Contemporary art as an instrument of influence on the policy of the Russian Federation. Art and power: their influence on each other and interaction What is the impact of power on art briefly

Ninth grade

Chapter I . The Influencing Power of Art (8 hours)

When studying this section, it is necessary to give students an idea of ​​how public ideas are expressed in artistic images, how art acts as a way of ideological influence on people, what is the ability of art to inspire a certain way of thinking, lifestyle, change value orientations.

The first lesson "Art and power" (p. 102 - 104)

Lesson objectives: generalize students' artistic knowledge about the influence of government, the state, individuals on the functions of art in society, study the textbook material, analyze works of art from different eras and styles, interest students in studying regional material in the context of this topic.

Formation of UUD:personal - determine the content of works of art, their focus on strengthening the power of states and their rulers, cognitive - learn the facts of history, which are reflected in works of art, show interest in the embodiment of the activities of art creators;communicative - participate in the discussion of new and well-known phenomena of culture and art, express their own point of view, fix it in written and oral statements,regulatory - independently determine the goals and methods of studying new works of art, the organization of volitional efforts when working with educational material,informational - the ability to compare and contrast various facts, information obtained in the process of independent work with different sources of information.

The first stage of the lesson is a discussion of the question: “How does power affect the creation and consumption of works of art?” (students give examples, justify their opinion). The teacher offers his artwork to energize the students. Here it is appropriate to recall, for example, the significance of music in the Petrine era (kants, music for orchestras), hymns, patriotic songs, posters of the Great Patriotic War, monuments to prominent personalities (Mausoleum of V.I. Lenin), temple buildings (for example, St. Basil's Cathedral on Red Square in Moscow - the Cathedral of the Intercession of the Mother of God, which is on the moat at the Frolovsky Gate, erected by Tsar Ivan the Terrible in memory of the victory of Russian soldiers over the Kazan and Astrakhan khanates in 1552 - 1554), etc.

The second stage of the lesson: work with the text and illustrations of the textbook (pp. 100 - 102). Identification of thoughts significant for understanding the topic, perception of works of sculpture (monuments), paintings (portraits), architecture (arches, temple buildings), depicting the images of rulers, the direction of their influence on people, the desire to perpetuate their state affairs, military prowess, analysis of the means of their artistic expressiveness.

The third stage of the lesson: listening to musical works related to the topic of the lesson, collective discussion of the content, musical language as a means of revealing images(see phonochrestomathy of the 9th grade, tracks No. 1 - 11).

The final stage of the lesson is a generalization on the topic of the lesson. Reflections on how in your region, republic (city, village, township) art reflects state, historical, artistic plans / ideas, views / authorities (of modern and past generations), what functions these artistic creations have.

Homework:

Divided into groups, prepare a presentation (3 - 4 slides) or a message on one of the topics: "Art during the years of revolutionary upheavals in Russia", "Art during the Great Patriotic War of 1941 - 1945", "Author's song as a form of public protest against the state regime /power/”, a free topic is also possible.

Prepare songs for individual and group performances.

The second lesson "Art and power" (p. 105 - 107) - continuation of the topic.

Lesson objectives: involve home independent work to expand ideas about the content of the topic, continue working with the text of the textbook and its illustrative series, introduce students to new musical works.

Formation of UUD:personal - understanding the content of works of art, their figurative language in the process of mastering the topic;cognitive - fulfillment of educational tasks aimed at understanding the topic, its expansion by attracting the existing artistic, historical experience;communicative - the ability to concisely express their opinions, to participate in a collective discussion, regulatory - planning intermediate goals for the analysis of works of art, assessing what has been learned and what remains to be learned on the topic;informational - the ability to search and process information on the topic of the lesson, to select the most significant.

The first stage of the lesson: discussion of presentations (messages) of students, the degree of disclosure of the topic of the lesson in them, the persuasiveness and significance of the works of art selected for the performance, assessment by classmates of the form of presentation of the material.

The second stage of the lesson is work in groups, the continuation of the study of the information of the textbook, its illustrations. Classification of works of various types of art, analysis of their content and means of artistic expression.

The third stage of the lesson: the collective perception of musical compositions, which are discussed on the pages of the textbook. Recording in the "Creative Notebook" the impressions of students about the music they listened to(see phonochrestomathy of grade 9, tracks No. 12 - 17).

Generalization on the topic "Art and Power". Evidence-based selection of works of art from experience, independent homework, from the pages of a textbook to reveal the level of assimilation of this topic.

Homework:

Divided into groups, find information in dictionaries, in the textbook "Art" for grade 8, on the Internet about such concepts of art as "composition", "form", "rhythm", "texture", "proportions", "color, tone" , "intonation". Write down their definitions in the "Creative Notebook".

Name examples from different types of art according to these concepts.

Lessons 3 and 4: “By what means does art work?” (pp. 108 - 115).

Lesson objectives : to generalize students' ideas about the means of emotional expressiveness of different arts, to promote their conscious recognition in works of art that are new to them.

Formation of UUD:personal - understanding the content of works of art through mastering the means of their artistic expression;cognitive - gaining experience in distinguishing the means of influence of art of different eras and styles on a person;communicative - the formation of skills to work individually, in pairs, in a group in the process of studying the text of a textbook, perceiving and analyzing works of art, to acquire the skills of reflection, argumentation, dialogue;regulatory - consciously apply in the process of work in the lesson the actions of goal-setting educational activities, its planning, reflection, evaluation of results;informational – acquire the ability to independently search for information in various sources, classify it, save it on electronic media.

Lesson 1

I. Greetings. Introduction by the teacher.

Today in the lesson we have to understand the relationship, and maybe even the opposition of such two concepts as "art" and "power". First you need to find answers to the questions: (SLIDE 1)

- What is art?

- What is power? (student answers).

Art - the process and result of a meaningful expression of feelings in the image. Art is an integral part of human culture.
Power is the ability and ability to impose one's own to influence the activities and behavior of other people, even in spite of their resistance.

Power appeared with the emergence of human society and will always accompany its development in one form or another.

- When did art appear? (student answers)

The origin of art and the first steps in the artistic development of mankind date back to the primitive communal system, when the foundations of the material and spiritual life of society were laid.

What conclusion can we draw from all of the above?

Conclusion: art and power arose and developed simultaneously and are an integral part of the formation of social life.

II. Learning new material.

Often, the authorities use the cultural environment of society to influence the mass consciousness. With the help of art, secular or religious power was strengthened.

Art embodied in visible images the ideas of religion, glorified rulers and perpetuated the memory of heroes.

One of the first examples of the influence of power on art, we can consider the appearance of stone or wooden idols created by primitive people. And it doesn't matter if it was a picture of a person or an animal. Most often, such monumental idols inspired awe in a person, showing his insignificance before the forces of nature and the gods. In the same period, a very special place in ancient society is occupied by shamans and priests, who have great power. (SLIDE 2)

- How does the art of ancient Egypt differ from the art of primitive tribes?

In the art of ancient Egypt, along with images of the gods, we find images of the pharaoh. Son of the sun god Ra. His earthly incarnation. He is equal to the gods and dominates over people. Once again, art comes to the aid of power. Immortalizing the names of the pharaohs in frescoes, preserving their facial features in funeral masks, speaking about their greatness with the help of monumental monuments such as pyramids, palaces and temples. (SLIDE 3,4)

But the question is: Is art personified at this time?

The images that we see during this period of time are canonical, they are generalized and idealized. We can observe this especially vividly in the art of Ancient Rome and Ancient Greece. Remember the description of the appearance of Hercules: “Hercules was head and shoulders taller than everyone else, And his strength surpassed that of a man. His eyes shone with an unusual, divine light. He wielded a bow and a spear so skillfully that he never missed, isn't this the ideal image of a hero immortalized in myths. (SLIDE 5)

Ancient Rome, being to a large extent the heir of Greece, continued to idealize the images of its heroes, emperors and gods. But more and more attention of art rushes to a specific person, portraits more and more clearly and scrupulously convey the features of the person being portrayed. Often this was due to the increased interest in the individual person, with the expansion of the circle of portrayed.

During the Republic, it became customary to erect in public places full-length statues of political officials or military commanders. Such an honor was given by decision of the Senate, usually in commemoration of victories, triumphs, political achievements. Such portraits were usually accompanied by a dedicatory inscription telling about the merits. In the event of a crime of a person, his images were destroyed, while the statues of the governors simply changed their “heads”. With the onset of the Empire, the portrait of the emperor and his family became one of the most powerful means of propaganda. (SLIDE 6)

Before us is a portrait of the emperor Octavian Augustus in the form of a commander. He makes a speech to the army. The emperor's armor commemorates his victories. Below is an image of cupid on a dolphin (meaning the divine origin of the emperor).

Of course, both the face and the figure of the emperor are idealized and fully correspond to the canons of the image of that time.

One of the ways to assert power is the construction of magnificent palaces. The luxury of decoration often inspired the common man with a feeling of insignificance in front of the nobleman. Once again, emphasizing class differences and indicating belonging to a higher caste.

Around the same time, triumphal arches and columns began to be erected to commemorate victories. Most often they were decorated with sculptural images of battle scenes, allegorical paintings. Often on the walls of triumphal arches you can see engraved names of heroes. (SLIDE 7)

In the 15th century, after the fall of Byzantium, which was considered the successor of the Roman Empire and was called the "second Rome", Moscow became the center of Orthodox culture. The Moscow tsars considered themselves heirs of Byzantine traditions. This was reflected in the words: "Moscow is the Third Rome, and there will be no fourth."

In order to correspond to this high status, by decree of the Grand Moscow Prince Ivan III, the architect from Italy, the most skilled architect and engineer Aristotle Fioravanti, built the Assumption Cathedral in Moscow in 1475-1479. (SLIDE 8)

The completion of the construction of the first stone church in Moscow - the Assumption Cathedral was the reason for the foundation of the Choir of the Sovereign Singers. The scale and splendor of the temple demanded greater than before the power of the sound of music. All this emphasized the power of the sovereign.

But back to great victories, as in ancient Rome, triumphal arches are built to commemorate the victories won.

1. Triumphal Arch in Paris - a monument on Charles de Gaulle Square, erected in 1806-1836 by the architect Jean Chalgrin.Built by decree of Napoleon I, who wanted to immortalize the glory of his army. The names of the generals who fought with the emperor are engraved on the walls of the arch (SLIDE 9)

2. Triumphal gates (arch) in Moscow. Initially, the arch was installed on Tverskaya Zastava Square in place of a wooden arch built in 1814 for the solemn meeting of Russian troops returning from Paris after the victory over the French troops. The gates are decorated with Russian knights - allegorical images of Victory, Glory and Courage. The walls of the arch were lined with white stone from the village of Tatarova near Moscow, the columns and sculpture were cast from cast iron.(SLIDE 10, 11)

The glorification of power in music can be seen especially clearly in music. For example, in the state anthem of the Russian Empire in 1833 (1917) "God Save the Tsar!". Muses. Prince Alexei Fedorovich Lvov, the words of Vasily Andreevich Zhukovsky "Prayer of the Russians". To the same Zhukovsky literary "teacher" of Pushkin

- Who can give an example of the use of this kind of hymns in modern history? (God save the queen).

One example of the modern use of such hymns is the British anthem.

III. Independent work

- What is the influence of power on art?

How deep are their relationships?

You can form your own idea on this subject by answering the following questions: (SLIDE 12)

1. What was art used for in the development of human culture? (to strengthen power - religious and secular )

2. How did art help to strengthen the power and authority of rulers? (art embodied in visible images the ideas of religion; glorified and immortalized the heroes; gave them extraordinary qualities, special heroism and wisdom )

3. What traditions are shown in these monumental images? (traditions coming from ancient times - the worship of idols, deities that cause awe )

4. What works most clearly strengthened the power? (equestrian statues, triumphal arches and columns, cathedrals and temples )

5. What arch and in honor of what events was restored in Moscow on Kutuzovsky Prospekt? (in 1814 triumphal gates in honor of the meeting of the Russian liberator army, returning from Europe after the victory over Napoleon; in 1936 it was demolished; recreated in 1960 on Victory Square, near Poklonnaya Hill, at the place where Napoleon's army entered the city )

6. What arch is installed in Paris? (by decree of Napoleon in honor of his army; the names of the generals who fought alongside the emperor are engraved on the walls of the arch )

7. When did Moscow become the center of Orthodox culture? (in the XV century after the fall of Byzantium, which was considered the successor of the Roman Empire and was called the Second Rome )

8. How did the cultural image of the Moscow State improve? (the courtyard of the Moscow Tsar becomes the place of residence of many culturally educated Orthodox people, architects, builders, icon painters, musicians )

9. Why was Moscow called the "Third Rome"? (Muscovite tsars considered themselves heirs of Roman traditions )

10. Which architect began to rebuild the Moscow Kremlin? (Italian architect Fiorovanti )

11. What marked the completion of the construction of the first stone church in Moscow - the Assumption Cathedral? (the formation of the choir of the sovereign's singing deacons, because the scale and splendor of the temple required greater strength of the sound of music )

Working with the textbook 102-107, with educational literature, search for possible examples in the educational segment of the Internet.

IV. Summing up the lesson.

D / h textbook p.102-107

The Italian Quattrocento sculptor Donato di Betto Bardi entered the history of art under the name of Donatello. The equestrian statue of the condottiere Gattamelata was installed in 1453 in the northern Italian city of Padua, which was part of the Venetian "terra farm" (mainland possessions of the republic).

Nicknamed Gattamelata ("motley cat" - cheetah) for his courage and deceit, Erasmo di Narni was born in Padua in the family of a baker. The fate of Gattamelata vividly expressed the new position of a person in the Renaissance society, which opened up space for personal energy, talent and will of the outstanding personalities of the era. The captain-general, the leader of the mercenary troops of the Venetian Republic, by decree of the Senate, was immortalized not in a modest church tombstone, but in the first civil monument of the Renaissance.

The famous bronze equestrian statue of the Roman emperor Marcus Aurelius (II century AD), which Donatello saw during a trip to Rome in his youth, served as the prototype for the Gattamelate monument. A short tunic, tight-fitting tunic, bare feet in sandals and an open head is the military costume of the commander or emperor of Ancient Rome, recreated by the sculptor with archaeological accuracy. However, following the ancient tradition of the equestrian monument, Donatello managed to give it a new meaning. His hero is much more filled with the pathos of active self-affirmation. Strong-willed and calm face; a pose full of restrained energy and dignity, a confident and majestic gesture of a hand squeezing a marshal's gesture, create an image of a proud triumphant. Enthusiastic admirers of Donatello's masterpiece compared Gattamelata with the famous Roman generals and emperors - Scipio, Cato, Caesar, saw in him the direct heir to the greatness and glory of the history of Ancient Rome. The recognizable portrait appearance of Erasmo di Narni gives realistic credibility to this ideal sublime image. The generalization and solemnity of the silhouette, the enlargement of the masses, characteristic of monumental sculpture, are enriched by the careful and refined elaboration of details, so characteristic of Donatello's individual style.

It is hard not to agree with N. Berdyaev when he states: “Art must be free. This is a very elementary axiom, because of which it is not worth breaking copies. The autonomy of art is affirmed forever. Artistic creativity should not be subject to norms external to it, moral, social or religious... Free art grows out of the spiritual depths of a person, like a free fruit. And only art in which this depth is felt is deep and valuable.

Analyzing the specifics of the art of the 20th century, we found that the process of forming a new style has begun, integrating the features of the development of scientific consciousness, technology and other aspects of culture. The attitude towards art began to change as something only decorating life, it becomes equal with science, comprehending the same problems of life, but by other means: with the help of an artistic image that is adequate to the new reality. This process was characteristic of both European and Russian art.

However, these processes were significantly deformed by the radical transformations taking place in the socio-economic and political spheres of human life.

Understanding the free nature of art has always been characteristic of the artist, but it is still difficult to stay away from topical issues during periods of revolutionary changes in society.

So, K. Malevich, like many other artists of revolutionary Russia, was first actively involved in social activities to renew culture. However, he soon remarks: “To my great chagrin, most young artists believe that the spirit of renewal in art is subordinated to new political ideas and improved social conditions of life, due to which they turn into executors of the will of the rulers, ceasing to renew beauty itself,” wrote he. “They forget that the value of art cannot be reduced to an idea, whatever it may be, and that all arts have long since become international values...”

Let us, however, pay attention to the fact that in totalitarian states art is given especially close attention. Let's think about the reasons for this phenomenon.

As you know, the main feature of totalitarianism is the fusion of all spheres of society. Ideology becomes their common denominator: in Italy and Germany - fascist, in the USSR - Marxist-Leninist, in China - Maoist, etc.

Under these conditions, art is seen as the most important means of ideological influence on the citizens of the country, the formation of a special way of life that corresponds to ideological guidelines.

Modern art, becoming mass, having received new, technical means of distribution, can influence much more effectively than direct propaganda, influencing not only the logic, but also the feelings of people.

The totalitarian government pays special attention to the most prestigious areas. The concentration of economic levers and opportunities in the hands of the state made it possible to provide material support for space exploration, the development of opera, ballet, sports, and to occupy leading positions in the world in these areas. Indeed, the magnificent opera and ballet school of the Bolshoi Theatre, the brilliant concerts of the Moiseyevites, the performing school of the Moscow Conservatory have always delighted numerous fans of these genres in many countries of the world.

Cultural figures themselves are involuntarily drawn into the process of ideologization of society. And even if the artist does not declare his political position, he inevitably finds himself involved in a big political game. This game of totalitarian power with people of art has some patterns: the government first uses the most gifted of them, their creative potential and revolutionary impulse for propaganda purposes, and then isolates them from society.

Let us give some typical examples. In 1917, K. Malevich was elected chairman of the art department of the Moscow Council of Soldiers' Deputies, then - a member of the commission for the protection of artistic values ​​​​of art and the commissar for the protection of values ​​\u200b\u200bof the Kremlin. In 1924 he created and headed the State Institute of Artistic Culture. But already in 1926 he was removed from this post, and after a while the institute was liquidated altogether. In 1932, his works were included in the exposition of the exhibition "The Art of the Age of Imperialism" in the Russian Museum, in 1935 the last show of his works (until 1962) took place in the Soviet Union. But the first representative exhibition was held in Moscow only in 1988.

In Germany, the leaders of the National Socialist Union of Students, speaking in 1933 in the assembly hall of the University of Berlin, declared themselves supporters of expressionism - "original German" art. Until 1936, the works of Barlach, Nolde, Franz Mark, Kandinsky, Klee were exhibited at the Berlin National Gallery. Soon, however, such exhibitions were banned or closed by the Gestapo on the day of the vernissage. In 1933, Propaganda Minister Goebbels sent an enthusiastic telegram to Edvard Munch - the "great German master" in honor of his 70th birthday, and soon he ordered the arrest of his paintings.

On July 19, 1937, on the eve of the opening of the Art of Degeneration exhibition, Hitler delivered a hateful speech in Munich: “From now on, we will wage a merciless purgatory war against the remaining elements that destroy our culture ... Let these prehistoric cultural figures return to the level stone age and stammering art in the caves of their ancestors, to add their primitive cosmopolitan scribbles there.

Totalitarianism does not tolerate diversity, and therefore it creates its own standard in art, which is official, like, for example, socialist realism in the USSR. Everything that did not correspond to it was subject to a ban. And the ban is terrible not only because it does not allow you to see the results of creativity, but also because it initially deforms the consciousness of the artist, directing his talent in a given direction.

One of Ray Bradbury's short stories contains a wise warning to mankind. A careless time traveler crushed just one inconspicuous insignificant butterfly with a forged boot. Returning to the present, he discovers that this has led to a change in the state regime.

Mankind impoverishes its spiritual life with each cut off search.

In a totalitarian society, even magical significance was attached to art, because it was believed that in a book, film, etc. there must certainly be a handsome, intelligent, patriotic hero, because, having met him, people will also become like that. But the essence of art is not limited to its social class content, it doesn’t matter for him whether he is a proletarian artist or a bourgeois, but it’s important whether he is talented or mediocre, it doesn’t matter what his hero’s profession is - he is a jester, a king or a peasant, but it’s important how exactly they are interpreted in the work eternal themes of Good and Evil, Love, Truth, Beauty...

The main condition for creativity is freedom. But “totalitarianism destroyed the freedom of thought to a degree unthinkable in any of the previous eras,” wrote J. Orwell. - ... The question that is important to us is this: can literature survive in such a society? I think the short answer is: no, it can't. If totalitarianism wins on a world scale, then literature will die ... And in practice, totalitarianism seems to have already achieved such results: Italian literature is in deep decline, and in Germany it has almost ceased to exist. The burning of books is the most revealing side of the activities of the Nazis, and even in Russia the flourishing of literature that was once expected did not occur, most of the talented Russian writers commit suicide or disappear in prisons.

The ban on innovation, the establishment of the photographic aesthetics of "socialist realism", the "return to classicism", the proclamation of "the superiority of Soviet art over the arts of all countries and all past times" turned into a real drama of Russian culture.

Dozens of cultural figures left, and for many years their names were deleted from the culture of Russia (V. Kandinsky, for example, was ranked among German expressionism in Soviet publications), S. Yesenin, Vl. Piast, M. Tsvetaeva committed suicide, P. Filonov, driven to extreme poverty, died in the very first days of the Leningrad blockade, N. Gumilyov, B. Pilnyak, B. Yasensky and many others were shot, I. Babel, O. Mandelstam,

V. Meyerhold and many others died in prisons and camps. Vl. Mayakovsky and A. Fadeev shot themselves, realizing the horror of the consequences of giving their talent to the service of the party. Others, like B. Pasternak and A. Akhmatova, were forced to remain silent for decades. B. Pasternak, who was awarded the Nobel Prize, could not go for her.

Another totalitarian state - fascist Germany - could not leave in 1935 another of its laureates - the German journalist Karl Ossetsky, an open opponent of National Socialism. The Nazi newspapers then wrote: "The issuance of the Nobel Prize to the most famous traitor is such an arrogant and shameless challenge, such an insult to the German people, that it should be given an appropriate response." K. Ossetsky was thrown into a concentration camp, after a forced telegram from his wife to the Swedish Academy with the refusal of the prize, he was transferred to a clinic, where he soon died.

What totalitarian regimes have in common is the globalism of art as a consequence of the globalism of tasks: a thousand-year-old Reich in Germany and a wonderful future for all mankind in the USSR. Hence - monumental monuments in both states of unprecedented size. Even that living thing that always nourishes art - custom, tradition - is enveloped in an ideological veil. All that remains is that from which their own dominants of the totalitarian system grow.

So, the "genuine" history of Russia began in 1917, and the prehistory - with the Decembrists, who opened the national liberation movement. History is being rewritten, monuments are being demolished, the historical environment is being destroyed. And in every city, instead of historical names, there are Soviet, Krasnoarmeisky, Communist streets.

However, we will not simplify the problem by arguing that under the conditions of totalitarianism the emergence of unique, talented phenomena of art is impossible.

Life in a totalitarian state is always more complicated than schemes. The brightest and most cheerful films that have become classics, such as "Circus", "Volga-Volga", "Merry Fellows", were created in the pre-war years, which were tragic for the country. Their success was predetermined not only by the talent of their creators, but also by the need for such art of Soviet people, who lived overwhelmingly in communal apartments, in plain sight and needed, on the one hand, to compensate for the realities of a disenfranchised existence, and on the other, who firmly believed in a brighter future. .

Under these conditions, when, as J. Orwell said, “all art is propaganda,” artists created not only because they had an ideological order, many of them sincerely professed the values ​​of the new society.

At the same time, in totalitarian regimes, along with official art, a parallel culture always develops - the underground, i.e. underground culture, manifested through "samizdat", dissidence, through the wide dissemination of the Aesopian language.

Everyone knows the names of V. Vysotsky, B. Okudzhava, B. Akhmadulina. These are the artists whose exhibition in Moscow (Izmailovo) was crushed by bulldozers. And those artists, writers, directors, whose work was not completely banned, hid the true meaning in the subtext, which the intelligentsia learned to “read”. The theaters "Sovremennik" and "On Taganka", "Literaturnaya Gazeta", the magazine "New World", films by A. Tarkovsky were famous for allegories. Artists used Aesopian language to show their works, because, as Vrubel argued, an artist without recognition of his work by the public, without dialogue with the viewer is doomed to non-existence.

The great humanist of our time, A. Schweitzer, in his well-known book "Culture and Ethics", written in 1923, noted:

“... When society influences the individual more strongly than the individual influences society, the degradation of culture begins, because in this case the decisive value - the spiritual and moral inclinations of a person - is necessarily diminished. There is a demoralization of society, and it becomes unable to understand and solve the problems that arise before it. Eventually, disaster strikes.”

This deep thought gives us the key to understanding many processes and phenomena in the field of culture, both past and present, related to the interaction of the artist and society.

An obvious condition for freedom of creativity is the real embodiment of democratic ideals in the life of society. However, no country in the world can claim a solution to this critical problem. The proclamation of democratic norms by the world community and many countries in the 20th century. is undoubtedly a great achievement of mankind. However, their full-blooded implementation has not yet become a reality. Freedom, not secured by the material conditions for its realization, cannot become a reality and remains only in the world of the possible. Moreover, a society in which the power of money is so great cannot, in principle, be truly democratic. By the way, the commercialization of culture, which worries everyone so much, is not accidental, it is a natural consequence of the modern socio-economic structure of democratic societies.

Thus, the art of the XX century. - in one form or another - with losses and gains, it turned out to be included in the social and political context.

Why is the government in one form or another trying to influence art?

What are the forms of influence of power on art in totalitarian and democratic states?

How is the influence of society on art carried out in the conditions of democratic states?

Throughout the history of civilization, one interesting and quite natural connection can be traced - the interaction of art and power. It would seem, how can two completely different spheres of human activity influence each other? But nevertheless, when considering such categories as art and power, it becomes obvious that they are much closer than it is seen initially. Both of them affect the will and emotions of a person, changing them and subordinating them to a specific goal.

How art influences power

In order to understand the nature of the interaction between the political system and creativity, it is necessary to know what they are.

Power is the ability and ability to exert a certain influence on the behavior and activities of people using a set of certain means.

Art is the most important part of cultural life, a kind of spiritual and practical development of the world and the relationships in it.

Art is the embodiment of a flight of fancy, a manifestation of freedom and the creative spirit of man. However, it was often used by those in power to achieve certain political and religious goals. How was it done? The bottom line is that both art and power are capable of capturing the minds of the people and imposing a certain line of behavior on them. Thanks to the works of outstanding sculptors, poets and artists, the leaders of the countries strengthened their authority, belittling opponents, and different cities maintained their fame and prestige.

Art makes it possible to translate rituals and religious symbols into reality, to create ideal and majestic images of rulers. They were endowed with extraordinary qualities, wisdom and heroism, which undoubtedly aroused the admiration and respect of citizens.

Thus, one should not underestimate the influence of power on art, which became an excellent tool in establishing a certain political regime. Unfortunately, often the common people became a victim of deception, which was achieved through the works of poets and writers.

Art and power in antiquity

If we consider the interaction of these two branches of social life, it becomes obvious that many centuries ago this was a very important tool for influencing people. Especially strongly art and power depended on each other in the ancient superpowers. Thus, the Roman Empire during its heyday is famous for its sculptures depicting emperors and generals. We see their perfect physique, classic features, filled with courage and courage, and involuntarily imbued with respect for them. What can we say about their contemporaries?

Very interesting intertwined art and power in ancient Egypt. He endowed the pharaohs with the power of mythical creatures. Often they were depicted with a human body and the head of an animal. This emphasized their divine power.

Middle Ages

If we consider art and power in a later period, we can trace significant changes. The techniques of sculptors, painters and poets became more sophisticated, as it became more and more difficult to influence. Now writers, commissioned by the royal administration, created ornate poems in which they described the exploits and majestic deeds of the ruling persons. The art of those times gave mankind many outstanding artifacts. So, Napoleon I, seeking to perpetuate the strength and power of his army, ordered the creation in the center of Paris, which has been perfectly preserved to this day.

The relationship between power and art in our country

The history of the interaction of these categories in Russia dates back to the 15th century. At this time, Byzantium, which was the heiress of Ancient Rome, fell under the onslaught of the barbarians. Moscow became the cultural and Orthodox center of Eurasia. Our state experienced rapid geographical and economic growth, which required the creation of an appropriate image. kings became a haven for outstanding culturally educated and religious figures. They included talented icon painters, architects, musicians and builders.

The relevance of the influence of art on power today

Of course, everything has changed in the modern world, but the topic being described (power and art) remains very important and relevant. The interconnection of these branches of activity is especially strong during periods of significant political and socio-economic changes. Now there is practically no censorship, which means that any person who seeks to express his thoughts and ideas through art can do this without fear of being punished. This is a very important breakthrough regarding the freedom of creativity and spirit.

How does art influence power in our time? Now these two concepts are very far away from each other, as people can get reliable and complete information about the domestic and foreign policy of their state, as well as openly express their opinion. It is no longer necessary to influence the minds of the population with the help of beautiful poems and sculptures in order to strengthen authority.

Exhibitions on the topic of the influence of power on art

Periodically, exhibitions are held in different cities highlighting this problem. They are of great interest to those who are fond of history and political science. Not so long ago, a similar exhibition was held in a Swedish museum. It bore the symbolic name "Art for rulers". It was possible to see more than 100 expositions with the participation of 400 exhibits from different eras.

An interesting pattern is constantly observed. Art as a manifestation of the free, creative powers of a person, the flight of his imagination and spirit was often used to strengthen power, both secular and religious.

Thanks to works of art, power strengthened its authority, and cities and states maintained prestige. Art embodied in visible images the ideas of religion, glorified and immortalized the heroes. Sculptors, artists, musicians at different times created idealized majestic images of rulers-leaders. They were given extraordinary qualities, special heroism and wisdom, which, of course, aroused respect and admiration in the hearts of ordinary people. Traditions coming from ancient times are clearly manifested in these images - the worship of idols, deities that caused awe not only for everyone approaching them, but also for those who looked from afar. The valor of warriors and commanders is perpetuated by works of monumental art. Equestrian statues are erected, triumphal arches and columns are built to commemorate the victories won.

What qualities do artists, sculptors emphasize in the images of statesmen, rulers of different eras andcountries ? What kindthe senses cause these images in you?
What are the similarities and differences between these images? What are the common (typical) features that symbolize power.

By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. On the walls of the arch are engraved the names of the generals who fought alongside the emperor.

In the XVIII century. opened a new chapter in Russian history. Peter I, according to the apt expression of Pushkin, "cut a window to Europe" - St. Petersburg was founded.

New ideas are reflected in all kinds of art. Secular painting and sculpture appeared, music changed to a European style. The choir of the sovereign's choristers has now been transferred to St. Petersburg and is becoming the Court Singing Chapel (often Peter I himself sang in this choir). The arts proclaim praise to the Lord and toast to the young tsar of all Russia.

Now the Glinka Choir Chapel is a majestic monument of Russian culture, famous throughout the world. The chapel helps to maintain the connection of times and the continuity of traditions.

In the twentieth century, in the era of Stalinism in our country, pompous, magnificent architecture emphasized the strength and power of the state, reducing the human personality to an insignificantly small level, ignoring the individual originality of each person. The soulless mechanism of state coercion highlights the grotesque beginning in music (D. Shostakovich, A. Schnittke and others).

The democratic sentiments of the people find especially vivid expression in art at turning points in history. These are revolutionary songs, marches during the October Revolution in Russia (1917), posters, paintings, musical compositions from the Great Patriotic War (1941-1945). This is both a mass song, reflecting the labor enthusiasm of the post-war years, and an author's song of the second half of the 20th century. (a kind of urban folklore), which expresses not only the lyrical moods of the younger generation, but also a protest against the restriction of individual freedom, which is especially pronounced in rock music.

Give examples of historical eras with authoritarian and democratic rule.
Select works of art that reflect the ideas of thesestates . Refer to reference literature.
Look at paintings, fragments from films, listen to musical works that express the ideals of the people at different times in different countries. What can you say about their social ideals?
By what means and for what purpose does art influence people today?

Artistic and creative task
Prepare a report orcomputer presentation on a topic related to the suggestion to the people of certain feelings and thoughts by means of art. Analyze various works of art of the same type of art in different eras, or select an era and present its holistic image based on works of various types of art.

Lesson content lesson summary support frame lesson presentation accelerative methods interactive technologies Practice tasks and exercises self-examination workshops, trainings, cases, quests homework discussion questions rhetorical questions from students Illustrations audio, video clips and multimedia photographs, pictures graphics, tables, schemes humor, anecdotes, jokes, comics parables, sayings, crossword puzzles, quotes Add-ons abstracts articles chips for inquisitive cheat sheets textbooks basic and additional glossary of terms other Improving textbooks and lessonscorrecting errors in the textbook updating a fragment in the textbook elements of innovation in the lesson replacing obsolete knowledge with new ones Only for teachers perfect lessons calendar plan for the year methodological recommendations of the discussion program Integrated Lessons

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• Art, as a manifestation of the free, creative powers of a person, the flight of his imagination and spirit, was often used to strengthen power. Sculptors, artists, musicians at different times created idealized majestic images of rulers-leaders.
• August from Prima Porto. Roman statue
• Palette Narmer. Ancient Egypt

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• Triumphal Arch on Kutuzovsky Prospekt in Moscow
• The valor of warriors and commanders is perpetuated by works of monumental art. Equestrian statues are erected, triumphal arches and columns are built to commemorate the victories won.

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• Arc de Triomphe on the Champs Elysees in Paris Louis David
• Napoleon on horseback in St. Bernard Pass
• By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. On the walls of the arch are engraved the names of the generals who fought with the emperor.

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In 1814, in Russia, for the solemn meeting of the Russian liberator army, returning from Europe after the victory over Napoleon, wooden Triumphal Gates were built near the Tverskaya Zastava.

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In the XV century. Moscow becomes the center of Orthodox culture

• Moscow dungeon. End of the 16th century. Vasnetsov Apollinary Mikhailovich
• Moscow Kremlin under Dmitry Donskoy (Probable view of the Kremlin by Dmitry Donskoy before the invasion of Tokhtamysh in 1382). Vasnetsov Apollinary Mikhailovich (1856-1933)

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• D. Levitsky. Catherine II
• The courtyard of the Moscow tsars is becoming a place of residence for many culturally educated Orthodox people.
• Among them are architects and builders, icon painters and musicians.
• Catherine considered herself a "philosopher on the throne" and favored the Enlightenment.
• Under her rule, the Hermitage and the Public Library appeared in St. Petersburg.
• She patronized various areas of art - architecture, music, painting.

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• In the “Word about the destruction of the Russian land” it is said: “O bright and beautifully decorated Russian land! And you are surprised by many beauties; You are surprised by many lakes, steep mountains, great cities, wondrous villages, temples of God, - formidable princes ... you are full of everything, the Russian land! This beauty has inspired our people for centuries. Monuments of architecture and fine arts, icon painting are an excellent asset of society.
• The Moscow tsars considered themselves heirs of Roman traditions, and this was reflected in the words:
• "Moscow is the Third Rome, and there will be no fourth."
• To match this high status, the Moscow Kremlin is being rebuilt according to the project of the Italian architect Fioravanti.

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• Moscow Kremlin: symbol of Moscow and Russia. This is the former residence of Russian tsars and patriarchs. The Kremlin contains a unique collection of historical architectural and cultural items.
• Moscow Kremlin under Ivan KalitaWatercolor.A.M.Vasnetsov.

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Assumption Cathedral - one of the main cathedrals in Russia, where kings were crowned and patriarchs were buried

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Cathedral of Archangel Michael, burial place of Russian tsars and princesses

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• Annunciation Cathedral - the royal chapel.
• The Armory, founded in 1720 by order of Peter I, is the oldest Russian museum and a treasure trove of Russian art from ancient times to the present day

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In the XVIII century. opened a new chapter in Russian history. Peter I, in the apt expression of Pushkin, "cut a window to Europe" - St. Petersburg was founded.

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• The choir of the sovereign's choristers has now been transferred to St. Petersburg and is becoming the Court Singing Chapel (often Peter I himself sang in this choir).
• The arts proclaim praise to the Lord and toast to the young tsar of all Russia.
• Now the Glinka Choir Chapel is a majestic monument of Russian culture, famous throughout the world.
• The chapel helps to maintain the connection of times and the continuity of traditions.

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Bibliography:

• G. P. Sergeeva, I. E. Kashekova E. D. Kritskaya Art Grades 8-9 Textbook for educational institutions Moscow "Enlightenment" 2009
• G.P. Sergeeva, I.E. Kashekova, E.D. Kritskaya. programs of educational institutions Music grades 1-7, Art grades 8-9 3rd edition, revised Moscow, Prosveshchenie, 2010.

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