Sections: MHC and ISO
Lesson topic: Russian folk festive women's costume.
Lesson objectives:
Educational: Continue to introduce the features of Russian folk festive clothing.
Developmental: Improve skills in composition, working with paper, scissors, glue, and other materials.
Educational: To cultivate a sense of beauty, a sense of pride in the deep historical and spiritual roots of our country.
Equipment for the lesson:
- Presentation with reproductions of paintings.
- Samples of Russian costume.
- Sample application.
- A set of materials for a practical task.
- Audio recording of folk melodies.
Lesson progress
Organizational part.
Teacher: Hello! Today we have a slightly unusual lesson, but since the lesson is a joint creativity of the teacher and students, I ask you to support me and conduct this lesson together and interestingly. Can I count on your support? (children's answers)
Teacher: Thank you! Let's see what you have on your desks and what we need today (the teacher names and shows, the class checks): a technological lesson map with which you will work during the lesson, a set for a practical task, pens... and a great desire to learn new things and create beautiful things. I'll go by and check if everyone is okay. Well done! Everyone is ready for the lesson.
Announcing the topic of the lesson
Teacher: So, let's start working with the technological map, fill out the first line: today is November 7th, then write down your first and last name. The topic of our lesson is “Russian folk festive women's costume”, write it down in your technological maps.
MBOU "Selikhov Secondary School"
Open lesson Fine arts Subject: People's festive costume 5th grade
Art teacher: Ilyushchenko O.D.
2014
Topic: “Folk festive costume.”
Target: Educational : Expand:- folk festive costume as a holistic artistic image;- North Russian and South Russian clothing complex;- variety of forms and decorations of folk festive costume in various republics and regions of Russia;- shape and decor of women's hats; expression of the idea of the integrity of the world, the indissolubility of the earthly and the heavenly in the figurative structure of folk festive clothing.Developmental: continue to develop the skills and abilities of making sketches of a festive costume different regions and peoples of Russia using various techniques and materialsEducational: to develop students’ aesthetic and artistic taste,cultivate respect and love for folk traditions.
Equipment (materials: paper, paints, pencils, eraser); educational presentation, video film “Woman in folk costume».
Progress of the lesson.
Greetings.
It's here new lesson. I will smile at you, and you will smile at each other. And you will think: how good it is that we are all here together today. We are modest and kind, friendly and affectionate. We are all healthy. - I wish us all a good lesson!- 2. Communicate the topic and purpose of the lesson
- 3. Presentation of new material.
Teacher: - Children! Do you like to wear beautiful clothes?
A student dressed in Russian folk costume enters the class.
Teacher: - What nation’s costume is represented on our assistant?
Teacher: Your great-grandmothers and great-grandfathers also sported folk attire. The life of peasants was inextricably linked with nature, the cultivation of the land and the corresponding labor cycles. The holiday either completed some stage of the difficult peasant life, or preceded the next one. important stage. The holidays were expected and prepared for.
Festive clothing was very colorful, always decorated with elements of embroidery, stripes of braid, beads, cord, sequins and other details that, as a rule, were not found in everyday clothing.Today, a computer presentation will help us see all the beauty of the festive Russian costume.For many peoples, ancient festive clothes had a three-tier structure of decorations.Headdresses and the upper part of the costume are associated with the image of the sky, so the compositions of the patterns are based on an appeal to the sun, stars, birds, which connect heaven and earth. Ribbons hanging from hats symbolize rain. The patterns and embroideries are dominated by the image of fertile land.
We wear caps, berets, and hats on our heads. And in ancient times, women wore kokoshniks and magpies, covering them with scarves on top. These headdresses consisted of 2-5 elements and sometimes weighed several tens of kilograms.
Women have always paid special attention to headdresses, the most visible part of any costume. Headdresses were extremely varied, but were always clearly divided into maiden headdresses and married women's headdresses.
Married woman ancient custom had to carefully cover her hair from prying eyes. It was forbidden to leave the house or do household chores with your head uncovered.
But young girls were not forbidden to show off their hair: “A girl’s braid is a beauty to the whole world.” Hence the differences: girls have light airy braids, crowns, crowns, kokoshniks, ribbons, hoops, and women have deaf magpies, kiki, warriors, scarves.
The clothes of a girl in central and northern Russia consisted of a shirt, sundress, epanechka, and in cold weather, a dushegreya.
Folk holiday clothing could tell a lot of interesting things about its owner: where he was from, what age he was, and for what occasion he was dressed like that. The clothing of each region (province) of Russia had its own patterns, favorite colors, trims, shapes and styles. In Arkhangelsk, Vologda, Novgorod, Kostroma, Yaroslavl regions Combinations of a white base with a red pattern were common.
Over the course of several centuries, a tradition developed of creating and wearing those forms of clothing that were the most functional and adapted both to climatic conditions and to convey certain information about their owners. Russia as a whole is characterized by 2 types of women's costume sets: North Russian, which is based on a shirt and a long sundress, and South Russian, the second component of which is a short and voluminous poneva.
The festive shirt was decorated with embroidery, which protected the woman from the evil eye. The collar, mantles, chest, and hem were especially decorated.
It was believed that the richer the shirt was decorated. The happier its owner. By touching the ground with the hem of her shirt, the woman received vitality, and embroideries with fertility symbols gave the earth fertile forces.
The hem of a shirt or skirt was decorated with ornaments symbolizing sown arable land. These are triangles, rhombuses, rectangles with dots. The ends of the wicker belts were decorated with the heads of lizards, which symbolized the underground and underwater world.
Teacher: What forms of ornament do you know? Where are they used?
Student answers:
Ornaments are classified into three forms: centric, ribbon and mesh.
CentricAn ornament is a pattern whose decorative elements are grouped in such a way that they create a closed movement. This pattern is used to decorate tablecloths, napkins, plates, windows and other frames.
Tapean ornament is a pattern whose decorative elements create a rhythmic series with an open two-way movement that fits into the ribbon. Ribbon patterns are widely used to decorate clothing in the form of an embroidered collar, sleeve edge, belt, or headband.
Reticulatean ornament is a pattern in the form of cells that are filled with decorative elements. Woven items were decorated with this pattern.
Teacher: What colors predominated in folk ornament and what is their significance?
Students' answers: White, red, black, yellow predominated in embroidery, brown colors. Sometimes soft blue and natural green.
In popular belief, white color was associated with light, purity and personified the feminine principle.
Red was the color of the sun, fire, life, beauty and personified masculinity._And now we will watch an interesting video. In it you will see paintings by great artists who depicted the beauty of folk costume.Video "Woman in folk costume."
- 4. Practical work.
- 5. Consolidation of knowledge.
Game “Chamomile” to recognize your favorite element of the costume. The assistant holds a flower in the shape of a daisy with detachable petals on which the names of the elements of Russian folk costume are written. Students who are interested take turns tearing off the petals and answering the question.
- 6. Reflection
1.What was the most interesting thing in the lesson?
2. Continue the phrase: “The most difficult thing in the lesson was when...”.
Thanks for the work. Lesson grades.
- 7. Home building:
Finish the work in color.
Lesson topic: “Russian folk costume.”
Lesson type: combined
Type of activity: individual, pair, group
Expected result:
- artistic and creative:
mini-project - creation of the album “Folk Festive Costume”,
creation of a collective creative composition “Russian round dance”;
- meta-subject: (UUD)
cognitive actions - the ability to build an artistic image;
regulatory actions - the ability of students to determine the purpose of their work, identify stages of work, find appropriate means and tools, carry out step-by-step control and evaluation of their actions;
communicative actions – the student’s ability to cooperate, the ability to understand the intentions and interests of people interacting with him.
- personal:
a sense of pride in the culture and art of the Motherland, one’s people;
understanding the special role of culture and art in the life of society and everyone individual;
formation of aesthetic feelings, artistic and creative thinking and imagination;
the ability to cooperate with comrades in the process of joint activities under the guidance of a teacher;
ability to discuss and analyze one's own artistic activity and the work of classmates from the perspective of creative tasks of this topic.
Goals and objectives:
1. To familiarize students with the figurative structure of Russian women’s costume, its structure, symbolism of ornament and color; to form an understanding of the connection between people’s ideas about the structure of the world and the figurative structure of clothing.
2. To foster national self-awareness in the process of familiarization with Russian folk culture, to regional and cultural values.
3. Develop educational, cognitive and information and communication competencies: know the history of the origin of Russian clothing, be able to distinguish different costumes, be able to find the necessary information and use it; to promote the development of children's cognitive and creative activity in visual, decorative, artistic creativity, and to intensify independent creative search in solving artistic problems.
Musical range: Russian folk music.
Materials for students: colored paper, glue, scissors, album, paints.
Materials and equipment for the teacher: video sequence - presentation “Folk festive clothing”, handouts - patterns for paper plastic, reference cards “Sequence of performing the national festive costume”
Lesson progress:
I. Organizational stage. Leading to the purpose of the lesson.II. Stage “Setting the goals and objectives of the lesson”. Motivation to study the topic. Students select a goal that they would like to achieve by the end of the lesson. Mastering new material.
Answers to questions.
IV. Stage "Preventive". Physical exercise.
Task: conducting warm-up exercises to prevent physical inactivity, as well as preventive exercises for the eyes.
V. Stage “Initial check of understanding and consolidation of skills”. Staging artistic task.
VI Stage“Application of what has been learned in practical activities”
VII. Stage"Information about homework, instructions on its implementation"
VIII. Stage“Reflection (summarizing the lesson). Evaluation of results.
Lesson summary
I. Organizational stage. Leading to the purpose of the lesson.
Objective: inclusion of students in activities at a personally significant level.
II. Stage “Setting the goals and objectives of the lesson.” Motivation to study the topic. Students select a goal that they would like to achieve by the end of the lesson. Mastering new material.
Task: get acquainted with traditional Russian costume, its meaning, decoration.
They used to say about a woman:
The beautiful maiden is coming
It's like a peacock swimming.
-Can we say the same about modern woman? Why?
It turns out that a person’s appearance and his costume plays an important role in everyone’s life. It is no coincidence that they have long said: “They meet you by their clothes, they see you off by their intelligence.”
What are we going to talk about today? What to do in class?
The topic of today's lesson is traditional Russian costume. We learn what in the appearance of a woman made it possible to say about her:
“The beautiful maiden is coming,
Like a peacock floating,
She's wearing a blue dress
Scarlet ribbon in a braid,
Feather on the head"
And one more thing
And she herself is majestic,
The word peahen appears.
-What image is this song talking about?
Children: This song talks about a Russian girl.
Let's learn how to create a sketch image of Russian women's clothing. What is needed for this?
Let's create an outline for our lesson.
- get to know the history of the costume
- learn the rules of decoration
- do creative work
- evaluate your work
Teacher: Who does the author compare the Russian girl with? And why?
Children: He compares her to a “pavushka”, who is dressed in a beautiful Russian costume, on her head is a crown or kokoshnik, decorated with pearls and pendants. She acted as the hostess, holding her head high and her back straight, “like a peahen,” “floating like a swan,” the young girl always put her braid on display: “a braid is a girl’s beauty,” they said in the old days.
Teacher: The image of a woman has long been revered in Russian folk art and folklore, and often it is inseparable from the image of a bird - ancient symbol goodness and prosperity. “Swan”, “peahen”, “utyushka”, “dove” are epithets that have long been used in folk poetry, emphasizing the plastic side of the image of a Russian beauty.
Today in class we will take a trip into the past and get acquainted with Russian costume.
Interest in Russian folk costume has always existed. Folk costume is a priceless, integral heritage of the people’s culture, accumulated over centuries. Folk costume is not only a bright, original element of culture, but also a synthesis various types decorative creativity.
Awareness of a new topic
Students receive initial knowledge, awareness of the topic occurs through the teacher’s word, dialogue, discussion, explanatory and illustrative material, presentation “Russian folk festive costume”
Awareness of the topic involves, together with the children, developing and setting goals at this stage of activity, choosing means of expression and materials and methods of work.
Russian folk costume is also evidence of a strong connection with the culture of distant ancestors. The costume carries information about the people of a bygone era, about their way of life, worldview, and aesthetics. The best traditions Russian costume continues to live today. Color, pattern, silhouette, sundresses, shirts, ponies, caftans inspire contemporary artists– fashion designers, contribute to the development creativity in creating your own models of costumes and their elements. We see how expressive Russian costumes are in folklore, in amateur performances, in theatrical productions etc.
The teacher tells how the costume developed, changed and improved Ancient Rus': The shirt was the basis for women's and men's costumes. The men's suit was a combination of a shirt and ports. Old Russian ports were sewn from two straight panels and a gusset between them. They were fixed on the belt with a cord - a gasket. The ports were not wide; they were tucked into boots or onuchi. Like shirts, the ports could later be either lower or upper. The lower ports were made of thinner material (canvas, silk), and the upper ones were made of denser material (cloth
The usual idea of Russian women's costume is associated with a sundress.
A sundress is a loose-fitting garment - it should not emphasize the lines of the figure. A sundress is sewn with wide armholes or with straps. The cutout can be round or rectangular. An everyday sundress was sewn from homespun motley cloth or printed cloth. For a festive sundress, they usually bought expensive material - brocade, Chinese, woolen garus.
Sundresses were decorated along the hem and along the fastening line with patterned ribbons, braid, and lace.
Buttons played a special role in decorating sundresses; they sometimes reached the size of a chicken egg.
The sundress was worn over a long shirt. It was one of the most elegant parts of a woman's costume. The collar, chest, wide armhole, hem and sleeves were especially lavishly decorated.
III. Stage “Knowledge Updating”.
Task: repetition of the studied material necessary for the “discovery of new knowledge”, identification of difficulties in the individual practical activities of each student.
What is an ornament?
Why was the ornament embroidered?
-What symbols were used in the ornaments?
The ornament could be floral, geometric, zoomorphic or mixed. It was believed that the ornament, along with the red color, had a protective effect, which is why it was placed in those places where clothing ended. At the same time, by surrounding the hand with symbols, the person wanted to increase its strength and dexterity.
This is how they dressed in central regions and in the north of Russia.
The costume of the southern provinces differed from the northern ones in that instead of a sundress they wore a poneva. Poneva consisted of several sewn or partially sewn panels of fabric, gathered at the waist with a cord. Ponievas were sewn from checkered or red fabrics with transverse stripes. They were decorated along the hem with strips of fabric, ribbons, and braid. In some areas, bells were sewn onto the poneva; according to the peasants, their strumming protected them from evil spirits.
An apron was often worn over the ponyova; it not only protected clothes from getting dirty, but also served as an additional decoration.
- Why do you think there were such differences in the cut, and especially in the colors of the costumes of the north and south?
And the Russian woman’s costume was completed with a headdress. He received special attention.
By the headdress one could find out what area its owner was from, what age group she belongs.
Girls everywhere could leave their hair uncovered; a ribbon on their head was enough. They also wore “bandages”, kokoshniks. A married woman had to hide her hair, so the headdresses were closed, for example, “warrior”.
Headdresses were decorated not only with gold thread, but also with freshwater pearls. And yet the most common type of headdress was the kokoshnik. In the Pskov province they wore a kokoshnik “shishak”, embroidered with pearls; the pearls were collected in “cones” - a symbol of fertility. It falls down onto the forehead in the form of a net of small pearls.
Another amazing kokoshnik, in the form of a flat-bottomed round hat. To make the brim bristle, pearls were strung on horsehair. The kokoshniks themselves were made of cardboard, covered with brocade and embroidered with pearls.
Dressed in her traditional costume The peasant woman was, as it were, a model of the Universe: the lower earthly tier of clothing is covered with symbols of earth, seeds, vegetation, at the upper edge of the clothing we see birds and the personification of rain, and at the very top all this is crowned with clear and indisputable symbols of the sky: the sun, stars, birds.
While singing songs, the girls spun, weaved, prepared their trousseau, they walked around the village singing on warm summer evenings, they reserved their best outfits for round dances and festivities - this is how an inextricable connection between the costume and the song arose and made them related by the originality of rhythms and harmonic combinations.
And of course, the theme of the costume was reflected in folk crafts: a clay toy, a matryoshka doll. And in folk music.
IV. Physical exercise.
Task: conducting warm-up preventive gymnastics for the eyes.
V. Stage “Initial check of understanding and consolidation of skills.” Setting an artistic task.
Task: choosing an ornament and color solutions to create a sketch of a sundress (paper layouts) in the material.
Stage VI “Application of what has been learned in practical activities”
Task: practical completion of the task, independent creative work students.
Independent work. Additional information will be provided as work progresses.
More than 500 years ago, Domostroy said about the rules for wearing and storing clothes: “On holidays and in good weather, and in public, you should wear smart clothes, walk carefully in the morning, and be careful from dirt, snow, and rain.” , do not pour drink on it, do not get it dirty with food or lard, do not sit on blood or wet things. Returning from a holiday or from guests, take off your elegant dress, inspect it, dry it, knead it, wipe off the dirt, clean it and put it well where it is stored.”
-Do we all treat our clothes with the same care?
A very important part of the costume was the belt. Previously, walking without a belt was considered a sin. A belt was put on the newborn immediately after baptism. The width of the belt could be from 1 to 10 cm. Depending on the fashion, belts were tied either at the waist or under the chest. The girls wore removable pockets on them - “lakoniks”. Women attached small purses for money, keys, and sometimes even a chicken bone “insert” to them, which, according to legend, helped them wake up early in the morning.
To remove a man's belt, to untie him, meant to dishonor him. This is where the expression “unbelted man” comes from - a person of unworthy behavior.
Students work on three tasks: differentiation in teaching:
Group 1 completes sketches in color (weaker students);
Group 2 makes a sketch of a sundress using the appliqué technique;
Group 3 works individually and in pairs - perform three-dimensional figure. Technique: paper-plastic. Video visualization is used.
Final result: Groups 1 and 2 design an album (mini-project) - “Russian Women's Costume” and defend it.
Group 3 composes the collective composition “Merry Round Dance” - Russian tunes and ditties sound.
VII. Stage “Information about homework, instructions on how to complete it”
Task: search work in visual comparison of various folk costumes.
VIII. Stage “Reflection (summarizing the lesson). Evaluation of results.
Objective: involving students in activities at an analytical level.
Reflection:
I was wondering...
I was surprised...
it was difficult for me...
I wanted...
Lesson summary
Students come to the board with their work.
-Looking at the wonderful costumes, we can really say: “WONDERFUL, WONDERFUL.”
Application
Class: 5
Presentation for the lesson
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Goals:
Educational:
- Introduce students to the features of Russian folk festive costume.
Educational:
- Development of skills in creating an artistic image in a decorative composition.
- To develop students' skills and abilities when using various types of equipment.
Educational:
- To cultivate love and interest in traditional Russian culture, one’s homeland and its history.
- To cultivate respect for the artistic creativity of the Russian people.
Equipment and materials:
- Tables depicting Russian folk costume.
- Templates of female and male figures.
- Drawings by guys on this topic.
- Reproductions historical paintings Russian artists (I.P. Argunov “Portrait of an unknown peasant woman in Russian costume”, K.E. Makovsky “Russian beauty in a kokoshnik”, A.P. Ryabushkin “Moscow girl of the 17th century”)
- Set of art materials.
- Fabric, braid, beads, sequins, glue, scissors for applique.
Lesson plan:
- Organizational moment. Checking readiness for the lesson.
- Conversation about folk costume. Acquaintance with the features of festive folk costume.
- Setting an artistic task.
- Making an applique based on a sketch made with paints.
- Summing up, analysis of work.
Lesson progress
I. Organizational moment. Checking readiness for the lesson.
II. Formation of new knowledge. Acquaintance with the features of festive folk costume.
The first screen saver of the presentation appears on the screen.
Dear guys! Today in the lesson we will talk about “Folk holiday clothing” and its features.
Russian national costume has been used from ancient times to the present day. It has noticeable features depending on the specific region, purpose (holiday, wedding and everyday) and age (children's, girls', married women's, old women's).
Despite the general similarity in cut and decoration techniques, the Russian costume had its own characteristics. In northern Russia, peasants wore clothing significantly different from peasants in the southern regions. A distinctive feature of the Russian national costume is a large amount of outerwear. Cover-up and swing-out clothing. The cover-up garment was put on over the head, the swinging one had a slit from top to bottom and was fastened end-to-end with hooks or buttons.
The costumes of the nobility were made from expensive fabrics, using gold, silver, pearls, and expensive buttons. Such clothes were passed down from generation to generation. The style of clothing has not changed for centuries. The concept of fashion did not exist.
Russian national costume became less common after Peter I in 1699 banned the wearing of folk costume for everyone except peasants, monks, and priests.
Clothes in Rus' were loose, long and unusually beautiful. Clothes made of red fabric were considered the most elegant.
The usual idea of a Russian women's northern costume is usually associated with a shirt, sundress, belt, and sometimes an apron. In the north, sundresses were often complemented by a swing-up chest piece called Epanechka, and in cold weather a long-sleeved Dushegreya was worn over the sundress.
- Russian shirt- in Rus', it was customary to decorate shirts with embroidery according to the most “vulnerable” evil forces in places - at the collar, along the edges of the sleeves, on the shoulders, and especially - along the hem. Embroidery served as a talisman; it was dominated by solar symbols, as well as images of birds, especially roosters, which were traditionally considered guardians who ward off evil spirits.
- Swing sundress- worn over a shirt, decorated on the front with a patterned stripe, braid, silver lace, and patterned buttons.
- Kokoshnik– the most common type of festive headdress is a kind of dense hard cap, decorated with freshwater pearls, gold and silver threads.
- Epanechka- swing shower warmer.
- Shugai- Soul warmer with long sleeves.
In the southern regions of Russia, another type of clothing was common, consisting of a shirt, a poneva (skirt), an apron, and a headdress - a cap (magpie).
This clothing, unlike the sundress, was only peasant clothing.
- Poneva– sewn from woolen checkered homespun material. It was decorated with embroidery, strips of lace, ribbons, and beads. Poneva consists of three panels, with an ornament at the seams. In color, the ponevs were black and blue checkered.
- Apron- “zapon”, “curtain”. The apron was always lavishly decorated with embroidery and often preference was given to the color red. It is not for nothing that the old word “red” meant beautiful at the same time. Red was also considered a magical color.
- Magpie- an ancient Russian headdress of married women or part of it. It was widespread in central Russia. It was the richest of women's headdresses.
Now we will carefully look at photographs of women's clothing:
1. Festive costume of a young peasant woman of the Tula province
2. Festive costume of the Voronezh province.
3. Festive costume of the Oryol province
Guys! Let's figure out what elements these costumes consist of.
And we will carefully consider reproductions of historical paintings by famous artists, which contain images of Russian folk costume.
1. “Portrait of an unknown peasant woman in Russian costume” is one of the most famous works of the Russian artist Ivan Petrovich Argunov. The image of a peasant woman in this work is conveyed with piercing truthfulness and sincere sympathy. The ethnographically accurate outfit of a peasant woman from the Moscow province (kokoshnik embroidered with gold threads, a red sundress, a thin white shirt, bright jewelry), as well as the simplicity and absence of any mannerisms, speak of the model’s peasant origin. Her soft facial features, welcoming, barely noticeable smile and calm pose all emphasize the modesty, openness and kindness of a woman from the people.
2. “Russian beauty in a kokoshnik” K.E. Makovsky.
It seems that these are poems about her by A.S. Pushkin "Beauty"
Everything in it is harmony, everything is marvelous,
Everything is above the world and passions;
She rests bashfully
In its solemn beauty;
She looks around herself:
She has no rivals, no friends;
Our pale circle of beauties
Disappears in its radiance.
Wherever you hurry,
At least for a love date,
Whatever I harbor in my heart
You are a secret dream, -
But, having met her, embarrassed, you
Suddenly you stop involuntarily,
Reverently
In front of the shrine of beauty.
3. “Moscow girl of the 17th century.” A.P. Ryabushkin - The picture is surprisingly simple. A girl is walking along an ancient street in Moscow. Her gait is light and graceful. She seems to be floating above the snow. The impression of lightness is enhanced by a flowing fur coat and a ribbon in a chic braid.
The girl’s figure clearly stands out against the background of a snow-covered street. She's slim. Her head, covered with a high headdress, is proudly raised up. The snow-white skin of the face is covered with a light blush. She is dressed simply: a crimson fur coat, from the sleeves of which the emerald green sleeves of an expensive outfit peek out. A red ribbon is woven into the light brown braid. The colors are bright and saturated.
III. Setting an artistic task.
Based on the sketch made with paints, we work on the applique. We carry out the work from pieces of fabric, braid, and beads.
IV. Making an applique based on a sketch made with paints.
V. Summing up, analysis of work.
Viewing and exhibition of finished sketches, discussion and evaluation
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Theme: FOLK HOLIDAY COSTUME
Goals:
1. Introduce students to Russian folk costume and the meaning of color in clothing.
2. To develop students’ skills and abilities when using various types of equipment in work.
3. Continue the development of aesthetic and artistic taste, creative activity and thinking of students.
4. Instill interest in Russian folk art.
Equipment and materials:
1. Tables depicting Russian folk costume.
2. Reproductions
3. Musical series: Russian folk songs.
4. Fabrics, braid, glue, scissors for applique.
5. Multimedia projector, laptop, interactive whiteboard, presentation.
LESSON PLAN
Teacher: Do you know what costume your grandmothers and great-grandmothers might have worn? What everyday and festive folk costumes looked like. How and why were they decorated?
1. Conversation about folk costume. The connection between the composition of the costume and
folk architecture and ornamentation in folk art. Listening to musical excerpts and folklore works.
2. Statement of an artistic task: choice of composition and technique.
3. Execution of a small sketch in which the student determines the color and basic character of the costume.
4. Start working on the final version.
5. Completion of the sketch.
6. Exhibition and discussion of works.
Lesson progress
Conversation.
The peasantry is the guardian of aesthetic ideas and traditions
in folk costume
After Peter's decrees, Russian noble and city costumes underwent Europeanization. Aesthetic ideas about human beauty have also changed. The Russian peasantry remained the guardian of the people's ideal and costume.
A trapezoidal or straight monumental silhouette, basic types of cut, picturesque decorative and color schemes, and headdresses of Ancient Rus' were common among peasants until the 18th - 19th centuries.
In the second half of the 19th - early 20th centuries. peasant clothing begins to experience the influence of general fashion, expressed first in the use of factory fabrics, trims, hats, shoes, and then in changes in the forms of clothing themselves.
General character Russian folk costume, which had developed in the everyday life of many generations, corresponded appearance, the way of life and the nature of the work of the people.
Terms historical development starting from the XII - XIII centuries. determined the most characteristic division of the forms of Russian costume into northern and southern. In the XIII - XV centuries. the northern regions (Vologda, Arkhangelsk, Veliky Ustyug, Novgorod, Vladimir, etc.), unlike the southern ones, were not devastated by the raids of nomads. Here they developed intensively art crafts, foreign trade flourished. Since the 18th century. The north found itself aloof from developing industrial centers and therefore preserved the integrity of folk life and culture. That is why in the Russian costume of the North national traits find their deep reflection and do not experience foreign influences. Southern Russian costume (Ryazan, Tula, Tambov, Voronezh, Penza, Orel, Kursk, Kaluga, etc.) is much more diverse in clothing forms. Repeated relocations of residents due to raids by nomads, and then during the formation of the Moscow State, the influence of neighboring peoples (Ukrainians, Belarusians, peoples of the Volga region) led to a more frequent change of clothing forms and the diversity of its types.
Besides the most common features, which divided the forms of northern and southern Russian costumes, individual features characterize the costume of each province, district and even village. Folk clothing differed in purpose (everyday, festive, wedding, mourning), age, marital status. Most often, the insignia was not the cut and type of clothing, but its color, the amount of decor (embroidered and woven patterns), and the use of silk, gold and silver threads. The most elegant clothes were made of red fabric. The concepts of “red” and “beautiful” were unambiguous in the popular imagination.
Fabrics, color, ornament
The main fabrics used for folk peasant clothing were homespun canvas and wool of simple plain weave, and from the middle of the 19th century. - factory-made silk, satin, brocade with ornaments of lush flower garlands and bouquets, calico, chintz, satin, colored cashmere.
The main methods of decorating household fabrics were patterned weaving, embroidery, and printed material. Striped and checkered patterns are varied in shape and color. The technique of folk patterned weaving, as well as thread-counting embroidery, determined rectilinear, geometric contours and the absence of rounded outlines in the pattern. The most common ornamental elements: rhombuses, oblique crosses, octagonal stars, rosettes, fir trees, bushes, stylized figures of a woman, bird, horse, deer. The patterns, woven and embroidered, were made with linen, hemp, silk and wool threads, dyed with vegetable dyes, giving muted shades. The range of colors is multicolored: white, red, blue, black, brown, yellow, green. Multicolor was decided, most often, on the basis of white, red and blue (or black) colors.
From the middle of the 19th century. homespun fabrics are being replaced by factory fabrics with printed floral, checkered, and striped patterns.
We find folk costumes with crimson roses and bright green leaves on a black or red background in the paintings of Malyavin, Arkhipov, Kustodiev, reflecting the bright national identity of the Russian folk life this time.
Main types and forms of costume
Although differing in individual elements, Russian folk clothing of the northern and southern regions contains common basic features, and in the men's costume there is more commonality, in the women's costume there are more differences.
Men's suit
The men's suit consisted of shirts with or without a low stand and narrow pants made of canvas or dyed. A shirt made of white or colored canvas was worn over pants and belted with a belt or long woolen sash. The decorative solution for the blouse is embroidery on the bottom of the product, the bottom of the sleeves, and the neckline. Embroidery was often combined with inserts made of fabric of a different color, the arrangement of which emphasized the design of the shirt (seams of the front and back, gussets, neck trim, line connecting the sleeve to the armhole).
Served as outerwear zipun or caftan made of homespun cloth, wrapped on the left side, with closure with hooks or buttons in winter - sheepskin head coats.
Men's shoes - boots or bast shoes with onuches and frills.
Women's suit
Women's costume in the northern and southern regions differed in individual details and the location of decoration. The main difference was the predominance of northern costume sundress, in the south - Ponevy.
The main parts of women's folk costume were a shirt, an apron, or curtain, sundress, poneva, bib, shushpan.
The women's shirt, like the men's, was straight cut, with long sleeves. The white canvas of the shirt was decorated with a red embroidery pattern located on the chest, shoulder, at the bottom of the sleeves and along the bottom of the product. The most complex, multi-figure compositions with large patterns (fantastic female figures, fairy-tale birds, trees), reaching a width of 30 cm, were located at the bottom of the product. Each part of the shirt had its own traditional ornamental design.
In the southern regions, the straight cut of shirts was more complex; it was carried out using so-called polyks - cut details connecting the front and back along the shoulder line. Poliki could be straight or oblique. Rectangular shaped poles connected four panels of canvas, each 32-42 cm wide. The slanting stripes (in the shape of a trapezoid) were connected by a wide base to the sleeve, and by a narrow base to the neck trim. Both design solutions were emphasized decoratively.
Compared to Northern Russian shirts, the bottom line in shirts from the southern regions is decorated more modestly. The most decorative and ornate part of both northern and southern women's costume was the apron, or curtain, covering the front of the female figure. The apron was usually made of canvas and decorated with embroidery, woven patterns, colored trim inserts, and silk patterned ribbons. The edge of the apron was decorated with teeth, white or colored lace, fringe made of silk or woolen threads, and frills of different widths.
Northern peasant women wore white canvas shirts and aprons with sundresses. In the 18th century and in the first half of the 19th century. sundresses were made from plain, unpatterned fabric: blue canvas, calico, red dye, black homespun wool. The multi-patterned and multi-colored embroidery of shirts and aprons really benefited from the dark, smooth background of the sundress. The slanted cut of the sundress had several options. The most common was a sundress with a seam down the middle of the front, trimmed with patterned ribbons, tinsel lace and a vertical row of copper and pewter buttons. This sundress had the silhouette of a truncated cone with a large expansion downwards (up to 6 m), giving the figure a slender look.
Girls' costume of the Moscow province of the mid-19th century. consists of a colored shirt with wide, tapered sleeves and a slanted sundress, decorated with a colored stripe and tin buttons. The headdress, braid, and necklace are embroidered with pearls.
In the clothing of the Russian North, the ancient Russian costume retains “epanechkas” and soul warmers, quilted with cotton wool and with sleeves. Costume of a peasant woman from the Tver province: sundress, “epanechka”, brocade shirt and elegant kokoshnik.
In South Russian costume, instead of a sundress, it was more widely used poneva- belt clothing made of woolen fabric, sometimes lined with canvas. The fabric used for poneva is most often dark blue, black, red, with a checkered or striped (with stripes arranged transversely) pattern. Everyday ponevs were finished modestly: with a homespun woolen patterned braid (belt) along the bottom. Festive ponevs were richly decorated with embroidery, patterned braid, inserts of red, dyed, tinsel lace, and sparkles. A wide horizontal stripe of the hem was combined with stitching and vertical colored inserts. Color solution The ponevs were especially bright and colorful due to their dark background.
Costume of a peasant woman from the Oryol province: homespun canvas shirt with entirely embroidered patterned sleeves; ornate apron curtain; blue checkered poneva with colored stripes and patterned braid along the hem; headdress - “magpie” with a scarf on top.
By design, poneva consists of three to five panels of fabric sewn along the edge. The upper edge is widely folded to hold a lace (gashnika) fastened at the waist. Poneva could be deaf and swinging. Swing ponevas were sometimes worn “with a tucked hem.” In this case, the poneva was decorated from the inside out.
In poneva female figure she was losing the majestic slenderness that her sundress gave her. The waist line revealed by the ponevoy was usually masked by an sagging shirt or an apron. Often a bib was worn over a shirt, blanket and apron - an overhead or swinging garment made of wool or canvas (straight silhouette). The bib was trimmed with woven or braided braid along the neck, side, bottom of the product and the bottom of the sleeves.
The multi-layered nature of the costume, which had different lengths of simultaneously worn shirts, poneva, apron, and bib, created a horizontal division of the silhouette, visually expanding the figure. In Russian folk costume, ancient headdresses and the custom itself are preserved for a married woman to hide her hair, and for a girl to leave it uncovered. This custom determines the shape of a woman’s headdress in the form of a closed cap, and a girl’s headdress in the form of a hoop or headband. Soroki kokoshniks, various headbands and crowns are widespread.
Jewelry used included pearl, beaded, amber, coral necklaces, pendants, beads, and earrings.
Women's shoes included leather ankle boots, boots trimmed at the top with red cloth or morocco, as well as bast shoes with onuches and frills.
At the end of the 19th century. In folk clothing, along with factory fabrics, forms of urban costume were gradually established, more uniform and standardized. These are skirts and sweaters of a straight or fitted silhouette with a peplum, shoulder scarves, scarves. These clothes were very bright in color. It was sewn from satin, satin, iridescent taffeta, rich orange, cornflower blue, emerald green, and raspberry. They were trimmed with white machine-made lace, frills, and buttons. The most colorful were a scarf, a blouse and a more subdued color - a skirt. Widespread in peasant clothing late XIX V. receives embroidery based on printed designs specially made for the village: lush bouquets of garden flowers, wreaths and garlands of large roses.
Decorations
The second half of the 10th century is characterized by a decisive predominance of decorations on the neck, chest and shoulders. At this time, glass beads, which were complemented with metal pendants in necklaces, were especially popular. Among metal jewelry, the most noticeable group consists of horseshoe-shaped buckles (brooches) and pins, which were used to fasten (and decorate) clothing on the chest, neck or shoulder.
Never later did brooches or pins reach such sizes, and among glass beads, along with necklaces made of hundreds of small beads, there are giants up to three centimeters in diameter. During the 11th century, jewelry worn between the neck and chest gradually lost its leading position, and by the end of the 11th century, hand decorations - bracelets and rings - began to play a leading role. They became especially widespread by the middle of the 12th century, and the bracelets themselves at this time reached a width of five centimeters, in contrast to the usual one or two.
Mostly the decoration of the hands remained until the turn of the 15th-15th centuries, although at the end of the 19th - mid-15th centuries another area of increased attention appeared - from the chest to the hips . Here They also wore belts with metal buckles and, especially often at this time, various pendants, the most popular of which were large one- or two-headed bronze skates with bells attached to them on chains.
At the beginning of the 15th century, sharp, one might even say radical, changes took place. -
mass-produced metal and glass jewelry almost disappears from women's costumes. The set of jewelry itself is also becoming poorer. There are no longer or almost no bracelets, pins and brooches for connecting clothes; beads and various pendants for costumes have almost disappeared. Buttons with universal purposes are preserved, and the leading role among the remaining ones is played by head decorations (earrings and thin pins with spherical heads, similar to modern French pins), as well as crosses, which, in the absence of other decorations, become larger and more decorative. Clothing is clearly becoming more strict and closed. The sleeves lengthen, covering first the wrists and then the hands, as a result of which, first, bracelets are replaced by rings, and then among rings, simple bronze rings begin to play the leading role, similar to the wedding rings familiar to us and, apparently, performing the same function.
In the second half of the 10th - first half of the 11th centuries, the main interest was attracted to the neck and chest, in the 12th-15th centuries - the arms, especially the forearms and wrists, although in the second half of the 19th - first half of the 15th centuries the waist and hips played an important role (it should be noted, that, unlike the ХVll-ХVlll centuries, beautiful woman should not have been very complete at that time). In the 15th century, in the context of the spread of stricter ascetic Orthodox requirements for women's clothing, women have nothing left but their face, hairstyle, headdress and, with some reservations, neck, with which they could, without violating decency, attract the attention of men.
Setting an artistic task.
Based on the material we saw about the costume, we will perform costume sketch. Everyone chooses a technique: either drawing with paints or applique from pieces of fabric. You can use a drawing of a human figure.
(The sundress and shirt template is offered as a handout mate rial )
Conducted individual work, the compositional concept of each student is clarified in a linear drawing, in color elaboration of the main parts of the costume composition; brush painting of pattern elements; ornamented development of fragments of jewelry.
Summing up.
Viewing and exhibition of finished sketches, discussion and evaluation.
Children's work in class
Illustrative material for lesson design
