History of folk crafts. What is fishing? What are folk crafts
Folk crafts are exactly what makes our culture rich and unique. Foreign tourists take with them painted objects, toys and textile products in memory of our country.
Almost every corner of Russia has its own type of needlework, and in this material 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 dried and fired in a kiln. After that, it is painted by hand, each time creating a unique copy. There cannot be two identical toys.
Zhostovo painting
At the beginning of the 19th century, the Vishnyakov brothers lived in one of the Moscow villages of the former Troitskaya volost (now Mytishchi district), and they were engaged in painting lacquered metal trays, sugar bowls, pallets, papier-mâché boxes, cigarette cases, teapots, albums and other things. Since then, artistic painting in the Zhostovo style has begun 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 utensils, 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 mid-19th century. Bright, laconic patterns reflect genre scenes, figurines of horses, roosters, and floral patterns. The painting is done in a free stroke with a white and black graphic outline; it decorates spinning wheels, furniture, shutters, and doors.
Filigree
Filigree is one of the oldest types of artistic metal processing. Elements of a filigree pattern can be very diverse: in the form of a rope, lace, weaving, herringbone, path, satin stitch. The weaves are made from very thin gold or silver wires, so they look light and fragile.
Ural malachite
Known deposits of malachite are in the Urals, Africa, South Australia and the USA, however, in terms of color and beauty of patterns, malachite from foreign countries cannot be compared with that from the Urals. Therefore, malachite from the Urals is considered the most valuable on the world market.
Gusev crystal
Products made at the Gus-Khrustalny crystal factory can be found in museums all over the world. Traditional Russian souvenirs, household items, sets for festive table, elegant jewelry, handmade boxes, and figurines reflect the beauty of our native nature, its customs and primordially Russian values. Products made from 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, a keeper of Russian culture: it is a memorable souvenir for tourists, on the apron of which play scenes, fairy tale plots and landscapes with attractions are finely drawn. The nesting doll has become a precious collectible that can cost hundreds of dollars.
Enamel
Vintage brooches, bracelets, pendants, which quickly “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 patterns, birds, and animals on white enamel using a variety of paints. Then the art of multi-color enamel began to be lost, and monochromatic enamel began to supplant it: white, blue and green. Now both styles are successfully combined.
Tula samovar
IN free time An employee of the Tula arms factory, Fyodor Lisitsyn, loved to make something out of 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 their variety of shapes and finishes: barrels, vases with chasing and engraving, egg-shaped samovars, with dolphin-shaped taps, with loop-shaped handles, and painted ones.
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 done on papier-mâché and only then transferred to the surface of boxes of various shapes and sizes.
Gzhel
The Gzhel Bush, an area of 27 villages located near Moscow, is famous for its clay, which has been mined here since the mid-17th century. In the 19th century, Gzhel craftsmen began to produce semi-faience, earthenware and porcelain. Of particular interest are still items painted in one color - blue overglaze paint applied with a brush, with graphic detailing.
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 a shawl manufactory subsequently developed. It produced woolen shawls with printed patterns, which were very popular at that time.
Nowadays, original designs are complemented by various elements such as fringe, are created in different colors and remain an excellent accessory to almost any look.
Vologda lace
Vologda lace is woven on wooden sticks and bobbins. All images are made with dense, continuous, uniform width, smoothly curling linen braid. They stand out clearly against the background of patterned lattices, decorated with elements in the form of stars and rosettes.
Shemogodskaya carved birch bark
Shemogodskaya carving is a traditional Russian folk art craft of birch bark carving. The ornaments of Shemogod carvers are called “birch bark lace” and are used in the manufacture of boxes, teapots, pencil cases, cases, dishes, plates, and cigarette cases.
The symmetrical pattern of Shemogod carving consists of floral patterns, circles, rhombuses, and ovals. The drawing can include images of birds or animals, architectural motifs, and sometimes even scenes of walking in the garden and drinking tea.
Tula gingerbread
Tula gingerbread is a Russian delicacy. Without these sweet and fragrant products, not a single event took place in Rus' - neither funny nor sad. Gingerbread was served both at the royal table and at the peasant table. The traditional shape is given to the gingerbread using a board with a carved ornament.
Orenburg downy shawl
The scarves are knitted from natural goat down and are amazingly soft, beautiful, warm and practical. Openwork web scarves are so thin and graceful that they can be threaded through wedding ring. They are valued by women all over the world and are considered a wonderful gift.
The emergence of craft occurs at the beginning of human production activities. The beginnings have been known since ancient times
Concept of crafts
Craft is a production activity based on the production of industrial objects using small manual labor, which prevailed before the development of machine production and remained there.
A person who makes objects professionally is called an artisan.
What is folk craft
Folk craft refers to objects that are made using ordinary available materials and simple designs. Folk crafts are diverse in their creative activity; products are made by hand and most often from natural materials or close to them (wood, fabric, metal, etc.). This type of activity was formed from home crafts, when necessary household items were made. Like art, folk crafts developed depending on culture, religion and sometimes political views.
History of the craft
The craft has a long history. Primitive communities most often engaged in household crafts, making objects from stone, bone, clay, wood, etc. Home craft is the production of products necessary for running a household. In some places, even today, this activity is of great importance.
Later, people began to lead the emergence of artisans. Many artisans worked on the farm lands of kings, temples, monasteries and slave owners (Ancient Egypt, Ancient Rome, Ancient Greece and the countries of Mesopotamia). Initially, the artisan worked alone, but since this gave little income, the craftsmen began to unite in groups. These groups were called artels and took orders from the population. Some of the masters walked around cities and villages, while others lived and worked in one place. Trades and crafts to order gave rise to the emergence and development of cities as centers of craft work and trade. To this day in many populated areas street names have been preserved indicating the place of work of one or another master. For example, Goncharnaya - production was organized there; Tanning - leather processing, production of leather products, shoe repair; Brick - production of bricks.
In the Middle Ages, a form of professional craft appeared. A new social stratum has appeared in the cities - urban artisans. The main branches of urban crafts were: the manufacture of metal objects, cloth making, the production of glass products, etc. Urban craftsmen had such privileges as city law, craft workshops, and their own freedom.
With the advent, many types of crafts lost their primacy in production, and machines began to be used in factories and factories. Today, artisans survive in industries that serve the personal needs of clients and in the production of expensive artistic products (shoemakers, tailors, jewelers, artists, etc.).
History of the development of crafts in Russia
The population of Russian cities mainly consisted of artisans. Most of them were engaged in blacksmithing. Later, metalsmithing evolved from blacksmithing. His products were in great demand in Europe. The production of weapons singled out craftsmen for making bows, guns, quivers, etc. The armor of Russian artisans was considered an order of magnitude higher than Turkish, Syrian and Italian.
According to information from the chronicle, in 1382 there were already cannons in Rus'. In the 14th century, foundry (bell casting) was formed. With the invasion of the Mongols, production fell into decline.
Jewelry craftsmanship served the needs of the aristocracy. The surviving products (icons, gold belts, dishes, book bindings) testify to the high professionalism of jewelry craftsmen in the field of engraving, artistic casting, forging, niello and minting. In the 14th century, it began in several Russian principalities, which formed the monetary craft. Leather, shoemaking and pottery crafts were designed for the market and a wide range of customers. A variety of dishes, toys and building materials were made from clay. In addition, in Moscow and other cities, stone churches were built (mostly from white stone) and tower clocks were installed with strikes.
The works of the masters made a great contribution to the restoration of destruction after the Tatar-Mongol conquests. Russian crafts influenced the preparation of economic prerequisites for the creation of a Russian centralized state.
Since 1917, the number of artisans in Russia has sharply decreased; they united in industrial cooperation. However, even now Russian crafts include several world-famous folk arts and crafts.
Various types and types of crafts
Types of crafts are formed from the material from which the item is made. For a long time, people have known crafts such as:
blacksmith craft
This is one of the first occupations to appear in Rus'. People were always surprised when watching a blacksmith work. They could not understand how the master made such amazing objects from gray metal. For many peoples, blacksmiths were considered almost wizards.
Previously, blacksmithing required special knowledge and a specially equipped workshop with many tools. The metal was smelted from which it was mined in the spring and autumn. Old Russian blacksmiths made sickles, ploughshares, and scythes for farmers, and spears, swords, axes, and arrows for warriors. In addition, the household always needed knives, keys and locks, needles, etc.
Nowadays, technological progress has somewhat changed and improved the blacksmith's craft, but it is still in demand. Artistic forging is used to decorate offices, apartments, country houses, parks, squares, it is especially in demand in landscape design.
Jewelry craft
Jewelry craft is one of the most ancient in the history of mankind. Products made of gold, silver and precious stones have long been considered a sign of power and wealth of the aristocratic class. Back in the 10th and 11th centuries, jewelry craftsmen were famous for their talent throughout Europe. People have been passionate fans of jewelry since ancient times. Beads were made from precious metals or colored glass, pendants with various designs (usually animals), silver temple rings that were hung from a headdress or woven into a hairstyle, rings, kolta, etc.
In the 18th century, jewelry craftsmanship flourished in Russia. It was at this time that the profession of “gold and silversmith” began to be called “jeweler”. In the 19th century, Russian craftsmen developed their own style, thanks to which Russian jewelry remains unique today. The famous firms of the Grachev brothers, Ovchinnikov and Faberge began their work.
Nowadays, due to the growth of prosperity, the population is increasingly in need of highly artistic jewelry.
Pottery
It is known that since the 10th century, pottery has been produced in Rus'. This was done manually, and mostly by women's hands. To increase the strength and durability of the product, small shells, sand, quartz, granite, and sometimes plants and fragments of ceramics were mixed into the clay.
A little later they appeared, which made the potters’ work easier. The circle was set in motion by hand and then by feet. At the same time, men began to engage in pottery making.
Pottery reached industrial scale in the 18th century. Ceramic factories appeared in St. Petersburg, and a little later in Moscow.
Objects made by modern potters are still fascinating. Today, pottery is a popular activity in many regions of Russia, and the demand for handmade ceramic products is constantly increasing.
Folk arts and crafts go back to antiquity, to home crafts and village crafts. Later, handicrafts working for the market were formed, as well as private workshops, involved in the capitalist market system and often unable to withstand the competition of factory goods. At the end of the 19th - beginning of the 20th centuries. In many countries, a revival of folk artistic crafts began, including in Russia. In our country there is a special state program to support and revive original Russian folk crafts, including: Khokhloma, Gzhel, Zhostovo trays, Birch bark, Fedoskino boxes, Samovars, Balalaikas, Gorodets painting.
But, first of all, it’s worth finding out where these, rightfully so, works of art came from in Rus', having gone through centuries and a lot of difficulties, passed down from generation to generation, from master to master, from father to son, folk crafts have reached our times!
On the Uzola River, in the ancient forests of the Trans-Volga region, there are ancient Russian villages - Novopokrovskoye, Khryashi, Kuligino, Semino. This is where the world famous Khokhloma fishery traces its history. In these villages, master artists still live today, who paint wooden dishes, continuing the traditions of their fathers, grandfathers and great-grandfathers.
However, researchers have not yet been able to establish the time of appearance of the Khokhloma painting. After all, wooden dishes and other utensils were not stored for a long time. From frequent use it wore out and became unusable. It was thrown away or burned, replaced with a new one. The products of Khokhloma masters have reached us mainly only from the 19th century. But various documentary information indicates that the fishery originated at an earlier time, possibly in the 17th century.
The original technique characteristic of Khokhloma, where painting with cinnabar and black paint was performed on a golden background, finds analogies in ancient Russian art.
The documents mention that at the end of the 16th and beginning of the 17th centuries in the Trinity-Sergius Lavra, during the ceremonial reception of guests, they were presented with wooden ladles decorated with gold and cinnabar, as well as cups.
At the beginning of the 17th century, the Trans-Volga lands were assigned to the Trinity-Sergius Lavra, among which was Khokhloma. The peasants not only saw this gilded dishes, but also could know how to paint them. But Khokhloma masters had their own method of “gilding”. The dishes were rubbed with tin powder, covered with drying oil and heated in carved gilded ovens. The drying oil turned yellow from the high temperature, and the tin shining through it became gold.
One of the best masters of Khokhloma painting spoke about this craft: (The very nature of the painting, imitating gold and silver dishes, was suggested by decorative art Ancient Rus'...Khokhloma was probably only a late reflection of this great art...)
In the 19th century, the fishery grew so much that it supplied its goods in large quantities not only to the domestic market, but also abroad to the countries of Central Asia and Western Europe. Several villages of Semenovsky and Balakninsky districts of the Nizhny Novgorod province, Makarinsky and Varnavinsky - Kostroma province were engaged in the production of dishes and other household items. Among them there was something like a division of labor. In one village wood was processed, in another a design was applied.
The earliest works of Khokhloma in the collection of the Russian Museum date back to the second half of the 19th century. They number about 170 household items of various purposes. The dishes are represented by bowls and cups of any size: from small ones, similar to dessert rosettes, to huge 70-80 centimeters in diameter; various suppliers and barrels of salt shakers and a variety of spoons.
Cheap everyday utensils could be distinguished by simple patterns applied with special stamps made of felt fabric or a raincoat mushroom. These are spirals, diamonds, small rosettes and leaves.
More expensive items were painted by hand with a brush, creating various compositions of herbal patterns, where slightly curving thin red and black twigs with lush feathery blades of grass were rhythmically combined.
Sometimes red and black fluffy grass complemented the main ornamental motif of a large curly stem, each curl of which ended with a red berry.
In the 1960s, multi-item sets and services began to be produced.
Modern Khokhloma has rightfully received wide recognition not only in our country, but also far beyond its borders. Brightly painted cutlery sets, cups, spoons, and furniture are exhibited at many major international exhibitions. And this unique, cheerful art always finds love and understanding among people of all nationalities.
There is a village called Zhostovo in the Moscow region, whose residents have mastered the art of decorating just one thing for more than a century and a half - a tray. Under the brush of folk painters, this object acquired the qualities of a work of art. Collected in bouquets or freely spread out on a shiny black background, garden and wildflowers decorate the tray and bring people a feeling of joy of the soul, the poetry of the eternal flowering of nature. After all, there is hardly a person who does not love nature, who is indifferent to flowers, their beauty, aroma, and the great power of life contained in them. This topic is close to everyone, which is why there are so many admirers of Zhostovo talent not only in our country, but also abroad.
And once upon a time, at the beginning of the 19th century, when opening the first workshop in Zhostovo for the production of papier-mâché products, the merchant Philip Nikitievich Vishnyakov had no idea that he had founded a new craft, which would eventually become one of the unique centers of Russian folk culture. The original art of decorative painting developed here, incorporating the traditions of folk painting on household objects and easel painting of still life, understood and reworked by folk artists in their own way. The first trays were made of papier-mâché, as were the boxes, snuff boxes, vintage boxes and boxes produced with them. At first, the paintings that adorned them were the same - landscapes painted from engravings and paintings, summer and winter threesomes of horses, tea parties at the table. Placed on a black background in the center of the field, silhouettes of figures and local color spots were clearly readable.
In the 1830s, trays in Zhostovo began to be made of metal. On the idea of replacing papier-mâché with more durable material Zhostovo residents brought trays from Nizhny Tagil, the famous center of their production back in the 18th century. In the 19th century, trays were made in Tagil, decorated with floral patterns characteristic of Ural folk painted utensils.
Another famous center for the production of trays was St. Petersburg. Trays of curly shapes and complex patterns depicting flowers, fruits, birds among various shells and whimsical curls were in fashion here.
Zhostovo masters took into account the experience of painters from Nizhny Tagil and St. Petersburg, but did not just use the styles and techniques they liked, but based on them they created their own unique style and character for decorating trays. It developed in the 1870s - 1880s.
During this time, the demand for trays increased in cities. In taverns, drinking establishments and hotels, trays were used for their intended purpose and as interior decoration. Tray production in Zhostovo gradually separated from lacquer miniatures on papier-mâché. Many workshops arose that produced trays for sale in Moscow, St. Petersburg and other areas. Since then and until now, Zhostovo and the surrounding villages have been a kind of reserve of this unique art.
Collection Zhostovo trays in the Russian Museum is small. But it contains first-class works performed in different periods life of the trade and clearly reflecting the features and level of art of their time.
Among the most famous works is an oval tray decorated with mother-of-pearl painting.
Almost every antique tray bears the mark of the workshop in which it was made. From this mark you can find out the name of the owner of the workshop, and from it you can determine the time of creation of the tray.
At a distance of 50-60 kilometers northeast of Moscow, in the Ramensky district, along the Yegoryevskoye Highway, there are two dozen beautiful villages and hamlets merged with each other.
Gzhel is the name of one of the villages - a former volost center, which has become a collective for the entire region, a symbol of unique art and folk craftsmanship.
Gzhel is the name given to highly artistic porcelain products produced in these places, painted with cobalt on a white background.
Gzhel was first mentioned in written sources in 1339 in the spiritual letter of Ivan Danilovich Kalita. Since then, over the centuries, as one of the most profitable volosts, Gzhel was inherited by the family of the great Moscow princes and tsars, bringing them considerable income.
Back in the 16th century, Gzhel residents transported surplus household utensils to Moscow, as well as to Moscow potters in the Yauzskaya Sloboda; some stayed there to work. They also went to Moscow fairs and auctions. At the auction we got acquainted with imported products of craftsmen from other places in Russia, from other countries.
On the basis of peasant crafts and trade, a new type of peasant population of Gzhel gradually emerged.
By the 70s - 80s of the 18th century, Gzhel became the center of production of artistic majolica in Russia. The fact is that since the opening of the manufactory of Afanasy Grebenshchikov in 1724, many Gzhel residents worked there as potters. Savvy and efficient, they quickly grasped the secrets of the new production of majolica products, and returning to their homeland, they started their primitive, but numerous new forges, created their products not only from ordinary red clays, as before, but used the new technology of white masses with admixtures of other varieties of clays and mineral additives.
Original Gzhel products were in constant demand. Handicraft peasants worked from dawn to dusk, dealing with clay and creating things necessary for everyday life from it. Each of them had his own style, and when creating products, he introduced his own vision of the world around him. The value of dishes and toys was determined by the tastes of buyers and controlled by their demand. The popularity of Gzhel products meant that they met the requirements that met the utilitarian goals and artistic tastes of the people of that time. In the middle of the 18th century, pottery production began to develop quite quickly in Russia, but Gzhel products were in constant demand. From here, the production of ceramics spreads to Kolomenskaya, Serpukhovskaya and other districts of the Moscow province.
The end of the 18th century was the heyday of Gzhel majolica; Local craftsmen achieved especially great skill in the manufacture of jugs, kumgans, and kvass. The work required great patience and skill. The painting did not allow for corrections or alterations, since it was carried out on a soft, unfired shard covered with white enamel. The Gzhelians also produced separately small majolica sculptures, which often reflected typical scenes of their lives, compositions filled with humor, soldiers, peasant women, fashionistas and dandies, busy with one thing or another. The plots were expressive and intelligible, captivating with the clarity of their plans and the naivety of their creators - simple folk craftsmen.
For many decades, Gzhel residents created tiles of amazing beauty and variety of paintings for decorating stoves and fireplaces. The Hermitage now keeps over 500 of their samples in its collection.
Many Gzhel masters participated in the creation of pottery in other places in Russia.
They tried to make Gzhel semi-faience back in the last years of the 18th century. Objects made from this material imported from abroad were so expensive that only a few could buy them, but they involuntarily pushed Gzhel residents to master the technology of their production.
Semi-faience already had a white, albeit thick shard, and painting was carried out not on raw enamel, as on majolica products, but after firing, on a hard shard, which greatly facilitated, speeded up the work and accelerated defects.
Semi-faience has become as wonderful an artistic phenomenon as majolica. The Gzhel residents managed to obtain white tableware, similar to earthenware, at the beginning of the 19th century. By adding lime to their clay, the Gzhel people obtained a material called simple faience or semi-faience, and during the 19th century they created tens of thousands of necessary household items from it.
It took a while for the Gzhel people to develop their own unique style of cobalt painting, but gradually it reached perfection in semi-faience. The blue color becomes classic, inseparable from Gzhel semi-faience. This was a new visual pictorial language that replaced contour drawing with polychrome coloring, which was previously used in majolica. Blue paint combines best with glaze, produces less defects when fired, and emits a timeless radiance. The painting also contains elements of humanization and spiritualization of things.
By the middle of the 19th century, Gzhel was the largest supplier of ceramic products in the country.
In the second half of the 19th century, significant changes occurred in Russian ceramic production. Large mechanized factories are now in the lead. Economical production, high quality products and moderate prices made it possible to win the fight in the sales markets.
In 1926, the number of workers in the porcelain and earthenware industry in the Gzhel region was 506 people.
The Gzhel Partnership was created as a result of the merger of six small workshops from different villages in 1972.
In the village of Zhirovo they produce ceramic fireplaces, in the villages of Troshkovo and Fenino - pottery and majolica dishes. In the village of Fenino, together with an Italian company, a production facility for the production of tiles and tiles is being created. In the village of Kolomino-Fryazino they make porcelain toys, and modern production in the villages of Turygino and Bakhteevo are the main centers for the production of artistic porcelain.
Gzhel masters deeply and sacredly preserve the traditions of their ancestors, creatively develop and multiply them. In the semi-fairy-tale world created by the ceramists of today's Gzhel, it is difficult to draw a clear line between the art of the past and the present. The spring that arose centuries ago in the soul of the Russian people does not dry up; Having passed through the thickness of centuries, it still remains a powerful aesthetic force and does not lose its purity. The continuity of the traditions of folk craftsmen and loyalty to them is the seed of success and popularity of Gzhel ceramics in our time.
The history of Gzhel goes back centuries, and its folk art is destined long life, today the famous folk craft is gaining new strength. Bluebirds of Gzhel fly to different parts of the planet to decorate people’s lives and cultivate a sense of beauty.
Birch bark
Birch barkFor a long time in Rus', birch bark was used to make household and convenient things - baskets and boxes were woven. And in birch bark containers they stored honey and berries, sour cream and butter... In such “packaging” everything remained fresh for a long time.
They also made boxes and caskets from birch bark, all kinds of boxes, dishes and even bast shoes. They were painted with bright, cheerful colors: they painted flowers and berries, green twigs and fabulous birds, animals unknown or well known. Sometimes a real picture was born under the master’s brush: buffoon jokers played balalaikas, bears danced... You can’t take your eyes off the beautiful pattern, colorful ornament...
Birch bark is an excellent material for cutting thin lace patterns with a sharp knife. It seems that this beauty was woven by a skilled lacemaker. Such openwork birch bark “lace” was used to decorate caskets, caskets, powder compacts and boxes, vases and cups. And to emphasize the whimsical pattern and design, craftsmen sometimes placed colored foil or pieces of mica under the birch bark “lace”.
They also pressed patterns on birch bark with special stamps. This is called embossing. This method made products made from it especially elegant.
Birch bark has long been used to make various household and artistic products. Birch bark letters found during excavations in Veliky Novgorod and other Russian cities have survived to this day. Birch bark products were decorated with painting, carving, and embossing.
Birch bark trades were widespread throughout our country. The traditions of making artistic products from birch bark have been preserved in the northern, northeastern regions the European part of Russia, in the Volga region, Siberia, Yakutia.
And today, in the 21st century, interest in ancient folk crafts and the art of our ancestors has not faded away. We admire the talent of the masters who gave us beauty. And it doesn’t matter at all that it is made not from gold and silver, but from ordinary, modest, but also magical birch bark.
The origin of Mezen painting still remains a mystery. Some researchers compare it with the painting of the Komi Republic, others believe that it originated from ancient Greek images. Painting researcher V.S. Voronov, for example, said about it: “This is an ornament that has preserved in its elements the deepest remnants of the archaic ancient Greek styles, covering the surfaces of wooden objects with thick lace.” It is very problematic to establish this in our time, because perhaps more than one hundred years have passed since the Mezen painting appeared. It became known about it in 1904, but, of course, painting originated much earlier. The unusual nature of the painting, its graphic nature, and the primitive-conventional interpretation of the images of horses and birds encourage researchers to look for the origins of Mezen painting in the art of neighboring northern peoples and in rock paintings. V.S. Voronov, studying the styles of folk painting on wood in different regions of Russia, singled out Mezen as “mysterious and curious,” pointing out its connections with ancient Greek styles.
The origins of this type of painting lead to the lower reaches of the Mezen River in the Arkhangelsk region. Various household utensils were painted with it - spinning wheels, ladles, boxes, chests, caskets. From the end of the 19th century, the village of Palashchelye became the center of Mezen painting, which is why Mezen wood painting is also known as “Palashelye painting”.
The area of Mezen painting is very extensive. In addition to the Mezen basin with Vashka, it includes in the west the areas of Pinega and the lower reaches of the Northern Dvina to the Onega Peninsula, and in the east - the Izhma and Pechora basins. Here you can find spinning wheels with Mezen painting not only from Palashchelye, but also from other villages.
Most often, Mezen paintings depicted figures of deer, horses, and less often people, but only the silhouette of a person was painted. Despite the fact that everything in this painting is simple and concise, you can write a whole essay with drawings, convey some kind of message with signs. After all, there are many signs of the elements, luminaries, earth, as well as the protection and replenishment of the family. Knowing their decoding, you can read each work.
Basically in the old days they painted spinning wheels. Mezen spinning wheels were truly unique. Firstly, if ordinary spinning wheels consisted of three parts: a bottom, a riser and a blade, then in Mezen spinning wheels were made in one piece, for which they selected trees whose roots could become the bottom.
And secondly, the drawings themselves were unique. Scientists believe that the front part of the spinning wheel, depicted very strictly, is divided into three parts using geometric patterns: heaven, earth and the underworld. Birds and the so-called “window” were depicted in the sky, with the help of which one could communicate with God. Then row after row of horses and deer or a tree were depicted, often with a bird sitting on the top of its head. In the underworld, deer and horses were also painted, but shaded with black paint. And on the reverse side, the artist, strictly maintaining the levels, could make inscriptions, for example: “To whom I love, I give.” Spinning wheels with similar messages were given by a husband to his wife for a wedding or for the birth of a child. By the way, only men were engaged in painting, passing this art down from generation to generation.
Traditionally, objects painted with Mezen painting have only two colors - red and black (soot and ocher, later red lead). The painting was applied to unprimed wood with a special wooden stick (vice), a capercaillie or black grouse feather, or a human hair brush. Then the product dried out, which gave it a golden color. At present, in general, the technology and technique of Mezen painting have been preserved, with the exception that brushes have begun to be used more often. Some internal difference between modern Mezen painting and the old one is also felt because initially painting was carried out only by men, whereas in our time it is more done by women.
Now Mezen painting is practiced in almost all of Russia, and in some schools it is included in the program visual arts.
Gorodets wood painting, a traditional artistic craft that developed in the mid-19th century in villages along the Uzole River in the vicinity of Gorodets, Nizhny Novgorod region.null
The origin of painting originates from the production of Gorodets spinning wheels, inlaid with bog oak and decorated with contour carvings. Unlike the widespread spinning wheels, hewn from a single wooden monolith, Gorodets spinning wheels consisted of two parts: the bottom and the comb. The bottom was a wide board, tapering to a head with a pyramidal “toe”, into the hole of which the stem of the comb was inserted. When they were not working on the spinning wheel, the comb was removed from the comb, and the bottom was hung on the wall, becoming a kind of decorative panel.
In the middle of the last century, craftsmen began to revive the inlaid bottoms, first only by tinting the background, then by carving, and subsequently by introducing colorful plot drawings. The earliest similar bottom that has survived to this day was made by master Lazar Melnikov in 1859. Gradually, painting, technologically simpler, finally replaced labor-intensive inlay. Gorodets masters transferred into painting not only the subjects previously used in inlay, but also a generalized interpretation of the images suggested by carving techniques. The painting used bright rich colors of red, yellow, green, black, mixed with liquid wood glue. Over time, the range expanded; In addition to traditional spinning wheels, the Donets began to make and paint brush boxes, wooden toys, furniture, even parts of the house, shutters, doors, and gates. In 1880, about 70 people from seven neighboring villages were involved in the fishery. Among the oldest masters who became the founders of Gorodets painting, the names of the brothers Melnikov and G. Polyakov were preserved; later they were joined by painters who preserved the secrets of the craft at the beginning of the 20th century I. A. Mazin, F. S. Krasnoyarov, T. Belyaev, I. A. Sundukov.
Gradually, original techniques of Gorodets painting were developed, which in their multi-stage nature were close to professional painting. Initially, the background is painted, which also serves as a primer. Based on the colored background, the master makes an “underpainting”, applying the main color spots with a large brush, after which he models the shape with thinner brushes using strokes. The painting is completed by “living up” with white and black, combining the drawing into one whole. The finished plot is usually enclosed in a graphic frame or outline. In Gorodets painting there are many simple ornamental motifs of roses, buds, and grass.
With the development of the craft, the subjects of painting, apparently borrowed from popular prints, were also significantly enriched. In addition to traditional horses, tea parties, festivities, scenes from city life, characters from folk tales, and battle scenes inspired by the Russian-Turkish War appeared.
The Gorodets fishery existed for about fifty years. Its heyday was in the 1890s, when Donets production reached 4 thousand per year, but by the beginning of the 20th century the fishery had fallen into decline. After World War I, painting production ceased completely, and even the most famous painters were forced to look for other income.
The revival of Gorodets painting is associated with the name of the artist I. I. Oveshkov, who came to the Gorky region in 1935 from Zagorsk. Through his efforts, a public workshop was opened in the village of Koskovo, uniting old painters. Oveshkov not only took over the leadership of the workshop, but also organized professional training for artists. With his direct participation, the expansion of the range of painted products began: boxes, wall cabinets for dishes, high chairs, and folding screens. In 1937, Gorodets craftsmen participated in the exhibition “Folk Art”, held at the Tretyakov Gallery in Moscow, where modern products were demonstrated next to the Don people of the 19th century
In 1951, the Stakhanovets carpentry and furniture artel was opened in the village of Kurtsevo, headed by the hereditary Gorodets painter A.E. Konovalov. The artel began manufacturing furniture with motifs of traditional painting on cabinets, bedside tables, stools, and tables; the range was constantly expanding. In 1960, the artel was transformed into the Gorodets Painting factory.
Currently, the factory produces painted rocking toys, children's furniture, decorative panels, dishes, and turning utensils. Although the functional purpose of the Gorodets products has changed, traditional motifs and images, long-legged horses, riders, magical birds, and flower-cups have been preserved in their painting.
History of the balalaika
Balalaika is a Russian folk three-string plucked musical instrument with a triangular wooden body. The balalaika has become an integral musical symbol of Russia. The history of the origin of the balalaika goes back centuries and is not clear-cut. Some believe that this instrument was invented in Rus', while other historians claim that the history of the balalaika originates from the Kyrgyz-Kaisak folk instrument - the dombra. Also, the word “balalaika” itself causes a lot of speculation and controversy. The most basic hypothesis is that the word “balalaika” has the same root as such words as balacat, balabonit, balabolit, balagurit, which means to chat, empty ring. All these words convey the uniqueness of this folk instrument: light, funny, “strumming”, not very serious.
Most historians believe that the balalaika was invented around 1715, but there are many historical documents that speak about the earlier history of the creation of the balalaika. The first written mention of the balalaika is contained in a document dated June 13, 1688 - “Memory from the Streletsky Prikaz to the Little Russian Prikaz”, which mentions the peasant Ivashko Dmitriev playing the balalaika. The next document tracing the history of the balalaika dates back to 1715. This is a “Register” signed by Peter I, dating back to 1715: in St. Petersburg, during the celebration of the clownish wedding of the “prince-papa” N.M. Zolotov, in addition to other instruments carried by the mummers, four balalaikas were named.
Until now, the balalaika has experienced different periods of its history. Either this folk instrument was forgotten, or with renewed vigor it became popular in all villages and hamlets. Why is it that Russian people are so attracted to the sounds of this instrument? Perhaps these cheerful, strumming, light and funny sounds helped our ancestors forget about the whole hardship of peasant life, or maybe these sounds conveyed the whole essence of life in Rus' and now, having heard the sound of the balalaika, we can easily look at history through the eyes of our ancestors. Who knows what ups and downs await this unique Russian folk instrument, but now we can say with confidence that the balalaika is the most recognizable Russian folk instrument throughout the world.
The use of natural materials is one of the general and fundamental traditions of folk art. It is in the material that it is contained artistic features. Wood carving and painting, weaving, embroidery, lace weaving, birch bark and root processing, pottery, metal forging - with all the variety of techniques and materials, modern folk craftsmen of these ancient arts adhere to traditional elements, forms and subjects.
The artistic processing of wood and birch bark has an exceptional place in the history of Russian peasant creativity. It is closely connected with all the art of Ancient Rus': with wooden carved architecture, carpentry and handicrafts. The material and processing technique are inseparable from the nature of the objects being manufactured. They dictate both their generic affiliation, functional purpose, and features of form. A smoothly curving plant shoot with steep curls is one of the most common motifs in modern birch bark art. Sometimes the pattern spreads freely along the plane, developing in several directions, sometimes it is given in the form of rhythmically repeating branches-spirals or stems symmetrically extending from the center to the right and left with many leaves and branches, topped with elegantly shaped trefoils, rosettes, apples, stylized flowers and berries . Masters also use other techniques, placing, for example, among a lush floral pattern, an ornamentally interpreted image of birds, which serves as a talisman.
The famous lacquer miniature of Mstera originates from the school of icon painting XVII century. For more than 200 years, using a unique painting technique, masterpieces were created here that are known far beyond the borders of the region - boxes, powder compacts, needle cases, caskets. Creating a lacquer miniature product is not easy. It takes great skill as an artist. The land of Mstera surprises with its craftsmen. Mstera embroidery, known since the 17th century, has been widely developed in modern decorative and applied arts. One of the most beautiful and elegant embroideries is white satin stitch with elegant small patterns of floral patterns on thin cotton fabrics. White surface - embroidery with white threads on a white field - famous for its openwork meshes, cuts, high quality, has no face or back, looks equally beautiful on both sides. Craftswomen skillfully create the most complex ornaments, reproduce architectural forms and images of human figures. It is believed that only Mstera embroiderers are fluent in this complex technique (including up to 200 different cuts).
Craftsmen of the Russian North since ancient times they have been famous for the art of woodworking, since the 18th century - for Arkhangelsk products of gold embroidery, patterned hand weaving, hand knitting, and since the 19th century - for a wonderful clay toy, called "Kargopol toy". Folk masters of artistic wood carving make traditional ladles - ducks, caskets, salt shakers, candeikas, kitchen boards, decorated with motifs of folk ornaments of the Russian North. Embroidery masters decorate products with beads, hand lace, hand embroidery, appliqués, and hemstitching. The traditions of clay molded Kargopol toys are embodied in the multi-figure compositions “Gatherings” and “Carts”. “Lumberjacks”, “Troika”, birds, animals, painted whistles, reflecting the ancient culture of Kargopol.
On a picturesque hill on the banks of the Kunya River, the left tributary of the Dubna, stands the village of Bogorodskoye - the birthplace of a wonderful folk craft of carved wooden toys and sculptures . Bogorodskoye is an ancient village. In the middle of the 15th century, the village belonged to the Moscow boyar M.B. Pleshcheev. Already in the 15th - 16th centuries, Bogorodsk peasants, at that time monastery serfs, laid the foundations for the artistic craft of woodworking that subsequently developed. The village has become one of the centers of folk art in the history of Russian applied art. In Sergiev Posad, there is a legend about how in the middle of the 18th century, one resident of the settlement carved a doll measuring 9 vershoks (40 cm) and sold it to the merchant Erofeev, who traded at the Lavra. He placed it as decoration in the shop. The toy was immediately purchased at a great profit for the merchant. After this, Erofeev ordered a whole batch of such toys. Toys with movement are especially interesting: on bars, with a balance, with a button. These simple, but always witty in design, devices make the toy lively, expressive and especially attractive.
The Vyatka souvenir dates back to July 1930, when an artel called “Freedom” was created in the city of Nolinsk, Vyatka province. The main products of the artel were various wood products needed on the farm, and children's toys on a turning basis. The traditional assortment was expanded. Turning products “Barrel-piggy bank”, a housewife set”, and a whistle “Nightingale” were produced. The qualifications of wood turners made it possible to create the most complex turning products - original wooden nesting dolls. The main secret of the attractiveness of the wooden nesting doll is that its external image of a Russian large woman-mother is complemented by internal structure, in its repetitions-inserts, included in each other.
Gorodets painting - a unique phenomenon of Russian national culture, one of the most famous artistic crafts in Russia, the brightest phenomenon of “naive” art. This folk art combines the features of the artistic originality of folk painting, the roots of which go back centuries. The history of the unique plot painting goes back more than a century and a half. In their compositions, peasant artists discovered a unique figurative world. Among the most common subjects of painting are festivities, tea parties, the famous Gorodets horse and rider, and folk holidays. Northern motifs are vividly embodied in painted souvenir samovars, caskets, chests and bast boxes, painted with motifs of Mezen, Pinezh, Severodvinsk, Shenkur painting, gift chess and kitchen utensils, the traditional technologies and manufacturing techniques of which are carefully preserved and passed on by the craftsmen of the enterprise. The ancient folk craft of making a wooden toy painted in the form of a bright, elegant beauty with rosy cheeks and scarlet roses on her apron originated in the talented Nizhny Novgorod land at the beginning of the 20th century. Trading house Semyonovskaya painting - one of the oldest factories in Russia producing children's toys, souvenirs, and traditional Russian nesting dolls.
The origins of the Untsukul craft of metal incisions on wood go back to the distant past - the 17th-18th centuries. The first artistic product, which was typical for the craftsmen of that time, was the handle of a whip, made of dogwood, decorated with artistic notching. Later, craftsmen began to decorate decorative canes with ornamental metal incisions, and artistic pipes and snuff boxes began to appear. The Untsukul ornamental pattern is based on a clearly fixed, stable compositional structure, called “ishan” (pattern, sign). The primary material today, as before, is dogwood and apricot wood. The wood of dogwood bushes, which are characterized by good density, hardness, and viscosity, is used to make canes and shoehorns. Apricot is used to make vases, jugs, etc.
For several centuries, Khokhloma craft has been an important part of Russian folk culture. Gilding with tin powder was used in icon painting. A wooden product, coated with a thin layer of metal and drying oil, was heated in an oven, from which it acquired a golden hue. This method was adopted by Trans-Volga artisans and improved. Since the 17th century, painted wooden dishes have been famous throughout Russia: “ceremonial” dishes were made according to special orders in small batches. It was customary to present dishes made from different types of wood, different shapes and artistic decorations to eminent guests and foreign ambassadors. The method of Khokhloma technology in its origins is associated with icon painting. It was from there that the craft inherited the technique of painting on Khokhloma gold. Over time, the technique of icon painting on Khokhloma gold was lost, and only three centuries later, at the end of our century, this art was revived. The masters of Khokhloma painting developed three main types of painting: grass, painting “under the background” and Kudrina. The warmth, originality, poetry and fabulous beauty of the traditional pattern make Khokhloma products amazingly beautiful. Each product is painted from start to finish by one artist without using any templates, that is, each product, in fact, is the author's, individual. Khokhloma painting today has become unusually subtle, virtuosic, and emotional. In search of expressive forms of products, their creators adhere to the best traditions of Russian wooden utensils and furniture. The art of Palekh miniatures is relatively young. It was born during the Soviet era. After graduation civil war, Palekh masters came up with the new kind application of your art. Literally within five or six years, a new art of the great Palekh was born - lacquer miniatures on all kinds of objects used in everyday life: boxes, cigarette cases, brooches, notebooks, powder compacts and other necessary little things made of papier-mâché. The new art also featured new themes - scenes from village life, scenes from Russian folk tales, and scenes taken from the works of Russian writers and poets were added. The desire of Palekh icon painters to glorify the beauty of their native nature, to pass on to new generations their rich experience and the secrets of painting, kept for centuries, led to the creation of a special artistic language. Among the subjects of Palekh painting, along with round dances, troikas of horses, musicians and hunting scenes, there are heroes of Krylov’s fables, Pushkin’s fairy tales and magnificent landscapes of picturesque places of their native land. Palekh masters mastered new color transitions, focusing on more subtle relationships between tones. With the development of Palekh art, traditional modeling of the volume of depicted figures with gold spaces became a solution for other problems of miniature painting - artists began to use gold to fill the space of the picture with light and warmth. In the many-sided and diverse Russian arts and crafts and folk art, lacquer miniature painting is preferred for its uniqueness, beauty, talent of artists and their “golden hands”. Lacquer miniatures are hand-made, very labor-intensive and complex, both in execution and in understanding.
The lacquer miniature of Fedoskino is more than two centuries old. This is a unique phenomenon in Russian and world art. Having appeared in Russia from abroad, having gained popularity not least thanks to such a passing thing as the fashion for snuffing tobacco, Fedoskino lacquer miniatures became an independent phenomenon of artistic life, incorporating the experience of folk craftsmen, the artistic influences of easel painting, and the decorative delights of jewelry. technology, the naive sincerity of folklore, the magic of Russian fairy tales. This craft has acquired a truly Russian soul. The factories abroad that gave rise to Russian lacquer miniature writing have long disappeared, but it itself exists and develops today, remaining faithful to old traditions and opening up new horizons for creativity. The history of the craft begins in 1795, when the merchant Pyotr Ivanovich Korobov, while in the German city of Braunschweig, at the factory of Johann Stobwasser, became familiar with the papier-mâché lacquer products produced there. These were snuff boxes with picturesque miniatures on the lids. He liked them so much that he bought such a production, hired several Brunswick lacquer masters and brought them to Russia. Five or six years later, about fifty craftsmen were already working at the factory, and up to twenty students were studying at the drawing school. The assortment of the factory expanded - now there were a variety of snuff boxes, and wallets, and match holders, and cigarette boxes, and boxes, and teapots with paintings on five sides, special travel glasses (several pieces one in the other), and writing instruments, and chess tables, and trays. It’s nice to pick up such a thing, it’s convenient and functional. Lukutin products bear the imperial coat of arms, as evidence of the outstanding merits of the lacquer masters. Fedoskino lacquer miniatures are made with oil paints in three or four layers - shading (general sketch of the composition), painting or repainting (more detailed work), glazing (modeling the image with transparent paints) and highlighting (finishing the work with light paints that convey highlights on objects) are performed in succession. . The original Fedoskino technique is “through writing”: a reflective material is applied to the surface before painting - metal powder, gold leaf or potal, or mother-of-pearl inserts are made. Translucent through transparent layers of glaze paints, these linings give the image depth and an amazing glow effect. In addition to miniature painting, products are decorated with “filigree” (an ornament made of miniature pieces of foil of the desired shape laid out on wet varnish), “tsirovanka” (scratching a design using a pattern on varnish placed on top of a sheet of metal on the surface of the product), “tartan” (a complex mesh , applied with liquid paints using a drawing pen using a ruler), etc. In Fedoskino lacquer miniatures, the images are realistic and three-dimensional. Everyday and genre scenes, Russian fairy tales, landscapes, portraits, spontaneous good-natured humor, plots inspired by literary works, ancient “troikas” and “tea parties”, folklore motifs - a huge variety of themes in Fedoskino miniatures. Lacquer miniature painting is a chamber art; it is very difficult to view it in exhibition halls, where it is impossible to carefully examine the details; only careful examination allows one to understand and appreciate it.
Kholuy miniature painting is exactly like this, but has its own distinctive features. It is realistic and at the same time decorative, which is why it is understandable. In Kholuy, like nowhere else, the main attention is paid to the image of a person. The person is hyperbolically monumental, be it the image of the stern “Prophetic Oleg” or the graceful “Snow Maiden”, the desperate “Stepan Razin” or the mighty “Svyatogor the Hero”. This feature is specifically Russian and can be clearly seen in all national art. The beauty of Kholuy miniature painting is also unique, discreet, but convincingly kind and attractive, starting from the shape and proportions of the product itself and ending with the ornamental pattern. At the end of the 19th century, on the territory of the modern Chkalovsky district, a special type of embroidery “by pulling” developed, that is, using a large mesh formed by pulling out the longitudinal and transverse threads of the fabric, known as “guipure”. With its transparency and softness, this embroidery resembles lace. The main element of the pattern, characteristic of “Nizhny Novgorod guipure,” are rhombuses and “flowers.” There are about 50 types of seams - cuts with which the “flowers” are filled. Artistic embroidery became a subject of trade and the entire female population of villages sat at the hoop from dawn to dusk, covering the white canvas with an openwork pattern. Gorodets gold embroidery is one of the oldest and most unique types of highly artistic folk art in Russia. Gorodets craftswomen were excellent at mastering the most difficult craft of gold embroidery and had a keen sense of the decorative possibilities of metal threads of different textures and twists. The best craftswomen knew more than 100 complicated versions of embroidery using only the technique of patterned attachments, as well as the ancient loop stitch (“for axamite work”), consisting of gold or silver elastic loops, densely filling the main motifs of the ornament, and many other unique embroidery techniques. The whole district knew about the owner of the gold plate; it raised the prestige of the bride. Often people from all over the area came to Gorodets craftswomen to order such scarves. Gorodets merchants also loved to be photographed in ancient costumes.
Kadom embroidery originated in the era of Peter the Great, who ordered the boyars and other noble people to wear clothes richly decorated with lace . The Russian nobility had to pay in gold for Brussels and Venetian lace. And so that the state treasury would not become scarce, the tsar forbade the purchase of lace abroad, and ordered Russian nuns to be taught lace making. Several craftswomen were brought to the Kadoma Monastery from Venice, who taught local needlewomen the art of creating marvelous patterns. Having quickly mastered the jewelry embroidery technique, the needlewomen first began to weave wonderful Venetian lace, and soon based on it they created a unique needle embroidery - “veniz”, leaving the name based on the word “Venetian”.
This type of folk craft, which arose during the reign of Peter 1, was able to survive and receive further development in our time. The Tarusa factory of artistic embroidery was originally founded as an artel of embroiderers by a major specialist in folk arts and crafts N.Ya. Davydova with the active participation of M.N. Gumilevskaya, who in 1924 officially registered it as an artel. The purpose of organizing the artel was to strengthen and develop folk embroidery skills, which had rich traditions on Kaluga soil. Samples of patterns were brought to the artel by peasant women from the Tarusa region; traditional motifs of Kaluga folk embroidery were used in embroidery: geometric, floral, zoomorphic, anthropomorphic. Already in the first home-based period, the artisans of the artel worked on samples of Kaluga folk embroidery, developing traditional ornaments and techniques (colored weave and white stitching) in a different subject context. Gold embroidery is one of the ancient traditional artistic crafts of Russia. Existing since the 8th century, it has constantly evolved, each era introducing something new, while preserving the traditions that have developed over the centuries. Russian traditional motifs are used in gold embroidery compositions: geometric and floral patterns, figurines of birds and animals, architectural motifs. The golden thread, obedient to the hand of the embroiderer, is a transparent thread of memory, tradition, culture, leading back centuries. In Rus', gold embroidery was used to decorate clothes, shoes, and interior decoration items of cult significance. And today there is a need for beauty, which shaped the life of our ancestors and which is skillfully recreated by Torzhok craftswomen. Gold embroidery products are made with gold-plated, silver-plated, metallized threads on leather, suede, velvet, silk, wool and other materials. Embroidery is done with beads, sequins, pearls, and bugles. Pretty gold embroidery complex look embroidery. It requires a lot of attention, patience, accuracy, and a lot of time. The technique of gold embroidery differs significantly from conventional embroidery. Embroidery is done on a sliding wooden hoop. The base is cotton or linen fabric, to which the background material is attached (leather, suede, velvet, etc.) The main seam is a “forged” (smooth) seam, made according to a cardboard pattern template by attaching a gilded thread laid in even rows along the surface of the template and attached to in a certain order with precise stitches to the material with cotton thread. To create a greater variety of embroidery textures, embroiderers use various types of “forged” seams. The variety and combination of traditional seams is one of the principles of creative variation of gold embroidery products. Artists and embroiderers are creative in creating gold embroidery products. The use of different types of seams creates a unique play of light and shadow on the surface of the embroidery. Lace making in Rus' was known long before the 15th century. Stylistic features Vologda lace, judging by the surviving examples of measured lace, was formed by the beginning of the 18th century, and in the first half of the 19th century, paired and coupled lace by Vologda masters began to be produced for wide sale. In the middle of the 19th century, especially after the reform of 1861, in the Vologda province there were over 40 thousand lacemakers who worked not only in workshops, but also at home on orders from buyers who sought to take control of the sale of large products. Vologda lace became famous all over the world. The demand for it grew every year, and trade reached significant proportions.
In the mid-80s of the last century, S.A. Davydova devoted a lot of effort to the development of the lace industry in Russia, contributing to the opening of the Mariinsky Practical School in St. Petersburg in 1883, one of the tasks of which was to train professional lace-making artists to work in the Vologda province. Among the first graduates of this school was S.P. Bryantseva, who, together with her mother A.P. Bryantseva, introduced new lace-making techniques that differed significantly from the techniques of other centers. In 1919, the first decree of the Soviet government on handicraft industry was issued. This year is associated with the emergence of cooperation among artisans, including Vologda lacemakers. Yelets lace, a type of Russian lace woven with bobbins. It is distinguished by the soft contrast of a small elegant pattern (floral and geometric) and a thin openwork background. Yelets lace has been known in Russia since the end of the 18th century. It was then that one of the centers arose here, in Yelets, where Russians began to actively master this art that came to us from Europe. It is known that in the Yelets district, within a radius of up to 25 versts, already at the beginning of the last century, the far from easy craft of lace making was mastered by hundreds of people. At first, drawings for patterns were delivered to Yelets residents from abroad, but over time, their own original artists appeared here, their own unique style, which distinguishes Yelets lace to this day. Ryazan lace as a whole is a major phenomenon in Russian applied art. It acquired a particularly original, distinctive character in the city of Mikhailov and Mikhailovsky district of the Ryazan province. In the 16th century, with the emergence of the defensive line of the Moscow state, a significant number of service people were resettled here, as evidenced by the names of the ancient urban settlements Streletskaya, Pushkari, Plotniki. Free from serfdom, Moscow settlers were actively engaged in various crafts. It was in their midst, probably in the first half of the 19th century, that lace making as a craft arose.
IN different time Various types of lace weaving also dominated here. At first it was the finest multi-pair lace “Ryazan style” and “grass”, as well as coupling. The third method of weaving is connected with the life of ordinary citizens of Mikhailov and its environs - numerical . It was the local numerical lace that became widely known under the name “Mikhailovskoe”. In the second half of the 19th century, Mikhailovsky lace became an item of trade not only within Russia, but also abroad. Nowhere, except for the city, Mikhailov and its district, has lace received such originality of designs and colorfulness. It is not for nothing that it has become so widespread in peasant costume in different areas. Dense, bright, it perfectly complemented clothes made from heavy fabrics of the embedded technique and coarse linen, combined with the bright patterns of the fabric and embroidery.
More than 150 years ago, in the ancient mountain village of Gotsatl, the art of metal processing (silver, copper, cupronickel) originated. TO end of the 19th century century, a rare mountain woman got married without a Gotsatlin water jug with an engraved pattern. The Gotsatlinsky master, like the Kubachi master, has several professions: he must know melting, mounting, chasing, engraving, blackening. But if the labor processes of the masters are similar, then their works differ in their ornamentation. Unlike Kubachi, Gotsatlinsky does not occupy the entire area on the surface of the product, but is performed in a strict graphic form. The main products produced are kumgans, cutlery, wine sets, wine horns, decorative plates, tablespoons and teaspoons, and a variety of women's jewelry.
One of the oldest types of artistic metal processing is filigree (from the Old Russian - to twist), or, as this type of jewelry technique is also called - filigree (from the Italian filigrana, in turn this word comes from the Latin filum (thread) and granum (grain), since the pattern is sometimes made not only from twisted wire, but from tiny metal balls). In Rus', filigree has been known for a very long time. Filigree items are found in excavations of burial mounds of the 9th century. In Russia, the village of Kazakovo, Nizhny Novgorod region, is becoming one of the largest centers of filament production. The traditions of Rostov enamel (enamel) have a pronounced national recognition. It is especially important that the enamel artists of Rostov the Great preserved the classical skills of the artistic technique of miniature writing on enamel and the culture of working with enamel as a precious specific material of handmade artistic craft. The art of painting on enamel appeared in Rostov in the second half of the 18th century. Information has been preserved about the existence during this period of an enamel workshop at the Rostov bishop's court and individual craftsmen who worked on orders from the monasteries and churches of the city. According to some sources, the founder of miniature painting “Finifti” is Metropolitan Arseniy Motseevich . Craftsmen were engaged in the manufacture of enamel pellets for decorating church items. Since the 1770s, workshops appeared in Rostov, uniting artisans according to their specialties. Among others, a workshop of icon painters was organized, which included enamel masters.
Chern, as a type of artistic metal processing, has been known in Rus' since the 10th century. Chernov art received widespread development in the second half of the 17th century in the North, in Veliky Ustyug. From the second half of the 17th century and especially in the 18th century, Veliky Ustyug was one of the largest trade and craft centers of Medieval Rus'. In terms of size, Veliky Ustyug ranked seventh among 125 Russian cities, second only to Moscow, Kazan, Yaroslavl, Nizhny Novgorod, Vologda and Kostroma. For Veliky Ustyug, the 18th century was the period of greatest flowering of blacksmith art. By the middle of the 18th century, Veliky Ustyug masters of blacksmithing were able to master a number of artistic and technical techniques that gave their work features of unique originality. Thanks to talented craftsmen, the Ustyug mob acquired its own identity, different from the art of other art centers.
The history of the Zhostovo craft dates back to the beginning of the 19th century, when in a number of villages and hamlets near Moscow of the former Troitskaya volost (now Mytishchi district of the Moscow region) - Zhostovo, Ostashkovo, Khlebnikovo, Troitsky - workshops arose for the production of painted lacquered items from papier-mâché. The appearance of the Zhostovo painted tray is associated with the surname of the Vishnyakov brothers. In 1830, the production of trays in Zhostovo and surrounding villages increased. The first forged metal trays appeared, decorated with floral paintings. Iron trays gradually replaced snuff boxes and other papier-mâché products. The advantageous location near the capital provided the fishery with a constant sales market and made it possible to do without the intermediary of buyers. All materials necessary for production were purchased in Moscow. The main motif of Zhostovo painting is a flower bouquet. In the original art of Zhostovo masters, a realistic sense of the living form of flowers and fruits is combined with decorative generality, akin to Russian folk brush painting on chests, birch bark boxes, spinning wheels, etc. Since ancient times, the Nizhny Novgorod region has been famous for its metalworking traditions.
The ancient city of Pavlovo, located on the banks of the beautiful Oka River, was and remains one of the centers of blacksmithing and knifemaking. At the end of the 17th century, there were up to 50 forges in Pavlovo. One of the most famous was the weapons industry. Later, the metalworking industry found its development in the production of household items: knives, locks, scissors. The exhibition of the Pavlovsk Museum of Local Lore carefully preserves unique products of Pavlovsk craftsmen: cutlery made of English steel, polished to a mirror shine and decorated with fine engraving, knives for opening oysters, cheese knives, locks ranging in size from 0.7 grams to 50 kilograms and a variety of shapes: in the form of roosters, clocks, coats of arms, cars and others. Modern exhibits include an invisible knife and a savvy golden mechanical flea. The creative research of the craftsmen also touched upon the production of artistic metal products of an Orthodox church orientation using artistic enamels and other technologies traditional for these products. This unique look Decorative and applied art was born as the art of decorating edged weapons at the beginning of the 19th century, when the Zlatoust weapons factory was opened. German specialists from Solingen and Klingenthal were invited to work at the factory, among whom was the famous blade decorator Wilhelm Schaf and his sons. He decorated the first Zlatoust blades. But later this was already done by Zlatoust artists, who not only mastered Shaf’s techniques of drawing on metal, but also improved this technique, creating complex plot compositions and multi-figure battle scenes. The use of the famous damask steel by P.P. in the manufacture of blades. Anosov and Obukhov steel, the high artistry in their decoration glorified Zlatoust decorated weapons not only in Russia, but also far beyond its borders. This is evidenced by numerous domestic and foreign industrial exhibitions, at which these weapons were constantly presented and received high marks, and best samples are kept in the State Hermitage, the Armory Chamber of the Moscow Kremlin, the State Historical Museum, the Central Museum of the Navy, and the Artillery Museum. The decoration themes are very diverse: ornaments in Russian, Western European, Arabic and other styles, nature paintings, hunting or battle scenes, portraits, symbols (monograms, personal insignia, coats of arms). Decorated blades can be made from high quality coated tool steels, stainless steels or Damascus steels. The sheath can be leather, wood, metal or a combination.
Semikarakor faience is a striking phenomenon of the folk artistic culture of the Don land . He absorbed all the colors of this beautiful and powerful region, its local spiritual culture, the traditions of Don art, inspired by the freedom-loving spirit of the Cossacks. The craft originates from the centuries-old traditions of pottery in the Cossack village of Semikarakorskaya. Numerous archaeological studies in the vicinity of the present city of Semikarakorsk confirm that since pre-Christian times, handicraft pottery workshops spontaneously arose everywhere here, using rich local raw materials resources: various clays and sand. Snow-white painted faience with openwork lace ornaments, stucco genre sculptures in combination with forms are a new direction in the Don applied art. For independent use, small plastic sculptures of various subject compositions are made by casting and hand sculpting.
The distinctive features of Gzhel porcelain products are decorativeness, elegance, aesthetic and functional expressiveness, as well as a variety of shapes . The painting of the products is distinguished by the brightness and contrast of cobalt paint with a white background thanks to the use of hand-made underglaze painting with cobalt on scrap. As a result of firing black, cobalt becomes bright and blue. The product is painted with a squirrel brush with a certain set of paint on only one side of the brush (the so-called “stroke with shadows”), where each subsequent stroke is different from the previous one and has a wide tonal range: from deep and dark tones to light and light. Along with traditional elements of painting (floral, plot ornaments), twisting tendrils, spiral curls, dotted and dashed fillings, nets, and stripes of simple geometric patterns are also used. The scale of the ornament corresponds to the size of the products, and the nature of the arrangement of the pattern emphasizes the beauty of the form. A specific technology ensures that the brightness and freshness of colors remain forever. In 1766, the Englishman Franz Gardner began producing porcelain products in Verbiltsy (and now Verbiltsy). High Quality, surpassing the whiteness of the snow covers of the Russian winter. After the successful completion of the order of the imperial court for the production of 4 order services - St. George's, St. Andrew's, Alexander and Vladimir in 1778-1785, the Verbilkovsky porcelain brand gained wide popularity and unconditional recognition. In 1892, the factory was purchased by M.S. Kuznetsov. After the revolution of 1917, the enterprise was nationalized and became known as the Dmitrov Porcelain Factory.
The hand-sculpting technique was destined to define the face of Kislovodsk porcelain production for a quarter of a century. . With good reason we can say that in this case, virtuoso mastery of the technique has developed into a creative direction. Under the golden hands of the masters, delicate roses, graceful daisies and lilies of the valley, and other flowers surprisingly reminiscent of real ones are born before our eyes. Along with brilliant examples of modeling, other well-known types of porcelain decoration have recently been used. Complex technologies of engobe, underglaze, miniature and luster painting are used. Kislovodsk porcelain represents new decorative possibilities of an ancient material, a variety of plastic forms, an organic combination of the advantages of artistry and functionality.
The deep antiquity of Balkhar ceramics is evidenced, along with the remnants of matriarchy in its organization (only women craftsmen), the most ancient motifs in decoration. The Balkharians are in the process of long development and improvement ceramic painting very interesting peculiar features have been developed in ornamental forms, inherent only to this type of art. The entire painting, starting from the horizontal belts and ending with the details of the pattern, is applied on a potter's wheel, rotating it slowly without any preliminary plans or thoughts. This, in turn, predetermines the absolute uniqueness and endless changeability of the ornamental compositions of Balkhar painters. Firing is carried out in homemade dome kilns using dung. Its mixed redox character, obtained thanks to such fuel, turned out to be the reason for the peculiar coloring of the shards of Balkhar vessels: from pinkish-terracotta to matte black. This characteristic Balkhar ceramics in combination with lace ligature and engobe painting enhances the feeling of hand-madeness and uniqueness of each item. Currently, more than 30 types of different products are produced. Each is unique due to its unique beauty and completeness of form, which corresponds to its purpose in everyday life. The most common are large household jugs without handles, special water-bearing jugs, butter jugs, milk bowls, jugs with a nose for washing, small water jugs, open bowls for dairy products, decorative plates, mugs, vases, original stucco sculptures of animals and humans, painted in traditional Balkhar ornaments.
Dymkovo clay toy is one of the most striking and original folk art crafts of the Vyatka region. For more than four centuries, the Dymkovo toy personified the life and way of life of many generations of Vyatcha residents. The craft originated in the settlement of Dymkovo, Vyatka province (now Kirov region), hence the name of the toy. The first Dymkovo toys were whistles, sculpted for the annual spring holiday“Whistling”, held “in honor of those killed” in the battle of 1418 between the Vyatchans and Ustyuzhans near the walls of the Khlynovsky Kremlin. Since the mid-20th century, the fishery has lived and developed only in the city of Kirov (Kirov region) on the opposite bank of the Vyatka River from the Dymkovo settlement. The city of Kirov is the only traditional place of existence of this folk art craft. Entire families made the toy in Dymkovo. In the summer they dug and kneaded clay, pounded lump chalk by hand and ground lump chalk in paint grinders, from autumn to spring they sculpted, dried, fired products, closer to “Svistunya” they whitewashed with chalk diluted in skimmed cow’s milk, painted with egg paints, decorated with diamonds of gold leaf, golden sweated. Over the four hundred years of existence and development of the Dymkovo craft, traditional themes, plots and images have developed in it, have been reflected and consolidated means of expression, inherent in very plastic red pottery clay, simple (geometric pattern) painting patterns, in which red, yellow, orange, blue, green colors predominate. Halftones and imperceptible transitions are alien to the Dymkovo toy. All of it is an overflowing fullness of the feeling of the joy of life.
The Pskov (Lukovsky) pottery industry dates back more than 300 years of its existence. The first detailed description of this fishery was published in the “Statistical Essays” of the Pskov Provincial Statistical Committee for 1884. The sustainable long-term existence of the fishery in one place is explained, in part, by the fact that in these places (along the banks of the Cherekha River) there are significant deposits of clay suitable for making ceramic products. During the existence of the craft, a number of artistic and stylistic features characteristic of Pskov pottery have developed. First of all, this is engobe painting, which was widely used already in the 17th century. There are various methods of applying engobe to products - with a brush, with a blower, or splashing. Traditional painting motifs of both old masters and modern ones - plant compositions, animal style, geometric patterns, which are based on conventional images of the sun, trees, etc. The engobe painting method gives the master almost unlimited possibilities for variation. Engobe painting is especially widely used in decorating tableware. The combination of red-burning clay with white and black engobes is unique. One of the traditional trends is a relief ornament with color. The origins of this trend are Pskov tiles on stoves and fireplaces, Pechersk ceramides. This is one of the oldest traditions of Pskov pottery.
Skopinsky pottery art craft is a traditional center of folk art on Ryazan land. The fishery owes its origin to the clay that lies in large quantities in the vicinity of the city of Skopin. Pottery in the places where the city of Skopin later appeared was made back in the days of Kievan Rus. In this vessel they churned butter, fermented dough, and stored milk, water, and kvass. The year of birth of Skopinsky pottery is considered to be 1640. This year, the first name of the Skopinsky potter appeared in the population census - Demka Kireev, son of Berdnikov. Skopinsky pottery developed, like many others in Russia, producing pottery for peasant life, stove pipes, bricks, and tiles. But in the second half of the 19th century, an industry appeared in Skopin that glorified it far beyond its borders, the production of glazed figured vessels and candlesticks, multi-tiered, decorated with complex stucco, made in the form of a strange animal or with figures of birds, fish and animals.
Turin Mountain is an unusual fishery. The basis of the products he produces is not a tradition preserved and passed on from generation to generation, as, for example, in Palekh or Khokhloma, but the creative originality of the artistic vision and thinking of each master. However, this does not mean that there are no traditions in Turin Mountain. While maintaining individuality, most artists focus their work on the visual foundations of archaic cultures. In the name of the fishery associated with ancient culture humanity reflects its basic stylistic orientation, which organically fits into the modern artistic process. Turinogorsk residents draw inspiration from the symbolism of the art of the Ancient East, from the pagan culture of Ancient Rus' and the peoples of Siberia, and turn to the motifs and forms of ancient classics. From interest in archaic cultures, the art of the ancient Turks, Altai Scythians, as well as the traditional art of modern Altaians, who preserved archaic roots, an artistic credo of the craft was gradually formed, which gave its products uniqueness and recognition. The Filimonov toy is called the “pearl of folk art.” It amazes with its simplicity and, at the same time, the elegance of its forms, the beauty and expressiveness of the ornament and the uniqueness of its sound. A monolithic image, sparse in detail: a narrow bell skirt smoothly transitions into a short narrow body and ends with a cone-shaped head, integral with the neck. In hands are a bird whistle and a child. The stinginess of the form is remarkably compensated by the elegance and cheerfulness of the simple ornament: multi-colored strokes, spots, twigs, rosettes... Before us is the image of the Filimonovskaya young lady - a descendant of one of the oldest (according to some sources she is about seven hundred years old) toys in Russia. The age of the Filimonov miracle is quite arbitrary. Experts claim that the art of sculpting and painting intricate clay nursery rhymes came to the Odoevsky region from the distant Paleolithic, and during excavations of the Zhemchuzhnikovsky and Snedkovsky mounds and settlements in Odoev, pottery shards dating back to the 9th - 11th centuries were discovered, with drawings and signs that are used to paint today Filimonovskaya toy. The traditional set of plots in the Filimonov toy is a lady, a rider, a horse, a deer. They are characterized by elongated proportions associated with the plastic properties of local black-blue clay - “sinika”, found exclusively in the vicinity of Filimonovo. Blue-black, greasy, viscous, it is not at all like pottery clay or the clay from which toys are made in Kirov, Kargopol, and other places. “Sinika” itself suggests a method for working with it, hand-sculpting techniques. The viscous, homogeneous, like dough, mass is easily wrinkled, molded, allows you to freely stretch out the entire shape of the toy, and there is no need to sculpt it in parts, smearing it to each other. And now, in familiar hands, in memorized movements, a lump of this clay first becomes the bell of a skirt and from it the graceful figure of the lady rises, deftly stretches into a small head and at the same moment ends with a crushed pointed hat. There is not a single extra lump left in the hands of the craftswoman - everything is precisely calculated. Only the duck-whistle under the lady’s armpit is always sculpted separately. Other toys are made in the same way. If a craftswoman wants to make a whistle - a horse or a cow - she separates the required piece of clay and, as usual, deftly bends it into a thick rope. And then from one half of it it pulls out four strong prop legs and a whistle, and from the other - a long, very long neck with a tiny head of a strange animal.
Patterned heald weaving, an ancient type of folk craft, was developed in many villages of the Nizhny Novgorod region, especially on its northern outskirts. Peasant women decorated rugs, clothes, bedspreads, tablecloths, tabletops, and towels with homespun patterns. The materials used for weaving were flax, wool and cotton. Nizhny Novgorod weaving was distinguished by its large patterned geometric patterns and subtlety of color. The number of colors in the fabric is small, harmonious and noble in shades. These are mainly white, red, blue colors. Thanks to the finely found compositional solution of color and ornament, the weavers' products had a special sophistication. These are highly artistic tablecloths, curtains, napkins, bedspreads for sofas and armchairs, towels, aprons made of cotton and linen yarn, viscose, wool mixture using synthetic yarn. All manufactured products are certified. People need the beautiful and practical products of Shakhun weavers for everyday life, holidays, and will satisfy every taste. They enliven the interior, give it special attractiveness and national character, fill it with warmth and comfort.
The history of stone-cutting goes back to the distant past and is inextricably linked with the mysterious “marble” cave, located on the banks of the Piana River in the village. Bornukovo, Buturlinsky district. This cave has long been famous for its ornamental stone - anhydrite or as it was called “Nizhny Novgorod marble”. It came in a variety of shades: pink, white, bluish, brown, gray and greenish, with a variety of designs and patterns. During the time of Catherine II, the stone mined in the cave was sent to St. Petersburg for decoration of palaces. The heyday of Bornuko stone-cutting art occurred in the 30s of the 20th century, when in the village. In Bornukovo, a factory of artistic stone-cutting products “Bornukovskaya Cave” was created. At first she worked as a branch of the Kazakovsky Jewelry Association, then independently. A few years later, having adopted the experience of the Ural masters, Bornukovo stone carvers reached the pinnacle of skill and were repeatedly awarded the highest awards at Russian and international exhibitions, including the 1937 exhibition in Paris. When processing stone, turning is used in combination with volumetric and relief carvings and engraving. Samples of animals and birds are distinguished by their laconicism and at the same time unique “characters”, which allow us to reveal the natural beauty of the material. The expressive silhouette, soft plasticity, lyricism, and ingenuousness of the created samples convey the beauty and originality of the animal world and the kindness of the Russian soul. In addition to sculptures of birds and animals, the company’s craftsmen produce a wide range of household items: elegant candlesticks, vases, boxes, writing sets.
The Tobolsk bone-carving craft, one of the four traditional bone-carving crafts in Russia, arose in the early 17th century during the reign of the first Tobolsk governor, Matvey Gagarin. The emergence of bone carving in Tobolsk was due to the abundance of mammoth ivory, which was found along the banks of northern rivers. In the 19th century, bone carving in Tobolsk was carried out by exiled Poles, who in the 1860s began making brooches, snuff boxes, hairpins, as well as images of the Madonna. By the end of the 1860s, a group of local bone carvers worked in the city, and in 1874 the Siberian Workshop of Mammoth Bone Products of S. I. Oveshkova opened. Tobolsk bone cutters were in demand in St. Petersburg, Moscow, Kazan, Kyiv, Nizhny Novgorod. By the mid-1870s, Tobolsk bone carving practically became a trade, with all its inherent features of organizing production and sales. The main line of development of the Tobolsk craft was miniature three-dimensional sculpture. The figures are distinguished by their generalized plasticity; the texture of the material is revealed, the surface of which is left smooth and carefully polished. The northern theme is declared traditional for Tobolsk carved bone. The Uelen bone carving workshop, created in 1931, united Chukchi and Eskimo bone carvers who were passionate about sculpture or specialized in decorating bones with color engraving. The workshop is one of the world's largest centers of fine art of indigenous peoples of the Arctic.
A unique technique of color engraving on a walrus tusk was created in Uelen at the beginning of the century and is used only by local Chukchi and Eskimo bone carvers. The sculptures, made in a laconic and expressive manner, are multi-figure compositions depicting scenes from the life of the peoples of the North - hunting, deer catching, reindeer and dog sleds. The works of talented carving masters are deeply individual, they combine lyricism with expression, traditions with modern trends in the development of bone carving art.
Goals and objectives:
- To introduce students to the world of professions and show their characteristics.
- Develop moral and aesthetic feelings, make interdisciplinary connections with history, literature, music.
- To promote the development of interest in the subject and the cultivation of a feeling of love for the Motherland.
Equipment:
- samples of products and illustrations - “Zhostovo”, “Living Gzhel”, “Haze”, “Russian lace and embroidery”, “Russian shawls”, “Gorodets painting”, “Russian nesting dolls”.
- map of Russia, tables-drawings, tape recorder, book exhibition,
- CD with the presentation “Folk Crafts of Russia”.
Epigraphs for the lesson:
“Work is good if it has benefit and soul.
It is not gold that is expensive and glitters,
But something that is created by the hands of a master is precious.”
The music is quiet.
You can fall in love with Russia only when you see all the beauty of Russian nature, let the tragic and heroic history of the Russian people pass through your soul, marvel at the beauty of architectural ensembles, listen to beautiful music, and touch the true creations of the Russian people.
From time immemorial, our Russian land has been famous for its kind craftsmen, people who created and are creating fabulous beauty with their own hands.
In order to love, you need to see and know all this.
There are a great many folk art crafts in Russia, and today we will get acquainted with some of them.
This year you are graduating from basic school and you need to choose your future path - where to go to study, who to be?
What does the word “profession” mean?
Inquiry Office. A profession is a type of work activity that includes a set of theoretical knowledge, practical experience and work skills.
Another term closely related to this is vocational education.
Professional education– a set of knowledge, skills, abilities that allows you to work as a specialist in one of the sectors of the economy of our country.
Choosing a profession is a very important moment in the life of every person. Most school graduates choose the professions of economists and lawyers. What professions are in demand today in our country and in our city?
Inquiry Office.
Today in the economy of our country there is a shortage of working specialties such as turners, installers, mechanics. There are not enough engineering, technical and construction specialties.
In our city, you can continue your education and get a profession at vocational school No. 28, at the Zeya Medical School, at the Trade and Economic College, at the Polytechnic College.
In the old days, people earned their daily bread by doing various crafts. We will find out what “craft” is at the information desk.
Inquiry Office.
Craft is the small-scale production of finished products, where the basis is manual labor. One of the characteristic features is the production of products according to consumer orders.
What do you guys think, have crafts survived today?
Crafts have been preserved and acquired one of the forms of artistic folk art.
Where did this name “trades” come from?
A long time ago, when agricultural technology was still too simple, and infertile lands did not produce good grain harvests, the population was forced to engage in various crafts. Then the trade products were exchanged for bread and other necessary items. People observed nature and reflected these observations in works of folk art. Gradually, work skills were consolidated. The most active development of folk crafts in all regions of Russia began in the second half of the 19th century, along with them the art industry arose, where things were produced in large quantities.
The art of folk crafts is a link between the past and the present, the present and the future.
The Russian land is rich in a variety of folk crafts.
And now we will take a tour of the most famous, most unique centers of folk art.
Today I want to sing and praise
“A kind heart, generosity and intelligence,
The skillful hands of the Russian people.”
Now we invite you to the Moscow region, to the village of Gzhel, where we will get acquainted with a craft known throughout Russia - Gzhel porcelain, which was also mentioned by Lomonosov MV. said: “There is hardly the purest land in the world like our Gzhel, which I have never seen with more beautiful whiteness.”
Gzhel.
Products from Gzhel are so beautiful, so unusual that their fame spread not only in our country, but also abroad.
You've probably seen unusual-looking dishes, in which the beauty of the combination of white and blue colors. The secrets of beauty are hidden in nature itself. To the southeast of Moscow there are about three dozen villages and villages, one of them is the village of Gzhel. Local historians associate the origin of this name with the word “burn,” which is directly related to the craft - clay products were necessarily fired in an oven at high temperatures. So this name spread throughout the entire district, where folk ceramics developed.
People from 40 professions take part in the production of objects. Almost all operations are performed manually. Craftswomen paint products with great love, putting a piece of their heart and kindness of soul into them.
What are they doing in Gzhel? Cups, jugs, sets, mugs, vases, figurines of people and animals. Look how beautiful this white and blue porcelain miracle is. Russian painter B.M. Kustodiev said that Gzhel teapots and cups bloom with “witchcraft blue flowers.”
And indeed, there is some kind of mystery in the fact that the cold blue color is transformed in them, becoming almost warm.
Porcelain teapots, candlesticks, clocks,
Animals and birds of unprecedented beauty.
The village in the Moscow region has now become famous.
Everyone knows its name - Gzhel.
The inhabitants of Gzhel are proud of the blue sky,
You will never meet such beauty in the world.
The blue of heaven, which is so dear to the heart,
The master's brush easily transferred it to the cup.
Each artist has his own favorite pattern
And each of them reflects their dear side.
In modern samples of Gzhel there is a bluish tint. Like heaven, the blue surface of the rivers and lakes of our homeland descended onto the whiteness of this dish.
But the Dymkovo toy came to visit!
Dymkovo toy.
About the ancient Dymkovo toy Let's tell the story now.
In Dymkovo they loved songs and dances, and wonderful fairy tales were born in the village.
The evenings are long in winter and they sculpt there from clay.
All toys are not simple, but magically painted.
And fame spread about Dymka, having earned the right to do so.
Another amazing profession to which people devote their entire lives is toy making. In ancient times, clay toys were not created for fun - they were participants in ancient rituals. They were credited with a special power: to protect, to protect people from all evil. All toys reflect images that live in people's memories and carry on their traditions.
Dymkovo toys are very diverse - there are riders on horses, painted birds and elegant young ladies. The shape of the toys is monolithic, the silhouette of the figures is smooth. The palette of colors is bright, the decorative patterns are creative; they reflect not only fairy-tale representatives, but also the very life of the people.
Ceramic toy is a traditional folk art.
To this day, figured vessels, toys, and ceramic dishes are made in many cities and villages (Filimonovo, Torzhok, Sergiev Posad, etc.).
Matryoshka dolls.
Now guess the riddle: Eight wooden dolls, round-faced and ruddy, in multi-colored sundresses, they are coming to visit us. Guess what the name is?
I don’t know who made the nesting doll.
But I know that hundreds of years
Together with Vanka-Vstanka, as if alive,
The doll conquers the white light.
Where did he get the paints, the skilled craftsman,
In noisy fields, in a fairytale forest?
Created an image of irrepressible passion,
True Russian beauty.
The dawn brought a blush to her cheeks,
The blue of the sky splashed into her eyes
And the nesting doll across the planet
It's still going strong.
He stands proudly, majestically,
With a daring smile on his face,
And her fame flies around the world
About the unknown master creator!
There are different kinds of dolls in the world - made of wood, clay, their fabrics. And there are special dolls - nesting dolls. They are known in all cities and villages - this is an original Russian souvenir for foreigners. The first nesting doll appeared almost 100 years ago. A toy maker (V. Zvezdochkin) from Sergiev Posad made a disassembled toy and painted it. The result was a Russian nesting doll, a prototype of Matryona (a name that was very common at that time). All nesting dolls are different from each other; today they carry images of famous people.
Work is good if there is benefit and soul in it.
Painted scarves.
And now you are greeted by craftsmen from the ancient Russian city of Pavlovsky Posad. For a long time in Rus', a scarf was an accessory of women's clothing. The peasants wove scarves, decorated them with embroidery, and put patterns on them. The production of scarves and shawls originated in Russia in the 19th century, fashion came from France, but even today this handmade art is in demand. There are crafts that can be found in every corner of Russia: embroidery and lace. Lace was used to decorate costumes and household items. Under Peter 1, wearing lace was mandatory for all nobles. Vologda, Kirov, Yelets lace is known and popular to everyone. Lace is made using bobbins - this work requires both creativity and a lot of patience.
Zhostovo.
And now we will go to the village of Zhostovo near Moscow, where painted metal trays are made. This unique art began at the end of the 18th century. Painting is done on a black background; red and blue and other colors are used. Bright bouquets, compositions of roses, peonies, and tulips amaze with their beauty and give rise to a feeling of respect for the craftsmen.
And our tour of folk crafts will be completed by artistic objects of miniature lacquer painting, amazing in beauty and originality.
Palekh, Gorodets, Khokhloma painting - lacquer miniatures reflect the life of the people, Russian epics, and nature.
Gorodets painting - how could we not know it?
There are hot horses here, well done.
There are such bouquets here that it is impossible to describe.
The stories here are like nothing in a fairy tale.
Look at the painting - the richness of the colors beckons.
Gorodets painting pleases our souls.
In their works, masters create the beauty of their region. At the end of the 19th century, icon painting became widespread. On its basis, black-lacquer miniatures arose - these are lacquer boxes, furniture, and utensils.
Khokhloma brush! Thank you very much!
Tell a fairy tale for the joy of life!
You, like the soul of the people, are beautiful,
You, like people, serve the Fatherland!
Over the centuries, forms of applied art have been developed and refined.
We live in the Far East, which is famous for its craftsmen. Craftsmen sew clothes, shoes, and hats, decorating them with ornaments, beads, and embroidery. They make products from fur, skins, and create souvenirs. At our school we also have our own masters - craftsmen; in the classes of clubs you can find something you like - beadwork, embroidery, wood carving, burning, root plastics and other types..
The peoples of Russia are famous for their talented and hardworking craftsmen. The world of professions is rich and diverse, the main thing in life is to do what you love.
Folk arts and crafts of Russia.
| Locality | Where is. | Type of craft. | Founding time. |
| With. Gzhel | Moscow region | Pottery. Artistic ceramics. Dishes. |
|
| Gorodets | Nizhny Novgorod Region | Wood carving and painting. Toys. | XIV century |
| With. Dymkovo | Kirov region | Painted clay | XIX century |
| With. Filimonovo | Tula region | Painted clay toys. | |
| Semenov Sergiev Posad |
Moscow region Moscow region |
Matryoshka dolls. Wood painting. (spoons, dishes). Wood painting. |
XV century |
| Pavlovsky Posad | Moscow region | Painted scarves. | XIX century |
| With. Zhostovo | Moscow region | Metal painting. | XVIII century |
| With. Khokhloma | Nizhny Novgorod Region | Wood painting. Lacquer painting. |
XVII century |
| village Palekh | Ivanovo region | Wood painting. Lacquer painting. |
XVII century |
| Dyatkovo Gus-Khrustalny |
Bryansk region Vladimir region |
Crystal. Glassware |
XVII century |
| Torzhok | Tver region | Lace sewing. Clay toy. |
XII century |
| Tula | Tula region | Production of samovars and gingerbread. Weapons production. |
XII century |
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The best amulets against the evil eye and damage Amulet against the evil eye with hands for children
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The best amulets against the evil eye and damage Amulet against the evil eye with hands for children
How to read the Psalter correctly
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How to read the Psalter correctly
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How to read the Psalter correctly
Delicious dishes with sausages
A glimpse of Bella. Romantic chronicle. A glimpse of genius. Messerer about Akhmadulina Boris Messerer glimpse of Bella romantic chronicle
I dreamed that I was sailing on a boat on the river
How to cook beef entrecote in a frying pan