It flourishes in the 18th century in the venetian schools of A. Canaletto, B. Bellotto and in the works of F. Guardi, with their masterly reproduction of the changeable light-air environment. Scenic Landscape in the 18th century played a decisive role in the formation of Landscape in those European countries where before that time there was no independent landscape genre (including Russia). A special place is occupied by the graphic landscapes of Dzh.B. Piranesi, who "romanticized" the ruins and monuments of ancient architecture. The tradition of the "ideal" Landscape found an exquisitely decorative interpretation in the Rococo era (F. Boucher and others) and in the classicizing work of J. Robert, however, in general, the "ideal" Landscape, which took a secondary position in the classicist system of genres, during the 18th century degenerates into academic direction, subordinating natural motives to the abstract laws of classicist composition.
Landscaping Installation history
In ancient times, it was already possible to find images of nature. Even in the Neolithic era, they began to conventionally designate the earth's surface, the firmament, cardinal points and heavenly bodies. In the reliefs and various paintings on the walls, vases and all kinds of vessels of the Ancient East, one can see everyday scenes with images of the world around them, namely, scenes of wars, hunting and fishing. Especially a lot of Landscaping Installation motifs are present in the art of Ancient Egypt (the era of the New Kingdom, 1550 - 1069 BC), and in the art of Crete (16th - 15th centuries BC), where we observe the unity of man with local flora and fauna. The image of the ancient Greek landscape is inseparable from the image of a person. A vivid example of this is the well-known Greek ornament, which conventionally denotes sea waves, this ornament is present in any mosaic and on every vase,
The ancient Roman Landscaping Installation is more independent, there is already a perspective in it, and the surrounding world is perceived as a simple and everyday habitat of people and gods.
In the art of medieval Europe, the landscape acts as a means of indicating the place of action of this or that event. Landscape images of that time show us how a person of that time represented the world and the universe.
The countries of the medieval Muslim East depicted landscapes quite a bit, and the art samples of that time that have come down to us were clearly created due to the influence of ancient Greek culture, and specifically Hellenistic traditions. But from the XIII-XIV centuries. more and more landscapes began to appear in miniature books. Nature was portrayed there as a closed garden, very mysterious and chamber. Indochina, Indonesia, and India lend great emotional power to their landscapes with reliefs and miniature depictions of rainforests.
Painting of medieval China begins to show us the landscape as an independent genre that does not depend on man. At that time, continuously renewing nature was considered the most visual code of the world Tao law. We see this message in every picture of the Chinese landscape at that time. Also, these works of art can be considered illustrations, because poems played an important role in the perception of the landscape of China, telling us about the sublimity of spiritual qualities. The landscapes of this country and era seem boundless, due to the introduction of a large number of mountain panoramas, water surfaces and foggy haze into the composition. Also, all the images, obeying the general decorative solution, are not delimited into spatial plans, but smoothly flow into one another due to their airiness and color.
In The medieval Art
The elements of the Landscaping Installation were initially presented very sparingly, except for rare samples based on Hellenistic traditions. Since the XIII-XIV centuries, they occupy an increasingly significant place in book miniature, in the XV-XVI centuries, in the works of the Tabriz school and the Herat school, landscape backgrounds evoke the idea of nature as a closed magic garden. Landscape motifs also spread in arts and crafts: hunting scenes, heroes' exploits adorn the carpets and ceramics of Iran. Landscape details in the Middle Ages art of India (starting with Mughal miniatures), Indochina and Indonesia (for example,
An extremely important position is occupied by Landscaping Installationas an independent genre in the painting of Medieval China, where the ever-renewing nature was considered the most vivid embodiment of the world law (Tao); this concept finds direct expression in the Shan-Shui type (“mountains – waters”) Landscape. In the perception of the Chinese Landscape, an essential role was played by poetic inscriptions, symbolic motifs that personified lofty spiritual qualities (mountain pine, bamboo, wild plum, and the like), figures of people staying in a space that seems boundless due to the introduction of vast mountain panoramas into the composition, water surfaces and misty haze. Separate spatial plans in Chinese Landscape are not delineated, and freely flow into one another, obeying the general decorative solution of the picture plane. Among the greatest .
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