Ancient german art Automatic translate

Our information about the art of Germanic peoples, based on the study of the preserved monuments of their material culture, in the first half of the 20th century was still very fragmentary and incomplete. The question of the origin of Germanic art and the stages of its most ancient development in the period preceding the era of European migrations of the 4th-6th centuries BC was least clarified by science. e. The monuments of the late Bronze Age and the beginning of the Iron Age allow us to conclude that during the 1st millennium (BC) German art, which slowly developed in the countries of Northern Europe (Northern Germany and the Scandinavian countries) and was under the known influence of high cultures of the Mediterranean basin, as well as the cultures of Central and Western Europe, developed its own special character, which manifested itself in the desire for purely ornamental constructions, for the schematization of forms and for the abstract rhythm of a linear pattern.

The Roman era (1-3 centuries A.D.) somewhat increased the influence of ancient civilization on the forms of German art, but it only affected the outskirts, in areas bordering the Roman state, and almost did not affect it in the North. In the period of 2-3 centuries, German art entered, through the means of the Goths, into close contact with Scythian-Sarmatian art of the South of Russia, which by this time also tended to abstract schematization and took from it a number of new forms and techniques (the main elements of animal ornamentation, ribbon weaving, polychrome decoration of objects).

These new elements, mixed with old abstract-linear forms of German art, completely changed its appearance. According to the latest researchers, this process took place in the 3rd century BC. e. in the region of Eastern Europe (in the territory of German Austria, Southern Russia, Eastern Romania and others), the result of which was the formation of a kind of Gothic art, which later, during the era of the migration of peoples, was spread by the Goths and other German nationalities throughout all Western Europe.

In the period of 4-6 centuries AD e. this German art, represented mainly by monuments of everyday use (items of personal and horse-made clothes, vessels, weapons, and the like), is dominant in Europe. The complexity of animal patterns and the magnificent brilliance of polychrome inlays, so characteristic of him in this era, perfectly reflect the tastes and psychology of those new social groups that replaced the obsolete Roman Empire and were based on its ruins.

In the period following the European migrations in the 7th-9th centuries, the development of this art proceeds in two different directions: in the countries of Western Europe (France, Spain, Italy), it begins to gradually mix with forms of Christian art, which continues Roman traditions, and is heavily planted by the ruling elite among the masses., and penetrates into the sculptural decoration of church buildings, manuscripts and the like.

Animal ornaments, having fallen on the soil that was before it under the long influence of Roman art, incorporates many new graphic elements and gives them a significant place in their wicker patterns.

A completely different picture is observed in Northern Europe, and mainly in Scandinavia. The former penchant for purely linear forms of Germanic art itself still continues to live there, to which contact with Scythian art instilled a number of naturalistic animal motifs. The struggle between these elements - abstract linearity and concrete naturalism - was already evident in the era of the migration of peoples.

Now it receives further development and animal forms are gradually subject to the complex weaving of ribbon patterns. This struggle ends by the 9th century with the complete victory of an abstract rhythmic linear pattern. In the Viking era (9-11 centuries), images of individual figures of animals, horses or humans (most of which are drawn in profile), as well as small scenes placed on metal objects or on stone gravestones, become frequent.

In the same way, animal motifs are again introduced into the wicker ornaments of this period. With the advent of Christianity and new church art in the North, local German art has existed for some time without mingling with it. Then it gradually incorporates a number of Christian motifs and combines them with old decorative forms (known, for example, images of Christ entangled in ribbons of weaving, figures of the church cross in weaving, and the like), as well as penetrating the decoration of church buildings, utensils and manuscripts and, finally, gives way to him, descending into the grassroots masses.

Valery Fedorovich Subbotin