Cup of the Ledder (Czech Republic). Clay. Culture of bell-shaped cups. Eneith (copper-stone age).

Monuments of neolithic painting and petroglyphs are extremely numerous and scattered in vast territories.
The accumulations of them are almost everywhere in Africa, East Spain, on the territory former USSR - In Uzbekistan, Azerbaijan, on Onega Lake, the White Sea and in Siberia.
Skatal painting Neolithic is similar to the mesolitical, but the plot becomes more diverse.

"Hunters." Skatal painting. Neolithic (?). South Rhodesia.

Throughout about three hundred years, the attention of scientists challenged the rock, known as the "Tomsk Scripture".
"Scribes" called images drawn mineral paint or carved on a smooth wall surface in Siberia.
Back in 1675, one of the brave Russian travelers, whose name, unfortunately, remained unknown, recorded:
"Not dosed by Ostroga (Verkhovsky Ostrog) on \u200b\u200bthe edge of Tomi lies the stone is great and high, and the beasts, and cattle, and birds, and all sorts of similarity are written on it ..."
A real scientific interest in this monument arose already in the XVIII century, when, according to Peter I, an expedition was sent to Siberia to study its history and geography. The results of the expedition became published in Europe by Swedish Captain Straighherberg, who participated on the trip, the first images of Tomsk Scripture. These images were not an accurate copy of the Tomsk writer, and only the most common outlines of the rocks and placement on it drawings, but their value is that they can see pictures that have not survived to this day.

For hunters, the main source of existence was deer and moose. Gradually, these animals began to acquire mythical traits - the "master of the taiga" on a par with a bear.
The image of the moose belongs to Tomsk Scripture the main role: the figures are repeated many times.
The proportions and shapes of the animal body are absolutely transmitted: its long massive body, hump on the back, a heavy big head, a characteristic ledge on the forehead, swollen upper lip, convex nostrils, thin legs with forked hooves.
In some drawings on the neck and body, the moose shows transverse stripes.

On the border between the sugar and the Fetzan, on the territory of Algeria, in the mountainous terrain, called Tassili Agere, will come out with rows of naked rocks. Now, this land is drained by the wind of the desert, buried the sun and almost nothing grows in it. However, earlier in Sugar Zeleren Luga ...

Eascar blind painting Bushmen. Neolithic.
- sharpness and accuracy of drawing, grace and elegance.
- Harmonic combination of forms and tones, the beauty of people and animals depicted with good knowledge of anatomy.
- Stripping gestures, movements.

The small plastic of neolithic acquires, as well as painting, new plots.

"A man playing lute." Marble (from Keros, Cyclades, Greece). Neolithic. National Archaeological Museum. Athens.

Schematism inherent in painting neolithic, which changed Paleolithic realism, penetrated into fine plastic.

Sketchy image of a woman. Cave relief. Neolithic. Croissar Department of Marna. France.

The relief with the symbolic image from Castel Bestcho (Sicily). Limestone. OK. 1800-1400 BC. National Archaeological Museum. Syracuse.

conclusions

Mesolith and Neolithic Painting
Between them it is not always possible to carry out an accurate face.
But this art is very different from typical Paleolithic:
- Realistic, exactly fixing the image of the beast as a target, as a cherished goal, is replaced by a wider view of the world, the image of multifigure compositions.
- There is a desire for harmonic generalization, stylization and, most importantly, to the transfer of movement, to the dynamism.
- In Paleolith, there was monumentality and inviolability of the image. Here - the liveliness, free fantasy.
- In the images of a person, a pursuit of grace appears (for example, if you compare Paleolithic "Venus" and a mesolitical image of a woman collecting honey, or neolithic Bushmen dancers).

Small plastic:
- new plots appear.
- greater skill of execution and possession of craft, material.

Achievements

Paleolith
- Nizhny Paleolith
\u003e\u003e Taming of fire, stone guns
- Middle Paleolith
\u003e\u003e Out of Africa
- Upper Paleolith
\u003e\u003e Prachche

Mesolithic
- Microliths, onions, canoe

Neolithic
- Early inholith
\u003e\u003e Agriculture, cattle breeding
- Late inholith
Quoted1 \u003e\u003e Ceramics

Eneith (Copper Age)
- Metallurgy, horse, wheel

Bronze Century

The Bronze Age is characterized by the leading role of bronze products, which was associated with improving the treatment of such metals as copper and tin derived from ore deposits, and the subsequent receipt of bronze.
The Bronze Age changed the copper century and preceded the iron century. In general, the chronological framework of the Bronze Age: 35/33 - 13/11 centuries. BC er, but different crops they differ.
Art becomes more diverse, spreads geographically.

The bronze was much easier to handle, rather than a stone, it could be cast in shape and grind. Therefore, in the bronze age, all kinds of items were made, richly decorated with ornaments and possessing high artistic value. Ornamental decorations consisted mostly from circles, spirals, wavy lines and similar motives. Particular attention was paid to decorations - they were a major size and immediately rushed into the eyes.

Primitive (or, otherwise, primitive) art geographically covers all continents, except for Antarctica, and in time - the whole era of the existence of a person, preserved in some nations living in remote corners of the planet, to the present day.

Most ancient painting found in Europe (from Spain to the Urals).

Well preserved on the walls of the caves - the entrances were tightly littered millenniums back, the same temperature and humidity were maintained there.

Not only wall painting has been preserved, but also other evidence of human activity - clear traces of bare feet of adults and children on the cheese semi of some caves.

Causes of the origin of creative activities and functions primitive art The need of a person in beauty and work.

Beliefs of that time. Man depicted those who read. People of that time believed in magic: they believed that with the help of paintings and other images it is possible to affect nature or the outcome of hunting. For example, it was believed that it was necessary to hit the arrow or a spear of drawn beast to ensure the success of the real hunt.

Periodization

Now science changes his opinion on the age of land and the time frame is changing, but we will study on the generally accepted names of periods.
1. Stone Century
1.1 Wooden age - Paleolithic. ... up to 10 thousand BC.
1.2 Middle Age - Mesolithic. 10 - 6 thousand BC.
1.3 Novochemenny Century - Neolithic. From 6 - 2 thousand BC.
2. The era of bronze. 2 thousand BC.
3. Epoch of iron. 1 thousand BC.

Paleolith

The tools of labor was made of stone; Hence the name of the era - the Stone Age.
1. Ancient or lower Paleolithic. Up to 150 thousand BC.
2. Middle Paleolithic. 150 - 35 thousand BC.
3. Upper or late Paleolithic. 35 - 10 thousand BC.
3.1 Orignak Soltenian period. 35 - 20 thousand BC.
3.2. Madelen period. 20 - 10 thousand BC. This name is the period from the name of the Cave of La Madeleine, where paintings related to this time were found.

The earliest works of primitive art belong to the late Paleolithic. 35 - 10 thousand BC.
Scientists are inclined to the fact that naturalistic art and the image of schematic signs and geometric figures have arisen at the same time.
Pasta pictures. Human hand prints and disorderly weave of wavy lines sold in crude clay with the fingers of the same hand.

The first pictures of the time of Paleolithic (ancient stone age, 35-10 thousand BC) were found at the end of the 19th century. Spanish archaeologist-amateur graph Minelyn de Sautola, three kilometers from his generic estate, in the cave of Altamira.

It happened like this:
"The archaeologist decided to examine one cave in Spain and took his little daughter with him. Suddenly she screamed: "Bulls, bulls!" Father laughed, but when he raised his head, he saw a huge cave-painted cave, written by the paints of the bison figures. Some of the bison were depicted on the spot, others riding with inclined horns on the enemy. At first, scientists did not believe that primitive people could create such works of art. Only 20 years later, numerous works of primitive art were discovered in other places and the authenticity of cave painting was recognized. "

Paleolith painting

Cave Altamira. Spain.
Late Paleolithic (era Madeleine 20 - 10 thousand years old BC).
At the arch of the cavecam, Altamira shows a whole herd of large, closely located to each other of Bizonov.


Panel Bizonon. Located on the cave ceiling. Wonderful polychry images contain black and all shades of ocher, juicy paints imposed somewhere tightly and monophonic, and somewhere with halftones and transitions from one color to another. A thick colorful layer is up to several cm. A total of 23 figures are depicted on the arch, if you do not take into account those from which only contours are preserved.

Fragment. Buffalo. Cave Altamira. Spain. Late Palaeolithic. Illuminated the caves with lamps and played the memory. Not primitivism, but the highest degree of stylization. When opening the cave believed that this imitation of hunting was the magical meaning of the image. But today there are versions that the goal was art. The beast was needed by a person, but he was terrible and difficult.

Fragment. Bull. Altamira. Spain. Late Palaeolithic.
Beautiful brown shades. Tense stop of the beast. Used natural relief stone, depicted on the bulge of the wall.

Fragment. Bison. Altamira. Spain. Late Palaeolithic.
Transition to polychrome art, darker stroke.

Cave background de gom. France

Late Palaeolithic.
Silhouette images are characterized, intentional distortion, exaggeration of proportions. On the walls and vaults of small cave rooms, the background-de-gom are inflicted at least about 80 drawings, mainly bison, two indisputable figures of mammoths and even the wolf.

Pashed deer. Background de gom. France. Late Palaeolithic.
Image of horns in perspective. Deer at this time (the end of the Madeleine era) crowded other animals.

Fragment. Buffalo. Background de gom. France. Late Palaeolithic.
Stressed hump and crest on the head. Overlapping one image to another - polypsist. Detailed study. Decorative tail solution. Image of houses.

Wolf. Background de gom. France. Late Palaeolithic.

Cave Nio. France

Late Palaeolithic.
Round room with drawings. There are no images of mammoths and other animals of ice fauna in the cave.

Horse. Nio. France. Late Palaeolithic.
I am already depicted with 4 legs. Silhouette circled black paint, inside the yellowed yellow. Character horses type pony.

Stone ram. Nio. France. Late Palaeolithic. Partially contour image, the skin is drawn on top.

Deer. Nio. France. Late Palaeolithic.

Buffalo. Nio. Nio. France. Late Palaeolithic.
Among the images are the most bison. Some of them are shown by injuries, black and red arrows.

Buffalo. Nio. France. Late Palaeolithic.

Cave lacco

It happened that it was the children who are completely inappropriate, found the most interesting cave paintings in Europe:
"In September 1940, near the town of Montignac, in the south-west of France, four schoolchildren of senior classes went to the archaeological expedition conceived by them. On the spot for a long time pulled with the root of a tree in the ground, the hole gaped, caused their curiosity. There were rumors that is the entrance to the dungeon leading to the next medieval castle.
Inside there was a hole smaller sizes. One of the guys threw a stone into it and the noise of the fall concluded that the depth is decent. He expanded the hole, crawled inside, almost fell, lit a flashlight, painted and called others. From the walls of the cave, in which they found themselves, they looked at them some huge animals breathing such a confident force, sometimes seemed ready to move into the rage that they became terribly. And at the same time, the strength of these animal images was so majestic and convincing that they were implanted, as if they were in some kind of magical kingdom. "

Cave shops. France.
Late Paleolithic (Epoch Madeleine, 18 - 15 thousand ld n.e.).
Call the primitive Sicastine Chapel. Consists of several large rooms: Rotunda; Main gallery; pass; apse.
Colorful images on lime white cave surface.
The proportions are strongly exaggerated: large necks and stomits.
Contour and silhouette drawings. Clear images without layers. A large number of male and female signs (rectangle and many points).

Hunting scene. LASC. France. Late Palaeolithic.
Genre image. The bull killed by a spear drove a man with a bird head. Near the bird's chopstick - can his soul.

Buffalo. LASC. France. Late Palaeolithic.

Horse. LASC. France. Late Palaeolithic.

Mammoths and horses. Cape cave. Ural.
Late Palaeolithic.

Cape Cave - South. M Urals, on r. White. Formed in limestone and dolomites. Corridors and grotes are located two floors. Total length over 2 km. On the walls - Late Paleolithic picturesque images of mammoths, rhinos

Sculpture of Paleolita

Art of small forms or mobile art (small plastic)
An integral part of the art of the Paleolithic era is the objects that are called "small plastic".
These are three types of objects:
1. Figurines and other bulk products, cut from soft stone or from other materials (horn, mammoth tile).
2. Flavored items with engraving and painting.
3. Reliefs in caves, grottoes and under natural canopies.
The relief was knocked out in a deep contour or shoved the background around the image.

Relief

One of the first finds, called small plastic, was the bone plate of Grotch Shaffo with images of two lanes or a deer:
Deer, swimming river. Fragment. Bone thread. France. Late Paleolithic (Madelene period).

Everyone knows the wonderful French writer Prosper Merim, the author of the fascinating novel "Chronicle of the reign of Charles IX", "Carmen" and other romantic novels, but few people know that he served as inspector for the protection of historical monuments. It was he who referred in 1833. This record in only the historical museum is organized in the center of Paris. Now it is kept in the Museum of National Antiquities (Saint-Germain An Le).
Later in the Grotty Schaffo was discovered by the cultural layer of the era of the Upper Paleolithic. But then, just as it was with the painting of the cave of Altamira, and with other pictorial monuments of the paleolithic era, no one could believe that this is the art of ancient Egyptian. Therefore, such engraving was considered samples of Celtic art (V-IV centuries to R.Kh.). Only at the end of the XIX century, again, as well as cave painting, they were recognized as the oldest after they were found in the Paleolithic cultural layer.

Very interesting figurines of women. Most of these figures of small sizes: from 4 to 17 cm. It was made from a stone or a mammoth taper. Their most noticeable distinctive feature is exaggerated "Horication", they depict women with cargo figures.

"Venus with the Cup". Bas-relief. France. Upper (late) Paleolithic.
The goddess of the ice period. Canon image - the figure is inscribed in the rhombus, and the stomach and chest - in the circle.

Sculpture - Mobile art.
Almost everyone who studied Paleolithic female figurines, with those or other differences in detail, explain them as religious objects, amulets, idols, etc., reflecting the idea of \u200b\u200bmotherhood and fertility.

"Villendorf Venus." Limestone. Villendorf, Lower Austria. Late Palaeolithic.
Compact composition, no damn face.

"Lady in a hood from Brassempui." France. Late Palaeolithic. Bone mammoth.
Facial features and hairstyle are worked.

In Siberia, a whole series of peculiar statuettes was found in Baikalia. Along with the same, as in Europe, the highlight figures of naked women, there are figurines of slender, elongated proportions and, unlike European, they are depicted in deaf, most likely fur clothing similar to "overalls".
These finds in the parking lots to be built on R. Yangar and Malta.

conclusions
Skatal painting. Features of the picturesque art of Paleolithic - realistic, expression, plastic, rhythm.
Small plastic.
In the image of animals - the same features as in painting (realistic, expression, plastic, rhythm).
Paleolithic women's figurines are cult items, amulets, idols, etc., they reflect the idea of \u200b\u200bmotherhood and fertility.

Mesolithic

(Middle Age) 10 - 6 thousand BC

After the melting of glaciers disappeared the usual fauna. Nature becomes more pliable for humans. People become nomads.
With a change in lifestyle, a person's opinion on the world becomes wider. It is not interested in a separate beast or a random find of cereals, but the active activity of people, thanks to which they find whole herds of animals, and fields or forests rich in fruits.
So in the Mesolithic the art of a multi-infant composition, in which no longer a beast, and a person plays a dominant role.
Change in art:
The main heroes of the image becomes not a separate beast, but people in any action.
The task is not in the plausible, accurate image of individual figures, and in the transmission of action, movement.
Frequently depicted multifiguric hunting, honey collection scenes appear, religious dances.
The character of the image is changing - instead of realistic and polychrome it becomes schematic and silhouette. Local colors are used - red or black.

Collector of honey from a hive, surrounded by ROOM. Spain. Mesolithic.

Almost everywhere, where planar or volumetric images of the Upper Paleolithic era were found, in the artistic activities of people of the subsequent era, mesolite as if a pause occurs. Maybe this period is still poorly studied, maybe images made not in the caves, but outdoors, flushed with rains and snow with time. Maybe among petroglyphs, which are very difficult to refer to exactly, there are relating time, but we still do not know how to recognize them. It is significant that the objects of small plastics in the excavations of mesolitic settlements are extremely rare.

Of the monuments of the Mesolitis, you can call literally units: stone grave in Ukraine, a kobistan in Azerbaijan, Zaba Sai in Uzbekistan, Shakhty in Tajikistan and Bhimpture in India.

In addition to rock painting, petroglyphs appear in the era of mesolitis.
Petroglyphs are embarked, cut or scratched rock paintings.
When carving the drawing, the ancient artists knocked into an acute tool upper, darker part of rock, and therefore images are noticeably stand out against the cliff background.

In the south of Ukraine, there is a rocky hill from the sandstone rocks in the steppe. As a result of strong weathelation on its slopes, several grots and canopies were formed. In these grumps and on other planes of the hill for a long time, numerous carved and scratched images are known. In most cases, they are read with difficulty. Sometimes animal images are guessed - bulls, goats. These images of bullies scientists belong to the era of mesolithic.

Stone grave. South of Ukraine. General view and petroglyphs. Mesolithic.

South Baku between the southeastern slope of the Big Caucasus Range and the Kaspian coast of the Caspian Sea is a small plain Gobustan (country of ravines) with elevations in the form of cafe and limestone and other sedimentary rocks. On the rocks of these mountains there are many high-time petroglyphs. Most of them were open in 1939. The greatest interest and fame got large (more than 1 m) images of female and male figures made by deep carved lines.
Many animal images: bulls, predators and even reptiles and insects.

Kobistan (Gobustan). Azerbaijan (territory of the USSR). Mesolithic.

Grotto Broa-Kamar
In the mountains of Uzbekistan, at an altitude of about 2000 m above sea level, there is widely known not only among archaeologists professionals. Monument - Grotto Broat-Kamamar. Painted images were opened in 1939 by the local hunter IF Lamaev.
The painting in the grotto is made by the ocher of different shades (from red-brown to a shuttle) and represents four groups of images in which anthropomorphic figures and bulls are involved.

Here is a group in which most researchers sees a hunt for a bull. Among the anthropomorphic figures surrounding the bull, i.e. "Hunters" are distinguished by two types: Figures in expanding clothes, without onions and "tailed" figures raised and stretched onions. This scene can be interpreted as a real hunt for disguised hunters, and as a certain myth.

Painting in the grotto mines are probably the most ancient in Central Asia.
"What does the word of the mine mean," writes V.A. Ranov, "I don't know. Perhaps it comes from the Pamir word" mines ", which means the rock."

In the northern part of Central India along the river valleys, huge rocks are drawn with many caves, grottoes and canopies. In these natural shelters, a lot of creme images have been preserved. Among them is the location of Bhimbet (Bhimpture). Apparently these picturesque images belong to the mesolith. True, one should not forget about unevenness in the development of cultures of different regions. Mesolithic India may be 2-3 thousand years old than in Eastern Europe and Central Asia.

Some scenes of corrupt hunts with archers in the paintings of the Spanish and African cycles - as if the embodiment of the movement itself, brought to the limit concentrated in a stormy vortex.

Neolithic

(New eyelid) from 6 to 2 thousand BC

Neolithic - The new eyelid, the last stage of the Stone Age.
Periodization. Introduction to the Neolithic is timed to the transition of a culture from the assigning (hunters and collectors) to producing (agriculture and / or cattle breeding) type of farming. This transition is called the Neolithic Revolution. The end of the neolithic dates back to the occurrence of metal tools and weapons, that is, the beginning of the copper, bronze or iron century.
Different cultures have entered this period of development in different time. About 9.5 thousand liters began in the Middle East. BC e. In Denmark, the neatite is dated 18 V. BC, but at the indigenous population of New Zealand - Maori - Neolithic existed in 18 V. N.E.: Before the arrival of Europeans, Maori used polished stone axes. Some people of America and Oceania have not yet fully switched from the stone century to the Iron.

Neolithic, like other periods of the primitive era, is not a certain chronological period in the history of mankind in general, and characterizes only the cultural features of certain peoples.

Achievements and classes
1. New features of public life people:
- Transition from the matriarchate to Patriarchate.
- at the end of the epoch in some places (front asia, Egypt, India) has developed a new formation of class society, that is, it began social stratification, the transition from the generic community building to the class society.
- At this time, the city begin to build. One of the most ancient cities is Jericho.
- Some cities were well fortified, which speaks of the existence at the time of organized wars.
- Army and professional warriors began to appear.
- It is possible to say that the beginning of the formation of ancient civilizations is associated with the era of neolith.

2. The division of labor began, the formation of technologies:
- The main thing is simple gathering and hunting as basic sources of food are gradually replaced by agriculture and cattle breeding.
Neolith called the "century of polished stone." In this era, stone tools were not simply drunk, but already buried, polished, drilled, they were dragging.
- The most important tools in Neolithic includes an ax, previously unknown.
Spinning and weaving are developed.

Images of animals begin to appear in the design of home utensils.

The ax in the shape of a leggy head. Polished stone. Neolithic. Historical Museum. Stockholm.

Wooden bucket from Gorboonovsky peatman near Nizhny Tagil. Neolithic. GIm

For Neolithic Forest Zone, fishing becomes one of the leading types of farms. Active fisheries contributed to the creation of certain reserves, which, in combination with the hunt for the beast, made it possible to live in one place all year round.
The transition to a settled lifestyle led to the appearance of ceramics.
The appearance of ceramics is one of the main signs of the Neolithic Epo.

The village of Chatal-Guyuk (East Turkey) is one of the places where the most ancient patterns of ceramics were found.

Cup of the Ledder (Czech Republic). Clay. Culture of bell-shaped cups. Eneith (copper-stone age).

Monuments of neolithic painting and petroglyphs are extremely numerous and scattered in vast territories.
The accumulations of them are almost everywhere in Africa, East Spain, on the territory of the former USSR - in Uzbekistan, Azerbaijan, on the Lake Onega, the White Sea and in Siberia.
Skatal painting Neolithic is similar to the mesolitical, but the plot becomes more diverse.

"Hunters." Skatal painting. Neolithic (?). South Rhodesia.

Throughout about three hundred years, the attention of scientists challenged the rock, known as the "Tomsk Scripture".
"Scribes" called images drawn mineral paint or carved on a smooth wall surface in Siberia.
Back in 1675, one of the brave Russian travelers, whose name, unfortunately, remained unknown, recorded:
"Not dosed by Ostroga (Verkhovsky Ostrog) on \u200b\u200bthe edge of Tomi lies the stone is great and high, and the beasts, and cattle, and birds, and all sorts of similarity are written on it ..."
A real scientific interest in this monument arose already in the XVIII century, when, according to Peter I, an expedition was sent to Siberia to study its history and geography. The results of the expedition became published in Europe by Swedish Captain Straighherberg, who participated on the trip, the first images of Tomsk Scripture. These images were not an accurate copy of the Tomsk writer, and only the most common outlines of the rocks and placement on it drawings, but their value is that they can see pictures that have not survived to this day.

Images of Tomsk Pisani, performed by a Swedish boy K. Shaulman, who traveled with Stallenberg in Siberia.

For hunters, the main source of existence was deer and moose. Gradually, these animals began to acquire mythical traits - the "master of the taiga" on a par with a bear.
The image of the moose belongs to Tomsk Scripture the main role: the figures are repeated many times.
The proportions and shapes of the animal body are absolutely transmitted: its long massive body, hump on the back, a heavy big head, a characteristic ledge on the forehead, swollen upper lip, convex nostrils, thin legs with forked hooves.
In some drawings on the neck and body, the moose shows transverse stripes.

On the border between the sugar and the Fetzan, on the territory of Algeria, in the mountainous terrain, called Tassili Agere, will come out with rows of naked rocks. Now, this land is drained by the wind of the desert, buried the sun and almost nothing grows in it. However, earlier in Sugar Zeleren Luga ...

- sharpness and accuracy of drawing, grace and elegance.
- Harmonic combination of forms and tones, the beauty of people and animals depicted with good knowledge of anatomy.
- Stripping gestures, movements.

The small plastic of neolithic acquires, as well as painting, new plots.

"A man playing lute." Marble (from Keros, Cyclades, Greece). Neolithic. National Archaeological Museum. Athens.

Schematism inherent in painting neolithic, which changed Paleolithic realism, penetrated into fine plastic.

Sketchy image of a woman. Cave relief. Neolithic. Croissar Department of Marna. France.

The relief with the symbolic image from Castel Bestcho (Sicily). Limestone. OK. 1800-1400 BC. National Archaeological Museum. Syracuse.

conclusions

Mesolith and Neolithic Painting
Between them it is not always possible to carry out an accurate face.
But this art is very different from typical Paleolithic:
- Realistic, exactly fixing the image of the beast as a target, as a cherished goal, is replaced by a wider view of the world, the image of multifigure compositions.
- There is a desire for harmonic generalization, stylization and, most importantly, to the transfer of movement, to the dynamism.
- In Paleolith, there was monumentality and inviolability of the image. Here - the liveliness, free fantasy.
- In the images of a person, a pursuit of grace appears (for example, if you compare Paleolithic "Venus" and a mesolitical image of a woman collecting honey, or neolithic Bushmen dancers).

Small plastic:
- new plots appear.
- greater skill of execution and possession of craft, material.

Achievements

Paleolith
- Nizhny Paleolith
\u003e\u003e Taming of fire, stone guns
- Middle Paleolith
\u003e\u003e Out of Africa
- Upper Paleolith
\u003e\u003e Prachche

Mesolithic
- Microliths, onions, canoe

Neolithic
- Early inholith
\u003e\u003e Agriculture, cattle breeding
- Late inholith
Quoted1 \u003e\u003e Ceramics

Eneith (Copper Age)
- Metallurgy, horse, wheel

Bronze Century

The Bronze Age is characterized by the leading role of bronze products, which was associated with improving the treatment of such metals as copper and tin derived from ore deposits, and the subsequent receipt of bronze.
The Bronze Age changed the copper century and preceded the iron century. In general, the chronological framework of the Bronze Age: 35/33 - 13/11 centuries. BC er, but different crops they differ.
Art becomes more diverse, spreads geographically.

The bronze was much easier to handle, rather than a stone, it could be cast in shape and grind. Therefore, in the bronze age, all kinds of items were made, richly decorated with ornaments and possessing high artistic value. Ornamental decorations consisted mostly from circles, spirals, wavy lines and similar motives. Particular attention was paid to decorations - they were a major size and immediately rushed into the eyes.

Megalithic architecture

In 3 - 2 thousand BC. There were peculiar, huge size of structures from stone blocks. This ancient architecture Received the name megalithic.

The term "megalith" originated from the Greek words "Megas" - "Big"; And "Lithos" - "Stone".

For its appearance, the megalithic architecture is obliged to primitive beliefs. Megalithic architecture is made to divide into several types:
1. Mengir is a single vertically standing stone, a height of more than two meters.
On the Brittany peninsula in France, the fields of the so-called stretched on whole kilometers. Mengirov. In the language of the Celts, the later inhabitants of the peninsula, the name of these stone pillars is height in several meters means "long stone".
2. Trilit is a structure consisting of two vertically placed stones and overlapped by the third.
3. Dolmen is a structure, the walls of which are made up of huge stone plates and blocked the roof from the same monolithic stone block.
Originally dolmen served for burial.
Trilit can be called the simplest dolmen.
Numerous mengirs, trilts and dolmen were located in places that were revered by sacred.
4. Cromlech is a group of mengirins and trilites.

Stone grave. South of Ukraine. Anthropomorphic mengirs. Bronze Age.

Stonehenge. Cromlech. England. The era of bronze. 3 - 2 thousand BC. Its diameter - 90 m, consists of stone blocks, each of which weighs approx. 25 Tesity that the mountains from where these stones come from are 280 km from Stonehenge.
It consists of the trilites located in a circle, inside the horseshoe from the trilites, in the middle - blue stones, and in the very center - the heel stone (on the day of the summer solstice, it turns out to be exactly above it). It is assumed that Stoneh Grade was a temple dedicated to the Sun.

Epoch of iron (Iron Age)

1 thousand BC.

In the steppes of Eastern Europe and Asia, cattle breeding tribes created at the end of the bronze and early iron century the so-called animal style.

Plaque "Deer". 6 century BC Gold. Hermitage. 35.1х22.5 cm. From Kurgan in Kubabye. The embossed plate was found attached on a round iron shield in the burial of the leader. A sample of zoomorphic art ("animal style"). The hooves of the deer are made in the form of the "Bolshoi Bird".
There is nothing casual, superfluous - complete, thoughtful composition. Everything in the figure is conditionally and extremely truthfully, realistic.
The sense of monumentality is achieved not the size, but thanks to the generalization of the form.

Panther. Blyha, shield decoration. From Kurgan near the village of Kelermen. Gold. Hermitage.
Epoch of iron.
Served decorating the shield. Tail and paws are decorated with figures of rolled predators.

Epoch of Iron.

Epoch of iron. Equilibrium between realism and stylization is violated in favor of stylization.

Cultural ties with ancient Greece, the countries of the Ancient East and China contributed to the emergence of new plots, images and visual funds in artistic culture Tribes of Southern Eurasia.

The scenes of the battle between the barbarians and the Greeks are depicted. Found in the Kurgan Daughty, near Nikopol.

Zaporizhia region Hermitage.

conclusions

Scythian art - "animal style". A striking sharpness and image tensions. Generalization, monumentality. Stylization and realism.

3 - Features of the art of Bushmen

South African Bushmen, "Unfortunate Children of the present", as the Fritish nameded, despite the brightest skin color, in any respect, do not stand at a higher stage than Australians, but differ from them both by the color of the body and some other features.

The national weapons of this "the most decisive, unilateral and dexterous hunting tribe from all, we know" (Ratzel), - onions and arrows missing from Australians.

Decorations in Bustle tribes.

Decorations, among which already color glass beads are played with their role, as well as iron tips Arms, Bushmen are obtained from dark-skinned neighbors who have reached a higher level of development. Instead of scar patterns, which would not stand out on their light skin, they use a real tattoo, but only insignificant strokes and strips are carried out, never form these patterns. The construction of hijan is given to Bushmen even more difficult than Australians; They usually live in the caves and under the rocks of the rocks, in the mountains, about their geometric images do not have to talk, as decorative art at all happens to them.

Drawings and rock paintings at Bushmen

But with all that, Bushmen, we see the most striking examples of animals, which in general find prehistoric and primitive peoples. Their drawings and painting on the rocks are superior to Australian sizes, variety and skill.

The art of threads on the stone of Bushmen tribes.

"No tribe of South Africa, up to the inner parts of Central Africa, said Blue, - did not reach such art to handle the stone, which Bushmen showed. Bushman accelerates her boredom thread on the stone, producing it with the help of stone guns; using the same tools , he decorated his extremely simple dwellings, proved his artistic abilities and created himself monuments that exister the longest thing that other local tribes did. " In some places, where Bushmen live or where they first lived, at every step there are images on the boulders of roadside cliffs, when entering the caves, on the steep walls of the cliffs, and the points decorated with images stretch approximately from the Cape of Good Hope through the entire Cape Colon Far behind the orange river. As in Australia, these images are illuminated with red and yellowish oxic paints, which are joined by black and white colors; The drawings are filled on a light background of the cliff or are wounded in the contours on the dark rock more solid than them, a stone. Most often there are single figures of African animals, such as ostriches, elephants, giraffes, rhinos and different types of antelope, as well as home bulls and the newest time - Horses and dogs. People are also depicted, and the shapes of the bushmen, caviar and white-skinned retain their characteristic features. Animal images are occurring entire thousand one near the other. The same animal artist, as if for the sake of exercise, reproduces the uncountable multiple times, and the images are arranged by rows; Sometimes, when it comes on scenes of hunting, struggle, military hiking and expeditions for prey, people and animals are mixed on the same figure. The most famous Announced An image that copied the French missionary Dieterlen in one cave, located two kilometers from the Missionary Station of Hermona (Figure 39): Bushmen kidnapped their flocks of bulls in the chaffers; The herd hijaculate the left, the chaffers armed with spears and shields, are thrown after the robbers, which turn around and shivel their long-legged pastures. How clearly expressed here is the difference between tall dark-skinned cafes and squatty little buns! How good and rightly drawn the running cattle! As beautiful and vividly presented all the incident! But promising removal and distribution of light and shadows here is as little as in the drawings of Australians. Regarding all other images of this kind, copied or brought to Europe, we must say that Gutchinson's messages and Buttner on the existence of Bushmen promising images are based on misunderstanding. Separate animals, drawn in the form of silhouettes, are completely in profile. To make sure that the paintings, which, thanks to the blue, entered the Vienna Court Museum and the Carlsrue collection.

In the study of the initial pore of the Millennium art can be considered as one day. Modern wild nations are direct heirs of once existing prehistoric peoples. Publicology has highlighted some dark aspects of the prehistoric era. The government and study of the prehistoric period clarify and complement each other. For the history of the development of art, the study of the prehistoric art of cultural peoples, subsequently those who have reached perfection, is often learning than the observation of the artistic creativity of wild tribes, the position of which - whether they descended with a higher stage or stopped at a well-known point - always different or lack, or, at least Extent, poor development. But the creativity of wild peoples gives us the opportunity to understand many of the parties of the initial artistic activity, which in prehistoric art are forever immersed in darkness. If, for example, we can only assume relatively prehistoric peoples that, along with stone and bronze artworks, the art existed a rich wood carving, we will see a visual confirmation of this in the woody products of savages; If the residues of the red dying agents found during the excavation of the Diluvial Antiquities of Brittany, allow us to guess that prehistoric peoples used paint to decorate themselves, then the custom of the racages illuminate their own body seems to be an obvious confirmation that this tradition is one of the main manifestations of art in its initial hours.

The art of all savages begins with the decoration of your own body. Like the Usta (Joest), we distinguish the coloring of the body and its scholars with the help of tattoo scars. When painting the body on its surface, the paint is guided, which can be washed and replaced by another, and the body is covered with one by one by any color, then a multi-pattern pattern. Drawing with the help of scars is made by scratching on the skin with a stone knife or a sink wreck. Repeated on various places of the body and, moreover, in the form of certain patterns, plastically protruding pale scars themselves form decoration. A tattoo consists of scratched and thickening patterns, which, on the introduction of a translucent sneaking through the skin of the coloring agent, remain on the body forever, not disappearing after the inflamed place heals. This substance usually serves wood coal powder: translucent through the skin, it attaches a blue color figure.

Between prehistoric and ethnographic art, you can draw a parallel to a certain extent. The art of the diluvial stone era corresponds to art on the stage of life of the wild tribes, when they are hunters, fishermen, collectors of plants, especially the art of Australians, Bushmen and northern polar peoples. The art of the newest stone era continues to exist at tribes dealing with a bit farming and cattle breeding and now, actually belonging to the stone era; In this case, the parallel is the more Other, as it proves Ratzel, there is an ethnological and anthropological relationship between these tribes, namely between the inhabitants of the Pacific Ocean, on the one hand, and the American Indians on the other. With the art of prehistoric bronze epoch, it is possible to compare the art of savages, acquaintances with metals, but use predominantly iron, not bronze; Here it is necessary to keep in mind the mainly blacks and malaitsa, since they are alien to them higher civilizations do not take advantage over their culture, like the culture of the prehistoric Galstatt period, invading repeatedly into the culture of the bronze epoch. Of course, we are not talking about the current life of primitive peoples, but about the same state, in which they were in the first contact with them.

Uncompaired saunas who lived in the extreme northern and southern limits of inhabited countries globe, their art resembles diluvial hunters for Mammoth and the Northern deer because unfamiliar with the production and processing of metals, with weaving and pottery, with farming and cattle breeding; Then, the similarity between these peoples, as for the first time, indicated Andrei, is that, despite all its unforgettableness, they show the striking ability to draw. The same reasons have both here and there are the same consequences. The eye, sophisticated in the observation of the animal world, and the hand of a hunter, accustomed to get into the beast, give rise to the level of animal drawing the art of drawing animals to the steps of the origins of every culture. In general, despite all the similarity of art manifestations on this stage, we already see the differences defined by climatic, geographical and ethnographic conditions and intercompressed by the latest views, but whose meanings cannot be not recognized.

Australian tribes

Dark-skinned Australians decorate themselves not with a tattoo, but drawings from scarpers protruding on a dark background in the form of light stripes. Both the body and its utensils, they are painted white clay, black charcoal and yellow ocher. White stripes are considered everywhere festive clothing, white painting, sometimes devoid of all sorts of drawings, serves as a cripple expression; The majority of Australians decorate themselves to the Red Coloring, going to the war, but also gives her dead people going to the afterlife.

House building (architecture) from Australian tribes.

We cannot talk about the architecture of Australians. Many of them are still caves and pit in the ground. Others to protect themselves from wind and bad weather stick into the ground a few tree branches or be satisfied with flat, reminiscent niches huts, suitable from the twigs, or canopy without walls, spreading fire to them.

Australian decorative art.

Australian decorative art deserves more attention: those namulent or carved linear jewelry, which Australians supply their wooden weapons and utensils. The grooves formed by embedded lines are sometimes filled with red or white, less often black paint. Often, but not always, signs should be distinguished from these decorative patterns pointing to belonging to a well-known person or family. The transition from the language of signs on the rods of the messengers to the ornament is also not always understood. Circles and parts of the circles, connected to the Australian magic bars of longitudinal and transverse stripes, as we have full right to suspect, conclude a deeper meaning, which seems at first glance; The same can be said about the scratched angular lines of lines on the Australian shells used to cover the nudity, which can be seen, for example, in the Dresden Ethnographic Museum. It is also not subject to doubt that geometric patterns found on many Australian shields, throwing boards (chambers), doubles to apply shocks and for throwing (boomerangs), as well as on baskets and mats, these are just jewelry. Simple or rhythmically placed and embedded parallel lines, zigzag lines, wave-like or arcuate lines, as well as patterns consisting of broken points and forming surfaces similar to the field of chessboard, may well be the same origin as such a form of prehistoric ornamental formations that We tried to explain above. The peculiarity of Australian ornament is the filling of many fields by parallel hatching, and quadrangular fields - parallel quadrangles, decreasing in magnitude as it approaches the middle of the field.

Some, at first glance, strange, decorative motifs of Australian ornament, apparently the different, fantastic game of incorrectly wriggling stripes, spots and geometric shapes, should be considered as generated by the observation of nature, which, as we have seen, is based on many simple linear patterns. The Australian Patterns mentioned most often in the painted form on the outside of the Queensland shields: on a white background of various shapes of red, part of yellow spaces, bordered by black stripes. On a shield located in the Berlin Museum of Public Science, we see a white background, the average drawing and crosses are given in red, the other fields are yellow with black border. Such shields whose overall color is characterized by the Australian range of colors and produces a magnificent harmonious impression, also in the ethnographic museums of Munich and Dresden. Ernst Gross explains that they are imitating the patterned skin of the serpent, and if we take into account only the overall impression, then this explanation will seem all the more likely that the Australian Snake Morelia Argus Fasciolata is covered with yellow and brown spots of the same strictly repeated incorrect shape, circled black border On a lighter background.

Decoration of household and weapons in Australian tribes.

Along with linear and spatial ornamental, Australian art resorts to the decorations of weapons and utensils to the image of animals and people. This genus of ornament, devoid of style, occurred, apparently, from the use of a symbolic language; Some tribes consider many animals sacred. These are their kobongs (totems), their heraldic animals, as we would call them now; Therefore, they are very often scratched on shields or on offensive weapons of the tribe, and they are surrounded by linear contours. Human figures are found in the same meaning. But who are able to explain what sense, for example, for example, coarse figures on religious throwing bars stored in the Berlin Museum of Peopia, or on the Dresden Ethnographic Museum throwing boards?

Wall paintings in the Australian caves.

A peculiarity of all these jewelry is the initial experiments of monumental wall painting in Australia. On the walls of the caves and on the coastal rocks of the north-western, northern and eastern parts of this country, painted and scratched drawings, depicting scenes from the life of people and animals, partly ancient, partly the newest.

From above the local god, his wife from below. On the right - "Lightning Man", a group of men and women in solemn headdresses. Cockada National Park, Australia.

First of all, we specify the open warmth in the late 1830s. Images on the walls and ceiling of the three caves on the top gleneldh, in North-West Australia; This is the image of the mainly of people and a kangaroo, Izmalevnyy Red, Yellow, Black and Partly Blue Paints on a white background. The crown of the rays around the head of the human figure is obviously no more than a headdress from feathers. The face deprived of his mouth reminds images of a prehistoric era. Then you can specify numerous images of animals and people, found Stokes in the 1840s. On the coastal rocks of the island of depules, in North-West Australia. These drawings inside their contours are deepened in the reddish top layer of stone, and the greenish kernel of the latter was exposed. Some animals, such as Kangaroo, fish with their offspring, water birds, crabs, beetles, are comparatively correctly (Fig. 37 and 38), while people and scenes in the faces are less clear and clear. This includes those described in 1879. Nikolson in-depth in the rocks for whole inches contour drawings of such a content. They are found in the vicinity of Sydney, in the southeast coast of Australia, some of them exist, obviously, not one century. Finally, they belong to the Pictures of Central Australians, who have only stone knives and stone axes belong to them. It is written on the rocks, slightly stylized animals that detect the inclination to turn into geometric shapes, the sacred signs of totems that can be taken as images of natural objects, as well as geometric shapes, among which concentric circles are often found; All this is painted with baby inefficient and illuminated white, red, yellow and black paints.

Kangaroo, Australian drawing on the stone.

Australian drawings of soot on wood crust.

The first steps of the Australian easel painting can be considered the drawings of soot on the wood crust, which natives bring to wonderful perfection. Smith (Brough Smyth) issued several excellent images of this kind. Of course, in these pictures, often rich in content, borrowed from the life of savages and their interchanges with white, the prospect is absolutely absent in the same way as the distribution of light and shadows. But parts are usually notified accurately and transmitted alone, although the fingers on their hands or on the legs are sometimes miscalid. Where the European influence on many of these images begins, it is difficult to say, but in general they prove that the Australian natives have a large inborn ability to relatually and boldly depict the observed items, especially local animals on the plane. Animals are usually represented in profile, people - en face. But this infant art has not yet been subordinate to any rules that would be created by the savages themselves: each drawer is guided by its own inspiration.

Features of the art of Bushmen

South African Bushmen, "Unfortunate Children of the present", as Named Fritish, despite the lightest skin color, in any respect, do not stand at a higher stage than Australians, but differ from both the color of the body and some other features.

The national weapons of this "the most decisive, unilateral and dexterous hunting tribe of all, we know" (Ratzel), - onions and arrows who are absent from Australians.

Decorations in Bustle tribes.

Decorations, among which already colored glass beads are played with their role, as well as iron tips, bushmen are obtained from dark-skinned neighbors who have achieved a higher level of development. Instead of scar patterns, which would not stand out on their light skin, they use a real tattoo, but only insignificant strokes and strips are carried out, never form these patterns. The construction of hijan is given to Bushmen even more difficult than Australians; They usually live in the caves and under the rocks of the rocks, in the mountains, about their geometric images do not have to talk, as decorative art at all happens to them.

Drawings and rock paintings at Bushmen

But with all that, Bushmen, we see the most striking examples of animals, which in general find prehistoric and primitive peoples. Their drawings and painting on the rocks are superior to Australian sizes, variety and skill.

The art of threads on the stone of Bushmen tribes.

"No tribe of South Africa, up to the inner parts of Central Africa, said Blue, - did not come to such art to process the stone, which Bushmen showed. Bushman accelerated his boredom carving on the stone, producing it with the help of stone guns; Using the same tools, he decorated his extremely unpaired dwellings, proved his artistic abilities and created a monument, which existers the longest thing that other local tribes did. " In some places, where Bushmen live or where they first lived, at every step there are images on the boulders of roadside cliffs, when entering the caves, on the steep walls of the cliffs, and the points decorated with images stretch approximately from the Cape of Good Hope through the entire Cape Colon Far behind the orange river. As in Australia, these images are illuminated by red and yellowish oxic paints to which black and white colors are joined; The drawings are filled on a light background of the cliff or are wounded in the contours on the dark rock more solid than them, a stone. Most often there are single figures of African animals, such as ostriches, elephants, giraffes, rhinos and different types of antelope, as well as home bulls and in the newest time - horses and dogs. People are also depicted, and the shapes of the bushmen, caviar and white-skinned retain their characteristic features. Animal images are occurring entire thousand one near the other. The same animal artist, as if for the sake of exercise, reproduces the uncountable multiple times, and the images are arranged by rows; Sometimes, when it comes on scenes of hunting, struggle, military hiking and expeditions for prey, people and animals are mixed on the same figure. The most famous Announced An image that copied the French missionary Dieterlen in one cave, located two kilometers from the Missionary Station of Hermona (Figure 39): Bushmen kidnapped their flocks of bulls in the chaffers; The herd hijaculate the left, the chaffers armed with spears and shields, are thrown after the robbers, which turn around and shivel their long-legged pastures. How clearly expressed here is the difference between tall dark-skinned cafes and squatty little buns! How good and rightly drawn the running cattle! As beautiful and vividly presented all the incident! But promising removal and distribution of light and shadows here is as little as in the drawings of Australians. Regarding all other images of this kind, copied or brought to Europe, we must say that Gutchinson's messages and Buttner on the existence of Bushmen promising images are based on misunderstanding. Separate animals, drawn in the form of silhouettes, are completely in profile. To make sure that the paintings, which, thanks to the blue, entered the Vienna Court Museum and the Carlsrue collection.

Art of North America

If we are transferred from the southern part of the living ground to colder countries, then they will meet such artistic attempts, although they differ from local and ethnographic peculiarities, but expressing an equally low stage of culture. In North America, the region of customs and art of Eskimos extends from Greenland to Bering Strait. To this area from the north-east, the Chukchi region is adjacent, which, although they contain the herd of semi-sowed reindeers, but cannot be separated from Eskimos as a people having their original art. Nordenshild, better than others I got acquainted with Chukchmi, puts them even a step lower than Eskimos.

To all these Arctic peoples in the newest time, iron and copper were brought; They themselves, as before, handle only skins, stones, bones, horns of reindeer and walrus fangs. Hans Guildebrand fairly right about them: "The people who do not know the art of processing metals is still in the position of a man of the stone era, although it has the one or another metal subject."

The harsh climate in which these peoples live, forced them to surpass the Australians and Bushmen in the ability to make clothes and arrange housing. True, the clothing of the northern peoples is exclusively from the animal skins, but they still do skirts, jackets and pants from these latter. True, the summer housing of these peoples usually represent a tent made from the skins held on the backups from the floating forest and whale ribs; But for a long winter, most of the Eskimos builds themselves domed huts from snow, consisting of round or oval main premises and several rooms around him. Central Eskimos in the northeast of America, according to Boas, build even extensive huts from snow, dismembered into several rooms and covered with domes, and thus get public houses in which they are going for joint singing and games.

Brief description of the art and life of the polar peoples.

Polar peoples, forced to poop, are not particularly careful about their bodily decoration; Nevertheless, North America's women sometimes tattoo separate parts of their body with simple patterns consisting of rhythm and symmetrically located points and strokes. But the inhabitants of the North are not alien to the desire to appropriate and in the original way to decorate their fur clothing and especially diligently adorn all utensils made from the bone of dough mammoth fangs, the horns of the reindeer and walrus fangs. Luke, rugs of boulings, handles of boxes and buckets, smoking tobacco tubes, etc. Subjects among the Eskimos living in North-West America (the Greenland Eskimos are not observed), there are thickly dodied with scratched ornaments filled with black, less often red paint and At the end are equipped with carved heads of animals or similar decorations. Geometric linear patterns occur relatively rarely and do not go, as has already noticed Gross, further the simplest tape motives, seam, scar; Meanwhile, as frequently depicted individual and concentric circles are the imitation of partly beads strung on the lace, partly the images of the moon and the sun. Concentric circles, connected by the tangents and the impression of spirals come accepted. But the prevailing motives of the ornament of polar peoples again borrowed from nature and life, especially from the world of northern animals. From simple ornamental series of stretched skin of animal, grazing deer, shown from the walrus water, floating one after another fish and rhythmic rows of different animals, which sometimes join the decorative row, alternately consisting of summer tents and people, - this ornamentics goes to drawings, Similar to the curly letter, primarily to the picture narratives of the life of the North-Western Eskimos and Chukchi. For such pictures, processions for hunting and fishing, traveling and homework, celebrations and disputes are presented. Wonderful clarity and liveliness, how can their story know these children of nature, depicting the human head only in the form of a black mug. These visual stories from life, which should be viewed as the transfer of history, are often very complex and, as indicated by Walter Gemes Hoffman, repeating one near the other and externally modified, gradually turn into decorative stripes, probably, their initial development occurred at all that way. The language of human gestures depicted graphically, immediately becomes a visual letter, and the events submitted schematically immediately turn into the decoration. The objects decorated with a simple number of decorative motifs belong to the rocker drill with a repeated pattern of an animal skins stored in the Berlin Museum of Publicology, and the Eskimo headband, decorated with a number of plastic shelter heads and in the Visess collections, in Stockholm.

Fig. 41 - the rocker of the Eskimo drill, depicting the animal skins

Small sculpture of Eskimos and Chukchi.

In addition to plastic ornaments at the ends of the appliances, Eskimos and Chukchi we find real graceful art in a well-developed small sculpture. In the threads of the bone, mammoth fangs, the polar peoples are the direct heirs of Paleolithic artists engaged in carvings on the horns of the reindeer, and the inhabitants of the France caves. Their human figures, such as the figure of Chukchi from the Stockholm collection, is obviously not at all artistic of prehistoric human statuettes found in Mountain France, but they have preserved better, and therefore they are more convenient to see that strict, according to Yulia Lange, the frontal, from which to The art of wild peoples is as little exceptions, as in the art of peoples of prehistoric. Plastic animal figures are captured and transferred true in general terms, but in respect of vitality and artistic processing are inferior to the best prehistoric works of this kind. We find at the polar peoples plastic images of almost all northern animals, mainly large marine mammals, whales, walruses of all sorts of species, then white bears, foxes, water birds; But it is the northern deer that is so common between plastic images in the ancient European hunters on the reindeer and in the scarked patterns of polar peoples, almost not fall in the latter in the form of plastic figures. Probably, the shape of the body of these animals is too complex and elusive, for arctic cutters. Lying on the back of a seal found at Aleutov, a collection of entrances, in Stockholm. Arctic carved and robberies are rich in the National Museum in Washington and the Shopping Museum in San Francisco, and in Germany - Berlin Museum of Peopia and Munich Ethnographic Museum.

As for the appointment of plastic works of this kind, they are considered partly bait for fish, partly toys for children and adults, partly decorations of clothing and dishes, partly amulets and safety pending a mystical-religious nature. There is nothing impossible and in the fact that some small items of this kind are no more as products of a free desire for art. The issue of the development of all this Eskimo art was engaged in Hoffman. Attempts are made to prove that heyda Indians have an influence on some ornaments - Chukchi, on the third - even Papuars Torresov Strait; It has been proven that here the straight ornaments express more ancient, and concentric circles are a later stage of development. But, fortunately, and Hoffman also recognizes that these concentric circles are not borrowed from Papuans, having similar circle decorations, and both here, and there in other countries, originally arose.

In general, we see that the art of all these hunting and fishing peoples is not alien to superweight and symbolic ideas. But it is also brightering everywhere its realistic character. It convinces us that art generally begins not with symbols, but from observing nature.

Bushmen art

Archer.
Skatal painting.

bushmen art. The creativity of Bushmen is represented by rock painting, preserved in South Africa (Dragons of the Mountain), Namibia (Mount Brandsburg), Swaziland, Lesotho. Painting is located on the walls and ceilings of the caves and grotts, where the images are layering on each other. Murals are made mineral and earthwood paints, as well as lime and soot, divorced on water and animal fat. The most ancient layers of Bushmen painting are dating from the 8th millennium BC. e. Until the middle of the 2nd millennium N. e. The among the earliest are monochrome handprints and silhouette figures of animals. The most advanced painting monuments are located in the middle and upper layers. Mythological and genre plots (multifigure compositions of complex angles) are distinguished: scenes of burial, causing rain, ritual dancing, dynamic, complete expression of the scene of hunting, battles (bouts of boushmen with Zulu and SUTU). Images are volumetric, polychromic (up to 10 colors), with soft transitions of tones. Especially parts of the antelope image. Their figures ranging from 20 cm to 2 m, single and group, are arranged in scenic groups or stretched into long rimpets. Human figures, the silhouettes of which with strongly elongated proportions are defined by energetic rapid lines, poses and gestures are dynamic and expressive. The special group make up images of fantastic beings: some of them illustrate the myths of bushmen. An image of plant images, trees, sometimes whole landscapes include rare for rock painting. Quite often there are various signs, geometric shapes. A special place in the work of Bushmen is held by Petroglyphs depicting mainly animals.

Literature:
Tongue M. H., Buschman Paintings, Oxf., 1909.

V. B. Mirimanov.

Antelopes and people.
Skatal painting.

Antelope.
Figure on the stone.
Museum of anthropology and ethnography named after Peter Great.
Leningrad.

Antelope Kudo.
Petroglyph on the rock.
Figure on the stone.

Encyclopedic reference book "Africa". - M.: Soviet Encyclopedia. Chief Editor An. A. Gromyko. 1986-1987 .

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