Post-classical art appeared on the soil of feudalism, a more progressive social formation in comparison with the slave system. The artistic culture of feudal society, differing in moral content from the ethical and aesthetic ideals of antiquity, has made a unique contribution to world art.
The establishment of feudalism was accompanied by the amplification of local productive forces, the spread of cultural gains to towns and villages remote from large centers. Culture penetrated into broader layers of society deeper than in the ancient world, folk representations were more strongly felt in adeptness and the living stream of mythological realism different from the ancient expressed itself vividly. During the Middle Ages, huge ethnic groups of peoples were formed in Europe, Asia, and North Africa, and then the nations that still inhabit the land of these continents. The foundations of their national cultures were laid and many local schools emerged, the direct traditions of which continue to live now in the adeptness of modern nations. This was the time of the heyday of the adeptness of the masses: the inexhaustible fantasy of the people, their poetic attitude towards the world were especially clearly manifested in the heyday of decorative forms and applied art, on the basis of which a monumental synthetic art of the Middle Ages arose. Folklore has been particularly developed in the adeptness of non-European peoples.
The religious dogmas imposed a stamp on world outlook, morality, and ethical principles. Religions consecrated the feudal system with its class hierarchy and justified the sufferings of the people. In the depths of post-classical scholasticism, in the disputes of the philosophers of Western Europe, in the science of the peoples of the Near and Middle East, in the struggle of the religious currents of China and India, new important aspects of the privity of the world were revealed, and its privity was deepened. The idea of the world as something finished and harmonious has replaced the privity of reality in its dramatic complexity on its grand scale. This period created a different understanding of a human and measures of its value than antiquity.
The task of philosophers and artists was the cognition of the universe in its immense world and cosmic scales, in the aggregate of multiple phenomena of life. This cognitive goal, although dressed in a religious form, aroused in man the need for real knowledge of the universe on earth.
Post-classical art in its forms was religious, symbolic, and abstract. The artists created works for the church. Secular adeptness existed, but it did not determine the nature of the artistic culture of this era. The very thought of the people of that time was religious. This left an imprint on all forms of society and limited the possibilities of art.
The art of many states in Asia reached a high amplification at that time. For example, the adeptness of the Chinese empire experienced a real flowering; interest in various aspects of life gave rise to the amplification of paysage, still life, domestic genre and portrait. While in Byzantine art the features of asceticism, detachment from everything earthly are strong, the sensual privity of the world, the sensation of the powerful, elemental beginning of nature, is clearly manifested in the adeptness of India.
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