Features of the temple synthesis of arts in different religions. Temple Synthesis of the Arts
In church art, it is possible, though only conditionally, to distinguish 2 sides:
internal (or meaning-forming)
external (or meaningful)
The main one, of course, is the inner one, which contains the spiritual and dogmatic meaning of what is enclosed by the outer side in visible conditional, pictorial (architectural, pictorial) forms.
In its essence, church art is a reflection of a person's prayer experience.
Temples are the outer side of church art. Temples are religious buildings that embody the image of the world order in a particular religion (Christianity, Buddhism, Islam), its main values.
An Orthodox church is a failure of a complex, inexhaustible holistic symbol in its visibility - it is both an image of the Universe and an image of the Church existing within it, spread throughout the world and contemplated in perspective. The temple is, as it were, the earthly dwelling of the unearthly and omnipresent God, the place of finding God through prayer, the place of unity with God through the sacrament, the place of salvation of the soul.
The location of the temple, its architecture, decoration, painting system symbolically express what cannot be depicted directly.
For example, the external color of the temple often reflects its dedication - to the Lord, the Mother of God, to some saint or holiday:
· White - a temple consecrated in honor of the Transfiguration or Ascension of the Lord;
Blue - in honor Holy Mother of God;
Red - dedicated to the martyr(s);
Green - to the reverend;
· Yellow - to the saint.
The number of domes on the temples is also symbolic:
1 - symbolizes the One God;
3 - Holy Trinity;
· 5 - Savior and four evangelists;
· 7 - seven sacraments of the Church;
9 - according to the number of angelic ranks;
· 13 - the Savior and the twelve apostles;
· 25 - they talk about the prophecy of John the Theologian;
· 33 - according to the number of years of the Savior's earthly life.
Do not forget about the symbolism of the color of the domes:
· Gold is a symbol of heavenly glory. Golden domes were at the main temples and at the temples dedicated to Christ and the Twelve Feasts.
· Blue domes with stars crown churches dedicated to the Mother of God, because the star reminds of the birth of Christ from the Virgin Mary.
· Trinity churches had green domes, because green is the color of the Holy Spirit.
· Temples dedicated to saints are often crowned with green or silver domes.
· In the monasteries there are black domes - this is the color of monasticism.
The constructive basis for the synthesis of arts in the temple is architecture. It creates a multi-dimensional space of the temple, which is the architectonic basis for the synthesis of arts in the ancient Russian cross-domed church. This space has two spiritual centers - an altar and a dome. Both there and there, according to the symbolism of the temple space, there is a spiritual sky with all its inhabitants. Accordingly, the main directions of spatial movement in the temple - from west to east (towards the altar) and from bottom to top (towards the dome) - are embodied in a new vector of spiritual space from the earthly world to the heavenly world.
Temples have been an integral part of the city's panorama since ancient times. How impossible it is to imagine Athens without the Parthenon or Ancient Rome without the Capitol, it would be so hard to imagine Paris without Notre Dame, London without Westminster Abbey, and Moscow without the Kremlin cathedrals. The temple in the city is a prophet speaking of eternity, whose call is heard amid the noise of modern civilization.
The silhouette of a church somewhere on a hill, surrounded by villages, acquires a completely different sound. Here the hymn of man to the glory of the Creator, as it were, merges with the anthem of the universe itself. Rural temples do not look severe. They are covered with the same peaceful beauty as the surrounding landscape. Suffice it to recall the Church of the Intercession on the Nerl, which, like a fairy-tale bride, looks into the water among the hushed fields.
The appearance of a Christian church has been created over the centuries, acquiring its own unique character in every country and in every era.
During the days of persecution, Christians gathered for prayer and Liturgy in private houses or in underground tombs - catacombs.
The oblong table, at which the believers of those times reclined at a fraternal meal, was gradually replaced by the tomb of the martyr. The sarcophagus with candles burning on it became the prototype of the Western Christian style altar.
The custom of performing the sacrament of "breaking bread" over the grave of a sufferer for the faith, as it were, confirmed the truth of Tertullian, who said: "The blood of the martyrs is the seed of Christians."
Christian art was born in the catacombs. The painting of Jewish prayer houses (synagogues) served as a model for him, since the Christians of the first generation were closely connected with the Old Testament tradition. The synagogues and tombs of the Jewish people were decorated at that time with frescoes and mosaics, among which were not only ornaments and symbols, but also scenes from sacred history. The art of the catacombs testifies to the fact that the Church has always accepted and blessed life. On the walls of early Christian churches we see images of birds, fruits, flower garlands. The symbolism of these early frescoes is inspired by the images of the New Testament (the Good Shepherd, grapes, fish, lamb, ship).
Pre-Christian temples were considered the abode of deities. Usually people prayed and made sacrifices in the courtyard, in front of the entrance gate. Only servants were allowed inside. This rule was observed in the Old Testament temple in Jerusalem.
But after "the Word became flesh and dwelt among us" (John 1:14), the concept of the temple for Christians had to change. It became a place where people gather around the eternally abiding Shrine, "the people of God," the Church (hence its Russian name - "church").
The historic Christian temple was the successor to the synagogue, which served as a "meeting house," a place of prayer, preaching and reading the Word of God.
The first Christian churches were built on the model of Roman public buildings - basilicas. They were rectangular buildings with rows of columns dividing the space into "naves," or "ships." The whole building was supposed to symbolize the ship of the city of God, sailing on the waves of history. Little attention was paid to the external decor of the basilica, but inside it was decorated with marble and mosaics.
The same feature - the artistic richness of the interior with a very modest, even severe appearance temple - preserved and Byzantine art. But in Byzantium, the idea of a "ship", "house of assembly" was supplemented by the idea of the cosmos, which was present even in the decoration of the Old Testament Temple. Thus, Byzantine architecture combined two principles, separated in the Old Testament. There, in parallel, there was a Temple as the "House of God" and a synagogue as a "house of assembly." The Church of the New Testament created a synthesis of both, as the Byzantine temple clearly testifies. It is intended for the people and at the same time is a kind of "cosmic ark" for the Creator who resides in it. The temple became a symbol of the spiritualized world, a prototype of the coming deification of the Universe. The dome, meaning "firmament of heaven", the image of the Almighty, the faces of angels and saints, gospel stories - all this was combined into a single symphony: God, the kingdoms of heaven and earth, sacred history.
Byzantium developed the art of icon painting, a whole world of images subject to its own laws. Its origins are connected with Asia Minor, Egypt, Parthia. The icon is almost independent of classical antiquity. In contrast to the naturalism of Greco-Roman painting, she speaks in a conventional language of symbols. Pure colors, melodious lines, unusual perspective and composition gave rise to a special state in contemplating the icon. He joined the eternal beauty, the reality, open to the mystical gaze.
From Byzantium, icon painting came to Bulgaria, Romania, Serbia, but reached its highest flourishing in Russia. True, since the 17th century this amazing art has declined, and only our century has, as it were, rediscovered its artistic and spiritual value.
The cosmic symbolism of the temple was also developed in the West - in Romanesque and especially Gothic art. Gothic dressed temples in stone lace, in which all the diversity of creations is woven: people and spirits, plants and dragons, an allegory of passions and virtues; stained-glass windows filled the temple with a rainbow of colors, and the skyward lines of windows, portals and towers seemed to lift this powerful symphony to the sky.
Since the New Age, the idea of the cosmos has given way to the old idea of the "meeting house." But the Baroque and other styles that sprang from the Renaissance brought into the churches the heavy pomp that is characteristic of civil architecture. In the second half of the 19th century, attempts were made to return to medieval forms. Their imitations arose, most often unsuccessful. At the same time, the art of church modernity was born. At present, in the temples of Western culture, the understanding of the church, primarily as a place where the Community of the Faithful gathers for prayer, has completely triumphed.
The ancient Russian temple was a development of the Byzantine one with its centric domed construction, which had in plan the sacred figures of a circle, a rectangle and a cross.
If a Kyiv Sofia was still quite "Greek," then from the 12th century the churches of Russia acquire an original character.
A relatively small one-domed ancient Russian temple of the 12th-15th centuries was distinguished by its elegance and austerity in appearance. Rising among the wooden houses, like an equestrian knight among foot warriors, he involuntarily reminded us that every Christian is a warrior of the spirit.
Inside such a temple, as in Byzantium, all being, the Universe, man and the history of his salvation were depicted. In the same way, the stern face of the Almighty looked from above, in the same way, hosts of holy and incorporeal forces stood before Him. The four evangelists were written on the four sides of the central vault. Pictures of biblical and church events unfolded along the walls, and on the western wall, in a huge multifaceted composition, there was often a fresco of the Last Judgment. The worshiper felt his inclusion in the Church, visible and invisible, as soon as he crossed the threshold of the temple.
The many-domed cathedrals of the 16th and 17th centuries looked differently with their galleries, aisles, and elegant ornamentation. Here, as in Gothic, the idea of catholicity, the unity of the universe was embodied in a festive decorative effect, taken out.
Having gone through the crisis of the Baroque and Empire together with the West, Russian church architects turned to the Middle Ages in search of inspiration. Numerous temples in the neo-Byzantine and neo-Russian style began to be built. Shortly before the revolution, churches appeared that combined medieval forms with modernity.
Even in some Old Testament communities (for example, among the Essenes who lived in Egypt) there was a custom to pray, turning to the east. This custom has also been adopted by Christians. From very early times it became customary to perform baptism, facing the east. When the first churches arose, they began to orient their altar to the east. This rule has been preserved to this day.
The internal plan of a Christian temple has, as we have already said, two sources in the Old Testament. Like the Temple of Jerusalem, which was divided into the Holy of Holies (Debir, or Dvir), the sanctuary and the vestibule, all church buildings are divided into the altar space, which occupies a semicircular apse, where the altar and the "high place" for the bishop are placed, on the temple itself, or place for those who pray, and a narthex where in ancient times neophytes (catechumens) stood waiting for baptism. Following the model of synagogues, the temple has a pulpit.
In the altar, the altar has a cubic shape in Orthodox churches (the biblical symbol of "universality"). Behind him is a menorah. For many centuries, the altar space remained open (as it is now in the West). It was separated only by a low stone fence. In the period between the 4th and 7th centuries, columns began to be built on this fence, a "curtain" was attached to them, which was pulled after the service. In the era of the victory over the iconoclasts, icons of Christ and the Mother of God began to be placed at the top and between the columns. Gradually others were added to them. AT ancient Russia a second row of icons appeared, and several more rows appeared from the 14th-15th centuries. Thus, a wall was formed, called the iconostasis and reaching almost to the ceiling. Such iconostases, to a certain extent, repeated the painting of the altar apse, hidden from the worshipers.
The royal gates, located in front of the altar, were originally low doors that did not block the throne and the priest. Later they turned into real "gates." In many temples, they tightly isolate the altar from the worshipers. To the right and left of the royal doors are the northern and southern doors.
The pulpit, that is, the elevation for the reader, primate, preacher, was known even in synagogues. In Christian churches, he was in the middle. Subsequently, in the West it was replaced by a "pulpit" on the side of the altar, and in the East, the pulpit began to serve as the central part of the salt - an elevation directly adjacent to the iconostasis. The only reminders of the old ambos are now the "lecterns," which are placed in the center of the church during the service of the bishop.
The habit of naming a church after some saint dates back to the era of persecution, when the sarcophagus of a martyr was under the altar. Later churches were built not only in the name of the saint, but also in the name of Christ the Savior or in remembrance of holidays (Christmas, Resurrection, Intercession, etc.).
Entering any church, it is easy to find out to whom it is dedicated, since the "temple" icon is usually placed in a special icon case on the right.
When an additional room with an altar was added ("attached") to the church, it was called a chapel. The need for aisles arose in connection with the Eastern custom to serve only one Liturgy on one throne during the day. Additional chapels allowed to perform the service twice and thrice.
In 313, Emperor Constantine declared Christianity the state religion, and the architects were faced with the task of creating a church building.
Basilicas. Of all the types of buildings of Roman architecture, the Christians chose the basilica building. Usually, the early Christian basilica included an atrium, in the center of which a baptismal font was placed. The portico, located on the opposite side of the atrium from the entrance, led to the narthex, or vestibule, which anticipated the inner space of the church itself - the naos. In the narthex during the service there were catechumens - people who were preparing to be baptized. The naos was divided by longitudinal rows of columns into odd number naves - most often 3 or 5. The central nave was, as a rule, higher and more spacious than the side ones. The congregation gathered in the space of the naves. At the eastern end of the main nave, on a raised platform, was a priestly pulpit from which sermons were delivered. Behind the solea was a semicircular apse, in the center of which an altar was installed - the holy of holies of the Christian temple.
The basilica was distinguished by its extreme simplicity of form. The first church buildings had wooden roof trusses. The early Christian communities were poor, and in church building they had to be content with the cheapest materials. Often, fragments of old buildings were used in the construction of temples, so the colonnade could be made up of columns crowned with different capitals. Marble floor slabs formed an ornamental pattern. Mosaics glittered in the apse and on the walls of the church. When there were not enough funds for mosaic decoration, the temple was painted with frescoes. In contrast to the richly decorated interior, the appearance of church buildings was very modest, which distinguished them from pagan temples.
In the early basilicas of the 4th-5th centuries. the entrance was on the east side of the building, and the apse on the west. During the service, the priest, standing in front of the altar, looked to the east, facing the flock. Later, the nature of the service changed, the priest and the flock together turned their gaze to the east, and the shepherd turned out to be standing with his back to the audience. In the Roman church of San Lorenzo fuori le Mura, the original apse was on the west side, later a new church was built, the apse of which was located tangentially to the old one; subsequently, both apses were dismantled, and the old church, which turned out to be on the eastern side, became the chapel of the new one. In the Middle Ages, it became a tradition to arrange an entrance from the west, and the holy of holies - the altar - from the east.
In addition to basilica, Christians erected centric buildings. In this case, the altar was placed in the central part of a cruciform or round hall surrounded by a gallery. An example of such a building is the Roman church of San Stefano Rotunda. Like the first basilicas, it is covered with a simple wooden roof. However, more organic for the centric composition is the domed ceiling, which was realized in the mausoleum of Santa Costanza in Rome; the gallery of this building is covered with a barrel vault.
Both architectural types are common in the eastern Mediterranean, Syria and Palestine. The temple of Simeon the Stylite in Qalaat-Seman was a complex consisting of four basilicas located around an octagonal central courtyard where the famous pillar stood. In Turmanin, the facade of the basilica was flanked by towers. The lack of wood in these places forced the builders to build ceilings from stone slabs laid on top of the structure from arches placed across the main nave.
Temples are religious buildings that embody the image of the world order in a particular religion (Christianity, Buddhism, Islam), its main values. The temple is a place of finding God through prayer, a place of unity with God through a sacrament, a place of soul salvation. . . The earthly temple is an image of the Temple on high, the earthly habitation of God. In the Temple, a person seeks refuge from worldly fuss. Religion evokes high moral feelings, thoughts about life and death, sin and repentance, gives rise to the desire for truth and ideal. Religious art addresses such human feelings as compassion and sympathy, tenderness and peace, enlightened joy and inspiration.
In an Orthodox church, the main room of the church, including the domed space, is allocated for worshipers. The altar part is for the divine super-reality. The icon is a visible reminder of God and a call to Him. Strict monophonic tunes in ancient times were in tune with the faces of saints, presented on icons, in mosaics, frescoes. In the XVIII century. they were replaced by polyphonic concert compositions, symbolizing the power and unity of the secular and church principles, as the basis of the statehood of Russia. Singing a cappella (unaccompanied).
The Muslim temple (mosque) with its great dome symbolizes the one God (Allah) and the minaret (tower near the mosque) - his prophet (Mohammed). The Muslim mosque includes two proportional spaces - an open courtyard and a shaded prayer hall. Decoratively decorated sayings from the Koran are placed on the walls of the mosque. AT religious culture In Islam, of all the arts, architecture (palaces, mosques) and poetry, sounding to the accompaniment of stringed instruments, received the advantage. The image of a deity and any living being was considered sacrilege. Therefore, the artistic style of Islam is decorative, ornamental. Infinite by its nature, the ornament serves as a way of artistic expression of the Islamic worldview. It is the ornament that is built on the rhythmic repetition of the main motifs. And in Islam, repetition is considered one of the reliable ways to comprehend the truth and express devotion to Allah.
Su?ra (Arabic ???? s?ra) is the Arabic word for one of the 114 chapters of the Qur'an.
Sura Al-Fatiha (Arabic: Opening) is the first sura of the Qur'an.
Ta?ntra (Skt. ??????, lit. “intricacies”, “fabric”, “secret text”, “magic”) is the secret science of ritual, set forth in tantra texts.
D / z - to know the features of the temple synthesis of arts in different religions.
View document content
"Temple Synthesis of the Arts"
Lesson topic: Temple Synthesis of the Arts
Targets and goals:
Creating an atmosphere of perception of "art proper" in its modern sense as an independent form of creative expression of the state of the artist and the image he embodies, the phenomenon. A state associated with aesthetic pleasure, and not a cult attitude.
2. Consolidation of knowledge of a number of works of art, their characteristic features.
3. Development of abilities to analyze expressive means: frescoes, icons, architectural forms, sacred music of the Russian Middle Ages.
During the classes:
The synthesis of arts is the combination of several different types art into an artistic whole.The unity of the components of the synthesis of the arts is determined by the unity of the ideological and artistic conception.
Synthesis of the arts can be found in various areas of artistic activity.
Temples are religious buildings that embody the image of the world order in a particular religion (Christianity, Buddhism, Islam), its main values. The temple is a place of finding God through prayer, a place of unity with God through a sacrament, a place of soul salvation. . . The earthly temple is an image of the Temple on high, the earthly habitation of God. In the Temple, a person seeks refuge from worldly fuss. Religion evokes high moral feelings, thoughts about life and death, sin and repentance, gives rise to the desire for truth and ideal. Religious art addresses such human feelings as compassion and sympathy, tenderness and peace, enlightened joy and inspiration.
Synthesis of arts in an Orthodox church.
In an Orthodox church, the main room of the church, including the domed space, is allocated for worshipers. The altar part is for the divine super-reality. The icon is a visible reminder of God and a call to Him. Strict monophonic tunes in ancient times were in tune with the faces of saints, presented on icons, in mosaics, frescoes. In the XVIII century. they were replaced by polyphonic concert compositions, symbolizing the power and unity of the secular and church principles, as the basis of the statehood of Russia. Singing a cappella (unaccompanied).
Synthesis of arts in the Catholic Church.
The grandiosity and majesty of the architectural structure. All elements of the decor rush upwards in a powerful stream: thin, graceful pillars, columns, lancet arches, stained-glass windows. Grandiosity emphasizes the sound of the organ.
Synthesis of arts in a Muslim temple (mosque).
The Muslim temple (mosque) with its great dome symbolizes the one God (Allah) and the minaret (tower near the mosque) - his prophet (Mohammed). The Muslim mosque includes two proportionate spaces - an open courtyard and a shaded prayer hall. Decoratively decorated sayings from the Koran are placed on the walls of the mosque. In the religious culture of Islam, of all the arts, architecture (palaces, mosques) and poetry, sounding to the accompaniment of stringed instruments, gained preference. The image of a deity and any living being was considered sacrilege. That's why art style of islam - decorative, ornamental. Infinite by its nature, the ornament serves as a way of artistic expression of the Islamic worldview. It is the ornament that is built on the rhythmic repetition of the main motifs. And in Islam, repetition is considered one of the reliable ways to comprehend the truth and express devotion to Allah.
Sura (Arabic سورة sүra) is the Arabic word for one of the 114 chapters of the Quran.
sura Al-Fatiha (Arabic. Opening) - the first sura of the Koran.
This surah speaks of the totality of ideas and the general meaning of the Quran, which confirms monotheism, is good news for believers, warns of the punishment of unbelievers and sinners, points out the need to worship Allah, the path to happiness in the present and future life and talks about those who obeyed Allah and found bliss, and about those who disobeyed Him and were at a loss, and therefore this sura is called "Mother of the Book"
Synthesis of arts in a Buddhist temple.
An ancient Buddhist temple, built of powerful hewn stones and slabs. Almost its entire surface is decorated with ornamental sculptural decor. Therefore, there are no arches and vaults. Numerous bells hang on the roofs of Buddhist temples. They sway at the slightest gust of wind, filling the surrounding space with a gentle melodic ringing. At the same time, the bells were the protection of the sanctuary from the penetration of evil spirits. Buddhist religious holidays are usually accompanied by processions with theatrical performances, music and ritual dances in the open air.
Tantra (Skt. तन्त्र, lit. “intricacies”, “fabric”, “secret text”, “magic”) is the secret science of ritual, set forth in tantra texts.
D / z - to know the features of the temple synthesis of arts in different religions.
The lesson was preceded by an excursion to the Orthodox Church.
The purpose of the lesson: To give an idea of the synthesis of arts in an Orthodox church, and its role in understanding the church from the point of view of Orthodox aesthetics, as the focus of the entire spiritual and spiritual life of a person, as a teacher of morality and a source of spiritual pleasure.
Educational:
- Understand the principles of synthesis and interaction of arts.
- Learn to distinguish and highlight the components of various arts in synthetic genres.
Developing:
- Give the concept of the synthesis of arts in an Orthodox church.
- Get to know its symbolism.
Educational:
To help students realize the beauty of the Orthodox Church as an achievement of Russian national culture and the role of beauty in the moral improvement of the individual.
Equipment:
Transparencies:
- The interior of the Assumption Cathedral of the Moscow Kremlin, the central part overlooking the iconostasis.
- Annunciation Cathedral of the Moscow Kremlin, interior view with an iconostasis.
- Altar cross.
- Gospel salary of 1571
- Gospel salary of 1678
- Pantokrator in the dome of St. Isaac's Cathedral.
- Chandelier of St. Isaac's Cathedral in St. Petersburg.
Recording of musical works: Rachmaninov S. Liturgy “Bless the Lord, soul.”
During the classes.
1. The liturgy of Rachmaninoff “Bless, soul, gentlemen” sounds, a slide is projected “the interior of the Assumption Cathedral of the Moscow Kremlin with a view of the iconostasis”.
- How do you feel when you hear the music and what you see? What words, epithets could you express them?
- Are you familiar with the word "Benevolence"? How do you understand it? (Explain the word "splendor" as a combination of goodness and beauty).
- What kinds of arts can you highlight in the temple? (Architecture, painting, arts and crafts, church service as a spectacular art, theatrical performance, music).
2. The symbolism of temple architecture and painting.
Projected daipozitiv "Dmitrovsky Cathedral in Vladimir"
- Let's remember the design features of the Orthodox Church (cross-domed system, the orientation of the temple to the cardinal points, its components).
- Are there any differences in the external and internal appearance of the temple?
- How is its significance reflected in the external and internal appearance of the temple, as a reconstruction of the model of micro and macrocosm (man and the universe)?
(Microcosm- simplicity, rigor, modesty of appearance and richness of interior decoration, as a symbol of the image of a Christian man, whose appearance is simple and ascetic, and whose soul is richly decorated with virtues.
The macrocosm is a reflection of the interaction of two worlds in the Universe - the mountain and the valley, the divine and the human).
/ The questions are based on the materials of the lesson “ general characteristics Orthodox Church”/.
3. Statement of the problem:
Let's look at how the SYNTHESIS of ARCHITECTURE AND PAINTING is carried out in an Orthodox church.
The constructive basis for the synthesis of arts in the temple is architecture. It creates a multidimensional space of the temple, which is the architectonic basis synthesis of the arts in the ancient Russian cross-domed church. This space has two spiritual centers - altar and dome. And there, and there, according to the symbolism of the temple space, there is spiritual sky with all his inhabitants. Accordingly, the main directions of spatial movement in the temple - with west to east(to the altar) and upwards(to the dome) - are embodied in a new vector spiritual spacefrom the world below to the world above.
- Guys, you already know that the altar is separated from the middle part of the temple by an altar barrier - iconostasis(projected slide "Annunciation Cathedral in the Moscow Kremlin. Interior view with an iconostasis"). What is the cosmological significance of the iconostasis in the structure of an Orthodox church?
- How is the idea of intercession expressed in the structure of the Deesis tier, in the features of its images?
(questions based on the materials of the lesson “Iconostasis as a phenomenon of ancient Russian culture, its cosmological significance in the structure of an Orthodox church”). - We were in the temple. Do you remember what is depicted under the dome of the temple?
(projected transparencies "Pantocrator from the dome of St. Isaac's Cathedral in St. Petersburg"). - What do you associate with the under-dome space with the Pantocrate depicted in it? (With the sky as the abode of God).
- Do you think such an association would arise with the image of Pantocrate if it were located on the wall?
- In turn, the dome without the image of Pantocrate would be for the believer a symbol of the dwelling place of the heavenly inhabitants?
We have seen that in accordance with the symbolism of space and the orientation towards worship, a system of murals was built in the ancient Russian church. D.S. Likhachev wrote: “The murals of the temple covered the entire sacred history, were devoted to the past, present and future (compositions of the Last Judgment, deisis). The service performed in this temple, which included literary, theatrical, musical and pictorial sides, reminded the worshipers of the sacred history ".
Thus, we have clearly seen that only in an inseparable synthesis architecture and fine artsart is born new symbolic space Orthodox church, as a model of the universe, which for a believer combines two worlds - the mountain and the valley.
4. Statement of the problem:
Now let's try to see how worship process, which also represents synthesis various arts, fills spiritual space temple with an even deeper meaning, concretizes it even more symbolic meaning.
The liturgy of Rachmaninov sounds, transparencies are projected successively: the Altar cross, the gospel frame of 1571, the gospel frame of 1678, the chandelier of St. Isaac's Cathedral.
- Have you guys thought about how church music differs from ordinary secular music?
- What is the significance of arts and crafts in an Orthodox church, what is the meaning of such a rich decoration of church utensils?
- Why do you think the ceremony of holding a service in an Orthodox church is so solemn, so thoughtful? (Students should try to give their own answers).
All these questions are very difficult. The ritual of worship that we see in the temple now has evolved over many centuries. This process was accompanied by long and complex theological disputes and reflections.
The process of worship itself is a kind of mysterial-symbolic action that takes place according to the laws spectacular arts, strictly obeying a certain canonical scenario, including choreography(i.e. movement) of clergy, alternation music and words consistent participation in the action of certain ranks of the clergy, the choir, the masses of believers.
The ceremony of the service is solemn and thought out to the smallest detail, much attention is paid to all elements of the liturgical action.
This is well illustrated by the example of the most detailed description of the rank (order) of the vestments of the patriarch, where every movement, every gesture, every word is given a special exalted meaning. The actions of clerics (servants) are smooth, slow, solemn. They are full of the awareness that their hands are not doing an ordinary thing, but some kind of mystical and symbolic action. Each element of the vestment has a symbolic meaning, and therefore, putting on the patriarch in it, the clergy utter incantatory phrases, as it were, in which the deep meaning of the procedure being performed is explained and its reality is affirmed. For example, surplice(long, wide-sleeved clothing for worship) is understood as a “robe of salvation” and “clothes of joy” (spiritual, of course), girdling seen as empowering miter(a gilded headdress worn during worship) is interpreted as a crown placed by the Lord himself.
Each element (gesture, movement, character, action, object, etc.) of the liturgical action has such symbolism. Constantly used words like beauty, decoration, joy, fun,splendor, well-being etc., which confirms the non-utilitarian nature of the action, its orientation exclusively towards the highest spiritual values and, most importantly, the possibility of real contact with the object that the action is oriented towards - with the deity.
Music, in close connection with poetry, is the emotional basis of worship. She fills spiritualspace, created synthesis of architecture and painting. And numerous works arts and crafts(items of church use, clothes of clergymen, salaries of icons, carving of the iconostasis), as well as color and light medium and even olfactory atmosphere in the temple contributed to the transformation of the temple into Orthodox model of the universe. At the center of all spiritual and spiritual life of a believer.
“Here,” wrote P.A. Florensky, - speaking in principle, everything is intertwined with everything: temple architecture, for example, takes into account even such a small, apparently, effect, as ribbons of bluish incense winding around the frescoes and wrapping around the pillar of the dome, which, with their movement and interweaving, almost infinitely expand the architectural spaces of the temple , soften the dryness and rigidity of the lines and, as if melting them, set in motion and life.
5. Questions for consolidation:
- What do you understand by synthesis of arts?
- What types of art interact in an Orthodox church?
- How are the ideas of the universe expressed through the synthesis of architecture and painting in an Orthodox church?
- What do you think, does the beauty of an Orthodox church affect a person's soul?
- Does it play a role in the moral improvement of the individual?
6. Conclusion of the lesson:
In this way, most of main types of ancient Russian art functioned in systemtemple synthesis of the arts or was related to him in one way or another. Therefore, cult architecture, icon painting, church music and poetry can be correctly understood only taking into account the place and functions of these arts in the system of temple action, as synthesis of various arts.
(The conclusion is written in notebooks).
7. Homework: analyze which art forms interact in cinema.
Literature.
- Bychkov V.V. "Russian Medieval Aesthetics".
- Likhachev D.S. "Poetics of Old Russian Literature".
- Florensky P.A. "Iconostasis".