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fisdar

Регистрация: 24 Oct 2020
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Обо мне

In the era of the Italian Renaissance, and especially in the Baroque style, which has so much in common with Gothic, we will see the opposite principle - maximization, when miniature elements of ornamentation grow to incredible sizes and begin to define the appearance of architecture. An interesting feature of Gothic art, reflecting the polarity of its aspirations (towards illusory forms and abstract ideas), is the simultaneous existence of two types of ornament: naturalistic (plant) and abstract (geometric). Especially favorite in wood and stone carvings were the motifs of the vine and oak leaves. In addition to traditional symbolism, their vitality is explained by the ability to fit equally well on capitals and columns, twine around cornices and vimpergs. Gothic dynamics and plasticity are reflected in the "cruciferous flowers" blooming like fantastic flowers on the tops of the spiers and (inverted) hanging from the vaults. Along the ribs of pinnacles, cornices, flying buttresses, "crabbs", plant forms such as buds, or some strange growths, from a distance, really resemble swarming living creatures, stretch in chains. Nearby, as if from another world, there is a geometric ornament masverk (German maswerk - "drafting work") - circles, arcs, arches drawn along a ruler and compass. And suddenly, unexpectedly, destroying limited ideas about Gothic art, in the XIV-XV centuries. a gentle and plastic motif of “Gothic folds” appears. Carved wood panels with this motif adorn furniture and are used for wall cladding.
 
The Gothic book miniature, in comparison with the Romanesque, is characterized by the inclusion of the thinnest, albeit "prickly", plant ornament, similar to the antique acanthus, and the strict Romanesque sсriрt - Carolingian minuscule - is replaced by the fancy Gothic sсriрt. The era of Gothic is remarkable for the flourishing of secular courtly culture; chivalric ideals derived from the Crusades - courage, self-sacrifice and admiration for women - together with respect for the ancient culture of the East, sound in the themes of lyric poetry, minnesang, and the works of troubadours. A portrait appears in painting. In this sense, Gothic, without resorting to antiquity, prepared the Renaissance with its harmonious combination of the beauty of the body and the flight of the soul. In English Gothic, the period of the highest development of the style is characterized by the term "tracery", meaning the quality of "vibrations, vibrations of the wall" from the play of light rays on the finest lace ornament. In the middle of the XIV century. the same quality is noted in Germanic Gothic; at first this style was called "Sondergotik" (German "strange, special, gothic"), then the name "Spatgotik" (German "late Gothic") appeared. At the beginning of the XIX century. French historian S.-V. Langlois proposed the term "gothique flamboyant" (French for "flaming gothic"). The style of the late "flaming Gothic" is also called the mannerism of mediеval art (the term originated from the swirling phials and spiers that resemble tongues of flame characteristic of the 1350-1550s).
 

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Gothic forms continued to be used during the Proto-Renaissance period and in Renaissance Italy north of Rome - in Florence, Milan, Pisa, Siena, Venice, Padua, Mantua, Ferrara. Elements of Gothic art have been preserved in Northern Renaissance painting and sculpture. To the art of southern Germany and the Czech Republic of the 17th-18th centuries. at first glance, the definitions, unusual at first glance, are fairly used: "Gothic Baroque", or "Baroque Gothic". In these countries, the influence of Italian Mannerism and Baroque XVI-XVII centuries. were inculcated not on classical, but on Gothic traditions, which in this case played the role of national ones. Despite the originality of certain trends and regional schools, the Gothic style of the 1390-1430s. became pan-European. In terms of brightness, expressiveness and paradox, Gothic can be compared only with Baroque. Having once emerged in architecture from the practical need to resolve a constructive (non-artistic) task - to lighten the arches, in the shortest time, when the limits of lightness of the building structure were reached, this style went beyond the boundaries of rationality - into the heights of the spirit.

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Gothic has become a mystical, irrational style of artistic symbolism. But, having lost its constructive basis, the Gothic style gradually exhausted its possibilities. The crisis of “flaming” and “international Gothic”, stylistic trends that seemed, at least for Italy in the 15th century, archaic, stimulated the search for new ideas and formative principles. In contrast, they were seen in antiquity. So Gothic prepared the Renaissance. However, the history of the Gothic style did not end there. Already in the first third of the 16th century. in the art of Italy there was a return to the Gothic forms. In the middle of the XVIII century. the Neo-Gothic style arose in England, somewhat later - in France; at the beginning of the 19th century, in line with the movement of "national romanticism" - in Germany. In the 1830-1850s. the neo-gothic style was formed in Russia. However, even earlier, in 1666, the architect of the English Classicism K. Wren in the plan for the reconstruction of London provided for the construction of four churches "in the national Gothic style." Gothic forms were revived in the English "Victorian style" of the second half of the 19th century. Neo-Gothic became one of the stylistic trends in the Art of the Modern period at the turn of the XIX-XX centuries. The traditional style of the English "Gothic house" in England and the United States was called "survival", the Neo-Gothic style - "revival" (English, "renewal"). The history of the study of Gothic art begins at the end of the 18th century. If K. Rehn adhered to the version of the Arab, "Saracen" origin of the Gothic, then I. Goethe, examining the Strasbourg Cathedral in 1770, called it "a pure invention of the German genius." In his article "On German Architecture" (1772), Goethe wrote enthusiastically about the grandeur and originality of Gothic cathedrals (although he did not see them as "beauty" according to the canons of Classicism). German romantics were attracted to Gothic architecture by irrationality, "biosimilarity ... and the infinity of internal formation."

 

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