Arabesque gogol summary. Meaning and analysis of Gogol's works "Arabesques". Pattern creation technology

Arabesque Arabesque, Arabesque, Arabesque (French arabesque from Italian arabesco Arabic). Arabesque type of ornament. Arabesque is one of ... Wikipedia

- "Night stories" by E. T. A. Hoffmann (1817) Collection of stories a separate edition of a group of stories ... Wikipedia

- "Mirgorod" (February, 1835) a collection of stories by Nikolai Gogol, which is positioned as a continuation of "Evenings on a Farm near Dikanka". The stories in this collection are based on Ukrainian folklore and have much in common with each other. It is believed that ... Wikipedia

Evenings on a farm near Dikanka is the first book by Nikolai Vasilyevich Gogol (excluding the poem "Hanz Küchelgarten", published under a pseudonym). Consists of two volumes. The first came out in 1831, the second in 1832. The stories of "Evenings" were written in 1829 1832 ... ... Wikipedia

Years in the literature of the XIX century. 1835 in literature. 1801 1802 1803 1804 1805 1806 1807 1808 1809 1810 1811 1812 1813 1814 1815 1816 1817 ... Wikipedia

A few thoughts on teaching geography to children (“Thoughts on Geography”) article by N.V. Gogol, “Gogol’s first and perhaps the best pedagogical work.” Published in Literary Gazette, 1831, No. 1, dated January 1, p. 4 7 under ... Wikipedia

Arabesque, Arabesque, Arabesque (French arabesque from Italian arabesco Arabic). Arabesque (ornament) type of ornament. Arabesque is one of the ballet poses. "Arabesques (collection)" a collection of works by Nikolai Vasilyevich Gogol, ... ... Wikipedia

Coat of arms of the Zaporozhian Army ... Wikipedia

- (1809 1852), Russian writer. Literary fame for Gogol was brought by the collection "Evenings on a Farm near Dikanka" (1831-32), saturated with Ukrainian ethnographic and folklore material, marked by romantic moods, lyricism and humor. ... ... encyclopedic Dictionary

- (Roe) (1809-1849), American romantic writer, critic. A classic of a strict story short story, mostly tragic, "terrible", "double", fantastic adventure (including science fiction) collection "Grotesques and Arabesques" ... ... encyclopedic Dictionary

Books

Arabesque, Andrey Bely. Book of articles. "Arabesques" contains a series of articles that, on the whole, serve as a continuation of the most important theoretical work of A. Bely "Symbolism". To them the author added some excerpts and notes from ...
Arabesques, Gogol Nikolai Vasilievich. The collection of N. V. Gogol's `Arabesques` - the second after `Evenings on a farm near Dikanka` - in its motley composition resembles an `an almanac of one author`: articles on art,…

What is the meaning of the word "arabesque"? In life, we often come across this concept. This word is often used in accordance with its traditional characteristics, but is used as a figure of speech, as a common noun or in a figurative sense, when it means something cunningly intertwined or intricately ornate, in another version it is very crushed and mixed or very openwork , easy.

What is an arabesque?

The word is of Italian origin. In translation, the term arabesque - arabesco - means "Arabic". However, this ornamental style is used in cultures of different countries and in different types of art. There is no exact and unified definition of an arabesque. We are faced with a completely different use of the concept, it would seem. There are several meanings of what an arabesque is.

Initially, a type of oriental (Arabic) ornament was called an arabesque. In the future, this term began to be used as the name of a certain type of musical piece.

There is another way to use the word - in the masculine gender. What is "arabesque" in this case? In this case, we are talking about a dance movement or a type of dance.

Let's look at each use case of the concept separately.

Arabic pattern in Europe

It is this use of the term that is really associated with its Arabic meaning, as it is a type of ornament that arose in the medieval era in the culture of nomadic Arabs.

What is an arabesque in art? Initially, the structure of the pattern included both geometric and floral motifs, but later only geometric motifs began to be included.

At a later time, text components began to be introduced into the floral pattern. That is why such a concept as "Arabic script" arose - a type of writing whimsically ornate, similar to an arabesque in appearance.

In the heyday of the Middle Ages, the "arabesque" ornament was used to design handwritten books, and in Byzantium and Italy - in majolica and engraving. At this stage in the development of the arabesque, it carried, first of all, a symbolic meaning and was the main element of architectural structures.

The most popular type of ornament "arabesque" became in the Renaissance. Thanks to Giovanni da Udine, the pattern becomes the basis and connecting thread of the semantic component of fresco paintings and decorative and symbolic elements in architecture.

In the era of classicism, the "arabesque" ornament received the appointment of an independent decorative element, abstracted from the semantic component.

Arabic pattern in the countries of the Muslim world

In the Arab world, over time, the arabesque ornament became a whole science that was in the service of the church. After all, Arabic arabesque patterns served as a connecting thread between Heaven - the abode of God and Paradise - and Man as a representative of the Earthly House. If you think about it, then the Underworld, which, according to Muslims, consists of two parts: the grave as the threshold of Paradise or Hell and Hell itself. Thus, it is possible to express the version that the Muslim arabesque can be the image of the "World Tree". Arabesque ornaments can completely cover the walls of the mosque. In the interweaving of their elements, you will never find animals, birds, fish, humans and other living beings, since no one can compete with God - their creator.

Arabesque in the arts and crafts of the East

There is also a non-religious way of using the arabesque ornament in Eastern cultures. One of the most common is the Arabic patterned carpet. In this case, the creation of a pattern implies greater freedom of creativity: images of animals and people can be used as elements, weaving them into a ligature of stems, petals and leaves.

On the basis of the Arabic traditional ornament in the art of carpet weaving, a special direction emerged - Islami - a decorative ornament consisting only of bindweed and spiral elements. In addition, six additional types of Islami are distinguished: "shekasti" - with open ornaments; "bandi" or "vagire" - the elements of the pattern are repeated both horizontally and vertically, and intertwined with each other; "dakhane azhdar", whose arabesques resemble the mouth of a dragon; "toranjdar", in it, along with traditional patterns, such an element as a medallion is used; "lochak-toranj", where a composition of medallions in triangles is placed in the corners of the carpet; "mari" - with spiral-shaped arabesques.

Arabesques in the "bandy" style also have a number of subspecies: "islimi" - in the form of fastened arabesques; "pichak" - in the form of connected weaves; "shekaste" - in the form of untied arabesques; "katibei" - in the form of an associated inscription; "varamin"; "caleb-hashti" in the form of connected square frames; "derakhti" - in the form of intertwining trees; "sarvi" - the main element - cypress; "adamaki" - in the form of a pattern of human figures; "bakhtiyari"; "khushe-anguri" from intertwined bunches of grapes; "shahae gavazne kheyvandar" from linked figurines of deer; "hatame shirazi", reminiscent of inlays; "dastegul" from intertwined bouquets.

In addition to creating unique carpet products, the arabesque motif is used to create models of clothes, dishes, interiors, and even in landscape design.

Pattern creation technology

When creating an "arabesque" ornament, an ideal mathematical calculation is required, which is used to form absolutely accurate compositional elements of its elements and their alternation in an ornamental chain. The elements of the pattern are very complex in composition, often fit into each other. At the same time, it is also necessary to use mathematical knowledge, because the elements of arabesques are difficult to combine variants of various geometric shapes - circles, ovals, rectangles, hexagons and octagons, trapezoids, triangles, rhombuses, etc. Moreover, each type of element has its own color. With such a mathematical pattern, the background is never used for it.

Musical composition

In music, the term "arabesque" was first introduced in relation to a proper name for his work by the famous composer Robert Schumann. Later, the concept of "arabesque" began to be applied to a certain genre of instrumental music, as a rule, a work of small size, but very diverse, light, with an openwork interweaving of elements, rhythms, intonations, tempo, fragments of a melody. The intertwining melody of the arabesque was used in the work of the amazing French impressionist and symbolist composer Claude Debussy. Of the domestic composers, Alexandra Lyadova turned to this genre.

dance movement

What is "arabesque" in dance art? The arabesque, or rather the arabesque, is one of the main movements in classical choreography. In the classification of Agrippina Yakovlevna Vaganova, we meet four types of arabesque, and the Italian choreographer Enrico Cecchetti has five. These movements have a similar setting of the body, head, but differ in the position of the raised and retracted arms and legs.

From classical choreography, the modified arabesque was transferred to sports ballroom dancing and figure skating. It has a fairly long tradition of application in Indian belly dance.

All these stories are united into one whole, first of all, by their common theme, defined by Gogol as “a collision of a dream with; materiality (reality). They are also related by the place of action - St. Petersburg, the capital city, in which social contradictions were especially prominent already in the 30s of the XIX century, during the development of “commercialism” in the capital], the pursuit of profit, predation, soulless calculation.

In Nevsky Prospekt, Gogol tells the story of the artist Piskarev, an enthusiastic dreamer, before whose eyes appeared "the whole low, all the despicable life - a life full of emptiness and idleness ...". And Piskarev perishes as a tragic victim of the discord between dreams and reality.

The story "Portrait" was later (in 1841) revised by Gogol, especially in the second part. This is a sad story about the artist Chartkov, who ruined his talent in pursuit of wealth. "Gold became his passion, ideal, fear, pleasure, goal." Under the influence of gold, human qualities die in Chartkow, and the artist perishes in it, since the exploiting classes do not need genuine, realistic art; they need handicraft embellishment of themselves and the life in which they dominate.

In “Notes of a Madman” and in the “Overcoat” adjoining them, although written later (in 1841), Gogol refers to the theme raised by Pushkin in “The Stationmaster”, the theme of the “little man”, a poor petty official living in a society that judges people by rank and wealth.

The senseless clerical service - copying papers - killed in Akaky Akakievich Bashmachkin every living thought and every human aspiration.

But even in this downtrodden, humiliated petty official, a man wakes up when he has a goal in life: a new overcoat. “He,” writes Gogol, “has somehow become more alive, even firmer in character, like a man who has already defined and set himself a goal. Doubt, indecision disappeared by itself from his face and from his actions ... "

There was no happier person than Akaky Akakievich when, finally, the tailor brought him a new overcoat. But the joy was short-lived. At night, when he was returning from a colleague, he was robbed: they took off his overcoat. In vain Akaky Akakievich sought help from a private bailiff, from a "significant person"; everywhere he met either complete indifference, or contempt and menacing shouts. Frightened by the reception at the "significant person", the timid and downtrodden Akaki Akakievich fell ill with a nervous fever, which took him to the grave. “The creature disappeared and disappeared,” Gogol notes, “not protected by anyone, not dear to anyone, not interesting to anyone ...”

With great sympathy, Gogol showed a downtrodden little man who responded to the evil mockery of his colleagues with "penetrating" words: "leave me, why do you offend me," and in these penetrating words other words rang out: "I am your brother."

Two collections of Gogol's ("Mirgorod" and "Arabesques") caused a wonderful article by Belinsky: "On the Russian story and Gogol's stories", published in the magazine "Telescope" for 1835.

Defining the features of Gogol's work, Belinsky writes: “The distinctive character of Mr. Gogol's story is simplicity of fiction, nationality, the perfect truth of life, originality and comic animation, always overcome by a deep feeling of sadness and despondency. The reason for all these qualities lies in one source: Mr. Gogol is a poet, a poet of real life. And if the first four qualities are inherent, according to Belinsky, "to all elegant works", then the last - a special humor - is the originality of Gogol the writer.

This article by Belinsky, which Gogol liked very much, was important because the great critic, penetratingly guessing in Gogol a great writer worthy of Pushkin's successor, emphasized with all decisiveness that Gogol was a realist writer, strong in fidelity to the image of life. Each story by Gogol “makes you say: “How simple, ordinary, natural and true it all is, and, together, how original and new!”

The Arabesque cycle, published at the end of January 1835, was an unusual book. It was made up of articles on art, history, geography, folklore, artistic and historical fragments and contemporary stories (they will then be called St. Petersburg).

The collection opened with a short preface: “This collection consists of plays written by me at different times, in different eras of my life. I didn't write them to order. They spoke from the heart, and I chose as the subject only that which struck me greatly. If we compare “Arabesques” with “Evenings” and even with “Mirgorod”, then they fundamentally changed both the scale of the depicted (it was about the whole world, about all art, starting from ancient), and the very level of its development (not only sensory-intuitive , but also abstract-logical). The author, who acted both as an artist and as a scientist, embraced various aspects of life with his imagination and thought. The book was intended to become a universal model of the world, as the writer sees it, and a mirror of his own work - in the sequence and in the aspect in which it reflected the world.

Specifically, the idea of “Arabesques” went back to Gogol’s intention to publish his works as a whole by 1834, releasing a kind of “collected works”, which would include “Evenings on a Farm near Dikanka” (in 1834, Gogol began to prepare a reprint of “ Evenings”, the book was even already censored and approved, but for unknown reasons the second edition was published only in 1836), “Mirgorod” (meaningful as a continuation of “Evenings”) and, finally, “Arabesques”. The task of the latter was to supplement “Evenings” and “Mirgorod”, giving a certain historical and critical context to their work and at the same time expanding the geographical area of their works by introducing the St. Petersburg theme.

Let's pay attention to the title of the collection, which corresponded to the "spirit of the times" and had its own specifics. The word "arabesque" means a special type of ornament, consisting of geometric shapes, stylized leaves, flowers, parts of animals, which arose in imitation of the Arabic style. This word also had an allegorical meaning: "a collection of literary and musical works of small volume, different in content and style." At the same time, in the art history of that time, “arabesques” were in a certain sense synonymous with “grotesque”. Thus, in Plushard's Encyclopedic Lexicon, it was explained that both terms owe their origin to sensual, pictorial "ancient art." And the fantastic “combination of fictional objects ... with objects that really exist in nature, which is characteristic of arabesques; the combination of half-figures, geniuses, etc. with flowers and leaves; placing heavy and massive objects on weak and light ones, etc. was explained as "the realization of a dreamy world", decent, "with proper art", and for modernity 141 .

Fashion for arabesques came to Russia from Germany. So, F. Schlegel conceived the creation of a large epic form "nothing else but a combination of narration, song and other forms" with "confession". And the latter - "involuntarily and naively takes on the character of arabesques." Apparently, Gogol was well aware of all these semantic shades, giving a similar title to his book. "Arabesques" immediately declared both the leading theme - art, and the personal, authorial principle - confession, and the associated fragmentation, a certain exaggeration, and grotesqueness of the image. The “arabesque-grotesque” plan, in turn, predetermined both the appeal to the fine “ancient art”, to history, and the possible caricature depiction of reality, a parody of “mass” vulgar-serious art. Of course, the title only more clearly outlined the most important features of the already formed collection, since, submitting it to censorship, the author called it "Different Works of N. Gogol."

Arabesques partly owed their genesis to magazine and almanac publications of that time, in particular, to the “almanac of one author” - a single author's collection that combined small works of different genres and genres. At the same time, in its structure and didactic orientation, Gogol's book was reminiscent of both the religious-educational "Experiments" of the educational plan 142 and secular writings, like Batyushkov's "Experiments in Verse and Prose", with which it was brought closer by its orientation towards universalism. It could also be compared with the genres of medieval literature, for example, with the translation of the author's "Six Days" of the Church Fathers (John the Exarch, Basil the Great, etc.) - a kind of "encyclopedia", where the structure of the world was explained from a Christian point of view. The combination of artistic and non-artistic material, its alternation became Gogol's compositional device. It can even be said that the collection acted as a palette of a historical novel, the plot of which is the whole past life of mankind (it was not without reason that one of the works of Arabesques was called Life).

It has already been said that in the early 1930s Gogol became seriously interested in history and worked on materials on the history of Ukraine, dreaming of a multi-volume History of Little Russia and History of the Middle Ages. Of the historical articles, the final edition of "Arabesques" included: "On the Teaching of General History", "Schlozer, Miller and Herder", "On the Middle Ages". In the first, Gogol argued the common destinies of Russia and the West, and also developed the idea of the need for an objective reflection of the role of the people in the development of the state and an objective reflection of the role of any people in the history of the world, thereby asserting the unity of world history: “All the events of the world must be so closely connected between themselves and cling to one another, like rings in a chain. If one ring is torn out, then the chain is broken. Gogol clearly learned the last thought from the German philosopher Herder, to whom his other article, published in Arabesques, Schlozer, Miller and Herder, was largely devoted. A certain autobiography was also caught in Gogol's reflections on Schlozer: “He was not a historian, and I even think that he could not be a historian. His thoughts are too jerky, too hot, to settle into the harmonic, harmonious fluidity of the narrative. In the article "On the Middle Ages" Gogol refuted the idea of the Middle Ages as an era of stagnation in the history of civilization and the triumph of barbarism.

Among the articles about art in "Arabesques" were placed: "Sculpture, Painting and Music", "On the Architecture of the Present Time", "On Little Russian Songs", "A Few Words about Pushkin". He formulated the foundations of romantic aesthetics in Sculpture, Painting and Music (written by Gogol back in 1831). "Three wonderful sisters", "three beautiful queens" are called upon to "beautify and delight the world." But, comparing the three types of arts, Gogol, as a true romantic, prefers music, believing that it is she who is able to most influence the soul, being “belonging to the new world” - for “we have never thirsted so much for impulses that elevate the spirit, as in the present time".

The article "The Last Day of Pompeii", written under the impression of the painting of the same name by K. Bryullov, which he brought to St. Petersburg in the summer of 1834 and exhibited at the Academy of Arts, was of fundamental importance for Gogol as a kind of aesthetic credo, the embodiment of which will be, in a certain sense, drama "Inspector" - the image of a "strong crisis", "felt by the whole mass." But at the same time, it was not chaos and destruction that the artist managed to put in the center of the picture, but the eternal triumph of life and beauty: “Bryullov has a man to show all his beauty, all the supreme grace of his nature.”

Initially, Gogol thought to include in Arabesques also a number of fragments of his unfinished works of art: The Terrible Boar, two chapters from the historical novel Hetman, etc. However, only three novellas were included in the final text of the book from fiction: Nevsky Prospekt ”, “Notes of a madman” and “Portrait”. All these three stories formed the basis of the so-called Petersburg cycle of Gogol (this name, in fact, although rooted, is not entirely accurate, since it was given not by Gogol, but by his critics). It is with them that for the first time (with the exception of the St. Petersburg episode "The Night Before Christmas") the St. Petersburg theme clearly enters Gogol's work for the first time.

Meaning and analysis of Gogol's works "Arabesques".

All these stories are united into one whole, first of all, by their common theme, defined by Gogol as “a collision of a dream with; materiality (reality). They are also related by the place of action - St. Petersburg, the capital city, in which social contradictions manifested themselves especially prominently already in the 30s of the XIX century, during the period of development in the capital of "commercialism", the pursuit of profit, predation, soulless calculation.

In Nevsky Prospekt, Gogol tells the story of the artist Piskarev, an enthusiastic dreamer, before whose eyes appeared "all low, all despicable life - a life full of emptiness and idleness ...". And Piskarev perishes as a tragic victim of the discord between dreams and reality.

The senseless clerical service - copying papers - killed in Akaky Akakievich Bashmachkin every living thought and every human aspiration.

There was no happier person than Akaky Akakievich when, finally, the tailor brought him a new overcoat. But the joy was short-lived. At night, when he was returning from a colleague, he was robbed: they took off his overcoat. In vain Akaky Akakievich sought help from a private bailiff, from a "significant person"; everywhere he met either complete indifference, or contempt and menacing shouts. Frightened by the reception at the "significant person", the timid and downtrodden Akaki Akakievich fell ill with a nervous fever, which took him to the grave. “A creature disappeared and disappeared,” Gogol remarks, “not protected by anyone, not dear to anyone, not interesting to anyone ...”

Two collections of Gogol's ("Mirgorod" and "Arabesques") caused a wonderful article by Belinsky: "On the Russian story and Gogol's stories", published in the magazine "Telescope" for 1835.

Defining the features of Gogol's work, Belinsky writes: “The distinctive character of Mr. Gogol's story is simplicity of fiction, nationality, the perfect truth of life, originality and comic animation, always overcome by a deep feeling of sadness and despondency. The reason for all these qualities lies in one source: Mr. Gogol is a poet, a poet of real life. And if the first four qualities are inherent, according to Belinsky, "to all elegant works", then the last - special humor - is the originality of Gogol the writer.

This article by Belinsky, which Gogol liked very much, was important in that the great critic, penetratingly guessing in Gogol a great writer worthy of Pushkin's successor, emphasized with all decisiveness that Gogol was a realist writer, strong in fidelity to the depiction of life. Each story by Gogol “makes you say: “How simple, ordinary, natural and true it all is, and, together, how original and new!”