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DEVELOPMENT OF ARCHITECIURAl MULTICOLOUR PAINTING.

HISTORICAL ANALYSIS OF COLOUR USED IN ARCHITECTURE

Antique towns of world were from soil, glay and sand builded. Towns from glay had Mussulman, Buddhism and American Indian cultures. Majority of them did not be preserved, but we have their descriptions. They have had gray-ochre and red-brown colour in dependence on colout of local glay and components, that were added. Passive multicolour printing of artificial enviromient was the back ground for bright splash of pure cotour.

In the first towns of Assyria and Babylon dominant in architecture towers-temples were. Known Babylon tower, tower of Navychodonosor in Barsyn were made from glay in the 7 century B.C. Seven its storeys had height 90 meters and reflect colour symbolism, that mean 7 planets of the heavenes sphere. On Fergusson it is the series from black (that is allegory of darkness, night, disintegration and death) through dense warm tintes of orange, red, yellow and green (that is property high forces and purity, the image of good and sanctity). That colouristic idea permit to melt into the sky and to become familiar with the world of good ghosts.

Having discussed the towns builded from soil one could not pass the Central Asia over in silence. The town building copied the imposing living in the clouds cupolas and minarets, what were to be seen from distance of 20 or 25 km. There was designed structufal stereotype of decore. The colour emphasized the most important parts of buildings, increased their role in architectural ensemble. Mosaic from glazed ceramic of dark-blue, light-blue, white, yellow, green and black colours partly did levell the real plasticity, partly create the image of relief. Small decore painting of big planes of walls gives the expressiveness to the architectural ensembles in Samarkand: Registan, Shakhi-Sinda, Bibi-Hanym, Gur-Emir. Multicolour decore express here independence and composition activity of polychromy, removes the sensation of portal weight, gives to them lacy design and vastness.

The glay as a building material durable and longlived is what about the 5 thousands km of Chinese Big Wall testify, that was from glay of different regions builded and took the colour of "soil".

The main theory of colour can be discussed starting in old Chine and India. Here the theory about colour has character of philosophy having the mythological base. The source of old Wisdom "Book of Changes" has 64 hexagrams - compositions of 6 tines of two types: solid and dotted, were considered as the start of painting, that present variety of colour compositions in blue-yellow and black-white ranges of colours, reflect the epic of interaction of the light and the dark, "visualises" the base of inverse. In old Chine to all elements, all seasons, lands, planets and materials their own colours were done. The system of 5 main colours is:

Green (blue)	Spring	Wood	East		Dragon	As outcome of blue and yellow
Red	Summer	Fire	South		Phoenix
White	Autumn	Metal	West	Venus	Tiger	The time of rice herveat, mourning, land of death
Black	Winter	Water	North
Yellow	End of Summer	Earth	Centre		Tortoise

In old Chine the polychromy consists in architecture in form of frescos in Buddhist cave monasteries, later the wall-painting transformes in pannel, inlaid by porcelain pagodas will be outside covered with black and red varnish inlaid by bronze, mother-of-pearl, the tiles will be glazed. The medieval chinese town has symbols of form and colourt, that took place in phylosophy and art. The image of sky were incarnated in round temples of Sky, the image of earth were incarnated in square temples of Earth. The temples of Sky were roofed with blue tiles, and the temples of Earth - with yellow tiles, as the solt of Chine, the red brick Wall of Purple Town was the symbol of perpetuity and force, and gold tiles - the Sun. The special feature of that culture is "cosmic embrace" and boundless world of colour materials.

But with every phenomenon occures its denial - that is the law of dialectics incidentally Chine is the birth-place of dialectic studies. The study Dao blame for polychromy and brilliance - "5 colours blunt the eyesight". Instead the colourful painting came the monochrome painting or the colourless painting with Indian Ink. Instead clearness came indefinitness, obscurity and formless, the dao Itself is not clear, inaccessible, through words not to be expressed.

In towns of old Egypt the stone building is known from 4000 of B.C., rose granite was used from Assuan, oniks with black, white and red layers. But aesthetic opinion of egyptians demand decorative treatment of surface. Stone facing was used for pyramides in Gisa. The pyramides of Heops and Hefren were faced with white stone, and the pyramid of Micerin up to half of its height was faced with black stone. On tradition of "glay period" the natural stone was covered with colour layer. The face of Big Sphinx not accidentally was painted with red pigment, it is the symbol of energy and perpetuity. Holy red colour is the mark of crown of Upper Egypt, symbol of blood, that was shed by Ossyris for Egypt prosperity. Canonization of architectural polychromy of old Egypt is connected with religious symbolic of certain colours of nature in colouristic of Egyptian temples. Palette of colours of Egyptian is not wide: red, ochre, turquoise, green, violet, white and black, but the character of their use is strong canonized:

a) for vertical places, bas-reliefs, faces of sphinx - red (perpetuity, nobleness of red race);

b) for painting of floor - green (symbol of underground kingdom of God Ossyris, perpetuity of Earth and Sky);

c) for painting of ceiling - dark-blue and turquoise (symbol of Sky, kingdom of Goddes Isis);

d) shined white - all-spreaded, divine and unsmouldered.

In times of 12th dynasty in Old Egyptian architecture the ornament was created. Its design consisting from scrolls, rosettes is clear to be read out because its bright colour background, that stress the relief and space of buildings.

Colour symbolic of old Egypt that was assimilated by Двуречьем and countries of Asia Minor was adapted to new form of culture of old Greece. The towns of old Greece were pigmented, natural colour of marble, ivory, wood were considered to be not characteristic for architecture. After lond denlat of greece polychromy at 1832 G.Samper had proved that many temples have had bright colouring by encaustic - waxen dyes, that did not cover up to the crystalline structure of marble, but create the effect of deep luminescence.

In old Greece particularly in times of Elline the town is considered as a unified "artificlal image", the palette of what more rich is as by egyptian. The spatial characteristics of colour are used, its forming properties, the signs of bullding tectonic and inner structute of materlal. The temples of old Phoros from porous limestone and shell rock were plastered by time plaster, then were painted. For it exist certain tectonic principles: main elements (walls, pillars, flights of steps) - in colour of natural material, elements of upper part of building (roof, cornice, plastice of frieze and capitals of pillars) were stressed by bright colours (red, blue. ochre). This had enriched the plasticity of temples and permit to see they from long distances.

In classic Greece the tradition of inlay was continued. Polychromy has arrise as a result of combination of different rocks of stone. The frieze of Erehteion represent the solid tape of darkviolet marble with light relief of warm tint, inlayed with gilded metal and glaze. Parphenon was more polychromatic and besides inlay had encoustic. Pentillii marble of pillars was contrast to encoustic and inlay, gilt. The backgrounds of pediments were red, the триглифы - dark-blue, horizontal elements of cornice had tapes of colour ornament.

Ancient colour aesthetic was connected with classical. philosophy. It is harmony at all and relatively colourit - in particular. The harmony is connection of etements of system. Homer has colled with that word the clamps what by the ships were knocked together. Pavsany has colled by that word the masonry. That's why harmony as connecting origin is the main principle. The second principle the unity of opposites, contrast of the light and the dark, chromatic and achromatic is, the third principle is the adaptation of colour to the possibilities of human perception.

The investigation of Roman antiquity has shown, that romanian had certain preferences:

- gray colour of naturat stone, multicolourness of expensive materials;

- facing with marble, ionic and korynphs as most plastically rich;

- brightness of natural brick was stressed by light colour.

Colour contracts and gloomy magnificence create the impresslon of greandeur that was characteristc to old Roma. Roman architecture - that are strong colours (the tight framework, dark walls or quite the reverse), determination of decorative themes, imitation of expensive materials, the representations that create optical illuslon.

In old Roma the places were decorated with "albums". One of the streets of town Pompea Olphevr represented "albums" - all walls were white washed and ruled for red squares where by black coal the texts of propaganda was written. It was the attempt of industrlal design.

The restraint of colour of gloomy gray town colld the neccessity of light emotional effects. If the sky was under threatening over the Colliseum the golden silk was spreaded, that gave the illusion of sun light.

Romanic architecture concentrates the colour inside the building, the facade are monochromic. The masonry was covered with thin layer of expensive stone materials or with time. Colourustics correaponds to architectonic dividing: by colour are distinguished the cornices, pilasters, decore and blind windows.

Chromatic asceticism of monasterial complexes, castles and churches prevailing over town was emphasized by colourness of residential area.

Gothic art canders the colour as natural attribute of architecture. The monumental cathedrals intended for future generations were made from stable materials and treated dy longelived colourbearers. The vast buildings dominant over town were made from gray and bronw limestones, sandstones of different tints. With time they become dark-gray tint, then become black colour. The roofs were covered with gray slate, colour glazed tiles and more often with copper sheets, that become with time the green colour because oxidation.

That combination of dark-gray and bright-green was contrast to black-white graphic of buildings and to red tiled roofs, creating the mosaic lewer storey of colour fleld of town. On the north of Europe in towns of baltic predominated brick and clinker. Complex plasticity and filigree forms of Gothic temples were mode from profile brick. In brown-red dominants are included elements with white plaster.

Interiors of Gothic temples were illuminated by polychromy of stained-glass windows. Sun light going through multicolour stainedglass windows gave to whole construction the fanciful appearence, arousing the religious feeling of believers.

The Rennesaince architecture has new attitude to colour. It is return to antiquity, confirmation of beauty and harmony of world, its artistic integrity. Colour palette is taken from nature, but taken are not shade, but contrast colours. The architectors of Italy abuse on the opinion of Shuasi, of contrasts of colour materials. Multicolour marble facades, facing with black and white rows of stones, colour dividing of buildings and the large drawing of paving are dominant. In the 16th cent. appear colour stucco moulding, sgraffito. fresco force out the relief ornamentation. Experience of Vatican shows that plastic art neighbours upon the paintings, the relief is bright painted.

Humanization of science and art exploids the medieval asceticisn. The colout in town environment become majority. Richness and mosaic of colours create the surrounding of carnival, testival.

Under the memorials of Russian architecture most interest from point wiew of polychromy Pokrovsky's cathedrale in Moscow is. The modest interior of temple is contrast to the outside appearence. It is designed from brick and white stone covered with quick lime stucco and painted as a "brick" by paint on base of brick. Polychromic cupolas of cathedrale surround the main gold cupola.

Architectural polychromy of baroque take the tintes by nature. The contrast two-colourness where the architectoinc elements are more bright and the background is more intensive is intended for passive perception of masses. The characteristic feature of barocc polychromy is clear colour dividing of duilding and decor are intended for creating of unified work of art. To this synthesis accords the palette of colour.

Monubents of Naryshkin architecture is pure Russian barocc, it ib the synthesis of form using wooden architecture, of plastic patterns, of variety of colours. Characterlatic from that point of view Rastrelli architecture is.

Europian classiciam from 17 cent, tends to rationalism. It don't use the colour for architecture. On the first place the torm was and not the colour. The tendency to white and more pure tones is living.

At beginning of 18 ctnt. the rococo arise aa the response to the rationalism of classicism - here rose and blue tones are most preferable. But they did not appear ln facades. As the base of architecture the monochromy was kept. Separate white bultdings were designed under influence of whiteness of French rococo. In Russian classicism the principles of colour design and its tectonic sense were kept for baroque. But the palette was changed - the colours become bright and warm, the contrasts are not active. The first laws appear that regulate the painting of town buildings. From year 1816 the buildings must be painted gray, ash-coloured and strawcoloured. The roofs must be red or green. This principle denyes the polychromy of nature surrounding and influence of local colour culture.

In the range of straw colours gold and white dominant were. In 19 cent. the principle Peterburg and Moscow ensaebles had concern.

The modern that appear in the end of 19 cent. takes its own tones in the town colouristic. To this time dominant was gray colour as imitation of bullding material. As response the new trends appear that show the beauty of colour. In 19 cent. it were impressionists, in 20 cent. - expressionists.

The range of colours of the modern is minor, straw in compare with classicism. The modern - "ar nuovo" (new atyle) as it was colled was light, unique and dramatic. Resemblance with organic worl and stylization of living (vegetable kingdom) plant life symbolizez the colour in architecture. Exterior become relief. The tendency to complexity and refinement to nuance and halftones take to palette of mould, rotted leaves, wilted rose, salmon, wormwood and banana.

The building become intensive design, the tendency to hyguenic architecture arises and the white colour becomes dominant place. This whiteness (especial doubtful in hospitals, schools) appears up to novadays. The attempts of colour architecture were ignored.

The architects of Holland as the first include the bright local colours in the architecture (the group De Style).

The van Dusburg introduce colour surfaces as element the space determining. In that has reflect influence of neoplastic painting of its frend and teacher Pit Mondrian that take painting elements on base of straight lines, rectangulares and basic colours: yellow, red, blue + black and white to figure painting. This visual structures on base of rectangulares and pure colour planes were included in the architecture of functional style. Architectural method of combination of dominant achromatic structure with separate elements of bright colours is used up to our days.

Le Corbusie' has widened this palette using mysticism founded on interaction of light and colour.

The school "Bauhaus" in Germany and its representers Walter Gropius and Bruno Taut have their own conception of colour of town surrounding. Bruno Taut opposed to dominant in bourgeois housing gray colour (on its mind it is the colour of "milk sauce or peas soup") the bright colours of housing for ordinary people. He works as expressionist and uses the colour for resuscitation of buildings. The polychromy of Taut was the protest against the rationalism and restricted functionality. But the onlookers determine the facades as "blooden symphonie" or "purple madness". The conception of Taut was compromised by vulgar realization.

The existence of totalitar regimes at 30-40 years of 20-th cent, has destruct the polychromy of towns. Dictatorship in italy and Gerbany take to the style of neoclassicism as the result of imitation the old Romanian samples and the "northen style", as the modification of classic style. The town colour was inattractive and depressing. The polychromy as the manifestation of democracy was absent. In 1941 the order appear about colour concealment and protection of towns: "The buildings having light colour when bombing are to be very light to recognized. That's why for the time of war the buildings are not to be painted or plastered with bright colour". The towns become the gray colour.

The gray wave takes in the after-war time the region from Amsterdam up to Jerusalem. The extreme poverty excuse at first the renunciation of colour, but in the economics boom period the gray colour usage is to be determined by the profitableness of materials, particularly, the concrete.

In the 20-th cent. the supergraphic formation is obtiged to two different trends:

1) the rigid geometric trend (Malevich, Taut, Chernikov):

2) the abstract lyrical trend (Gaudi, Kandinsky, Klee).

After 1965 year in the architecture the polychromy shock be comes imminent. It was the reaction on the monotony in architecture. The young make protest and proclaim the freedom of art. Pop, pop-art, op-art and others are commercial. They take new possibilities. The trend to use bright colours is created.

The main characteristics of modern colouristic conception are:

1) Colour - it is not the means for expression of somewhat (idea, thought, emotion). The colour is the idea, thought and emotion themselves.

2) The intention is the cosmic model of labyrinth-prism, where the man is undertaken to action of colour, light, form and music.

3) colour composition is the energy of Adosov (эйдосов) - metaenergy.

4) The creation of matter fertilized by mind (or Sophy) is the process of colour creation - the matter sophisation.

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