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ANTIQUE CULTURE Antiquity is the name of the 1,500th period from its origins in the 1st millennium BC. Ancient Greece before the death of the Roman Empire in the V century. AD Ancient culture is the culture of Ancient Greece of Ancient Rome in the corresponding historical period. Aegean (Cretan-Mycenaean culture) - III-II millennium BC e. Culture of Ancient Greece - XI-I centuries BC - Homeric period - XI-VII centuries BC - archaic period - VII-VI centuries BC - the classical period - V-IV centuries BC. - Hellenistic period - IV-I centuries BC e. 3. Etruscan culture - VIII-VI centuries BC. 4. Culture of Ancient Rome - V century. BC - V century AD - the period of the republic V - I centuries. BC. - the period of the empire of the 1st century. BC. - V century. AD

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Aegean culture. Crete. Mycenae. Aegean art, sometimes called Cretan-Mycenaean, is the fruit of a culture that arose in the Bronze Age in the basin of the Aegean Sea: on the islands of this sea, in mainland Greece (on the Peloponnese peninsula) and on the western coast of Asia Minor. Its main center was Crete, and then Mycenae.

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AEGEAN CULTURE CRETE MIKENA (Minoan) (Achaean) Crete Island Mainland Greece Asia Minor Cities of Knossos, Festus of Mycenae, Tiryns city of Troy d / h 1. You probably know the phrase "Plato is my friend, but the truth is dearer." Who said it and on what occasion? 2. In what Greek legends and myths Crete is mentioned?

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His enthusiasm brought success to a work in which, except for him, no one believed for a long time. As a child, Heinrich Schliemann announced to his father: - I do not believe that there is nothing left of Troy. I will find her. And he found ... But before that he had done a lot of things. The son of a humble pastor who was left without any means at the end of his life, Heinrich Schliemann was forced to leave school to earn a living. Then he gradually succeeds in commerce, becomes a wealthy person and, finally, makes a significant fortune. Another achievement during this time was knowledge of languages. In his own system, he learns language by language. Knowledge of languages \u200b\u200bhelped Schliemann in his trading operations, and the millions he made allowed him to start realizing his cherished dream: from under the layers of earth heaped up for millennia, to open the ruins of a great city along with the treasures of his king. He set about excavating at the site that most closely matched Homer's descriptions. It was the Hissarlik hill on the Asia Minor coast of the Aegean Sea. He found a gold treasure, decided that it was the treasure of King Priam, and announced that he had found Troy. Mycenae reached its highest rise between the 16th and 13th centuries. BC e., therefore, flourished after the collapse of Crete, where, apparently, Aegean art arose. But Mycenae was excavated before the Cretan palaces, and therefore the person who discovered Mycenae should be considered the discoverer of the Aegean cultural world. This man is the German Heinrich Schliemann (1822-1890).

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Subsequently, it turned out that Schliemann was mistaken: the city of Priam lay higher than that which he took for Troy. But the real Troy, although he severely trampled it, he nevertheless dug up. The treasure found by Schliemann belonged to a king who lived a thousand years before Priam. And then Schliemann went to the Peloponnese, again following the instructions of Homer to discover Mycenae, where the victor of the Trojans once reigned, the leader of the Achaeans and the leader of the allied army, the "lord of men" Agamemnon. Schliemann dug up Mycenae and found a treasury with a heap of priceless gold jewelry in the royal tombs. Perhaps not Agamemnon himself, but Schliemann could rightfully declare: "I opened a completely new world for archeology, which no one even suspected." Schliemann achieved unparalleled fame, we can say that he was one of the most famous people of his time. And in Crete, the English archaeologist Arthur Evans continued and completed his work.

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Palace of Knossos At the beginning of the 2nd millennium BC. e. many palaces were built in Crete. The palace was a large group of buildings erected around the courtyard and intended for both religious and secular needs. The palace could serve as the residence of the ruler and the center of government for the entire region. He was both a city and a fortress. There were palaces in several Cretan cities: Knossos, Festa, Gurnia, Mali and Kato Zaro. All Cretan palaces have a number of common features. The courtyard was a rectangle with sides 52 by 28 meters. Almost all palaces are oriented to the cardinal points - their courtyard stretches from north to south. Each palace is oriented towards the “sacred mountain”, clearly visible from it.

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Cretan art avoids immobility, heavy supports, emphatically stable structures. Despite the enormous size of the palaces and the seeming simplicity of their structures, these structures are quite complex. Various interiors are interconnected in the most bizarre way, and long corridors unexpectedly lead to dead ends. The floors are connected by multiple staircases. A visitor's journey through the palace - with its contrasts of light and darkness, isolation and openness, darkness and sonorous, rich colors, incessant ascents and descents - reminds life itself with its unpredictability and non-stop movement.

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In front of the western facade of the Knossos Palace, there was a theater platform for ritual stage performances, and crowded celebrations were also held there. In all likelihood, the palaces were considered an earthly reflection of the habitats of the inhabitants of heaven, the latter were the goddesses who were worshiped in the sanctuaries. In the sanctuaries, sacrifices were made, ritual meals, gifts were presented to the gods in the form of dishes and terracotta figurines. Although the kings lived in the palaces, it is possible that these structures were considered the property of the goddesses. The ruler, whose origin was thought to be divine, acted as the son or spouse (and often the son-spouse) of the goddess. The ruler's wife was a priestess and represented the goddess in the most important rituals.

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In the Palace of Knossos, the main entrance, the Processional Corridor, was decorated with a painting on which gifts and a new garment were offered to the goddess. Holidays that were held in connection with the beginning of the new year were very popular in ancient times. At Knossos, the monstrous procession was attended, for the most part, by young men. They carried precious vessels and a special gift - a Cretan skirt-trousers for the "newborn" goddess. The priestess-goddess accepted the gifts while standing, holding in both hands the Cretan symbols of power - double axes (labrys), from which, apparently, the name of the palace - Labyrinth (Palace of Labrys) originated.

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Mycenaean cities, more like fortresses, were built in secluded places, in the mountains. Enclosed by powerful walls, they are real strongholds. These are Mycenae and Tiryns in the Peloponnese, built of huge blocks of natural stone. This type of laying is called "cyclopean". The Mycenaean palaces are significantly different in structure from the Cretan ones - their forms are simple and strict. The palace building is a megaron - an elongated structure, oriented to the cardinal points, without a courtyard. The building consists of three main rooms, strung on the main axis. MIKENA PALACES

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... In the XIV century. BC e. the entrance to the city was decorated with the so-called "Lion's Gate", decorated with a scene of lions worshiping a deity embodied in a Cretan column.

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Among the greatest achievements of Mycenaean art are the monuments of funerary art. There was a royal necropolis (tomb) next to the Mycenaean palace. The necropolis was located below the level of the road and had the shape of a circle surrounded by a stone ring. In these necropolises, dating back to the 16th century. BC e., all the richest treasures of the Mycenaean kings were kept. Each “circle” contains several deep shaft tombs where members of the royal family were buried. The tombs are rectangular, made very roughly, and do not even have an inner lining of the walls with stone. In the burials, golden masks were found, strongly stylized, but clearly conveying the features of the Mycenaean rulers. Pronounced Indo-European features are sometimes truly noble (Agamemnon's mask). The domed tomb of King Atreus Shaft tomb of Agamemnon

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The images of the Cretans on the frescoes in the palaces correspond to their ideas of the world. The figures in the images are always fragile, with wasp waists, as if ready to break. Participants in the sacred procession in the Processional Corridor walk proudly with their heads thrown back and their torso tilted back. The male figures are painted in shades of brown, the female ones in white. MASTERPIECES OF AEGEAN PAINTING

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Flowers played a huge role in the life of ancient people. They were also endowed with special holiness, they were seen as incarnations of the gods. In the Sanctuary of Ladies, where the ceremony of presenting a new dress to the goddess was depicted, the adjacent room was painted with papyrus flowers - huge, with snow-white corollas and elongated leaves, symbolizing the inviolability of the gods. According to legend, as soon as Persephone plucked a daffodil flower, the earth opened up, the god of the underworld, Hades, appeared and kidnapped her. The Ferey ritual was probably associated with this legend.

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In the Western House, the sanctuary was two adjoining rooms on the second floor, richly decorated with frescoes on nautical themes, which is why the building was originally called the Captain's House. A solemn ceremony of the goddess's rebirth was performed here. In the smaller room there was a special crevice, similar to a crack in the rock, in fact, from there the goddess, represented by the priestess, came out.

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The goddess emerged from the underwater world, where she experienced a temporary death, as evidenced by the cut lilies depicted in the piers. The goddess herself is depicted as if in a "transitional" state - in a wall at the door that connects the rooms. The priestess marched solemnly to the corner of the room, where one of the eight windows housed an altar decorated in the Cretan style with dolphins diving among the coral reefs. Here, to the altar, the youth priests carried bundles of fish. corresponding historical period.

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The image of "Parisienne" - a graceful girl depicted in one of the premises of the second floor of the Knossos Palace breathes special charm. The fresco represented a ritual feast, the participants of which sat opposite each other with bowls in their hands.

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On the fresco depicting "Tavrokatapsia" - a ritual fight with a bull - not only men, but also women fight the bull. The female goddess was the main opponent of the bull god, her son-husband. She sacrificed him every year at a similar holiday - so that he, who had outlived the annual cycle, could be born again. The taurocatapsy fresco shows how dynamic and lively Minoan art was. Frozen poses, frozen gazes and self-penetration are alien to him - that is, everything that was so dear to the Egyptians and the inhabitants of the ancient Mesopotamia. For Cretan art, the moment is important, the movement correctly captured, the thrill of the present. Here is a young man doing a somersault over the back of the bull, here the bull has already pierced one of its opponents with its horn.

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In the III millennium BC. e. The art of the islands of the Aegean Sea and the coast of Asia Minor reached a high flowering. The so-called Cycladic idols ("Harper") have become widely known. These are marble figurines found in the burials of the Cyclades, as well as in Crete and in Balkan Greece. Idols - sometimes miniature, and sometimes reaching one and a half meters in height - are figures of naked people standing in shackled poses ("The Great Goddess"). AEGEAN CYCLADIC SCULPTURE Great goddess. Cycladic idol. Ser. III millennium BC e. These gods were supposed to help the dead find a new life. Figurines with joined legs, poorly outlined arms and chest end with a very conventional image of a head, on which only the nose stands out. The researchers suggest that the rest of the facial features were applied with paints, but their traces have not been preserved.

Cretan vase painters reached rare heights of skill. They made vessels of various shapes and sizes, from small cups with thin, almost transparent walls to huge earthen ovoid pithos, reaching two meters in height. Grain, water and wine were stored in the pithos. Minoan vases do not have wide heavy pallets; they tend to volumetric, spherical shapes. For greater stability, they were sometimes buried in the ground, in whole or in part. STYLE VASES "KAMARES"

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The vases were painted in bright colors using red, white, blue and black paint. The compositions included both geometrized forms and images of wildlife. Vases often depicted molluscs, coral reefs and octopuses, entwining the entire vessel with tentacles. Flowers - lilies, tulips, crocuses - were especially fond of Cretan artists. Flowers were depicted both in flowerpots and growing in flower beds. Compositions of flowers bowing their heads in a strong wind are remarkable. The most beautiful vases of the Minoan era were found in the Kamares cave near Festa, hence their name - Kamares vases.

Periodization of ancient art culture

I - Homeric (XI-IX centuries BC)
II - archaic (VIII-VI centuries BC)
III - classical (V-IV centuries BC)
IV - Hellenistic

(late IV-I centuries BC)

Republican Ancient Rome V-I centuries BC

Imperial Ancient Rome I-V centuries BC

(end of IV-I centuries BC) Republican Ancient Rome V-I centuries BC Imperial Ancient Rome I-V centuries BC

Homeric period Cretan-Mycenaean culture III-II millennium BC

Aegean culture flourished on the islands and the coast of the Aegean Sea (Crete, Mycenae, Tiryns, Troy)

Arthur John Evans in March 1900 He began excavations on the island of Crete - Knossos Palace (Legend of the Minotaur, Ariadne and Theseus).

Frescoes in the Palace of Knossos

Fresco "Parisienne", priestess of the deity, 15th century BC e.

King Priest, fresco in palace of Knossos

Archaic VII-VI centuries BC Order system

ORDER - a certain combination of bearing and bearing parts of post-beam structure, their structure and artistic processing.
The order includes bearing parts (column from small caps , base , sometimes with a pedestal) and carried (architrave, frieze and cornice , together the components entablature ).

Archaic period sculpture Man is the bearer of natural beauty

Kuros from Attica. Marble. Around 520 BC National Archaeological Museum. Athens.
Peplos bark. Marble. Around 530 BC Acropolis Museum. Athens.

Classic V-IV cc. BC.

Socrates
I know that I know nothing.
It is impossible to live better than spending life striving to become more perfect.
There is only one good - knowledge. There is only one evil - ignorance

Portrait of Socrates by Lysippos, kept in the Louvre

Ancient Greek drama

Had a huge impact

For the development of world theater.

"Father of Tragedy"

ARISTOPHANES

ESCHIL

SOFOKL

Ancient greek bust

Cast of ancient Greek sculpture

Temple of Zeus at Olympia (reconstruction)

Phidias in his sculptural images he managed to convey superhuman greatness. Statue of Zeus .

A cape that covered part of Zeus's body, a scepter with an eagle, which he held in his left hand, a statue of the goddess of victory - Nike, which he held in his right hand, and a wreath of olive branches on Zeus's head were covered with gold. Zeus' legs rested on a bench supported by two lions. Four dancing Nicky were depicted on the legs of the throne. There were also depicted centaurs, lapiths, the exploits of Theseus and Hercules, frescoes depicting the battle of the Greeks with the Amazons. The base of the statue was 6 meters wide and 1 meter high. The height of the entire statue, together with the pedestal, was, according to various sources, from 12 to 17 meters.

Classic style in sculpture

Harmony
Ease
Simplicity
Proportionality to man
Practicality
Solemnity

Sculpture of the classical period

M ѝron. Discus thrower. Around 450 BC Marble Roman copy of a Greek bronze original.

Thermal Museum. Rome.

Sculpture of the classical period

Polyclet. Dorifor. V century BC. Reconstruction in bronze from a marble Roman copy. National Archaeological Museum. Naples.

The balance of the figure is achieved by the fact that the raised right hip corresponds to the lowered right shoulder and, conversely, to the lowered left hip - the raised left shoulder. Such a system for constructing a human figure (the so-called "chiasm") gives the statue a measured, rhythmic structure.

High Classical sculpture

Phidias

(490 BC - 430 BC) - ancient Greek sculptor,

one of the greatest painters of the high classics

Nika of Samothrace. Marble.

Around 190 BC Louvre. Paris.

Agesander, Polydor, Afanodor. Laocoon with his sons. Marble. Around 40 BC Roman copy. Vatican Museums, Rome.
Agesander, Polydor, Afanodor. Laocoon with his sons. Marble. Around 40 BC Roman copy. Vatican Museums, Rome.

Agesander (?)
Venus de Milo, approx. 130-100 BC e.
Marble. Height: 2.02 m
Louvre, Paris

Ancient Rome I-V cc.

Capitoline wolf , OK. 500-480 BC e. bronze. Height: 75 cm Capitoline Museums, Rome
Etruscan bronze sculpture, stylistically dated to the 5th century BC. and kept in Rome since antiquity. Depicts a she-wolf breastfeeding two babies - Romulus and Remus

Caesar's Forum - the first of the imperial forums of Rome.

Triumphal

arch of titus - a single-span arch located on the ancient Sacred Road southeast of the Roman Forum. Built by Domitian shortly after the death of Titus in 81 AD. e. in memory of the capture of Jerusalem in 70 A.D. e. Served as a model for many triumphal arches of the modern era.

Colosseum, Flavian amphitheater

architectural monument of ancient Rome

The construction of the largest amphitheater in the entire ancient world was carried out for eight years, as a collective construction of the emperors of the Flavian dynasty: they began to build in 72 AD. under the emperor Vespasian, and in 80 AD. the amphitheater was consecrated by the Emperor Titus.

Pantheon - "temple of all gods" in Rome, a monument of centric-domed architecture

There are no windows in the Pantheon. The only light source is a 9-meter round hole at the top of the dome, symbolizing the heavenly all-seeing eye

Roman sculptural portrait

Emperor August

Roman National Museum (Palazzo Massimo).

Antiquity is a world of high culture, for many generations of Greeks and Romans it was the spiritual foundation.

The ancient maxim "Man is the measure of all things" became the source of the development of European civilization.

From the end of the 5th century. A new period of European history begins, illuminated by the values \u200b\u200bof Christianity.

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The term "antiquity" comes from the Latin word antiquus - ancient. It is customary to call them a special period in the development of ancient Greece and Rome, as well as those lands and peoples that were under their cultural influence. The chronological framework of this period, like any other cultural and historical phenomenon, cannot be accurately determined, but they largely coincide with the time. Ideal reconstruction of the Roman forum of the existence of the ancient states themselves: from the 11th-9th centuries. BC, the time of the formation of ancient society in Greece and up to the 5th century. AD - the death of the Roman Empire under the blows of the barbarians.

Theater is one of the most remarkable phenomena of ancient Greek culture. It originated from folk songs and dances during the holidays in honor of the god Dionysus. From the ritual songs that were sung while donning goatskins, tragedy was born (tragos is a goat, ode is a song); comedy was born from mischievous and funny songs. Theater of Ancient Greece Theatrical performances were considered a school of education, and the state paid great attention to them. The performances were held several times a year on major holidays and lasted several days in a row. 3 tragedies and 2 comedies were staged. During the heyday of Greek culture (VI-V centuries BC), the most prominent Greek tragic poets, classics of not only Greek, but also world literature, lived and worked in Athens.

The leading architectural structures of classical Greece were temples, theaters, and public buildings. But the main architectural structure is the temple. The most famous examples that have survived to our time in the Athenian Acropolis are the Parthenon and Erechtheion temples. Styles in ancient Greek architecture were successively replaced: Doric, Ionic Corinthian. A distinctive feature of these styles is the shape of the columns - an indispensable attribute of ancient Greek structures. The main temple of Ancient Athens - Parthenon

Greek sculpture was initially inferior to that of the ancient East. But from the V century. BC. reached an unprecedented bloom. It conveys not only the figure and face, but also the movement and even the feelings of the depicted people. The sculptors Miron, Polycletus, Phidias, Praxitel, Scopas, Lysippos enjoyed particular fame and fame. Myron. "Discobolus" Sculpture of the early classics

Painting was widespread in ancient Greece in the form of frescoes and mosaics that adorn temples and buildings, but they have hardly survived to our time. The surviving paintings include the famous Greek black-figure and red-figure vases. Ancient Greek painting. Black-figure vases

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Ancient Roman culture passed a difficult path of development from the culture of the Roman community, absorbing the cultural traditions of ancient Greece, falling under the influence of the Etruscan, Hellenistic cultures and cultures of the peoples of the ancient East. Roman culture became a breeding ground for the culture of the Romano-Germanic peoples of Europe. Colosseum or Flavian Amphitheater

Roman culture, like Greek, is closely related to the religious beliefs of the population of Ancient Rome. In the mind of the Roman, every object, every phenomenon had its own spirit, its own deity. Each house had its own Vesta - the goddess of the hearth. The gods were in charge of every movement and sigh of man from birth to death. Another curious feature of the early Roman religion and worldview of people is the absence of certain images of the gods.

Rome and other cities of the empire were decorated with magnificent buildings - temples, palaces, theaters, amphitheaters, circuses. Amphitheaters and circuses in which animals were poisoned, gladiator fights and public executions were staged - a feature of the cultural life of Rome. Roman Forum The squares of Rome and other cities were decorated with triumphal arches in honor of military victories, statues of emperors and prominent public figures of the state. In many cities, houses of 3 - 6 floors were erected. Arch in Piazzale Roma

Palaces and public buildings were decorated with murals and paintings, the main plot of which was episodes of Greek and Roman mythology, as well as images of water and greenery. During the period of the empire, portrait sculpture received special attention, a characteristic feature of which was exceptional realism in conveying the features of the depicted face. Many of the sculptures were finely executed copies of Greek and Hellenistic works of art. Mosaic, the processing of precious metals and bronze were especially widespread art forms.

Ancient culture is a unique phenomenon that had a huge impact on the development of the entire European civilization. The achievements of Greek art partially formed the basis of the aesthetic ideas of subsequent eras. Roman culture with its developed ideas about the expediency of things and actions, justice in the life of society was able to complement the Greek culture. The synthesis of these two cultures created a unique ancient culture, which became the basis of European culture.

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Presentation on the topic: Ancient culture

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ANCIENT CULTURE Antiquity is the name of the 1,500th period from the emergence in the 1st millennium BC. Ancient Greece before the death of the Roman Empire in the V century. AD Ancient culture is the culture of Ancient Greece of Ancient Rome in the corresponding historical period. Aegean (Cretan-Mycenaean culture) - III-II millennium BC e. Culture of Ancient Greece - XI-I centuries BC - Homeric period - XI-VII centuries BC - archaic period - VII-VI centuries BC - the classical period - V-IV centuries BC. - Hellenistic period - IV-I centuries BC e. 3. Etruscan culture - VIII-VI centuries BC. 4. Culture of Ancient Rome - V century. BC - V century AD - the period of the republic V - I centuries. BC. - the period of the empire of the 1st century. BC. - V century. AD

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AEGEAN CULTURE CRETE MIKENA (Minoan) (Achaean) Crete Island Mainland Greece Asia Minor Cities of Knossos, Festus of Mycenae, Tiryns, Troy 1. You are probably familiar with the phrase "Plato is my friend, but the truth is dearer." Who said it and on what occasion? 2. In what Greek legends and myths Crete is mentioned?

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Mycenae reached its highest rise between the 16th and 13th centuries. BC e., therefore, flourished after the collapse of Crete, where, apparently, Aegean art arose. But Mycenae was excavated before the Cretan palaces, and therefore the person who discovered Mycenae should be considered the discoverer of the Aegean cultural world. This man is the German Heinrich Schliemann (1822-1890). His enthusiasm brought success to a work in which, except for him, no one believed for a long time. As a child, Heinrich Schliemann announced to his father: - I do not believe that there is nothing left of Troy. I will find her. And he found ... But before that he had done a lot of things. The son of a humble pastor who was left without any means at the end of his life, Heinrich Schliemann was forced to leave school to earn a living. Then he gradually succeeds in commerce, becomes a wealthy person and, finally, makes a significant fortune. Another achievement during this time was knowledge of languages. In his own system, he learns language by language. Knowledge of languages \u200b\u200bhelped Schliemann in his trading operations, and the millions he made allowed him to start realizing his cherished dream: from under the layers of earth piled up for millennia, to open the ruins of the great city along with the treasures of his king. He set about excavating at the site that most closely matched Homer's descriptions. It was the Gissarlik hill on the Asia Minor coast of the Aegean Sea. He found a gold treasure, decided that it was the treasure of King Priam, and announced that he had found Troy.

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Subsequently, it turned out that Schliemann was mistaken: the city of Priam lay higher than that which he took for Troy. But the real Troy, though severely trampling her, he nevertheless dug up. The treasure found by Schliemann belonged to a king who lived a thousand years before Priam. And then Schliemann went to the Peloponnese, again following Homer's instructions to discover Mycenae, where the victor of the Trojans once reigned, the leader of the Achaeans and the leader of the allied army, the "lord of men" Agamemnon. Schliemann dug up Mycenae and found a treasury with a heap of priceless gold jewelry in the royal tombs. Perhaps not Agamemnon himself, but Schliemann could rightfully declare: "I opened a completely new world for archeology, which no one even suspected." Schliemann achieved unparalleled fame, we can say that he was one of the most famous people of his time. And in Crete, the English archaeologist Arthur Evans continued and completed his work.

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In front of the western facade of the Palace of Knossos there was a theatrical platform for ritual stage performances, and crowded celebrations were also held there. In all likelihood, the palaces were considered an earthly reflection of the habitats of the celestials, the latter were the goddesses who were worshiped in the sanctuaries. In the sanctuaries, sacrifices, ceremonial meals were made, gifts were presented to the gods in the form of dishes and terracotta figurines. Although kings lived in the palaces, it is possible that these structures were considered the property of the goddesses. The ruler, whose origin was thought to be divine, acted as the son or spouse (and often the son-spouse) of the goddess. The ruler's wife was a priestess and represented the goddess in the most important rituals.

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PALACES OF MYKENA The Mycenaean cities, more like fortresses, were built in secluded places in the mountains. Enclosed by powerful walls, they are real strongholds. These are Mycenae and Tiryns in the Peloponnese, built of huge blocks of natural stone. This type of laying is called "cyclopean". The Mycenaean palaces are significantly different in structure from the Cretan ones - their forms are simple and strict. The palace building is a megaron - an elongated structure, oriented to the cardinal points, without a courtyard. The building consists of three main rooms, strung on the main axis.

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Among the greatest achievements of Mycenaean art are the monuments of funerary art. There was a royal necropolis (tomb) next to the Mycenaean palace. The necropolis was located below the level of the road and had the shape of a circle surrounded by a stone ring. In these necropolises dating back to the 16th century. BC e., all the richest treasures of the Mycenaean kings were kept. Each "circle" contains several deep shaft tombs where members of the royal family were buried. The tombs are rectangular, made very roughly, and do not even have an inner lining of the walls with stone. In the burials, golden masks were found, strongly stylized, but clearly conveying the features of the Mycenaean rulers. Pronounced Indo-European features are sometimes truly noble (Agamemnon's mask).

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The goddess emerged from the underwater world, where she experienced a temporary death, as evidenced by the cut lilies depicted in the piers. The goddess herself is depicted as if in a "transitional" state - in a wall at the door that connects the rooms. The priestess marched solemnly to the corner of the room where one of the eight windows housed an altar decorated in the Cretan style with dolphins diving among the coral reefs. Here, to the altar, the youth priests carried bundles of fish. corresponding historical period.

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On the fresco depicting "Tavrokatapsia" - a ritual fight with a bull - not only men, but also women are fighting the bull. The female goddess was the main opponent of the bull god, her son-husband. She sacrificed him every year at a similar holiday - so that he, who had outlived the annual cycle, could be born again. The taurocatapsy fresco shows how dynamic and lively Minoan art was. Frozen poses, frozen gazes and self-absorption - that is, everything that was so dear to the Egyptians and the inhabitants of the ancient Mesopotamia - is alien to him. For Cretan art, the moment is important, the movement correctly captured, the thrill of the present. Here is a young man doing a somersault over the back of the bull, here the bull has already pierced one of its opponents with its horn.

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AEGEAN CYCLADIC SCULPTURE IN III millennium BC e. The art of the islands of the Aegean Sea and the coast of Asia Minor reached a high flowering. The so-called Cycladic idols ("Harper") have become widely known. These are marble figurines found in the burials of the Cyclades, as well as in Crete and in Balkan Greece. Idols - sometimes miniature, and sometimes reaching one and a half meters in height - represent the figures of naked people standing in constrained poses ("The Great Goddess"). These gods were supposed to help the dead find a new life. Figurines with joined legs, poorly outlined arms and chest end with a very conventional image of a head, on which only the nose stands out. The researchers suggest that the rest of the facial features were applied with paints, but their traces have not been preserved.

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VASES OF KAMARES STYLE Cretan vase painters have reached rare heights of skill. They made vessels of various shapes and sizes, from small cups with thin, almost transparent walls to huge earthen ovoid pithos, reaching two meters in height. Grain, water and wine were stored in the pithos. Minoan vases do not have wide heavy pallets; they tend to volumetric, spherical shapes. For greater stability, they were sometimes buried in the ground, in whole or in part.

Slide No. 24

Slide Description:

The vases were painted in bright colors using red, white, blue and black paint. The compositions included both geometrized forms and images of wildlife. Vases often depicted mollusks, coral reefs and octopuses, entwining the entire vessel with tentacles. Flowers - lilies, tulips, crocuses - were especially fond of Cretan artists. Flowers were depicted both in flowerpots and growing in flower beds. Compositions of flowers bowing their heads in a strong wind are remarkable. The most beautiful vases of the Minoan era were found in the Kamares cave near Festa, hence their name - the Kamares vases.