World Art. What is world art culture? of which cont.
The study of the subject of the MHC involves the acquaintance of schoolchildren and students with the main milestones, periods, ways, directions, trends, schools, styles of development of foreign and Russian art. The main objectives of the course are the formation of the artistic culture of schoolchildren and students as part of their spiritual culture and the creation of an integral system of ideas about art, as well as the development of a harmonious worldview and the ability to independently comprehend artistic values. The cultural level of students is getting lower every year. Often you encounter a lack of understanding and unwillingness of children to study the subject of the MHC, so the question: how to increase interest in the subject, activate the cognitive activity of students - becomes relevant at every lesson. And besides this, the main characteristics of a graduate of any educational institution are his competence and mobility. In this regard, the emphasis in the study of MHC is transferred to the process of cognition itself, the effectiveness of which depends entirely on cognitive activity of the student himself. The success of achieving this goal depends not only on what is acquired (the content of training), but also on how it is acquired: individually or collectively, in authoritarian or humanistic conditions, based on attention, perception, memory, or on the entire personal potential of a person, using reproductive or active learning methods.
The use of active learning in pedagogical practice becomes a solution to the problem of motivating students to independent, proactive and creative development of educational material in the process of cognitive activity.
In traditional teaching, the teacher (as well as the entire set of didactic tools used by him) plays the role of a “filter” that passes educational information through itself. When learning is activated, the teacher moves to the level of students and, as an assistant, participates in the process of their interaction with educational material, ideally, the teacher becomes the leader of their independent work, implementing the principles of cooperation pedagogy.
Experimental data in the field of pedagogy and psychology indicate that no more than 20-30% of information is assimilated during lecture presentation of material, up to 50% during independent work with literature, up to 70% during pronunciation, and up to 90% with personal participation in the studied activity. %. In this regard, the conclusion suggests itself that the assimilation of educational material should not be passive, it is necessary to ensure constant active participation in the educational process of the students themselves.
Today, there are various approaches to the classification of methods and forms of active learning. Most often, a classification is used according to the nature of educational and cognitive activity, according to which the methods and forms of active learning are divided into: non-imitation and simulation. Non-imitation include non-traditional forms of lectures, seminars, discussions, collective thinking activity. Imitation, in turn, is divided into game and non-game. At the same time, non-game methods include analysis of specific situations, analysis of the manager’s business mail, actions according to instructions, etc. Game methods are divided into: business games, didactic or training games, game situations and game techniques and procedures, active training.
In many educational institutions, in particular institutions of SVE (secondary vocational education), a limited number of hours are allotted for the study of the MHC - 38 (2 hours per week), and no one has changed the standards. We have to mobilize all the forces, opportunities, abilities of both our own and students in order to complete the program in this short time. A huge help in this difficult task is the use of visualization lectures.
Lecture - Visualization contributes to the creation of a problematic situation, the resolution of which, unlike a problematic lecture, where questions are used, occurs on the basis of analysis, synthesis, generalization, folding or deployment of information, i.e. with the inclusion of active mental activity. The task of the teacher is to use such forms of visualization that would not only complement the verbal information, but also be information carriers themselves. The more problematic in visual information, the higher the degree of mental activity of the student. This type of lecture is best used at the stage of introducing students to a new section, topic.
The preparation of this lecture by the teacher is to redesign the educational information on the topic of the lecture into a visual form for presentation to students through technical teaching aids (multimedia projector, multimedia board, PC). An example of a visualization lecture on the topic “The Artistic Culture of Ancient Egypt”, see application 1 . The lecture turns into a detailed commentary by the teacher of the prepared visual materials.
Students can also be involved in this work, in which, in connection with this, appropriate skills will be formed, a high level of activity will develop, and a personal attitude to the content of training will be brought up. Students can do this work both in the classroom, supplementing the teacher's lecture, and at home, creating their own small visualization lecture. Annex 2.
One of the most effective active learning methods is a game. The pedagogical essence of the game is to activate the thinking of students, increase independence, bring the spirit of creativity into education. The main question in the game becomes "what would happen if ...". This method reveals the student's personal potential: each participant can diagnose his abilities alone, as well as in joint activities with other participants.
In the process of preparing and conducting the game, the teacher should help the student become who he wants to be in the game, show him his best qualities that could be revealed in the course of communication.
In teaching MHC it is more expedient to use role-playing game. The purpose of this game is to form certain skills and abilities of students in their active creative process. The social significance of the role-playing game is that in the process of solving certain problems, not only knowledge is activated, but also collective forms of communication develop.
The following steps can be distinguished in the preparation of a role-playing game:
- Topic selection. The theme of the game can be almost any section of the training course.
- Setting goals and objectives, taking into account not only the topic, but also the analysis of the initial situation.
- Determination of the structure taking into account the theme, goals, objectives, composition of participants.
- Diagnosis of playing qualities of participants in a role-playing game. Conducting classes in a playful way will be more effective if the actions of the teacher are addressed not to an abstract student, but to a specific student or group.
- Diagnosis of an objective circumstance. The question of where, how, when, under what conditions, and with what objects the game will take place is considered.
The game should be a practical addition to the study of a specific theoretical topic, a continuation and completion (of a section), of the discipline as a whole. So, after studying the topic "Artistic culture of the Western European Middle Ages", the game "Fashion Magazine" is offered. The goal is set for the students: "You are the editors of a fashion magazine, you need to prepare an issue of an issue dedicated to the fashion of the Middle Ages." There is a lot to talk about the fashion of the Middle Ages in general and to prepare more than one issue of the magazine, so it is necessary to orient students to a specific topic, for example, Romanesque and Gothic hairstyles, Gothic dress, men's suit, hats, color fashion, etc. I propose to look at one of the resulting magazines in Annex 3. Concluding a conversation about the features of architecture and painting of any period, students can be invited to reincarnate as guides: “You are a tour guide of route N, prepare material and lead a tour to an architectural monument”, or “You are a guide in a museum of one artist, prepare an exhibition of works by this artist, come up with a name exposition, compose an accompanying text and conduct a tour” (see Application4 ). There can be many options for holding such games: an editor of a literary almanac, a theater director, a music show host, etc.
Host Colombina: Hello, do you recognize me? I am Colombina, I used to be called Servetta and Francesca. I am a simple girl, forever in love, cheerful, intriguer. And I have many friends: the simple-hearted harlequin, and the resourceful pulcinella, the stingy merchant Pantalone, and Gilles-Pierrot, I confess in secret, is my admirer. They constantly compete with Harlequin. And we are all from the comedy of masks dell'arte, which originated in Italy during the Renaissance.
Yes, indeed, a new world opened up to the man of the Renaissance in dazzling brilliance and diversity ... This world is captured in the architectural structures of Florence, Rome and Venice, portraits created by the brush and chisel of Botticelli, Leonardo da Vinci, Michelangelo, Raphael, Titian, Durer. It is refracted in a peculiar way in the love lyrics of Petrarch, the satirical characters of Boccaccio, Rabelais and Cervantes. It is reflected in the passions of Shakespeare's heroes and the philosophical utopias of Thomas More and Erasmus of Rotterdam.
I invite you to explore this amazing world. Let's first take a look at Elizabeth's palace and find out what's going on there...
Dramatization of an excerpt from Bernard Shaw's The Swarthy Lady of the Sonnets (1910)
Elizabeth. Mr Shakespeare, I will speak to the Lord Treasurer about this.
Shakespeare. Then I was lost, Your Majesty, for there was not yet a Lord High Treasurer who had a single penny in addition to the necessary government expenses for anything other than war or the salary of his own nephew.
Elizabeth. Mister Shakespeare! You have told the true truth, but it is not in my power to help the cause in any way ... believe me, Mr. Will, it will take 300 years, and maybe even more, until my subjects understand that a person does not live by bread alone, but by a word that comes out from the lips of those who are inspired by the Almighty ... However, by that time your works, perhaps, will turn to dust.
Shakespeare. They will last forever, Your Majesty, do not be afraid for them.
Elizabeth. Maybe. But I am sure of one thing, because I know my compatriots - until all other countries of the Christian world, up to barbarian Muscovy and the villages of ignorant Germans, begin to maintain theaters at the expense of the treasury, England will never dare to take such a step ...
Shakespeare. And yet I will open a theater, because I am William Shakespeare!
The dance "Pavane" is performed to the music of Caccini "Ave Maria"
Dramatization of an excerpt from a play by William Shakespeare(from any play)
Host Colombina: Speaking of the Renaissance, one cannot but mention the famous "Mona Lisa" by Leonardo da Vinci.
With a dreamy, enigmatic smile
She poses ... Thoughtful and great,
He reproduces with his flexible brush
Her luxurious frame and incomparable face ...
But suddenly he puts down the brush. Solemn and important
He says: “Let the centuries pass!
I finished this work: I bravely walked towards the goal;
My heart trembled, but my hand did not tremble!
You, forever blond, with heavenly eyes,
With a smile of happiness on pink lips,
As now, you will rule over hearts,
When we both turn to dust!
Ages of ages will not change you
Always white, blush and tender ...
Let the fierce winters replace a series of harsh winters;
In your smile - eternal spring!
O death, come! I'm waiting for you calmly.
I poured my whole inner world into this image:
I accomplished a feat worthy of her.
I immortalized the one whom, like life, I loved.
Reader (during the reading, the presentation "Architectural masterpieces of the Renaissance" is shown)
In the volume of a wonderful panorama
Floating palaces and temples
As if at anchor of the court,
As if waiting for a fair wind
Raise their sails!
Looks thoughtfully and vaguely
Palaces venerable beauty!
On their walls centuries of handwriting,
But there is no price for their charms,
When their sketch is drawn
Under the white glow of the moon.
Cutter to these gloomy strongholds
Gave softness bulge and edge,
And, like transparent lace,
Through their stone fabric.
How mysterious, how strange
In this realm of wondrous beauty:
Falls on everything all the time
The shadow of a poetic dream...
Host Colombina: Fast forward to the North of Europe: the Netherlands, France, Germany - and see the paintings of artists of that era. The Italian merchant Giovanni Arnolfini married Giovanna ... and commissioned a wedding portrait from the artist van Eyck. The newlyweds, joining hands, swear to be faithful to each other, and the groom confirms the sanctity of the contract with a gesture of his hand turned to heaven. Or maybe it's van Eyck himself, the court painter, and his young wife?
Staged live painting by Jan van Eyck "Portrait of the Arnolfinis"
Host Colombina: Take a look! Without a rudder and without sails, a fragile boat floats through the seas of worldly vanity. Its passengers, forgetting about the land of departure, unaware of the shores to which they will sooner or later have to land, indulge in the gross pleasures of the flesh. They have been sailing for a long time, the mast has sprouted and become a tree, death has already nestled in it, and the monk and nun are bawling songs, forgetting about holiness. Madness and vices are intertwined in life, it becomes unclear what drives humanity. Hieronymus Bosch asks himself and people the question: “Where are we sailing? Which coast do we want to land on?
Staging of a living painting by Hieronymus Bosch "Ship of Fools"
Reader (during the reading, the presentation "Great discoveries of the Renaissance" is shown)
The time has come: the strings sang again,
And the colors again blushed from the canvas.
And decrepit Byzantium in life - spring
She entered, reminding of love, of the body;
In his creations Vinci, Raphael
The brilliance of life has been exhausted to the bottom.
Everyone tried to discover, invent,
Find, create ... Reigned in these years
Hope - to reveal all the mysteries of nature.
As we can see, in order to increase the cognitive activity of students, the teacher is offered many different developed methods that he can use in his teaching activities. We have considered only a small part of them.
Literature
- Danilova, G.I. World Art. Grade 10 / G.I. Danilova. - M., 2008.
- Miretskaya, N.V. Culture of the Renaissance / N.V. Miretskaya, E.V. Miretskaya. - M., 1996.
- Platov, V.Ya. Business games: development, organization, implementation / V.Ya. Platov. - M., 1991.
- Pogrebnaya, E.N. Psychological and pedagogical foundations of active teaching methods // tnaia.narod.ru/sk/
- Smolkin, A.M. Methods of active learning / A.M. Smolkin. - M., 1991.
World artistic culture is a subject that considers the general patterns of development of artistic culture, its various types of art in their interconnections, the life roots of art, its active role in people's lives.
The purpose of the subject is to form the spiritual world of the student, his morality, aesthetic susceptibility by the force of the influence of various arts in their complex.
The tasks of teaching world art culture are to create conditions for live communication of students with works of world art in the classroom, extracurricular activities and in extracurricular life:
- - enrich their spiritual world, educate feelings and equip them with the experience of generations;
- - to develop their understanding of art, the ability to be a reader, spectator, listener.
- - to give the amount of knowledge on the subject, helping to reveal to students the most important patterns of the complex process of development of world artistic culture, to recognize the features of the figurative language of the arts;
- - to cultivate in the student a love for art, the ability to enjoy beauty, to experience a sense of happiness from communicating with beauty;
- - to awaken an active desire to affirm the beauty of human relations in everyday life, in labor activity and intolerance for the ugly in all manifestations of life;
- - develop students' imagination and creativity;
- - to form a worldview in students, the ability to think on a large scale and make generalizations, to see what is common in different works of art.
Educational goals and objectives of the course:
- - study of the masterpieces of world art created in various artistic and historical eras, comprehension of the characteristic features of the worldview and style and outstanding artists - creators;
- - formation and development of concepts about the artistic and historical era, style, and direction, understanding the most important patterns of their change and development in the history of human civilization;
- - awareness of the role and place of Man in artistic culture throughout its historical development, reflection of the eternal search for an aesthetic ideal in the best works of world art;
- - comprehension of the system of knowledge about the unity, diversity and national identity of the cultures of various peoples of the world;
- - mastering the main stages in the development of domestic (Russian and national) artistic culture as a unique and original phenomenon of enduring global significance;
- - acquaintance with the qualification of the arts, comprehension of the general patterns of creating an artistic image in all its forms;
- - interpretation of art forms, taking into account the peculiarities of their artistic language, the creation of a complete picture of their interaction.
Educational goals and objectives of the course:
- - to help the student develop a strong and stable need to communicate with works of art throughout his life, to find in them moral support and spiritual and value orientations;
- - contribute to the education of artistic taste, develop the ability to distinguish true values from fakes and surrogates of mass culture;
- - to prepare a competent reader, viewer and listener, ready for an interested dialogue with a work of art;
- - development of abilities for artistic creativity, independent practical activities in specific types of art;
- - creation of optimal conditions for lively, emotional communication of schoolchildren with works of art in the classroom, extracurricular activities and local history work.
The development of the creative abilities of schoolchildren is realized in project, search and research, individual, group and advisory types of educational activities. This work is carried out on the basis of a concrete - sensory perception of a work of art, the development of abilities for the selection and analysis of information, the use of the latest computer technologies. The highest priority should include concert-performing, stage, exhibition, game and local history activities of students. Protection of creative projects, writing essays, participation in scientific and practical conferences, competitions and excursions are designed to provide an optimal solution to the problem of developing the creative abilities of students, as well as prepare them for a conscious choice of a future profession.
Basic didactic principles. The program provides for the study of the MHC on the basis of unified approaches that have historically developed and developed in the education system.
The principle of continuity and succession involves the study of the MHC throughout all the years of schooling. Selected historical and thematic approaches to the study of the course ensure the implementation of continuity at each stage of materials that are close in historical or thematic terms, are revealed and generalized at a qualitatively new level, taking into account the previously studied. For example, if ancient mythology in grade 5 is studied in a moral and aesthetic aspect, then in grade 10 (11) antiquity is recognized as a unique cultural and historical era, the cradle of human civilization.
The principle of integration. The MHC course is integrative in its essence, as it is considered in the general system of subjects of the humanitarian and aesthetic cycle. Firstly, the program reveals the relationship of various types of art, united by the key concept of the artistic image. Secondly, it emphasizes the practical orientation of the MHC subject, its connection with real life is traced.
The principle of variability. The study of the MHC is an exclusively selective process. It provides for the possibility of implementation on the basis of various methodological approaches, taking into account specific tasks and the profile orientation of the class. That is why the program provides for the inalienable right of the teacher to make changes in the distribution of hours for the study of individual topics (reduce or increase their number), highlight large thematic blocks, and outline the sequence of their study. At the same time, any choice and methodological decision made by the teacher should be correlated with the educational effect, not destroy the logic and the overall educational concept of the program. The maximum volume of thematic spreads (especially in high school) is due not only to an increase in the number of hours, but also to the possibility of choice.
The principle of differentiation and individualization. The process of comprehending art is a deeply personal and individual process. It allows you to direct and develop the creative abilities of the student throughout the entire study time in accordance with the general and artistic level of his development, personal interests and tastes, the ability to choose in the main and profile schools is the key to the successful development of the creative abilities of students.
In the conditions of the multinational Russian education system, the teacher is given the opportunity to use the national-regional component more widely due to the variable part of the Basic Curriculum. At the same time, the specifics of the development of regional cultures, determined by the peculiarities of the national composition of the population, the established cultural traditions and religious ideas about the world, are taken into account. So, for example, when selecting material for studying about folk crafts, heroic epos, holidays and rituals, dances and music, the teacher has the right to turn to the best artistic achievements of his people, to let students feel their national identity, uniqueness and originality.
This feature of building the course of the MHK is dictated by the specifics of art, which has a universal language of communication between peoples. It allows you to see the private and individual in the general and the world, promotes understanding of each other through eternal, enduring values, fosters mutual respect for the cultures of other peoples.
The surrounding life of a person offers different understandings of the world, different points of view on understanding it. Today, a person is looking for an answer to important questions of earthly existence: what is the world and the place of a person in it? What is the moral standard today? What is beauty and what is the aesthetic ideal?
The school needs the subject of the MHC, and it is needed precisely as an object of art that has unique opportunities to influence the spiritual world of the student, cultivating, cultivating their souls. At the lesson, the teacher must have high pedagogical skill, which consists in fluency in the methods and means of organizing artistic and pedagogical communication, a skill that can be compared with artistic creativity.
One of the main problems of teaching a subject in a modern school is the problem of choosing teaching methods, drawing up calendar and thematic planning, as well as developing a lesson based on the method of artistic and pedagogical dramaturgy. MHC teaching also depends on the characteristics of each educational institution, which determine the systematic study of the subject by year, the number of hours per week for studying the subject, the selection of artistic material, and the choice of a particular training program.
The concept of studying artistic culture can be represented as follows:
- 1. The purpose (main) of the course is to cultivate the artistic taste of students, increase the level of their artistic development, form an idea of artistic culture as part of spiritual culture, introduce students to universal and national values in various areas of artistic culture, mastering the artistic experience of the past and present.
- 2. The course "MHK" aims to reveal the logic of the artistic development of mankind through acquaintance with the outstanding achievements of culture, to reveal its leading patterns, to show the main stages and periods of the formation of systems of artistic and figurative vision of the world in different eras among different peoples of the Earth.
- 3. The content of the course as a subject should consist of the following components:
- - the study of various types of artistic activity in their interconnections and mutual influences;
- - the study of various manifestations of the artistic genius of various peoples and nations in each particular historical era;
- - study of the general patterns of the artistic development of mankind in the context of its social and cultural history.
In order for the mastery of the world of artistic culture by students to be more effective in the learning process, it is necessary to provide for three mandatory and interrelated links:
- 1) classroom lessons;
- 2) extracurricular activities;
- 3) independent activity.
Let's briefly describe each of these forms:
Classroom lessons are held in the conditions of the classroom, class.
The lesson assumes the presence of several necessary parts: homework survey - answer - explanation of new material (lecture) - conclusion - homework. The composition and order of the parts of the lesson can be changed depending on the goals and objectives of the lesson, on its topic, on the place that this lesson occupies in the process of studying the course, on the level of activity of students, their readiness for the lesson, etc.
An explanation of the new material (the lecture part) is necessary as an informational and methodological basis for the independent activity of students. In a lecture, it is important to present the leading ideas and concepts, revealing the essence of artistic culture. Since the content of the lectures covers a large amount of material, it is important for students to help organize the information received in the lectures. A reference summary can serve this purpose. It is necessary at such lessons and illustration - the emotional and cognitive component of the lecture.
· Independent part - one of the components of training. The main goal of independent work is the development of the ability for independent perception and analysis of artistic phenomena in their interconnections, the identification of a personal position in the field of artistic culture.
In the independent part, students demonstrate the fulfillment of tasks, it is here that the criteria for the activity of students are laid down, the standards for evaluating the work done are determined. The task is to step by step, on the basis of joint efforts, to improve the level of performance of tasks, skill and taste of students. In the process of performing various tasks, students have to demonstrate behavioral, speech and other skills and abilities.
The productive part is the third component of the MHC classes. Its significance lies in the fact that in the productive part the results of the activities of the teacher and students are realized. In it, they demonstrate the implementation of the buildings proposed in the independent part of the lesson. It is here that the criteria for the activity of students are laid down, the standards for evaluating the work done are determined. The task is to step by step, on the basis of joint efforts, to improve the level of performance of tasks, skill and taste of students.
- · Extra-curricular activities - another mandatory link in the organization of the learning process of the MHC. This is a completely free area of activity that cannot remain outside the teacher's field of vision, because it is in this area that students, as a rule, acquire their own experience of artistic and creative activity. It is important that students gain experience in such artistic, creative and aesthetic activities in a variety of areas:
- Ш literary (compose poetry, write stories, give a review of someone's artistic activity, etc.);
- Ш visual (draw, sculpt, cut, review the work of comrades, make exhibitions, etc.);
- Ш musical (organize musical evenings, etc.);
- Ш theatrical, dance, etc.
A necessary condition for the effectiveness of MHC classes should be based on the principle of active personal involvement of everyone in the learning process, and this should not be confused with a simple increase in the activity of students in the classroom.
How to control the process of mastering the content of the MHC course? An activity cannot be a self-regulating system if students do not receive information about the effectiveness of the work done, an idea of its results.
The evaluation process is carried out in several stages:
- Stage 1 - independent assessment activities (students are given the right to put down grades).
- Stage 2 - assessment through joint activities (for example, in the work of pairs of constant composition and in the work of dynamic pairs, the result of joint activities is recorded in notebooks). Each member of the pair writes in the notebook of the other a detailed assessment of the activities of the neighbor on the desk.
- Stage 3 - collective discussion of the work done.
- Stage 4 - evaluation activities are performed by the teacher.
The final analysis and assessment are important not only for students, but also for the teacher, since it allows him to more deeply diagnose knowledge and skills, attitudes towards student learning.
The teacher must build the study of various types of art in such a way that not scientific categories dominate, but feelings and emotions, it is important to teach not art, but art.
The following qualities of a teacher's personality are important: vocation and versatility of shown interests, intuition, pedagogical tact, emotional balance, empathy, tolerance, a high level of professionalism, manifested in knowledge of one's subject, as well as a complex of socio-philosophical, psychological-pedagogical and applied sciences.
These components of pedagogical skill are equally important for a teacher of any profile, including artistic and aesthetic. Pedagogical excellence contributes to the fulfillment of the requirements for teaching a particular academic subject.
In the field of teaching art objects, among such requirements it is worth highlighting the following:
- - personality - oriented orientation of teaching;
- - multiprofessional approach to teaching;
- - artistic and creative nature of teaching.
The choice of these requirements is connected with the specifics of artistic knowledge of the world, which is characteristic of all objects of an artistic and aesthetic profile and gives them the status of objects of art. At the same time, the academic subject "World Artistic Culture" has another peculiarity - an ideological orientation, an integrated character, polyartism, a variety of approaches to the content of the subject and its teaching. Let us consider the listed requirements for teaching through the prism of such originality.
The personality-oriented orientation of teaching world art culture (as well as other subjects of art) is associated with the goals of education and the social functions of art. Let's conditionally group them in pairs:
- - the transformative and evaluative function of art contributes to the development of the student's emotional and value sphere;
- - the cognitive function of art affects its intellectual sphere;
- - communicative has an impact on socio-cultural development.
The conceptual line put forward by L.M. Predtechenskaya, the personality-oriented teaching of world artistic culture is based on the artistic way of knowing the world around. This way of cognition presupposes the emotional and moral response of schoolchildren to art and the surrounding reality on the basis of artistic and figurative perception.
A multi-professional approach to teaching is laid down in the multi-subject basis of the MHC. The teaching of this subject has ample opportunities in the personal development of students associated with the representation of different types of arts in it. This is facilitated by the fact that the subject "World Artistic Culture", having a multi-subject basis and including objects of many humanitarian disciplines in its content, allows schoolchildren to consider knowledge about the world and man at a qualitatively new holistic level.
Studies of well-known teachers working in the system of basic training of an art teacher drew attention to the polyprofessional functions of their activities (O.A. Apraksina, L.G. Archazhnikova, L.A. Nemenskaya, T.V. Chelysheva), and therefore on a multi-professional approach to teaching the MHC subject. Such a division is very conditional. It is necessary to emphasize the versatility of the teacher's professional actions, requiring from him the intended effect on each of these functions, but manifesting themselves in practice holistically.
On the one hand, the teaching of the MHC is conditioned by the general pedagogical functions of the teacher, which are realized in solving educational and teaching tasks. On the other hand, psychological functions that ensure the multifaceted development of the student's personality and interpersonal interaction at the level of subject-subject communication in the triad "author - teacher - student". These functions are realized, as is known, in the process of teaching any subject of art. However, in the MHC they are colored by specific functions that differ from the subjects "Music", "Literature", "Fine Arts". In the "World Artistic Culture" art history and cultural education of high school students is carried out more deeply, which has both a generalizing and a specific character. A chain is being built: the original era - the artistic direction (flow) - the author's position - its translator (performer) - its addressee (reader, viewer, listener) - the system of emotional and intellectual relations, views, positions - society and the new era.
There is some difference between the creative direction of teaching the Moscow Art Theater and other art disciplines. In the process of teaching music, literature and fine arts, applied performance of students is actively carried out, which is of a very specific nature (singing, drawing, artistic design, dancing, reading poetry and prose, etc.). creativity of high school students in various integrative forms, such as writing, directing, acting, screenwriting, etc.
It is advisable to consider the artistic and creative nature of classes as one of the important requirements for teaching world artistic culture, as an essential component of the teacher's specific activity. This character is due to the psychology of art, its creative potential and the pedagogical organization of the artistic and creative process.
The artistic and creative nature of teaching should be viewed through three psychological properties of art: art as knowledge, art as catharsis, art and life.
Based on the research of L.S. Vygotsky, let us define art as “a special way of thinking”, since “the mechanism of psychological processes corresponding to a work of art” lies in the fact that “imagery becomes the basis of artistic experience, and the usual properties of the intellectual and cognitive process become its general character”.
In this regard, the artistic and creative nature of teaching the MCC (as well as any other subject of art) is manifested primarily in the emotional response of students to the artistic image, which motivates them to understand it. Thought processes, intellectual operations are "as if the result, consequence, conclusion, aftereffect of a work of art." Consequently, the artistic and creative character as one of the requirements for teaching the Moscow Art Theater is expressed in the fact that different interpretations of works of art are the result of their different living, and this, in turn, depends on the properties of a particular individual.
Another important side of the artistic and creative nature of teaching the Moscow Art Theater is the "catharsis of aesthetic reaction", which, according to L.S. Vygotsky, in the transformation of affects, which are a feature of any art, "in their self-combustion, in an explosive reaction, leading to the discharge of those emotions that were immediately evoked ...". That is, when perceiving art, on the one hand, the student has feelings, on the other hand, fantasies that are based on affects and cause an aesthetic reaction. “On this unity of feeling and fantasy, all art is based.”
A work of any kind of art, considered in the process of teaching the MHC, "becomes the strongest means for the most expedient and important discharges of nervous energy." This makes the living of a work of art a moment of spiritual relaxation (gr. katharsis - purification), which the student experiences in the process of empathy, which determines his emotional and value development.
The psychological factor in the artistic and creative nature of the teaching of the Moscow Art Theater is that art, while performing catharsis and causing the most important personal upheavals in a person, at the same time carries out a social action. According to the apt expression of L.S. Vygotsky, "art is a social technique of feeling, an instrument of society, through which it draws the most intimate and most personal aspects of our being into the circle of social life." That is, art is a mechanism for both personal and social development.
It is difficult to disagree with how big a role art plays in the history of any period. Judge for yourself: in history lessons at school, after each topic devoted to the study of the political and economic situation in the world in a given time period, students are invited to prepare reports on the art of this era.
Also in the school course since relatively recently there is such a subject as the MHC. This is absolutely not accidental, because any work of art is one of the brightest reflections of the time in which it was created, and allows you to look at world history through the eyes of the creator who gave life to this work.
Definition of culture
World art culture, or MHC for short, is a type of social culture based on the figurative and creative reproduction of society and people, as well as animate and inanimate nature through the means used by professional art and folk art culture. Also, these are phenomena and processes of spiritual practical activity that creates, distributes and masters material objects and works of art that have aesthetic value. World artistic culture includes picturesque, sculptural, architectural heritage and monuments, as well as all the variety of works created by the people and their individual representatives.
The role of the MHC as a subject
In the course of studying the course of world artistic culture, both broad integration and understanding of the relationship of culture, primarily with historical events of any time period, as well as with the social sciences, are provided.
As mentioned earlier, the world artistic culture covers all the artistic activities that a person has ever been engaged in. These are literature, theater, music, fine arts. All processes related to the creation and storage, as well as to the dissemination, creation and evaluation of cultural heritage are studied. The problems associated with ensuring the further cultural life of society and the training of specialists of appropriate qualifications in universities do not remain aloof.
As an academic subject, the Moscow Art Theater is an appeal to the entire artistic culture, and not to its individual types.
The concept of a cultural era
The cultural epoch, or cultural paradigm, is a complex multifactorial phenomenon that contains the image of both a specific person living at a specific time and carrying out his activities, and a community of people with the same way of life, life mood and thinking, value system.
Cultural paradigms replace each other as a result of a kind of natural-cultural selection through the interaction of traditional and innovative components that art carries. The MHC, as a training course, aims to study these processes as well.
What is the Renaissance
One of the most significant periods in the development of culture is the Renaissance, or Renaissance, the dominance of which fell on the XIII-XVI centuries. and marked the beginning of the New Age. The sphere of artistic creativity has undergone the greatest influence.
After an era of decline in the Middle Ages, art flourishes and ancient artistic wisdom is reborn. It was at this time and in the meaning of "revival" that the Italian word rinascita is used, later numerous analogues appear in European languages, including the French Renaissance. All artistic creativity, primarily fine arts, becomes a universal "language" that allows you to know the secrets of nature and get closer to it. The master reproduces nature not conditionally, but strives for maximum naturalness, trying to surpass the Almighty. The development of the sense of beauty familiar to us begins, the natural sciences and the knowledge of God all the time find common ground. In the Renaissance, art becomes both a laboratory and a temple.
periodization
The Renaissance is divided into several time periods. In Italy - the birthplace of the Renaissance - several periods were distinguished, which for a long time were used all over the world. This is the Proto-Renaissance (1260-1320), partly included in the Ducento period (XIII century). In addition, there were periods of Trecento (XIV century), Quattrocento (XV century), Cinquecento (XVI century).
A more general periodization divides the era into the Early Renaissance (XIV-XV centuries). At this time, there is an interaction of new trends with Gothic, which is creatively transformed. Next come the periods of the Middle, or High, and Late Renaissance, in which a special place is given to mannerism, characterized by a crisis in the humanistic culture of the Renaissance.
Also in countries such as France and Holland, the so-called where late Gothic plays a huge role is developing. As the history of the MHC says, the Renaissance was reflected in Eastern Europe: the Czech Republic, Poland, Hungary, as well as in the Scandinavian countries. Spain, Great Britain and Portugal became countries with an original Renaissance culture that had developed in them.
Philosophical and religious components of the Renaissance
Through the reflections of such representatives of the philosophy of this period as Giordano Bruno, Nicholas of Cusa, Giovanni and Paracelsus, the themes of spiritual creativity, as well as the struggle for the right to call an individual a “second god” and associate a person with him, become relevant in the Moscow Art Theater.
Relevant, as at all times, is the problem of consciousness and personality, faith in God and higher powers. There are both compromise-moderate and heretical views on this issue.
A person is faced with a choice, and the reform of the church of this time implies a Renaissance not only within the framework of the MHC. This is also a person propagated through the speeches of figures of all religious denominations: from the founders of the Reformation to the Jesuits.
The main task of the era. A few words about humanism
At the forefront during the Renaissance is the education of a new person. The Latin word humanitas, from which the word "humanism" is derived, is the equivalent of the Greek word for "education".
Within the framework of the Renaissance, humanism calls on a person to master the ancient wisdom important for that time and find a way to self-knowledge and self-improvement. Here there is a confluence of all the best that other periods could offer, leaving their mark on the MHC. The Renaissance took the ancient heritage of antiquity, religiosity and the secular code of honor of the Middle Ages, the creative energy and human mind of the New Age, creating a completely new and seemingly perfect type of worldview.
Renaissance in various fields of human artistic activity
During this period, illusory nature-like paintings replace icons, becoming the center of innovation. Landscapes, everyday painting, portrait are actively painted. Printed engraving on metal and wood is spreading. Working sketches of artists become an independent form of creativity. Picture illusoryness is also present in
In architecture, under the influence of the enthusiasm of architects for the idea of the centric, proportional temples, palaces and architectural ensembles are becoming popular, emphasizing earthly, centric perspective-organized horizontals.
Renaissance literature is characterized by love for Latin as the language of educated people, adjacent to national and folk languages. Such genres as the picaresque novel and urban short story, heroic poems and novels of medieval adventurous and chivalrous themes, satire, pastoral and love lyrics are becoming popular. At the height of the popularity of drama, theaters put on performances with an abundance of city holidays and magnificent court extravaganzas, which become a product for colorful synthesis of various types of art.
Strict musical polyphony flourishes in music. The complication of compositional techniques, the appearance of the first forms of sonatas, operas, suites, oratorios and overtures. Secular music, close to folklore, becomes on a par with religious music. There is a separation of instrumental music into a separate form, and the pinnacle of the era is the creation of full-fledged solo songs, operas and oratorios. The temple was replaced by the opera house, which took the place of the center of musical culture.
In general, the main breakthrough is that the once medieval anonymity is replaced by individual, authorial creativity. In this regard, the world artistic culture is moving to a fundamentally new level.
Titans of the Renaissance
It is not surprising that such a fundamental revival of art, in fact, from the ashes could not take place without those people who created a new culture with their creations. They were later called "titans" for the contributions they made.
The proto-Renaissance was personified by Giotto, and during the Quattrocento period, the constructively strict Masaccio and the sincerely lyrical works of Botticelli and Angelico opposed each other.
The average, or represented by Raphael, Michelangelo and, of course, Leonardo da Vinci - artists who became iconic at the turn of the New Age.
The famous architects of the Renaissance were Bramante, Brunelleschi and Palladio. Brueghel the Elder, Bosch and Van Eyck are painters of the Dutch Renaissance. Holbein the Younger, Durer, Cranach the Elder became the founders of the German Renaissance.
The literature of this period remembers the names of such "titan" masters as Shakespeare, Petrarch, Cervantes, Rabelais, who gave the world lyrics, novel and drama, and also contributed to the formation of the literary languages of their countries.
Undoubtedly, the Renaissance contributed to the development of many trends in art and gave impetus to the creation of new ones. It is not known what the history of world artistic culture would be like if this period did not exist. Perhaps classical art today would not cause such admiration, most of the trends in literature, music and painting would not exist at all. Or maybe everything with which we are accustomed to associate classical art would have appeared, but many years or even centuries later. Whatever the course of events, And only one thing is obvious: even today we admire the works of this era, and this once again proves its importance in the cultural life of society.
WORLD ART
COURSE CONTENT The course on world artistic culture at the level of secondary (complete) general education is aimed at familiarizing with the outstanding achievements of art in different historical eras in different countries. It does not contain a complete enumeration of all the phenomena of world artistic culture, but it gives, through individual most outstanding monuments of architecture, fine arts, literature, music, theater, or the work of one master, to show the socio-cultural dominants of the era, its main artistic ideas. The subject of the MHC is integrative in its essence, therefore the principle integration underlies the course and is the principle of building the program. A comprehensive study of domestic and foreign artistic culture and various types of art: fine arts, literature, music, theater, etc. Principle historicism allows you to show the patterns of development of world artistic culture, provides an understanding of the dependence of artistic phenomena on the phenomena of social life. Principle reliance on creative method allows you to expand the progressive development of various arts in their ideological and artistic relationships, to identify the spiritual, moral and aesthetic dominants of the time. The ideological and aesthetic reasons for the emergence and change of creative methods are revealed: classicism, romanticism, realism, symbolism, surrealism, etc. The distribution of material is carried out according to territorial principle, which allows us to show what system of values each nation operates, being the bearer of a certain religious and cultural tradition. The course maintains the logic of the historical linear development of culture from the primitive world to the twentieth century. At the same time, a significant role is given to the development of students' ability to understand the logic of the historical development of worldview processes and the various artistic systems and styles generated by them. The course allows you to realize the uniqueness and originality of different cultures, teaches students to perceive the world as a "world of worlds", in which any culture has a place; forms positive life guidelines and own worldview position. A feature of the MHC course at the level of secondary (complete) general education at the profile level is its connection with the tasks of profiling education and organizing pre-university training for students. It is supposed not only to build up the course volume, but also to form higher requirements for the level of students' preparation, develop their skills, personal qualities and motivation necessary for successful continuation of education in higher education. The proposed program at the stage of secondary (complete) general education at the profile level is designed for 210 hours: in grades X and XI, 105 hours each, at the rate of 3 academic hours per week. The program consists of two parts. The first part (Grade 10) studies artistic culture from ancient times to modern times. The second part (grade 11) examines the artistic culture of the periods "New time - 20th century". This also includes material on Russian artistic culture. The material 1 parts topics included:- Origin of art.
Goals
The study of world artistic culture at the level of secondary (complete) general education at the profile level is aimed at achieving the following goals:- Mastering systematized knowledge about the patterns of development of cultural and historical eras, styles, trends and national schools in art; about values, ideals, aesthetic norms on the example of the most significant works; about the specifics of expressive means of different types of art; Mastering the ability to analyze works of art and develop their own aesthetic assessment; Development of feelings, emotions, figurative, associative, critical thinking; Education of artistic and aesthetic taste and culture of perception of works of art, tolerance, respect for the cultural traditions of the peoples of Russia and other countries of the world; The use of acquired knowledge and skills to expand horizons, cognitive interest, conscious formation of one's own cultural environment.
| Subject | Number of hours |
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| 1. | Origin of art | World artistic culture - unity and diversity. The artistic image is the main means of displaying and understanding the world in art. The origin of art and the formation of the foundations of artistic thinking: prototype (world tree, mother goddess); mythological year (number, geometric pattern, plant, beast); polar forces (light-darkness, life-death) mythologems (chaos-creation-order, death-rebirth). | 3 |
| Artistic culture of Asia, Africa, Latin America | Grade 11 | 21 | |
| 2. | Artistic culture of the primitive world and ancient civilizations | Architectural and picturesque monuments of the Paleolithic and Neolithic (Altamira and Stonehenge). Geometric ornament as a symbol of the transition from chaos to form (circle, square, triangle, meander). Traditional cultures (Australian Aboriginal culture). Mythology is the main source of images of the art of the Ancient World. | 3 |
| 3. | Artistic culture of Mesopotamia | Display of cosmogonic myths and the natural environment in temple architecture. The ziggurats of Etemmeniguru at Ur and Etemenaki at Babylon. Types of palace buildings. Facing surfaces with glazed bricks is a distinctive feature of the Mesopotamian style (the Ishtar Gate, the Procession Road, the throne room of the Southern Palace in Babylon). The relief is the main element of the decor of the Sumerian-Akkadian and Assyrian-Babylonian palaces. Shedu is a unique example of the combination of bas-relief and high relief (Palace of Sargon 11 and in Dur-Sharrukin). The heroic epic "The Tale of Gilgamesh" is the main source of images for outdoor decor. Realistic features in reliefs and frescoes of interiors. | 5 |
| 3. | Artistic culture of ancient Egypt | The idea of Eternal Life is the basis of ancient Egyptian culture. Legend of Osiris and Isis. The rite of mummification and the necropolis as a material embodiment of the idea of Eternal Life (the pyramids in Giza, the half-rock temple in Deir el-Bahri, the rock temple in Abu Simbel). Sculpture. Relief. Painting. The architecture of the ground temple is a symbol of Ra's self-rebirth (Karnak temple, Ramesseum). The picturesque and sculptural decoration of sarcophagi and tombs is a magical formula of eternal life. The combination of face and profile elements in the canon of Eternal Life. | 9 |
| 4. | Cretan-Mycenaean culture | The architecture of the palace-labyrinth at Knossos as a reflection of the myth of the Minotaur. The unity of the environment and picturesque scenery is the specificity of the Minoan culture. "Cyclopean" character of the architecture and decor of the Mycenaean rulers (the palace of King Agamemnon in Mycenae). | 3 |
| Artistic culture of the East | Reflection of the religious and mythological picture of the world in the spiritual culture of the peoples of the Ancient East. | 13 | |
| 5. | Artistic culture of India | Hinduism as the core of the artistic culture of India. The epic Mahabharata and Ramayana. Hindu - an architectural analogue of mystical sacrifice and ascetic asceticism (Kandarya Mahadeva Temple in Khajuraho). The role of sculpture (the "swelling form" technique) in the external decoration of a Hindu temple. The Buddhist stupa in Sanchi is a model of the Universe of Ancient India. Stone relief as a chronicle of the life and deeds of the Buddha. The fresco cycles of the cave temples of Ajanta are an encyclopedia of Indian life. The Taj Mahal is an example of Indo-Muslim aesthetics. The Indian miniature is a sophisticated fusion of the Indo-Muslim style. | 4 |
| 6. | Artistic culture of China | Cosmology is the basis of Chinese culture. The manifestation of the eternal harmony of yin and yang in the landscape genre of "mountain-water". Transmission of a major image of the world in a decorative manner of gong-bi (Li Sisun "Travelers in the mountains"); mood landscape in the technique of sei (Wang Wei "Clearlight after a snowfall in goah by the river"). The unity of word, sign and image is the standard of Chinese painting. Displaying the ethics of Confucianism, Taoism and Buddhism in literary works ("Lunyu" - "Judgments and conversations", "Daodejing" - "The Book of the Way and Grace", "Jin, ping, mei" - "Plum flowers in a golden vase"). Aesthetics of emptiness in the visual arts. The architecture of palaces and temples is a reflection of the five-term model of the world (Gugong, the Temple of Heaven). Yiheyuan Park in Beijing as an ideal embodiment of heavenly harmony. | 4 |
| 7. | Artistic culture of Japan | Aesthetics of Shinto in Japanese culture. The cult of natural forms and the beauty of the ordinary in architecture (Amaterasu shrine in Ise). “All in One” (“Pine Needle Civilization”) is the key idea of Japanese artistic culture: the chanoyu tea ceremony, the hiraniva philosophical rock gardens (Ryoanji in Kyoto), the ukiyo-e woodcut (Ogata Korin, Kitagawa Utamaro, Katsushika Hokusai). Aestheticization of the moment. Images of the ancient world in modern culture. Dialogue between West and East in culture. | 5 |
| 8. | Artistic culture of Mesamerica | The sacrificial ritual in the name of life is the core of the culture of the Indians of Central and South America. The Teotihuacan type of construction as an example of the temple and secular architecture of the Mayans and Aztecs (Palenque, Chichen Itza, Tenochtitlan). Sacred function of the sculptural decoration of temples. The combination of symbolism and realism in the picturesque decoration (Bonampak). Colonial architecture in Mexico. Myth and Reality in D. Rivera's Painting Cycles (Ministry of Education, National Palace in Mexico City). | 3 |
| Artistic culture of Western Europe and North America | Grade 11 | 54 | |
| Antique art culture | Grade 11 | 15 | |
| 9. | Artistic culture of Ancient Greece | Aesthetics of antiquity. Anthropomorphism of attitude. Reflection of the poetic mythology of the Greeks in architecture (Temple of Athena in Paestum, Parthenon and Erechteinon in Athens). From linear rhythm in the archaic to volume (high relief) in Hellenism (“Perseus killing the Gorgon Medusa” on the metope of the temple of Athena in Selinunte; the Ionic frieze of the Parthenon; the high relief “Gigantomachy” of the altar of Zeus in Pergamum). The decorativeness of archaic kors and kouros is the origin of Greek sculpture. Greek sculpture of early (Polykleitos' chiasmus), high (Phidias' harmony), late (Skopos's violent outburst) classics. Man and fate in the ancient Greek theater: the theme of the curse of the Atrid family in the tragedies of Aeschylus ("Oresteia"), Sophocles ("Electra"), Euripides ("Electra"). | 10 |
| 10. | Artistic culture of Ancient Rome | The specificity of the Etruscan worldview as the basis of Roman culture. Picturesque decoration of Etruscan tombs. Naturalism of portrait and temple sculpture. Roman valor for the glory of the state is the creed of the culture of Ancient Rome. The layout of the Roman city and architecture as a reflection of the greatness of Ancient Rome (Roman Forum, Pantheon, Colosseum). Architectural model of a Roman house. Fresco and mosaics are the main means of decorating a Roman house (Villa of the Mysteries). The portrait sculpture of the Romans is the forerunner of European sculpture (the Altar of Peace, the equestrian statue of Marcus Aurelius). | 5 |
| 11. | early christian art | Types of early Christian churches: rotunda (mausoleum of Galla Placidia in Ravenna) and basilica (Church of Sant'Apollinare in Classe). The order of placement of mosaics in the interior of the temple (the mausoleum of Galla Placidia, the church of Sant'Apollinare Nuovo in Ravenna). Christian symbolism. Traditions of the ancient world in European and domestic culture. | 3 |
| 12. | Artistic culture of the Middle Ages. | Reflection of the Eastern Christian worldview in the architecture of the Byzantine cross-domed church. Space. Topographic, temporal symbolism of the temple (St. Sophia of Constantinople). The evolution of the Byzantine style in icon painting and mosaic decoration (the churches of San Vitale in Ravenna and Chora in Constantinople). The evolution of the basilica from the pre-Romanesque Saint-Michel de Cuxes to the Romanesque Saint-Pierre at Moissac. The Romanesque basilica is a symbol of the way of the cross and salvation through redemption. Stone decor as a reflection of the life of a person in the Middle Ages (the theme of passions on portals and capitals of columns). Polychromy in the fresco decoration of Romanesque basilicas. The Alhambra is a synthesis of Romanesque and Muslim cultures. Gothic aesthetic. A Gothic temple is an image of the world (architectural design, sculpture, millefler tapestries, stained-glass windows, music). Monody as the basis of medieval religious music (Gregorian chant). Regional variants of the Gothic style in Germany (Cologne, Nuremberg), Spain (Seville, Toledo), Italy (Siena, Orvieto). Heroic epic, knightly courtly lyrics, folk prose (example-sermon) - sources of plots in medieval sculpture, painting, miniature. Images of medieval culture in the art of subsequent eras. | 19 |
| 13. | Renaissance culture | Ideals of humanism in the art of the Italian Renaissance. Proto-Renaissance in literature (D. Alighieri "New Life") and painting (Giotto: frescoes of the church of Santa Maria del Arena in Padua). F. Brunelleschi, founder of Renaissance architecture (Founding House, Pazzi Chapel). Masters of the early Renaissance in the visual arts (Donatello, Masaccio, S. Botticelli). New aesthetics of the High Renaissance: D. Bramante (architecture), L. da Vinci, Raphael (painting), Michelangelo (sculpture). Late Renaissance (Venetian school): A. Paladio, Titian, Tintoretto. The heyday of polyphony (the school of "strict writing"). Features of the Renaissance in the Netherlands: J. Van Eyck's Ghent altarpiece; P. Brueghel the Elder - the artist of the crowd. Renaissance in Germany: master engravings by A. Dürer. French Renaissance: the Fontainebleau school is a fusion of literary and pictorial images (P. Ronsard, Rosso Fiorentino, F. Primaticcio, J. Goujon). The tragedies of W. Shakespeare are the pinnacle of artistic generalization of characters and situations. The greatness and tragedy of the utopian ideals of the Renaissance. | 27 |
| Artistic culture of modern times | Grade 11 | 17 | |
| 14. | Aesthetics of the baroque | Architectural features as a style of the ensemble (Church of Il Gesu in Rome). L. Bernini. Formation of new genres in painting (historical, domestic, still life). "Great style" P.-P. Rubens. New musical genres: opera (C. Monteverdi: "Orpheus"), instrumental music (A. Corelli: concerto grosso, A. Vivaldi). The pinnacle of free polyphony in the work of J.-S. Bach. ("Passion according to Matthew"). | 2 |
| 15. | Aesthetics of classicism | "Great style" of Louis XIV in architecture (Versailles, ensembles of Paris). Classicism in the fine arts (N. Poussin). Theater of French classicism (P. Corneille, J. Racine). | 2 |
| 16. | Realism in painting of the 17th century | The beauty of the real world in the work of M. Caravaggio (Italy), Rembrandt H. (Holland), D. Velazquez (Spain). | 1 |
| 17. | Rococo art | "Gallant festivities" by A. Watteau, "pastorals" by F. Boucher. | 1 |
| 18. | Aesthetics of the Enlightenment | Philosophical stories of Voltaire, petty-bourgeois drama by D. Diderot, sentimental novel by J.-J. Rousseau). Revolutionary Classicism and Empire J.-L. David. Opera reform K.-V. Gluck. Symphony of the Vienna Classical School (J. Haydn's sonata-symphony cycle, W.-A. Mozart's opera, L. van Beethoven's symphonies). | 2 |
| 19. | Aesthetics of Romanticism | Music is the leading genre of romanticism: songs (F. Schubert), program works (G. Berlioz), opera (R. Wagner), folklore (J. Brahms). Religious and literary themes of Pre-Raphaelite painting (D.-E. Milles, D.-G. Rossetti). Landscape in romantic painting (C.-D. Friedrich. W. Turner). Revolutionary romanticism of E. Delacroix and F. Goya. English park. | 2 |
| 20. | Aesthetics of critical realism | Grade 11 | 2 |
| Artistic culture of the late 19th-20th centuries. | Grade 11 | ||
| 21. | Aesthetics of artistic culture of the second half of the 19th century | Absolutization of the moment in impressionism: painting (C. Monet, P.-O. Renoir, E. Degas), music (C. Debussy), sculpture (O. Rodin). The cult of the irrational in symbolism: painting (G. Moreau, P. Puy de Chevannes), sculpture (E.-A. Bourdelle). Fixing the eternal in a moment in post-impressionism (P. Cezanne, W. Van Gogh, P. Gauguin). | |
| 21. | Aesthetics of modernity | An iconic expression of style in architecture (V. Orte. A. Gaudi), painting (A.-M. Mucha). Graphics (O. Beardsley), arts and crafts (L.-K. Tiffany, G.-J. Guimard). Synthesis of arts in architecture. The cult of absolute beauty as a creed of art in painting (Beethoven frieze). | |
| 22. | The era of modernism | A new vision of beauty as a denial of the unity of form, space and color. Individual freedom of the artist and creative experiment: fauvism of A. Matisse, expressionism of F. Mark, primitivism of A. Rousseau, cubism of P. Picasso, abstract art of V. Kandinsky, surrealism of R. Magritte, S. Dali. New techniques (dodecaphony, aleatoric) and trends (new Vienna School) in music. Constructivism in architecture Sh.-E. Le Corbusier: Villa Savoy in Poissy. "Big style" of totalitarian states. The principle of "nationality" and authoritarianism in totalitarian art. Artistic and ideological originality of US culture: literature (W. Irving, G. Longfellow. W. Whitman, E. Hemingway), painting (E. Hopper. E. Warhel). Music (C. Ives). Skyscrapers are an elegant stylization of the temple-pyramidal architecture of the Toltecs, Mayans, Aztecs (Empire State Building in New York). Geometric decor as an expression of optimism, energy and pressure. African-American folklore (fairy tales, spirituals, blues, jazz). | |
| 23. | Postmodernism | Basic principles. New types of art and new forms of synthesis: cinematography, installation, high fashion (D. Galliano), computer graphics and animation. Musical Art of the Second Half of the 20th Century (The Beatles, Pink Floyd, New Wave). Electonic music. Mass culture and the revival of archaic forms in artistic thinking. Pop Art. Dialogue of cultures and globalization. | |
| Russian artistic culture | Grade 11 | ||
| 24. | Artistic culture of Ancient Rus' | Slavic pagan traditions and the aesthetics of Orthodoxy. Cultural influence of Byzantium and the formation of the national style (St. Sophia Cathedral in Kyiv). The mimetic image is the ideal of Byzantine fine art. Kyiv school of icon painting (Alympiy). White-stone architecture is a sign of the Vladimir-Suzdal style (the Church of the Intercession on the Nerl, Vladimir Cathedral). Stone carving on the facade is a synthesis of Romanesque and Byzantine styles (Dmitrievsky Cathedral in Vladimir). Fresco painting is the main type of interior decoration. Interpretation of the theme of the Last Judgment in the Russian Church. Features of the architecture of Novgorod and Pskov churches. Formation of national icon-painting schools. Novgorod school of icon painting ("St. George with Life"). Pskov school of icon painting ("Descent into Hell"). F. Greek. Early Moscow school of icon painting in the work of A. Rublev. Icon "Trinity" as a national symbol of the unity of Russian lands. Russian iconostasis as a symbol of the unity of the Church from Adam to the Last Judgment. Formation of national identity. Early Moscow style in architecture (Cathedral of the Transfiguration in the Spaso-Andronikov Monastery). Renaissance trends in the architecture of the Moscow Kremlin (Aleviz Novy: Archangel Cathedral). Fioravanti Assumption Cathedral is a unique example of the synthesis of Vladimir-Suzdal and Renaissance styles. Creativity of Dionysius as a reflection of the greatness and glory of the national Russian state (a fresco cycle in the Cathedral of the Nativity of the Virgin in Ferapontovo). famous chant; party concert. Orientation to Russian antiquity is the specificity of culture under Ivan the Terrible. The Church of the Ascension in Kolomenskoye is an example of a hipped temple. The Church of the Intercession of the Most Holy Theotokos “on the Moat” in Moscow is an example of a temple-monument. Fresco cycles (Smolensky Cathedral of the Novodevichy Convent in Moscow) and iconography (the icon "Militant Church") are an example of the canonical reproduction of the text of Holy Scripture. Contacts with Western Europe (Piscator's Bible). Civil architecture (the Terem Palace of the Moscow Kremlin). Secular motifs in religious architecture (Resurrection Cathedral of the New Jerusalem Monastery). Multicolored glazed tiles are a new type of decoration in Russian architecture. Secular sounding of temple frescoes (merchant churches of Moscow and Yaroslavl). Wooden architecture (the palace of Tsar Alexei Mikhailovich in Kolomenskoye, the Church of the Transfiguration in Kizhi). Naryshkin baroque (the bell tower of the Novodevichy Convent, the refectory chamber of the Trinity-Sergius Lavra) as an example of European influence. Old Russian Literature: from "The Tale of Igor's Campaign" to "The Life of Archpriest Avvakum". Images of Ancient Rus' in Russian Art. | |
| Artistic culture of Russia in modern times | Grade 11 | ||
| 25. | Cultural ties between Russia and Europe | The problem of cultural synthesis and cultural borrowing. Petersburg style as a reflection of the personal tastes of Peter I. The Peter and Paul Fortress is an example of fortifications. The Cathedral of Peter and Paul is an example of religious architecture. The summer house is an example of a private dwelling. Peterhof - "paradise" of Peter I at sea. New types of decor. "Monumental Rococo" F.-B. Rastrelli as a Russian variety of baroque (Winter Palace in St. Petersburg, Tsarskoye Selo Palace. Resurrection Cathedral of the Smolny Monastery). The originality of Catherine's classicism in architecture; "early classicism" A. Rinaldi (Marble Palace in St. Petersburg, the palace in Gatchina); "strict classicism" J. Quarenghi (Academy of Sciences, Smolny Institute for Noble Maidens). “Transparent classicism” by C. Cameron is a subtle stylization of Catherine's classicism (Tsarskoye Selo). The peculiarity of Moscow classicism as the style of the "noble republic". Secular (Moscow University, Assembly of Nobility, Senate) and cult (Church of the Great Ascension at the Nikitsky Gates, church at the Golitsyn Hospital) buildings of M.F. Kazakov. Pavlovsk and Mikhailovsky Castle in St. Petersburg are ideal examples of a romantic worldview in the architecture of classicism. Romantic tendencies in painting (F.S. Rokotov, D.G. Levitsky, V.L. Borovikovsky) and sculpture (F. Shubin, E.-M. Falcone) of classicism. Alexander classicism of the early 19th century as an orientation towards the ideals of Ancient Greece : Kazan Cathedral, Stock Exchange, Admiralty - symbols of the military, commercial, naval power of Russia. Alexander's Empire as an Orientation to the Ideals of Ancient Rome: C. Rossi's Town-Planning Ensembles (Arch of the General Staff, Alexandrinsky Theatre, Mikhailovsky Palace). The White Hall of the Mikhailovsky Palace as an example of the Empire style interior. Architectural scenery by P. di Gottardo Gonzaga in the Russian theater. The role of sculptural decoration in the decoration of buildings of classicism and empire (S.S. Pimenov, I.I. Terebenev). Monumental and decorative (V.I. Demut-Malinovsky). Park (P.P. Sokolov), memorial (I.P. Martos) sculpture. Synthesis of romanticism, realism and classicism in painting (O.A. Kiprensky, K.P. Bryullov, A.A. Ivanov, P.A. Fedotov). Russian classical music (M.I. Glinka). | |
| 26. | Critical realism in the art of the second half of the 19th century. | The search for national self-consciousness in art. The Wanderers are the herald of acute social issues (I.N. Kramskoy, I.E. Repin). National psychological portrait (V. G. Perov: a portrait of F. M. Dostoevsky; I. N. Kramskoy: a portrait of M. P. Mussorgsky). Historical genre (V.I. Surikov). The special role of the landscape as a "landscape of the Russian soul" in the Russian landscape school (A.K. Savrasov, F.A. Vasiliev, I.I. Levitan). The principle of "musical truth" in the work of the composers of the "Mighty Handful". Romantic traditions in the music of P.I. Tchaikovsky. Russian classical ballet (M. Petipa). Reflection of Russian “ethnic originality in architecture (Russian-Byzantine style of the Cathedral of Christ the Savior in Moscow by K.A. Ton; style “la russe” of the Church of the Savior on Blood in St. Petersburg by A.A. Parlanda) and in monumental painting ( frescoes of the Vladimir Cathedral in Kiev by V.M. Vasnetsov). | |
| 27. | Russian art of the late 19th and early 20th centuries | The originality of Russian Art Nouveau in architecture. The main directions of style in the work of F.O. Shekhtel: neo-romanticism (the mansion of Z.G. Morozova, the building of the Yaroslavsky railway station), plasticism (the house of Ryabushinsky), neoclassicism (the Shekhtel mansion on Bolshaya Sadovaya), rationalism (the Morning of Russia printing house). Picturesque realism V.A. Serov. Historical reminiscences of the artists of the "World of Arts" (K.A. Somov, M.V., Dobuzhinsky, A.N. Benois). Synthesis of word, color and sound in the music of A, N, Scriabin. Refined stylization of modernity in the ballet productions of the Russian Seasons in Paris (I. F. Stravinsky). Symbolism in painting (M.A. Vrubel. V.E. Borisov-Musatov, K.S. Petrov-Vodkin, “Blue Rose”) and sculpture (A.S. Golubkina). | |
| 28. | Russian culture in the first half of the 20th century | The world significance of the creative searches of Russian artists in the first half of the 20th century: painting (V.V. Kandinsky, K.S. Malevich, M. Chagall), music (S.S. Prokofiev, D.D. Shostakovich, A.G. Schnittke) . Cinematography (S.M. Eisenstein), theater (K.S. Stanislavsky, V.E. Meyerhold). Architecture (V.E. Tatlin, K.S. Melnikov). | |
| 29. | Russian culture of the second half of the 20th century | Propaganda art: monumental sculpture (N.A. Andreev), political poster (D.S. Moor). The art of social realism in painting (A.A. Deineka, P.D. Korin), sculpture (V.I. Mukhina) and engraving (V.A. Favorsky). Stalinist Empire: high-rise buildings in Moscow (L.V. Rudnev), Moscow Metro. The development of Russian culture in the second half of the 20th century. "City for three thousand inhabitants" - a project of the future, which has become a present. The development of Russian art at the end of the 20th century: music, painting. Theatre, television. The openness of modern Russian culture and continuity in its development. |
- Introduction
- What is the world and man's place in it? What is the moral standard today? What is beauty and what is the aesthetic ideal?
- Selected chapters
- Origin of art.
- Artistic culture of the primitive world and ancient civilizations. Artistic culture of Mesopotamia. Artistic culture of Ancient Egypt. Cretan-Mycenaean culture. Artistic culture of the East. Artistic culture of India. Artistic culture of China. Artistic culture of Japan. Artistic culture of Mesamerica.
- Artistic culture of Ancient Greece. Artistic culture of Ancient Rome. Early Christian Art. Artistic culture of the Middle Ages. Culture of the Renaissance.
- Artistic culture of modern times. baroque aesthetic. Aesthetics of classicism. Realism in painting of the 17th century. Rococo art. Aesthetics of the Enlightenment. aesthetics of romanticism. Aesthetics of critical realism. Artistic culture of the late 19th and 20th centuries. Aesthetics of artistic culture of the second half of the 19th century. Aesthetics of modernity. The era of modernism. Postmodernism.
- Artistic culture of Ancient Rus'. Artistic culture of Russia in modern times. Cultural ties between Russia and Europe. Critical realism in the art of the second half of the 19th century. Russian art of the late 19th-early 20th century. Russian culture in the first half of the 20th century. Russian culture of the second half of the 20th century.
- Conclusion
Requirements for the level of training of graduates
As a result of studying world art culture at the profile level, the student must
Know/understand
- Features of the emergence and main features of styles and trends of world artistic culture; Masterpieces of world art culture; The main expressive means of the artistic language of different types of art; The role of the sign, symbol, myth in artistic culture;
Be able to
- Compare artistic styles and correlate them with a certain historical era, direction, national school, name their leading representatives; Understand art terms and use them; Search, select and process information in the field of art; The ability to argue one's own point of view on the problems of world artistic culture; Be able to perform educational and creative tasks (essays, reports, abstracts, reviews, essays, reviews); Use the acquired knowledge and skills in practical activities and everyday life to determine the ways of their cultural development, professional self-determination; orientation in the classical heritage and modern cultural process; organization of personal and collective leisure; independent art work.
- Internet links to educational materials for schoolchildren
- Origin of art /library/art/pervcult.htm; /biblio/archive/noname_hrestpoestet/14.aspx Artistic culture of Mesopotamia /user/f/00001535/MXK/Structure_of_a_rate/section_3.html IAAT Association for the Study of Ancient Egypt /
Cretan-Mycenaean culture /31/31_102.htm Artistic culture of India and China in antiquity /user/f/00001535/MXK/Structure_of_a_rate/section_4.html Study Guide for Cultural Studies /edu/ref/stol/02.html Artistic culture of Ancient Greece /user/f/00001535/MXK/Structure_of_a_rate/section_5.html Byzantine culture /ru/his/2002/08/2.htm
- Internet links to the presented training materials or their components
Lesson summary MHK Grade 10
According to the program of Danilova G.I.
MHC and music teacher
Amursk
Khabarovsk Territory
INTRODUCTION TO THE SUBJECT MHK.
GENERAL CONCEPT OF CULTURE. FORMS OF SPIRITUAL CULTURE
Goals :
expansion of ideas about the concept of "culture";
consideration of the evolution of this concept in the historical aspect;
development of the ability to justify one's own aesthetic assessment;
developing the ability to tolerate alternative judgments.
Type lesson : introductory lesson.
The beautiful awakens the good.
D. Kabalevsky
During the classes
Organizing time.
Getting to know students lesson requirements.
II. Introduction to the topic of the lesson.
SLIDE
From today you will start studying a new interesting subject - MHC. In the lessons, we will “travel” around a variety of countries, get acquainted with the culture of different countries. But we will not travel in present time, but will return many centuries and even millennia ago, we will find out how mankind lived at the dawn of its existence.
Many thousands of years ago, a primitive creature living on the outskirts of dense forests already felt the need to improve, change the conditions of its existence; in order to hide from the cold and heat, to have constant food, the savage learned to build dwellings, sew clothes, create tools. In order to warn his own kind about impending danger, to call for battle or to express the joy of victory, he learned to pronounce certain combinations of sounds - battle cries, melodic sounds, etc .; learned to draw or scrape primitive icons and drawings on rocks and cave walls.
But, creating an artificial environment for existence in a complex world fraught with many dangers, the primitive being simultaneously began to change himself. The herd has become a society. The beast became a man.
And now a man has been living on Earth for many millennia, and his creations have existed for the same amount. Everything that a person has created - whether it is tools, housing, clothing or music, theater, fine arts, language - is the culture of society.
The subject that we will study is called "World Artistic Culture".
Let us analyze what this name means, and thus find out in general terms the content of the subject.
III. Learning new material.
Let us clarify the meaning of the concept of "culture".
Questions:
What is culture?
What is a cultured person?
What types of human activity can you attribute to culture?
How should a cultured person relate to nature, to life?
SLIDE
Albert Schweitzer - German scientist, prominent humanist XX century, believed that culture is doomed to decline if it loses the perception of any life as a great value. "I am the life that wants to live." The principle of "reverence for life" is determined by the humanistic connection of culture with nature as an area of living being.
So the culture - an integral part of the life of a civilized person. It manifests itself in everything that he created and creates. We are talking about the culture of work and production, the culture of communication, the culture of speech, the culture of everyday life.
Thus, culture characterizes the most diverse aspects of human life.
It is known that the more complex and multifaceted a phenomenon is, the more difficult it is to characterize its essence, the more definitions it generates. Something similar happened with the concept of "culture". This
The concept is so multifaceted that there is still no single definition of it. American scientists A. Kerber and K. Klakhohn already in 1964 selected 257 definitions; it is believed that by now their number has increased by 2 times.
To better understand the meaning of this word, let's look at its origin.
original latin word cultura meant "care of the land", "cultivation of the land" and was opposed to the meaning of the word "nature", i.e. nature ("uncultivated land").
Thus, in its original meaning, this term means the processing of natural raw materials; "Culture" - transformation, improvement of something produced in the process of expedient activity.
Later, this term began to be used in close meanings: initially - improvement, transformation, then - education, development, improvement.
Thus, "culture" means everything that is created by human labor as a result of material and spiritual development. This is not only the result, but the very process of people's creative activity.
SLAID
Culture is a process of spiritual and material activity of a person, as well as the results of this activity, which form a set of socially significant values that determine both the external conditions of human life and the formation of a person himself.
P Therefore, culture does not exist outside of human activity. The history of human society is the history of world artistic culture.
Let's analyze what the structure of culture is, what types of human activity belong to the concept of "culture".
SLIDE
Culture is usually divided into world and national, material and spiritual.
Such a division, of course, is very conditional. Due to the close relationship between material and spiritual values, it is often difficult to unambiguously attribute many phenomena to either material or spiritual culture. What place, for example, should be assigned to science, which is both a form of social consciousness and a direct productive force, or book production, or the mass media? The criterion for the difference between them can be considered the dependence on what needs are satisfied in this case - material or spiritual.
For example, the Egyptian pyramids can be quite attributed to the spiritual culture, because the main purpose of their construction was to inspire ordinary people with awe and horror before the greatness of the pharaoh, as the vicar of God on earth.
Discussion on topic : “Culture today. Does modern man need it?
SLIDE
Conclusion : culture is a product of man, society. In the animal world, this concept does not exist. The beast is controlled by instinct. Man is governed by morality, moral values, this is his main difference from the beast. The task of our generation and yours is to ensure that these levers that control consciousness work correctly. Otherwise, a person risks turning into an animal.
IV. Summary of the lesson.
SLIDE
Questioning.
1. My wishes for the lessons of the MHC (i.e. what, in my opinion, should the lessons of the MHC be)
2. What does studying MHC give me?
3.Do I need this item?
Bibliography:
Valchyats.A.M. Variations of beauty. World art culture: workbook: study guide. M .: Firma MHK LLC, 2000.
Gatenbrink. R. Mysteries of the Egyptian pyramids. Moscow: Veche, 2000
Ancient Egypt, Sumer Babylonia. Ancient Greece: texts / compiled by G.N. Kudrin, Z.N. Novlyanskaya.-M.: INTOR, 2000
World art culture: textbook. allowance for students of secondary pedagogical educational institutions. -M.: Publishing center "Academy", 1999
elite-home.narod.ru
Multimedia textbook for the course "World Artistic Culture"
