The first tribes, Religion and Art of primitive people. The emergence of religious beliefs and art

The most ancient in their origin forms of religion include: magic, fetishism, totemism, erotic rites, funeral cult. They are rooted in the conditions of life of primitive people.

Totemism is the belief in the existence of a close relationship between relatives and their totem, which could be some kind of animal, less often plants, objects or natural phenomena. The genus bore the name of a totem, for example, a kangaroo or an onion, and believed that it was related to it by blood. It was believed that the totem helps relatives, so it could not be killed, harmed and eaten. Totemism ideologically reflected the connection of the clan with the natural environment.

Animism is the belief in supernatural beings, encased in bodies (souls) or acting independently (spirits). Animistic beliefs are associated with the animation of nature. Scientists emphasize the fact that the concept of the non-material (or the bifurcation of the material) testified to the relative development of abstract thinking in primitive man, and this is a long stage in the evolution of his intellect, the accumulation of life experience. Therefore, the original types of religious beliefs were most likely totemism and magic.

Fetishism - belief in the supernatural properties of some inanimate objects, such as caves, stones, trees, certain tools or household items, and later specially made cult objects. A cave that saved people from a storm, a tree that fed them after a hunger strike, a spear that got food, etc. became a fetish.

Magic is the belief in a person's ability to influence other people, animals, plants, even natural phenomena in a special way. A man believed that with the help of certain actions and words, he can help or harm people, provide prey or failure in fishing, cause or stop a storm. Distinguish industrial or trade, medical, love and other magic. At the same time, magic can be "white" (protective) and "black" (harmful). Over time, religious ideas and cults become more complex, acquire an eclectic character. They mix with each other, forming the veneration of both family and tribal patrons, agricultural and cosmic spirits. Gradually, a hierarchy of objects of worship arises - from ordinary spirits to several especially powerful deities (cosmic, natural phenomena, fertility, war). A new stage in the spiritual culture of man is the establishment of polytheism, i.e. belief in many gods and worship them.

Fine art originates in the Upper Paleolithic period 40-35 thousand years ago. Among the archaeologically represented monuments that have survived from those times are plastic, graphics and painting. Over the course of several millennia, primitive art experienced a technical evolution: from finger drawing on clay and handprints to multicolor painting; from scratches and engraving to bas-relief; from the fetishization of rock, stone with the outlines of an animal - to sculpture. It fixed the social experience of people in an aesthetically mediated form, in concrete and realistic images.

The bulk of the plots of rock art in the Paleolithic era consisted of images of animals, usually made in natural size with primitive single contours: mammoth, rhinoceros, wild horse, deer, fallow deer, bull, bison, bison, elk. Paleolithic drawings also preserved traces of the rudiments of writing in the form of pictography. Geometrical figures (sticks, triangles, trapezoids), denoting the direction of the path, the number of animals killed or the plan of the area, served as a kind of information addition to the image. Natural and mineral paints were used for paintings. Iron ore was specially burned to obtain ocher, which was then mixed with blood or fat. Expressive cave frescoes and multi-figure compositions of a hunting and domestic nature (hunting and military scenes, dances and religious ceremonies) date back to the Mesolithic. The primitive artist learned to generalize, abstract, acquired the skills of a rational distribution of drawing elements on a plane, experimented with color and volume. Evidence of the development of abstract thinking was a departure from the principle of naturalism, schematism and a decrease in the size of images during the Neolithic period. The main purpose of the drawings stemmed from the practical needs of people and was of a magical nature. Painting was supposed to attract game animals to the territory of the tribe or promote their reproduction, bring good luck in hunting, etc.

In the Neolithic period, in connection with the development of ceramic production, the art of ornamentation gained unprecedented scope. Different tribes have their own specifics of painting pottery, which allows scientists to accurately determine the direction of their migration.

Plastic art is widely represented by sculptural images of animals (or their heads), female figures - the so-called Paleolithic Venuses, which symbolized fertility, the feminine principle of the earth. Monumental sculpture is a later phenomenon that reflected the social differentiation of society. Tombstones were erected for leaders and outstanding warriors. Taylor E. Primitive culture. M., 2009. S. 63.

The flourishing of applied arts is connected with the development of social relations, in particular, the development of crafts. Craftsmen created jewelry, expensive weapons, household utensils, decorated clothes. Art casting, embossing, gilding of metal products, the use of enamel, inlay with precious stones, mother-of-pearl, bone, horn, etc. have become widespread. The famous Scythian and Sarmatian products, decorated with realistic or conditional images of people, animals, plants, testify to the high level of artistic metal processing.

The monuments of proto-architecture include megalithic structures already known in the Neolithic (from the Greek - a large stone). They were erected in many regions of the world, had various forms and purposes. Monoliths-menhirs are free-standing stones up to 20 m high, their parallel rows are called alinemans. A dolmen is two or more large stones covered with a huge slab and forming a burial chamber. The most complex megalithic structure - the cromlech - consists of multi-ton vertical stones arranged in a circle, covered with carefully crafted crossbeam stones. During the period of decomposition of primitive communal relations, monumental architecture arises. Raw fortifications, temples, tombs appear, built, as, for example, in ancient Mesopotamia and Egypt, for the needs of major leaders. Stonehenge is a unique megalithic structure.

The emergence of art and religious beliefs

Prerequisites

Awareness of one's mortality and an attempt to come to terms with one's mortal nature led to the emergence of belief in an afterlife. The desire to influence natural phenomena and events led to the emergence of magic and religion.

Primitive art was part of religion. It was closely connected with the rites and rituals of ancient people. It had a magical function.

Art already existed in the Late Paleolithic (about 40-10 thousand years ago).

Events

The emergence of belief in the afterlife. Scientists draw a conclusion about this from the excavations of ancient burials in which red ocher was found. She symbolized blood, which means life (belief in life after death).

The emergence of religious beliefs
. Animism: belief in the animation of all objects surrounding a person (belief that they all have a soul). Anima - lat. "soul".
. totemism: belief in the origin of a group of people (kind) from any animal, plant or object.
. Fetishism: the worship of inanimate objects to which supernatural properties are attributed. Fetishes (amulets, amulets, talismans) are able to protect a person from trouble.

The advent of art
. Figurines carved from soft stone, from mammoth tusks or molded from clay.
. Rock paintings: Created in dark caves, scientists suggest that they were not intended for aesthetic perception. Most likely, they played some role in the rituals of primitive man.

Conclusion

In the late Paleolithic era, religious beliefs such as animism, totemism, and fetishism first appear. The religion of primitive people was inextricably linked with magic. The art that arose in the same period was not separated from magic and religion, and did not have a purely aesthetic function.

Abstract

For a long time, scientists did not know that there were skilled artists among primitive people, but the discoveries they made spoke for themselves. Ancient artists drew not only for their own pleasure, but also to "enchant" the beast. How did religious beliefs originate? What cults were worshiped by our distant ancestors? You will learn about this in our today's lesson.

One of the main manifestations of the spiritual life of man is religion. All peoples had religious beliefs. Some scientists believe that religious beliefs date back to the Neanderthals. Archaeologists find burials in which, in addition to the remains, they find household items and tools (Fig. 1).

Rice. 1. Ancient grave ()

The Neanderthals had a bear cult. The skulls of cave bears served as objects of witchcraft, from which religious beliefs and rituals subsequently developed.

The religious beliefs of the Cro-Magnons were more complex. In the graves near their camps, in addition to household items and tools, scientists found ocher, which had the color of blood - the color of life. It can be assumed that the “reasonable man” had a belief in the immortality of the soul. Animation of objects, forces and elements of nature is called animism.

During the emergence of tribal communities, a religious idea arose about a supernatural relationship between members of the clan and totem- a mythical ancestor. Most often, various animals and plants served as totems, even natural phenomena and inanimate objects. Among the natives of Australia and the Indians of North America, totemism is the basis of the traditional worldview.

A fishing cult is also associated with totemism. There were witchcraft rites associated with hunting and fishing. Primitive hunters were afraid that there would be fewer animals in the forests, the meat of which they ate, and fish would disappear from the lakes. People have a belief that there is a connection between an animal and its image created by an artist. If you draw bison, deer or horses in the depths of the cave, people thought, then living animals will be enchanted and will not leave the surrounding area (Fig. 2). If you draw a wounded animal or hit its image with a spear, then this will help you succeed in hunting. With amazing skill, the ancient artist painted a mammoth with a flexible trunk, a deer with branched horns thrown back, a bear, wounded and bleeding. Images of a mortally wounded bison and a hunter killed by it have been preserved. In some caves, people depicting animals are painted. A man has horns on his head, a tail behind; he seems to be dancing, imitating the movements of a deer.

Rice. 2. Man enchants the beast ()

About a hundred years ago, a Spanish archaeologist examined the cave of Altamira, where people lived in ancient times. Unexpectedly, he found on the ceiling of the cave images of animals painted with paints. At first, scientists believed that these paintings were painted quite recently; no one believed that ancient people could draw. But then similar images were found in many caves. Archaeologists also found figurines of people and animals carved from bone and horn. No one doubted that the paintings and figurines were works of art of the distant past (Fig. 3).

Rice. 3. Altamira. bison ()

Works of art show that "reasonable man" was observant, knew animals well, and his hand drew precise lines on stone and bone.

Bibliography

1. Vigasin A. A., Goder G. I., Sventsitskaya I. S. History of the Ancient World. Grade 5 - M .: Education, 2006.
2. Nemirovsky A. I. A book for reading on the history of the Ancient World. - M .: Education, 1991.
3. Ancient Rome. Book for reading / Ed. D. P. Kallistova, S. L. Utchenko. — M.: Uchpedgiz, 1953.

Additional precommended links to Internet resources

1. Ancient world history ().
2. Miracles and mystery of nature ().
3. Ancient world history ().

Homework

1. What were the oldest religious beliefs?
2. Fairy tales say that a boy turned into a goat, a girl into a willow, what beliefs are associated with these fabulous transformations?
3. What objects found by archaeologists during the excavation of ancient burials confirm the assumption about the emergence of religious ideas in people?
4. Why did primitive people depict animals?

As already mentioned, among all the main forms of culture, art has especially close ties with religion, since religious consciousness, due to its syncretism, has historically been the prototype of art, and artistic creativity as a synthesis of elements of other types of activity can be considered as a secular analogue of religion. For centuries, it was the religious picture of the world that seemed to man an absolute reality. In the force field of religion, various types of art arose and developed, while the dominance of one or another of them determined mainly the nature of religious consciousness. Acquiring autonomy from a certain religious tradition throughout the history of culture, art significantly influenced the formation of national cultures.

The origin of the formation and development of architectural art was the organization of space for the performance of religious and magical rites; originally - a hidden sacred place in a cave. With the evolution of mythological consciousness and the emergence of complex forms of polytheism, the appearance of special structures is associated - temples as places of the presence of the gods, in the area of ​​​​which other types of art arise. The reflection of the originality of religious consciousness in the aesthetic sense, which determined the peculiarities of the formation of art in the Ancient World, let us consider the example of Egypt, India, China, Greece and Rome.

The mythology of Ancient Egypt is the birthplace of the light religion and the aesthetics of light. It included a number of animals (bull, snake, falcon, etc.) in the objects of cult worship, but beauty ( iefer) saw only in the human form, overshadowed by the divine light of the Sun (Ra). The ritual and magical meaning of the formation of the artistic world was determined by the central idea of ​​Egyptian mythology - the cult of the dead, the administration of which promised the resurrection of a person after the judgment of Osiris for blessed eternal life on the fields of Nalu. The main task of the rites is the preservation of the human being in the unity of the soul and body, including the body (Sah) life spirit (Ba) name (Ren) Light and shadow (Oh and Shuit), spiritual copy of the whole (Ka). For the sake of preserving the body, embalming is carried out, which implies the intensive development of a complex of knowledge in chemistry, medicine, etc.; a sarcophagus with a realistic portrait of the deceased is made, a pyramid is built. Portrait realism serves the purpose of returning the soul and reviving the deceased, so it is present both in the figurines in the pyramid and in the alley of sphinxes. The temples at the pyramids are intended for naming the name and maintaining the spirit - copies of Ka. Light and shadow (Ah and Shuit) symbolize the enlightenment of the body as its beauty. The image of the inseparability of the physical and spiritual is subject to a special color canon - the harmony of white, red, green with divine gold and lapis lazuli, since the very invention of the image was attributed to the god Ra.

The resultant effect of achieving the preservation of the spirit and body of a person in the course of the implementation of rituals in the synthesis of fine art and architecture is a feeling of joyful expectation and openness of the deceased to the coming blissful life. The image of a person in confidential readiness for a meeting with the gods (Osiris, Horus) is an image of proto-existential communication and the source of a person's love for a person in the face of higher powers. It is no coincidence that in the literary heritage of Egypt, among hymns, prayers, and religious dramas, love lyrics occupied the most important place. However, the beginning, uniting all artistic elements, remained a kind of symbol of eternity. architectural complex, pyramid, a temple attached to it and an alley of sphinxes.

The art of ancient India bears the stamp of the influence of the evolution of its religion - Vedism, Brahminism, later Buddhism, according to which the world is in a state of constant destruction and rebirth, and man is captured by the cycle of births and deaths. Initially, this was associated with the concept of Brahma the creator of the universe, which he had to constantly recreate; later - with faith in the infinitely reborn spiritual principle of the world, Brahman, as the basis of all material forms; and finally, with the cult Buddha. The world is only an illusion, and a person can be freed from it only by reaching nirvana, the exit from the circle of rebirths. An endless inner dynamic distinguishes the consciousness of the Hindu, and absolute peace is only the ultimate goal of this movement.

If in ancient Egypt beauty surrounds a person with the radiance of the sunlight of Ra, i.e. from the outside, then in India beauty is conveyed by the light within the human heart. Truth and good are symbolized by the light of the heart. Brahman is incomprehensible, but it can be reached in the contemplation of the inner world, in Atman. Immersion in the light of Brahman gives liberation from the endless transmigration of the soul into material forms. Spiritual movement in the inner world of a person, the dissolution of the bodily in the divine light (ie beauty) makes valuable in art not static images, but dynamic ones. The symbol of Egyptian culture - the pyramid - is opposed dance,

reached in India an artistic perfection that no other culture of antiquity knew.

Dance Shiva, a fighter against injustice and a righteous avenger for vice, the King of Dance ( Nataraji), is performed in the temple by a priest and has a sacred character, because it reflects the completeness of understanding the universe in its infinite variability. The synesthesia of the spiritual and physical, musical and pictorial elements of the dance form a complex sign language that turns the dance into a verbally perceived statement (Fig. 17.1). The "speech" of the dance includes the meanings of more than 500 finger movements, 108 body postures, 2 BUT movements of the head, 26 movements of the eyeball, six movements of the eyebrows, four movements of the neck, and for its understanding requires the appropriate education.

Rice. 17.1.

The performance of the dance involves the construction of a temple, the creation of images of the gods and the poetic appeal to them, but it is dance turns out to be the focus of ancient Indian culture, gradually going beyond the walls of the temple, taking on diverse secular forms. Despite its widespread use since the 6th c. Buddhism, where the main figure is the Buddha in a pose of meditation, a dance that belongs to an older tradition and turned into a whole system of ritual dances in Buddhism, remained the most popular art form in India, largely expressing the character of the nation.

The feeling generated by ancient Indian art expresses the free play of the spirit, its power and self-sufficiency. Love is deprived here of that dependence with which the needs of the body encroach on the spirit, and in the form of Rama, Krishna, Buddha, it is saturated with a purely spiritual meaning, turning into a righteous path of life accessible to all.

The culture of ancient China differs significantly from other cultures of the ancient world. Belief in higher powers here, in essence, comes down to the veneration of Heaven and Earth in their sacred hypostasis; mythology represents the plots of human life, and the comprehension of the universe occurs rather in line with philosophy. Thus, in China there was no “clearly expressed idea of ​​an act of cosmic creation as a result of the efforts of a certain demiurge deity”, while the art of Ancient China received its original expression not so much in the mainstream of Confucianism, focused primarily on ethical issues, but under the influence of Taoism.

Dao(Way) - the law of the cosmos and society, the all-penetrating principle, touching which forms the harmony of man with nature. Having the function of generating the world, Tao is an intermediate link between being and non-being, therefore a thing, belonging to being, contains a particle of non-being as its meaning. Nothingness - the beginning of all beginnings, true and beautiful; his image is emptiness, which is revealed through a certain ratio of the depicted objects. Paramount importance is attached to the image of nature in the unity of male and female (jan and yin) according to the law of Tao, therefore, the dominant position in art is occupied by landscape(mountains and waters).

However, the landscape is not a reproduction of a corner of nature, but an understanding of the natural world. It arises under the brush of the artist, not so much as a result of the creative activity of consciousness, but as a result of reverent contemplation of nature.

The contemplation of the landscape assumes the integrity of the perception of not only the depicted objects, but also the configuration of the empty space formed by these objects. Rice. 17.2. China. Trees (Fig. 17.2). in the river valley

The landscape thus acquires an esoteric function. The perception of the landscape is similar to the contemplation of the icon: it causes a state of enlightenment, not leading beyond the material world, into the transcendent world, but plunging into the essence of Tao. Another important genre is built on these principles - portrait", it is not a reproduction of a person's appearance, but depicts the character, features of the inner world, its nature.

The main criterion for the value of a work, whether it be a landscape, a portrait, an image of flowers and birds, applied art, household items, is considered naturalness,"consonance of energies in living movement". The hieroglyphic nature of writing, its peculiar picturesqueness also influenced the special connection between painting and poetry, creating “the picturesqueness of poetry and the poetry of painting”, forming the artistic complementarity of the image and the hieroglyph. But the landscape retains its dominant position, as evidenced by the greatest Chinese artist and theorist of the 17th century. Shi Tao:

“Landscape expresses the form and dynamic structure of Heaven and Earth. In the bosom of the landscape, wind and rain, darkness and light make up a spiritualized image.

The transfer of this attitude to the aesthetic contemplation of nature becomes the source of the rejection of violence against nature, the beginning of a dialogue-love with a person. It was in China, and then in Japan, which largely continued, although it transformed in its own way, the tradition of Chinese culture, that a special type of perception of nature was formed, similar to the contemplation of a work of art. The well-known American sinologist J. Rowley comes to the convincing conclusion that the Chinese looked at the world not so much through the prism of religion, but through art. In other words, art in China assumed a function similar to that of religion.

The brightest end of evolution polytheistic cultures falls on Greece and Rome of Antiquity, which were influenced primarily by the civilization of Egypt, which, unlike India and China, was oriented not to contemplation and non-action, but to the development of science and technology for interacting with nature.

The gods of ancient Greece symbolize the natural and social forces that organize and determine the existence of man. Philosophy, arising in line with the Greek religion, makes nature the main subject of study. The focus of ancient Greek aesthetics is the problem of being: first space as a perfectly organized living body, and then human as a body endowed with a soul, and finally, eidosa as the causes of the material world.

Beauty should not be fraught with non-existence, it can only be a being. According to Aristotle, art (techne) through mimesis gives an image of a becoming possible being in the unity of the general and the individual as an individual. An artist is a creator, since mimesis is an analogy of entelechy, the realization of potential being in the objective world of a beautiful cosmos. Hence the ontology and cosmology of ancient Greek culture presupposes plastic her art.

Homer's poems "Iliad" and "Odyssey" entered the golden fund of world epic literature, and ancient Greek lyrics (Sappho, Anacreon) were an example of high poetry, but the art of the word is still dominated by a form that involves the embodiment of heroes and plots on stage. It was in Greece that the great art of tragedy arose from the cult of Dionysus (Aeschylus, Sophocles, Euripides), and comedy, born in the period of ancient classics (Aristophanes), reaches a special flowering in the Hellenistic era. Thus, the plastic nature of the consciousness of the ancient Greek was reflected in literature by the flourishing of dramaturgy and caused the formation and spread of the art of the theater, which was given a primary educational role by the polis.

Painting red-figure and black-figure vases, objects of worship and everyday life, Greek artists showed amazing skill. But most of all, the creative activity of the Greeks was directed to sculpture(Policlet, Phidias, Praxiteles) and architecture(Iktin and Kallikrat). This choice was partly explained by the predominant influence of the ancient Egyptian tradition, but first of all by the fact that it was plastic art that adequately expressed the orientation of ancient culture towards the values ​​of the three-dimensional physical world. It is no coincidence that in the field of applied art the Greeks remained incomparable in ingenuity and elegance in the manufacture of small plastics - the most diverse forms of clay utensils.

replacing each other Doric, Ionic, Corinthian orders that arose in temple construction (Fig. 17.3) gradually spread to secular buildings (palaces, villas) and over the next centuries formed the basis of the style of European architecture.

In Greece, the formation of the fundamental principles of creating and evaluating the aesthetic value of an architectural work originates: harmonic integrity in the ratio of the parts of the structure and the constructive unity of the physical forces acting in it, the expression in its appearance of the purpose of the structure (temple, theater, bouleuterium) and its inclusion in the natural and cultural Wednesday.

Only music, which does not carry any substantive content, occupied a very modest place in ancient Greek art and it was no coincidence that Plato valued it most of all for maintaining the warrior spirit in the Greeks. The main mood that permeates the art of Ancient Greece as a whole is the affirmation of the value of being, the joy of creation through overcoming suffering and tragedy.

Rice. 173.

The culture of Ancient Rome, along with the transformation of the Etruscan beliefs in accordance with the Greek pantheon, inherited the essential features of the Hellenic tradition: an orientation towards plasticity, activity, and individuality. However, at the Hellenistic stage, they acquire a different dimension, since the ardor of religious faith gradually loses its strength, and the attitude towards religion becomes more and more formal. The culture of Rome is overgrown with powerful institutions of civilization - the state, law, technology, which do not require religious justification.

The Greek structure of the temple, by analogy with the plasticity of the human body, gives way to the organization of urban space, which is dominated by secular architecture (colosseum, triumphal arch, villas, baths), symbolizing the power of the Roman Empire, the subordination of man to the state. The place of the temples that the Greeks dedicated to individual gods (Zeus, Athena, Apollo, etc.) was taken by a temple common to all the gods - Pantheon(Fig. 17.4). Unlike the rectangular Greek structures, the Pantheon for the first time in history ended with a dome, which was created by the consistent use in the construction of an arch borrowed by the Romans from the Etruscans.

Rice. 17.4.

In sculpture, the image of the gods gives way portrait(Fig. 17.4). Human life is represented not by the whole bodily appearance, but only by the face: the inner world opens in the eyes, which interests the Roman more than the body. This means that the image of a person does not have to be in three-dimensional space; moreover, the completeness of understanding the image suggests its inclusion in the natural or cultural context, which implies the expediency of using a plane for drawing. In ancient Rome, extraordinary heights reach mosaic and fresco, conveying the nuances of the spiritual states of the portrayed person, the beauty of the nature surrounding him.

Rice. 17.5.

The position of a person in Rome is thus twofold: on the one hand, he is a citizen of a powerful state, which he can be proud of; on the other hand, a person seeks to protect his private life from the state. The body of a huge city constrains the bodily existence of a person, at the same time initiating the inner life of his soul. The joy of creating plastic forms of being in overcoming the tragedy of life and eternal becoming with the Greek is transformed by the Roman into a feeling of inner liberation from the pressure of state organization, and he plunges into the depths of the individual soul, into creativity of spiritual states. Although in Rome, in contrast to Greece, comedy (Plavt, Terence) gained popularity in the theater at the courts of aristocrats, lyric poetry flourished here at the same time (Catullus, Horace, Ovid), which received wide recognition in history, including those that have come down to us in excellent translations. .

The birth in Rome at the end of the ancient world of the feeling of fragility, the finiteness of individual being and at the same time resistance to death marked the establishment of existential communication, which was revealed in Greece to Socrates and anticipated in the religion of Ancient Egypt. However, if among the Egyptians this existential communication had a religious basis, now it is losing it and becoming deeply pessimistic. The main problem of the spiritual life of Ancient Rome was that the discovery of the spiritual cosmos in man required a radically new religious justification, which could only be brought by the idea of ​​God as the ideal principle, the creator of things, merciful thought and word. Therefore, the ancient Roman culture, which completed the history of the Ancient (“pre-axial”) world, resulted in the emergence of a spiritual ground for the adoption of monotheism, and precisely in the variant of Christianity.

A fundamental analysis of the nature of ancient Greek culture was carried out by A. F. Losev in the eight-volume History of Ancient Aesthetics (1963-1994).

This material allows you to acquaint students with the concepts of "art", "religion"; find out the reasons for their occurrence. Using a presentation helps learners to imagine the events that are discussed in the lesson.

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Slides captions:

Concept work

people who lived before the invention of writing, before the appearance of the first states and large cities people who lived before the invention of writing, before the appearance of the first states and large cities

decals of the state

what a person does

science that studies the past and present of mankind

picking up ready-made types of food: roots, fruits, berries

historical monuments that provide information about the life of people in the distant past

Solve problems

Ancient people could not live alone. They united in groups - collectives. What were these groups called?

human herd

About 3,000 years ago, human herds turned into permanent groups of relatives. They were called ………………

tribal community

During archaeological excavations, 339 stone tools and over 10,000 fragments of animal bones were found in the Teshik-Tash grotto. Of the total number of bones, it was possible to establish the belonging of 938. Of these, a horse - 2, a bear - 2, a mountain goat - 767, a leopard - 1. What is the main occupation of the inhabitants of the Teshik-Tash grotto?

What finds does an archaeologist need to find in order to say with certainty that the most ancient people lived here?

The rise of art and religion

Art is a creative reflection of reality

Marcelino de Sautuola Sautuola worked alone, came to the cave - and dug day after day. (Archaeologists were then still loners - pioneers of their science). Although the archaeologist was not completely alone: ​​he took his daughter, Maria, with him. A walk in the mountains is useful for the girl, and while her father was working, she liked to walk around the cave and look at it. And then one day he heard her sonorous exclamation: “Dad, look, painted bulls!” Taking off from the ground, dad raised his tired eyes - and froze in surprise, not knowing what to think. Indeed, bulls.

Religion is belief in supernatural forces (gods, spirits, souls) and worship them

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The rise of art and religion

Lesson Objectives : To ensure that students understand the concepts of "religion", "art"; their reasons

Appearances. Continue the formation of the ability to reason, think logically, elemental

Tarno analyze historical sources, facts.

Equipment: presentation

During the classes :

I. Repetition

For several lessons, we studied the life of primitive man. Let's remember what we have learned.

1. Work on concepts(slide 1 - 7)

2. Problem solving (slide 8 - 16)

II. Learning new material

Pay attention to this slide. In addition to the objects you mentioned, here we also see rock paintings, which were also a hallmark of primitive man.

The conversion of primitive people to a new type of activity for them - art - is one of the greatest events in the history of mankind. Primitive art reflected the first ideas of man about the world around him, thanks to him knowledge and skills were preserved and transferred, people communicated with each other. In the spiritual culture of the primitive world, art began to play the same universal role as a pointed stone played in labor activity.

The primitive era is the longest in the history of mankind. Its countdown begins from the time of the appearance of man about 2.5 million years ago and is brought to the third or first millennium BC.

Primitive art, the art of the era of the primitive communal system, arose around the 30th millennium BC. e.(slide 18)

Art - creative reflection of reality.

The immediate cause of the emergence of art was the real needs of everyday life. For example, the art of dance grew out of hunting and military exercises, from peculiar dramatizations that figuratively conveyed the labor occupations of the primitive community, the life of animals.Primitive art reflected the first ideas of man about the world around him, thanks to him knowledge and skills were preserved and transferred, people communicated with each other.

In 1878 in Spain, the archaeologist Sautola(slide 19) and his daughter went to the cave of Altamira. When Sauto la lit the torch, they saw pictures painted on the walls and roof of the cave. A total of 23 images were counted - a whole herd! They were made by the firm hand of an ancient artist who skillfully used the natural bulges of the cave vault. He revived these bulges with a chisel and outlined them with paint - not just drawings, but colored bas-reliefs were obtained. Massive carcasses of bison with characteristic humpbacked scruffs were painted with red paint..(slide 20)

Later, other caves with drawings by ancient artists were discovered.

Let's see what the primitive artists depicted.(slide 21-22)

Among the images are easily recognizable bison and deer, bears and rhinos. All the drawings were made with amazing skill - although there were some oddities - there were images of animals with a large number of legs - this is how the artists tried to convey movement

Many drawings contain riddles - incomprehensible signs and objects, people with bird heads, or in attire similar to a spacesuit. But most importantly, we cannot understand why the hunting scenes were painted in hard-to-reach, dark caves. There is a version that the drawings were of a magical nature - if you depict an animal in a cave, it will definitely fall into a trap.And if the image is hit with a spear, then this will help to succeed in hunting.It is possible that ritual ceremonies were played out before the drawings - the hunters, as it were, worked out the course of the future hunt.

Why did ancient people do this?

Ancient people were able to do a lot, but they did not know the true causes of natural phenomena. In order not to be afraid, a person had to not only learn many useful things, but also learn to explain everything that happens around him and with him.

So they had a belief that between the animal and its image, which the artist creates, there is some kind of supernatural connection. Everything in nature had its own spirit. Spirits in relation to people could be both good and evil. To appease the spirits of nature, people made sacrifices to them and performed special rites in their honor.

This is how primitive people develop religion.(slide 23)

Religion - it is belief in supernatural forces (gods, spirits, souls) and worship them.

Ancient people believed that every person has a soul. The soul is an incorporeal principle that makes a person a living and thinking being. When a person sleeps, he does not notice or hear anything. So the soul left his body. It is impossible to wake a person sharply: the soul will not have time to return.

People believed that when the soul leaves the body, the person physically dies, but his soul continues to live.

People believed that the souls of their ancestors moved to a distant "land of the dead."

Religious beliefs originated:

1. from the impotence of man before the power of nature;
2. from the inability to explain many of its phenomena.
3. They originated with the advent of a reasonable person, able not only to take care of his immediate needs, but also to think about himself, about his past and future.
4. Religious beliefs were manifested in the performance of special rites associated with important events in life.

Primitive people created their art, which was associated with their religious beliefs.

Homework: § 3, questions

Synopsis of a history lesson in grade 5 on the topic The emergence of art and religious beliefs.

Type of lesson: lesson learning new material.

Purpose: to ensure that students learn the concepts of "religion", "art", the reasons for their appearance.

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Fassakhieva Natalia Rafikovna

History teacher

MAOU NGO Secondary School №12

Synopsis of a history lesson in grade 5

Lesson topic: The emergence of art and religious beliefs.

Type of lesson: lesson learning new material.

Purpose: to ensure that students learn the concepts of "religion", "art", the reasons for their appearance.

During the classes.

1. Organizing time.
2. Updating the basic knowledge of students.

Task 1. Find errors in the text.

What historical errors does the student's dream contain?

Task 2. Express survey.

1. What natural changes took place on Earth about 100 thousand years ago?
2. How has the animal world changed?
3. What new tools and weapons did man invent?
4. What is a tribal community?

1. Transition to the study of a new topic

So, primitive man knew a lot, but he could not explain the phenomena of nature. Religion comes to the rescue.

What is religion? Why did she show up.

Let's write down the topic of the lesson: "The emergence of art and religious beliefs"

1. Exploring a new topic

Plan

1. Causes of religion.
2. The emergence of art.

Teacher's story.

People did not know the natural causes of natural phenomena. Why do you dream? What is death? Why is it raining? People were looking for answers to soy questions. In his dream he saw people long dead. And I thought that he lives in the body soul . Man believed that the world is controlled by higher animate forces - perfume .

They believe that there is some kind of supernatural connection between the animal and its image. If animals are drawn in the depths of the cave, people thought, then living animals will be bewitched and will not leave this area. And if the image is hit with a spear, then this will help to succeed in hunting. Primitive man imagined the gods in the form of people or animals. From stone or wood, he created the image of God - idol thinking that God is possessing him. The man believed that the gods could help. It is only necessary that God hear the request, and only shamans and sorcerers could do this.

The beliefs of primitive people that a person has a soul, in life after death are called religious.

Let's write down the term: religion is the belief in the supernatural and the worship of it.

Fizkultminutka. The teacher calls the statement, if it is true, the children get up, if it is not true, the children sit still.

1. The mainland where the most ancient people supposedly lived is Africa.
2. The instrument of labor, with the help of which primitive people caught fish, was a chopper.
3. Chronology is a science that studies life from material sources.
4. Craft is the main occupation of ancient people.
5. The collective of the most ancient people is called the human herd.

Working with a document.

Let's also "visit" Altamira. (watch video).

1. Consolidation of the studied material.

1. Lergia
2. Pgranu
3. Spiovzhi
4. Avrzhet
5. Beersoability
6. Oidl
7. Araaltmi

1. Summing up the lesson.

Bibliography:

1. General history. Ancient world history. Grade 5 Mikhailovsky F.A.
2. Universal lesson developments on the history of the Ancient World. Grade 5 Araslanova O.V., Solovyov K.A.
3. Ancient world history. Grade 5 Workbook. At 2 o'clock Goder G.I.

Internet resources:

1. http://miro101.ru/index.php/10-klass/61-naskalnaya-zhivopis 11/01/2014
2. http://www.youtube.com/watch?v=WncWu61Htm8 11/01/2014

Appendix 1

Handout.

1. Find errors in the text.

One student fell asleep in class. He dreamed of Africa more than two million years ago .. Here is a group of monkey-like people moving. Everyone is in a hurry to get away from the bad weather - the sky turned black from the clouds. Only two cheerful boys are behind the rest, talking enthusiastically about something. "Stop talking!" - the leader shouts at them. Suddenly, heavy snow fell, everyone immediately got cold, even clothing made from animal skins could not protect people from the cold. Finally they hid in a cave. They immediately got out of the sinuses and began to chew roots, nuts and even stale bread. Suddenly everyone froze in horror: a terrible predator was approaching the cave - a huge dinosaur. What will happen next?! It was not possible to find out: the call from the lesson interrupted the dream at the most interesting place.

1. Altamira is one of the most famous Paleolithic caves in Spain. Although the cave and its paintings are known throughout the world, not everyone knows about the dramatic history of its first explorer, Count Marcelino Sanz de Sautuola. Everyone in this district knew about the existence of the cave, shepherds hid here from bad weather and hunters arranged a halt. But only 11 years later, in 1879, walking around the estate and entering the cave, the nine-year-old daughter of M. de Sautuola Maria drew her father's attention to the strange images on the ceiling of one of its "halls" that were hard to distinguish in the darkness of the cave. "Look, dad, bulls," said the girl. From that day began the long misadventures of Marcelino de Sautuola. Soon the first reports about this unique monument were published, which aroused general interest. Sautuola was accused of deliberate falsification, that these paintings were made by one of his friends - an artist who was visiting his castle. One can imagine what moral trauma the "keepers of scientific truth" inflicted on the Spanish grandee, with his heightened sense of dignity and honor. Only almost 15 years after the death of M. De Sautuola, they were forced to publicly admit they were wrong and agree that the painting of Altamira belongs to the Paleolithic era.

1. Tell us about the discovery of cave painting?
2. Count how many years ago it was opened?
3. The game "Confusion" (work in pairs work at their desks). The task of students is to decipher historical concepts and give them a definition.

1. Lergia
2. Pgranu
3. Spiovzhi
4. Avrzhet
5. Beersoability
6. Oidl
7. Araaltmi