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Painting in our Life. / сторінка 6

Назва:
Painting in our Life.
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Реферат
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Англійська
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Islamic painting is primarily the creation of beautiful books through calligraphy and illustration. Calligraphers copied texts in elegant handwriting, and artists added illustration to increase the beauty of the books. Calligraphers copied the texts of Koran, the Islamic holy book, on pages that were then covered with gold leaf. Early Islamic artists decorated the pages with complicated patterns because their religion prohibited the making of images of human beings and animals. However, as time passed, many Islamic artists — especially those living in Persia - began painting human and animal figures.

In addition to the Koran, Persian artists illustrated collections of fables, histories, love poems, and scientific works. These illustrations have jewel — like color, the most important element in Islamic painting. The artists did not try to portray the real world, but instead tried to create a luxurious, ideal setting to delight the eye and simulate the imagination.

Medieval painting refers to most of the art produced in Europe during a period of about 100 years. This period began with the fall of the Roman Empire in the AD 300's and 400's and ended with the beginning of the Renaissance in the 1300's. Almost all medieval artists dealt with religious subjects, they developed several styles. One of these styles, called Byzantine, became the most important tradition among Christian artists of eastern Europe and the Near East.

Byzantine painting. Starting in the AD 300's, eastern Christians gradually separated from the western Christians, who were ruled by the pope in Rome. Eastern Christians art is called Byzantine because the religion centered in the city of Byzantium (now Istanbul, Turkey). By the 500's, the Byzantine artists had developed a special style of religious painting. The Byzantine painting style has remained largely unchanged to the present day. Byzantine pictures portray colorful but unlifelike figures that stand for religious ideas rather than flash-and-blood people. The artists were not interested to techniques that would help show the world as it was. They generally ignored perspective and gave their works a flat look. They made wide use of symbols in their works in order to tell stories.

The CJTeat age of Russian Art.

When Russia received Christianity from Byzantium in the late 1000's, an important part of the culture transplanted onto Russian soil was the early medieval art that Byzantium had brought to a level of great sophistication. For the Orthodox Church, icons (images of holy personages or events) where an integral part of worship and theology, testifying to the reality of the incarnation. Characteristically icons were painted in tempera on wooden panels, though they may be of other materials, and the fresco wall paintings (occasionally mosaics) with which early churches were always adorned are equally “iconic”.

After the Tatar conquest building activity, and with it painting, revived gradually during the 1400's. First Novgorod, then increasingly Moscow were the major patrons; but the political fragmentation of the time led to productive artistic activity in many smaller places. Contacts will] the Mediterranean world revived: Serbian painters worked in Novgord; the learned Greek Theophanes (in Russian Feofan) worked both there and in Moscow. But home-bred talents made this the great age of Russian painting; notably the monk Andrew Rublyov (c. 1370-1430). He is first recorded as one of the painters of the Moscow Annunciation Cathedral in 1405. He was evidently aware of new stylistic currents in Byzantine art of the time — and also conveys the Hellenistic impetus behind Byzantine art generally. The famous so-called “01d Testament Trinity was painted in memory of St. Sergius when the Trinity Monastery was restored after the Tatar raid of 1408. The scene is the Hospitality of Abraham: three pilgrims, recognized as angles, are given a meal by Abraham and Sarah.

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