1. What are the characteristic features of Baroque musical culture? How is it different from Renaissance music? Support your answer with specific examples. 2. Why is C. Monteverdi called the first Baroque composer? What was the reformatory character of his work? What is characteristic of the “Excited Style” of his music? How is this style reflected in the composer’s operatic works? What unites the musical creativity of C. Monteverdi with works of baroque architecture and painting? 3. What distinguishes the musical creativity of J. S. Bach? Why is it usually considered within the framework of Baroque musical culture? Have you ever listened to organ music J. S. Bach? Where? What are your impressions? Which works of the great composer are especially close to you? Why? 4. What are the characteristic features of Russian baroque music? What were the partes concerts of the 17th - early 18th centuries? Why is the development of Russian baroque music associated with the formation of a school of composition in Russia? What impression does spirituality make on you? choral music M. S. Berezovsky and D. S. Bortnyansky?

Classicism is an aesthetically significant movement in art that originated in the 17th century, developed in the 18th and can be traced in the 19th centuries. It is characterized by an appeal to ancient classics as a strict normative example of perfect harmony. Aesthetic ideas classicism are formed in the key of rationalism, which was spreading its dominance in that era - a philosophical and scientific doctrine, according to which reason is the highest human ability, allowing him to cognize and even transform the world, becoming partly on a par with God, and reorganize societies. Reason, from the point of view of rationalism, is not only the main, but also the only completely adequate ability of the human mind. Feelings are only a prerequisite for rational conclusions, which in themselves obscure the clear truth; mystical intuition is valuable for its inclusion in the system of rational argumentation. Such a view could not but affect the relationship between the spheres of culture, which began to take shape in the highest circles of society in European countries: science, philosophy and mathematics in particular - these are the main driving forces progress of knowledge; art is assigned a more modest, secondary role of sentimental pleasure, light entertainment and intelligible, impressive edification; traditional religion, not “enlightened” by the rational ideas of philosophical deism, is the faith of simple uneducated people that is useful for the social organism - a kind of stabilizer in the field of social mores.
Classicism is based on normative aesthetic theory. Already Rene Descartes, a French mathematician and philosopher of the first half of the 17th century, in his original works for that time “Discourse on Method”, “Compendium of Music” and others, argues that art must be subject to strict regulation by reason. At the same time, the language of works of art, according to R. Descartes, should be distinguished by rationality, the composition should be built on strictly established rules. The main task of the artist is to convince, first of all, with the power and logic of thoughts. The normative aesthetic theory of classicism is characterized by rationalism, verified clarity, formal calculation with an orientation towards proportionality, integrity, unity, balance and completeness of forms, connection with the ideas of political absolutism and moral imperative. The normative principles of classicism presupposed a clear division into high and low genres.
These principles of classicism are manifested in all types of art: In the theater, which adhered to the ideological generalizations of N. Boileau (Cornel, Racine, Moliere, Lope de Vega, etc.); in literature (La Fontaine) in architecture, especially secular - palace and park (the image of Versailles) and civil and church (Levo, Hardouin-Mansart, Le Brun, Le Nôtre, Jones, Ren, Quarenghi, Bazhenov, Voronikhin, Kazakov, Rossi, etc. .); in painting (Poussin, Velazquez, Vermeer, Rembrandt, Van Dyck): In sculpture (Canova, Thorvaldsen, etc.) in music (Gluck, Haydn, Mozart, early Beethoven, etc.) Some of the listed great creators of art in their deep expressive their plans went beyond the strict normativity of classicism, the separation of high and low genres it postulated, but their work is still united by the principles of expressive clarity, laconicism and harmony of style characteristic of this era.
The most prominent representative of the aesthetic theory of art of that era was Nicolas Boileau (1636 - 1711) - a French satirist poet, a theorist of classicism, the norms and rules of which he set out in the poetic treatise “Poetic Art” - a kind of instruction for a novice poet and artist.
N. Boileau is a supporter of the predominance in the poet’s work (and in art in general) of the intellectual sphere over the emotional one. He believes that works of art are addressed not so much to feelings as to reason. The most important signs of beauty - what is easily grasped by the mind - is clarity, distinctness. Everything is incomprehensible and ugly at the same time. The idea of ​​the work, its embodiment must be clear, the parts and the entire architectonics of the work must be clear and distinct. Simplicity and clarity - this is the motive of the famous principle of “three unities”, which N. Boileau extended to poetry and drama in their perfect composition: unity of place (the action is geographically localized, although it involves a change of scenes), unity of time (the action must fit within one day, one day), unity of action (successive scenes must correspond to the temporal order of events). At the same time, the characters depicted should not change throughout the entire work. These principles, according to N. Boileau, being direct manifestations of the laws of reason, discipline creative possibilities the poet and allow the reader or viewer to understand the conveyed content without obstacles, easily, and therefore satisfactorily.
Plausibility is a key concept in the aesthetics of art by N. Boileau. Because N. Boileau presents the beautiful as reasonable and natural. Reason is the basis for the universal validity of norms of taste. Thus, the beautiful is somehow subordinate to the truth. But the truth of life is also a normative idealization, and not just a correct reflection. Beauty, according to N. Boileau, is brought into the world by some intelligent spiritual principle, and a work of art, as a product of intelligent activity, turns out to be more perfect than the creations of nature. Spiritual beauty is placed above physical beauty, and art above nature.
N. Boileau concretizes the theory of genres established in classicism when dividing them into higher and lower: Thus, tragedy should depict the high and heroic, and comedy should depict the low and vicious. The heroes of the comedy are simple people who express their thoughts not in the pompous language of rhetoric, but in the light modern secular language.
The new ideas of the Enlightenment were largely associated with the principles of classicism and represented an organic unity with it in many cultural phenomena of the 18th century. The Age of Enlightenment in its axiomatic principles is just as rationalistic as the emerging worldview of the 17th century... but unlike early rationalism, the Enlightenment is a whole program aimed not so much at mastering the forces of nature through scientific knowledge its laws (this process, which began in the 17th century, of course, continued), as much as for the transformation of the entire culture and the entire society on the basis of reason, on the basis of new scientific knowledge, in many ways contradicting the spiritual tradition, rooted in the attitudes of the Middle Ages. The Enlightenment project, the authors of which are French, English and German thinkers (D. Diderot, Voltaire (M. F. Arouet), J.-J. Rousseau, J. Locke, D. Hume, I. Herder and others, many of of whom were members of secret mystical societies of a rationalistic kind, such as the Illuminati (from the Latin illuminatio - enlightenment) - consisted of a number of interrelated areas: the consolidation of scientific knowledge and the dissemination of rational knowledge of a new type on issues of philosophical understanding of man, society, culture, including including art; dissemination of scientific knowledge and values ​​of the new generation among wide sections of society, appealing to the educated public; improving the laws by which society lives, up to revolutionary transformations.
In this regard, one of the lines of the philosophy of the Enlightenment is the identification of the boundaries of the knowing mind and its connection with other cognitive and active forces of man, such as the comprehending feeling - hence the emergence of philosophical aesthetics as an independent discipline - such as the will, the sphere of which was interpreted as the sphere practical reason. The relationship between naturalness and culture was understood by enlighteners in different ways: the dominant ideas of cultural and civilizational progressivism were opposed by the thesis of the naturalness of man, vividly expressed in the call of Jean-Jacques Rousseau: “Back to nature.” Another aspect associated with the implementation of the program objectives of the Enlightenment is the emergence of knowledge on the horizons of world culture, the beginning of the development of extra-European experience of culture, art and religion and, in particular, the emergence of the concept of world artistic culture(I. Goethe).
The ideas of the Enlightenment in art were expressed in a number of new phenomena in the artistic life of the 18th century. - in democracy - the movement of art beyond secular salons, offices and palaces into public concert halls, libraries, galleries, in addressing themes folk life And national history, in the rejection of heroic aristocracy and the glorification of images of commoners, in the mixing of high and low genres, in popularity everyday genre and comedy genre; in an interest in public life and progress; in anti-clericalism and caricaturedly ironic criticism of dilapidated remnants of the Middle Ages and vicious morals, including those disguised as personal piety; in liberalism - preaching personal freedom and at the same time in the moral preaching of the simplicity and naturalness of man, coordinated with the good of society; in broad encyclopedic interests and attention to extra-European cultures; in realism - displaying simple nature, social context and psychological aura human images, in an idyllic commitment to naturalness and fidelity to human feeling as opposed to fallible reason.
In literature and theater, this was reflected in the works of Beaumarchais, Lessing, Sheridan, Goldoni, Gozzi, Schiller, Goethe, Defoe, Swift; in painting - Hogarth, Gainsborough, Reynolds, Chardin, Greuze, David, Goya, Levitsky; in sculpture - Houdon, Shubin, etc.
Many ideas of enlightenment were translated into art forms developed by the aesthetics of classicism, so we can talk about the real closeness of these styles with a certain ideological demarcation of their principles. Some educational motifs were in harmony with the playful and refined court Rococo style. Within the framework of the ideas of the late Enlightenment, an original style of sentimentalism (especially in poetry and painting) was formed, characterized by dreaminess, sensitivity, the special role of conveyed feelings in the comprehension of life and compassion (sympathy) in moral education, conformity with nature and idyllic pastoral - in the spirit of the philosophy of J.J. Rousseau. Sentimentalism on the one hand, and the highly expressive symbolic images of such creators of art of the late 18th century as F. Schiller, I. Goethe, F. Goya, J.-L. David allow us to speak about a special stage of pre-romanticism, prepared in the depths of aesthetics and artistic life of the Enlightenment.
The philosophical ideas of Enlightenment aesthetics were clearly expressed in the works of a number of major thinkers of the 18th century, including:
Alexander Baumgarten (1714 - 1762) - German philosopher, follower of Leibniz and Wolf, founder of the aesthetics of German classical philosophy. In 1735
A. Baumgarten first introduced the term “aesthetics,” which he used to designate the philosophical science of sensory knowledge that comprehends and creates beauty and is expressed in images of art. Baumgarten’s aesthetic views are set out in the works: “Philosophical reflections on certain issues relating to poetic work", "Aesthetics".
Gotthold Ephraim Lessing (1729 - 1781) - German philosopher - educator, playwright, literary critic, art theorist, who advocated bringing literature and art closer to life; for freeing them from the shackles of class-aristocratic normativity. Art, according to Lessing, is an imitation of nature, broadly interpreted as knowledge of life. Substantiating the theory of realistic art, he relies on the terminology of Aristotle and the work of Shakespeare to combat classicism. Basics theoretical work Lessing: “Laocoon. On the boundaries of painting and poetry."
Johann Goethe (1749 - 1832) - German poet, founder of German modern literature, thinker and naturalist. In his youth, Goethe was one of the leaders of the Sturm and Drang movement. Art, according to Goethe, is called upon to resist outdated conventions, dilapidated morality, and to fight against the oppression of the individual. I. Goethe interpreted art as an “imitation” of nature. In fact, he formulated the idea of ​​“Typification”. To designate any creative force, Goethe introduced the concept of “demonic”. The main works of I. Goethe: “Simple imitation of nature. Manner. Style", "The Doctrine of Light".
Immanuel Kant (1724 - 1804) - the founder of German classical philosophy. Immanuel Kant's main work on problems of aesthetics is “Critique of the Power of Judgment.” In I. Kant, the aesthetic principle turns out to be the fundamental a priori (determining the constitution of consciousness before any empirical experience) form - the form of a disinterested judgment of taste, universal in its application. The judgment of taste is associated with the ability to feel pleasure or displeasure on the basis of the principle of “expediency without purpose”, the derivatives of which are the practical expediency of the action of human will and the lawfulness of the activity of the mind. The main categories of Kant's aesthetics are expediency (harmonious connection of parts and the whole), the beautiful and the sublime. Kant dispelled rationalistic and utilitarian ideas about beauty, reducing the feeling of beauty to the “disinterested” pleasure delivered by the contemplation of aesthetic form. At the same time, the main advantage of a work of art, according to I. Kant, is not so much its vital content as its perfect form, appealing to the pre-experienced aesthetic ability of a person. The essence of the sublime, according to Kant, is the violation of the usual measure. Judgment of the sublime requires a developed imagination and high morality. To perceive art you need taste, to create - a genius - a unique personality endowed high degree creative imagination.
Georg Hegel (1770 - 1831) is an outstanding representative of German classical philosophy, whose views were formed under the influence of rationalism characteristic of the Enlightenment. However, G. Hegel in his truly universal philosophical system overcame the framework of educational ideas. When forming his original methodology, he was also influenced by early romantic motifs, which were noticeable in the concepts of German philosophers of the early 19th century. I. Fichte and F. Schelling. G. Hegel made the method of rational reflection more perfect, capable of comprehending the contradictions of being and consciousness, integrating both strictly rational-logical and specifically aesthetic and even mystical models of the movement of thought, which, according to Hegel, fit into the broader coordinates of dialectical logic, however , thereby turning into modalities of the mind. G. Hegel is the creator of a system of objective idealism based on the method of dialectics.
IN early period creativity G. Hegel believed that the highest act of reason, embracing all ideas, is an aesthetic act and that truth and goodness are united by family ties only in beauty. Later, aesthetics appears in G. Hegel as a philosophy of art. Art occupies a subordinate level in comparison with philosophy as an absolute form of self-knowledge of the spirit. historical development historical consciousness.
The novelty of G. Hegel’s aesthetics of the mature period consisted in emphasizing the connection of art and beauty with human activity and with the development of the “objective spirit,” that is, in other words, the culture of society as a whole. Beauty according to Hegel is always human. For Hegel, the most general aesthetic category is the beautiful. Hegel's aesthetics is inherent historical principle reviewing the material. The dialectical triad of self-development of art is formed by its forms, successively replaced in the course of history: symbolic (Ancient East), classical (Antiquity) and romantic (Christian Europe). In Hegel's Aesthetics, the types of art were discussed in detail. Everywhere he tried to grasp the principle of development. The main work that sets out the aesthetic concept of G. Hegel is “Lectures on Aesthetics.”

CLASSICISM(from Latin classicus - exemplary) - direction in literature and art of the late 17th century - early XIX V. Classicism arose and developed as art style and the direction in France in the 17th century, reflecting the form and content of the culture of French absolutism.

The aesthetic theory of classicism found its most complete expression in the “Poetic Art” of N. Boileau (1674), in the “Elementary Rules of Verbal Art” by C. Batteux (1747), in the doctrines of the French Academy, etc. Characteristics aesthetics of classicism - is its normativity, the desire to establish strict rules artistic creativity, as well as regulation of aesthetic evaluation criteria work of art. The artistic and aesthetic canons of classicism are clearly oriented towards examples of ancient art:

transferring the themes of plots, characters, situations from the arsenal of ancient classics as a norm and artistic and aesthetic ideal, filling them with new content.

The philosophical basis of the aesthetics of classicism was rationalism (especially Descartes), the idea of ​​a reasonable pattern of the world. From here flow the ideological and aesthetic principles of classicism: the logic of form, the harmonious unity of images created in art, the ideal of beautiful, ennobled nature, the affirmation of the idea of ​​statehood, ideal hero, resolving the conflict between personal feeling and public duty in favor of duty. Classicism is characterized by a hierarchy of genres, their division into higher (tragedy, epic) and lower (comedy, fable, satire), the establishment of three unities - the unity of place, time and action in drama. Orientation of the art of classicism towards clarity of content and clear presentation social problems, ethical pathos, the height of the civic ideal made it socially significant, having great educational value. Classicism as artistic direction does not die with the crisis absolute monarchy in France, and transformed into the educational classicism of Voltaire, and then into the republican classicism of the French era bourgeois revolution(J. David et al.).

Classicism is reflected in all types and genres of art: in tragedy (Corneille, Racine), comedy (Molière), fable (La Fontaine), satire (Boileau), prose (La Bruyère, La Rochefoucauld), and theater (Talma). The achievements of the art of classicism in architecture (Hardouin-Mansart, Gabriel, etc.) are especially significant and historically long-lasting.

In Russia, the aesthetics and art of classicism became widespread in the 18th century. The aesthetics of Russian classicism is reflected in the works of Feofan Prokopovich (“Piitika” - 1705), Antioch Cantemir (“Preface to the translation of Horace’s letters”, etc.), V. K. Trediakovsky (“The Word of Wisdom, Prudence and Virtue”, “Discourse on comedy in general”, etc.), M. V. Lomonosova (“Dedication to “Rhetoric””, “On the current state of verbal sciences in Russia”), A. P. Sumarokova ( critical articles in the magazine “Hardworking Bee”, the satire “On Nobility”, “Epistle to His Imperial Highness the Sovereign Grand Duke Pavel Petrovich on his birthday, September 20, 1761”, etc.).

In the odes of M. V. Lomonosov, G. R. Derzhavin, the tragedies of A. P. Sumarokov, Ya. B. Knyazhnin, the theatrical activities of F. G. Volkov, I. A. Dmitrevsky, the painting of A. P. Losenko, the architecture of V. . I. Bazhenova, M. F. Kazakov, A. N. Voronikhin, the sculpture of M. I. Kozlovsky, I. P. Martos took shape the principles of classicist aesthetics, transformed on Russian soil, filled with new national content. A certain transformation of the principles of classicism is the Empire style (see).

Classicism (from Latin classicus - exemplary) - artistic style European art XVII-XIX centuries, one of the most important features of which was the appeal to ancient art as the highest example and reliance on the traditions of the High Renaissance. (from Latin classicus - exemplary) - the artistic style of European art of the 17th-19th centuries, one of the most important features of which was the appeal to ancient art as the highest example and reliance on the traditions of the High Renaissance. Bordeaux The city is famous for its ensembles of squares in the style of classicism (XVIII century)

M.F.Kazakov. Petrovsky Palace Russian classicism is one of the brightest pages in the history of world architecture.

V.I. Bazhenov. Pashkov house - 1788

O. Montferrand. St. Isaac's Cathedral - 1830

A.N. Voronikhin. Kazan Cathedral - 1811 And the Kazan Cathedral spread its hands. Embracing the blue evening... I. Demyanov.

Classicism in sculpture Fidelity to the ancient image. Heroic and idyllic compositions. Heroic and idyllic compositions. Idealization of military valor and wisdom of statesmen. Idealization of military valor and wisdom of statesmen. Public monuments. Public monuments. Contradiction with accepted moral standards. Contradiction with accepted moral standards. Absence of sudden movements, external manifestations of emotions such as anger. Absence of sudden movements, external manifestations of emotions such as anger. Simplicity, harmony, consistency of the composition of the work. Simplicity, harmony, consistency of the composition of the work.

Classicism in painting Interest in art ancient Greece and Rome. Systematization and consolidation of the achievements of the great artists of the Renaissance. Systematization and consolidation of the achievements of the great artists of the Renaissance. A meticulous study of the heritage of Raphael and Michelangelo, imitation of their mastery of line and composition. A meticulous study of the heritage of Raphael and Michelangelo, imitation of their mastery of line and composition. Simplicity, harmony, consistency of the composition of the work. Simplicity, harmony, consistency of the composition of the work. Social, civil issues. Social, civil issues. The main characters are kings, generals, statesmen. The main characters are kings, generals, statesmen. Support of classicism through funding of academic institutions. Support of classicism through funding of academic institutions.

Russian history literature XVII I century Lebedeva O. B.

Aesthetics of classicism

Aesthetics of classicism

Ideas about the laws of creativity and the structure of a work of art are determined to the same extent by the epochal type of worldview as the picture of the world and the concept of personality. Reason, as the highest spiritual ability of man, is conceived not only as an instrument of knowledge, but also as an organ of creativity and a source of aesthetic pleasure. One of the most striking leitmotifs of Boileau’s “Poetic Art” is rational nature aesthetic activity:

Along a dangerous path as slippery as ice

You should always go to common sense.

Whoever leaves this path dies immediately:

There is one path to reason, there is no other.

From here arises a completely rationalistic aesthetics, the defining categories of which are the hierarchical principle and normativity. Following Aristotle, classicism considered art to be an imitation of nature:

Don’t torment us with the incredible, disturbing the mind:

And the truth is sometimes unlike the truth.

I will not be delighted with wonderful nonsense:

The mind does not care about what it does not believe.

However, nature was by no means understood as a visual picture of the physical and moral world, appearing to the senses, but rather as the highest intelligible essence of the world and man: not a specific character, but its idea, not a real historical or modern plot, but a universal human conflict situation, not given landscape, but the idea of ​​a harmonious combination of natural realities in an ideally beautiful unity. Classicism found such ideally beautiful unity in ancient literature- it was precisely this that was perceived by classicism as the already achieved pinnacle of aesthetic activity, the eternal and unchanging standard of art, which recreated in its genre models that very highest ideal nature, physical and moral, which art should imitate. It so happened that the thesis about imitation of nature turned into a prescription to imitate ancient art, where the term “classicism” itself came from (from the Latin classicus - exemplary, studied in class): Let nothing separate you from nature.

An example would be Terence's painting:

A gray-haired father scolds his son who has fallen in love ‹…›

No, this is not a portrait, but life. In such a picture

The spirit of nature lives in the gray-haired father and son.

Thus, nature in classic art appears not so much reproduced as modeled on a high model - “decorated” with the generalizing analytical activity of the mind. By analogy, we can recall the so-called “regular” (i.e., “correct”) park, where the trees are trimmed in the form geometric shapes and symmetrically seated, regularly shaped paths strewn with colorful pebbles, and water enclosed in marble pools and fountains. This style of gardening art reached its peak precisely in the era of classicism. The desire to present nature as “decorated” also results in the absolute predominance in literature of classicism of poetry over prose: if prose is identical to simple material nature, then poetry, as a literary form, is certainly an ideal “decorated” nature.”

In all these ideas about art, namely as a rational, ordered, standardized, spiritual activity, the hierarchical principle of thinking of the 17th-18th centuries was realized. Within itself, literature also turned out to be divided into two hierarchical series, low and high, each of which was thematically and stylistically associated with one - material or ideal - level of reality. Low genres included satire, comedy, fable; to the high – ode, tragedy, epic. IN low genres everyday material reality is depicted, and a private person appears in social connections (while, of course, both the person and reality are still the same ideal conceptual categories). IN high genres man is presented as a spiritual and social being, in the existential aspect of his existence, alone and along with the eternal fundamentals of questions of existence. Therefore, for high and low genres, not only thematic, but also class differentiation turned out to be relevant based on the character’s belonging to one or another social stratum. The hero of low genres is a middle-class person; high hero - a historical figure, a mythological hero or a fictional high-ranking character - usually a ruler.

In low genres, human characters are formed by base everyday passions (stinginess, hypocrisy, hypocrisy, envy, etc.); in high genres, passions acquire a spiritual character (love, ambition, vindictiveness, a sense of duty, patriotism, etc.). And if everyday passions are clearly unreasonable and vicious, then existential passions are divided into reasonable - social and unreasonable - personal, and the ethical status of the hero depends on his choice. He is unambiguously positive if he prefers a reasonable passion, and unambiguously negative if he chooses an unreasonable one. Classicism did not allow halftones in ethical assessment - and this also reflected the rationalistic nature of the method, which excluded any mixture of high and low, tragic and comic.

Since in the genre theory of classicism those genres that reached the greatest flowering in ancient literature were legitimized as the main ones, and literary creativity was thought of as a reasonable imitation of high models, to the extent that the aesthetic code of classicism acquired a normative character. This means that the model of each genre was established once and for all in a clear set of rules, from which it was unacceptable to deviate, and each specific text was aesthetically assessed according to the degree of compliance with this ideal genre model.

The source of the rules were ancient examples: the epic of Homer and Virgil, the tragedy of Aeschylus, Sophocles, Euripides and Seneca, the comedy of Aristophanes, Menander, Terence and Plautus, the ode of Pindar, the fable of Aesop and Phaedrus, the satire of Horace and Juvenal. The most typical and illustrative case of such genre regulation is, of course, the rules for the leading classic genre, tragedy, drawn both from the texts of ancient tragedians and from Aristotle’s Poetics.

For the tragedy, a poetic form was canonized (“Alexandrian verse” - iambic hexameter with paired rhyme), a mandatory five-act structure, three unities - time, place and action, high style, historical or mythological story and a conflict presupposing an obligatory situation of choice between reasonable and unreasonable passion, and the process of choice itself was supposed to constitute the action of the tragedy. It was in the dramatic section of the aesthetics of classicism that the rationalism, hierarchy and normativity of the method were expressed with the greatest completeness and obviousness:

But we, who respect the laws of reason,

Only skillful construction captivates ‹…›

But the scene requires both truth and intelligence.

The laws of logic in the theater are very strict.

You new type Do you want to take the stage?

Please combine all the qualities of the face

And maintain the image from beginning to end.

Everything that was said above about the aesthetics of classicism and the poetics of classicist literature in France applies equally to almost any European variety of the method, since French classicism was historically the earliest and aesthetically most authoritative embodiment of the method. But for Russian classicism these general theoretical principles found a peculiar refraction in artistic practice, since they were determined by historical and national characteristics formation of a new Russian XVIII culture V.