ESSAY

in the discipline "Culturology"

Culture of Kievan Rus

Introduction

1 Spiritual culture of Kievan Rus

1.1 Folklore

1.2 Religion

1.3 Literature and writing

2 Material culture of Kievan Rus

2.1 Construction and architecture

2.2 Painting and art

2.3 Life and development of crafts

Conclusion

Bibliography

Introduction

Culture is a set of material and spiritual values ​​created by society. In this regard, it is customary to talk about material and spiritual culture. However, this division is conditional, since each work material culture is the result of conscious human activity, and, at the same time, almost any work of spiritual culture (literary work, icon, painting, architectural structure, etc.) is expressed in a specific material form.

The history of Kievan Rus originates from the unification of Kyiv and Novgorod by Oleg, respectively, and the culture takes shape in the same centuries as the formation of Russian statehood.

The development of the people proceeded simultaneously along several lines - economic, political, cultural. Russia took shape and developed as the center of a huge people for that time, consisting at first of various tribes; as a state whose life unfolded over a vast territory. And all the original cultural experience of the Eastern Slavs became the property of a single Russian culture.

In this paper, we will consider such components of culture as folklore, its genres; the religion of the Slavs (before and after baptism); literature and writing - formation, main genres; architecture and construction - types of buildings, styles in which they were performed; art and painting are the main types, unique monuments. We also pay attention to the development of crafts and the life of the people of Kievan Rus.

We will consider all this in the period from the formation of the state to the Mongol-Tatar invasion.

1. Spiritual culture of Kievan Rus
   1. Folklore

Written sources testify to the richness and diversity of the folklore of Kievan Rus.

Home integral part Russian folklore is a song - language and rhythm, word and melody are closely intertwined in it. Since time immemorial, Russians have captured in song the entire course of their lives: work and play, joy and sadness, minor incidents and great historical events.

Ritual folklore included incantations, spells, wedding songs, funeral lamentations, songs at feasts and feasts. Mythological tales were also widespread, reflecting the pagan ideas of the ancient Slavs. Such are the songs and dances associated with Maslenitsa, Ivan Kupala's day, Christmas carols.

There were also forms of folklore that were not associated with a pagan cult - proverbs, sayings, riddles, fairy tales, labor songs.

Written monuments brought to us many traditions and legends about the founders of tribes and princely dynasties, about the founders of cities, about the struggle against foreigners. folk tales about the events of II - VI centuries. reflected in the "Word of Igor's Campaign. Traditions about the struggle of the Slavs with the Avars in the 7th century. saved "The Tale of Bygone Years".

For many generations, the people created and kept a kind of "oral chronicle" in the form of prose legends and epic tales about the past of their native land. It preceded the written chronicle and served as one of its main sources. Such legends include stories about the founding of Kyiv, about calling the Varangians, about campaigns against Constantinople, about Oleg and his death from a snakebite, about Olga's revenge on the Drevlyans, and many others. Annalistic narrative about the events of the 9th - 10th centuries. almost entirely based on folklore material.

By the middle of the X century. refers to the emergence of a new epic genre - the heroic epic epic, the pinnacle of oral folk art. Epics are oral poetic works about the past. They are based on real historical events, the prototypes of some epic heroes are real people. The bogatyrs are always ready to protect the prince and his state, there is no subservience in them, each of them is portrayed as a person with his own character. The eldest is Ilya Muromets, a big, powerful man of peasant origin, purposeful and fearless. Alyosha Popovich, the son of a priest who relies on his cunning. Dobrynya Nikitich is a boyar, a noble and generous person.

The main theme of the epics is the struggle of the people against foreign conquerors, they are imbued with the spirit of patriotism. The ideas of the greatness and unity of Russia, service to the motherland were preserved in epics and in times of political fragmentation, the Golden Horde yoke. For many centuries, these ideas, images of heroes - heroes inspired the people to fight the enemy, which predetermined the longevity of the epic epic.

Oral folk art continued to live and develop even after the appearance of written literature, remaining an important element of Kyiv culture,

and it is often difficult to separate the early basis of a folklore work from later layers.

1. Religion

The pre-Christian religion, called pagan according to the old church tradition, was a whole complex of primitive views, beliefs and cults, which, on the one hand, reflected the dependence of people on the surrounding nature, on the other hand, served as a form of consolidation and transmission of centuries-old economic experience, specific practical knowledge, accumulated over many generations.

The Slavs represented the world simply and clearly. For them, he is one. The world is space (nature). Everything is interconnected and everything has its place and time.

Heaven and earth were seen by the Slavs as an immortal married couple, personifying the male and female principles, mother and father. The cult of the Family, a heavenly being, the bearer of the masculine principle, was associated with the earth. Nature was correlated with the mother earth, giving rise to the whole living world. This cult of the Family and Women in Childbirth (fertility virgins and patronesses of babies) was the most widespread and stable and persisted for quite a long time, even after the adoption of Christianity.

Ancient authors point out that the Slavs worshiped fire. The name of the fiery god worshiped by the pagan Slavs is Svarog. This deity was understood as the highest being, the source of fire and light, walking in the sky. They also worshiped the son of Svarog - Dazhbog, the god of the sun.

There was also a cult of water. The Slavs considered water to be the element from which the world was formed. They made sacrifices to the water, leaving their offerings on the shore or lowering them into the water to be accepted by the revered sacred element.

In 980 Prince Vladimir Svyatoslavovich makes the first attempt to form a kind of pantheon of supreme deities, headed by the god of thunder, war and weapons, the patron of the princely squad Perun. He wanted to put on the hill the idols of the following gods: Perun, Khors, Dazhbog, Stribog, Simargl, Mokosh

Perun and Khors were considered the sons of Svarog. The name Stribog in Slavic mythology is associated with atmospheric elements. Mokosh is a female deity who was revered as the "mother of the harvest", the goddess of life's blessings and abundance. There are several hypotheses about Simargl, but all of them are connected with the interpretation of the number seven as a symbol of perfection.

The cults of the gods were supplemented by images of smaller good and evil forest, water and household gods, as well as numerous good and evil spirits.

So, people and gods in the mythology of the ancient Slavs lived in one world - the world of nature. The gods were stronger than people and had the right to command, so it was considered necessary to make sacrifices to them in order to ask for their mercy. The gods who gave people good were considered white (good), and those who caused harm were considered black (evil).

The preservation of tribal cults, polytheism prevented the unification of the tribes. And Vladimir's attempt to create a single pantheon of the most revered gods, headed by Perun, and to give it a national character was not crowned with success. The young feudal state needed an appropriate ideological formulation, a religion that illuminated social inequality. Christianity became such a religion with its monotheism, the hierarchy of saints, the idea of ​​posthumous retribution, the developed doctrine of domination and submission, and the preaching of non-resistance to evil by violence.

In 988 Christianity was declared the dominant religion. But the new religion was not immediately accepted by the people. Even the purely formal Christianization of the population met with strong resistance. At first, only city dwellers took Christianity more or less seriously; rural areas Under the thin veil of Christian rites, paganism retained its position for a long time. The result was the so-called "dual faith". People could wear crosses and go to church, but they continued to celebrate pagan holidays as well.

The inhabitants of Kievan Rus received an idea of ​​Christianity mainly through worship (or through the church rite in general). Further explanations were offered in sermons. The sermons of eminent clerics were usually written down and circulated to the literate, which increased greatly towards the end of the eleventh century.

Perhaps the most important result was a new sense of moral responsibility of each person for their deeds and even thoughts, which supported the idea of ​​a future life and the Last Judgment. If a person sinned, then he repented, and new element internal struggle for the best, enriched his spiritual life and religious experience. Thus, an important psychological transformation took place in the Russian character.

The transformation affected not only the individual, but society as a whole. The concept of individual responsibility went along with the concept of social responsibility. Church leaders were expected to show the people's path. Monasteries have become centers of what can be called social work; they organized hospitals, shelters, they also did charity work. Many princes followed this example. Education, too, was funded by both the princes and the Church, and it was the Church that first took upon itself the task of writing the history of the nation.

Compassion was one of the main manifestations of Christian feeling in Russia, one of the pillars of popular religiosity in comparison with official theology. Even if a person was a criminal or a heretic, from the point of view of popular religion, suffering cleansed him.

Accepted Christianity was significantly transformed under the influence of local traditional beliefs and cults. At the same time, Christianity also had an impact on the worldview, subordinating the people's consciousness to the official ideology.

The new religion contributed to the formation and strengthening of the early feudal statehood, the strengthening of the international position of Russia, which took its rightful place among the Christian states. It contributed to the further consolidation of the East Slavic tribes into a single nationality, the state unity of all Russian lands. The adoption of Christianity led to the expansion of international cultural relations of Russia and created the conditions for introducing it to the cultural achievements of Byzantium and the entire Christian world.

1. Literature and writing

Any ancient culture is writing. One of the main sources of cultural development in Kievan Rus was developed by two Bulgarian monks Cyril (827 - 869) and Methodius (815 - 885), the Slavic alphabet - Cyrillic. It was a historical event in the field of spiritual culture of many peoples. The Slavic alphabet made it possible to express and consolidate the Slavic language as the basis of the Bulgarian and future Russian and Ukrainian, Belarusian and a number of other languages. The Christianization of Russia in the form of Orthodoxy also consolidated the Slavic language, which was a form of development of medieval Russian culture. Byzantine Orthodoxy, which was established in Kievan Rus, allowed to pray on different languages and had a significant advantage over the Roman Catholic Church, which adhered to severe restrictions on the use of languages ​​​​for worship (Old Hebrew, Greek and Latin).

The new "own" writing served as the basis for the rapid development of book culture in Kievan Rus, which, before the Mongol invasion, was one of the most civilized states in Europe in XI -XIII centuries. From the 11th century rich families began to teach literacy to boys and girls. Manuscript books of secular content, chronicles, historical writings, along with Byzantine theological works, become a necessary sign of belonging to culture. Books in this era are kept not only by the prince and his entourage, but also by merchants and artisans. A special place in the library, collected by Yaroslav the Wise himself, was occupied by books translated into Slavonic. It was they who were placed in the St. Sophia Cathedral.

Birch bark letters are a clear evidence of the widespread literacy in cities and suburbs. Hundreds of birch-bark writings were found in Novgorod, indicating that in Novgorod, Pskov, Smolensk, and other cities of Russia, people loved and knew how to write to each other. Among the letters are business documents, information exchange, invitations to visit and even love correspondence.

Already in the XI century. the formation of ancient Russian literature proper begins. The leading place among literary works belonged to chronicles. The largest annalistic collection of Kievan Rus - "The Tale of Bygone Years" arose at the beginning of the 12th century, came down to us in two editions that took shape in the 14th-15th centuries. The most important themes of this chronicle were the defense of the Christian faith and native land. Its author is usually called the monk of the Kiev-Pechersk monastery Nestor. However, in essence, this is a collective work, in the compilation and processing of which several chroniclers took part. The chronicle was a political document and therefore was often subjected to processing in connection with the coming to power of a new prince.

Chronicles often included journalistic and literary works: "Sermon on Law and Grace" by Metropolitan Hilarion (the first metropolitan of Russian origin), written in the second third of the 11th century, "Instruction" by Vladimir Monomakh, where the image of an ideal prince was created, courageous in battle, caring towards his subjects, caring about unity and prosperity of Russia.

At the same time, his own hagiographic literature began to be created. Among them - "The Tale of Boris and Gleb", "Life" of Princess Olga, hegumen of the Kiev-Pechersk Monastery Theodosius, etc.

In the conditions of the Middle Ages, a person rarely left his native land. The greater was the interest in distant countries. Therefore, the genre of "walking", stories about travels is so characteristic of medieval literature.

2 Material culture

2.1 Construction and architecture

No wonder they say that architecture is the soul of the people, embodied in stone. This applies to Russia only with some amendment. Russia for many years was a country of wood, and its architecture, pagan chapels, fortresses, towers, huts were built of wood. In a tree, a Russian person expressed his perception of building beauty, a sense of proportion, the fusion of architectural structures with the surrounding nature.

If wooden architecture dates back mainly to pagan Russia, then stone architecture is associated with Christian Russia. Western Europe did not know such a transition, since ancient times it built both temples and stone dwellings. Unfortunately, the ancient wooden buildings have not survived to this day, but the architectural style of the people has come down to us in later wooden structures, in ancient descriptions and drawings. Russian wooden architecture was characterized by a multi-tiered structure, crowning them with turrets and towers, the presence of various kinds of outbuildings - cages, passages, canopies. Intricate artistic woodcarving was a traditional decoration of Russian wooden buildings. This tradition lives on among the people to this day.

The world of Byzantium, the world of Christianity, the countries of the Caucasus, brought new building experience and traditions to Russia: Russia adopted the construction of its churches in the image of the cross-domed temple of the Greeks: a square divided by four pillars forms its basis; the rectangular cells adjacent to the dome space form an architectural cross. The Greek craftsmen who arrived in Russia since the time of Vladimir, as well as the Russian craftsmen working with them, applied this pattern to the traditions of Russian wooden architecture, familiar to the Russian eye. But if the first Russian temples were built by Greek masters in strict accordance with Byzantine traditions, then St. Sophia Cathedral in Kyiv reflected a combination of Slavic and Byzantine traditions: thirteen domes of the new temple were placed on the basis of the cross-domed church. This stepped pyramid of St. Sophia Cathedral resurrected the style of Russian wooden architecture.

Sophia Cathedral, created at the time of the establishment and rise of Russia under Yaroslav the Wise, showed that construction is also politics. With this temple, Russia challenged Byzantium, its recognized shrine - the Sophia Cathedral of Constantinople. In the XI century. Sophia cathedrals grew up in other major centers of Russia - Novgorod, Polotsk, and each of them claimed its own prestige, independent of Kyiv.

2.2 Art and painting

Old Russian art - painting, sculpture, music - also experienced tangible changes with the adoption of Christianity. Pagan Russia knew all these types of art, but in a purely pagan, folk expression. Ancient wood carvers, stone cutters created wooden and stone sculptures of pagan gods and spirits. Painters painted the walls of pagan temples, made sketches of magical masks, which were then made by artisans; musicians, playing stringed and woodwind instruments, entertained the tribal leaders and entertained the common people.

The Christian Church introduced a completely different content into these types of art. Church art is subordinated to the highest goal - to sing the Christian God, the exploits of the apostles, saints, church leaders. If in pagan art the “flesh” triumphed over the “spirit” and affirmed everything earthly, personifying nature, then church art sang the victory of the “spirit” over the flesh, affirmed high feats human soul for the moral principles of Christianity. Asceticism and rigor in painting (icon painting, mosaic, fresco), sublimity, "divinity" of Greek church prayers and hymns, the temple itself, which becomes a place of prayerful communication of people - all this was characteristic of Byzantine art.

And so, the art of Byzantium, transferred to Russian soil, collided with the pagan worldview of the Eastern Slavs, with their cult of nature, the sun, spring, light, with their completely earthly ideas about good and evil, about sins and virtues. From the very first years, Byzantine church art in Russia experienced the full power of Russian folk culture and folk aesthetic ideas.

The same thing happened with painting. Already in the XI century. the strict ascetic manner of Byzantine icon painting turned under the brush of Russian artists into portraits close to nature, although Russian icons carried all the features of a conventional icon-painting face. The widespread use of icon-painting, fresco painting was typical for Kyiv, Chernigov, Rostov, Suzdal, Novgorod, Yaroslavl. Masters decorated the interiors of temples with mosaics and frescoes. In Kiev's St. Sophia Cathedral, the under-dome image of Christ the Pantocrator (Almighty) and the Mother of God, the apostles, were made using the mosaic technique. The mosaic of the cathedral has 130 shades.

Some of the frescoes are devoted to secular subjects: two group portraits of the family of Yaroslav the Wise, hunting scenes, images of acrobats, musicians.

There were icons in every church. The most famous of the icons of that era is Our Lady of Vladimir, created at the beginning of the 12th century.

Along with monumental painting and icon painting, high art reached the masters of book miniatures.

Over the course of many centuries, the art of wood carving, and later stone carving, developed and improved in Russia. Wooden carved decorations generally became a characteristic feature of the dwellings of townspeople and peasants, wooden temples.

White-stone carving in the decorations of palaces and cathedrals has become a remarkable feature of ancient Russian art in general.

Utensils and dishes were famous for their fine carving. In the art of carvers, Russian folk traditions, the ideas of the Russians about beauty and grace, were most fully manifested.

At the same time, there was an intensive development of artistic crafts. Elegant jewelry, genuine masterpieces were created by ancient Russian jewelers - gold and silver craftsmen. They made jewelry, trimmed with gold, silver, enamel, precious stones utensils, dishes, weapons, icons, books.

An integral part of the art of Russia was musical, singing art. The Tale of Igor's Campaign mentions the legendary storyteller-singer Boyan, who "put" his fingers on the live strings and they "rumbled glory to the princes themselves."

2.3 Life of Kievan Rus and the development of crafts

The culture of the people is inextricably linked with their way of life, everyday life, just as the way of life of the people, determined by the level of development of the country's economy, is closely connected with cultural processes. The people of Ancient Russia lived both in large cities for their time, numbering tens of thousands of people, and in villages with several dozen households and villages, in which two or three households were grouped.

All the testimonies of contemporaries indicate that Kyiv was a large and rich city. Here the golden-domed temples shone with their domes, the palaces of princes and prominent boyars amazed with grace, here on the mountain were located the houses of wealthy merchants, other prominent citizens, and the clergy. The houses were decorated with carpets, expensive Greek fabrics. From here came the administration of principalities, cities, villages, judged here, tributes and taxes were brought here. Feasts were often held in spacious gridirons, women sat at the table on an equal footing with men. The favorite pastimes of rich people were falconry, hawk, dog hunting. Races, tournaments, various games were arranged for the common people.

His life, full of work, worries, flowed in villages and villages, in chopped huts, in semi-dugouts with stoves-heaters in the corner. There, people stubbornly fought for existence, plowed up new lands, raised cattle, beekeepers, hunted, defended themselves from "dashing" people, and in the south - from nomads, again and again rebuilt dwellings burned by enemies. In the long winter evenings, by the light of the torch, the women spun. Men drank intoxicating drinks, honey, recalled the past days, composed and sang songs, listened to the storytellers of epics.

Along with agriculture, handicrafts developed. Old Russian artisans mastered the most complex metalworking technique. Blacksmiths made shovels, axes, sickles, knives, fish hooks, frying pans, complex locks, etc.

Weapons production successfully developed: swords and battle axes, helmets, shields, arrowheads and spears were produced. Russian craftsmen made chain mail from intertwined iron rings. This skill came from the East, in Europe they did not know how to weave chain mail.

Other crafts also developed: pottery, carpentry, leather, shoemaking, tailoring, which, in turn, were divided into many specialties. In total, researchers count up to 70 handicraft specialties in Kievan Rus.

Conclusion

In general, the ancient Russian civilization of the Kievan period differed little in its typological features from the early feudal civilizations of Western Europe. They were brought together by the prevailing technologies of material production, the urban character of culture, and the uniformity of many value orientations. The Orthodox character of Russian Christianity and close economic, political, cultural ties with Byzantium determined the stylistic specifics of the civilization of Ancient Russia. In the first centuries, Kievan Rus, in many cultural, value-orientation features, can be considered as a “child” zone of Byzantine culture, although in most forms of social organization and life it was rather closer to central Europe, so that at the first stage of its formation, Russian civilization already synthesized the features of European, Hellenistic culture and Byzantine mysticism.

The cultural traditions created during the Kyiv period were further developed during the era of fragmentation, but many of them could not survive the Mongol invasion.

To the greatest extent, the culture of Ancient Russia can be judged by architectural monuments. AT pre-Christian Russia there were wonderful wooden buildings, including churches, but with the advent of Christianity, the stone construction (at first under the guidance of Byzantine masters). The Byzantine cross-domed temple became the main architectural form in Russia. One of the first such buildings was Church of the Assumption of the Virgin near Kyiv (989-996). It had 25 heads and occupied 900 m 2 , a tithe of the prince's income was allocated for its maintenance. It was destroyed by Batu in 1240. The majestic 13-domed cathedral Kyiv Sofia was erected under Yaroslav the Wise. The name of the cathedral, the same as Constantinople, testified to the claims of Kyiv to equality with Constantinople, Russia with Byzantium. Mosaics on the walls and floor, frescoes depicting not only religious, but also everyday scenes - buffoon dances, bear hunting, as well as the families of Yaroslav and other princes, have been preserved. However, in the very symbolism Russian Orthodox Church from the very beginning there was a strict adherence to the classical Byzantine canons. In Russia, even before that, domed churches were built, and now the domed space was occupied by the Almighty, as if reigning over the world. In the apse (rounded altar part) was the Mother of God praying. On the vaults, pillars and walls, in a complex hierarchical order, archangels were depicted - Christ's army, then - prophets, church fathers, martyrs, scenes from the New Testament.

In the 30s. XI century, stone Golden Gate with the gate church of the Annunciation. Saint Sophia Cathedral was built (in 1045-1050) also in Novgorod. The features of Russian northern architecture are already clear in it, it is stricter, more powerful than limestone walls. Cathedrals were built in Polotsk, Chernigov and even in Tmutarakan, in the very south of Kievan Rus, in a city so far away in those days that it even seemed rather fabulous. In the excavations of Russian cities, it was possible to find traces of civil construction in the X-XI centuries, quite solid.

Outstanding works of ancient Russian culture were created in the region literature. Her highest achievements are, of course, annals. The oldest of them is Tale of Bygone Years”, the authorship of which is attributed to Nestor. It was preserved only in handwritten copies - in the collection of 1377 under the title Laurentian manuscript(by the name of the scribe monk), where later events were attributed, the Teachings of Vladimir Monomakh and the Suzdal Chronicle (until 1305) were added, as well as in Ipatiev manuscript beginning of the 15th century. Nestor is credited with the authorship of the first "Lives" - Boris and Gleb, as well as Theodosius of the Caves. A striking example of solemn eloquence is " A Word on Law and Grace» XI century. There are also translations of the early Christian church fathers - John Chrysostom, Basil the Great, Gregory of Nyssa. The "Christian Topography" by Kozma Indikoplov, famous in medieval Europe, enjoyed wide popularity. Translators, as a rule, gave their own interpretation of events, adding a lot of their own, which made translation an independent genre.

The creation of books was an art in itself, complex and responsible. Even after the appearance of the printing press in Russia, for a long time they wrote on parchment made from calfskin. Goose feathers dipped in ink or cinnabar were used for this. The complexity and high cost of the work made it necessary to save writing: words were not separated, the most commonly used words were abbreviated under “titles”. The solemn, strict handwriting of the 11th-13th centuries was called authorized. Nevertheless, the pages of the books were decorated with artistic miniatures, capital letters were intricately written out. The binding-salary was made of wood and covered with embossed leather, often decorated with gold or silver, precious stones, enamel. Most famous Ostromir Gospel 11th century and Mstislav Gospel XII century.

The most important place both in the church service and in everyday life belonged to music. Already in the first handwritten books there were songs for worship, at first Greek and Bulgarian masters of church singing were invited. Hymns were also composed in honor of their own saints. The earliest of these is kontakion(solemn chant) in memory of the innocently murdered Boris and Gleb. Church singing for a long time was monophonic, as in Europe.

was not forgotten and folk music. They sang and danced not only simple people but also to know. Professional musicians also appeared at princely courts. A special phenomenon of folk, "laughter" culture in Russia were buffoons, combining musicians, singers, dancers, acrobats, jugglers, magicians, jesters, mercenaries. The Tale of Bygone Years speaks of buffoons who played the harp, nozzles, tambourines, horns, trumpets, horns, pipes, strings, bagpipes. Fanfares sounded at solemn events. The people loved the collective games arranged for household and agricultural holidays.

Works of artistic culture were also created by masters crafts. In Kievan Rus, metalworking, pottery and jewelry were developed. Products of Russian jewelers were in great demand. They were made in the technique grains- a soldered pattern of many balls, filigree- drawings from thin wire, created with high skill enamel.

The collapse of Kievan Rus

Two and a half centuries of peaceful, creative life gave way to strife and civil strife that began immediately after the death of Vladimir Monomakh in 1125. In 1132, all the principalities of Russia left Kyiv, and the feudal fragmentation. Russian cities began to separate, which are now usually attributed to the Golden Ring - Vladimir, Suzdal, Rostov the Great. Andrey Bogolyubsky(1111-1174), the son of Yuri Dolgoruky, declaring Vladimir the capital of the Rostov-Suzdal principality, moved there from Kyiv the main shrine - the Byzantine icon of the Mother of God, which was a symbol of Orthodox Russia. He even renamed this icon to Vladimirskaya Mother of God . Was built in Vladimir and the temple Assumption of the Virgin. Even with the names of the temple and icons, Vladimir opposed himself to Kyiv and Novgorod with their temples of Sophia.

In 1169, the troops of Andrei Bogolyubsky captured Kyiv and plundered it. “And the whole Russian land was torn apart,” it is written in one of the chronicles, where the unrestrained multiplication of principalities with inevitable strife was called “the death of the Russian land.” The Tatar-Mongol invaders did not fail to take advantage of this. “Because of our sins, unknown, godless peoples came, and no one knows who they are, where they come from, what their language is,” the Tver chronicle mourns. Even the invasion did not unite the principalities intoxicated with liberty (by that time there were about 50), each of which hoped to stay on the sidelines, some even colluded with the invaders in the struggle for power. Andrei himself was killed. True, at the beginning of the strife there was still an attempt to stop them. In 1147, the prince Yuri Dolgoruky(late XI century - 1157) exactly in the middle of the Suzdal principality was founded new town - Moscow. Not soon, however, she managed to become a new center for rallying the Russian lands.

Lesson summary on MHC in grade 10

"The Artistic Culture of Kievan Rus"

The purpose of the lesson:

Educational:

To acquaint students with the cultural monuments of Kievan Rus.

To form the concept of the influence of Byzantium on the culture of Ancient Russia, the creative processing of the traditions and originality of Russian culture.

To acquaint students with the cross-domed system of temple construction, the main architectural elements, and the painting system.

Describe the level of development visual arts and art crafts in Russia.

Educational:

To form the perception of Old Russian culture as an integral part of the national Russian culture.

Raise interest in the study of the history of Russia and folk art.

Developing:

To be able to determine the artistic merit of architectural monuments.

Be able to describe and analyze new monuments of art.

To be able to express their attitude to the monuments of culture and art.

Teaching methods:

Exposure method.

Method of comparison and comparison of monuments of ancient Russian architecture.

Method historical analysis the phenomena under consideration.

Lesson type:

Lesson-research, which contributes to the awakening of interest, develops a craving for learning new things, and involves students in the creative process.

Lesson structure:

1. Class organization.

   Actualization of basic knowledge on the topic "The Art of Byzantium".

   The content of the lesson on the topic "Artistic culture of Kievan Rus".

   Summing up and conclusions.

   Grading.

   Homework.

Equipment and materials:

epigraph

reproductions depicting cultural monuments of Kievan Rus.

Glossary of terms: cross-domed temple, nave, apse, dome, drum, sail, altar, support, choirs, plinth, fresco, mosaic, smalt, Pantokrator, Oranta.

Dates:988, 1037, 1052.

Persons:Vladimir the Red Sun, Yaroslav the Wise.

Monuments of culture and art: Cathedral of St. Sophia of Kyiv, Cathedral of St. Sophia of Constantinople, Golden Gates, icon of Our Lady of Vladimir.

Epigraphs: Keeping the history of that ... Kievan Rus,

We're picking up the true faith... the wreckage

Already the eleventh century ... we carry the cross

God forbid, help ... Orthodox descendants ...

Lesson content

I. Class organization.

(A musical fragment from the “Frescoes of St. Sophia of Kyiv” by V. Kikta sounds)

SLIDE 1

Introduction by the teacher.

Teacher: Under the year 1037, the chronicler wrote down "Lay Yaroslav the great city, he has the golden gates: lay the church of St. Sophia ...". Indeed, Yaroslav built new stone main city gates and called them Golden. Above the Golden Gate Yaroslav built the Church of the Annunciation. He built the main city cathedral of Hagia Sophia, which he decorated with gold, silver, and icons. Tell me, what city did the prince rebuild? (KYIV). What do you think we will talk about in class today? (ARTISTIC CULTURE OF Kyiv RUSSIA)

SLIDE 2

Introductory conversation with students.

The concept of "culture" includes everything that has been created by the mind, talent and hands of the people for thousands of years. Monuments of the history of culture are material evidence of the centuries-old experience of the development of mankind. They, as a focus, reflect the development of the productive forces and the artistic culture of society. In the culture of Ancient Russia, several stages can be distinguished.

Writing in a notebook :

The culture of the Eastern Slavs is the tradition of paganism.

The culture of Kievan Rus is a synthesis of the achievements of the Eastern Slavs and the Christian culture of Byzantium.

The culture of the fragmentation period - local schools are being created on the basis of the culture of Kievan Rus.

Teacher. Interview with students on:

How was Russian culture born? Will pagan spiritual traditions influence the development of culture after the adoption of Christianity?

What influenced its development?

How did Christianity influence the development of culture? - these questions will be in the center of our attention.

Answers. Russian culture developed as the culture of all Eastern Slavs, while maintaining pagan traditions. Russia was open to influences. It was Byzantium that first was the subject of development, then the norm and role model, then creatively reworked. Thus, its culture was synthetic, that is, it absorbed various cultural trends, while remaining original, retaining national features.

But before we begin our fascinating journey through Kievan Rus, let's outline the most important features of ancient Russian art.

(Anonymity, even in those cases when the author put his name in the manuscript or on the wall of the temple, he did not seek to express his own "I")

2. canonicity .

(Art was expressed in traditionally repeated plots, images, means of artistic generalization. Each of the arts had its own set of canonical rules.)

3. Symbolism .

(The most striking feature of the special artistic language of ancient Russian art. With the help of symbols (signs), the masters revealed images of heavenly spiritual reality, which is hidden from the gaze of people living on earth).

Over the course of several lessons, we will talk with you about the artistic culture of Medieval Russia. The period of its existence covers more than eight centuries. Its countdown starts from the middle of the 9th century and ends at the turn of the 17th-18th centuries. Russian culture has its roots in the distant times of paganism. She inherited from the ancient Slavsthe fundamental principles of the language, rich mythology, the art of carving all sorts of bizarre figures and household items from wood, cutting down huts and erecting towers.

II. Updating of basic knowledge on the topic "Byzantium"

SLIDE4.

Teacher. Byzantium had a huge influence on the development of Russian culture. Russia accepts Christianity in its Orthodox version. When did it happen? How it was?

Answers. In 988. A story about Vladimir's embassy to all countries. Only in Byzantium did the ambassadors "feel themselves in heaven."

Teacher. How was the adoption of Christianity in Russia? Did the pagan Slavs calmly accept him? When and where could the following scene be observed: “They entered the water and stood there, some up to their necks, others up to their chests, ... some held babies, and already adults wandered ... and there came together people without number.” Another saying has been preserved: "He baptized Putyata with fire, and Dobrynya with a sword."

In the formation and development of ancient Russian art, a huge role was played byAdoption Christianity from Byzantium in 988 . Baptized Russia, along with religion, inherited rich artistic traditions: stone architecture,type of cross-domed church , mosaic and fresco compositions in the spaces of architectural structures, stricticonography rules (canon), wondrous chants which are compared with angelic singing. The first Russian teachers were Greeks. But that doesn't mean thatancient Russian culture blindly imitated Byzantine, shebrought something own , originally Russian. For example, architects brought into the overseas style features of national architecture, originating from the wooden architecture of Russia, which is characterized by majestic simplicity and elegant decorativeness of churches.

The Old Russian state with its center in Kyiv reached its peak during the reign ofYaroslav the Wise (978-1054). Large-scale construction began, especially in Kyiv. The most famous building, which becameHagia Sophia (1037).

SLIDE 5

There were two in your classproblem groups who will try to vividly present the material about the Hagia Sophia in Kyiv and Novgorod. And together we will try to create"Living Newspaper" the material of which will allow you to learn interesting intriguing facts on the topic under study. Please fill in the comparison cards during our lesson - the characteristics of two magnificent cathedrals (students are given cards)

CARDS - APPENDIX №1

The first problem group speaks about Hagia Sophia in Kyiv

SLIDE 6

A huge five-nave cross-domed church with 5 altar apses and 13 domes, covered on three sides by wide galleries, in the corners on the western side rise two stair towers leading to the choirs. The total area of ​​the cathedral is about 1300 m2, the height to the top of the main dome is 28.6 m, the total length is 41.7 m, the width is 54.6 m. The walls were elegantly laid out of plinth (flat red brick) in a technique with a recessed interspersed with raw stone next to it. The masonry was fastened with zemyanka - a solution of lime, sand and crushed bricks. Divine services were held in the cathedral, sermons were heard, princes were enthroned. The illumination of the temple was carried out due to the cut long slit-like windows in the drums of thirteen domes. Subsequently, the cathedral underwent a thorough restructuring.

SLIDE 7

Of particular artistic value is the mosaic of St. Sophia of Kyiv. She is admired for her magnificence. The mosaic occupies 260 m2. According to the canon, in the central dome there is a mosaic of Christ Pantocrator (Almighty), and around it are the figures of four archangels. Currently, one of them is mosaic, and the other three, in place of the lost ones, were painted by the artist M.A. Vrubel with oil paints.

SLIDE 8

In the central apse there is a mosaic image of Our Lady Oranta (Praying) with her arms raised wide. The Mother of God is dressed in festive blue-gold clothes, her gesture of hands is perceived not only as an image of prayer, but also the personification of the intercession of the baptized people, the protection of the city and the state. The people called Our Lady Oranta the Indestructible Wall and believed that as long as Oranta was intact, Kyiv, “the mother of Russian cities,” would stand. Also in the temple you can see the mosaic work “Annunciation. Mary", "Annunciation. Archangel Gabriel"

SLIDE 9

The frescoes of St. Sophia of Kyiv surprise with the perfection of the execution technique. The images of the apostles, archangels, evangelists and holy warriors look majestically and solemnly from the vaults of the walls, domes, stairways. The frescoes cover an area of ​​3000m2. Very interesting among them is a group portrait of the family of Prince Yaroslav the Wise located on three walls of the western part of the central nave. Previously, it depicted the Grand Duke with his wife, sons and daughters, passing the model of St. Sophia Cathedral to Jesus Christ, seated in the center on the throne. At present, only the image of the princely daughters humbly walking with candles in their hands has been preserved. On the walls of Hagia Sophia, one can observe the frescoes "Descent into Hell", "Archangel", "Meeting of the Righteous Elizabeth with the Most Holy Theotokos". Also in the cathedral there are frescoes with scenes from the everyday life of the princes: noisy feasts, dances, hunting, fights, bear-baiting, circus performances with the participation of buffoons, acrobats, mummers.

SLIDE 10 Fresco "Buffoons".

Monumentality, laconicism, majesty, generality of the character of the image is observed in the early icons of the 11-12th centuries. The craftsmen who created them were natives of Byzantium, from whom the Russian craftsmen learned their experience.

SLIDE 11 Icons of the 12th century "Savior Not Made by Hands" and "Angel of Golden Hair" are made in the traditions of Kievan Rus. They have less ascetic severity, restraint, which was inherent in Byzantine icons.

Teacher:

I suggest you startdesign of the "Live Newspaper" interesting facts about Sophia of Kyiv (students read out their findings and attach them to the newspaper)

Teacher: Veliky Novgorod was the second most important city of Kievan Rus, the residence of the heirs of the Grand Duke's throne.Novgorod art from the moment you were bornharmonized with a strict and solemn appearance of the Russian North and had a distinct identity. Character traits Novgorod architecture was made up of mixed masonry of local stone and plinths, one- and five-domed onion and helmet-shaped domes, decorative decoration of drums, splendor and splendor of interiors.

The second problem group makes a presentation about the Hagia Sophia in Novgorod.

SLIDE 12

Sophia Cathedral in Novgorod was built, as you know, in 1045-50. At least 10 thousand cubic meters of stone and brick went into the construction of the St. Sophia Cathedral. At the same time, the main mass of the walls is made of stones of local origin. Brick was used to cover the vaults.

SLIDE 13 The height of Sophia from floor level to the cross on the central dome is 36.7 m, the width is 39.3 m, the length is 34.5 m. The uneven surfaces of the walls, cut through by windows in the form of narrow slits without a frame, were perceived as a solid, impenetrable mass of stone. The walls of the temple in the 12th century were whitewashed, which gave the building integrity, massiveness, and strength. The appearance of the cathedral was distinguished by simplicity, austerity and asymmetry of forms.

SLIDE 14 Very little fresco painting has been preserved in Sophia of Novgorod. Above the western entrance to the cathedral is a fresco of 70 m2, made in 1528. Depicted on the wall with paints are Abraham's conversation with three angels, below Sophia, the Wisdom of God, and the Image of the Savior Not Made by Hands, and on the sides are two archangels. The original painting survived only in the central part. In the 1890s, the fresco was restored.

SLIDE 15 In the central dome of the temple there was a unique fresco "Christ Pantokrator". It was destroyed in 1941 (historical summary from Live Newspaper).

The icon of the Holy Apostles Peter and Paul from the Hagia Sophia was striking in its size of 236 x 150 cm. and an elegant silver salary. The apostles are depicted in full growth, with their attributes (Paul with a book, Peter - with the keys to paradise, a scroll and a staff - a symbol of power).

(Students continue to fill in the Live Newspaper columns with exciting material) SLIDE 16

Teacher: After listening to a very capacious information about the Hagia Sophia in Kyiv and Novgorod, I ask you to prepare for a comparative analysis of the characteristic cards of two monuments of ancient Russian art. What do they have in common? How do they differ significantly from each other?

(Students make conclusions according to the completed cards)

APPENDIX №1

At the end of our lesson, I would like to ask each of you what new things you learned today, what information intrigued you, would you like to visit Kyiv and Novgorod to see these shrines, etc.

(At the end of the lesson, fragments from "Frescoes of St. Sophia of Kyiv" by V. Kikta. Students read the poem "Kievan Rus")

I pray for you again
Holy Kievan Rus.
There is no sweeter land for me,
Than my native side,
Where near the Dnieper, like a lush garden,
There is a mighty Kyiv-Grad.
Where the greenery is noisily having fun,
Playing with the wind Where to frolic
Barefoot children, and the song is flowing near the Dnieper.
On the gold of the Lavra domes,
To merge with the bell ringing,
And finally go down
Under the Temple there is a canopy where candles are placed,
And the whisper of old Russian speech
From the mouth accidentally flies
And the smoke of the censer raises
Those words are prayer clouds.
Hear them, God Almighty!
Oh, holy Russia! So that always
You shone like a bright star
And glorified Orthodoxy,
A lot of work put in
Human hopes and hopes,
Sacred prayers and suffering.
A lot of people died

For your glory and freedom.
And, I thought, for hundreds of years
Your greatness and dawn ...
Oh Rus! - I ask you with reproach,
Why are you broken by discord?!
Why does the prince say to the prince
What does the hour tell us to split up?!
And before a strong Power -
At the feet of the enemy. Where is the glory
That enemies are a blind army
Did it make you tremble?
Former cowards have become bold,
Already prepared bows, arrows,
To strike their hearts,
To take away the father from the children,
And a son, so that a mother loses,
To saturate the earth with blood.
Innocent blood ... How to understand
Is your downfall to the end?
What's this? the craft of the Creator,
Or the mistake of our ancestors?
But it's all in the past. Drink the Chalice.
You don't ask for an answer
Why do I pray again at night
By the light of a wax candle
Something that hasn't been around for a long time.
You better extinguish in your heart
Sadness about Kievan Rus.

APPENDIX №1

Card - characteristics of the Hagia Sophia in Kyiv and Novgorod

Kievan Rus.

Kyiv

Kievan Rus.

Novgorod

Belonging to the type of architecture (volumetric structures, landscape, urban planning)

Volumetric structures

Volumetric structures

temple type

five-nave cross-domed church with 5 altar apses

Five-aisled cross-domed church

Number and shape of domes

13 heads, bulbous

Five-headed, helmet-shaped

Cathedral height

Height to the top of the main dome 28.6 m

The height of Sophia from floor level to the cross on the central dome is 36.7 m.,

Cathedral length

total length - 41.7 m

length 34.5 m

Cathedral Width

width - 54m

width - 39.3 m

Artistic means and techniques for creating an architectural image (symmetry, proportions, chiaroscuro, color modeling, material that formed the basis, etc.)

A large-scale, grandiose construction The walls are elegantly laid out of plinth using a technique with a recessed stone interspersed next to it. The masonry was fastened with zemyanka - a solution of lime, sand and crushed bricks. The illumination of the temple was carried out due to the cut long slit-like windows in the drums of thirteen domes. There is an asymmetry in the arrangement of chapters. Subsequently, the cathedral underwent a thorough restructuring.

The appearance of the cathedral was distinguished by simplicity, austerity and asymmetry of forms. The main mass of the walls is made of stones of local origin. Brick was used to cover the vaults. Asymmetrically arranged domes, tightly clustered in the center. Uneven surfaces of the walls, cut through by windows in the form of narrow slits without a frame The temple is perceived as a solid, impenetrable mass of stone. The walls of the temple in the 12th century were whitewashed, which gave the building integrity, massiveness, and strength.

Teacher. So, the adoption of Christianity was a decisive turn, a break with the previous pagan tradition. Together with the new religion, a new artistic system comes to Russia. The Byzantine system, built on a solid foundation of secular and ecclesiastical authority, came in handy for the court of Prince Vladimir. To assert the power of the emerging state of Kievan Rus, art, and one of its types, turned out to be indispensable. What kind of art is this?

Answers. Architecture.

Teacher. Why this art form?

Answers. Wooden buildings have not been preserved, and stone buildings have been standing for about a thousand years.

Teacher. In the 10th century, stone construction began in Russia. Russia is called the country of cities. A great future for Kyiv was predicted by Andrew the First-Called. According to legend, he visited a city in Russia and predicted: "A great city will be here, and the Lord will erect many churches and baptize the Russian land." Has his prophecy come true?

Answers. Yes, that is exactly what happened. Kievan Rus became a mighty power.

Teacher. So, the luxury and solemnity of Byzantine architecture served as a model for the construction of stone cathedrals in Kyiv. Russia adopts the cross-domed church system from Byzantium (draw a diagram). In plan, such a temple is a square, inside there are 4 pillars or supports that hold the dome. Thus, the main symbol of Christianity is visible in it - the cross and the dome as a symbol of heaven. This type of temple is also called a temple on 4 pillars or pillars. What elements of the temple do you know?

Working with a table I. Task: You can perform one of several types:

write down the names of the elements in the notebook;

show them in illustrations;

in a more complex game version - correlate the names and their definitions, connect them with arrows, because, as a rule, students randomly name elements.

Teacher. It is known that the temple needs to be decorated. What is the artistic system of painting the Byzantine temple? Task: to establish a connection between the constructive and artistic elements of the painting.

Working with a tableII. The artistic system of the painting of the temple.

You can complete one of several types of tasks, depending on the time allotted in the lesson. I offer three options for completing the task:

invite students to independently create a system for painting the temple. The task is carried out in the notebook "My painting system". Then we collectively find out which image corresponds to the place and role in the design of the temple. We write in the notebook "Byzantine system".

call the students to the board and offer to connect the elements of the temple and the images that, in their opinion, should be placed here with arrows. Then work with the class to determine the correct placement. Write down "Byzantine system" in your notebook.

Immediately perform in the form of a game, explaining the constructive role of architecture and the placement of images of saints.

Conclusion: The decoration of the temple reflects the constructive role of architecture.

III. Learning new material Artistic culture of Kievan Rus.

Write down the plan.

Architecture

art

Craft

Exercise. From this series of architectural monuments, select those known to students and answer the questions:

What are their names?

Where were they created?

What historical period do they belong to?

On what grounds were they identified?

Picture range: Parthenon, Colosseum, Sophia of Constantinople, Sophia of Kyiv, Sophia of Novgorod.

students perform the task. They must define the monuments of antiquity (Parthenon and Colosseum) as pagan, the rest as Christian.

Teacher. Here is about Christian monuments of architecture will be discussed today. Before us is ancient and eternally young, in the rays rising sun Russian land. The bells are ringing. We are on ancient Kyiv land. At that time, Kyiv was called "the mother of Russian cities". The first stone church in Russia was called Tithes. Why do you think one of the first churches in Kyiv was called Tithes: 10 foundation stones, 10 doors, 10 windows, 10th part of income for maintenance?

Answers. The prince gave a tenth of his income for the upkeep of the church.

Teacher. To make it easier for you to understand the topic, to feel the breath of the era, listen to historical reference about the reign of Vladimir the Red Sun, when the first immortal monuments of ancient Russian architecture were created.

Guide I. History reference. The student performs a prepared advanced task about the personality of Prince Vladimir the Red Sun and his cultural activities. The prince begins a large construction in Kyiv. He builds powerful fortress walls around it. The main entrance gates to the city are called Golden and Silver. The basis of the prince's activity was the desire to create a powerful state that could compete with Europe and claim primacy. He summed up the ideological base, created an ideological justification for the continuity of princely power, introduced Christianity in the Byzantine version. Under him, the construction of churches in Russia began. the main objective- to affirm the strength and power of the new center of the Russian land.

Problem question. Could art stay the same? What ideas should it assert?

Student responses. The glorification of power, strength and power, the greatness of power.

Teacher. Let's hear how it happened. Who continued the work of Vladimir to decorate the Russian land?

Guide II. History reference.

The student performs with a prepared advanced task about the activities of Yaroslav the Wise. The performance is accompanied by a display of pictorial series with views of architecture. In 1037, the prince builds the main temple of his state - the Cathedral of St. Sophia of Kyiv. In The Tale of Bygone Years, the author writes: “After all, the Father plowed and softened his land, that is, he enlightened him with baptism. This one sowed the hearts of believers with bookish words. And we reap, accepting the teaching of the book.

Teacher. Write down the name of the new church in your notebook. Let's see if the prince coped with the task. How was the new cathedral supposed to tell about this? (Showing reproductions, compare with Sophia of Constantinople).

Student responses.

Teacher. Yaroslav the Wise built the main temple in honor of the Wisdom of God - Hagia Sophia, which has its own characteristics. It increases in size, grows in length and width by adding supporting pillars. Area - 1300 sq. meters, the height of the dome - 30 meters. Composition, rhythmic volumes, gathering towards the center. A stepped pyramidal composition is formed, crowned with 13 chapters. Where does this number come from?

Answers. Different opinions are expressed, someone is sure to remember the devil's dozen.

Teacher. Everything in the temple is symbolic, even the number of domes. It stands for 12+1=Christ with 12 apostles. By the way, the Church of the Tithes had 25 chapters. The temple is being built by Russian masters under the guidance of Byzantine architects. The temple was built from pinkplinths - wide and flat fired brick, which enhances the effect of decorativeness and picturesqueness. The light from the windows in the drum illuminates the space under the dome. Sermons were delivered under the main dome, solemn ceremonies were performed. Upstairs, in the choir stalls, the prince appeared with his retinue. The image of Christ Pantocrator reigned in the dome, in the piers - a string of saints, in the central apse there was an image of the Mother of God with arms raised up - Oranta. Who does it remind you of?

Student responses. Pagan Makosh - the protector of the hearth.

Teacher. This is how pagan and Orthodox traditions coexist in art. The people of Kiev loved her and believed that the Mother of God would protect them from adversity. They nicknamed it "The Unbreakable Wall".

Painting of this period is represented quite widely in mosaics, frescoes, icons. It was monumental painting associated with architecture and icons. The temple was richly decorated. On the walls glittered with goldmosaics. It was a real art: pieces of glass - smalt - were placed at different angles, when a ray of the sun fell on them, it was reflected and fell on the next one. The whole image sparkled and shimmered. The mosaics of the Cathedral of St. Michael's Golden-Domed Monastery ("Eucharist", "Dmitry of Thessalonica") have survived to this day. In addition to the "shimmering painting", the temple was decoratedfrescoes.Images of Yaroslav's family have been preserved, and the fantasy of Russian masters has manifested itself in the side towers. They placed images that did not correspond to church canons. These were scenes from social life, hunting, images of mummers, etc. From the frescoes you can find out what the princes did at their leisure - they loved music, singing, hunting, buffoon games.

On the walls wereicons.It was here that the famousIcon of Our Lady of VladimirXII in. - “the eternal song of motherhood”, as I. Grabar called it, which came to Russia from Byzantium. "Saint George"embodied the ideal of the defender of the Fatherland. The favorite subjects of icon painting were the life of Mary, events from the life of Christ and the saints. In strict faces, in large dark eyes, one can feel a tense inner life, conviction in one's faith, readiness for sacrifice in its name. This harsh painting embodied the moral ideal of our people, its strength and steadfastness in the face of trials.

Russian art craft famous all over the world. Graceful jewelry, genuine masterpieces are created by Kyiv jewelers. What methods of making jewelry were known to ancient Russian craftsmen?

Let's turn to the table.

Scan

openwork or soldered on a metal background pattern of thin gold or silver wire

Grain

small gold or silver balls (from 0.4 mm), which are soldered onto a filigree ornament

cloisonne enamel

a special technique of enameling, where the enamel fills the gaps between metal partitions soldered with a rib on the metal surface.

Craftsmen not only made decorations, but also made frames for icons, church utensils (illustration). Consider ornaments, establish their connection with pagan motifs.

Teacher. And what happened in the rest of Russia?

Guide III. History reference.

At the end of XI-beginning of XII centuries cross-domed churches began to be built throughout Russia. They were built by Russian craftsmen from local materials and taking into account local traditions. In 1052, Sophia of Novgorod was built in Novgorod, later - St. Nicholas Cathedral, St. George's Cathedral of the St. XI century, in the image of the Church of the Tithes) and the Borisoglebsky Cathedral. Similar cathedrals were erected in Vyshgorod, Peryaslavl, Smolensk. Thus, in Russia there are various art schools, united by common features. Political and economic difficulties do not allow the princes to build huge city cathedrals, like St. Sophia of Kyiv or Novgorod. AT XII century, in all Russian principalities, single-domed 4-pillar churches grow up, which embody a vivid artistic image.

Questions to consolidate the material.

What did we learn about the architecture of St. Sophia of Kyiv?

under which prince it was built: Vladimir, Yaroslav, Vsevolod, Andrey Bogolyubsky;

what does the number of chapters mean: damn dozen, Christ with the disciples, the age of the prince, the number of builders;

what do the images say? (about the life of princes)

type of image of the Mother of God in the cathedral: Eleusa, Oranta, Hodegetria, Sign;

its name by the people of Kiev: Indestructible wall, Burning bush, Almighty.

Teacher. Transfer distinctive features temple.

Answers.

many heads

pyramidality

growing up - the principle of hierarchy

rhythm of volumes - picking up to the center

proportionality - a sense of harmony

Teacher. What artistic image contains this temple?

Answers. Students choose words to define. Bring them to the concept of "glorification of power and greatness", "feeling the grace of God."

Teacher. What feelings does it evoke?

Answers. The beauty.

IV. Results and conclusions on the topic of the lesson

Russia is the heir to Byzantine traditions.

Russian masters creatively reworked the Byzantine system and filled it with new content.

Artists created a special man-made world.

Pagan traditions will constantly "come around" in Russian art.

Art created by unknown masters.

Architecture is the leading art form that expresses the ideas of its time.

High level of construction technology.

Architecture serves as a symbol of the glorification of the power of the prince and reflects beauty in harmony with the natural world.

With one building system - cross-domed - temples receive a different figurative incarnation and content.

The main principle is beauty.

It enters our life, becomes a part of it and is connected with modernity.

Old Russian culture is part of the spiritual culture of mankind.

So in art X-XII centuries the Russian people immortalized their youth, their love for their native land. Ancient Russian art is a great creation of its time. It is unique, like the era that gave birth to this art. And it enters the spiritual culture modern man as a certain stage in the artistic development of our people, as living evidence of its creative power at the dawn of national history.

V. Grading.

VI. Homework. Make a crossword puzzle with new terms.

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Slides captions:

ARTISTIC CULTURE OF KIEVAN RUSSIAN RUSSIA X-XI centuries

ACCEPTANCE OF CHRISTIANITY The pagan period in the history of the ancient Slavs was not an example of a highly developed civilization and did not leave samples of outstanding cultural monuments. The adoption of Christianity was a necessary step for the Slavs to enter the community of Western European countries, which were at a higher stage of development. The architectural monuments of Ancient Russia reflect the development of religious ideas, and the main historical stages in the formation of a single Russian state. Stone cathedrals were built in honor of the most important events history of ancient Russia. The legend about Vladimir's choice of the Christian religion is told in The Tale of Bygone Years

In the temple, not only divine services and sacraments (baptism, communion, etc.) were performed, but also secular ceremonies - for example, the solemn accession of the prince to the throne. The building of the temple was the residence of the metropolitan (head Orthodox Church). Sophia Cathedral in Kyiv had the first library, archive and school in Russia. Princes and metropolitans were buried here. Yaroslav the Wise himself was buried in this temple in 1054. This temple in Kyiv has survived to this day. QUESTION: What building was simultaneously an archive, a library, a school, a hall for secular ceremonies, and a cemetery?

ORTHODOX TEMPLE STRUCTURE AND INTERIOR DEVELOPMENT Together with Christianity, Russia adopted the cross-domed structure of the temple from Byzantium. This type of church is square in plan. Its interior space is divided by four pillars into three naves (from Latin - ship): central and lateral. The two vaults intersect at right angles, forming a cross in the space under the dome - the most important symbol of Christianity. At the intersection of the vaults there is a light drum topped with a dome. It rests on pillars connected by arches (they are called girth arches). The upper part of the walls of the temple is completed by zakomaras (from the other Russian mosquito komora - vault). They are semicircular, as they repeat the shape of the vaults.

The first domes in Russia were low, semicircular. They repeated the shape of the domes of Byzantine churches. Then helmet-shaped domes appeared (a helmet, a helmet - an old military metal headdress), and even later - bulbous ones. The number of domes had a symbolic meaning. Two domes meant the divine and earthly origin of Christ, three domes - a symbol of the Holy Trinity (God the Father, God the Son, God the Holy Spirit), five - Christ and four evangelists, thirteen - Christ and 12 apostle disciples. Each dome is topped with an Orthodox cross, always facing east.

Usually the temple has three entrances: the main (western) and two side (northern and southern). In Ancient Russia, galleries, or walks (from the word “walk”) were built around the church. They were erected from three sides - northern, western and southern. Some temples had annexes, each of which had its own altar and could perform services. The extension on the western side of the temple (where the main entrance was) was called the vestibule.

Under the floor of the church there were cellars in which noble people and clergymen were buried. The eastern part of the temple has apses (from the Greek apse - arc) - semicircular ledges. Depending on the size of the temple, there may be one or five apses. Each is covered with a semi-dome. In the apses there is an altar ("altar"). Only men can enter the altar.

In the center of the altar is a throne - a square stone table, a symbol of the Holy Sepulcher. According to the Orthodox faith, during the service, the Lord invisibly abides on the throne. In the southern part of the altar there is a sacristy (diakonnik) - a room where church utensils and vestments (robes) of priests are stored. To the left of the throne, in the northern or northeastern part of the altar, there is a special table - an altar. During the service, consecrated bread and wine are placed on it for communion. The altar is separated from the rest of the church by an iconostasis (a partition with icons). In front of him is an elevation - salt. On the sides of the salt are kliros - places for singers. The protrusion in the center of the salt, opposite the Royal Doors, is called the pulpit (from the Greek. "Ascend"). Sermons are delivered from the ambo, the Gospel is read.

Spirituality SPIRITUALITY is the highest level of development and self-regulation of a mature personality, at which the highest human values ​​that are outside of hierarchical relationships become the main motivational and semantic regulators of its life activity. Spirituality differs from religiosity in that the source of the latter is the external world in the form of prescriptions and traditions, while the source of spirituality is the inner experience of a person.

Sobornost Sobornost is a concept introduced by the Russian philosopher A.S. Khomyakov (1804-1860), developed in the 19th century by Slavophiles, covering the entire way of life, a complex of moral and ethical norms within the community. These norms unconditionally condemn individualism, the desire of an individual to oppose himself to the community of "fellow believers". Sobornost rejects such a concept as "personal happiness", arguing that "it is impossible to be happy alone."

Features of ancient Russian art 1. Lack of authorship (anonymity works of art) 2. Canonicality was expressed in traditionally repetitive images (in painting, there were pictorial originals that were a model for imitation or copying; in Ancient Russia there was no word “composer”, there were chanters who combined church texts with musical sounds, relying on a certain model of creativity "Temple architecture also obeyed canonical prescriptions. In literature, each literary genre had its own system of stylistic phrases, verbal formulas. 3. Symbolism. Masters revealed images that were hidden from the gaze of those living on earth. A symbol is a connection between two worlds, a sign another world in this world.

The first flowering of ancient Russian art is associated with the era of Kievan Rus, which became the successor to Byzantine traditions. At the beginning of the XI century. 400 churches were built in Kyiv. Before the adoption of Orthodoxy, pagan Russia worshiped many gods. Baptism of Russia in 988 It gave a powerful impetus to the development of artistic culture.

Architecture of Kyiv The Golden Gate is the main entrance to the city from the southwest, from the Byzantine Empire. If the gates are like this, then what is the city itself like? Golden Gate. Reconstruction by S. Vysotsky

Remains of the Golden Gates The main entrance to Kyiv was a gigantic architectural structure - a vaulted array, built of brick and stone. Two parallel walls, covered with a vault, formed a passage 25 m deep. The Gate Church of the Annunciation with a gilded dome crowned the building. The two massive wings of the central gate were bound with gilded copper, which sparkled brightly in the sun. Most likely, this determined their name. In the lower part of the Golden Gate, under the church, there were vaults for valuables.

Reconstruction - sarcophagus over the Golden Gate

One of the oldest stone buildings in Kyiv was the Church of the Tithes, built in 989-996. In honor of the Holy Mother of God. Reconstruction

Church of the Tithes According to the annals, Grand Duke Vladimir Krasnoe Solnyshko "thought to create a church of the Most Holy Theotokos and send the craftsmen from the Greeks." The brick church was founded in Kiev next to the princely court in 989. Prince Vladimir gave her a tithe from his income, so the church was called the Tithe. This is the oldest of the monumental buildings known to us in Russia. The many-domed Desyatinnaya Church consisted of three naves, separated by three pairs of pillars; It had three apses. Its dimensions were 27.2 x 18.2 m. It was surrounded by galleries on three sides. Inside the temple there were choirs - a balcony for the prince and his entourage. The building of the church was built from plinth. Plinth is a flat brick measuring 30x40x5 cm. In Kyiv, the plinth was special, thin - only 2.5-3 cm thick. Greek craftsmen brought many marble details of interior decoration with them (Rus did not yet know marble). On the square in front of the temple, “four copper horses” were placed - trophy sculptures from Korsun. The church collapsed during the capture of Kyiv by the Mongols in 1240, when the surviving residents of the city took refuge in it. Only the remains of the foundation have been preserved.

Cathedral of St. Sophia in Kyiv In 1037, construction began on the grandiose main temple of the capital - the Cathedral of St. Sophia. Thus, Yaroslav the Wise proclaimed Kyiv equal to Constantinople, where the main cathedral was also dedicated to St. Sofia. In 1019, Yaroslav, nicknamed the Wise (978-1054), became the sole ruler of the Russian land.

Hagia Sophia Cross-domed five-nave thirteen-domed temple, built after the victory of Yaroslav the Wise over the Pechenegs. It continues the traditions of ancient Slavic architecture with its pillar-like log cabins, cages and golden-domed towers. The temple was not whitewashed, and brick and gray granite stone (plintha) alternated with pink opal (a solution of lime, sand and crushed brick), which gave its walls a pleasing elegance to the eye. Sophia Cathedral in Kyiv. 11th century (reconstruction).

The cathedral was built of red brick interspersed with pink opal.

The cathedral was built by Russian masters under the guidance of architects from Byzantium. The columns were made of bricks. Cornices, fences, floors were made of local slate, the so-called red slate, which has a beautiful crimson-violet color. The floors were covered with mosaics. Outside, the cathedral was decorated with niches and windows, crosses and meanders laid out of plinth - geometric ornaments, masonry with a hidden row and stripes of rough, unworked stone. In XV II-X V III centuries. The cathedral has been remodeled. In our time, the ancient masonry is visible only in areas where the plaster was specially removed.

Many domes are a distinctive feature of the St. Sophia Cathedral. One large and twelve smaller domes symbolize Christ and his twelve disciples.

Sophia of Kyiv Twelve powerful cruciform pillars divide the huge inner space of Sophia. Under the main dome, in a light-filled space, sermons were delivered and solemn state ceremonies were performed, and the highest clergy gathered in the altar itself. Above, in the choir stalls, earthly lords appeared: the prince and his entourage. Below, where the light turned into twilight, people crowded. Interior

Sophia of Kyiv The abundance of spans, arches that adorn the space of the temple, created the impression of monumentality and splendor of its interior decoration. Numerous colorful frescoes and sparkling mosaics, covering from top to bottom the dome space, walls, vaults and pillars, gave the temple a special splendor and solemnity. Interior

The abundance of spans and arches of various nature is an essential feature of the premises of St. Sophia Cathedral.

The spans and arches seem to “rhyme” with each other, grow, expand and end in a vast domed space with a huge triumphal arch framing the altar.

Inside the building, the dome was perceived not as the largest volume, but as the highest space, as the main source of light.

Inside the cathedral, high in the center under the very dome, Christ the Almighty is depicted.

The grandiose figure of the Mother of God (praying), who raised her hands to her Divine son in prayer for the human race, is located in the apse.

Eucharist

Above the altar, as a prototype of the liturgy taking place in the temple, it is depicted how the apostles with outstretched hands approach the altar; Christ gives them wine and bread.

The main images of St. Sophia Cathedral are made with mosaics and are concentrated in the central, most front and bright part of the temple.

The mosaics depicting the Church Fathers are distinguished by their exceptional subtlety of colorful hues. Radiant colors bring something light to these strict images.

Christ Mother of God

Gregory the Wonderworker Gregory of Nyssa

Archangel

Single combat of Jacob with the archangel Michael.

In the painting of the temple, along with sacred persons and events, the real world that surrounded a person found a place for itself. Family of Yaroslav the Wise

Sophia Kyiv St. Sophia burned twice. In the XIV century. the temple stood without a roof, with collapsed walls and a modern view of the collapsed western side. The temple was rebuilt several times. The last one is in the 18th century. in the Ukrainian baroque style.

The architecture of Veliky Novgorod The Novgorod Sophia Cathedral in the form in which it was erected in the 12th century has not been preserved. At first it was single-domed, with a round dome and three apses. During the rebuilding of the burned-out cathedral, four more smaller ones were erected around the dome, which was put in place of the old one. Chapels began to be attached to the temple on both sides.

Sophia of Novgorod The walls of the temple from the outside were devoid of any decorative details. The appearance is distinguished by simplicity, rigor and asymmetry of forms.

Sophia of Novgorod In the interior of the temple, two-arch spans, four- and octagonal pillars are used. The walls and vaults are covered with frescoes of amazing beauty.

"The Tale of Igor's Campaign" In the expressions "Words ..." not only the events of the unsuccessful campaign against the Polovtsy of Novgorod-Seversky Prince Igor in 1185 are depicted, as is narrated in the annals, but events from princely civil strife, campaigns and successful battles are also recalled, starting from ancient times. Before us is, as it were, a folk history, a folk epic in a book presentation by a writer of the late 12th century.

Viktor Vasnetsov. After the battle of Igor Svyatoslavich with the Polovtsians. 1880

V. G. Perov "Lament of Yaroslavna". 1881

The Tale of Bygone Years Also called the "Original Chronicle" or "Nestor's Chronicle") - the earliest of the ancient Russian chronicles of the beginning of the 12th century that have come down to us. The covered period of history begins with biblical times in the introductory part and ends with the year 1117

Ostromir Gospel The oldest Russian handwritten book written in the middle of the 11th century. The most valuable monument of the Old Slavonic language of the Russian version. The Ostromir Gospel refers to the liturgical type of books of Holy Scripture. In the main part of the text, the book contains gospel daily readings. Ostromir was a representative of one of the most influential Russian families: his grandfather - Dobrynya (served as a prototype for the epic Dobrynya Nikitich) - was an uncle to Prince Vladimir Svyatoslavich, who baptized Russia. Ostromir, the second cousin of Prince Vladimir, Izyaslav's cousin, orders a luxurious book, being at the zenith of his fame, for he considers his tenure in Novgorod almost like co-government with the Kyiv prince.

Resources used: E.P. Lvova, N.N. Fomin, World Artistic Culture. From its inception to the 17th century” Essays on history. - M .: Peter, 2007. L. Lyubimov "The Art of the Ancient World" - M.: Enlightenment, 1980 N.N. Kutsman "Elective course Culture of the Ancient World". - Volgograd "Corypheus", 2001. Yu.E. Galushkin "World Artistic Culture". - Volgograd: Teacher, 2007. Magazine "Art" №7 1993 T.G. Grushevskaya "Dictionary of the MHK" - Moscow: "Academy", 2001. A.I. Nemirovsky. "Book for reading on the history of the Ancient World", 2000. CER "World Artistic Culture Grades 10-11" CJSC "Infostudiya Ekon". COR "Culturology" CJSC "New Disk". COR "MHK from its inception to the XVII century" Publishing house "Piter".

The culture of ancient Russia is the culture of the early feudal society. Oral poetic creativity reflected the life experience of the people, captured in proverbs and sayings, in the rituals of agricultural and family holidays, from which the cult pagan beginning gradually disappeared, the rituals turned into folk games.

Buffoons - wandering actors, singers and musicians, who came from the people's environment, were the bearers of democratic trends in art. Folk motifs formed the basis of the wonderful song and musical creativity of the "prophetic Boyan", whom the author of "The Tale of Igor's Campaign" calls "the nightingale of the old time." Historical songs and legends were widely used by chroniclers who subordinated the folklore material to their ideological and political tendency. So, the chronicle included legends about Olga's revenge on the Drevlyans, about the struggle of the Russian people with the Pechenegs, etc.

The growth of national consciousness found especially vivid expression in the historical epic. In it, the people idealized the time of the political unity of Russia, although still very fragile, when the peasants were not yet dependent. The heroic peasant Mikula Selyaninovich is depicted in epic works as free and rich. In the image of the "peasant son" Ilya Muromets, a fighter for the independence of the motherland; the deep patriotism of the people is embodied. Folk art influenced the traditions and legends that developed in the feudal secular
and church milieu, and helped shape ancient Russian literature. Another source that determined the independence and artistic expressiveness literature, there was a culture of oral, oratorical speech - military, embassy, ​​judicial - that reached high perfection, conciseness and imagery.

The appearance of writing was of great importance for the development of ancient Russian literature. In Russia, writing arose, apparently, quite early. The news has been preserved that the Slavic enlightener of the 9th century. Konstantin (Cyril) saw in Chersonese books written in "Russian writings" (letters). Evidence of the existence of written language among the Eastern Slavs even before the adoption of Christianity is an earthen vessel discovered in one of the Smolensk barrows of the beginning of the 10th century. with an inscription that researchers decipher in different ways (“gorushna” - a spice, “Pea” - a name, “psalm” - wrote, etc.). Significant distribution of writing received after the adoption of Christianity.

Old Russian writers highly valued books and knowledge. The chronicler emphasizes the usefulness of "book teaching" and compares books with "rivers that water the universe," with "fountains of wisdom." The art of designing an old Russian handwritten book reached a high level. Such written monuments of the 11th century, such as the Gospel, copied for the Novgorod posadnik Ostromir, or the “Izbornik” of Prince Svyatoslav Yaroslavich, are richly decorated with headpieces and miniatures.

Needing literate people, Prince Vladimir Svyatoslavich organized the first schools. Literacy was not only the privilege of the ruling class, it also penetrated into the environment of the townspeople. Letters found in a significant number in Novgorod, written on birch bark (from the 11th century), contain the correspondence of ordinary citizens; inscriptions were also made on handicrafts.

The original literature of Russia is characterized by great ideological richness and high artistic perfection. A brilliant writer of the 11th century. was Metropolitan Hilarion, the author of the well-known "Sermon on Law and Grace". In this work, the idea of ​​the need for the unity of Russia is clearly manifested. An outstanding writer and historian was the monk of the Kiev-Pechersk monastery Nestor. His “Reading” about the princes Boris and Gleb and the “Life of Theodosius”, valuable for the history of life, have been preserved. Theodosius himself - the hegumen of the Caves Monastery - owns several teachings and letters to Prince Izyaslav. By the time around 1113, there is a remarkable monument of ancient Russian chronicle writing - "The Tale of Bygone Years ...". This work is compiled on the basis of earlier chronicles - historical works dedicated to the past of the Russian land. The author of the Tale, the monk Nestor mentioned above, managed to vividly and figuratively tell about the emergence of Russia and connect its history with the history of other countries.

Vladimir Monomakh was an outstanding writer. His "Instruction" painted the ideal image of a prince - a feudal ruler, touched upon the pressing issues of our time (the need for a strong princely power, the fight against nomad raids, etc.). "Instruction" is a secular work. It is imbued with the immediacy of human experiences, alien to abstraction and filled with real images and examples taken from life.

The wide international relations of the Old Russian state led to an interest in foreign literature. Yaroslav the Wise took care of the translation of books from Greek into Russian. This translation work continued later. In addition to liturgical books and hagiographic literature, historical works were translated - Byzantine chronicles, military stories, etc. Translators sometimes creatively reworked and supplemented the originals.

Of great interest are the monuments of ancient Russian architecture and fine arts. Russian masters of wooden architecture, whose names, for the most part, have not been preserved, created various structures, built vast and complex master mansions, erected fortresses and castles. Novgorod carpenters were especially famous for their art.

At the end of the X century. they built in Novgorod a huge chopped cathedral of St. Sofia with thirteen tops. The monumental wooden columns of the end of the 10th century found in Novgorod, decorated with carved "animal" ornaments, testify to the high development of decorative carving in the decoration of dwellings.

Significant skills in the field of wooden architecture led to the rapid development of stone architecture and its originality. The Byzantine architects called to Kyiv passed on to the Russian masters the extensive experience of the building culture of Byzantium. At the end of the X century. in Kyiv, stone palace buildings were erected and a 25-domed vast cathedral was built - the Church of the Tithes. Antique sculptures brought by Prince Vladimir from Chersonese were placed on the square near this church.

Under Yaroslav the Wise, Kyiv was expanded and surrounded by a mighty rampart with stone gates. Only remnants of these fortifications remain. main tower- Golden Gate. In the center of the city, the architects erected the St. Sophia Cathedral - a majestic 13-domed building, magnificently decorated inside with mosaics, frescoes and carved stone. A wall was built around the cathedral. In another large city of Kievan Rus - Chernigov, the Cathedral of the Savior was built, in Polotsk and Novgorod, St. Sophia Cathedrals were erected.

Some experience was also accumulated in the field of fine arts... Sources report about statues of pagan deities in Russia, about some picturesque images of humanoid animals ("creatures"). The development of monumental fine art was associated with the development of the Byzantine artistic heritage. An outstanding monument is the grandiose mosaic-fresco ensemble of St. Sophia Cathedral in Kyiv, created by Byzantine and Russian masters. In the painting of the St. Sophia Cathedral, portrait images of the family of Prince Yaroslav the Wise were placed, and the stairs of the towers leading to the choirs were decorated with images of a secular nature.

The princely palaces and temples differed sharply in their size and wealth from the dwellings of the urban people. Monumental art was one of the strongest means of ideological strengthening of the feudal system. But at the same time, the majestic and solemn images of architecture reflected the creative power of the Russian people, the true creator of material and cultural values. In the second half of the XI century. stone buildings are erected in princely monasteries in Kyiv - Vydubitsky, Dmitrievsky, Pechersky. A huge cathedral was built in Vyshgorod, competing in size with the Kyiv St. Sophia Cathedral. Secular construction also continued.

important area artistic creativity in the IX-XI centuries. was arts and crafts. Craftsmen decorated metal parts of clothing, utensils, and weapons with finely stylized floral or "animal" ornaments. The motifs of folk legends were reflected in this ornament, images of birds, the tree of life, etc., characteristic of pre-Christian beliefs and cults, appeared in this ornament. Jewelry art, closely connected with the needs and tastes of the nobility, made a rapid development path. Instead of the characteristic for the X - beginning of the XI century. severe attire of the nobility, consisting of heavy forged silver and gold items, in the second half of the 11th century. Russian jewelers create exquisite and sophisticated gold jewelry, tiaras, kolts, richly colored with enamel, precious stones, pearls and the finest filigree. The work of Russian jewelers amazed foreigners with its technical and artistic perfection.

In the process of the emerging feudal fragmentation of the Old Russian state, new cultural centers were created. But with all the originality of the local shades of Russian culture, its unity has been preserved.