The basic principles that served as the support of the supreme power in Ancient Egypt are inviolability and incomprehensibility. From the very emergence of the Egyptian state, they determined the deification of its sovereign rulers - the pharaohs. Their unlimited power was based on land wealth and the exploitation of huge masses of slaves. Already in the 5th millennium BC. rudimentary forms appear state power, an apparatus of oppression created in the interests of the emerging slave-owning class. Even then, the dwellings of tribal leaders began to stand out among others due to their size, and the graves were lined with bricks as this material was mastered. In addition, the leader’s grave was rectangular, while ordinary members of the community were buried in ordinary oval pits. Special attention the decoration of the leader’s grave was given due to the fact that it was believed that the “eternal” existence of his spirit ensured the well-being of the entire tribe. In Hieroconpolis, such a tomb of a leader was found, the clay walls of which were already covered with paintings. In the process of the formation of class society and the formation of a single

In the slave state, the role of the pharaoh gradually increased. Thus, Egyptian society went from the tradition of venerating the tribal leader in the predynastic period to the complete deification of its ruler in Ancient Kingdom. In ancient Egyptian society, the pharaoh was considered the deputy of God in the flesh, and therefore received the official title “good god.” In later times, the usual name for the pharaoh became “strong calf”, in honor of one of the most revered animals in Egypt - the bull. The ministers of religion taught: “Be afraid of sinning against God and do not ask about his image.” Egyptian art was created for the glory of the kings, for the glory of the unshakable and incomprehensible ideas on which they based their despotic rule. It was conceived not as a source of aesthetic pleasure, but primarily as a statement in striking forms and images of these very ideas and the power with which the pharaoh was endowed. Art began to serve the interests of the top of the slave-owning state and its head; it was called upon, first of all, to create monuments glorifying the kings and nobility of the slave-owning despotism. Such works, by their very purpose, had to be performed according to certain rules, which contributed to the formation of canons that became a brake in further development Egyptian art.

In 2015, an international scientific and practical conference on the topic “Art and Power” was held in Saratov; a collection of reports was published last year.
Against the background of articles a la Raikin: how artists suffered from totalitarianism then, and how they suffer from “censorship” and the “necrophilic state” now, the report of one communist artist (from the Communist Party of the Russian Federation) sounded unexpectedly pleasant. Short and precise, like a shot among whining.
I present it here in full, supplemented with illustrations.

Zhivotov Genady Vasilievich
Professor, Honored Artist of the Russian Federation
Russian State Humanitarian University

Artist and power: historical retrospective

I argue that there is no history of art, but there is a history of the customer.
We all admire great sculptors Ancient Greece, and it seems to us that it was they who gave birth to the Greek miracle. But we somehow forget that at that time the statue was discussed by the whole city, and the name of Phidias is inextricably linked with the name of Pericles. As soon as the Greek city-states fell into disrepair, the greek art, and no new fidias, even if they were a thousand times more gifted than their eminent ancestors, could create anything like that. The connection between art and power, art and the state is much stronger than we sometimes think.

We will not consider administrative and penitentiary manifestations of power: prisons, police, courts, etc. For us in the state, the main thing is its ideology, its highest meanings, and I would like to dwell on the most important thing: the relationship between ideology and art.

In the Middle Ages, the most important exponent of state ideology was the church. The Church was the impetus for the creation of the greatest masterpieces, this cannot be denied. During the Renaissance, both ecclesiastical and secular authorities were clients for many great artists. Suffice it to recall the Medici family, to which Lorenzo the Magnificent, the ruler of Florence, and several popes belonged. And next to it are the names of Leonardo da Vinci, Michelangelo, Raphael.

Another shining example— Napoleonic Empire. Great art, great names. Then it all collapsed, and the bourgeoisie came to power and trivialized everything. The exchange crushed Van Gogh, Cezanne, Monet, created myths from them, hung labels and price tags on them.

In Russia there has never been a bourgeoisie, in the full sense of the word. For centuries Russian art was inextricably linked with Orthodox Church. But from the era of Peter I, the dominance of the West began in secular art. After all, what is the Hermitage? These are works by Dutch, French, Italian and other European artists collected by Catherine II. Even the famous gallery of portraits of military leaders from 1812 was commissioned by the state! - was created English artist Dow.

But in the 19th century Tretyakov appeared in Russia. And we owe the flowering of Russian art to this person - a private customer. The state, in the person of the Tsar and the Grand Dukes, came to its senses, and a few years after the opening Tretyakov Gallery founded the Russian Museum. In addition to Semiradsky, the state began to encourage Surikov and his state-imperial idea. “The Conquest of Siberia by Ermak”, “Suvorov’s Crossing of the Alps” - these paintings by Surikov were bought by the emperor. The main trustee of the Russian Museum was the Grand Duke.

In the 20th century began new era. The Westernizing elite of liberals and generals overthrew the monarchy in February 1917 and, continuing the First world war to the delight of her patrons from the Entente, she destroyed the state in six months. The old foundations were destroyed, but after October 1917, the Soviet government immediately began to design new ones. It would seem that the state does not yet exist, it is just beginning to emerge, but it has already clearly formulated its tasks: a plan for monumental propaganda, cultural revolution. There are no administrative cells, but the ideology has already been created. The result was an unprecedented rise in popular energy, at the peak of which were the greatest names and greatest masterpieces. This was an era not of schools, but of revelations. The symbol of that era can be considered the sculptor Dmitry Filippovich Tsaplin, a Russian peasant from the Saratov province.

But gradually the revolutionary element entered the granite shores" Big style"of the Stalin era. A powerful, well-functioning vertical relationship between artists and authorities was created. Not all artists of the revolution fit into this system, but many of them “combed their hair” and became realists. Academic schools began to play a huge role. They taught excellently, and by the beginning Great Patriotic War The Soviet Union produced excellent artists. Recently, while making a drawing for Victory Day, I leafed through the albums and saw a painting by Pyotr Krivonogov: fireworks in honor of the capture of the Reichstag. It's amazing! But today few people remember this artist from the Grekov studio, who went through the entire war in the active army.

It’s good that the name of Arkady Plastov has not been forgotten. Stalin took his painting “The Fascist Flew” with him to the Tehran Conference. Plastov was an academician, a recognized master, and at the same time was deeply rooted in the people, glorifying the village in its works and holidays.

Gerasimov Alexander and Sergei, Boris Ioganson, Alexander Laktionov - great names socialist realism. The ideology was clear, the state clearly expressed its will.


Ioganson Boris Vladimirovich,Construction of ZAGES

Laktionov Alexander Ivanovich - Cadets publish a wall newspaper

This was the case in all types of art - let’s just name the triad of great names of Soviet cinema: Sergei Eisenstein, Grigory Alexandrov, Ivan Pyryev. Soviet art created dream images: both “Future Pilots” by Deineka and “Kuban Cossacks” by Pyryev - that the fairy tale will become reality...

But with the death of Stalin, and especially after Khrushchev’s speech at the 20th Party Congress with his “exposure of the cult of personality,” a shock came, the collapse of the shrines. The "thaw" has begun. A “severe style” appeared - Nikonov depicted unfortunate geologists dying in the mountains, Popkov began to talk a lot about the village, about its suffering, etc.

In addition, back in the Stalin era, the brigade method appeared in art. The conventions were drawn in teams, and everyone received bonuses. And later, during the “thaw” and later, in Brezhnev’s times, the era of large government orders began, which means big money. Artists created good works of art because they were taught well. But big money gave rise to clannishness: those with more talent did not always get access to the order.

The above does not mean that the Soviet state did not support other artists. Let us remember how life was organized in the Union of Artists: commissions were created - naval, sports, military, etc. Artists were sent to all points Soviet Union as a kind of landing: on great construction sites, on border posts, in fishing artels, in the rural outback. And they painted pictures on the spot. This is how my friend Gennady Efimochkin, the same age as Moscow Union of Artists, worked all his life. It is inconvenient to write on a large canvas somewhere on a cliff above the Angara, so he painted small sketches. Based on these watercolors he is twenty recent years paints pictures recreating the image of Soviet Atlantis... And this is wonderful art. Efimochkin will paint his paintings until his last breath, because he is at war - an ongoing war of images. Once upon a time we lost decisive battle this war and lost their homeland - the Soviet Union.

But the war is not over, although many do not even think about it. And earlier, in Soviet time, have artists thought about this? When we were looking for a customer among foreign diplomats and running around embassies, did you think about it? And when friends were invited to “bulldozer exhibitions,” what were they thinking? We looked to the West - from there, magazines leaked through Poland and Hungary, so-called “modern art” slipped through there in the person of Warhol, Pollock, Beuys and others. They dreamed of Montmartre, forgetting that Montmartre is a haven for poor artists. In the Soviet Union, artists dreamed of it, having food, workshops, orders, and so on.

Why did this happen? The fact is that there is a struggle of meanings, and there is a struggle of images. In the struggle of meanings, we were much stronger than the West; our government thought about meanings first of all. And at that time our images were created by... Hollywood. At the same time, the Soviet caesura released the best American, French and Italian films. And the person had the feeling: “They don’t show us everything, and they probably don’t even show the best. But there, in the West, what art, what cinema! We should go there and take a look at least with one eye!”

Hollywood has created and continues to create images of American civilization and launches them around the world. And they turn out to be stronger and American army, and American sanctions. And now on our television, after the most patriotic programs, American films are regularly shown. The question arises: does our state have an ideology today?

The future of our art depends on the answer to this question, because, as I have already said, there is no history of art, but there is the history of the customer.

A simple and obvious idea. There's nothing to add. And no matter how many would like it, there is nowhere without ideology. Everything begins with her and everything ends without her.
In the meantime, its establishment at the state level, I remind you, is prohibited by the Constitution of the Russian Federation...

Throughout the history of civilization, one interesting and quite logical connection can be traced - the interaction of art and power. It would seem, how can two completely different spheres of human life influence each other? But nevertheless, when considering categories such as art and power, it becomes obvious that they are much closer than initially seen. They both influence 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 political system and creativity, you need 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 cultural life, a type of spiritual and practical exploration of the world and the relationships in it.

Art is the embodiment of a flight of fancy, a manifestation of human freedom and creative spirit. However, it was often used by those in power to achieve certain political and religious goals. How was this done? The point is that both art and power are capable of capturing the minds of the people and imposing on them a certain line of behavior. Thanks to the works outstanding sculptors, poets and artists, country leaders strengthened their authority by 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 cannot underestimate the influence of power on art, which became an excellent tool in establishing a certain political regime. Unfortunately, ordinary people often became victims of deception, which was achieved with the help of the works of poets and writers.

Art and power in ancient times

If we consider the interaction of these two industries social life, then it becomes obvious that many centuries ago this was a very important tool for influencing people. Art and power depended especially strongly 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 faces filled with courage and courage, and we involuntarily become imbued with respect for them. What can we say about their contemporaries?

Art and power were very interestingly intertwined in Ancient Egypt. He was given the power of the pharaohs mythical creatures. They were often depicted with a human body and an animal head. This emphasized their divine power.

Middle Ages

If we consider art and power in more late period, then significant changes can be observed. The techniques of sculptors, painters and poets became more sophisticated as it became increasingly 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 humanity many outstanding artifacts. So, Napoleon I, trying 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 heir of Ancient Rome, fell under the onslaught of barbarians. Moscow became the cultural and Orthodox center of Eurasia. Our state was experiencing rapid geographic 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, in modern world everything has changed, but the topic described (power and art) remains very important and relevant. The interrelation between these sectors of activity is especially strong during periods of significant political and socio-economic changes. There is now virtually no censorship, which means that anyone seeking to express their thoughts and ideas through art can do so without fear of being punished. This is a very important breakthrough regarding freedom of creativity and spirit.

How does art influence power in our time? Now these two concepts have become very distant from each other, since people can get reliable and full information about internal and foreign policy their state, and also openly express their opinions. There is no longer any need to influence the minds of the population with the help of beautiful poems and sculptures in order to strengthen authority.

Exhibitions on the influence of power on art

Periodically, exhibitions are held in different cities that highlight this problem. They are of great interest to those who are interested in history and political science. Not long ago, a similar exhibition was held in a Swedish museum. It bore the symbolic name "Art for Rulers." It featured more than 100 exhibitions featuring 400 exhibits from different eras.

Report

Theme "Art and

power" in the subject of art.

From personal experience teachers.

Art teacher

MBOU secondary school No. 1

Dobroe village

The subject of art is quite young. And in my case - completely new, because... I've only been working with him for three years.

What is the difference between art and MHC, visual arts, music, history?

If you think about it, perhaps this is the only item in school curriculum, which is based historical facts and dates, world-famous names and surnames, masterpieces of world cultural life, teaches the child not just to remember, analyze, and evaluate what he saw or heard. Art encourages spiritual and sensual work.

This lesson requires the result of mental labor; there should be not just knowledge or acquisition of this or that skill, but a feeling of the emergence within oneself of some feeling: joy, bitterness, love, hatred, peace, anger, admiration, contempt, compassion, etc. .d.

What does this subject offer on the topic “Art and Power”.

In development human culture A curious pattern is constantly emerging. Art, as a manifestation of the free, creative powers of man, the flight of his imagination and spirit, was often used to strengthen power, secular and religious. Thanks to works of art, the government strengthened its authority,
and cities and states maintained prestige.
Art embodied the ideas of religion in visible images, glorified and immortalized heroes. Sculptors, artists, musicians in different times created idealized majestic images of rulers and leaders. They were given extraordinary qualities, special heroism and wisdom, which, of course, aroused respect and admiration in the hearts ordinary people. These images clearly demonstrate traditions going back to ancient times - the worship of idols, deities, which aroused awe not only in everyone approaching them, but also in those looking from afar. The valor of warriors and commanders is immortalized by works of monumental art. Equestrian statues are being installed and constructed triumphal arches and columns to commemorate victories won.
By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. The names of the generals who fought alongside the emperor are engraved on the walls of the arch.
In 1814 in Russia, to the solemn meeting of the Russian liberating army, returning

from Europe after the victory over Napoleon, the wooden Triumphal Gate was built at the Tverskaya Zastava, at the site where Napoleon’s army entered the city.
In the 15th century after the fall of Byzantium, which was considered the successor to the Roman Empire and was called the Second Rome, the center Orthodox culture becomes Moscow.

During the period of economic and military growth, the Moscow state needed an appropriate cultural image. The courtyard of the Moscow Tsar becomes the place of residence for many culturally educated Orthodox people.

Among them are architects and builders, icon painters and musicians.
The Moscow tsars considered themselves heirs of Roman traditions, and this was reflected in the words: “Moscow is the Third Rome, and there will never be a fourth.” To correspond to this high status, the Moscow Kremlin is being rebuilt according to the design of the Italian architect Fioravanti. The completion of the construction of the first stone church in Moscow, the Assumption Cathedral, became the reason for the founding of the Choir of Sovereign Singing Deacons. The scale and splendor of the temple required greater musical power than before. All this emphasized the power of the sovereign.
In the second half of the 17th century. according to the grandiose plan of His Holiness Patriarch Nikon - to create holy places in the image of Palestine, associated with earthly life and the feat of Jesus Christ, the New Jerusalem Monastery was built near Moscow. His main cathedral
in plan and size it is similar to the Church of the Holy Sepulcher in Jerusalem.
In the 18th century a new chapter has opened Russian history. Peter I, in Pushkin’s apt expression, “cut a window to Europe” - St. Petersburg was founded.
New ideas are reflected in all types of art. Appears secular painting and sculpture, music changes to a European style. The choir of the sovereign's singing clerks has now been transferred to St. Petersburg and becomes the Court Singing Chapel.
In the 20th century , in the era of Stalinism in our country, pompous, magnificent architecture emphasized the strength and power of the state, reducing it to a negligible level human personality, ignored the individual uniqueness of each person.

We can conclude that a particularly pronounced manifestation of the connection between art and power was observed during periods of personality cults.

And echoes of this phenomenon have survived to this day in the form of numerous surviving sculptural images of the leader of the proletariat V.I. Lenin. Most often they do not have artistic value and executed rather clumsily. A reasonable question arises: is it worth saving them or not? This is where you need to think about the feelings that arise when contemplating these monuments of our history.

And, as it turned out, these feelings are very different among different generations. People of a more mature age, due to the memory of their political and social upbringing, feel respect, gratitude, warmth and even love for Ilyich’s sculptures.

The middle generation, seeing the same thing, feels the complete opposite.

And, finally, young people, for the most part, are completely indifferent to this phenomenon, which is also quite a feeling.

This means that our feelings directly depend on the information laid down in childhood. So, in order not to be categorical, not to experience intensely polar feelings towards the manifestations of art that surround us, we need to remember what was, know what is and strive to look into the future.

The subject of art is the best way to help with this.

Lesson 1. “Art and Power”

I. Greetings. Introductory word from the teacher.

Today in the lesson we will have to understand the relationship, and perhaps 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? (students' answers).

Art - process and outcome meaningful expression feelings in the image. Art is an integral part of human culture.
Power - this is the opportunity and ability to impose one’swill , influence the activities and behavior of other people, even despite 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 birth of art and the first steps artistic development humanity go 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 cultural environment society to influence mass consciousness. With the help of art, secular or religious power was strengthened.

Art embodied the ideas of religion in visible images, 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 primitive people. And it doesn’t matter whether it was an image 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. During this same period, a very special place in ancient society occupied by shamans and priests who have enormous power. (SLIDE 2)

Than art ancient egypt different from the art of primitive tribes?

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

But here’s the question: 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 clearly in the art of Ancient Rome and Ancient Greece. Remember the description of Hercules’ appearance: “Hercules was head and shoulders taller than everyone else, and his strength exceeded the strength of a man. The eyes shone with an unusual, divine light. He wielded the bow and spear so skillfully that he never missed,” isn’t that perfect image a hero immortalized in myths. (SLIDE 5)

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

During the Republic, it became customary to erect statues in public places (in full height) political officials or military commanders. Such an honor was granted by decision of the Senate, usually to commemorate victories, triumphs, and political achievements. Such portraits were usually accompanied by a dedicatory inscription telling about the merits. If a person committed a crime, his images were destroyed, while the statues of governors simply had their “heads” changed. With the advent 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 Emperor Octavian Augustus in the form of a commander. He gives a speech to the army. The emperor's shell reminds of his victories. Below is an image of cupid on a dolphin (signifying the divine origin of the emperor).

Of course, both the face and 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 to build magnificent palaces. The luxury of design often inspired to the common man feeling of insignificance before a 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 and allegorical paintings. You can often see the names of heroes engraved on the walls of triumphal arches. (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 is reflected in the words: “Moscow is the Third Rome, but there will never be a fourth.”

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

The completion of the construction of the first stone church in Moscow - the Assumption Cathedral - became the reason for the founding of the Choir of Sovereign Singing Deacons. The scale and splendor of the temple required greater musical power than before. All this emphasized the power of the sovereign.

But let's get back to great victories, as in ancient Rome triumphal arches are built to commemorate 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 order of Napoleon I, who wanted to immortalize the glory of his army. The names of the generals who fought alongside the emperor are engraved on the walls of the arch (SLIDE 9)

2. Triumphal Gate (arch) in Moscow.Initially, the arch was installed on Tverskaya Zastava Square on the site of a wooden arch built in 1814 for the ceremonial welcome 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 Bravery. 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)

We can observe the celebration of power in music especially clearly in music. For example, in the national anthem Russian Empire 1833 (1917) “God Save the Tsar!” Music Prince Alexei Fedorovich Lvov, words by Vasily Andreevich Zhukovsky “Russian Prayer”. To that very 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 modern use Similar anthems can serve as 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 matter 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 strengthen the power and authority of rulers? (art embodied the ideas of religion in visible images; glorified and immortalized heroes; gave them extraordinary qualities, special heroism and wisdom)

3. What traditions are evident in these monumental images? (traditions going back to ancient times - worship of idols, deities that evoke awe)

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

5. Which 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 liberating army returning from Europe after the victory over Napoleon; it was demolished in 1936; in 1960 it was recreated on Victory Square, near Poklonnaya Gora, at the site where Napoleon's army entered the city)

6. Which 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. At what times did Moscow become the center of Orthodox culture? (in the 15th century after the fall of Byzantium, which was considered the successor to the Roman Empire and was called the Second Rome)

8. How did the cultural image of the Moscow state increase? (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”? (Moscow 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 a choir of sovereign singing clerks, because the scale and splendor of the temple required greater power in the sound of music)