Classicism |
Classicism (daga lat. classicus - abin koyi) - fasaha. ka'idar da salo a cikin fasahar karni na 17-18. K. ya dogara ne akan imani da hankali na kasancewa, a gaban wani tsari guda ɗaya, na duniya wanda ke tafiyar da al'amuran yanayi da rayuwa, da kuma jituwa da yanayin ɗan adam. Kayan kwalliyar ku. wakilan K. scooped manufa a cikin samfurori na zamanin da. kara kuma a cikin babba. tanadi na Aristotle's Poetics. Sunan "K". ya zo daga roko ga classic. zamanin da a matsayin mafi girman ma'auni na aesthetics. kamala. Aesthetics K., yana fitowa daga ma'ana. abubuwan da ake bukata, na al'ada. Ya ƙunshi jimillar ƙaƙƙarfan ƙa'idoji masu ƙarfi waɗanda dole ne a bi su. aiki. Mafi mahimmancin su shine abubuwan da ake buƙata don ma'auni na kyau da gaskiya, madaidaicin ma'anar ra'ayi, jituwa da cikar abubuwan da ke tattare da su, da kuma bayyanannen bambanci tsakanin nau'o'i.
A cikin ci gaban K. akwai manyan tarihi guda biyu. matakai: 1) K. karni na 17, wanda ya girma daga fasaha na Renaissance tare da baroque kuma ya ci gaba a wani bangare a cikin gwagwarmaya, wani ɓangare na hulɗa da na ƙarshe; 2) ilimi K. na karni na 18, wanda ke hade da kafin juyin juya hali. Harkar akida a Faransa da kuma tasirinsa a kan fasahar sauran Turawa. kasashe. Tare da gabaɗayan ƙa'idodin ƙaya na asali, waɗannan matakai biyu suna da alaƙa da bambance-bambance masu mahimmanci. A Yammacin Turai. tarihin fasaha, kalmar "K." yawanci ana amfani da fasaha ne kawai. kwatance na karni na 18, yayin da da'awar 17th - farkon. karni na 18 an dauke shi a matsayin baroque. Ya bambanta da wannan ra'ayi, wanda ya samo asali daga fahimtar salon kamar yadda ake canza matakan ci gaba ta hanyar injiniya, ka'idar Marxist-Leninist na salon da aka bunkasa a cikin USSR yana la'akari da jimillar dabi'un da suka saba da juna da suka yi karo da juna a kowane tarihi. zamani
K. karni na 17, kasancewar ta hanyoyi da yawa adawar baroque, ya girma daga tarihi guda. Tushen, yana nunawa ta wata hanya dabam da sabani na zamanin rikon kwarya, wanda ke da manyan sauye-sauyen zamantakewa, saurin ci gaban kimiyya. ilimi da kuma karfafa a lokaci guda na addini-feudal dauki. Mafi daidaito kuma cikakkiyar magana ta K. karni na 17. samu a kasar Faransa zamanin da cikakkar daular sarauta. A cikin kiɗa, babban wakilinsa shine JB Lully, mahaliccin nau'in "mummunan bala'i", wanda, dangane da batun batunsa da asali. ka'idodin salo sun kasance kusa da babban bala'i na P. Corneille da J. Racine. Ya bambanta da wasan opera na Baruch na Italiya tare da 'yancin yin aiki na "Shakespearean", bambance-bambancen da ba zato ba tsammani, juxtaposition na daukaka da wariyar launin fata, Lully's "mummunan bala'i" yana da haɗin kai da daidaiton hali, ƙaƙƙarfan dabaru na gini. Daularta ta kasance manyan jarumai, masu karfi, kyawawan sha'awar mutanen da suka tashi sama da matakin talakawa. Abin ban mamaki yadda kidan Lully ya dogara ne akan amfani da na yau da kullun. juyin juya hali, wanda ya yi aiki don canja wurin decomp. motsin rai da motsin zuciyarmu - daidai da koyaswar tasirin (duba ka'idar tasiri), wanda ke ƙarƙashin kyawawan kyawawan dabi'un K. A lokaci guda, fasalin Baroque sun kasance masu mahimmanci a cikin aikin Lully, wanda ya bayyana a cikin ƙawancin ƙawancin operas, girma. rawar da ka'idar son rai. Irin wannan haɗe-haɗe na baroque da na al'ada kuma ya bayyana a Italiya, a cikin wasan operas na mawaƙa na makarantar Neapolitan bayan wasan kwaikwayo. gyara wanda A. Zeno yayi akan samfurin Faransanci. classic bala'i. Jerin wasan opera na jarumai sun sami nau'i kuma an tsara haɗin kai, nau'o'i da wasan kwaikwayo. ayyuka bambanta. siffofin kiɗa. Amma sau da yawa wannan haɗin kai ya zama na al'ada, makirci mai ban sha'awa da virtuoso wok ya zo kan gaba. gwanintar mawaƙa-soloists. Kamar Italiyanci. opera seria, da aikin mabiyan Faransanci na Lully sun ba da shaida ga sanannen raguwar K.
Sabon zamani na karat a cikin Haskakawa yana da alaƙa ba kawai tare da canji a yanayin akida ba, har ma tare da sabunta wani ɓangare na ainihin siffofinsa, yana cin nasara akan wasu akidar. bangarori na kayan ado na gargajiya. A cikin mafi girman misalansa, haskaka K. na karni na 18. ya tashi zuwa budaddiyar shelar juyin juya hali. manufa. Faransa har yanzu ita ce babbar cibiyar haɓaka ra'ayoyin K., amma suna samun fa'ida a cikin ƙayatarwa. tunani da fasaha. kerawa na Jamus, Austria, Italiya, Rasha da sauran ƙasashe. A cikin kiɗan Muhimmiyar rawa a cikin kyawawan al'adu tana taka rawa ta hanyar koyaswar kwaikwayo, wanda aka haɓaka a Faransa ta hanyar Ch. Batte, JJ Rousseau, da d'Alembert; -Tunanin kyawawan dabi'u na karni na 18 wannan ka'idar tana da alaƙa da fahimtar innation. yanayin kiɗa, wanda ya haifar da gaskiyar. kallonta. Rousseau ya jaddada cewa abin da ake kwaikwaya a cikin waka bai kamata ya zama sautin yanayi marar rai ba, a'a, nau'ikan maganganun mutane, wadanda ke aiki a matsayin mafi aminci da bayyana ra'ayi kai tsaye. A tsakiyar muz.-aesthetic. jayayya a cikin karni na 18. akwai wasan opera. Franz. encyclopedists sun yi la'akari da shi wani nau'i ne, wanda ya kamata a mayar da ainihin haɗin kai na fasaha, wanda ya kasance a cikin anti-tich. t-re kuma an keta shi a cikin zamani na gaba. Wannan ra'ayin ya kafa tushen tsarin gyaran gyare-gyare na KV Gluck, wanda ya fara a Vienna a cikin 60s. kuma an kammala shi cikin yanayin juyin juya hali. Paris a cikin shekarun 70s na Gluck balagagge, wasan operas na kawo sauyi, masu fafutuka suna goyan bayansu, sun kasance daidai gwargwado. manufa na babban jarumi. art-va, wanda aka bambanta da girman sha'awa, majesties. sauki da tsauri na salo.
Kamar yadda yake a cikin karni na 17, a lokacin haskakawa, K. ba rufaffiyar ba ne, keɓantacce kuma yana hulɗa da dec. salo trends, ado. yanayi to-rykh wani lokacin yana cin karo da babban sa. ka'idoji. Don haka, crystallization na sababbin siffofin na gargajiya. ciki music fara riga a cikin 2nd kwata. Karni na 18, a cikin tsarin salon gallant (ko salon Rococo), wanda ke da alaƙa da juna tare da duka ƙarni na K. 17 da Baroque. Abubuwan sabbin abubuwa a cikin mawaƙa waɗanda aka rarraba su azaman salon gallant (F. Couperin a Faransa, GF Telemann da R. Kaiser a Jamus, G. Sammartini, wani ɓangare D. Scarlatti a Italiya) suna haɗuwa tare da fasalin salon baroque. A lokaci guda, monumentalism da ƙwaƙƙwarar buri na baroque suna maye gurbinsu da taushi, mai ladabi mai ladabi, kusancin hotuna, gyaran zane.
Yaɗuwar dabi'un tunani a tsakiya. Karni na 18 ya haifar da bunƙasa nau'ikan waƙa a Faransa, Jamus, Rasha, fitowar Dec. nat. nau'ikan opera waɗanda ke adawa da tsarin mafi girman bala'i na gargajiya tare da hotuna masu sauƙi da jin daɗin “kananan mutane” daga mutane, al'amuran daga rayuwar yau da kullun, waƙar kiɗan da ba ta dace ba kusa da tushen yau da kullun. A cikin filin instr. An nuna jin daɗin kiɗan a cikin Op. Mawaƙan Czech da ke kusa da makarantar Mannheim (J. Stamitz da sauransu), KFE Bach, wanda aikinsa ke da alaƙa da lit. motsi "Storm and Slaught". Mahimmanci a cikin wannan motsi, sha'awar Unlimited. 'yanci da gaggawar gwaninta na mutum yana bayyana a cikin waƙoƙin da aka ɗauka. pathos na kiɗa na CFE Bach, rashin jin daɗi, kaifi, maganganun da ba zato ba tsammani. sabani. A lokaci guda, ayyukan "Berlin" ko "Hamburg" Bach, wakilan makarantar Mannheim, da sauran madaidaitan igiyoyin ruwa a hanyoyi da yawa sun shirya kai tsaye mataki mafi girma a cikin ci gaban kiɗa. K., hade da sunayen J. Haydn, W. Mozart, L. Beethoven (duba Vienna Classical School). Waɗannan manyan malamai sun taƙaita nasarorin da Dec. salon kiɗa da makarantu na ƙasa, ƙirƙirar sabon nau'in kiɗan gargajiya, haɓakawa sosai kuma an 'yantar da su daga halayen tarurrukan matakan da suka gabata na salon gargajiya a cikin kiɗan. Inherent K. ingancin jituwa. tsabtar tunani, ma'auni na ka'idodin sha'awa da na hankali suna haɗuwa tare da faɗi da wadatar gaskiya. fahimtar duniya, zurfin kasa da dimokuradiyya. A cikin aikinsu, sun shawo kan dogmatism da metaphysics na kayan ado na gargajiya, wanda har zuwa wani lokaci ya bayyana kansu ko da a cikin Gluck. Mafi mahimmancin tarihin nasarar wannan mataki shine kafa tsarin jin dadi a matsayin hanyar nuna gaskiya a cikin sauye-sauye, ci gaba da hadaddun haɗakar da sabani. Tausayi na al'adun gargajiyar Viennese ya ƙunshi wasu abubuwa na wasan kwaikwayo na opera, wanda ya ƙunshi manya, cikakkun ra'ayoyin akida da ban mamaki. rikice-rikice. A gefe guda kuma, ka'idodin tunanin symphonic suna shiga ba kawai cikin dec ba. ciki nau'ikan nau'ikan (sonata, quartet, da sauransu), amma kuma a cikin opera da samarwa. nau'in cantata-oratori.
A Faransa in con. Karni na 18 K. an ƙara haɓakawa a Op. mabiyan Gluck, wanda ya ci gaba da al'adunsa a wasan opera (A. Sacchini, A. Salieri). Kai tsaye amsa abubuwan da suka faru na Babban Faransanci. Juyin Juya Hali F. Gossec, E. Megyul, L. Cherubini - mawallafin wasan operas da mawallafin wok.-instr. ayyukan da aka ƙera don yawan aiki, cike da babban farar hula da kishin ƙasa. cututtuka. K. ana samun dabi'un a cikin Rashanci. mawaƙa na karni na 18 MS Berezovsky, DS Bortnyansky, VA Pashkevich, IE Khandoshkin, EI Fomin. Amma a cikin kidan K. na Rasha ba su ci gaba da zama madaidaiciyar jagora mai fadi ba. Yana bayyana kansa a cikin waɗannan mawaƙa a hade tare da jin daɗi, ainihin takamaiman nau'in. alama da abubuwa na farkon romanticism (misali, a cikin OA Kozlovsky).
References: Livanova T., Littattafan kiɗa na karni na XVIII, M.-L., 1939; ta, A kan hanyar Renaissance zuwa Haskaka na karni na 1963, a cikin tarin: Daga Renaissance zuwa karni na 1966, M., 264; ita, Matsalar salo a cikin kiɗa na karni na 89, a cikin tarin: Renaissance. Baroque. Classicism, M., 245, p. 63-1968; Vipper BR, Art na karni na 1973 da matsalar salon Baroque, ibid., p. 3-1915; Konen V., Gidan wasan kwaikwayo da Symphony, M., 1925; Keldysh Yu., Matsalar salo a cikin kiɗan Rasha na ƙarni na 1926-1927, "SM", 1934, No 8; Fischer W., Zur Entwicklungsgeschichte des Wiener klassischen Stils, “StZMw”, Jahrg. III, 1930; Becking G., Klassik da Romantik, a cikin: Bericht über den I. Musikwissenschaftlichen KongreЯ… a Leipzig… 1931, Lpz., 432; Bücken E., Die Musik des Rokokos und der Klassik, Wildpark-Potsdam, 43 (a cikin jerin "Handbuch der Musikwissenschaft" wanda ya gyara shi; Fassarar Rashanci: Kiɗa na Rococo da Classicism, M., 1949); Mies R. Zu Musikauffassung und Stil der Klassik, “ZfMw”, Jahrg. XIII, H. XNUMX, XNUMX/XNUMX, s. XNUMX-XNUMX; Gerber R., Klassischei Stil a cikin der Musik, "Die Sammlung", Jahrg. IV, XNUMX.
Yu.V. Keldysh
Classicism (daga lat. classicus - abin koyi), salon fasaha wanda ya wanzu a cikin 17th - farkon. Karni na 19 a Turai adabi da fasaha. Fitowar sa yana da alaƙa da bullar ƙasa mai ɗaci, daidaiton zamantakewa na ɗan lokaci tsakanin abubuwan feudal da bourgeois. Uzuri na dalilin da ya taso a wancan lokacin da kyawawan dabi'u na al'ada da suka girma daga cikinta sun dogara ne akan ka'idodin dandano mai kyau, waɗanda aka dauke su har abada, masu zaman kansu ba tare da mutum ba kuma suna adawa da son kai na mai zane, wahayinsa da tunaninsa. K. ya samo ka'idodin dandano mai kyau daga yanayi, wanda ya ga samfurin jituwa. Saboda haka, K. da ake kira don yin koyi da yanayi, ya buƙaci amincewa. An fahimci shi azaman rubutu zuwa manufa, daidai da tunanin tunanin gaskiya. A fagen hangen nesa na K., akwai kawai bayyanar da hankali na mutum. Duk abin da bai dace da hankali ba, duk wani abu mai banƙyama dole ne ya bayyana a cikin fasahar K. tsarkakewa kuma mai daraja. Wannan yana da alaƙa da ra'ayin fasahar zamani a matsayin abin koyi. Rationalism ya haifar da ra'ayi na gabaɗaya game da haruffa da kuma fifikon rikice-rikice marasa fahimta ( adawa tsakanin aiki da ji, da sauransu). Yawancin bisa ra'ayoyin Renaissance, K., ba kamar shi ba, ya nuna sha'awar ba sosai ga mutum a cikin dukan bambancinsa ba, amma a cikin yanayin da mutum ya sami kansa. Don haka, sau da yawa sha'awar ba ta kasance cikin halin ba, amma a cikin abubuwan da ke cikin sifofinsa waɗanda ke fallasa wannan yanayin. Rashin hankali na k. ya haifar da buƙatun dabaru da sauƙi, da kuma tsarin tsarin fasaha. yana nufin (rarrabuwa cikin manyan nau'ikan nau'ikan nau'ikan, tsarkakakkun tsafta, da sauransu, da sauransu).
Don ballet, waɗannan buƙatun sun kasance masu amfani. Rikicin da K. ya haifar - adawar hankali da ji, yanayin mutum, da sauransu - an fi bayyana su a cikin wasan kwaikwayo. Tasirin wasan kwaikwayo na K. ya zurfafa abin da ke cikin ballet kuma ya cika rawa. hotuna na mahimmancin ma'anar. A cikin wasan kwaikwayo-ballet ("The Boring", 1661, "Aure ba tare da son rai ba", 1664, da dai sauransu), Moliere ya nemi cimma makircin fahimtar abubuwan da ake saka ballet. Rubutun ballet a cikin "The Tradesman in the Nobility" ("Turkish Ceremony", 1670) da kuma "The Imaginary Sick" ("Dedication ga Doctor", 1673) ba kawai interludes, amma Organic. wani bangare na wasan kwaikwayon. Irin waɗannan abubuwan sun faru ba kawai a cikin farcical-kowace rana ba, har ma a cikin fastoci-mythological. wakilci. Duk da cewa ballet har yanzu yana da fasali da yawa na salon Baroque kuma har yanzu yana cikin ɓangaren roba. aiki, abun ciki ya karu. Hakan ya faru ne saboda sabon rawar da marubucin wasan kwaikwayo ya taka mai kula da mawaƙa da mawaƙa.
A hankali a hankali yana shawo kan bambance-bambancen baroque da damuwa, ballet na K., baya bayan wallafe-wallafe da sauran zane-zane, kuma ya yi ƙoƙari don daidaitawa. Rarraba nau'o'in nau'ikan sun zama daban-daban, kuma mafi mahimmanci, raye-rayen ya zama mai rikitarwa da tsari. dabara. Ballet. P. Beauchamp, bisa ka'idar Eversion, ya kafa matsayi biyar na kafafu (duba Matsayi) - tushen tsarin tsarin rawa na gargajiya. Wannan rawa ta gargajiya ta mayar da hankali kan kayan gargajiya. samfuran da aka buga a cikin abubuwan tunawa za su nuna. fasaha. Duk motsi, har da aro daga Nar. rawa, ya wuce a matsayin tsohuwar kuma mai salo kamar tsohuwar. Ballet ya kware kuma ya wuce da'irar fadar. Masoyan rawa daga cikin sarakuna a karni na 17. ya canza prof. masu fasaha, maza na farko, kuma a ƙarshen karni, mata. Akwai saurin haɓaka ƙwarewar yin aiki. A cikin 1661, an kafa Royal Academy of Dance a Paris, wanda Beauchamp ke jagoranta, kuma a cikin 1671, Royal Academy of Music, wanda JB Lully ya jagoranta (daga baya Paris Opera). Lully ya taka muhimmiyar rawa wajen bunkasa ballet K. Yin aiki a matsayin dan rawa da mawaƙa a ƙarƙashin jagorancin Molière (daga baya a matsayin mawaki), ya halicci muses. nau'in lyric. bala'i, wanda filastik da raye-raye suka taka rawar gani a fannin ilimin harshe. JB Rameau ya ci gaba da al'adar Lully a cikin wasan opera-ballet "Gallant India" (1735), "Castor and Pollux" (1737). Dangane da matsayinsu a cikin waɗannan sifofin roba har yanzu, ɓangarorin ballet sun fi dacewa da ka'idodin fasahar gargajiya (wani lokaci suna riƙe da sifofin baroque). A farkon. Ƙarni na 18 ba kawai motsin rai ba, amma har ma fahimtar fahimtar filastik. al'amuran sun haifar da keɓance su; a cikin 1708 ballet mai zaman kansa na farko ya bayyana akan jigo daga Horatii na Corneille tare da kiɗan JJ Mouret. Tun daga wannan lokacin, ballet ya kafa kansa a matsayin nau'in fasaha na musamman. raye-rayen karkatarwa sun mamaye ta, yanayin raye-raye da rashin shubuhohin sa sun ba da gudummawa ga tunani. gina wasan kwaikwayo. Karimcin fassarar ya bazu, amma preim. na sharadi.
Da raguwar wasan kwaikwayo, ci gaban fasaha ya fara danne marubucin wasan kwaikwayo. Fara. Babban jigo a cikin gidan wasan kwaikwayo na ballet shine ɗan wasan virtuoso (L. Dupre, M. Camargo, da sauransu), waɗanda sukan mayar da mawaƙan mawaƙa, har ma da mawaƙa da marubucin wasan kwaikwayo, zuwa bango. A lokaci guda kuma, an yi amfani da sabbin motsi da yawa, wanda shine dalilin fara gyaran tufafi.
Ballet. Encyclopedia, SE, 1981
