-making, should be sought in the peculiarities of thinking characteristic of the level that had developed by that time. cultural and historical development.
The perception of the world by primitive man was of a directly sensual nature. When designating the word of one or another phenomenon of the surrounding world, for example, fire as an element, a person did not differentiate it into a fire in the hearth, a forest fire, a furnace flame, etc. Thus, the emerging mythological thinking strove for a certain kind of generalizations and was based on a holistic , or syncretic, perception of the world.
Mythological ideas were formed because the primitive man perceived himself as an integral part of the surrounding nature, and his thinking was closely connected with the emotional and affective-motor spheres. The consequence of this was the naive humanization of the natural environment, i.e. universal personification And "metaphorical" comparison of natural and social objects .
People endowed natural phenomena with human qualities. Forces, properties and fragments of the cosmos in myths are presented as concrete-sensual animated images. The cosmos itself often appears in the form of a living giant, from the parts of which the world was created. Totemic ancestors usually had a dual nature - zoomorphic and anthropomorphic. Diseases were presented in the form of monsters that devoured human souls, strength was expressed by many-armedness, and good eyesight was expressed by the presence of a large number of eyes. All gods, spirits and heroes, like people, were included in certain family and clan relations.
The process of understanding each natural phenomenon was directly influenced by specific natural, economic and historical conditions, as well as the level of social development. In addition, some mythological subjects were borrowed from the mythologies of other peoples. This happened in the event that the borrowed myth corresponded to worldview ideas, specific living conditions and the level of social development of the perceiving people.
The most important distinguishing feature of myth is its symbolism, which consists in a fuzzy separation of subject and object, object and sign, thing and word, being and its name, thing and its attributes, singular and plural, spatial and temporal relations, origin and essence. In addition, myths are characterized geneticism. In mythology, to explain the device of a thing means to tell how it was created, to describe the world around it means to tell about its origin. The state of the modern world (the relief of the earth's surface, celestial bodies, existing breeds of animals and plant species, the way of life of people, established social relations, religions) in myths is considered as a consequence of the events of bygone days, the time when mythical heroes, ancestors or gods lived. creators.
Description of the presentation on individual slides:
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Description of the slide:
"Historical and mythological themes in the art of different eras" Grade 7 3 quarter Teacher Laskova Svetlana Sergeevna
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What genre of fine arts do we continue to get acquainted with? (historical). What can become the subject of the artist's image in a picture of historical content? (events, incidents, heroic deeds of people). What other genres of fine art are used in historical paintings? (household, still life, landscape, portrait).
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"Oath of the Horatii" 1784 David Jacques Louis (1748-1825), French painter, an outstanding representative of neoclassicism. After studying in Rome (1775-1780) and influenced by the art of ancient Rome, David developed a strict epic style. Returning to France, David sought to express the heroic freedom-loving ideals through the images of antiquity, which turned out to be very consonant with the public mood that prevailed in France at that time. He created canvases that sang of citizenship, fidelity to duty, heroism, the ability to sacrifice.
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Glory to David was brought by the painting “The Oath of the Horatii” (1784), depicting three twin brothers who, according to legend, won in a duel with three twin brothers Curiatii in a dispute about the power of Rome. David shared the ideals of the French Revolution and took an active part in political life. He was an active figure in the revolution, organized mass folk festivals, created the National Museum in the Louvre. In 1804, Napoleon appointed David "the first artist." David glorified the deeds of Napoleon in a number of paintings that testify to David's transition from strict classicism to romanticism.
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"Hussites defending the pass." 1857, Yaroslav Cermak, Czechoslovak artist. Prague, National Gallery.
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In the middle of the 19th century, the historical genre began to occupy a significant place in Czech art. Yaroslav Chermak (1830-1878) became a great master of the historical theme. Cermak at the first stage of his creative development refers to the glorious past of the Czech people, to its revolutionary, national liberation traditions. In 1857, he paints the painting "The Hussites Defending the Pass" (Prague, National Gallery). In the future, he turns to the themes of the modern struggle of the southern Slavs against the Turkish yoke. In this struggle, he saw a manifestation of the unbroken heroic love of freedom of the Slavic peoples. In some works, the master set himself the goal of showing the atrocities of the Turks, evoking a feeling of compassion for the martyrdom of the oppressed people or indignation at the cruelty of the enslavers.
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In 1937, the whole of Europe followed the Spanish Civil War with intense attention. There, on the outskirts of Barcelona and Madrid, in the Iberian mountains and on the Biscay coast, her fate was decided. In the spring of 1937, the rebels went on the offensive, and on April 26, the German squadron "Condor" made a night raid on the small town of Guernica, located near Bilbao - in the Basque Country. This small town with 5,000 inhabitants was sacred to the Basques - the indigenous population of Spain, it preserved the rarest monuments of its ancient culture. The main attraction of Guernica is "Guernicaco arbola", the legendary oak (or, as it is also called, the government tree). At its foot, the first liberties were once proclaimed - autonomy granted to the Basques by the Madrid royal court. Under the crown of the oak, the kings swore an oath to the Basque parliament - the first in Spain - to respect and defend the independence of the Basque people. For several centuries, only for this purpose they specially came to Guernica. But the Francoist regime took away this autonomy. This event was the impetus for Pablo Picasso to create a great work. Convulsively distorted figures rush about on the huge black-and-white-gray canvas, and the first impression of the picture was chaotic. But with all the impression of violent chaos, the composition of "Guernica" is strictly and precisely organized. The main images were immediately determined: a torn horse, a bull, a defeated rider, a mother with a dead child, a woman with a lamp ... Picasso managed to depict the almost impossible: the agony, anger, despair of people who survived the catastrophe. All images of the picture are conveyed in a simplified, generalizing strokes . Pablo Picasso created the tragic feeling of death and destruction by the agony of the art form itself, which tears objects into hundreds of small fragments.
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You have seen three pictures. They reflect the facts of the history of different eras: - "Oath of the Horatii" 1784. David Jacques Louis - 18th century, - "Hussites defending the pass." 1857, Yaroslav Chermak. - 19th century, - "Guernica" by Pablo Ruiz Picasso - 20th century. In every work there is a strong emotional line. Let's try to express this state in one word: - 1 - victory, - 2 - determination, - 3 - tragedy, horror. Conclusion:
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I will present you some paintings of the 19th and 20th centuries. You need to make an examination of the paintings on the following questions: - The historical event of what century, what time did the artist depict? What time period did this artist live? - Was the artist a participant in the events that he presented in the picture? Practicum "experts - art historians".
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V. I. Surikov, with exceptional talent, showed in his work the heroic deeds of the masses. The artist interprets the legendary Alpine crossing primarily as a national feat. At the same time, the connection between the historical personality and the masses is shown on the canvas by artistic means. Suvorov is no less a leader of the people than Yermak or Stepan Razin. No wonder Surikov, in the image of a commander on a horse, prancing near a cliff, proceeded from the images of folk tales and soldiers' songs. Suvorov in Surikov's interpretation is a people's commander, close to a soldier's life. In Suvorov's Crossing the Alps, Surikov sang the courage of Russian soldiers, their heroism and military prowess. V.I. Surikov "Suvorov's Crossing the Alps in 1799". (1899.)
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Plastov A.A. was the son of a village bookman and the grandson of a local icon painter. He graduated from a religious school and a seminary. From his youth he dreamed of becoming a painter. In 1914 he managed to enter the Moscow School of Painting, Sculpture and Architecture. The artist worked a lot and fruitfully in the 1930s. But he creates his first masterpieces during the war years. War as a national tragedy, as an encroachment on the natural and sacred laws of being - "The Fascist has flown" (1942). The works of A. A. Plastov reflect the trials of the Soviet people during the Great Patriotic War and the patriotic work of women, the elderly and children on collective farm fields during the war years (“Harvest”, “Haymaking”, 1945). A.A. Plastov "Fascist flew", 1942
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P.D. Korin was born on July 08, 1892. in the village of Palekh, Vladimir province, in the family of the hereditary icon painter Dmitry Nikolaevich Korin. He executed the triptych "Alexander Nevsky" in 1942. When P.D. Korin wrote to Nevsky, then he thought about one episode, seen in his youth, so vividly resurrected in his memory in those days. He recalled how neighboring Kovshov peasants came to Palekh for seasonal work. In the evening, after a hard day's work, they walked down the street with a pitchfork on their shoulders - tall, strong, powerful, like a heroic army. They walked and sang. How they sang! The men remained in the memory of Pavel Korin as heroes of folk epics. It is they, such as they, withstood both enemy invasions and serfdom, who survived the incorruptible noble soul of the nation. “Alexander Nevsky,” wrote Pavel Korin, “is associated with memories of Russian peasants, with living pain for the Motherland, tormented by the enemy, with a passionate belief in victory.” P. D. Korin "Alexander Nevsky" (1942)
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A talented Russian artist, painter, graphic artist and teacher Evsey Evseevich Moiseenko was born in 1916 in the town of Uvarovichi in Belarus. At the age of fifteen, in 1931, the young man left his native place and went to Moscow, where he entered the Kalinin Art and Industrial School. In 1941, with the beginning of the Second World War, Moiseenko voluntarily joined the ranks of the people's militia. Soon he was captured by the Nazis, ended up in a concentration camp and stayed there until April 1945, after which he was released by the Allied troops and again asked to go to the front. After the end of the war, in November 1945, Moiseenko returned to the institute and two years later, having brilliantly completed his studies, he was admitted to the Union of Soviet Artists. Throughout his life, the artist did not leave the theme of war, suffering, heroism, tragic losses and happiness from the intoxicating feeling of victory. He again describes everything he saw and experienced personally. E.E. Moiseenko "Victory" 1970-1972
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B.M. Nemensky was born on December 24, 1922 in Moscow. Boris Nemensky became seriously interested in painting as a child. After school, he studied at the Moscow Art School named after 1905. In 1942, he graduated from the Saratov Art School, was drafted into the army and sent to serve in the Grekov Studio of Military Artists. . Nemensky took part in the battles on the Oder River and in the storming of Berlin. In numerous front-line sketches, he recreated the bitterly instructive image of the war. His works lead the viewer along the front roads "After the Battles", "Ley's Office", "Spree", "Reichstag", "In the Center of Berlin", "Victory Day" and others. In 1951 B.M. Nemensky graduated from the Moscow Art Institute named after Surikov. From the truth of the burning war years, many of his paintings were born, starting with the first of them - the work "Mother" (1945), which was created even before entering the institute. The subtle, increased skill of the painter manifested itself in the painting “About the Far and Near” (1950).. Akin to the famous song “Nightingales, nightingales, do not disturb the soldiers ...” his painting “Breath of Spring” (1955). The picturesque suite about a man at war was continued by the work Scorched Earth (1957). B. M. Nemensky "Scorched Earth" (1957) "Breath of Spring" (1955).
Various historical writings and treatises provide different lists of the legendary rulers and emperors of China, which are considered the first ancestors of the Chinese. The most common references to the following rulers are Fuxi, Shennong and Huangdi.
Fuxi, Paosi, Baosi in the earliest myths was the god of hunting and fishing. On the grave bas-reliefs of the first centuries A.D. in the provinces of Shandong, Jiangsu, SichuanFuxi and his sister Nuwa are depicted as a pair of similar creatures with human bodies and intertwined snake (dragon) tails..
Confucian philosophers turned Fuxi into a sovereign who ruled from 2953 to 2852 BC
Shennong He was the patron saint of agriculture and medicine. He was also called Yandi and Yaowan.He had a serpentine body, a human face, and green skin, "like the color of grass."Sometimes he was depicted with small horns on his head. Shennong was revered as a sovereign who ruled from 2852 to 2737 BC e.
huangdi was considered the personification of the magical powers of the earth, harmony and order. It was believed thatHuangdi was of enormous growth (about 3 m).According to some sources, he had the face of a dragon, according to others–
looked like a perfectly normal person, only very tall. According to tradition, Huangdi ruled from 2697 to 2597 BC
The list of the five legendary emperors of China depends on the source. According to the Chinese historian Sima Qiang (145 or 135–
90s BC), this is already familiar to us Huangdi, Zhuan-xu, Di Ku or simply Ku, Yao and Shun.
In the Confucian historiographic tradition, a characteristic is given Zhuan Xuya as the grandson or great-grandson of Huangdi, who ruled in 2513-2435 BC., using the magical power of water.In the earliest myths, Zhuan-hsu was considered the god of time.In the appearance of Zhuan-xu, archaic features are traced, reflected in the indivisibility of body parts, limbs, etc. (fused legs, ribs, eyebrows). According to one legend, his father Han-lu had “the neck is long, the ears are small, the face of a man, but with a pig snout, the body of a unicorn is a qilin, both legs have grown together and resembled the hooves of a pig ... Zhuan Xu's appearance was a bit like his father'.
Di Ku was considered the great-grandson of Huangdi and the brother of Zhuang-xu and ruled, according to tradition, from 2435 to 2366 BC.
He was depicted as a creature with the head of a bird and the body of a monkey. He had only one leg, and on his head- horns.
Yao who allegedly ruled from 2357 to 2255 BC uh., combined in his image the divine and human features. He also bore the names of Di Yao, Fang Xun, Tang Yao. In some sources, he was considered the second son of Dee Ku. According to the Japanese scientist Mitarai Masaru, he originallywas one of the solar deities and was conceived in the form of a bird,
and only in later myths did he turn into an earthly emperor.
One of Yao's main merits to mankind was that, having built numerous dams and canals with the help of Huangdi's great-grandson the dragon Gun, he managed to stop and calm the Flood, which threatened to destroy all life on Earth.
Shun was considered one of the greatest emperors of China who lived
before the global flood.According to tradition, he ruled With2254 to 2206 BC.
In some sources, the legendary emperors of China include Shao-Hao (2596 - 2514 BC), Di Zhi (2365 - 2358 BC) and Yu (2205–
2197 BC.).
Yu became famous for pacifying the global flood (the second or third, in the Chinese calendar).
Periodization of the history of the Earth and mankind among the ancient Koreans
According to the ancient records "Samguk Yusa" ("Chronicles of the Three Kingdoms") of the Buddhist monk Iren (XIII century), the son of the heavenly emperor Hwanung (son of the Supreme Heavenly Ruler Haneul), Tangun, who founded the kingdom of Ancient Joseon, began to rule in 2333 BC. uh. According to the description in "Dongguk Tonnam" (1485), this happened in the 50th year of the reign of the Chinese Emperor Yao. Other sources give different dates, but they all agree that the beginning of Tangun's reign was during the reign of Yao ( 2357-2255 BC.). According to some sources, Tangun lived for 1908 years, according to others (“Eunje siju” Kwon Nam, XV century)- 1048 years.
in philosophy
.
2. Mythology:
a) mythology as a form of social consciousness;
b) mythology - a historical type of worldview;
c) the study and development of mythology.
3. Myth and mythology:
a) the essence of the myth;
4. Myth and religion.
5. Myth of the XX century.
6. Literature.
.
1. Introduction. Worldview and its historical types.
Worldview - a system of public ideas about the worlds
in general, about the natural and social processes taking place in it, about
relation of man to the environment.
Worldview is a complex, versatile and multifaceted
development.
It has a multilayer structure.
A worldview, its structure and content are not something
once and for all given static invariable. In the early stages,
of toric development, the role of individual components in the system changed
theme of the worldview, over time, its composition was updated and enriched
holding.
Depending on what views prevail in a particular
a different set of ideas about the world as a whole, as well as depending
on the way in which relevant views and representations are included
into the structure of the worldview, the method of their justification, one can
talk about different types of worldview. In different societies, in different
classes are dominated by different types of worldview.
.
2. Mythology.
a) mythology as a form of social consciousness.
Mythology is a form of social consciousness; a way of understanding
natural and social reality at different stages of society
venous development.
In the public consciousness of a primitive society, mythology is not
undoubtedly dominated. Mythology is mainly focused on pre-
overcoming the fundamental antipolies of human existence,
to harmonize the individual, society and nature. The premise of the myth
logical "logic" was the inability of man to distinguish himself
from the environment and the indivisibility of mythological thinking,
on those who have not separated from the emotional affective environment.
there was a metaphorical comparison of natural and cultural objects,
humanization of the natural environment, including animation
fragments of space. Mythological thinking is characterized by distinct
the first division of the subject and the object, the subject and the sign, the thing and the word
wa, being and his name, spatial and temporal relations,
origin and essence, indifference to contradiction, etc. Volume
ects approached in secondary sensory qualities, contiguity in
space and time, acted as signs of other pre-
metov, etc. The scientific principle of explanation was replaced in mythology by
tal geneticism and etiologism: explanation of the thing and the world as a whole
boiled down to a story of origin and creation. Mythology properties
clearly a sharp distinction between the mythological, early (sacred-
th) and the current, subsequent (profane) time. Everything happening-
in mythical time acquires the meaning of a paradigm and a precedent
dent, i.e. sample to reproduce. Simulation renders-
with the specific function of myth. If a scientific generalization is built
based on a logical hierarchy from concrete to abstract iot
causes to effects, the mythological operates with concrete and
personal, used as a sign, so that the hierarchy
cause and effect corresponds to hypostatization, the hierarchy of mytho-
logical beings, which is systematically valuable.
what in scientific analysis acts as a similarity or another kind of relation
nia, in mythology looks like an identity, and logical separation
on the signs in mythology corresponds to the division into parts. Myth
usually combines two aspects:
diachronic (telling about the past)
synchronic (explanation of the present or future).
nym and even in the highest sense real, because embodied the collective
"reliable" experience of understanding the reality of many generations,
which served as an object of faith, not criticism. Myths claimed at-
accepted in this society, the system of values, supported and sanctioned
established certain standards of behavior.
The mythological worldview was expressed not only in the narrative
vovanie, but also in actions (ceremonies, dances). Myth and ritual in ancient
their cultures constituted a certain unity - worldview,
functional, structural, being, as it were, two aspects of per-
primitive culture - verbal and effective, "theoretical" and
"practical".
b) Mythology is a historical type of worldview.
In the early stages of history, growing out of material practice,
ki empirical knowledge of the surrounding reality served
guide in everyday life, the primary source of formation
worldview. Primitive empirical knowledge is tightly bound -
were mythological and religious ideas. These
the impressions were a fantastic reflection of reality, you-
an expression of the impotence of man before the elemental forces of nature and
luscious overcoming of this impotence.
A worldview is always an integral result
tat of the entire multi-component spiritual development of this era.
Mythology is a peculiar form of manifestation of the worldview
ancient society. Since it has ideas about
supernatural, it contains elements of religion. In mythology
moral views and aesthetic attitude were also reflected
person to reality. Images of mythology in various interpretations
leniya were often used by art. In the ideology of the new
the most recent time, the concept of myth is used to refer to various
various kinds of illusory representations that affect the mass
howl consciousness.
c) The study and development of mythology.
The first attempts at rational rethinking of the mythological
material was undertaken even in antiquity, and prevailed
allegorical interpretation of mythology (among the sophists, stoics, pith-
Goreans). Plato opposed, along with mythology, philosophical
its co-symbolic interpretation. Euhemerus (IV-III centuries BC)
saw in mythical images the deification of historical figures,
laying the foundation for the "eugemeric" interpretation of myths, spreading
and later. Medieval Christian theologies were discreetly
tired ancient mythology, interest in it was revived among the humanists
comrades of the Renaissance, who saw in it an expression of feelings and
passions of the emancipated human personality.
The first attempts at comparative mythology were stimulated
the discovery of America and acquaintance with the culture of the American Indians.
In Vico's philosophy, the originality of the "divine poetry" of the myth is
called with undeveloped and specific forms of thinking, comparable
mi almost with child psychology. Vico's philosophy of myth contained in
the germ of almost all major subsequent areas of study
mythology.
The figures of the French Enlightenment viewed mythology as
product of ignorance and deceit, like superstition. Romantic philosophy
the philosophy of mythology, completed by Schelling, interpreted mythological
logic as an aesthetic phenomenon that occupies an intermediate position
between nature and art and containing the symbolization of nature
dy. The main pathos of the romantic philosophy of myth was to replace
allegorical interpretation of the symbolic.
In the second half of the 19th century, two main
new mainstream schools for the study of myth.
The first of them was based on the achievements of scientific comparative
but-historical linguistics and developed linguistic con-
myth concept (A. Kuhn, V. Schwartz, M. Müller, etc.) According to the point of view
Müller, primitive man denoted abstract concepts
through specific signs through metaphorical epithets, and
when the original meaning of the latter was forgotten or then
Nen, due to semantic shifts, a myth arose. Subsequently, this
the concept was declared untenable, but he himself was the first
the experience of using language for the reconstruction of the myth received a product
active development.
The second school is anthropological, or evolutionist, -
formed in Great Britain as a result of the first scientific steps
comparative ethnography. Mythology was raised to animism, to non-
what idea of the soul that arises in the "savage" from thinking
about death, dreams, illness. Mythology was identified, so ob-
at once, with a kind of primitive science, which allegedly becomes not
more than a relic with the development of culture and not having an independent
significant values. Serious adjustments to this concept were made
J. Fraser, who interpreted the myth primarily not as a conscious
an attempt to explain the surrounding world, but as a cast of magical ri-
tuala. Fraser's ritualistic doctrine was developed by the Cambridge-
school of classical philosophy.
Subsequently, interest in the study of mythology shifted to general
the scope of the specifics of mythological thinking. Levy-Bruhl considered the first
primitive thinking "pre-logical", which collective representations
Decrees serve as an object of faith and are imperative in nature. To "me-
khanisms" of mythological thinking, he attributed:
Failure to comply with the logical law of the excluded middle (ob-
projects can be both themselves and something else);
Law of participation; heterogeneity of space; quality-
ny character of ideas about time, etc.
The symbolic theory of myth developed by Cassirer deepened
understanding of the intellectual originality of myth as an autonomous symbol
a personal form of culture that models the world in a special way.
In the modern world, the study of myth continues.
.
3. Myth and mythology.
a) The essence of the myth
Myth is not fiction or fantastic fiction.
Myth is the brightest and most authentic reality. This
Kant connected the objectivity of science with the subjectivity of space,
time and all other categories.
and the most concrete reality. Many mythologists reduce mytho-
logic to subjectivism. Then the myth is a fiction, a childish fantasy, it
not real, philosophically helpless, on the contrary, that he is an object of rest
belief that he is divine and holy. If we talk about myth, how
a certain epoch in the development of scientific consciousness, then it is not you
thought, but contains the strictest and most definite structure and
Myth is not an ideal being, but vitally felt and created,
material reality and corporeal reality.
Myth is not a scientific construction.
Many scientists believe that mythology is a primitive science.
The scientific attitude to myth presupposes an isolated intellect.
al function. Both mythology and primitive science are different concepts.
The myth is always practical, emotional, vital, but this is not the beginning.
In this case, it cannot be argued that mythology (one or the other,
Indian, Egyptian, Greek) is a science in general, i.e. modern
changing science.
The myth is saturated with emotions and real life experiences.
Primitive science is also emotional, naive and direct
and in this sense, of course, mythological. But this also shows that
if mythologicalness belonged to its essence, tonoscience
would have received no independent historical development and
its history would be the history of mythology. The mythical consciousness of the
directly and understandably; scientific consciousness has a conclusion
logical character. Therefore, already at the primitive stage
science has nothing to do with mythology in its development.
science comes from myth.
"If we take real science, i.e. science, really created by living
people in a certain historical era, then such a science is re-
amazingly always not only accompanied by mythology, but also real
feeds on it, drawing from it its initial intuitions.
Examples exist in the works of various philosophers. For example,
Descartes - the founder of new European rationalism and mechanism -
mythologist, because begins his philosophy with universal doubt, even
about God. And this is only because such is his own
mythology, such is in general the individualistic and subjective
the theoretical mythology underlying the new European culture and
philosophy.
Similar examples can be traced in the works of Kant.
less mythological is another science, not only "primitive", but also
any. For example, Newtonian mechanics, which is based on the hypothesis
homogeneous and infinite space, i.e. according to A.F. lo-
seva is built on the mythology of nihilism. This also includes the doctrine of
the infinite progress of society and the social equation, the theory
infinite divisibility of matter.
Conclusion: science is not born from myth, but science does not exist
without myth, it is always mythological.
But pure mythology and pure science are very far apart.
Myth is not a scientific construction, but a "living subject-object
mutual communication containing its own, extrascientific,
purely mythical truth, certainty and fundamental law
numbering and structure.
Myth is not a metaphysical construction. Metaphysics says
something unusual, lofty, "otherworldly", and mythology speaks of
something unusual, high, "otherworldly" But to confuse mythology with
metaphysics cannot.
a) A myth is a fairy tale. But for whom? For someone who lives himself
this myth, i.e. for a mythical creature. Myth - not fabulous would-
tie. This is the most real and alive, the most direct and even
sensual being. Characterize the myth as a fabulous activity,
we express our expression to it, i.e. characterize ourselves,
b) Metaphysics - is a science, or tries to be a science
"supersensible" and about its relation to the "sensual", and the mythological
gia is not a science, but a vital attitude to the environment.
Myth is not scientific and does not require any special work of thought.
Metaphysics, on the other hand, needs proven propositions given in
system of conclusions, thoughtfulness of the language, analysis of concepts.
c) For the mythical consciousness everything is clear and sensuously perceptible.
Not only pagan myths amaze with their constant body
and visibility, tangibility.
Such are the full extent of Christian myths, despite the general
recognized incomparable spirituality of this religion. Indian, and
Egyptian myths do not contain specifically philosophical or fi-
philosophic-metaphysical intuitions or teachings, although on their basis
corresponding philosophical constructions could arise.
If we take the starting and central points of the Christian myth,
logy, it can be seen that they are also something sensuously
noe and physically tangible.
Myth is not a scheme, not an allegory, but a symbol. The concept of a symbol from-
relatively. Sometimes the same expressive form, depending on
way of correlation with other semantic expressive or ve-
natural forms, it can be a symbol, a scheme, and an allegorical
her at the same time.
An analysis of a certain myth may reveal that it contains a symbol
diagram or allegory. So, let the lion be an allegory of proud strength, but is it
sa is an allegory of cunning.
The life and death of Pushkin can be compared to a forest that
resisted and defended his existence, but in the end
could not stand the fight against the fall and died.
Koltsov has a beautiful image of the forest, which has the meaning
completely independent and in its literalness very thin
feminine and symbolic.
Myth, considered from the point of view of its symbolic
childbirth, it can turn out to be both a symbol and an allegory at once. It can also
may be a double character. There are examples of symbolic
mythologization of light, colors and other visual phenomena
For example, the description of the Moon, the Sun, the sky by different writers and
different poets, but they mean the same thing. Most
vivid descriptions in the work of Pushkin, Tyutchev, Baratynsky.
Hence the conclusion: a myth is not only a scheme or only an allegory.
riya, but always first of all a symbol, and, already being a symbol, he
but-symbolic layers.
Myth is a personal form.
Based on the previous descriptions of the myth, we can say that "myth -
personal being or, more precisely, the image of personal being, personal
form, face of personality.
Personality presupposes, first of all, self-consciousness. Personality
that is different from the thing. Therefore, its identification is partial -
with the myth turns out to be absolutely certain. Every living person
one way or another, a myth, as it were, a myth in the broadest sense. Personality is not a myth
because she is a person, but because she is meaningful and formalized
from the point of view of mythical consciousness.
Inanimate objects such as blood, hair, heart and
etc. - can also be mythical, but not because they are personal
ty, but because they are understood from the point of view of the personal-mythical
consciousness.
a) Not a little described mythical representations of space and
time. Time is shrinking and only the future remains.
The Persian religion is dominated by the idea of the future, but it is more
more earthly and less rich. Here is the antimystical will to cult
re. Hence the praise of the peasant and cattle breeder. It's not God who saves
there is no man, and man himself, establishing good order in the world.
In Indian philosophy, the reverse mythical representation
time. Here, too, is the expectation of the end of time. But this end will be given
through the clarity and depth of thoughts. Here, not the end of time will save
people, but the destruction of all times along with all their content.
In the Chinese religion, it is not time that is overcome, but changes in
time. Being here is outside the time stream. The sky, China's time
tsev not created.
In the Egyptian religion, the perception of time is similar to the Chinese.
body and all its members. Hence the practice of embalming.
Greek religion for the first time gave a true sense of time
like a real one. Here is the duration, but without the Indian hopelessness
ty and death, constancy, but without the Chinese numbness, waiting
future, but without ignoring the natural process. Here the eternal
and the temporal merge into the present. War and eternity - actual
infinity. The Christian problem of time as a whole is close
ancient Greek.
Myth - historicization and simply the history of one or another personal
being, its non-significance as an absolute being and even outside of it
substantiality.
The myth is mobile; he treats not about ideas (like religion), but about
beings, and, moreover, pure events, i.e. those that are exactly
are born, develop and die, without passing into eternity.
In history, in connection with this there is a certain relativity
and dependence; forever dependent and presupposes something
immovable and courteous-semantic.
So, the history-becoming of personal existence and myth is
History is a series of facts that are causally related to each other. And these
facts are accepted, understood and accepted (from the point of view of personal
In the historical process, three layers can be distinguished
view of A.F. Losev:
1. First, here we have a natural-material layer. Is-
thorium is really a series of facts that causally affect each other
each other, calling each other, located in a comprehensive space
early-temporal communication. History is not nature and not
twists on the type of natural processes. "And not history is a moment in
nature, but nature is always a moment in history.
2. Secondly, since history is the formation of facts in
accepted, facts of understanding, it is always one or another mode
consciousness.
The facts of history must be, in one way or another, facts of consciousness.
The first layer of the historical process is mythic, while the second
the swarm layer provides the myth with its actual material and serves, as it were,
an arena where a mythic story is being played out.
In mythical history, we begin to see living personalities and
living facts; the picture of history becomes visible and tangible
For myth, not only is history "historical" in the ordinary sense,
le. Every personality, every personal communication, every
the smallest trait or event in a person.
3) Thirdly, the historical process ends with one more
History is self-consciousness, becoming, maturing and dying
self-awareness.
Creatively given and actively expressed self-consciousness is
Myth is "poetic" and without poetry, or rather without a word - myth never
let him not touch the depths of the human personality.
Conclusion: "myth - is in the words" this personal history.
Myths - archaic narrative about the deeds of gods and heroes,
behind which stood fantastic ideas about the world, about the management
the gods and spirits that blessed them. In primitive mythology, stories are usually
It was about the picture of the world, about the origin of its elements. Genetically
and structurally, myths are closely related to rituals.
Separation from rituals and desacralization led to the transformation
myths into fairy tales. Archaic forms of heroes also go back to ancient myths.
epos, in historical times, myths are widely used as
elements of poetic language in a broad sense.
The most fundamental category of myths are myths of etiological
logical and cosmological, describing the creation of the world, origin
deniya of people and animals (often in connection with totimic representations)
niami), features of the relief of various customs and rituals, etc. On
archaic stage, creation was often depicted as "mining"
cultural hero of the elements of nature and culture, how they are made
demiurge or generation of the first ancestor. The process of creation of the world
often presented as the transformation of chaos into space by post-
foamy ordering, which was accompanied by the struggle of the gods or
heroes with demonic powers. The formation of the cosmos is usually
believed the separation of heaven from earth, the separation of land from the primary
ocean, the appearance of a three-part structure (myths of heaven, earth,
underground) in the center of which the world tree was often placed.
connected with agrarian rites, stories about disappearing - returning
gods and heroes.
The more developed peoples of antiquity had eschatologists
myths describing the coming death of the cosmos, followed by
blows or does not follow its revival.
In myths, along with space themes, such
biographical motifs like birth, lineage, marriage, death
mythical heroes. Mythical tales can take shape and wok-
range of historical figures.
4. Myth and religion.
Myth is not a specifically religious creation.
Religion and mythology - both live by the self-affirmation of personality.
Every religion is another attempt to establish a person in
eternal being, connect it with the absolute. Religions want salvation
personality and this, above all, a certain kind of life. But she -
not a worldview. Religion is the realization of a worldview
essential substance of morality.
Mythology does not have to be religious. A myth can be a
without questions about the fall, salvation, justification, cleansing.
Mythology dialectically - impossible without religion, for it
is something other than the reflection of pure feeling and its objective
correlative artistic image - in the religious sphere.
Religious philosophy comes closest to turning God into
consciously designed illusion, because it builds a system
hypotheses, to protect the old myths and religions that have lost all credit
gious legends.
The place and role of myth in religious philosophy hides a problem
"demythologizing". It was put forward in 1941 by the Protestant
theologian R. Bult Mann. The conflict between Christian myth and modern
belt science is "resolved" by them at the expense of distinguishing in Christian
whom the teaching of the "good news" and its mythological vestments,
producing only an external form adapted to the worldview
of that historical era when this "message" first reaches everyone
dey. Therefore a myth has no value of its own; it preserves or
loses value depending on the decision of the believer, for whom
myth is only a symbol that opens the way to God.
The specificity of combining fa and philosophy within the framework of religious
philosophy, like the philosophy of religion, needs a deep
research.
5. Myth of the XX century.
Myth, i.e. specifically generalized reflections of reality
acting in the form of sensual representations and fantastic
animate beings, has always played a significant role in religion and
religious philosophy.
For the 20th century, the political myth is of great importance,
leading to the sanctification of the state, "nation", race", etc., which
appeared most fully in the ideology of fascism.
the myth used turns out to be traditionally religious, like the ancient
non-Germanic mythology; then constructed within the framework of the bourgeois
philosophy; to demagogically absolutized real general
as "nation", "people", etc.
Some features of mythological thinking can be preserved
to take part in the mass consciousness along with elements of the philosophical and
scientific knowledge, strict scientific logic.
Under certain conditions, mass consciousness can serve as a soil
howling for the spread of a "social" or "political" myth,
but in general, mythology as a stage of consciousness has historically outlived
bya. In a developed civilized society, mythology can retain
not only fragmentarily, but sporadically at some levels.
Various forms of social consciousness and after the final
th separation from mythology continued to use myth as their
"language", expanding and interpreting mythological symbols in a new way.
In particular, in the 20th century there is also a conscious conversion
some areas of literature on mythology (J. Joyce,
T. Mann, J. Cotto and others), and takes place as a rethinking
various traditional myths, yet myth-making - the creation
own poetic symbols.
.
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