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International art (second half of the XX century)
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1. Architecture. Art.
2. Graphic design. Furniture. Decorative Arts.
Changing styles and trends at the turn of the 19th and 20th centuries was caused by the new historical stage. In society there are new relationships rapidly and spontaneously growing city rapidly developing technology. This leads to a sharp change in a material medium
Architecture
In the 1960s International Style became increasingly criticized for geometric austerity, monochrome color and, most importantly, for the principled of the extra associativity of new forms. In search of the most pressing tricks architects increasingly bypassed or drastically rethink the arsenal of means and forms of “modern architecture” are increasingly turning to the past or the eyes or to outright kitsch or to the horizons of art. Architecture is actually no longer seen as a tool for social transformation but mainly as a means of social communication as language. Function highly honored but shall not be considered a defining image. The form is more rarely followed it. The newest materials and technical elements more often exaggerate and treated as decor. Jewelers, ornaments no longer were punished as a crime.
At this time there is a new artistic direction, a new artistic style, the new aesthetic program - postmodernism, and with it comes a whole galaxy of architects with a strong desire for self-expression - Ricardo Bofill in Spain, Michael Graves, Philip Johnson, Norman Foster in America, Al to Rossi in Italy, in Japan, Arata Isozaki.
Fine detailing, beautiful decoration and design meaningful postmodern architects reminded the audience that architecture is an art - and not just the construction of buildings.
Norman Foster is considered a leader of hi-tech architecture. This aesthetic line expressionism exploiting the visual effects of the new and high technology is often borrowed from the aircraft and automotive, aerospace and defense technology (hence the name - the style of high technology). Samples of high-tech are inflatable shell for computer production and supersculptural panels. He believes that we can and need to do quite unusual habitable space and, on the contrary, the usual home is characterized by “minimalism” and “supermodernizm”. In every possible case the elements serve a dual or triple function. It repeats a panel aluminum grille endlessly, admires the steel, glass and lightweight design.
Centre Georges Pompidou built on the plateau of Beaubourg in Paris designed by Richard Rogers and Renzo Piano (1977) - a classic hi-tech - supermodernist “architecture machine”. Here high-tech overcame the wall like a traditional plane, a massive obstacle. In the Centre Pompidou there is no wall but instead seven alternating rows (layers) diagonals, vertical, horizontals, performing different functions. It has all sorts of “circulation of the arteries” (heat, water, people), the energy channels and trunks and “exoskeleton of a giant insect”. Wall as it disappeared, becoming transparent or reflected the environment.
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There are visual tricks in the urban space and the interior. For the visual culture of the 80s the desire to move away from the rational design characterized and the identification of the emotional nature of the design solution. All the more valued the ability to improvise, even humor in the design. Artists create a surreal space, placing the task of creating a special emotional atmosphere of the moment (happenings, actions) or long-acting.
One of the trends is a manipulation of the plane with the involvement of graphics (supergraphics) and painting. This may also include the use and mirror surfaces.
In the interior the effect of converting the actual volume of an illusion achieved by means of painting and relief that violate our usual perspectives and make the room not only unrecognizable, but also makes it difficult to orientation in them. Here the artist uses the “scope of the game”: monolithic geometric shape is divided into many small images, which, in turn, are collected in separate geometric blocks, and from a simple rectangular interior creates an image of mazes, hidden mysteries.
Another trend is based on actual volumes, i.e. three-dimensional solution. It involves reflectivity, color and light. The real form of this architecture is often hidden behind manifested visual image. Such, for example, mirrored skyscrapers, the plane walls which reflect the neighboring buildings or the sky with floating clouds, making the building sometimes invisible, and sometimes the central focus of the surrounding space.
It’s more interesting to add up the illusory and the real relationships in the spaces of residential interiors. For example, furniture finishing together with the surrounding space - walls, ceiling, curtains and other accessories - gave the most unexpected results, sometimes completely change not only the image of the pieces of equipment space, but also the structure and way of all space. The design has been switched on and a tool such as light, shadow, with which you can create the impression of a living, pulsating space.
Thus, there is a search of unusual architecture, striking forms, as it were oscillating, pulsating, and “endangered” ready for self-destruction or transfer to another state. In the course of all historical styles - to a different extent reinterpreted and fused with the “modern” forms. Eclecticism, which for the 20-ies was taboo and considered a compromise and bad taste, has become the norm. However, today’s rampant styling for all its extravagance is not degenerating into a mere eclecticism and even has a kind of harmony as a principle of “modern form” nevertheless developed in the XXth century. He developed the same functional aesthetics, developed with modern technology, justified by the needs of technical and scientific progress, the economy.
2. Art
In painting the postmodernism is mounting effects of “vide”" and “photo-art” cold, as if lost human presence hyperrealism paintings, this is a rough and primitive art “new wild”. The music is associated with the advent of postmodernism aggressive and violent barbaric “punk rock”.
In the 80 years of painting growing influence of the “new wave” - transvanguard (“death of the avant-garde”). Now it comes to the forefront of the complex history and return to the craft. This means a return to figuration after a prolonged episode of abstraction, a renewed interest in the scenic representation, recognition of complete freedom of scenic principles.
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2. Graphic Design
In the same period the peak of the “new wave” appear in the world of graphic design. Many compositional principles reverse. An explosion occurs in a classic graphic composition with its demands integrity, unity, balance strictly ranked items. In contrast to prevailing centripetal composition of the “new wave” shows clear centrifugal activities of compositional elements which seem to have the same charge and repel each other.
Other “material evidence” committed by the “new wave" of composite explosion - the ragged edge of the plates, shapes, planes, letters. A similar origin have also exaggerated rough, rough textures of lines and surfaces, and the same jeans “Varenka” illustrates the principle of ragged color. In the works of “new wave” there is the right to acquire citizenship in manuscript, “homemade” fonts which do not care about the artistic prettiness or scientific correctness.
Pop art – “популярное искусство” is one of the most notable and notorious currents which took shape in the mid-1950s in the surrounding of London artists, architects and critics. Pop art openly borrowed the images generated by urban civilization (posters, window dressing, fantasy, comics, music, variety, animation, movies, and more), and after some two or three years, pop art had a strong impact on some types of advertising graphics, drawing books and movies.
Since its inception pop art was a reaction to the abstract. His pop art contrasted the rough world of very real things passed off as works of art. According to supporters of pop art, every thing, every object can become a work of art. United in particular “combination” things are supposedly lose their purpose and acquire new qualities. Logical selected household items or a combination of various rags roughly painted collages began to appear instead of the works of art.
“Fathers” of pop art - Robert Rauschenberg and Johns Dzhaspert. Each artist had his own “creative person” - John Chamberlain specialized in crumpled cars, Claes Oldenburg - by collage, Jim Dine - in registration over the interior.
| Том Диксон. Стул «8». 1987 г. |
Op Art – “Optical Art” is the most striking of which are the representatives of the Victor Vasarely, Mortenzen, Agam ect. Op art theorists say within walking on the trail of a new abstraction and strongly resist the pop-art. The creators of the op-art create a special world, a special environment and forms; they refuse canvases and paints and other age-old materials and components of art. In terms sometimes rather complex instruments and devices, they reach a variety of light and color effects using clearly designed devices from the lens rotating mehanimov, mirrors aimed at them rays of light, decomposing into spectral pure colors, like a rainbow, it creates the illusion of receding into the distance Space then just cutting eye diversity and brilliance trembling and writhing metal plates.
Kinetic Art
On the creation of kinetic art exhibits require more imagination than the optical gimmicks. Some of these exhibits are huge in size, move and gnash, others hanging from the ceiling, spinning and beeping. This similarity of complex mechanisms combines parts of different machines the key countable typewriters and musical instruments. To this is an added optical effect. Any artifacts and another type - for example, metal shavings which are attracted invisible magnets, running along the plane, or pile cylinders, of which for reasons unknown individual cylinder rise to, pausing for a brief moment, to fall again into the overall landfill.
Furniture
Metal tubes have become part of the arsenal of hardware furniture. In the production of upholstered furniture becoming more common synthetic flooring materials (sponge rubber latex, polyurethane foam). They allow you to make any form of soft elements to improve the structure, enhance the quality of products and to create new and original forms. Such artificial materials, such as polystyrene and fiberglass, and are suitable for the manufacture of whole skeletons to produce thin, but durable and elastic plastic plates with rich features. This gave the designer more freedom in the experiments with the shape, color and texture of materials.
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During this period design in different countries has its own idiosyncrasies. Scandinavian style, for example, distinguished poise, comfort, “naturalness”. Designers wide and diverse use different types of wood, especially willingly using teak, leather for upholstery of all the metals they prefer chromed steel.
During this period design there are own idiosyncrasies in different countries. Scandinavian style, for example, distinguished poise, comfort, “naturalness”. Designers wide and diverse use different types of wood, especially willingly using teak, leather for upholstery of all the metals they prefer chromed steel.
For Italian style is characterized by the extravagance. Designers are guided by synthetic resins, plastics and agglomerates have been successfully used steel and sometimes “noble” materials, such as ceramics, precious leather, and marble. They are willing to resort to bright catchy colors without limiting creative imagination.
Tact, simplicity and a heightened sense of space is characterized by Japanese design coming from the high culture of art. The Japanese have managed to keep their home inherent in traditional features. Along with movable partitions they use different floor levels. Seats without legs are mounted on the upper level so that the person sitting down leg onto the plane of the lower level. Another type of seat - leather cushions, traditional, stacked on polished, mounted on four legs disk, how would stretch the floor.
5. Decorative Arts
By the end of the 60s and early 70s in the work of designers are appeared a new direction. Against rational and rigid logic of functionalism acted romantic trend. Whimsical composition, sharp clash of opposing motives, careful detailing - all this is typical of many new jobs. Appeared products seemed strange as decisively broke with such valuable earlier principle of “truthfulness”, the logic of the functional design form.
Control questions
1. What can you tell about the architecture?
2. Speak the International Style in architecture.
3. What can you tell about Post-modernism in painting?
4. What do you know about the development of design in the 70s-80s of the XX century?
5. What can you tell about decorative arts?
6. Speak about major trends in the arts and crafts.
Lecture 23, 24
Culture of nomads
1. Religious and mythological notions and symbols. The color symbolism. Ornament
Nomadism - one of the most striking and peculiar phenomena in the history of world culture - there was over three thousand years ago. This original steppe culture had ancient traditions and deep roots.
The epic, folklore, songs, music, dance, arts and crafts and fine art, architectural monuments of nomads - all this bears the stamp of constant motion, moving, and born of a kind of relationship to space and time. For them the perception of the world expresses as the kinetism. All life in him from birth to death is way traffic. Endless road nomad measured cycle time runs horse. Orientation in space is determined with respect to the four cardinal points. The movement is determined by the sun. Spatial characteristics are built vertically - the sky, the earth, the horizontal - east (front), west (back), the south (right), north (left). The steppe nomad perceived in the form of a circle, embracing her as a whole, as the reality of life with a man in the middle
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Religious mifologichkskie representation and symbolism
Kazakhs is one of the few nations that have survived to the beginning of XX century, the nomadic way of life. These peoples created by the fusion of three cultural and historical roots: the Iranian, Turkic (primarily) and Mongolia (in part). Therefore the attitude of their predecessors consider legitimately. The ancient nomadic peoples seeking to master the vast world felt its inseparability from his full natural harmony with it. For magical thinking Saka tribes order unit dwellings in the country and was one of space and identity. Regularity of building ornament implied identity oriented (orderly) Cosmos. The center axis of the cosmos and the world coincided with the man-combiner (leader). The World Tree has introduced to the world organization and orderliness.
The composition and set of visual elements on the Golden Man costume, found in 1969 at the foot of mountains on the banks of the river Issyk reproduce threefold model of the cosmos. This model is composed of the underworld - the bottom of the water; middle - the earth and the top - the sky. The conical headdress decorated Saka leader as a kind of “drawing” of the Cosmos - cosmogram which is made according to the concept of the World Tree or its equivalent. Golden Man is a symbol of Space Mountain connecting the human world with the world of the gods. Paired and quadratic composition (four proties four “lotus”, four wings, four arrows, four horns) in the Issyk kulah represent the four cardinal points. It felt contact with Saks ancient Persia.
Kazakhs believe Muslims but Islam has not received such a fundamental spread in the Arab East. The basis of this belief is mixed shamanism (Tengriism). Shamanism - reverence nature and spirit of the dead people. It was believed that the spirits of dead ancestors - aruahov able to influence the lives and welfare of their relatives. Their graves are worshiped in their honor, sacrifice animals. With cries of "Aruaқ" they rushed to the enemy. This practice gave rise to war cries (uranium) - warlike cry, dear and sacred name of an ancestor.
With ancestors were directly linked shamans whom Kazakhs called “bakқsy” which translated from the Mongolian means “teacher”. Basis dedication shaman - Space is multidimensional (99 layers) a person is in this world is temporary and will be either at the top or bottom. Higher deity Tengri lives on the ninth sky - is the upper world. Umai is his wife, the goddess of the world average. Their son Yer-Sub is a god of water and land. Erlik - god of the underworld, underworld. Fire - Brother Sun, and has a quality of cleaning (Alastan). With shamanic symbolism has direct contact bird motif. The bird (eagle, falcon) was associated with the soul of the deceased. Not by chance in all ancient Turkic texts on stone instead of the verb “to die”, says “fall”.
Among the “pagan” characters included in the number of Muslim saints Kazakhs most clearly maintained its pre-Islamic features Korkut (Korқyt) - mythical shaman, musician and singer, creator of string instrument қobyz. Attributed to him the tomb is located on the banks of the Syr Darya.
The religious ideas of the Kazakhs of the world are reflected in the structure of religious buildings. Square and round in terms of structures correspond with images of heaven and earth, and the angles represent the cardinal directions. The structure of the architectural monument of the vertical three-part structure reflects the world in which the upper section - the dome and finial - symbolizes the sky, the sun, the sacred fire; medium - prism or cube mausoleum - ground world of living people; lower - the underground world and the underworld - the grave.
The color symbolism. For mythological consciousness predecessors of Kazakhs color had a special informative value. In the Bronze Age at the Timber Grave-Andronovo tribes the custom is to pour into the grave ocher or realgar. The ceremonies and rituals of the cult of the sun from the Scythian-Saka tribes, red and gold glitter attributes served as symbols of the sun, the color of life and rebirth, stressed the divine power.
The ancient Turks color also play an important role in cosmographic classification. Red they entered the solar context, and white and blue - in heaven. Turks were divided into blue, red and yellow, and blue signified excellence in origin. Hence there was a division of Kazakhs to aқsuyek and қarasuyek (black and white bone) which had a class character. Black shows the north or west (as the Kazakhs) land; Blue - east, the sky, the purity; Yellow - spacious, supreme; White - a saint. The Turkic tradition known this color topography: kara – “black” - north, ақ – “white” - the south, көк – “green-blue” - east, сары – “yellow” or қызыл – “red” -West.
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There are the most common semantics white in the colors of Kazakhs. On the white rug lifted elected Khan. The sacrifice to the gods brought the white horse and white sheep. During the ceremony a shaman uses white animals. The rituals associated with good wishes, grass, earth and space around sprinkled with milk. White is a symbol of a higher world, the color of the gods. With associated notions of sacred purity, light, generosity, harmony, success and legitimacy.
Red ambivalent: it symbolizes passion, life, energy, and, in addition, blood, war. As the color of power, reflected in the red costume of wealthy people. Sultans wore silk robes purple. Famous singers and musicians preferred to wear robes of purple and bright green. These colors have been the favorite in jewelry Kazakhs suspension red coral, turquoise and carnelian red “transmission”. White and red, forming couples in various forms of male and female, of peace and war, meat and milk, semen and blood, together constitute the “life”. Both of these colors contrasted with black as the color of death and denial.
Among other flowers isolated Kazakhs still “сары” semantically close to white. “Сары” means “yellow”, the color of fire, the color of the upper world. The yellow mark on his forehead has been an integral part of the sacrifices offered to the gods and Tengri Ulgen. Finally, the color that the Kazakhs referred to as “ala” that is “striped, colorful”. It’s known that the range of the application is very broad, since it refers not to a specific color, and the colors, symbolizing the entire multicolored world. “Ala” as a symbol of the middle world, life on earth is used in many customs. The most typical example is a rite of cutting the fetters of a baby, after which the child begins to walk. His legs tied with a rope in the form of eight twisted colored thread. Colored threads symbolize the bright, changing states of the cosmos, the world of paint. The infinity of the universe is expressed through the image of eternally flowing "eight", within which and with which takes a men’s life.
Ornament. There is pronounced national characteristics in the ornamental system of the Kazakhs. Each ornament is always a rational connection with the subject, whether the pattern on the doors, on the felt, on a wooden chest, a leather vessel for koumiss or boot. Clearly there are four major groups of ornaments.
The first group of ornament which is simple geometric origin, consists of straight and broken lines. This includes diamond, zigzag (ирек), Triangle (тумарша) meandrovidnye (балдах, шынжара, қармак) and reticulate-intersecting lines.
The second group includes floral ornament: leaves (жапырак), shamrocks (уш жапырак), Bud (шиыршык), flower (гул), the tree of life (агаш) and palmettes and polupalmetty.
The third group of zoomorphic ornament. The most typical pattern is a horn-shaped “horns” (қошқар муйіз) and its variations: the double horn (қисык, муйіз) Krivoy Rog (қисык, муйіз), broken horns (сынык, муйіз), etc. Zoomorphic is also a trace (табан), heart-shaped pattern, the hump (вркеш), a pattern that resembles the neck and hump camel, goose neck (каз мойын).
The fourth group includes cosmogonical oranmenty - polygons stepped diamonds, rosettes. The sun and the sky symbolize the circle, four directions - crossing (терт қулак). Ancient cosmogonic motif of the “spiral” (шимай) symbolizes the cosmic space universe. Shima is identical to the tune of “never-ending” (бітпес), which in turn is a symbol of perpetual motion. Cosmogonic are also a “ray of sunshine” (шугыла), images of stars, the moon, the month.
Control questions
1. What can you tell about the religious mythology of ancient nomads?
2. What the main types of ornaments do you know?
3. Speak about the symbolism of color in terms of the nomads
Lecture 25
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