8th grade

Topic: Art begins with myth

Mythology (Greek. μυθολογία, - Tradition, Tale and Greek. λόγος - Word, Story, Teaching)

This is a world perception system based on traditional legends, images, characterized by a metaphoricity, faith in a wonderful one.

This is a way to communicate with a higher reality, with gods in which a person seems to imitate them.

The gods and other supernatural creatures are nearby, they are almost real and at the same time fabulous.

Myth - the synthesis of earthly reality with reality is otherwise.

Myths existed in all nations of the world. All kinds of art were somehow used mythology, for myth is very interesting, bright, shaped material.

Essential arts such as the theater, Opera, Cinematographer appealed to myif.

The combination of music and literary text, entertainment and ideological saturation is capable of particularly effect on people.

In music, myths were also used very often, because Music acts simultaneously and on the mind, and feelings as it is a necessary condition for the perception of myth.

What kind examples of using myths in music we know?

First of all, classic myths - myths of ancient Greece and Ancient Rome (Example: "Orpheus" glitch ")

myths of the North-West (German-Scandinavian, Celtic) - Myths of Edda and Elder Edda among German peoples, myths about King Arthur and Knights of the Round Table - in Celtic mythology (examples: "King Arthur" G. Persell, Opera Richard Wagner)

Slavic mythology (examples: "Snow Maiden", "Tale of the Invisible Grade Kitecy and the Virgin Fevronia" N. Rimsky-Korsakov)

Important elements of the myth:

Images of nature

Magic cities: Monsalvat Castle for the North-West, Kite for Russia.

Characters

The ideological content of the myth - its plot

Today we will talk about the German composer R. Vagner (1813-1883)

The central place in the Heritage of Wagner is occupied by operas (all of them thirteen), in which the national warehouse of character is captured, recreated legends and legends of the German people, the magnificent paintings of nature. In his operations, a rich, complex world of ideas and human experiences is concluded: heroic, nature, love.

We listen "Walquer's flight" from the Opera "Valkyrie".

Valkyrie - In the Scandinavian mythology, the daughter of a glorious warrior or Konong, which is rewing on the winged horse over the battlefield and takes away the life of the warriors. The dead soldiers go to Heavenly Dog - Valhalla. With the mair of their horses (clouds) Rosa dripping, and the light shines from their swords. Virgin Warpermen are depicted in helmets, with shields and spears; From the brilliance of their armor, according to beliefs, the Northern Light arises in the sky. The image of Valkyrie is used in modern literary works The genre of fantasy, as well as in computer games, from their names, even a drug Valkirin occurred.

Wagner imitates vortex flocks: "wind gusts", "screech and whistle" surrounding the main theme, create an impression of authenticity of action. However, for the main topic, Wagner elected another prototype: here the image of long jumps next to each other appears.

The melody is built in such a way that every next motive is repelled from the previous one, each phrase appears first as "landing", accent, and immediately serves as a brief and energetic push for the next phase of movement. So Wagner shows a flight journey, a flight of viritatives, aggravated by heavy armor.

Wagner's music was so close to the German people, the heroic images of the Wagner operas are so strong that in the twentieth century the German fascism in the face of A. Hitler has assigned the Wagnerian image of the young Fearless Siegfried and made it a symbol of a nation.

Composer, therefore, artistically talentedly called the world of collective national ideas.

Art and myth

"Specialized" semantic and symbolic system.

and finally, their relative independence. It happened to mythology, religion, art.
In modern culture, you can already talk about the relative independence and the interaction of culture with these institutions.

"Tales" about the creation of peace and man, stories about the acts of the ancient gods and heroes.

"Myth" has ancient Greek origin and means "Tradition", "Tale". European peoples up to the XVI-XVII centuries. Only famous and well-known Greek and Roman myths were known, later they became aware of the Arab, Indian, Germanic, Slavic, Indian legends and their heroes. Over time, first scientists, and then the myths of the peoples of Australia, Oceania, Africa turned out to be accessible to the public. It turned out that the basis of the sacred books of Christians, Muslims, Buddhists also lie various mythological traditions recycling.

Those interested in the history of culture, literature and art, acquaintance with mythology is absolutely necessary. After all, starting from the Renaissance, artists and sculptors began to sculpt the plots from the legends of the ancient Greeks and Romans. Having come to any of the artistic museums, the inexperienced visitor turns out to be in captivity of the beautiful, but often incomprehensible to him on the maintenance of works of the great masters of Russian visual art: P. Sokolov paintings ("Dedal, tieting the wings of Ikaru"), K. Bryullova ("Meeting Apollo and Diana "), I. Aivazovsky (" Poseidon, Running By Sea "), F. Bruni (" Death Camillas, Sisters Horace "), V. Serov (" Abduction of Europe "), sculptures of such outstanding masters, like M. Kozlovsky (" Achilles with the body of Patrole "), V. Demoust-Malinovsky (" Abduction of Proserpina "), M. Shchedrin (" Mariji "). The same can be said about some masterpieces of Western European art, be it "Perseus and Andromeda" Rubens, "Landscape with Polyfem" Polysen, "Dana" and "Flora" Rembrandt, "Muings of scene in the camp of the portrait", Thipolo or structural groups " Apollo and Daphne "Bernini," Pygmalion and Galatia "Torvaldsen," Amur and Psyche "and" Heba "canow. one

purpose This work: show the interaction of art and myth, and trace the history of the development of myth as a form of culture.

In this work, I set tasks :

3) show the history of the development of the myth in art;

4) From our point of view the most significant relationship between modern art and myth.

5) Show the development of mythology and art in the XIX - XX century.

Relevance This work lies in the fact that art and mythology are an integral part of the culture, to which a person in a person with all his desire is distance from the myth and destroy it, at the same time, the deep need for it. Also, in contemporary art, this need for the acquisition of myth is very strong.

1) Andreev G. L. History of Europe T. 1., M., 1988, p. 21

The myth is not only historically the first form of culture, but also changes in the spiritual life of a person who is preserved and when the myth loses its absolute domination. The general essence of the myth is that it is the unconscious semantic breeding of a person with direct existence, be it being of nature or society. If the myth acts as the only form of culture, then this busty leads to the fact that a person does not distinguish the meaning of natural property, and the semantic (associative connection against causal). Everything is listed, and nature acts as the world of formidable, but relatives mythological beings - Demons and gods. 2.

In parallel with the myth in the history of culture, art existed and acted. Art is an expression of the need of a person in figuratively symbolic expression and experiences of significant moments of his life. Art creates a "second reality" for a person - the world of vital experiences expressed by special shaped symbolic means. Attachment to this world, self-expression and self-knowledge is made up of one of the most important needs of the human soul. 3.

Art produces its values \u200b\u200bdue to artistic activities, artistic development of reality. The task of art comes down to the knowledge of aesthetic, to the artistic interpretation by the author of the phenomena of the surrounding world. In artistic thinking, cognitive and evaluating activities are not divided and used in unity. It works such thinking with the help of a system of figurative means and creates a derivative (secondary) reality - aesthetic estimates. Art enriches the culture of ideas about the world, through the image system, symbolizing the meanings and

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subjective ideals of a certain time, a certain era. four

Art reflexes the world, reproduces it. The reflection itself can have three dimensions: past, present and future. In accordance with this, there are differences in the types of values \u200b\u200bthat art creates. These are retroenses that are oriented into the past, these are realistic values \u200b\u200bthat "accurately" are oriented to the present, and finally avant-garde values \u200b\u200bfocused on the future. From here - the features of their regulatory role. However, the general for all these values \u200b\u200bis that they are always facing the human "I". five

maintain the openness of the value system, the openness of the search and choice of orientation in culture, which ultimately brings up human spiritual independence, freedom of spirit. For culture, this is an important potential and factor of its development. The constant interaction of art and myth proceeds directly, in the form of "transfusion" of the myth into literature, and indirectly: through the visual arts, rituals, folk festivals, religious mysteries, and in the last centuries - through scientific concepts of mythology, aesthetic and philosophical teachings and folklore. This interaction is particularly actively accomplished in the intermediate sphere of folklore. People's poetry according to the type of consciousness to the world of mythology, however, as the phenomenon of art, adjoins the literature. The double nature of the folklore makes it in this attitude of the cultural intermediary, and the scientific concept of folklore, becoming a fact of culture, have a great influence on the processes of interaction of literature and mythology. The ratio of myth and artistic written literature can be considered in two

4) Bogatyrev P. G., questions of the theory of folk art, M., 1971., p. 51

5) Vygotsky L. S., Psychology, 2 ed., M., 1968., p. 79

The evolutionary aspect provides an idea of \u200b\u200bmyth as a certain stage of consciousness, historically preceding the emergence of written literature. Literature from this point of view dealt only with destroyed, relic forms myth and itself actively contributes to this destruction. Myth and stadially - imposing his art and literature are subject to only opposition, because they never coexist in time. The typological aspect implies that mythology and written literature are compared as two principal various methods Vision and descriptions of the world that exist at the same time and in cooperation and only in varying degrees that manifested themselves in certain epochs. For mythological consciousness and texts generated by it, it is primarily non-compliance, and the infraces of the messages transmitted by these texts. 6.

the genericants and the like characters, once having committed, could be repeated in the constant round of global life. These stories were fixed in the memory of the team with the help of a ritual, in which, probably, a significant part of the narrative was implemented not by the help of verbal telling, as well as by gesturing demonstration, ritual gaming ideas and thematic dances accompanied by ritual singing. In the original form, the myth did not say so much as he was played in the form of a complex ritual action. As the evolution of the myth and the formation of literature, tragic or divine heroes and their comic or demonic twins appeared. As a relic of this process of crushing a single mythological image in the literature, a tendency has been preserved, coming from Menandra and through M. Survantes, W. Shakespeare and Romantics, N. V. Gogol,

6) Shakhhanych M. I., Myth and Contemporary Art, S. -Petherburg 2001. - 93 p.

Conclusions: So, the myth is the most ancient system of values. It is believed that in general the culture moves from the myth to the Logos, that is, from the fiction and convention to knowledge, to the law. In this regard, in modern culture, the myth plays an archaic role, and its values \u200b\u200band ideals are rudimentary. I think that the development of science and civilization often depreciates the myth, shows the inadequacy of the regulatory functions and values \u200b\u200bof the myth, the essence of modern sociocultural reality. However, this does not mean that myth has exhausted himself. Myth in modern culture creates funds and methods of symbolic thinking, it is capable of the value of modern culture to interpret through the idea of \u200b\u200b"heroic", which, let's say inaccessible to science. In the values \u200b\u200bof the myth, sensual and rational is supposed to pry that there is little accessible to other cultural means of the XX century. Fantasy and fiction make it easy to overcome the incompatibility of meanings and content, because in myth everything is conditionally and symbolic. Under these conditions, the choice and orientation of the individual will be limited and, therefore, using convention, it can achieve high flexibility that, for example, almost inaccessible religion. Myth, allegiating and personifying the phenomena of the surrounding world, reduces them to human ideas. On this basis, the specifically sensual orientation of a person becomes possible, and this is one of the most simple ways ordering its activities. In early and primitive cultures, such a method belonged to a leading role, for example, in paganism. But in developed cultures, such phenomena have a rather nature of relapse or are a mechanism for implementing a archetype, especially in mass culture or mass behavior. Mythology is often used in the XX century as an amplifier of values, usually due to their hypertrophing and fetishization. The myth allows you to sharpen one or another aspect of value, hyperbulous it, and, therefore, to emphasize and even stick.

2. History of the development of myth in art

Each era in the history of art is characterized by a certain awareness of the relationship of art and mythology.

greek tragedy (Eschyl - "Chained Prometheus", "Agamemenon"; Sofokl - "Antigona", "Edip-Tsar", "Electra", "Oedip in Colon", etc.; Euripid - "Iphigenia in Avlud", "Medea" , "IPPOLIT", etc.). It affects not only the appeal to mythological plots: when Eschil creates a tragedy on the historic plot ("Persians"), he mythologizes the story itself.

New types of attitude to myths gives Roman poetry. Vergilius ("Eneida") links myths with philosophical comprehension of history, with religious-philosophical issues, and the structure of the image developed by it largely anticipates Christian mythologies (the advantage of the symbolic significance of the image above its shaped concreteness). 7.

"Myth", painted in negative tones. At the same time, the exception of the myth from the field of "true" faith to a certain extent facilitated the penetration of it as a verbal ornamental element in secular poetry. In the church literature, mythology, on the one hand, penetrated the Christian demonology, merging with her, and on the other, it was attracted as a material for locuding in the pagan texts of encrypted Christian prophecies. The targeted demi-treatment of Christian texts (that is, the expulsion of the ancient element) actually created an exceptionally complex mythological structure, in which a new Christian mythology (in all richness of its canonical and apocryphic texts), a complicated mixture

7) Freudenberg O. M., myth and literature of antiquity, M., 2000. - 131 p.

mythology has often been often the most unexpected modifications (for example, Jesus Christ in the Old Saxon epic poem "Helian" appears in the form of a powerful and militant monarch). eight

Revival created a culture under the sign of dehristianization. This led to a sharp strengthening of the non-Christian components of mythological continuum. The era of the Renaissance spawned two opposite models of the world: an optimistic, rationalistic, cleaned explanation of space and society, and a tragic, recreating irrational and disorganized appearance of the world (the second model directly "flowed" into the Baroque culture). The first model was built on the basis of rationally ordered antique mythology, the second intensified the "low mystics" of the people's demonology in the mixture with the extraracanone ritualistic of the Hellenism and the mysticism of the side heretic currents of medieval Christianity. The first had a decisive influence on the official culture of high Renaissance. The alloy into a single artistic whole myths of Christianity and antiquity with mythologized material of personal destiny carried out in the "Divine Comedy" of Dante. To an even greater degree than in the "book" literature, the myth is visible in the folk carnival culture, which served as an intermediate link between primitive mythology and artistic literature. Live connections with folk-mythological origins were maintained in the Renaissance Age Drama (for example, the "carnival" of Dramaturgia of W. Shakespeare - a jester plan, highlighted - debate and so on). F. Rabl ("Gargantua and Pantagruel") found a bright manifestation of traditional traditional culture traditions and (wider) some common

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features of mythological consciousness (hence the hyperbolic, space image of the human body with the oppositions of the top - Niza, "travels" inside the body, etc.). The second model has affected the writings of J. Van Risbrook, Paracelles, visions of A. Durera, images of X. Bosha, M. Nithardt, P. Breygel senior, Alchemy culture, etc.

Venus "," Spring "), Titian (the picture" Venus in front of the mirror ") and others. From the images of ancient Greek mythology, he took the plot for his wonderful statue of Perseus an outstanding Italian sculptor Benvenuto Chelney. nine

Bible motifs are characteristic of Baroque literature (poetry A. Griphus, Prose P. F. Kestedo-I-Wielgas, Dramaturgia P. Calderon), continuing to contact the ancient mythology ("Adonis" J. Marino, Polyfem L . Gongory, etc.). English poet XVII century. J. Milton, taking advantage of the biblical material, creates heroic-dramatic works in which thiranoboric motives sound ("Lost Paradise", "Return Paradise", etc.).

"Demifologizes" it turns into a system of discrete, logically located images-allegory. Appeal to the mythological hero (along with the Hero of Historic), his fate and acts are typically for the "high" genres of literature of classicism, first of all - tragedy (P. Cornell - "Medea", J. Rasin - "Andromaha", "Fedra", " Biblical "Drama -" Esphyr "," Hofolya "). PARTIODING Classic Epopes Blessed Poetry

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9) Bakhtin M. M. Folk culture of the Middle Ages and Renaissance, M, 1965, p. 98

often also used mythological plots ("disguised verses" of the French poet P. Skarron, "Aneida, etc.). Consistent

the rationalism of the aesthetics of classicism leads to formalization of methods of using the myth. 10

("Merop", "EDIP" Voltaire, "Messiad" F. Klopshtok) or the formulation of universal generalizations ("Prometheus", "Ganymed" and other works of I. V. Goethe, "Celebration of winners", "Cererti complaint" and others . Ballets F. Schiller).

flemish, French, Dutch artists: Rubens ("Perseus and Andromeda", "Venus and Adonis"), Van Daeke ("Mars and Venus"), Rembrandt ("Dana," Palmal Pallas Athens "), Pussen (" Echo and Narcissus, "Nymph and Satir", "Landscape with a Polyfem", "Landscape with Hercules" and others), Bush ("Apollo and Daphne") - and many others. eleven

Romanticism (and before him - predocutantheam) put forward slogans of appeal to the myth and from the rationalized mythology of the Greco-Roman antiquity to the mythology of the national-pagan and Christian. "Opening" in the middle of the XVIII century. For the European reader of Scandinavian mythology, folklorism I. Gerder, interest in Eastern mythology, to Slavic mythology in Russia 2nd half of the XVIII - early XIX centuries, which led to the emergence of the first experiments of the scientific approach to this problem, prepared an invasion of the art of romanticism of images of national Mythology.

11) Weiman R., History of Literature and Mythology, M., 1975., p. 395

So, F. Gelderlin, the first in the poetry of the new time organically mastered ancient myth and the new myth-making nashelnik, included, for example, among the Olympic gods, land, Helios, Apollo, Dionysus; In the poem "The only" Christ is the son of Zeus, Brother Hercules and Dionysus.

the game with the images of traditional mythology, the union of the elements of various mythologies and in particular the experiments of their own literary mytho-like fiction ("Kroashka Tsakhs" E. T. A. Gofman), repetition and duplication of heroes in space (twins) and especially in time (heroes always live, They die and resurrected or embodied in new creatures), partial transfer of accent from the image of the situation as a certain archetype, etc. - the characteristic feature of the myth-making romantics. This is often manifested even where the heroes of traditional myths act. Non-traditional was the myth-making of Hoffman. He (the story of the Golden Pot, "Kroashka Tsakhs", "Princess Brambill", "Bloch's Lord", etc.) Fantasy acts as a fabulousness through which a certain global mythical model of the world is overlooked. The mythical element comes to some extent in the "scary" stories and gofman novels - like chaotic, demonic, night, destructive force, as "evil fate" ("Electsir Devil", etc.). The most original gofman is fiction in everyday life, which is very far from traditional myths, but is built to some extent on their models. The noble war led by a nutcracker to the toys against a mouse person ("Nutcracker"), talking Olympia doll, created with the participation of the demonic alchemist of Coppelius ("Sandy man") and others - various variants of the mythology of the ulcers of modern civilization, in particular silent technicalism, fetishism, social exclusion . In the work of Gofman, the trend of romantic literature was most clearly shown in relation to the myth - an attempt to conscious, informal, unconventional use of myth, sometimes acquiring the nature of independent poetic myth-making. 12

Conclusion: I believe that in the era of writing the literature begins to oppose the myths. The oldest reservoir of culture after the appearance of writing and the creation of ancient states is characterized by direct links of art and mythology. However, the functional distinction, which affects this stage, is particularly acute, determines that the connection here is invariably turns into a rethinking and struggle. Mythological texts, on the one hand, are in this period the main source of plots in art. Myths turn into a variety of magical stories, the story of the gods, cultural heroes and thencestrals. It is at this stage that such narrations sometimes acquire the nature of the stories about violations of the main prohibitions imposed by the culture on human behavior (for example, prohibitions for the murder of relatives).

With Christianity in the Mediterranean's horizontal and then the whole European world entered the mythology of a specific type. The literature of the Middle Ages arises and develops on the basis of the pagan mythology of the "barbaric" peoples (People's Heroic Epos), on the one hand, and on the basis of Christianity - on the other. The influence of Christianity becomes the prevailing, although the ancient myths are not forgotten. For that time, the attitude towards myifa is characterized as a generation of paganism.

12) Weiman R., History of Literature and Mythology, M., 1975., p. 465

XIX. – XX century

Greco-Roman mythology so deeply penetrated Russian literature that a person who reads the poem A. S. Pushkin (especially early) and unrecorded about mythological characters will not always be clear the lyrical or satirical meaning of a particular work. This is true of poems G. R. Dervin, V. A. Zhukovsky, M. Yu. Lermontova, Bass I. A. Krylov and others. All this only confirms the remark F. Engels about that without the foundation, which was laid by Greece and Rome, there would be no modern Europe. The strongest influence that ancient culture was provided to the development of all European peoples is thus not subject to doubt.

expressed in the creation of demonic mythology of romanticism (J. Bayron, P. V. Shelly, M. Yu. Lermontov). The demonism of the romantic culture was not only an external transfer to the literature beginning. XIX century The images from the myth about the Hero-Bogoboretz or the legend about the fallen loose angel (Prometheus, Demon), but also acquired the features of genuine mythology, which actively influenced the consciousness of the whole generation, which created highly absorbed canons of romantic behavior and generated a huge amount of mutually isomorphic texts. 13

Realistic art of the XIX century. Focused on the demi-physical culture and saw his task in liberation from the irrational heritage of history for the sake of natural sciences and the rational transformation of human society. Realistic literature sought to display reality in the life forms adequate to it, to create an artistic history of his time. However, she

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13) Muletinsky E. M. Poetics of myth. M., 1995., p. 68

the material (line coming from the gofman to Gogol's fiction ("nose"), to the naturalistic symbolism E. Zol ("Nana")).

giveing \u200b\u200ba whole depth and perspective. Such titles like "Resurrection" L. N. Tolstoy or "Earth" and "Zerminal" E. Zol, lead to mythological symbols; Mythology "Goat Absotence" is visible even in the novels of Standal and O. Balzac. But in general, realism of the XIX century. Marked "demi-language". fourteen

In the XVII-XX centuries. Many military vessels of various European countries were called the names of the deities and heroes of antique mythology. Russian heroic gate "Mercury", Fregat "Pallada" in the XIX century, Cruisers of the First World War - "Aurora", "Pallada", "Diana", an English ship of the beginning of the XIX century "Bellerofont", which gave Napoleon to the island of Saint Helena, Many ships of the English fleet of the beginning of the XX century. (Squaded Mission "Nestor" and "Melpomen", Cruiser "Aleza", Ajax Bramenos, "Agamemnon", etc.). In the German fleet, the Ariadne cruiser, in French - "Minerva" also wore names borrowed from ancient Greek mythology. fifteen

The revival of general cultural interest in myth falls at the end of the XIX - beginning. XX centuries, but the revival of a romantic tradition, accompanied by a new wave of mythologization, has emerged in the second half of the XIX century. The crisis of positivism, disappointment in metaphysics and analytical paths of knowledge,

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15) Andreev G. L. The history of Europe t. 1., M., 1988., p. 254

following the romanticism, the criticism of the bourgeois world as a warmer and anti-sytic spoken attempted to return the "holistic", transforming a volitional archaic globility, embodied in myth. In the culture of the end of the XIX century. There are, especially under the influence of R. Wagner and F. Nietzsche, "neomophological" aspirations. Very diverse in their manifestations, social and philosophical nature, they largely retain the importance for the entire culture of the XX century.

The founder of "neomymphologism" Wagner believed that the people are through the myth to the creator of art that the myth is a poetry of deep life views that are universal. By contacting the traditions of German mythology, Wagner created the opera tetraldogue "Ring Nibelung" ("Gold Rhine", "Valkyrie", "the death of the gods"). The rod of all the tetralogy, he makes the motive of "damned gold" (the topic, popular in the romantic literature and the marked romantic criticism of the bourgeois civilization). The Wagner approach to mythology created a whole tradition, which was subjected to coarse vulgarization from the epigalons of the late romanticism, intensifying the features of the Wagner's characteristics of pessimism, mystics.

Revived interest in myth in all literature 20 century. manifested itself in three basic forms. The use of mythological images and plots is sharply enhanced by romanticism. Numerous stylization and variations on the themes specified by myth, ritual or archaic art are created. The art of the peoples of Africa, Asia, South America begins to be perceived not only as aesthetically fully complete, but also in a sense as the highest norm. Hence, a sharp increase in interest in the mythology of these peoples, in which the decoding means of the relevant national cultures see. In parallel, the revision of the views on its national folklore and archaic art begins; "Opening" by I. Grabair of the aesthetic world of the Russian Icon, the introduction into the circle of artistic values \u200b\u200bof the people's theater, visual and applied art (signboard, artistic utensils), interest in the surviving ritual, to legends, beliefs, conspiracies and spells, etc. The influence of this folklorism on writers of type A. M. Remizova or D. G. Laurence. Secondly (also in the spirit of the romantic tradition), it appears on the creation of "author's myths". If the realist writers of the XIX century. They strive to ensure that the picture of the world be created is like reality, then early representatives of neomyphological art - symbolists, for example, find the specifics of artistic vision in its deliberate mythologized, in departure from everyday empiric, from a clear temporary or geographical derision. At the same time, however, with the deep object of mythologization, even the symbolists are not only "Eternal" topics (love, death, loneliness "I" in the world), as it was, for example, in most Drum M. Meterlinka, but it is the conclusions of modern reality - The urbanized world of the alienated personality and its subject and machine environment ("City-Spruit" E. Verjnna, the poetic world of S. Bodler, Brysov). Expressionism ("R. U. R." K. Chapeka) and especially the "neomophological" art of the 2nd and 3rd quarter of the XX century. Only finally fastened this connection to mythologizing poetics with themes of modernity, with the question of the ways of human history (cf., for example, the role of "author's myths" in modern utopian or anti-cultic works of the so-called science fiction). sixteen

The most bright, however, the specifics of modern appeal to mythology manifested itself in the creation (in late XIX. - early XX centuries, but especially since 1920-1930s) of such works as "myth novels" and those like "Dramas-myths", "myth poems". In these neomyphological works, the myth is not fundamentally not the only line of narrative, nor the only point of view of the text. It faces, it is difficult to relate either with other myths (giving a different than it, evaluation

16) Shakhhanych M. and, Myth and Contemporary Art, S.-Peterburg. 2001. - 128 p.

images), or with the topics of history and modernity. These are "novels-myths" Joyce, T. Manna, "Petersburg" A. White, works by J. Appdajka and others.

"Process", "Castle", Novella). The plot and heroes have a universal value, the hero model humanity as a whole, and in terms of the plot events is described and the world is explained. In the works of Kafki, the opposite of primitive myth and modernist myth-making is clearly advocating: the meaning of the first - in the surveillance of the hero to the social community and to the natural circulation, the content of the second - the "mythology" of social exclusion. Mythological tradition as it turns into kafki in his opposite, it's like a myth inside out, antimif. So, in his novel "Transformation", in principle, comparable to the tonmic myths, the hero metamorphosis (its transformation into the ugly insect) is not a sign of belonging to its generic group (both in the ancient champion myths), but, on the contrary, the disconnect sign, alienation, conflict with family and society; Heroes of his novels, in which the opposition of "dedicated" and "uninitiated" plays a large role (both in the ancient initiation rites), and cannot pass "dedication" tests; "Conscriptors" are given to them in a deliberately reduced, prosecated, ugly form.

English writer D. G. Laurens ("Mexican" Roman "Pernate Snake" and others) draws ideas about the myth and ritual from J. Fraser. Appeal to ancient mythology for it is escape to the field of intuition, the means of salvation from the modern "stray" civilization (the chanting of the pre-agricultural bloody ecstatic cults of the Aztec gods, etc.). 17.

Mythologism XX century. He has many representatives in poetry.

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17) MINZ 3. G., Myth - Folklore - literature. L., 1978., p. 147

the aim of poetic creativity (Vyach. Ivanov, F. Sologub, etc.). The poets of other areas of Russian poetry of the beginning of the century appealed to mythological models and images. A peculiar form of poetic thinking was mythology for V. Klebnikov. He not only re-poses the mythological plots of many nations of the world ("Devian God", "the death of Atlantis", "Children of Otters"), but also creates new myths, using the MiF model, reproducing its structure ("Zhuravl", "Granddom Malushi"). eighteen

"Jezebel") and antique ("Medea", "Antigona"), J. Felod (Plays "Siegfried", "Amphitrion 38", "Trojan War will not", "Electra"), Hauptman (the tetrallogium "Atrides" ) and etc.

The ratio of mythological and historical in the works of "neomophological" art can be the most different - and quantitatively (from the text of individual images and parallels, hinting for the possibility of mythological interpretation of the depicted, before the introduction of two and more equal plot lines: "Master and Margarita" M. A. Bulgakov), and semantically. However, bright "neomophological" works are those where the myth acts in the language function - the interpreter of history and modernity, and these last play the role of that motley and chaotic material, which is an object of ordering interpretation. nineteen

"Neomymphologism" in the art of XX century. I developed my own, in many respects innovative poetics - the result of the impacts of both the structure of the rite and myth and modern ethnological and folkloristic theories. It is based on the cyclic concept of the world, "Eternal Return" (Nietzsche). In the world of perpetual returns in any phenomenon of the present, he has passed his past and .....................................................................................................

"Neomophological" texts in the work of Russian symbols, L., 1978., p. 79

future reincarnation. "The world is full of correspondences" (A. Block), you just need to be able to see in countless "Licin" (history, modernity) to the world of world unity (embodied in myth). But therefore, each unit phenomenon signals about countless other than others, the essence of their similarity, symbol.

It is specific to many works of "neomophological" art and the fact that the function of the myths in them are performed by artistic texts, and the role of the mythologist is quotes and paraphrasing from these texts. Often the depicted decoded by a complex reference system and to myths, and to works

art. For example, in the "fine demons" F. Sologuba, the value of Lyudmila Rutilovoy and Sasha Pototovna line is revealed through parallels with Greek mythology (Lyudmila - Aphrodite, but also Fury; Sasha - Apollo, but also Dionysis; Scene Masquerad, when the envious crowd almost breaks Sasha , disguised into a masquerade female suit, but Sasha "wonderfully" saves - ironic, but also has a serious sense, a hint of the myth of Dionesis, which includes such its essential motives, as breaking into parts, the appeal of the appearance, salvation - resurrection), with mythology Old - and New Testament (Sasha - Smya-Tempener). Myths and literary texts, decrypting this line, are for F. Sologuba. Some contradictory unity: they all emphasize the kinship of heroes with the primeevally beautiful archaic world. So the "neomophological" work creates a typical 20 V art. Phampologism, equalizing myth, artistic text, and often the historical situations identified with the myth. But, on the other hand, such an equalization of myth and works of art significantly expands the overall picture of the world in the "neomophological" texts. The value of the archaic myth, the myth and folklore turns out to be not opposed to the art of later eras, but difficult to compare with the highest achievements of world culture.

"Models" as as an admission to emphasize certain situations and collisions with direct or contrasting parallels from mythology (most often - antique or biblical). Among mythological motives and archetypes used modern authors- the plot of "Odyssei" (in the works of X. E. Nosaka "Naja", Hartlaub "Not every Odyssey"), "Ilda" (from Brown - "Stars followed by their course"), "Enidida" (in "Vision of the Battle of" Borges), the history of Argonauts (in the "Argonauts of Argonauts from Brandenburg" E. Langezer), the motive of the Centaur - at J. Appdajka ("Centaur").

From 50-60s. Poetics of mythologization develops in the "Third World" literature - Latin American and some African Asian. Modern European-type intellectualism is combined here with archaic folk-mythological traditions. A peculiar cultural and historical situation makes it possible to coexistence and interpenetration that can sometimes before organic synthesis, elements of historicism and mythologism, social realism and genuine folklorence. For the work of the Brazilian writer, J. Amada ("Gabriel, Carnation and Cinnamon", "Night Shepherds", etc.), Cuban writer A. Karpentera (the story "Earth Kingdom"), Guatemalan - M. A. Asturias ("Green Dad" et al.), Peruvian - X. M. Arghedas ("Deep Rivers") is characterized by the biscordability of socio-critical and folk-mythological motives, as if internally opposing pronounced social reality. Colombian writer G. Garcia Marquez (novels "One hundred years of loneliness", "Autumn Patriarch") is widely based on the Latin American folklore, complementing it with antique and biblical motifs and episodes from historical legends. One of the original manifestations of the myth-making Marquez is the complex dynamics of the ratio of life and death, memory and oblivion, space and time. Thus, literature throughout its history correlates with the mythological heritage of primitiveness and antiquity, and the attitude is strongly hesitated, but in general the evolution was in the direction of "demiatologization". "Remithologicalization" XX century. Although it is primarily connected with the art of modernism, but by virtue of the various ideological and aesthetic aspirations of artists who appeal to myth, it is far to him. Mythologization in the XX century. It became an instrument of the artistic organization of the material not only for typical modernist writers, but also for some realist writers (mann), as well as for the "Third World" writers, contacting the national folklore and myth often in the name of the preservation and revival of national forms of culture. The use of mythological images and symbols is also found in some works of Soviet literature (eg, Christian-Jews and images in the "Master and Margarita" Bulgakov). twenty

The problem of "Art and Myth" became the subject of special scientific consideration mainly in the literature of the XX century, especially in connection with the "remipalization" in Western literature and culture. But this problem was raised before. Romantic philosophy of beginning. XIX century (Shelling et al.), Giving the myth of particular importance as a prototype of artistic creativity, saw in mythology the necessary condition and primary material for any poetry. In the XIX century A mythological school has developed, which pulled out various genres of folklore from the myth and laid the foundations of a comparative study of mythology, folklore and literature. Creativity of Nietzsche, which anticipated some characteristic trends in the problem of the problem of "literature and myth", traced in the "birth of the tragedy from the spirit of music" (1872) the importance of rituals for the origin of the artistic species and genres, was presented in Western cultural process. Russian scientist A. N. Veselovsky developed at the beginning of the XX century. The theory of primitive syncretism of species of art and childbirth of poetry, counting the priest of this syncretism a primitive rite. The initial clause of the preceding in the 30s. XX century In Western science, the ritual-mythological approach to literature was ritualism J. Freyer and his followers - the Cambridge Group

20) Shakhhanych M. and, Myth and Contemporary Art, S. -Petherburg 2001. - 178 p.

researchers of ancient cultures (D. Harrison, A. B. Cook, etc.). In their opinion, at the heart of the heroic epic, fairy tales, the medieval knightly novel, the drama of the Renaissance, the works of the language of biblical-Christian mythology, and even realistic and naturalistic novels of the XIX century. The rites of initiation and calendar rites were lying. Special attention of this direction attracted mythologizing literature XX century. Establishment of Jung known analogies between various species Human fantasy (including myth, poetry, unconscious fantasy in a dream), his theory of archetypes expanded the possibilities of searching for ritual-mythological models in the newest literature. For N. Fray, in many ways oriented to Jung, the myth, merging with the ritual and archetype, is the eternal subsidiary and the origin of the art; Mythologizing novels of the XX century. It seems to him the natural and spontaneous revival of the myth, concluding the next cycle of the historical cycle in the development of poetry. Fry approves the constancy of literary genres, symbols and metaphor based on their ritual-mythological nature. The ritual-mythological school has reached positive results in the study of literary genres related genetically with ritual, mythological and folk traditions, in the analysis of rethinking the ancient poetic forms and symbols, in the study of the role of the tradition of the plot and the genre, collective cultural heritage in individual creativity. But the interpretation of literature characteristic of the ritual-mythological school is solely in terms of the myth and ritual, the dissolution of art in myth is extremely one-sided.

Otherwise, and from other positions, in compliance with the principle of historicism, consideration of meaningful, ideological problems - the role of the myth in the development of literature near the Soviet scientists was considered. Soviet authors turn to ritual and myths not as perpetual models of art, but as the first laboratory of poetic imagery. O. M. Freudenberg described the process of transformation of the myth to various poetic plots and antique literature genres. An important theoretical value is the work of M. M. Bakhtin about the Rabl, which showed that the key to understanding many works of literature late Middle Ages And the Renaissance is the national carnival culture, popular "laughter" creativity, related to genetically with ancient agricultural rituals and holidays. The role of myth in the development of art (mainly on the ancient material) was analyzed by A. F. Losev. A number of works in which various aspects of the problem of "mythologism" of literature appeared in the 60-70s. (E. M. Meletinsky, V. V. Ivanov, V.N. Toporov, S. S. Averintsev, Yu. M. Lotman, I. P. Smirnov, A. M. Panchenko, N. S. Leitehes).

The mythological era lasted the Millennium for the Millennium and gave rise to many great and amazing cultures of antiquity, but somewhere about 500 years BC. e. It happens, according to K. Yaspers, "the most sharp turn in the history of mankind." This era has developed the main categories that we think to this day are laid by the foundations of world religions, and today defining people's lives. This time Upanishad and Buddha, Confucius and Lao Tzu, Zarathustra and biblical prophets, Homer, Plato, Herclica and many other geniuses standing at the sources of the cultures of the new era.

Culture crowds the richest ancient civilizations. It has already arisen the features of another worldview. Scientific thought has already started destroying that naive, complete enthusias and fears of the worldview, which affected myths. The world changed. But mythology remains a great treasury of creatures of human genius.

Conclusions: At the beginning of the XIX century. There is an increase in the role of Christian mythology in the overall structure of romantic art. At the same time, goggle matters, expressed in the creation of demonic mythology of romanticism, were greatly distributed.

"Nation", races ", etc., that with the greatest completeness appeared in the ideology of fascism. Moreover, the myth used is traditionally religious as an ancient German mythology; it is constructed within the framework of bourgeois philosophy; then the demagogically absolute real community as" nation "," People "and others.

subordination, because the myth, as a certain hierarchy and units, not doubt, was actively used by totalitarian regimes and today is very firmly associated with them. And, at the same time, modern art is peculiar to the deep need for magic, it is permeated by longing for lost myths and the creation of new ones.

Conclusion

what existed to axial time, let it even be majestic, like the Babylonian, Egyptian, Indian or Chinese culture, is perceived as something dormant, incomprehensible. Ancient cultures continue to live only in those elements that are perceived by the new start. Compared to a clear human essence modern Mira The ancient cultures preceding him as if hidden under some kind of peculiar veil, as if the person of that time had not yet achieved authentic self-consciousness. Monumentality in religion, in religious art and in their respective huge authoritarian statements of antiquity was for people of the axial period, the subject of reverence and admiration, sometimes even a sample (for example, for Confucius, Plato), but in such a way that the meaning of these samples in perception was completely changed .

There are different points of view that I made whole cultures on this gigantic reflection process, when, according to K. Yaspers, "the consciousness was aware of consciousness, thinking made his object thinking." According to A. Weber, this turn of history was carried out by the Indo-European conquerors with their heroic and the "tragic spirit."

It is unlikely that such an explanation is enough as not enough and purely socio-economic explanations. Be that as it may, the new European culture began to count its time.

1. Andreev G. L. The history of Europe T. 1., M., 1988. - 414 p.

2. Bakhtin M. M., Folk culture of the Middle Ages and Renaissance,

M., 1965. - 475 p.

4. Weiman R., History of Literature and Mythology, M., 1975. - 538 p.

5. Vygotsky L. S., Psychology of Art, 2 ed., M., 1968. - 324 p.

7. Zhirmunsky V. M., People's Heroic Epos, M.-L., 1962. - 390 s.

8. Likhachev D.S., Poetics of the Old Russian literature, 2 ed.,

9. Losev A. F., Aristophane and his mythological vocabulary,

in the book: Articles and Research on Linguistics and Classical Philology,

M., 1965. - 550 s.

10. Muletinsky E. M. Poetics of myth. M., 1995. - 96 p.

11. Minz 3. G., about some "neomophological" texts in the work of Russian symbols, L., 1980. - 167 p.

12. Mintz 3. G., Myth - Folklore - Literature. L., 1978 - 363 p.

14. Ryazanovsky F. A., demonology in the ancient Russian literature,

M., 1975. - 359 p.

15. Smirnov I. P., from a fairy tale to the novel, in the book: Proceedings of the department of the ancient Russian literature, t. 27, L., 1972. - 424 p.

17. Florensky P. A., Reverse Perspective, in the book: Proceedings on Signal Systems, [t.] Z. Tartu, 1967. - 387 p.

18. Freudenberg O. M., Myth and literature of antiquity, M., 2000. - 254 p.

S. - Petersburg 2001. - 270 p.

Those who want to see what they did not actually refer to the pictures of a certain genre. For such webs, fabulous creatures, heroes of legends and legends, folklore events are depicted. Artists of the mythological genre are written in such a manner.

How to revive the picture

Undoubtedly, in order to display events that did not see with their own eyes, the master must have an excellent fantasy and know the plot of works, on the basis of which he is going to create. In order for the viewer to like the picture, you need to use the brush, then the images that exist in the artist's head will revive and turn into a fairy tale. Masters who can do it have become famous all over the world. Among famous names: Botticelli, Vasnetsov, Manteny, Cranes, Georgeon.

Number

Mythological genre in art appeared when people stopped believing that they were told by their ancestors. The works on the theme of the former events became simple stories in which the existence of their heroes actually was questioned. Sometimes the artists were able to give will to their imagination and portray the participants in the participants of the ancient events as they represented them. The mythological genre in the visual arts specially flourished in the Renaissance Epoch. Moreover, in every age, various legends became plots for creativity, the benefit of the lack of them was not. Initially, mythological genre assumed the image of the heroes of ancient Greece and events related to their lives. Gradually, in the 17th century, plots filled with special meaning, affecting the aesthetic and moral problems approximate to life realities appeared in the pictures. And already in the 19-20 centuries, the field of activity of the artist operating in this direction, as the mythological genre, has become especially broad. Celtic, German, Indian, as well as Slavic myths are used as a basis for the image.

Sandro Botticelli

This painter was the first to begin to use the mythological genre to create the plots of such subjects used for decorative decorations. Private customers made an order, often inventing what should be depicted and what semantic load it will carry. Therefore, they were understandable only to those who bought such work. Interestingly, the master wrote his paintings so that they are combined with any objects of furniture and life. Therefore, an unusual size or shape of his cloth is justified by the fact that in the aggregate with the subject, which they wrote, everything looked quite harmoniously. Among his works are known "Birth of Venus", "Spring". Also Botticelli used mythological genre in order to paint altari. The famous works of this kind include the "Annunciation of Chestello" and together with John the Baptist.

Andrea Mantenya

Mythological genre in the visual art brought fame to this artist. In particular, in this direction his painting "Parnas" was performed. Only such a connoisseur of antiquity, as Manteny, could create such a canvas filled with subtle allegories, some of which still have not solved. The main plot of the paintings is the love of Mars and Venus. It is their figures that the artist placed in the center. This is an adulter, so Manteny found it necessary to reflect the indignation of the deceived husband - Hephaest. He left his room and stands at the entrance to the blacksmith, sending curses towards the in love. Two and Mercury, contributing to the rapprochement of Mars and Venus, are also present in the picture. In addition, nine dancing muses are depicted here, which are capable of their singing cause an eruption of a volcano. But on the right of the center of the picture stands Pegasus. This winged horse, according to legend, was able to stop the eruption, stuck with hoof.

Georgeon

The master wrote several paintings in the mythological genre. Among them, "Sleeping Venus", which the author could not finish, because in the process of creating a chuma and died. There is still disputes about who completed the canvas. Also famous "Judith". This picture is based on the biblical plot. This topic also occupied other artists, but on the canvas of Georgeon, it is depicted modest, tender and complete self-esteem. She comes on the head of Oloferna. This is a negative character, but his appearance does not repel the viewer, although at that time negative heroes were depicted ugly.

Victor Vasnetsov

The creator of the canvases, which came to life with all the favorite fairy tales, represents the mythological genre in painting in their works. His paintings are not very much like children. After all, they depict the heroes of all the favorite and familiar works of the works of Russian folklore. Mythological genre allows the artist to show fantasy and portray on the canvas what he represents in his imagination. But Vasnetsov's work so affect the spiritual strings of a person who find a response in every heart.

Maybe because he loved and knew how to transmit the many-sughd of Russian nature in his works. All beloved birches cannot not touch their quiet sadness. Everything that the man sees in the pictures of Vasnetsova, he is familiar to him. Even recognizable, although they could not be seen anywhere before. The works of the master are not just portrayed, they teach how pure female beauty should look like, masculinity and heroes. Therefore, his work is familiar to everyone. These are such pictures like "Snow Maiden", "Alenushka", "Bogatyri", "Ivan Tsarevich and a gray wolf", "Koschey Immortal".

Mikhail Vrubel

Mythological genre became the basis of creativity of an equally famous painter Mikhail Vrubel. Everyone known for his painting "Tsarevna-Swan", written on the motives of Pushkin's fairy tales. Although the image is completely mythological, in fact, Vrubel depicted his wife in she sang in the opera, the scenery for which also painted her husband. The colors that the master used fill the image with tenderness and ease. The author tried to pass the moment when the bird turns into an excellent princess. It was quite good. Until now, the magic effect of his paintings makes many people become fans of his work.

Mythological genre is interesting, awakens fantasy not only by the artist, but also at the viewer. And most importantly - sources for inspiration many, so that the expanses for creativity are endless.

The ancient Greeks were active, energetic people who were not afraid to know the world, although he was populated by a hostile man creatures that have fallen into him. In their searches for protection against the terrible natural forces of the Greeks, like all the ancient peoples, passed through fetishism - faith in the spirituality of inanimate nature (stones, wood, metal), which was then preserved in worshiping the beautiful statues depicting their numerous gods. In their beliefs and myths, traces of the animism and the richest superstition of the primitive era can be seen. But the Greeks came pretty early to the anthropomorphism, creating their gods in the image and likeness of people, at the same time, having endured them with indispensable and irreversible qualities - beauty, the ability to take any image and, most importantly, immortality. The adventures of Odyssey, the campaign of the Argonauts for the Golden Rooms - these are imprinted in poetic form all the same aspirations to learn as much as possible about the land on which a person lives. Great Russian Philosopher Losev A.F. argued about the unscientific origin of the myths: "The scientific functions of the Spirit are too distracted to lie at the base of mythology. For mythical consciousness there is no exactly scientific experience. Its impossible to convince him.

It is said that the constancy of nature phenomena should have been made from the earliest to interpret and explain these phenomena and that the myths, therefore, there are these attempts to explain the natural patterns. But this is a purely a priori idea, which with the same success can be replaced by the opposite. In fact, why, in fact, constancy plays a role here and exactly such a role? Since the phenomena proceed constantly and invariably (as a change of day and night or the seasons of the year), which is what it is surprised here and what exactly will make a scientific and explanatory myth? The mythical consciousness rather, perhaps, thinks about some rare, unprecedented, spectacular and single phenomena, and rather, it does not give their causal explanation, but some expressive and picture image. The constancy of the laws of nature is thus the observation on them exactly nothing speaks of an essence or the origin of the myth. "

What we call "Greek mythology," is a complex of legends and legends, heated on the territory of the Balkan Peninsula, the islands of the Aegean Sea and the western part of Malaya Asia and those who received literary form. Thus, "Greek mythology" is cultural heritage Not only the Greeks - Ahetsev, Ionians, Doriytsev, Achnians, but also the vigorous tribes - Pelasgov, Tirren, Thracians, Kariytsev, Lidians, Middle, as well as the Phoenicians, colonized a number of Aegean Islands. Hence the extraordinary variety of images, as well as the latitude of the geographical range of the actions of Greek myths. Westerns from the Greek gods and heroes that constantly moved from one place to another - from Crete in Kariya, from Liki to Peloponnese, from Peloponnese to Frace, reflect not so much the mobility of the population already familiar with the seafling, how many complex nature of the formation of myths. Removing the same similarity according to the function of God or Hero in different, often far away from each other, the creators of the myths easier to explain the fact that God himself or hero visited all the places of his worship. So the myths about the wandering of Dionysus, IO, Europe appeared. The exploits of Hercules that have enjoyed almost the entire inhabable world, reflect both the colonial processes (Cretan, Mycenaan, Phoenician, Great Greek Colonization) and the merger of the Argos Hero Hero Hero with many other Greek and non-degraded mythological characters.

Greek felt around himself a varied and powerful life of secret forces. Trees grow like a miracle, and a quiet rustling of leaves are their language; Rivers flow to an unknown distance, and their water - life-giving soil fertilizers; Fire is born, devours his food and dies; The wind rushes more in the mountains, ominous howling, - the incomprehensible forces are opposed to from everywhere, in front of which a primitive person leans and tremble. In an effort to know them and tie a friendly relationship with them, she calls them names and, finally, surrounds itself with many gods. The wretched Greek village had his deity, who was often not known in the nearby settlement. Each phenomenon, almost every occupation had his patron. The names of these special purpose IDs were forgotten when the Olympic gods were established in Greece, who took them, their functions and attributes. In ancient religion there were many evil spirits, the unclean strength that harmed a person in everyday life. They tried to defend themselves with all sorts of magical means: changing, dancing, loud music.

But there were also beautiful gods and goddesses: Persephone (goddess fertility and the kingdom of the dead), Reia (the mother of the Olympic gods), Gaya (Goddess of the Earth), Aphrodite (Goddess of Love). Artemis (always a young goddess of hunting), Gera (patroness of marriages), Ilfia (Rodovnadmogenty). Helios (God of Sun), Poseidon (God of the Seas), Hephaest (God of Fire).

"Not fan, windy goddess Aphrodite interfere in the bloody battle. She wakes up in the hearts of gods and mortals. Thanks to this power, she reigns over the whole world. No one can avoid her power, even gods. Only the warrior of Athena, Gestiya and Artemis are not subordinated to her Power. High, slim, with delicate features of the face, with a soft wave of gold hair, like a crown of lying on her beautiful head, Aphrodite personification of divine beauty and unfavorable adolescence. When she goes, in the brilliance of his beauty, in fragrant clothes, then the sun shines. Flowers bloom more. Wild forest beasts run to her from the thickets of the forest; the birds fly to it, when she walks through the forest. Lions, panthers, leopards and bears lacquer caress her. Quietly goes among wild animals of Aphrodite, proud of their radiant beauty . Her companions of Olya and Harites, the goddess of beauty to the grace, serving her. They dress the goddess into luxurious clothes, combing her malleable hair, walked her head with a sparkling diadem. Near the Kiefe Island Eres were born aphrodite, daughter of uranium, from a snow-white foam of sea waves. Lightweight breeze brought it to the island of Cyprus. There were surrounded by young direph, the goddess of love came out of the sea waves. They enhanced it in golden clothes and crowned a wreath of fragrant flowers. Where only Aphrodite did not step, flowers were growing up lush. All air is full of air fragrance. Eros and hymerto led the wonderful goddess on Olympus. Great gods greeted loudly. Since then, it always lives among the gods of Olympus, Children's Aphrodite, forever young, the most beautiful of the goddesses. "

In the ancient Greek mythology of sirens - supernatural demonic creatures, the floor - women, the floor - birds. They were the daughters of the Muse of Terracian and the river god Aheeloy. From the father of the sirens inherited free, wild temper, and from the mother - a charming, divine voice.

Initially, the sirens were beautiful devices. According to one of the legends, they were turned into birds of Aphrodite, which accepted them for their pride and arrogance. Another legend states that the sirens so have been treated with their singing, which was caused to the competition of music, for which they were punished.

Another version suggests that the sirens were originally nimphs surrounded by the beautiful goddess Persephone. When the goddess stole AID, the angry goddess of the fertility of Demeter turned a siren in birds. And finally, according to the latest version of the legends of the siren, they themselves wanted to turn into birds to find Persephone, but people did not want to help them, and then they settled on a deserted island and began to take revenge on the human genus. Sweet singing Siren Manico sailors to a dangerous island where the ships were broken about the rocks.

4. Mythological plots in art
1. Greek vases were extremely diverse in shape and sizes. Large amphoras were intended for storage of wine and oil, hydrota with three handles for transferring water, slender narrow leeks for incense, saw wine from a wide ciliary. Compared to the Homeric period, the shape of the VAZ became stricter and more beautiful. Placing paintings on vases and their compositional system are closely related to the plastic form. The development of vase paintings went from schematic, decorative images to a storyline composition.
2. The so-called black-phi vasopcript has become greatest during the archaic period. The drawing of the ornament or figure was poured with a black varnish and well released against the background of burnt clay. Sometimes for greater expressiveness, black silhouettes were scratched or covered with thin white lines that emphasize individual details of the crater of masters of clime and ergotim "Vase François", approx. 560 BC, Florence, Archaeological Museum. The famous painter of the middle of the 6th century BC. There was an exeke. His painting at Cilica with the image of Dionysus in Frequent (after 540 BC) is characterized by poetry, a subtle sense of rhythm and perfection of a composition organically related to the appointment and form of a vessel.
3. For Peter I, knowledge of mythology meant an introduction to one of the parties to Western civilization, and he not only took possession of these knowledge, but also with the energy peculiar to him in life.

First acquisitions. "Ceres" and "Flora" in the winter of 1707-1708, the first statues and busts in the summer garden appeared. Contemporaries are alone and the fact that they were brought from Poland. However, most likely, under Poland, the current Western Ukraine was implied here, where Peter Great himself was in the spring of 1707. It is known that at the beginning of May, he sent pictures to St. Petersburg, could then lead and works by plastics. From the first collection of sculptures Summer Garden Most statues did not reach our time. Nevertheless, the plots of them do not cause doubts. It was probably a series of antique god sculptures, personifying seasons. Ceres and, perhaps, "Flora" still decorate the summer garden.

Flora (Heinrich Meyring) - Italian goddess of flowers, in The newest time Usually was considered as an impersonation of spring. It is depicted in a long shirt, in her hands and with her colors, on the head - a wreath of roses. A steam statue depicting the god of the western wind of Marshi, the beloved flora lost. Sculptor Henry Meyring (1628--1723), apparently, came from the Rhine Region. From the late 1670s. And to death worked in Venice and its surroundings, and at the turn of the XVII - XVIII centuries. It was considered almost the most respected among local scales. "Flora" is the last work of the old master marked by the seal of fatigue. It is characteristic that he repeats the composition of his earlier statue of "Flora" here, which was previously stored at Villa Dzaguri in Alticierro (near Padua, Italy).

1) The myth of the beauty of the Psyche and the jealousy of the goddess Venus

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Psyche or Psycha (Dr. Greek. Ψυήή, "Soul", "Breathing") - In ancient Greek mythology, the personification of the soul, breathing; appeared in the image of a butterfly or a young girl with butterfly wings.

In the late times of the antiquity of God Erota (Cupid), they were connected to a psyche, personifying a human soul and depicted under the guise of a charming gentle girl with butterfly wings. [In the Russian tradition of transferring the names of the antique mythology of God Erota (Cupid) in the plots related to the Psyche, they are stably called CMUR, and the whole set of such mythological plots - the myth of Amur and Psyche or a fairy tale about Amur and Psyche.]

The Latin writer Apuli in his novel "Metamorphosis, or a golden donkey" combined the various elements of the myth of Amur and psychray in one poetic whole.

According to Apuluvea, one king had three daughters, all beautiful, but if two senior descriptions could be selected in the human language suitable expressions and praise, for the younger name of the psychhery of this was not enough. The beauty of Psychia was so perfect that it was not amented to any description of a simple mortal.

Residents of the country and strangers were whole crowds attracted by rumors about her beauty, and, seeing Psyche, they kneeling before her and gave her such honors, as if the Goddess Venus itself was before them.

Finally, the rumor spread that psychhery was the goddess of Venus, who came to the ground from the vertices of Olympus. No one has become more ride in the books, no one visited Cyprus Islands and Kiefer, the temples of the goddess Venus remained empty, did not bring more victims on the altars. Only when the psychhery appeared, the people took her for Venus, bowed to Psyche, shouted with psyche with flowers, raised his own prayers to psychhery and brought a sacrifice.

This is awe in front of beauty, so corresponding to the spirit of the Greek people, is perfectly expressed in one of the extensive compositions of Rafael on the mythological theme about Amur and Psyche.

The outrageous goddess Venus, tormented by envy to his happy rival, decided to punish psychos. Venus called on the Son - Amur (Erota, Cupid), the winged God of love, and instructed the Amur to take revenge on her that dares to challenge her the championship of beauty.

The goddess Venus requested Amur to inspire the love of the love of man, unworthy Psyche, to the most recent death.

2) Psyche kidnapped by marshmallow

Antique myths in Russian poetry: the famous poem O.E. Mandelstam "When a psychhery-life descends to the shadows ..." (1920, 1937). About the psycho as a symbol of the soul of a person, see the myth about Amur and Psyche - the myth of the human soul.

When a psychhery-life descends to shadows
In a translucent forest, in a period of perverse,
Blind swallow rushes to the legs
With styguish tenderness and a vest of green.

To meet the refugee hurries a crowd of shadows,
Bidding new meeting due
And weak hands break in front of her
With bewilderment and timid hope.

Who keeps the mirror who can a jar of perfume -
The soul is a woman, she likes balancing,
And the forest is malicious transparent votes
Dry complaints of kropyt, like a strained small.

And in a tender lout, not knowing how to be
The soul does not recognize any weight nor volume
It gets to the mirror, - and the medleet to pay
Pellet copper owner of the ferry.

Both psyche sisters married kings. One of the psychhery, surrounded by crowds of fans, did not find a spouse. Psyche's father, affected by this, asked the oracle of God Apollo, which is the cause. In response, Psychai's father received the order of the oracle to put the daughter on the rock, where the psychhery should expect the marriage union. Oracle Apollo reported that the Psychai's spouse would be immortal that he had a wings, like a bird of prey, and he like this bird is cruel and cunning, inspires fear not only to people, but also to the gods, and conquers them.

Obeying Oracle, the father took the psyche on the rock and left her there to expect a mysterious spouse. A trembling of horror, the beauty of Psyche poured into tears, as suddenly a gentle marshmallow raised the psyche and carried on his wings in a beautiful valley, where he lowered his psyche on a soft grass.

The myth of the abduction of Psychia Zefir served as a plot for many paintings.

Psyche saw herself in a beautiful valley. The transparent river washing the shores covered with excellent vegetation; The river itself stood a magnificent palace.

Psyche dared to cross the threshold of this title; It does not have a sign of a living being. Poland bypasses the palace, and everything is empty everywhere. Only the voices of invisible creatures say psychhery, and - whatever the psychotic wish - all to its services.

And indeed, invisible hands are serviced in a table, covered with disassemble and drinks. Invisible musicians play and sing, delighting the hearing of Psychia.

So goes for several days; At night, visits the psyche of her mysterious spouse - Amur. But Psyche Amura does not see and only hears his gentle voice. Amur asks Psheeti not to try to learn who he is: Only only Psychey will find out, the end of their bliss will come.

In the Louvre is the beautiful picture of Gerard "Amur kisses Psheka".

At the time of psychhery, recalling the prediction of Oracle Apollo, he thinks with horror that, despite a gentle voice, her spouse could be some terrible sorrow.

3) Amur and Psyche: a drop of oil

Sisters, mourning the sad fate of Psychai, was looking for her everywhere and, finally, came to the valley, where Psyche lives.

Psyche meets his sisters and shows them the palace and all the treasures consisting in it. The sister of Psyche is watching with envy on all this luxury and begin to shower the psycho questions about her spouse, but Psyche had to admit that she had never seen him.

Psyche shows his wealth sisters. Jean Onor Fragonar, 1797

Sisters are accepted to convince PSICE to light the lamp at night and look at the spouse, assuring the psyche that it is probably some terrible dragon.

Psyche decides to follow the Sisters Councils. At night, the psychhery sneaks with a burning lamp in his hand to the lie, on which he rests at any suspect of Love Amur. Psyche at the sight of Amur comes delight. Psyche's love for Amur grows everything. Psychends leans to the Amur, kisses him, and a hot drop of oil falls from the lamp on the shoulder of Amur.

Waking up from pain, Amur immediately flies away, leaving the psycho to indulge in his grief.
This mythological scene from the fairy tale about Amur and is often reproduced by the artists of the newest era. Large famous Picture of Pico on this topic.

Psyche in despair runs behind Amur, but in vain. Psyche cannot catch up with Amur. He is already on Olympus, and the goddess Venus bandages the wounded shoulder to Amuru.

4) Persephone box and Wedding Amur and Psychai

Venus's vitard goddess, wanting to punish psyche, looking for her throughout the earth. Finally finds and makes the psyche fulfill different works. The goddess Venus sends a psyche into the kingdom of the dead to the goddess of Persephone to bring her a drawer from her with her beauty.

Psyche goes down. On the way, the old goddess, which has the gift of the word comes acray. The old goddess gives advice as if to get into the dwelling of Pluto. She also warns the psycho to not give in to more curiosity, which has already been so destructive for her, and do not open the box, which psychhery will receive from Persephone.

Psyche is recreated across the River of the Dead in the Boat Charon. Following the advice of the old goddess, Psyche dies church, giving him a cake with honey, and finally gets a drawer from Persephone.

Returning to the Earth, Psyrya forces all the advice and, wanting to take advantage of beauty for himself, opens Persephone drawer.

Instead of beauty, a couple rises from it, who shifts a curious psyche. But Cupid managed to fly away from the mother. Cupid finds a psyche, wakes up her arrow and sends more to the drawer Persephone to the goddess Venus.

Amur himself goes to Jupiter and begging him to join the Venus for his beloved. Jupiter gave psychracy immortality and invites the gods to the wedding feast.

Fresco Loggia Psyche Villa Farnesina, Rome

The beautiful sculptural group of Antonio Kanov, located in the Louvre, depicts the awakening of the Psyche from the kiss of Amur.

Rafael on one of his decorative panels depicted a wedding feast of Psyche and Amur.

There are many ancient columns with the image of Psychai and Amur; These cameras were given by usably young spouses as wedding gifts.

From the Union of Psyche with the God of Love Amur was born daughter Blessed (happiness).

5) The myth of Amur and Psyche - the myth about the human soul

The whole myth of Amur and Psurely depicts the eternal desire of the human soul to all the elevated and beauty, giving a person higher happiness and bliss.

Psyche has a symbol of the human soul, which, according to the Greek philosophers, the descent of its land lives in close communion with good and beauty.

Punished for his curiosity (\u003d low-mounted instinct), psychhery (\u003d man's soul) wanders on the ground, but it did not stroke the desire for elevated, good and beauty. Psyche is looking for them everywhere, performs all sorts of work, passes through a number of tests, which, like fire, purify Psyche (\u003d human soul). Finally, psychhery (\u003d the soul of man) descends into the dwelling of death and, purified from evil, acquires immortality and always lives among the gods, "Because," says Cicero, - what we call life is in reality death; Our soul begins to live only when it is freed from the barrage; Only dropping these pains, acquires the soul of immortality, and we see that the immortal gods always send the death to their favorites as the highest award! ".

Art depicts psyche always in the form of a tender young Virgin, with butterfly wings on shoulders. Very often on the ancient chambers beside the Psychei, there is a mirror in which the soul, to his earthly life, sees the reflection of deceptive, but attractive paintings of this earthly life.