Philosophy / 4. Philosophy of culture

Phys.N. Vorobyeva O. B.

Samara state University of railway engineering, Russia

Byzantium of the IV-VIII centuries: the temple art

IV-VIII century Byzantine culture marked by the establishment of temple art. Is the definition of the architecture of the temple, its interior, formed the music and song culture, improves and acquires its unique mosaic art.

Key words: Byzantine churches, the temple of music and singing culture, mosaic art, temple architecture, Christian architecture.

Christianity became established in the Roman Empire in the late fourth century, and the attention of the top theologians - the Fathers of the Church – took hold of new Christian art. Thus, in particular, the apologists of Christianity have begun to develop the doctrine of Christian liturgical music. According to the Holy Fathers, «she had to help the man to renounce worldliness, sensuality, plunge into the contemplation of eternal absolute truths, in the depths of his own spirit» [1]. Aurelius Augustine, Basil the Great, John Chrysostom stressed that Christian liturgical music in the Liturgy, then performs its function when «to facilitate the penetration of ideas in the sacred text, helps to understand, accept and reinforce outlined the position in the memory of the faithful» [2] .

Every nation inhabiting the enormous country (Byzantium in the early period of Christianity was part of the Balkan Peninsula, Asia Minor and North Africa), made the music of the divine service is peculiar to this nation intonation, musical thinking and language, a musical system and tastes.

In IV-VII centuries in the temples of Byzantium to be specially trained singers-professionals (temple singers) and composers. At this time in the liturgical singing of the new melodic forms, new genres (hymn, troparions, kontakions, coal, cedolini). A search is underway for ways to bring in a single melodic system of these songs. This melodic system is the principle of chanting on voices or osmoglasie, but it is still in the VII century was not mandatory for all Churches. Finally formulated the principle of osmoglasie, turned it into a slim and perfect system, St. John Damascene (eighth century). By the XX century the Byzantine Church had highly developed musical and singing culture based on the teachings of the Church Fathers.

Speaking about the architecture of the temple, it should be noted that the temple could accommodate possibly more praying, Christian architecture took a sample not a classic Greek temple and ancient rectangular structures called basilicas, divided into several longitudinal parts – naves (ships). These buildings were meant for the courts or trade. This type of a Christian Church with an average high and spacious nave of the Basilica was named.

The Byzantine architects attention was focused on the inner space of the temple, «all of its internal structure, the decoration has become a top priority for prayerful communion» [3].

The main task of the architects was the light distribution. With him art and culture of Byzantium combined their greatest achievement - the art of mosaic. Mosaic art flourished in antiquity, but if ancient mosaic consisted of cubes of natural rocks, and starting with the III-IV centuries have been used alloys painted glass (smalt), the Byzantine art is used together with stone blocks or Matt glazes, or transparent gold with thin strip. In tile light of Byzantium appears as though connected with transparent enamels, sparkles or fades in it, changing color, defines a "game" its richness and depth.

The cubes of stone, smalt pieces have a different shape and size, they grow stronger in the soil under different angles, which provides a variety of display light. Enough beam of light from a window or from a candle falling on the mosaic artwork and the material that flashes gold, purple colours, blue.

Innovation in mosaic Byzantine art was that of a figure depicted on a gold or blue background. If the light tone of the antique mosaics allowed to transfer space, gold background mosaics of Byzantium is not perceived neither as plane nor as depth, but as a supersensual world, in which the figures seem to be floating in translucent intangible environment. This contributes to the overwhelming spirituality of the Byzantine mosaic paintings. Interaction, the combination of light and color provide the flickering images on the mosaic picture, changing from the lighting, distance and angle of view.

Thus, harmony in the temple art of Byzantium was expressed in the choral singing that occurred in the Christian Church, and in the light, illuminating everything in their vaults, and, in the light of not only this nature, but skillfully intercepted, concentrated and distributed to new shone matter. Byzantine architecture and perceived differently by the ancient art of Byzantine mosaics ensured the triumph of light, of spirituality not only in ecclesiastical art, but world art in General. Bishop porphyry of Gaza wrote: «And when the Byzantine listened to Church singing who set up his mood, but when he saw the glow of endless lights, hundreds of reflexes playing on the gold mosaics when he scrutinized the images of saints and biblical scenes that adorned the arches... when dressed in the rich robes of the priests carried a dazzling gleaming utensils with colored enamels, when from the pulpit he heard the preaching that is shaped in a masterly sculpted forms of ancient rhetoric, then the army has to feel on top of the world. As in the Greek theatre ancient people found full satisfaction of his spiritual needs, so Byzantine was found in the Church's Liturgy of the most sublime moments of joy» [4. P. 24]. No wonder the famous Byzantine Church of «Hagia Sophia» produced at the ambassadors of Prince Vladimir of Kiev fateful for Russia impression.

Literature

1.Vorobyev, O. B., Vostryakova Y. V. About the formation of the temple arts of Byzantium // Vestnik Stredoevropsky pro Vedu a Vyzkum. 2015. T. 69. – S. 53.

2. Vorobyev, O. B., J. V. Vostryakov Love as epistemological category in the Byzantine-Orthodox culture of the middle ages // Vestnik Stredoevropsky pro Vedu a Vyzkum. 2015. T. 69. – S. 28.

3. Vorobyeva O. B. the philosophy of the late ancient world: ethical-religious aspect // the System of values of modern society. 2010. No. 12. – S. 18-21.

4. The Kulakovsky Yu. A., The History Of Byzantium. In 3 volumes. – SPb.: Aletheia, 2003.