The following materials are used in folk arts and crafts: wood, clay, metal, bone, down, wool, fur, textiles, stone, glass, dough.

By technique arts and crafts are divided into the following types.

Thread. Decorating the product by applying a pattern using various cutters and knives. It is used when working with wood, stone, bone.

Painting. The decoration is applied with dyes to the prepared surface (most often wood or metal). Types of p about with p and with and: for wood, for metal, for fabric.

Embroidery performed with needles and threads of different structure and character, while the pattern is applied to the fabric. Types of embroidery: yo mesh, cross-stitch, satin stitch, cutout (the fabric is cut out in the form of a pattern, which is subsequently processed with various seams), typesetting (performed with red, black threads with the addition of golden and blue tones), top-stitching (allows you to create volumetric patterns on large planes) ... Embroidery is carried out mainly by hand, but recently more and more products are being decorated with the help of embroidery machines. For embroidery, not only threads are used, but also beads, bugles, sequins.

Knitting involves the creation of things from yarn, thread, fluff using knitting needles and a crochet hook.

Weaving refers to a technique based on the interweaving of stripes in the form of a net having various configurations and patterns. Types of weaving: lace and beading, weaving from birch bark, from vines, from threads (macrame), from paper.

Headband used for the manufacture of carpets, it is performed with special needles, with the help of which woolen threads are pulled through the base, creating a pattern. Types of heels: high (when the canvas is voluminous, strongly protruding), medium (the height of the protruding threads is about 2 cm), low (the height of the canvas is insignificant - 1 cm and below). Another sign is density. On the basis of this feature, the following types are distinguished: dense heel, rare, mixed.

Casting used in working with precious metals. Under the influence of high temperatures, the metal is brought to a molten state, and then poured into prepared molds.

Chasing. In a heated state, metal is accelerated into a thin sheet, while its elasticity and elasticity are not lost. The shape of the object is created already in a cooled state by means of accelerating hammers, as a result of which products of a convex and concave shape are obtained.

Forging- one of the ways of processing iron. Hammer blows give the heated workpiece the desired shape.

Gilding- a gold-making operation, in which less valuable metals take the form of gold. Types of gilding: cold, on fire, liquid.

Cloth(filigree) (from Lat. wire) is an ornament made of thin gold or silver, smooth or embossed wires, which are rolled into spirals, antennae, lattices and soldered to the object.

Enamel is a special type of glass that is painted in various colors with metal oxides. It is used to decorate metal products, it is a picturesque accompaniment to a gold product. Enameling is a complete or partial coating of a metal surface with a glass mass, followed by firing the product.

Black... A mixture of silver with copper, sulfur and lead, compiled according to certain recipes, is applied to engraved objects made of light metal, and then all this is fired over low heat. Black is a black mass - a special alloy of silver, similar to coal.

Blowing- the technique used when working with glass. Glass, brought to a liquid state, is blown red-hot with the help of special tubes, thereby creating products of any shape.

Molding- one of the most widespread techniques in arts and crafts, thanks to which many toys and ceramics are created.

By appointment: Utensil. Furniture. Fabrics, tapestries, carpets. Tools. Weapon. Clothing and jewelry. Toys. Culinary products.

By functional role:

Practical art is associated with the use of products in the economic, household life of a person for practical use.

Artistic and aesthetic, due to the realization of human aesthetic needs.

Leisure, aimed at meeting the needs of a person (child) for fun and games.

Manufacturing technology:

Automated. Products are made automatically, according to a given program, scheme, patterns (Tula gingerbread, printed scarves, etc.).

Mixed. Both automated and manual labor are used.

Manual. The products are made only by hand, and each product is individual.

Folk crafts. Artistic varnishes... So it is customary to call small elegant papier-mache items with miniature painting (Fedoskino, Palekh, Mstera, Kholui) and lacquered iron trays (Zhostovo, Nizhny Tagil) (see color insert).

Wood carving- artistic woodworking, the most widespread type of folk decorative art. Has spread in many areas. There are several types of thread (Fig. 10).

Painting on wood- artistic processing of wood by applying a pattern with paints, followed by fixing the paint layer. Distributed in different regions, but each of them has its own specifics.

Artistic bone processing... The main centers are Kholmogory, Tobolsk, Chukotka, Sergiev Posad, Abramtsevo, Khotkovo, Dagestan, Magadan, Kamchatka.

Toys. The folk toy, which for a long time served as the subject of children's play, is now a collectible. Toys are divided into clay, wooden, rag and straw toys.

The main means of expressiveness in arts and crafts color, shape, proportion, rhythm, scale, silhouette, symmetry, texture

Rice. 10. Types of thread:

1. Mesh thread. 2. Geometric thread. 3. Three-sided shear thread. 4. Thread of sockets. 5. Contour thread. 6. Carving of leaves. 7. Openwork carving. 8. Volumetric thread

Folk arts and crafts is a complex phenomenon of historical, sociological, ethnographic and national artistic cultures and at the same time the most democratic and accessible to a person from childhood. His mission in the upbringing of an aesthetically developed personality and the development of the future culture of mankind is especially responsible.

As an expression of folk art, a form of preserving and transmitting it to subsequent generations, arts and crafts preserves and transfers the traditions of folk pedagogy, which are aimed at the development of children's decorative creativity.

Control questions

1. Give your definition of folk arts and crafts. Are there any differences in the concepts of "folk arts and crafts", "arts and crafts" and "applied art"? Justify your answer.

2. Describe the concepts of "decor" and "ornament". What value do they have for arts and crafts?

3. By what principle is it more expedient to classify the types of arts and crafts?

4. What are the functions of arts and crafts?

Folk arts and crafts is a complex and multifaceted phenomenon. It includes a variety of directions, types, forms. But all of them are united by a combination of practical feasibility of products with the natural beauty of their external appearance, coming from the surrounding nature (69, p. 263).

Folk arts and crafts is an integral part of culture, actively influences the formation of artistic tastes, enriches professional art and expressive means of industrial aesthetics.

Folk arts and crafts are art that has come to us from the depths of centuries, from the depths of generations, art is predominantly collective, formed in the folk, peasant environment.

Traditions in the field of folk arts and crafts include the most expressive proportions and shapes of objects selected and polished by many generations of masters, their colouristic structure, in the ornament an artistic display of the natural environment, flora and fauna, on the basis of which this ornamental culture was formed and the skills of craftsmanship accumulated over the centuries. processing of various natural materials. From generation to generation, only what is vital, progressive, what is needed by people and is capable of further development was passed on.

In Ancient Russia, the whole life of people was literally permeated with the desire for beauty and harmony with the natural environment, House, hearth, furniture, tools, clothes, utensils, toys - everything that the hands of folk craftsmen touched embodied their love for their native land and innate a sense of beauty, And then ordinary household items became works of art. The beauty of their form was complemented by decorative ornaments in the form of ornamentation, images of people, animals, birds, and plot scenes.

Since ancient times, folk craftsmen used in their work what nature itself gave them - wood, clay, bone, iron, flax, wool. Nature has always served as the main source of inspiration for folk craftsmen. But, embodying the images of nature in their works, the masters never copied it literally. Reality illuminated by popular fantasy sometimes acquired magical, fabulous features, in it reality and fiction seemed inseparable

It is this originality of folk arts and crafts, its unique expressiveness and proportionality that has inspired and continues to inspire professional artists. However, not all of them manage to fully comprehend and rethink all its depth and spiritual potential.

In modern conditions the demand of the people for folk art, for its authenticity and spirituality is growing. But it is possible to find ways to preserve folk art, to its fruitful development, only by understanding its essence, creative and spiritual, its place in modern culture.

Folk arts and crafts are diverse. These are embroidery, ceramics, artistic varnishes, carpet weaving, artistic processing of wood, stone, metal, bone, leather, etc.

Artistic wood processing. The tree is one of the ancient symbols of Russia. In ancient Slavic mythology, the tree of life symbolized the universe. Shady groves and oak groves, mysterious dark thickets and light green lace of forest edges have attracted connoisseurs of beauty since ancient times, awakened creative energy among our people. It is no coincidence that wood is one of the most beloved natural materials among folk craftsmen.

Unique types of artistic woodworking have developed in different parts of Russia. Each of them has its own history and its own unique features.

Abramtsevo-Kudrinskaya carving.

Decorative vase

Bogorodsk products are made of soft wood - linden, alder, aspen. The main tools of folk craftsmen were an ax, a special Bogorodsky knife and a set of round chisels of various sizes. The blade of the Bogorodsky knife ends in a triangular bevel and is sharpened to the sharpness of a razor.

Bogorodskaya carving. I.K. Stulov.

"Tsar Dodon and the Astrologer"

Over the centuries, the so-called swinging techniques of carving have developed. Any product is cut with a knife "at a stroke", immediately clean, quickly, accurately, without any preliminary sketches, prepared in a drawing or clay.

Bogorodsk toys are interesting not only for their carvings, but also for their original design. Most often these are toys with movement. Their traditional hero, the Bogorodsky bear, is a smart and active bear cub performing in company with a man.

Bogorodskaya carving. V.S. Shishkin. Toy "Firefighters"

The traditional type of Russian folk arts and crafts is the production of artistically designed products from birch bark, birch bark.

Even in ancient times, birch bark attracted masters of folk art with its dazzling whiteness. When processed, birch bark retained its natural properties: softness, velvety, flexibility and amazing strength, thanks to which it was used to make vessels for liquids, milk and honey. It is known that in the wooded territory of Russia - the Vologda, Arkhangelsk, Olonets, Vyatka, Vladimir, Nizhny Novgorod provinces, as well as in the Urals and Siberia - in the Perm and Tobolsk provinces since ancient times, crafts have been developing, famous for birch bark products.

These include low wide open vessels - checkmans, box bodies, nabirushki. Wicker products represent a significant part. These include salt shakers, wicker shoes - brods, covers, shoulder bags. The most complex and time-consuming utensils are beetroots, boxes, tuesques.

Tuyesok.

Great Ustyug. Tuyesok. A.E. Markov

Perforated birch bark

Artistic stone processing. The specificity of the material - its hardness, strength, beauty and variety of colors - determines the widespread use of hard stone in the jewelry industry. This is a special area of ​​artistic processing of hard stone, which is now very widespread. Necklaces, pendants, brooches, bracelets, rings, earrings, hairpins - there is a wide range of products made of hard rocks.

Craftsmen working on the creation of jewelry rely on the richest traditions of this art in Russia. Artists strive to reveal the natural beauty of the stone, using an uncut surface, in which shades of color and natural inclusions are especially clearly visible.

In addition to jewelry, a fairly extensive range of products is made from solid stone. These are small decorative vases, jewelry trays, desk utensils for writing instruments, miniature animal sculptures.

Stone carving.

L.N. Puzanov. Vase "Autumn" Stone carving.

T.Ch. Ondar. Goat with goat

Bone carving. Bone is a material that was widely used in ancient times.

Artistic crafts for processing bone developed mainly in the North. The material for artistic processing was the tusks of an elephant, mammoth, walrus tusk. Folk craftsmen were able to identify and use the remarkable properties of the material for artistic products.

Mammoth tusk has a beautiful yellowish tone and texture in the form of a miniature mesh. Due to its hardness, impressive size, beautiful color, it is suitable for creating a variety of artistic products. It can be used to make vases, cups, tabletop decorative sculpture, products with openwork carving.

Walrus tusk is a beautiful white-yellow material.It was used to create miniature sculptures, various products with openwork and relief carvings, as well as for engraving. In addition to these basic types of bone, a simple animal bone - a tarsus, as well as a horn of cattle are used to create art products. Although after bleaching and degreasing simple animal bone becomes white, it does not have the properties, beauty, color, hardness that the fangs of the walrus and mammoth have.

Kholmogory bone carving. Decorative vase "Spring". Walrus bone. Openwork carving

Carved bone.

L.I. Teyutin. "Slaughter of walruses in a rookery"

Carved bone. Table snuffbox

“On Tony”, 1976. A.V. Leontyev

Carved bone.

N. Kililo.

Family of bears

Artistic metal processing has ancient traditions. The emergence in a particular area of ​​centers of artistic metal processing was due to a number of historical, geographical, economic reasons.

Russian rabble. Foot. XVII century Armouries

Pos. Mstera.

A vase-candy bowl.

Copper, filigree, silvering

Folk ceramics. Ceramics are various items made of baked clay. They are created by potters. Wherever there were natural reserves of clay suitable for processing, master potters made bowls, jugs, dishes, flasks and other items of various shapes and decor that were widely used by the people in everyday life.

Skopino ceramics. Jug.

Last quarter of the 19th century

Gzhel ceramics. In Gzhel, the Moscow region, there has long been a production of ceramic products, which was engaged in almost the entire population of local villages.

Already in the 17th century. Gzhel craftsmen were famous for their pottery, and the clays they used were of high quality.

In the middle of the 18th century, Gzhel craftsmen began to produce products using the majolica technique, with painting on raw enamel. They decorated dishes, ferments, jugs with elegant painting in green, yellow, purple tones. They depicted flowers, trees, architecture, whole plot scenes.

The vessels were also decorated with sculpture: conventionally transferred human figures, birds, animals. The sculpture was carried out separately.

Ceramics. A.I. Rozhko.

Kvass on two birds Ceramics. Z.V. Okulova. Teapot set

Lace-making. Russian hand-woven lace has been known in the history of our folk arts and crafts since the end of the 18th century. Hand-made lace arose and developed immediately as a folk craft, without going through the stage of home craft. Western European lace began to penetrate into Russia in the second half of the 17th - early 18th centuries; it served as a decoration for the clothes of nobles and landowners. With the spread of the fashion for lace and lace trimmings, many noblemen set up serf workshops for lace-making. Early laces dating back to the 18th - first half of the 19th centuries were often made from gold and silver threads with pearls added.

Vologda lace

Elets lace

Embroidery- one of the oldest types of applied arts. This art originated in time immemorial and has been passed down from generation to generation. Over the centuries, the traditional circle of patterns, the nature of the colors gradually developed, and numerous techniques for performing embroidery were developed.

Folk embroidery was carried out without a preliminary drawing. The embroiderers knew their patterns by heart, assimilating and memorizing them along with mastering the process of execution itself. The main traditional patterns characteristic of each locality have survived to this day (69, pp. 263-304).

Msterskaya embroidery

Ivanovo embroidery Cross-stitch embroidery

Municipal budgetary educational institution

additional education for children

"Boksitogorsk center of additional education for children"

Methodical development

Gladysheva N.V., teacher of additional education

Pikalevo

Table of contents

Introduction

This manual reveals the history of Russian folk art.

The purpose of this guide:

To acquaint with the history of Russian folk arts and crafts.

To acquaint children with the traditions and attitudes of their ancestors.

Provide an awareness of personal connection with the roots of their land.

Works of decorative and applied art meet several requirements: they have an aesthetic quality; designed for artistic effect; serve for decoration of everyday life and interior. Such works are: clothing, dress and decorative fabrics, carpets, furniture, art glass, porcelain, faience, jewelry and other artistic products. In the scientific literature, since the second half of the 19th century, the classification of the branches of decorative and applied arts by material (metal, ceramics, textiles, wood) or by technique of execution (carving, painting, embroidery, printing, casting, embossing, intarsia, etc.) ... This classification is due to the important role of the constructive and technological principle in arts and crafts and its direct connection with production. The concept of "arts and crafts" is quite broad and multifaceted. This is a unique peasant art, rooted in the thick of centuries; and his modern "followers" - traditional artistic crafts, linked by a common concept - folk art; and classics - monuments of the world decorative art, which are universally recognized and retain the value of a high standard; and modern decorative and applied art in a wide range of its manifestations: from small, chamber forms to large, large-scale ones, from single objects to multidisciplinary ensembles that enter into synthesis with other objects, architectural and spatial environment, and other types of plastic arts.

The study of works of decorative and applied art, their artistic features helps to educate:

respect for things;

respect for the national heritage and national culture;

respect in the creative work of people;

increases the cultural level.

For the formation of the worldview of adolescents, it is especially important to get acquainted with folk, peasant art, which most fully preserves and passes on to new generations national traditions, the forms of aesthetic attitude towards the world developed by the people.

Getting acquainted with folk traditions, children realize a personal connection with the roots of their native land. Folk art has always been primarily domestic art. And to study his techniques, traditions, his peculiar artistic structure, it is imperative to work with things useful and necessary in everyday life.

A cycle of classes on the topic:

"Folk art in arts and crafts"

Classes are developed

educator

additional education

Gladyshevoy N.V.

Carried out

in the "Tatting" association.

Topic: “Folk arts and crafts. Their origins and modern development ”.

Target: Give the concept of crafts, as a special form of existence of folk - decorative and applied art; about ceramics - as one of the most widespread materials of decorative and applied arts, about pottery. Development of creativity, imagination.

Equipment and materials for the lesson:

cards with the names of fishing centers;

albums: "Gzhel", "Khokhloma", "Gorodets";

cards with sl. words;

ceramic tableware;

clay.

During the classes.

Conversation

Why is decorative and applied art called folk art?

Yes, decorative and applied art is folk art by its origin: the people create things, the people find them a form and expression, the people preserve the beauty found in them and pass all their achievements to us as a legacy. In works of decorative and applied art, we see the wisdom of the people, their character, way of life. The soul of the people, their feelings and their ideas about a better life are embedded in them. That is why they have such a huge cognitive value. Archaeologists by things determine the historical era, social relations, natural and social conditions, material and technical capabilities, folk beliefs and traditions, lifestyle, occupations, interests and tastes of people, their attitude to the environment.

According to V. Favorsky: "Perception of the world, knowledge of the laws of aesthetics and education of taste begins in a person ... from glass beads on the mother's neck. From a jug for water. From dishes on the dining table."

When do you think folk arts and crafts were born? Yes, in deep antiquity, but at first it was not perceived as art. It was just that people did the things they needed in everyday life, creating, as we are now saying, a subject environment: the traditional design of the dwelling, a suit, household utensils, tools and military weapons. The entire working people created this objective world, reflecting in it their social and everyday way of life, a peculiar perception of the world, an idea of ​​happiness and beauty, a unique national character.

The art connoisseur V.S.Voronov wrote well about folk art:

“All its formal wealth was created through constant repetition: the slow accumulation of paraphrases, additions, corrections, changes ... and variations led to the creation of a strong, well-worn form. finished form; the accidental, mediocre and far-fetched could not withstand further collective verification, fell away and disappeared. "

Behind every thing - be it a carved spinning wheel or an embroidered towel, a painted spoon or a woven tablecloth - there is the talent, work and unanimity of many people, ideally, of the whole nation! And beauty is also from this source. And of course, from the native nature, from which the master learns tirelessly. And she takes colors, and rhythms, and forms - to recall at least the buckets typical for the Russian North in the form of a floating bird. The master reproduced the picture of the world as he imagined it. Or a bucket - a scoop: looking closely, you can see the head of a swan. Above - a circle and a rhombus decorated with radial notches. And the figurine of a horse crowns the whole product. Not a peasant horse, but a horse - fire. What concepts did the master put into the product? What ancient motives did you use? Why?

(He reproduced the picture of the world as he imagined it. There was a poetic idea among the people that in the daytime a luminary was pulled in a carriage by horses, and at night they were transplanted into a boat, which was drawn along the underground ocean by swans or ducklings.)

Do you know what other symbols used in folk art?

(The sun in the form of a cross, rhombus or rosette; horses and birds; firmly connected with the water element of the mermaid; the Tree of Life, symbolizing the eternal endless growth of earthly fruits; Mother - Cheese Earth in the form of a woman).

Life changed, and folk art also changed, giving way to new traditions. Gradually, the mythological meaning of ancient symbols was forgotten, the connection with agricultural concepts and rituals weakened. At the end of the XIX century. the master often no longer knew what certain images meant, and yet he did not give up on them: he crowned the roof with a ridge, carved solar rosettes on the shutters. Gradually, the ancient symbols acquired an increasingly noticeable decorative character, but something important for people from their original meaning has always been preserved, although it acquired a new look. (Lions on the windowsill boards of the Nizhny Novgorod huts).

On their basis, a new decorative and applied art was created, imbued with a genuine nationality. Today it exists in 2 forms. On the one hand, the traditional art of the village still lives on, associated with the unique way of life of this or that people, the peculiarities of the surrounding nature.

On the other hand, folk arts and crafts are developing, many of which have a rich history. Folk arts and crafts are a special form of folk arts and crafts.

How do fisheries arise?

Craftsmen, living in one locality, being engaged in one type of artistic craft, began to create products not for their own needs, but for the market, began to unite to make it easier to work.

This is how folk crafts arose.

In Russia, after the reform of 1861, many crafts acquire the character of private workshops working for the all-Russian market. They had to compete with large capitalist factories, which hindered the fruitful development of folk art. The technique of the craft became more and more virtuoso, because it was necessary to work quickly and economically. For example, every quick, almost automatic, turn of the brush of the Zhostovo artist gave birth to a petal, or even a whole flower in a bouquet that adorned the tray. The division of labor into ever smaller operations, the desire to simplify and standardize as much as possible the process of manufacturing a product (so cheaper) led to a decrease in the artistic quality of products, the gradual displacement of creativity by handicrafts. The break with the traditional worldview led to a loss of taste - imitation of the worst urban models began. Under these conditions, many crafts fell into decay, others adopted a commercial style that was alien to the popular understanding of beauty, losing their face.

The creativity of folk craftsmen received support in 1919, when the All-Russian Central Executive Committee adopted a resolution "On measures to promote the handicraft industry." In the post-war 40-50 years, much was done to ensure that the original art lived and developed. The declining artistic crafts were revived: Bogorodsk carving (cards with the names of the centers of folk crafts are attached on a magnetic board) and Khokhloma wood painting, Vologda and Yelets lace-weaving, Dymkovo, Gorodets, Sergiev Posad again declared themselves. What folk art these names remind you of! ...

Essentially new art crafts were created, such as Tobolsk carved bone, Rostov enamel, Veliky Ustyug mob, lacquer miniature based on icon painters. With the help of scientists, new types of products were developed, the mechanization of auxiliary, preparatory and other works was carried out (Pavlov Posad). Today folk crafts exist in 2 forms. The first of them can be called free fishing. An interesting example of a craft spontaneously born in Soviet times is the art of s. Polkhov - Maidan in the Gorky region (Nizhny Novgorod), where for several decades they have been making chiseled and painted with bright colors "tararushki", as the masters themselves call them. These are nesting dolls, supplies, salt shakers, fungi - piggy banks, children's toys, etc. In winter, literally the whole village and the neighboring village of Krutets turn into a huge workshop. Traditions are passed "from hand to hand" here, from father - turner to son, from mother - dyer to daughters.

Another form is organized folk arts and crafts, which include most of our world-famous foci of folk art. For example, the Zhostovo factory of decorative painting, the Vologda lace association "Snezhinka", two Khokhloma enterprises, the production association "Gzhel", lacquer miniature centers ... These are reputable enterprises where the mechanization of auxiliary work has been carried out, there are vocational schools that train young talented craftsmen.

Products of traditional folk arts and crafts are our national pride, they are widely known abroad, and are in demand in our country.

The main condition for the further flourishing of old art crafts and the emergence of new ones is massive folk art in the villages.

In the very distant past, when the fire went out in the cave and our ancestors, who had recovered the fire, began to set fire to dry herbs and twigs in another place, they accidentally noticed that the ground on the former fire pit became hard as stone, and the lumps of earth left on the charred rhizomes too hardened and turned into pebbles. This is how the property of clay became known to harden in fire, to turn into a stone-like material. Then the man began to sculpt from clay and burn the simplest vessels. This is exactly how historians and art historians explain the appearance of the first artificial material - ceramics (on the board is written "Ceramics"), which in our time is the most widespread material of decorative and applied art.

"Ceramics", ceramics from the Greek word "keramos" - clay originated the name of the suburb of Athens, where potters lived, with the same word they began to call all products made of baked clay.

These are products made of any clays and clay-like materials, fired to complete sintering of shards (at a temperature of more than 1000 °).

Ceramic products made of colored clay, covered on top with opaque colored glassy glaze, enamel, are called majolica. The word "majolica" (card display) comes from the name of the Spanish island of Mallorca, where one of the ancient majolica industries was started.

All facing ceramics covered with enamels belong to majolica. Such facing ceramic tiles are called tiles (showing a card with a word). Tiles have been used since the X - XII centuries. v. in Kievan Rus. In the 16th century, stoves in the royal chambers and boyar chambers were faced with "red" tiles (made of red clay). Then, the modest "red" ones were replaced by relief tiles covered with green glaze, the so-called "antised" tiles.

The heyday of Russian tiles is half of the 17th century, when glaze of 5 colors appeared - yellow, white, blue, green, brown. Of these, various fruits, birds, lions, horsemen, etc. were depicted.

Near Moscow, in the monastery, a workshop appeared under the guidance of Pyotr Ivanovich Zaborsky, a Belarusian master, "of all sorts of handicraft tricks of a fair prospector." They began to produce columns, cornices, window frames, door portals. Then they started working at the Armory. (Master St. Ivanov, nicknamed Polubes, distinguished himself).

In the XVIII century. the tiles were used only for interior decoration of the house - elegant stoves with columns. These tiles are smooth, without relief, with painting. Until the middle of the 19th century, numerous factories produced painted tiles, but then, with the advent of steam and water heating in cities, the stove became unnecessary, the production of tiles gradually ceased.

In modern construction, facing ceramics are still widely used.

Pottery is also called pottery.

The first earthenware bowls, dishes, and jugs were crude and primitive. Gradually, their form becomes more complicated, becomes graceful, and a simple pottery craft turns into art.

With the advent of the hand and then the foot potter's wheel, clay can be given any desired shape.

What do you think is the most important moment in the process of making dishes?

Burning. They used to be burned in ordinary bonfires. Then pottery kilns appeared. The modern pottery kiln was invented in the 19th century.

Black, so-called stained products are interesting. They were burned on a smoky flame, which made them black. And before firing they were polished. Black-polished kumgans, tall jugs with a long, thin, curved spout, were particularly refined.

Did you also make etched dishes, that is, what kind? - covered with glaze, but not only green, like tiles, but also brown, yellow

Almost everywhere, where there were deposits of clay, they were engaged in pottery. Potters from Skopin, Ryazan Region, are famous for their large figured vessels covered with green, yellow and brown glaze. Images of fabulous and real birds and animals adorn this unusual ceramics.

(An illustration from the book "Folk Art" is shown)

Clay molding of your choice(from plasticine).

Demonstrates the stages of work on the utensils.

Independent work.

Lesson summary.

What new words and concepts did you remember?

What is ceramics? Majolica? Tile?

Literature:

B. Nosik "Folk Art";

Kosterin "Educational drawing";

A. Rogov "Pantry of Joy".

Topic: "The Art of Lace Making"

Target: tell about the history of Russian lace weaving, about modern lace crafts.

Tasks:

To develop the creative abilities of children, to arouse interest in artistic work.

Equipment and materials:

crocheted lace sketches;

samples of "cutwork", Vologda lace;

cards with the names of lace-making centers.

During the classes.

Children enter the study, where an exhibition of lace products is taking place.

The lesson begins with a conversation.

Real lace appeared at the beginning of the 15th century in Venice, during the great Renaissance. These laces, later called guipure, cost fabulous money.

In the 16th century, something began that none of the applied arts can boast. From Italy to Europe like a great lace plague rolled. They were worn in the form of collars and cuffs, dresses and capes were sewn from them, they were used to decorate men's camisoles and vestments of priests, they framed hats, boots, gloves and all kinds of linen, they were upholstered in furniture, Karelians, even the walls of living rooms and bedrooms, and warriors made over them, over the steel armor, lush sling. For almost 3 centuries, a more or less wealthy European did not even imagine how one could live without lace. They were considered the same primary, the same natural necessity, like food, shoes or air.

They went crazy over lace, they went broke on lace, lace issues were discussed by kings, cardinals, ministers. Lace, as they say, even saved Flanders from poverty.

Russian lace was first mentioned in the Ipatiev Chronicle under 1252, and they were called golden there. In historical documents, descriptions of lace are found with the following epithets: forged, braided, embroidered, spun, dragged, cast, planted with pearls ... This is so much, which means there were ways to make them.

In the old days, we called lace-making as "feminine conception", and the lace-makers themselves were called "whips."

Another feature of Russian lace: up to the present century, it was divided into borrowed - for the nobility, and its own, folk, no less widespread.

In Vologda, at the beginning of the last century, it never occurred to anyone that their city would soon become incredibly famous for its lace. Here many tens of thousands of people will be engaged in it.

This ancient handicraft was common in many places, but here the pattern was made especially smooth, melodious. That is, already in the hoary antiquity, they went in ornament from both the traditional Russian pattern and from their northern songs.

Once the Vologda bourgeois woman Anfiya Bryantseva took and weaved white braid on bobbins (show), made the background with stars - snowflakes - it turned out to be unusually beautiful and unlike any other.

With someone's light hand, this style was called Vologda, and the ribbon itself -

VILYUSHKOY.

And the mother and daughter decided to weave women's collars with long ends. This fashion took root, numerous orders were sent. And here are some curious figures: by 1880 in the Vologda region there were 1,100 lacemakers working for sale, and by 1912 there were already 9,000 craftswomen, the craft had grown more than 30 times in 30 years. And the Bryantsevs were one of the important reasons for this. The fashion for lace in Russia grew like a snowball, and they were woven from the finest linen threads.

In the first half of the 19th century, lace factories appeared with skilled craftswomen from serfs, their centers of lace-making: Vologda, Yelets, Mikhailov, Balakhna, Vyatka, Arzamas, Kalyazin, Torzhok.

In Mikhailov, narrow dense lace was woven and weaved from bright colored threads, red predominated in them.

In Yelets, a geometric pattern is also most often found, more embossed and denser. The edge of the Yelets lace ends with soft oval teeth, between the border and the background there is a light lattice. (Fig. 1)

Vologda laces were of 2 types: coupling laces without lattices, later the pattern was woven against the background of beautiful openwork lattices, colored silk threads of restrained tones were introduced. (fig. 2)

In Balakhna, Nizhny Novgorod region, black and cream lace was woven in the Western manner. The lace had a tulle background and a dense pattern.

(Display of illustrations) The largest lace center these days is the Snezhinka lace association on the outskirts of Vologda.

If in Mikhailovo the number of craftswomen is about 200, then in Snezhinka, taking into account the homeworkers, there are more than 8 thousand of them. There is also a lace making school in Vologda.

(Photographs from the book "Vologda" are shown).

Children read poems by P. Sinyavsky.

Vologda is overwhelmed

White snows.

Blizzard lays lace

Right under your feet.

Sparks scatter

Nordic paints

Snow patterns

Lacy fairy tales.

Girls are beauties

They took it, looked

Century intertwined

Sonorous blizzards

And the girls paint

White pictures.

Lace weaves

Thinner than a cobweb.

Here's some more lessons -

Girlfriends are groaning, -

Lace will turn out

Better than a blizzard.

In the cold - cold

Hoarfrost is silvery

In the city in Vologda

Miracle - lace makers.

All lacemakers have an incomprehensible grace and harmony. But they all have a variety of lines and details.

Listen only to the names of some lace patterns, think about it!

Peacock; Oak Leaf; Ships; Flow, river; Drums; Fillet money; Bast shoes; Brooches - crumpets - cities. Twirling edge - roses, cleavers, lamb horns. Spiders. Pancakes. Crow's eyes, chicken legs, cucumbers, pea after pea. Donuts, mushrooms, hazel grouse, pine forest, harsh wheels, loose. Cuttings. Narrow narrows.

All the magic of patterns in plastics and rhythms - how can you describe their beauty. The lace is a must see. You have to look at them!

Despite the artistic features and distances, there is no difference between lace crafts. Everywhere there are round tight pillows, hung with whooping coughs. Everywhere the floor is knocked out under the tragus. All lacemakers have mutilated, broken nails on thumbs and forefingers - pins have to be pulled out and inserted in hundreds every day. Bobbins are tapping continuously and evenly everywhere. In general, this work is monotonous. Although the ringing of bobbins is like a sparrow hubbub, when it sounds, for an hour, a day, months and years in a row, although lacemakers listen to music and love to sing. They argue that without a song, real lace cannot be weaved, that men would not have endured this work ...

Each lace-maker turns into an artist and lives in that indescribably happy state when she turns out unspeakable beauty from ordinary threads. She makes people a holiday. An eternal holiday. And he will do it tomorrow. And all my life!

Practical work.

Make up a drawing of lace or lace product. It can be black (watercolor, paste, ink) on white. You can use a white pattern on a colored background (gouache, brush).

Summing up the lesson.

Topic: "Gorodets painting"

Target: Briefly tell about the history of origin, about the development of the craft, about the compositional and color features of Gorodets painting. To teach how to make ornaments for painting household items (cutting boards, dishes) based on Gorodets motives.

Equipment, materials and literature:

Folder - a clamshell with elements of Gorodets painting and its stages;

Works by students from previous years;

Vocabulary cards;

Card with the name of the center of the Gorodets trade;

A. Baradulin "Fundamentals of Artistic Crafts";

X. Makhmutova "Painting on wood".

During the classes.

Children read prepared poems "Gorodetsky painted cart", XIX century.

Three black and strong knights,

Painted and wooden!

Gorodets master over her

He was smart, working tirelessly.

And the drivers, - look closely, - are standing

Lofty, slender maidens:

Both straight and stern, they look

On the road, on the forest, on crops.

The small carriage is surprising.

Not a cart, this will be a dream

He is decorated with flowers, tall,

And a bird is painted on it.

Three goddesses of virgin earth

And water and great sky

The chariot depicts

The promise of wealth and bread.

So they go by carriage,

On a divine chariot:

Horses - animals run light,

And a dark blue bird soars.

This poem was written by a professor at Moscow State University, doctor of art history, a prominent specialist in the field of decorative and applied arts Viktor Mikhailovich Vasilenko. He was touched, fascinated by this unpretentious Gorodets toy. (The picture is shown).

Are the folk craftsmen of Gorodets famous only for funny toys? What did they do before and now? What feature, what color richness is the Gorodets painting distinguished by? You will find out about this today.

Teacher's story:

Kurtsevo, Koskovo, Repino, Savino, Okhlebaikha - these villages stretch along the winding and tearless Uzola 15 - 20 km above Gorodets. The places are very beautiful. The right bank is high, ravine, and all the villages are on it. Near the villages there are birches and pine forests. The huts in the villages are okay, high, with large windows, richly carved, and cheerfully painted.

But now we are not talking about that.

Rooks, kerbases, uchans, booths, barks, belyany, barges, mokshans - this was the name of the ships that once ran along the Volga under multi-colored sails. And almost half of them from time immemorial were built here, near Gorodets. Moreover, the ships were special, the most beautiful in Russia, because the craftsmen of Gorodets had it: even the shallow-water pause and that, from bow to stern, were covered with deep rich carving. Sometimes they painted it later, sometimes they left it clean. These shipbuilders have laid the foundation for the Gorodets craft since the century.

Here, since the middle of the last century, the only inlaid carved spinning ends have been made. The district was famous for one more craft, or rather, it was especially famous, since they "hunted" here in almost every village. And the things were done everywhere, too, excellent: gingerbread boards, wooden toys, sleighs, arches, balalaikas, as well as pottery and lace. Even old books were illustrated here and manually copied for the Old Believers.

The Melnikov brothers from Okhlebaikha in the middle of the last century combined carving with real painting.

They began to place on the ends of the spinning wheels not conventionally - symbolic pictures, as before, but rather life-like genre scenes: hunters, taming horses, visiting brides. The figures were marked with a carved outline, each of them was also painted, sometimes in several colors, but with small ornaments. The background was usually taken in bright yellow, and on it there was a little red, brown, and even ringing blue specks of birds, flowers, ladies' umbrellas. They worked with only four colors, and achieved amazing decorative effect and harmony: the bottoms of the spinning wheels seemed to be overflowing, shining with sunlight.

The younger brother, Anton, then completely left the carving, and only painted the bottoms of the spinning wheels. And how he painted! Scenes of solemn tea parties, dates, walks, completely new horses, brightly colored birds appeared. A framing of pictures appeared with holly branches and large flowers, similar to roses, among which there were quite unusual ones - black.

Painting is much more profitable, it is done faster, and gradually it replaced the carving. Between the windows with pictures on each bottom, there appeared the so-called lattices - middle ones, a strip of a pattern of roses and kupavka. But they did not resemble roses. These were flowers with bright lively cores - circles.

Kupavka - a derivative of kupava, (Kupala is according to Dal) look like this: a round bud sits on a wide cup with oval petals, and on it is a ball in white elastic stripes - revives; a spring-loaded flower was about to burst, open. And the flowers are sometimes scarlet, sometimes yellow, sometimes blue, sometimes even black. And around the flowers are green fan leaves - a fern (show of illustrations). There are no living black flowers, but Gorodets painting is in many respects conditional, as is conditionally all folk art, everything here rests, first of all, on color, on its decorative relations.

The master did not make any preliminary sketches in pencil. I just took a brush, hooked it with tempera paint from a chebelashka (these are such cups) and in one stroke marked the neck, in the other - the body of the horse. Likewise - a bird.

Black spots scatter everything on the board, then red, green. So far, there are no couplings between them, each spot lies separately, the overall picture is only in the head of the master. Imagine what flair, what kind of experience and hand you had to have in order not to get lost.

When the large planes dried out, all sorts of details and connecting elements were brought in. Then all the elements were modeled and developed with the tip of a brush: the petals were highlighted with sickles. The veneers were laid over the main tone, last but not least, with white paint (strokes, dots, etc.)

On the eve of the revolution, three artists determined the main directions of Gorodets painting. (fig. 3)

Brightly lyrical - Ignatiy Andreevich Mazin.

Narrative - philosophical - Fyodor Semenovich Krasnoyarov.

Formally coldish - Ignatiy Klementyevich Lebedev.

All the other masters - Vasily Lebedev, Alexander Sundukov, Yegor Kryukov, Gavrila Polyakov - followed.

Vasily Lebedev loved the fairy tale about Ivan Tsarevich and Elena the Beautiful, he often portrayed them; the best roses were painted by Alexander Sundukov, Gavrila Polyakov - many-figured military battles. Ignatius Mazin, in his youth, could depict anything he wanted, each picture - a scene in life - carried some kind of new mood, new thoughts, and all life had its own colors. And only rare units could reproduce the secret of these flowers, even among artists. Ignatius Mazin was gifted with this skill to the highest degree.

Ignatiy Lebedev was engaged in upholstery, painting, varnishing of outbound sleds, tarantasses and cabins, read a lot, perfectly retelling "Ruslan and Lyudmila", an epic about Ilya Muromets, remembered a lot of poems, renovated icons.

Fyodor Krasnoyarov built the compositions as iso-stories, no proportion and perspective, he will build everything up in colorful multicolor. In 1937, all three Masters, together with masters of other Russian crafts, designed an exhibition of folk art in six halls at the Tretyakov Gallery.

Nowadays, Gorodets craftsmen, preserving the traditional forms of Gorodets painting, create new types of compositions and motifs that decorate children's tables, chairs, chest stools, rocking horses, decorative panels in the form of rectangular plates and round plates

Paintings are made with glue paints. First, a colored background (often yellow) is prepared, the main figures, bouquets, garlands, wreaths are applied on it in the form of large color spots, beautifully coordinated in tone and color, boldly applying bright red, pink, blue, blue and green, even lilac and violet colors and their unexpected sonorous combinations. The work is done in this order. Sonorous colors, harmonious combinations, lush bouquets, fabulous birds - everything vividly expresses the beauty of nature and the joy of life. (demonstration of finished products). Pay attention to these complex compositions, made according to the traditions of the Gorodets masters.

Today we also have to perform a composition based on Gorodets motives for painting a cutting board or dish. First, practice your brush on a separate page of the album (halfway). Then proceed to the main work.

Practical work.

Summing up. Mini exhibition.

Topic: "Folk festive clothing"

Target: Acquaintance with folk festive clothes as a means of expressing their ideas about the structure of the world by our ancestors; as a source for the creation of modern clothing models; improvisation based on ancient festive clothes, implementation of projects for festive costumes with ornaments (creation of a modern model based on antiquity).

Equipment and materials: colored paper, cloth, scissors, glue, gouache, felt-tip pens.

Conversation

Clothing has passed a long historical path in its development.

What influenced the formation of the Russian folk costume?

(The formation of the composition, cut, decor was influenced by the geographical environment, climatic conditions, features of cultural traditions, the nature of customs, historical and social processes).

Russian folk costume is, first of all, a monument of folk art, an element of material culture, decorative creativity of the people.

Why?

(The best in the traditions of tailoring, jewelry, passed down from generation to generation. Russian clothing in the past had a high artistic value, was worked by the hands of craftsmen, was richly decorated with a special meaning, carried ancient artistic traditions).

Today you will learn about the main elements of a folk costume, about their semantic meaning, about the decoration of costume elements, you will carry out practical work on modeling a Russian folk costume.

What was he like, Russian folk costume?

Everyday clothes were simple and modest, while festive and ceremonial clothes were rich and well-dressed.

For many centuries, the keepers of national traditions in costume were primarily the villagers, farmers, because the nobility, merchants, townspeople were forced to dress in European costume by the decree of Peter I.

Women's clothes are striking in their original beauty and an abundance of options, in each province they dressed in their own way. Scientists distinguish 2 complexes: North Russian and South Russian. But for all estates and classes, for all provinces, both for men and for women, the basis of the costume was a shirt. According to custom, village boys and girls back in the 19th century. in some places, until the wedding, they wore only shirts, intercepted by a belt. Our ancestors wore a shirt from time immemorial, and many beliefs are associated with it. For example, you couldn't sell your shirt, otherwise you would sell your happiness at the same time. Therefore, people who were ready to give the last shirt to the needy were appreciated.

In the old days, a shirt was sewn from a single piece of linen from the collar to the hem, hence the name of the rogue, but then such a shirt remains only as a wedding or funeral. Later, they began to wear a shirt of 2 parts, the upper one - sleeves and the lower one - the waist.

Preparing an elegant shirt, the needlewomen showed everything they were capable of. Sleeves, shoulders, collars were embroidered with red threads, and the hem was often decorated. In special shirts, which were worn with a belt for mowing or harvesting, the entire hem was almost completely covered with an embroidered or woven pattern. What was the meaning of embroidery? What could they portray? Why?

(The idea of ​​\ u200b \ u200bthe structure of the world; rhombus, meander, squares with dots, and a strip of earth, and a cross of fire, and a hooked cross are thoughts about Life and the Good).

(Shown are illustrations from the book "Folk Costume")

There was an elegant mourning-lady - a shirt, or mahawka, with very long and long sleeves, in which the bride said goodbye to her parents on her wedding day, waving her sleeves, lamenting ...

The North Russian women's set includes a shirt and a sundress.

(The word "sundress" was first encountered in Russia in the XIV century in relation to men's clothing).

Sundresses were sewn from different fabrics, different cut, and they were called differently: clinic, sukman, shtofnik, dolnik, lyamoshnik, blow up, muscovite, etc.)

An apron was worn over the sundress, an essential element of the costume. Their names are different: binges, an apron, an apron.

On the sundress and apron, they put on a warmth, gathered in folds on the back. She also has different names: with sleeves - epanechka, on the straps - short, short, feather.

In autumn and winter, swing shugai (like a jacket) with fur trim were worn on top.

The South Russian costume is noticeably different - it is brighter and more colorful. On top of the shirt, three sewn panels are put on ponev with a cord threaded at the top - a gashnik (gasnik). They are wrapped around the hips and strengthened at the waist, the floors do not converge, a shirt is visible in the gap, which was pulled up to the knees, and a large slouch formed at the belt.

It is impossible to imagine Russian folk costume without a belt. The belt, like the cross, was given at baptism; walking without it was considered indecent, especially praying to God. You couldn't sleep without him either. To unbuckle a person meant dishonoring him. The belts were woven, woven, with a special ornament, sometimes with an inscription. The belt was tied under the chest or under the belly. If the sundress was made of expensive fabrics, the belt was tied under it on the shirt.

He carried a great semantic load (the role of a talisman).

A variety of cords are known: woven, knitted, braided. Wide ones - for outerwear, narrower - for the maid, festive and everyday.

Finally, the headdress, without which the Russian folk costume is unthinkable

lim. According to ancient custom, a married woman did not appear in public as a simple-haired woman - this was considered a great sin. Girls did not have to cover their hair. Hence the difference in attire: for a married woman, it is a deaf cap, (Fig. 4) for a girl, a dressing, (Fig. 5) which leaves the top of her head uncovered. The girls' headbands had a rectangular shape and were attached to the head with ribbons and ribbons. There were girls' attire in the form of a crown or a hoop. During the wedding ceremony, the bride was put on koruna - a tight rim with a braid and an openwork wreath. The basis of all varieties of South Russian hats was a kichka - a hard forehead part worn directly on the head, usually it had the so-called horns (horned kichka). A magpie embroidered with gold and beads was put on over the kichka, the back of the head was covered with a straight strip of fabric - a back of the head. Around these three elements, a complex multilayer headdress was created. Sometimes it included up to 12 pieces and weighed up to 7 kg. Decorated with down, feathers, ribbons, sparkles, buttons. Women's headdresses of the northern provinces, which had the general name kokoshnik, differed from the southern ones. They were often decorated with mother-of-pearl and river pearls, white beads, foil, and bugles. The forms were varied. The "duckweed" headdress covered only a bunch of hair, but its pearl or beaded lower and podzatylen - the rest of the head. Kokoshnik (from the old "kokosh" - chicken) has the shape of a cap, with blades covering the ears.

Unusual decorations in the form of cones have a kika (display of illustrations).

Shamshura (samshura) had the shape of a cap with a rounded hard bottom and was worn in most northern provinces with richly embroidered scarves.

By the end of the 19th and the beginning of the 20th centuries, kokoshniks and shamshurs were replaced by simpler war articles and collections.

Various adornments played an important role in girls' and women's costumes: earrings, gaitans, dorsal and belt pendants, breast "tongues" and "breasts".

For the north of Russia, necklaces such as a collar or collar, cut from pearls, white beads, are characteristic.

The girls had a variety of braids woven into their braids.

Thus, dressed in her festive multi-layered outfit, the Russian woman represented the image of the whole universe, as people imagined her then. She looked dignified, personable, solemn.

Men's clothing was more of the same type throughout Russia and was not as colorful as women's.

The composition of a man's suit included a shirt, ports (trousers), a belt, shoes, and a headdress. The shirt was more often with an oblique cut of the collar and a gusset. Men's trousers - ports - chambaras were sewn from striped fabric or printed cloth, from white homespun cloth or from homemade cloth. Very rarely they were decorated (showing of illustrations).

The headdresses of Russian peasants are extremely diverse, but the main

There were two types of felted hats made of white, gray or brown wool - with a crown and small brims and caps of felt boots without brims.

Wedding hats were richly decorated (illustration show).

Soon the hats were replaced by leather and cloth caps.

Outerwear was uniform for both men and women. In the spring - autumn period, the most common were caftans, zipuns, armies, azams, suites, various in cut, but all with a deep smell or a fastener on the left side. In winter, sheepskin coats, sheepskin coats, sheepskin coats were used as outerwear.

Any peasant costume must be complemented by shoes, wicker or leather. Just like outerwear, shoes were almost the same for men and women and differed only in size and decoration.

Of the bast shoes, elm sandals were considered festive, which, after steaming, acquired a red color. Bast shoes were worn over onuch (strips of fabric wrapped around the leg), usually white. Onuchi were fixed on the leg with white or black ropes - up to 4 m long. Leather footwear was widely used: boots, ankle boots, shoes and

female cats with red trim on high heels - something like shoes, but more spacious, because they were worn on knitted thick stockings, monochromatic, striped or patterned (with a slip - a pattern on the top). Men also wore the same stockings. In winter, rolled or felted shoes were worn. Beauty and utility have never diverged from meaning in folk art. And on shirts, and on sarafans, and on ponevs, and on aprons, women were depicted with upraised hands, the non-flowering Tree of Life, sun rhombuses with crosses, stripes, meanders, crosses. They expressed the idea of ​​the fertility of the mother - the earth, so close to the soul of the farmer; the idea of ​​goodness, prosperity. Beaded bottom, ribbons resemble trickles of rain. The names of the headdresses - magpie, rooster, kokoshnik (kokosh) remind of birds. The whole layered suit is the idea of ​​the universe.

The Russian peasant was often illiterate. He did not separate himself from nature, from history, spiritual experience and from the most ancient agricultural culture - all this was reflected in the costume.

Unfortunately, today we can see folk costumes in museums, at exhibitions, at folklore festivals, on reproductions. He passed away from life in the same way as many beautiful traditions. But we must remember, at least have an idea of ​​antiquity. We must know the history of our ancestors, respect their cultural traditions, for, as A.S. Pushkin said.

"Respect for the past is the line separating civilization from savagery."

It is gratifying that in some regions of the country there are complexes of folk clothes, which are carefully stored and put on for weddings and festive festivities.

Fashion designers often turn to folk costumes, creating samples of modern clothes.

2... Practical work.

Let's imagine ourselves as fashion designers. We will work in groups. Each group gets their doll made of cardboard, you have colored paper. One group "dresses" in the North Russian style, the second group - in the South Russian style, the third - in a man's suit, the rest of the groups make up a sketch of a modern model associated with antiquity.

3. Summing up.

Literature:

Album "Russian folk costume";

A. Lebedev "Russian folk costume";

V. Konov. "Outfit of a Russian peasant woman"

APPLICATION

Rice. 1 (Elets lace)

Fig. 2 (Vologda lace)

Fig. 3 (Gorodets painting)

Fig. 4 (married peasant woman)

Fig. 5 (peasant girl)

Decorative and applied arts (DPI) - the art of making household items that have artistic and aesthetic qualities and are intended not only for practical use, but also for decorating homes, architectural structures, parks, etc.

The whole life of primitive tribes and civilizations was associated with paganism. People worshiped various deities, objects - grass, sun, bird, tree. In order to "appease" some gods and "drive away" evil spirits, the most ancient man, when building a house, necessarily supplemented it with "amulets" - relief, window frames, animals and geometric signs that have symbolic and symbolic meaning. Clothes necessarily protected the owner from evil spirits with a strip of ornament on the sleeves, hem and collar, and all the dishes also had a ritual ornament.

But since ancient times, it has been characteristic of a person to strive for beauty in the objective world around him, so the images began to acquire an increasingly aesthetic appearance. Gradually losing their original meaning, they began to decorate the thing more than to carry some kind of magical information. Embroidered patterns were applied to fabrics, ceramics were decorated with ornaments and images, first squeezed out and scratched, then applied with clay of a different color. Later, colored glazes and enamels were used for this purpose. Metal items were cast in figured forms, covered with embossing and notching.

Arts and crafts include and artistically made furniture, dishes, clothes, carpets, embroidery, jewelry, toys and other items, as well as ornamental paintings and sculptural and decorative finishing of interiors and facades of buildings, facing ceramics, stained-glass windows, etc. Intermediate forms between DPI and easel art are very common - panels, tapestries, plafonds, decorative statues, etc. - which form part of the architectural whole, complement it, but can also be considered separately, as independent works of art. Sometimes in a vase or other object, it is not functionality that comes first, but beauty.

The development of applied arts was influenced by the living conditions of each nation, the natural and climatic conditions of its habitation. DPI is one of the oldest forms of art. Over the course of many centuries, it has developed in the folk environment in the form of folk art crafts.

Embroidery. It takes its origins in ancient times, when bone and then bronze needles were used. Embroidered on linen, cotton, woolen clothes. In China and Japan they embroidered with colored silks, in India, Iran, Turkey - with gold. They embroidered ornaments, flowers, animals. Even within one country, there were completely different types of embroidery, depending on the area and the nationality living there, such as embroidery with red thread, colored embroidery, cross-stitch, satin stitch, etc. Motives and color often depended on the purpose of the item, festive or everyday.

Application. Multi-colored pieces of fabric, paper, leather, fur, straw are sewn or glued onto material of a different color or dressing. Application in folk art, especially of the peoples of the North, is extremely interesting. Applique decorates panels, tapestries, curtains. Often the application is done simply as an independent work.

Stained glass. This is a narrative decorative composition made of colored glass or other material that allows light to pass through. In a classic stained glass window, individual pieces of colored glass were interconnected by gaskets made of the softest material - lead. Such are the stained glass windows of many cathedrals and temples in Europe and Russia. The technique of painting on colorless or colored glass with silicate paints was also used, which were then fixed with light firing. In the 20th century. they began to make stained-glass windows from transparent plastics.

Modern stained glass is used not only in churches, but also in residential premises, theaters, hotels, shops, subways, etc.

Painting. Compositions made with paints on the surface of fabrics, wood, ceramic, metal and other products. Murals are subject and ornamental. They are widely used in folk art and serve as decoration for souvenirs or household items.

Ceramics. Products and materials made from clay and various mixtures with it. The name comes from the area in Greece, which was the center of pottery production from ancient times, i.e. for the manufacture of pottery and utensils. Facing tiles, often covered with paintings, are also called ceramics. The main types of ceramics are clay, terracotta, majolica, faience, porcelain, stone mass.

Lace... Openwork products from threads. According to the technique of execution, they are subdivided into manual (braided on chiseled sticks - bobbins, sewn with a needle, crocheted or knitted) and machine.

Weaving from birch bark, straw, vine, bast, leather, thread, etc. one of the oldest types of arts and crafts (known since the Neolithic). Basically, wickerwork was used to make dishes, furniture, bodies, toys, boxes.

Thread. A method of artistic processing of materials, in which sculptural figures are carved with a special cutting tool or an image is made on a smooth surface. In Russia, woodcarving was the most widespread. She covered the platbands of houses, furniture, tools. There is a carved sculpture made of bone, stone, plaster, and others. Many carved items relate to jewelry (stones, gold, bronze, copper, etc.) and weapons (wood, stone, metals).

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17 most beautiful types of folk art in Russia.

Handicrafts are exactly what makes our culture rich and unique. Painted objects, toys and fabric products are taken with them by foreign tourists in memory of our country.

Almost every corner of Russia has its own kind of needlework, and in this article we have collected the brightest and most famous of them.

Dymkovo toy

The Dymkovo toy is a symbol of the Kirov region, emphasizing its rich and ancient history. It is molded from clay, then dries up and fired in an oven. After that, it is painted by hand, each time creating a unique copy. There can be no two identical toys.

Zhostovo painting

At the beginning of the 19th century, the Vishnyakov brothers lived in one of the villages near Moscow of the former Trinity Volost (now the Mytishchi district), and they were engaged in painting lacquered metal trays, sugar bowls, pallets, papier-mache boxes, cigarette cases, tea-boxes, albums and other things. Since then, art painting in the Zhostovo style began to gain popularity and attract attention at numerous exhibitions in our country and abroad.

Khokhloma

Khokhloma is one of the most beautiful Russian crafts, which originated in the 17th century near Nizhny Novgorod. This is a decorative painting of furniture and wooden dishes, which is loved not only by connoisseurs of Russian antiquity, but also by residents of foreign countries.

The intricately intertwined herbal patterns of bright scarlet berries and golden leaves on a black background can be admired endlessly. Therefore, even traditional wooden spoons, presented on the most insignificant occasion, leave the recipient with the kindest and longest memory of the donor.

Gorodets painting

Gorodets painting has existed since the middle of the 19th century. Bright, laconic patterns reflect genre scenes, figurines of horses, roosters, flower ornaments. The painting is performed with a free stroke with white and black graphic outlining, decorates spinning wheels, furniture, shutters, doors.

Filigree

Filigree is one of the oldest types of artistic metal processing. The elements of the filigree pattern are very diverse: in the form of a rope, a cord, weaving, a Christmas tree, a path, a smooth surface. The weaves are made of very thin gold or silver wires, so they look light and fragile.

Ural malachite

There are well-known deposits of malachite in the Urals, Africa, South Australia and the USA, however, in terms of color and beauty of patterns, malachite of foreign countries cannot be compared with the Ural. Therefore, malachite from the Urals is considered the most valuable in the world market.

Gusev crystal

Products made at the crystal factory in the city of Gus-Khrustalny can be found in museums around the world. Traditional Russian souvenirs, household items, sets for the festive table, elegant jewelry, boxes, handmade figurines reflect the beauty of native nature, its customs and primordial Russian values. Products made of colored crystal are especially popular.

Matryoshka

A chubby and plump cheerful girl in a headscarf and Russian folk dress won the hearts of lovers of folk toys and beautiful souvenirs around the world.

Now the nesting doll is not just a folk toy, the keeper of Russian culture: it is a memorable souvenir for tourists, on the apron of which play scenes, stories from fairy tales and landscapes with sights are subtly drawn. Matryoshka has become a precious collectible, which can cost more than one hundred dollars.

Enamel

Vintage brooches, bracelets, pendants, which have rapidly “entered” modern fashion, are nothing more than jewelry made using the enamel technique. This type of applied art originated in the 17th century in the Vologda region.

Masters depicted floral ornaments, birds, animals on white enamel using a variety of colors. Then the art of multicolored enamel began to be lost, it began to be replaced by monochromatic enamel: white, blue and green. Both styles are now successfully combined.

Tula samovar

In his free time, an employee of the Tula arms factory Fedor Lisitsyn liked to make something from copper, and once made a samovar. Then his sons opened a samovar establishment, where they sold copper products, which were wildly successful.

The Lisitsyn samovars were famous for a variety of shapes and finishes: barrels, vases with embossing and engraving, egg-shaped samovars with dolphin-shaped cranes, loop-shaped handles, painted.

Palekh miniature

Palekh miniature is a special, subtle, poetic vision of the world, which is characteristic of Russian folk beliefs and songs. The painting uses brown-orange and bluish-green tones.

Palekh painting has no analogues in the whole world. It is performed on papier-mâché and only then transferred to the surface of boxes of all shapes and sizes.

Gzhel

The Gzhel bush, an area of ​​27 villages located near Moscow, is famous for its clays, which have been mined here since the middle of the 17th century. In the 19th century, Gzhel craftsmen began to produce semi-faience, faience and porcelain. Of particular interest are still products painted in one color - with blue overglaze paint applied with a brush, with graphic details.

Pavlovo Posad shawls

Bright and light, feminine Pavloposad shawls are always fashionable and relevant. This folk craft appeared at the end of the 18th century at a peasant enterprise in the village of Pavlovo, from which the shawl manufactory subsequently developed. It produced woolen shawls with a printed pattern, which was very popular at the time.