Arts and crafts are the most important means aesthetic development and the formation of a holistic personality, its spirituality, creative individuality. Pedagogy defines aesthetic education as “the process of purposeful formation of a person’s tastes and ideals, the development of his ability to aesthetically perceive phenomena of reality and works of art, and to create independently.” Aesthetic education also presupposes the formation of a comprehensively developed personality - a person capable of not only consuming art, but also creativity.
Additional education of children is a necessary link in the upbringing of a multifaceted personality, her education, and her early professional guidance. It creates conditions for a young person to live a full life during childhood. After all, if a child lives life to the fullest, he will have more success and achievements in adulthood.
The main content of additional education for children is practice-oriented, activity-based: the child acts in a search situation independently, gains knowledge in the process of interacting with objects of labor, nature, cultural monuments etc. In the system of additional education, situations are created when a child needs to extract knowledge from his environment. Additional education for children is exclusively creative in nature, as it encourages the child to find his own path in certain circumstances. An important element in the system of additional education, attractive for parents and children, is creative activities.
The special value of decorative and applied activities lies in the fact that it makes it possible to use a wide variety of materials. At our school, additional education is a network group work: school clubs and CDT circles.
Modernity makes new demands on education: without suppressing the will of the child, an independent personality should be raised, taking into account and wisely directing the needs and interests of the child. That is why, and also seeing what children are interested in and that they like to work with paper, beads, natural and waste materials, I organized classes for the “Skillful Hands” circle.
The study program of the circle was based on the principles of relevance, realism, systematicity, activity, educational nature of training, accessibility of program material and the possibility of control.
The goal of the program is the formation and development of pupils' creative skills and individual abilities, aesthetic culture and spirituality, instilling respect for folk art, in the process of practicing arts and crafts.
Classes in the circle are designed to solve the following problems:
Educational:
- introduce students to history and modern
directions of development of arts and crafts; - teach children to own various techniques work
with materials, tools and devices necessary for work; - teach technologies different types handicrafts: trimming, beading.
- develop the ability to decide independently
cognitive tasks in the process of producing work.
Educational:
- create conditions for the development of the personality of each student, revealing his creative abilities;
- develop figurative and spatial thinking, memory,
imagination, attention; - develop hand motor skills and eye.
Educational:
To form a sustainable interest in arts and crafts;
Introducing children to aesthetic culture;
- cultivate feelings of collectivism, mutual assistance, responsibility;
- cultivate respect for folk cultural values.
I chose the following directions works:
Expanded familiarization of children with arts and crafts products;
Children's independent creation of decorative items.
The work uses various methods and techniques that should contribute to the creation and preservation of an atmosphere of creativity, knowledge, and serve the awareness of the value and uniqueness of national culture.
I try to structure all my work so that the child’s development is truly harmonious. She chose different forms of conducting classes: travel, “transforming” children into masters. During the classes I solved cognitive, educational and creative problems. I tried to use different techniques for working with paper, beads, natural and waste materials.
I try to teach children to see the aesthetic properties of objects, the variety and beauty of form, the combination of colors and shades: after all, by peering, looking closely and thinking, children learn to understand, feel, and love. Children's creative abilities in the process of practicing arts and crafts develop in different directions: children create sketches, think over and create decorative objects, learn to find ways to depict and design an object, and transfer a conceived decorative object to a product.
During club classes, children awaken faith in their creativity, their uniqueness, the belief that they came into this world to create goodness and beauty, to bring joy to people. Different organization of classes, the use of visual material, artistic expression and music - all this helps children get into unusual world art, to join artistic culture, makes classes lively and interesting.
I pay a lot of attention to working with parents. Parents receive information at meetings and during consultations. As a creative report to their parents, the children prepared gifts for various holidays.
The work of the circle culminates in exhibitions children's creativity at school, in the area.
Decorative and applied creativity creates the effect of spiritual communication, introduces children to different art styles historical eras and cultures.
One of the peculiarities of classes in the arts and crafts club is that it takes a long time to complete the task. To ensure that students do not lose interest in working on the same thing, when the final result of the work is still far away, it is necessary to summarize the results of the work every day, increase the effectiveness of the work by summing up the results of one lesson, and holding exhibitions of products for one day. In this case, children see the results of their work in every lesson, which is an incentive for further fruitful work. Intermediate viewings of their works significantly activate the creative activity of students. At the current intermediate reviews, as the head of the circle, I note the achievements of the circle members and set new tasks for them. I resort to general intermediate review in cases where a difficult task is being completed. At the same time, students, participating in the discussion, are accustomed to self-control. Here I express my approval if the children succeeded in something. This lifts the mood of students, stimulates their further work, and gives them a surge of new strength. Visibly feeling the results of their work and being convinced of their capabilities, students work with great emotional enthusiasm. During the discussion of products, debates often arise, in which the aesthetic tastes of schoolchildren are clearly manifested and honed, and their creative thinking and speech develop.
At the end of the year we organize a final exhibition of the work of the circle members. Skillful organization and holding of an exhibition becomes one of the effective forms of moral encouragement for students. Along with the final exhibition creative works We hold a competition for the best product, highlight and celebrate the most successful works. This helps attract new schoolchildren to arts and crafts classes.
Today it is unacceptable to let emotional and moral development take its course, because this is fraught with the development of callousness towards another person and towards nature, the dictatorship of a narrowly understood intellect that does not distinguish between good and evil. Arts and crafts classes give a child the opportunity to early gain the experience of creative self-realization, in which the ideas of a young master are generated and embodied. The ability for artistic creativity is cultivated through the means of art. A full-fledged art education preserves the integrity of the child’s personality. Aesthetic education as the most important means of forming an attitude towards reality, spiritual and moral development and self-development of the individual is based on the comprehension of artistic harmony. Thus, in the process of introducing the individual to the rich cultural experience of mankind, accumulated in the field of art, opportunities are created for educating a highly moral, diversified modern person.
Decorative and applied arts go back centuries. Man created aesthetically valuable objects throughout his development, reflecting material and spiritual interests in them, therefore works of decorative and applied art are inseparable from the time when they were created. In its basic meaning, the term “decorative and applied arts” means the design household items, surrounding a person all his life: furniture, fabric, weapons, dishes, jewelry, clothing - i.e. everything that forms the environment with which he comes into daily contact. All things that a person uses should not only be comfortable and practical, but also beautiful.
This concept was formed in human culture not right away. Initially, what surrounds a person in everyday life, was not perceived as having aesthetic value, although beautiful things always surrounded a person. Even in the Stone Age, household items and weapons were decorated with ornaments and incisions; a little later, decorations made of bone, wood and metal appeared; a wide variety of materials began to be used for work - clay and leather, wood and gold, glass and plant fibers, animal claws and teeth.
Painting covered dishes and fabrics, clothes were decorated with embroidery, notches and embossing were applied to weapons and dishes, jewelry was made from almost any material. But the person did not think about the fact that the familiar things that surround him all his life can be called art and separated into a separate movement. But already during the Renaissance, attitudes towards everyday objects began to change. This was caused by the awakening of people's interests in the past, associated with the cult of antiquity that arose at that time. At the same time, interest arose in the home as an object equal in terms of aesthetic value to other objects of art. Decorative and applied arts reached their greatest development in the era of Baroque and Classicism. Very often, the simple, practically convenient form of an object was hidden behind exquisite decorations - painting, ornament, embossing.
In the highly artistic works of the masters of Ancient Rus', the plastic principle was manifested in everything: spoons and cups were distinguished by sculptural forms, impeccable proportions, ladles usually took the form of a bird - a duck or a swan, the head and neck served as a handle. Such a metaphor had a magical meaning, and ritual meaning determined the traditionality and stability of such a form in folk life. Gold chains, monistas made of elegant medallions, colored beads, pendants, wide silver bracelets, precious rings, fabrics decorated with embroidery - all this gave multicolor and richness to the festive women's outfit. Painting a jug with patterns, decorating a cutting board with carvings, weaving patterns on fabric - all this requires great skill. Probably, such products decorated with ornaments are classified as decorative and applied arts also because it is necessary to put in one’s hands and soul to achieve amazing beauty.
The modern artistic process is complex and multifaceted, just as modern reality is complex and multifaceted. Art, understandable to everyone, surrounds us everywhere - at home and in the office, at the enterprise and in the park, in public buildings - theaters, galleries, museums. Everything - from rings, bracelets and coffee sets to a complete thematic complex of works of decorative and applied art for a large public building - bears the variety of artistic searches of craftsmen who subtly sense the decorative purpose of an object, organizing and filling our everyday life with beauty.
To create the amenities necessary for a person and at the same time to decorate his life, artists strive to ensure that all things that are used in everyday life not only correspond to their purpose, but are also beautiful, stylish and original.
And beauty and benefit are always nearby when craftsmen get down to business and create household items that are works of art from a variety of materials (wood, metal, glass, clay, stone, etc.).
DECORATIVE AND APPLIED ARTS, a type of art, the creation of products that combine artistic and utilitarian functions. Works of decorative and applied art are related to the everyday needs of people and form an integral part of the human environment. The basis and source of decorative and applied art is folk art. The sphere of decorative and applied arts includes products of traditional arts and crafts, art industry and professional author's art. The term “applied art” arose in the 18th century in England and was applied mainly to the creation of household products (painting dishes, fabrics, finishing weapons). In the 20th century, Russian art history adopted the term “decorative and applied art” as a designation for the section of decorative arts, which also includes theatrical and decorative art and design.
A specific feature of works of decorative and applied art is the inextricable connection between the utilitarian and the artistic, the unity of usefulness and beauty, function and decoration. Utilitarianism allows us to classify works of decorative and applied art according to their practical purpose (tools, furniture, dishes, etc.); the function of an object clearly determines its design. The quality that gives an object of decorative and applied art the status of a work of art is decorativeness. It is realized not only in decorating an object with any particular details (decor), but also in its general compositional and plastic structure. The decor has its own emotional expressiveness, rhythm, proportions; he is able to change shape. The decor can be sculptural-relief, pictorially-painted, graphically-carved (see also Engraving); he uses both ornament (including decorative inscriptions - hieroglyphs, calligraphy, Slavic script, etc., revealing the meaning of the images), and various visual elements and motifs ("world tree", birds and animals, plants, etc.) in accordance with a certain decorative and stylistic system (see also Bucranius, Griffin, Rose, Sphinx). In the plate system of decorative and applied art, there is the possibility of using the so-called pure form as the antithesis of any decor: it can manifest itself in the intrinsic beauty of the material, revealing its structural, plastic, color qualities, harmony of proportions, grace of silhouette and contours.
Vessel. Painted ceramics. 3rd millennium BC. Yangshao (China). Museum of Decorative and Applied Arts (Vienna).
Another fundamental feature of decorative and applied art is syntheticism, which implies the combination of various types of creativity (painting, graphics, sculpture) and different materials in one work. Synthetic in its internal nature, a work of decorative and applied art is often involved in a synthesis of arts, in an ensemble of artistic objects, and may depend on architecture (furniture, decorative sculpture, panels, tapestry, carpet, etc.). As a result of this dependence, decorative and applied art in all eras sensitively and clearly followed changes in styles and changes in fashion.
In decorative and applied art, the image of a thing is determined by the connection between its aesthetic form and functional purpose. On the one hand, there is the concept of the utilitarian and non-representational nature of decorative and applied art as “making things”: a purely practical task does not imply the creation of a full-fledged image (for example, the goal of pottery or basket weaving is not the image of things, but the creation of the thing itself). However, other examples (anthropomorphic ceramics, etc.), which carry a mimetic principle, allow us to speak about imagery as the primary task of creativity in the decorative and applied arts, manifested primarily in associations and analogies (the shape of an object may resemble a flower bud, a drop, a figure of a person or animal, a sea wave, etc.). The dualism of aesthetic and functional tasks determines the figurative specificity of decorative and applied art (limitation of the specificity of images, the tendency to abandon chiaroscuro and perspective, the use of local colors, flatness of images and silhouettes).
Decorative and applied arts as a form artistic activity associated with the manual labor of a master, which has become an independent branch of production. Further social division of labor leads to the replacement of handicraft production with machine production (manufactures, factories, factories); functional design and decoration become the work of different specialists. This is how the art industry arises, where methods of “applied art” find their place - decorating products with painting, carving, inlay, embossing, etc.
The question of the relationship between manual and machine labor in the production of objects of decorative and applied art was especially acute in the 2nd half of the 19th century, in the context of the problem of “depersonalization” (in the words of W. Morris) of the production of artistic crafts and theories of limited application popular in this era machines as a prerequisite for the revival of national traditions. Contrasting folk handicrafts and mass production, Morris at the same time suggests ways to synthesize them, allowing the creation of a new type of decorative and applied art. Design, which became a new type of artistic activity in the field of industrial (mass) production in the mid-19th century, limited decorative and applied arts primarily to the creation of small-run series of handmade products (see also Industrial Art).
Typology. Each field of arts and crafts has a wide variety of forms; their evolution is directly related to the development of technology, the discovery of new materials, the change in aesthetic ideas and fashion. Works of decorative and applied art vary in functionality, form and material.
One of oldest species arts and crafts - tableware. Its forms varied depending on the material (wooden, metal, clay, porcelain, ceramic, glass, plastic) and purpose (ritual, household, dining, decorative; see also Artistic vessels). Decorative and applied art also includes: religious accessories (banners, frames, lamps - in Christianity; Muslim vessels for ablution, prayer rugs “namazlik”, etc.; Jewish seven-branched menorahs; Buddhist lotus thrones and temple incense burners); interior items (furniture, lighting fixtures, vases, mirrors, writing instruments, boxes, fans, snuff boxes, tiles, etc.); household craft utensils (spinning wheels, rollers, ruffles, rubles, spindles, etc.); glyptic works; jewelry art; means of transportation (carts, chariots, carriages, sleighs, etc.); weapon; textiles (see also Batik, Embroidery, Lace, Printed fabric, Weaving; textiles also include carpets, tapestries, tapestries, kilims, felts, etc.); clothes; partly - small plastic (primarily a toy).
The materials used in decorative and applied arts products are just as diverse. The oldest are stone, wood, and bone. Hardwoods were used for the construction of homes, for the manufacture of furniture, household products [pine, oak, walnut (in Renaissance art), Karelian birch (in the era of Russian classicism and Empire style), maple (especially in the Art Nouveau era), mahogany, pear] ; soft varieties (for example, linden) - for making dishes and spoons. Since the 17th century, imported exotic types of wood began to be used in Europe.
Clay processing techniques such as freehand modeling and molding were decisive in the creation of clay products in the initial stages. In the 3rd millennium BC, a potter's wheel appeared, allowing the production of thin-walled dishes.
Ceramics (fired clay) includes terracotta (plain and lacquered), majolica, semi-faience, earthenware, opaque, porcelain, bisque, the so-called stone mass. The main methods of decorating ceramics are molding, polishing, polishing, color painting, engraving, glazing, etc.
Fabrics have been widely used since the Neolithic era. Outstanding examples of decorative and applied art are ancient Egyptian multi-color linen fabrics, Coptic ones using the batik printing technique; Chinese silk fabrics, Indian muslins, Venetian damask.
Masters of decorative and applied arts often used precious, semi-precious and colored ornamental stones: diamonds, rubies, emeralds, sapphires, jade, lapis lazuli and carnelian, malachite, jasper, etc. (amber also belongs to ornamental materials). Among the various types of processing, cabochons (rounded stones) dominated for a long time, then faceted stones appeared. There are complex techniques - the so-called Florentine mosaic (images made of marble and semi-precious stones), Russian mosaic (pasting the round surface of vases with plates of colored stones), etc.
Casket with a depiction of a crucifix and angels. Wood, silver, enamel. 1st quarter of the 13th century. Limoges (France). Hermitage (St. Petersburg).
Among the metals there are precious (gold, silver, platinum), non-ferrous (copper, tin), alloys (bronze, electric, pewter), as well as steel, cast iron and aluminum. Along with noble metals, almost all ancient civilizations processed copper, bronze, and later iron. Gold and silver were initially the main metals in the decorative and applied arts, and their shortage was compensated for by various techniques (electroplating and gilding; from the mid-19th century - electroplating). The main metal processing techniques are niello, granulation, embossing, shotting, artistic casting, artistic forging, basma (a type of jewelry technique that imitates embossing), embossing.
Enamel is a special technique and at the same time material, the oldest samples which is found in China. Enamel was usually used as a component complex works decorative and applied arts (for example, the technique of covering engraved images on metal with multi-colored transparent enamel or decorative painting with enamel paints).
Setting of the so-called Gospel from Lorsch. Ivory. 9th century Aachen. Victoria and Albert Museum (London).
Glass, according to its technological parameters, is divided into transparent and opaque, colorless and colored, etc. There are also different original forms from hand-cut glass, blown glass (“winged” Venetian glasses), from cut English crystal, from pressed glass (appeared in 1820 in the USA), colored laminated or milk glass, filigree, engraved, carved, ground or tint glass. Glass processing techniques include inter-glass gilding, painting, millefiori, artistic etching, and iridescence.
The birthplace of artistic varnishes - Ancient East. In Europe they have been known since the 16th century; in the 17th century, Dutch masters began to paint wooden boxes gilded ornament on a black background. Later, the production of painted varnishes arose in many countries. Products made from papier-mâché coated with varnish appeared in Europe in the 18th century, and they reached their peak of popularity in the 19th century, especially in England, Germany and Russia. In the 20th century, Russia became the main center of lacquer art (Fedoskino, Palekh, Kholui and Mstera).
The use of tortoiseshell and ivory dates back to antiquity; then their use was revived in European art in the Middle Ages and, especially, at the end of the 18th century (English and French snuff boxes and teapots, Kholmogory bone carving). Mother of pearl came into fashion in the 1st half of the 19th century for decorating papier-mâché and varnish products, and finishing cutlery.
Historical sketch. The first artistically processed objects appeared in the Paleolithic era. During the Neolithic period, ceramic products became widespread. Various cultures create vases with masterly graphic artistic designs, expressive sacred-mythological plots, painted ceramics with ornamental and other motifs (for example, Chinese vessels of the Neolithic era, 5-3rd millennium BC; ceramics from Susa, 4th millennium BC; Trypillian ceramics, late 3rd millennium BC).
The most ancient eastern civilizations in the development of decorative and applied arts reached the same high level as in the field of architecture and sculpture (artistic processing of stone, metal, wood, jewelry, ivory carving, etc.). Jewelers Ancient Egypt, Mesopotamians mastered various subtle techniques for processing precious metals. Ancient Eastern art produced unsurpassed examples of polychrome glazed ceramics; in Egypt, earthenware products (silica-based) were produced - architectural details, sculpture, necklaces, bowls and goblets. The Egyptians (along with the Phoenicians) also made objects from glass (around the 3rd millennium BC); The heyday of glass workshops, as well as other crafts, occurred in the New Kingdom (various forms of vessels made of blue or polychrome glass, etc.). Egyptian furniture was made from local ebony (black) wood and imported species (cedar, cypress), decorated with inserts of blue and black faience, covered with gold leaf and inlaid with ivory and painting (some of its forms later greatly influenced the European Empire style). In many regions of China, thin-walled vessels (bowls, vases, jugs and goblets) were discovered, distinguished by their stylistic originality, variety of shapes and bizarre zoomorphic images. In India, a highly developed urban civilization of the Bronze Age left expressive household items, painted pottery, and textiles discovered during excavations at Mohenjo-Daro and Harappa. In Western Iran, in Luristan, a culture represented by the Luristan bronzes developed.
The originality of the decorative and applied arts of the Aegean world (see Aegean culture) influenced the art of other countries (Egypt of the New Kingdom, the Middle East) - jewelry, chased cups and bowls, rhytons. The leading type of artistic craft is ceramics (polychrome with stylized patterns, plant motifs, with images of sea animals and fish). Among the highest achievements in the history of decorative and applied art is ancient Greek ceramics - first of all, red- and black-figure vessels coated with varnish, where the form is organically connected with the plot painting and ornament, has clear tectonics, a rich rhythm of lines and proportions (see Vase painting). Ceramics and jewelry made in Greece were exported to many countries around the world, resulting in a wide expansion of Greek artistic traditions. In the decorative and applied arts of the nomadic tribes of Asia and Europe, the Thracians, Celts, and some Finno-Ugric tribes, different forms of animal style developed; in the middle of the 1st millennium AD, its peculiar form appeared among the Germans; the traditions of the animal style were preserved in medieval art.
The Etruscans, being under strong Greek influence, were able to create no less original culture with its bucchero ceramics, painted terracotta, and jewelry. Their craving for demonstrative luxury embodied in objects of decorative and applied art was passed on to their successors - the ancient Romans. They borrowed relief ceramics and fabric decoration from the Etruscans, and forms and ornaments from the Greeks. In Roman decor there is a lot of excessive, devoid of Greek taste: lush garlands, bucranias, griffins, winged cupids. During the imperial era, vases made of semi-precious stones (agate, sardonyx, porphyry) became fashionable. The highest achievement Roman decorative and applied arts began with the invention of glass blowing techniques (1st century BC), the production of transparent, mosaic, engraved, double-layered, imitating cameo, and gilded glass. Among the metal products are silver vessels (for example, a treasure from Hildesheim), bronze lamps (found during excavations in the city of Pompeii).
The stability of traditions distinguishes the Far Eastern and Indian cultures as a whole, where they were preserved in the medieval era characteristic species and arts and crafts forms (ceramics and varnishes in Japan, wood, metal and textiles in India, batik in Indonesia). China is characterized by stable images and traditions of stone-cutting, pottery and jewelry, a variety of materials: silk, paper, bronze, jade, ceramics (primarily the invention of porcelain), etc.
In ancient (pre-Columbian) America there were several civilizations (Olmecs, Totonacs, Mayans, Aztecs, Zapotecs, Incas, Chimu, Mochica, etc.) that had a high material culture. The main crafts were pottery, artistic stone processing, including semi-precious rocks, using the original technique of turquoise mosaic on wood, textiles, and jewelry. Ceramics are among the best achievements of ancient American art, unlike others that did not know the potter's wheel (Zapotec funeral urns, Toltec vases, Mixtec polychrome vases, vessels with engraved Mayan ornaments, etc.).
A characteristic feature of the medieval art of the countries of the Middle East, North Africa (Maghreb) and regions of Europe inhabited by Arabs is a craving for color, for valuable decoration, geometric patterns (with plant motifs stylized to the point of abstraction, see Arabesque); The fine tradition was also preserved in the decorative and applied arts of Iran. The main types of decorative and applied arts in Muslim countries were ceramics, weaving, and the production of weapons and luxury goods. Ceramics (mostly ornamental, covered with luster or polychrome painting on a white and colored background) were produced in Iraq (Samarra), Iran (Susa, Ray), medieval Egypt (Fustat), Syria (Raqqa), Central Asia(Samarkand, Bukhara). Hispano-Moorish ceramics (Valencia faience) had a great influence on European decorative arts of the 15th and 16th centuries. Blue-white chinese porcelain influenced the ceramics of the Golden Horde, Iran, etc. In the 16th century, Turkish polychrome faience from Iznik flourished. Muslim culture also left many examples of artistic glass, metal (decorated with engraving, chasing, enamel), and weapons. The Islamic world has traditionally used carpets rather than furniture; they were produced in many countries (in the Caucasus, India, Egypt, Turkey, Morocco, Spain, Central Asia); The leading place in carpet weaving belongs to Iran. In Egypt they produced multi-colored woolen trellis fabrics, linen fabrics, and printed material; in Syria, in Spain during the Cordoba Caliphate and Arab masters in Sicily - silk, brocade; in Turkey (in Bursa) - velvet; in Iran (in Baghdad) - silk draperies; in Damascus - so-called damask fabrics.
Byzantium became the heir to many artistic crafts antiquity: glassmaking, mosaic art, bone carving, etc., and also masterfully mastered new ones - the technique of cloisonné enamel, etc. Religious objects and (under the influence of Eastern cultures) luxury goods became widespread here; Accordingly, the style of Byzantine decorative and applied art was refined, decorative and lush at the same time. The influence of this culture extended to the states of Europe (including Ancient Rus'), also Transcaucasia and the Middle East (in Russia, reminiscences of this influence persisted until the Russian-Byzantine style of the 19th century).
In Europe, new forms of decorative and applied art developed during the Carolingian Renaissance under the influence of Byzantium and countries Arab world. In the culture of the Romanesque era, monasteries and city guild corporations played an important role: stone and wood carving, the manufacture of metal products, forged doors and household utensils were practiced. In Italy, where the traditions of late antiquity continued to be preserved, bone and stone carving, the art of mosaics and glyptics, and jewelry developed; In all these areas, masters have achieved the highest perfection. Gothic inherited many of the crafts characteristic of that era; peculiarities gothic style clearly manifested in products made of ivory and silver, in enamels, tapestries and furniture [including wedding chests (in Italy - cassone, decorated with carvings and paintings)].
In Ancient Rus', special achievements belonged to jewelry, wood and stone carving. Characteristic types Russian furniture included caskets, tower tables, cabinets, chests, and tables. The authors of pictorial compositions in the form of a “grass pattern” were icon painters, “banner-bearers”; they also painted chests, tables, boards for gingerbread cakes, chess, gilded rattles, etc.; decorative “carving” of the 17th century was called “Fryazhsky herbs”. Utensils, dishes, tiles, religious objects were produced in the workshops of Kyiv, Novgorod, Ryazan, Moscow (Patriarchal workshops, the Silver Chamber, from the 2nd half of the 17th century - the Armory Chamber of the Moscow Kremlin), Yaroslavl, Kostroma, also in Kirillo-Belozersky, Spaso -Prilutsky, Sergiev Posad monasteries. From the 2nd half of the 17th century, the rapid development of folk crafts began in Russian decorative and applied arts (tile production, wood carving and painting, lace making and weaving, silversmithing and pottery).
During the Renaissance, artistic craft acquired a fundamentally authorial and predominantly secular character. New types of decorative and applied art are appearing, genres and techniques forgotten since ancient times are being revived. Most significant changes occur in the production of furniture (cabinets with a folding front board, a chest-bench with a back and armrests, etc.); The decoration uses a classic order and a characteristic ornament - grotesques. Silk weaving of Genoa, Florence and Milan, Venetian glass, Italian majolica, glyptics, jewelry art (B. Cellini), artistic metalworking [“lobed style” in Dutch and German silver (the Yamnitzer family)], enamels, glass and French flourished. ceramics (produced by Saint-Porcher; master B. Palissy).
Decorative and applied art of the Baroque era is characterized by a special pomp and dynamics of compositions, an organic connection between all elements and details (dishes and furniture), preference is given to voluminous, large forms. In the production of furniture (cabinets, cabinets, chests of drawers, sideboards, etc.) polished wood, gilded bronze fittings and Florentine mosaics, inlay (applied bronze, marquetry using ebony, metal, mother-of-pearl, tortoiseshell, etc.) were used. - in the products of the workshop of A. Sh. Bulya). The tapestry manufactories of Europe were influenced by Flemish carpet art (Brussels manufactories); Genoa and Venice were famous for woolen fabrics and printed velvet. Delft faience arose in imitation of Chinese. In France, the production of soft porcelain, faience (Rouen, Moustiers) and ceramics (Nevers), textiles (manufactories in Lyon), the production of mirrors, and tapestries are developing.
In the Rococo era (18th century), fragile and sophisticated asymmetrical lines predominated in the shapes and decorations of objects. In England they produce silver dishes (P. Lameri), candelabra, etc. In Germany, lush rocaille forms are found among metal products (I. M. Dinglinger). New forms of furniture are emerging - bureaus (desk-bureau, bureau-plate and bureau-cylinder), various types of tables, a soft upholstered bergere chair with a closed back, a dressing table made of 2 parts; Painted panels, marquetry, and inlay are used for decoration. New types of fabrics (moire and chenille) appear. In England, T. Chippendale made furniture in the Rococo style (chairs, tables and bookcases), using Gothic and Chinoiserie motifs. At the beginning of the 18th century, the first European porcelain manufactory was opened in Meissen (Saxony) (sculptor I. Kändler). The Chinoiserie style penetrates both European porcelain (Meissen, Chantilly, Chelsea, Derby, etc.), and Russian (Imperial Porcelain Factory near St. Petersburg), as well as textiles, glass and furniture ((French lacquers of the Martin brothers). In the 1670s, lead glass with a new composition (the so-called English crystal) appeared in England; the technique for its production spread widely in the Czech Republic, Germany, and France.
The decorative and applied arts of the Classical era of the 2nd half of the 18th century, and later the Empire style, were influenced by archaeological excavations in the cities of Herculaneum and Pompeii (see Pompeian style). The style created by the Adam brothers (England), which affirmed the unity of external decor and interior decoration, breathed new life into decorative and applied art, in particular into furniture (works by J. Hepwhite, T. Sheraton, T. Hope, brothers Jacob, J. A . Risiner), plastic jewelry (French gilded bronze by P. F. Tomir), artistic silver (cups and dishes by P. Storr), carpets and fabrics, jewelry. Simplicity and clarity are distinguished by glass decanters from the Cork Glass Company, Baccarat vases, and crystal cascade chandeliers. In porcelain, by the end of the 18th century, Meissen gave way to the status of the main European porcelain manufacturer to French Sèvres porcelain; outstanding examples began to be created at factories in Vienna, St. Petersburg and Berlin. In England, J. Wedgwood's Etruria factory appeared, producing ceramics in imitation of antique cameos and vases. In Russia, many major architects were involved in the creation of works of decorative and applied art (A. N. Voronikhin and K. I. Rossi designed furniture and vases, M. F. Kazakov and N. A. Lvov - chandeliers).
In the Biedermeier era, works of decorative and applied art reflected the desire for a comfortable life, which led to the appearance of comfortable, simple furniture with round, simple shapes made from local types of wood (walnut, cherry, birch), elegant glass cut jugs and glasses with elegant paintings (works by A. Kotgasser etc.). The period of eclecticism (mid-19th century) manifested itself in the stylistic diversity of used historical styles, also in unifying approaches and artistic techniques. The inspiration for Neo-Rococo was the decoration of 18th century art; in Russia it appeared in the porcelain products of the A.G. Popov factory with its polychrome floral painting on a colored background. The revival of Gothic (neo-Gothic) was determined by the desire of artists to introduce a romantically sublime style into decorative and applied art and only indirectly reproduced truly Gothic motifs; elements of ornament were borrowed rather than forms of Gothic art (Bohemian glass by D. Beeman, works in porcelain and glass for the palace of Nicholas I “Cottage” in Peterhof). The Victorian style in England was reflected in the creation of heavy furniture and the wide distribution of its “small forms” (bookcases, umbrella holders, gaming tables, etc.). Unglazed porcelain imitating marble has become popular again. New types and techniques have appeared in glass (primarily Bohemian) - multi-layer colored “flash” glass, opaque cameo glass and black (hyalite) glass, imitating lithialyl gemstones. Since the mid-1840s, a new direction appeared in France at the glass factories of Baccarat, Saint-Louis and Clichy, and later in England, Bohemia and the USA (the creation of millefiere paperweights, etc.). Alloy of elements various styles determined the development of furniture and the emergence of new industrial technologies and materials: forms made of glued and bent wood (M. Thonet), papier-mâché, carved wood and cast iron.
The protest against eclecticism, initiated in Great Britain by the Arts and Crafts Society, contributed to the formation of the Art Nouveau style at the end of the 19th century; he blurred the boundaries between decorative, applied and fine arts and has taken various forms in many countries. Art Nouveau decor is most often likened to ornamental motifs of natural forms; widely used curved lines, wavy contours, asymmetrical designs (furniture by V. Horta, L. Majorelle, E. Guimard, artistic multi-layered colored glass with floral and landscape motifs by E. Galle, O. Daum, L. Tiffany, jewelry by R. Lalique). The artists of the Vienna Secession, like the Scot C. R. Mackintosh, on the contrary, used symmetry and restrained rectilinear forms. The works of J. Hofmann, often performed together with G. Klimt (furniture, glass, metal, jewelry), are distinguished by elegance and sophistication. In European porcelain production, the leading place was occupied by works with underglaze painting from the Copenhagen Royal Manufactory. In Russian Art Nouveau, in its national-romantic branch, the neo-Russian style manifested itself - especially in the activities of the Abramtsevo art circle (works by V. M. Vasnetsov, M. A. Vrubel, E. D. Polenova), the Talashkino workshop of Princess M. K. Tenisheva, workshops of the Stroganov School.
The modern history of decorative and applied arts begins not only with the revival of handicrafts (W. Morris and others), but also with the appearance at the turn of the 19th and 20th centuries throughout Europe and the USA of a new type creative activity- design and its further active development in the 1920s (Bauhaus, Vkhutemas). Art Deco design became the basis of almost all home interiors, cultivating discreet luxury and comfort (geometric shapes, stylized and simplified ornamentation, exotic veneered furniture with rectilinear shapes, functional tableware and flower vases).
Russian art after 1917 developed on a new ideological and aesthetic basis.
Artists tried to use art to convey the spirit of the era (the so-called propaganda porcelain), to create a comprehensive rational environment for broad sections of the population. Since the late 1950s, in Soviet decorative and applied arts, along with the active development of the art industry (Leningrad porcelain factories, Verbilok, Dulevo porcelain factory, Konakovo faience factory, Leningrad glass factory, Gusevsky Crystal Factory, etc.) and folk crafts (Gzhel ceramics, Zhostovo painting, Skopin ceramics, Dymkovo toys, etc.; see Artistic crafts), author’s art has also reached a high level.
The development of decorative and applied arts in the 20th century was determined by the coexistence and interpenetration of traditional and avant-garde principles. The subtle expressive capabilities of new materials, imitation and creative citation have acquired great importance. In the era of postmodernism, a special attitude arises towards the decorative artifact as an autonomous entity, which is demonstratively “not interested” in serving a person and is alienated from him. As a result, this led to a “crisis of self-identification” in the decorative and applied arts, caused by the emergence of competition from related types of art (primarily design). However, this crisis paradoxically opens up new prospects for decorative and applied art in terms of expanding and revising its own figurative specificity, mastering new genres and materials (ceramoplastics, fiberglass, textile plastics, mini-tapestry, mosaics in wooden frames, etc.).
Lit.: Molinier E. Histoire générale des arts appliqués à industrie. R., 1896-1911. Vol. 1-5; Arkin D. The art of everyday things. Essays on the latest art industry. M., 1932; Fontanes J, de. Histoire des métiers d'art. R., 1950; Baerwald M., Mahoney T. The story of jewelry. L.; N.Y., 1960; Kagan M. About applied art. Some theoretical issues. L., 1961; Russian decorative art / Edited by A. I. Leonov. M., 1962. T. 1-3; Saltykov A. B. Selected. works. M., 1962; Barsali I. V. European enamel. L., 1964; Kenyon G. N. The glass industry of the Weald. Leicester, 1967; Cooper E. A history of pottery. L., 1972; Davis F. Continental glass: from Roman to modern times. L., 1972; Moran A. de. History of decorative and applied arts. M., 1982; Osborne N. The Oxford companion to the decorative arts. Oxf., 1985; Boucher F. A history of costume in the West. L., 1987; Nekrasova M. A. The problem of ensemble in decorative arts// The art of the ensemble. Artistic object. Interior. Architecture. Wednesday. M., 1988; Illustrated encyclopedia of Antiques. L., 1994; Makarov K. A. From the creative heritage. M., 1998; Materials and techniques in the decorative arts: an illustrated dictionary / Ed. by L. Trench. L., 2000.
T. L. Astrakhantseva.
The role of arts and crafts and crafts in the development of children preschool age.
Education has been and remains the most important transformative factor in social development. The future is largely determined by the level of education and spiritual and moral development of the younger generation. Kindergarten, along with the family, plays an important role in raising a preschool child. A preschool educational institution exerts its educational influence on a child in the most sensitive (sensitive, receptive) period of his life. The main task of the kindergarten is to increase the efficiency and quality of children's education based on the comprehensive education and development of the personality of each child. Among the most important tasks facing a preschool educational institution are the formation of a basic personality culture in early childhood, high moral qualities: love for the Motherland, respect for its historical and cultural heritage; culture and traditions of other peoples.
Folk arts and crafts of our country are an integral part of culture. The emotionality and poetic imagery of this art are close, understandable and dear to people. It fosters a sensitive attitude to beauty and contributes to the formation of a harmoniously developed personality. Based on deep artistic traditions, folk art enters the life and culture of our people and has a beneficial effect on the formation of the person of the future. Artistic works created by folk craftsmen always reflect the love for native land, the ability to see and understand the world around us.
IN modern culture folk art lives on in its traditional forms. Thanks to this, the products of folk craftsmen retain their stable characteristics and are perceived as carriers of an integral artistic culture.
The traditions and way of life of any people are embodied in costumes, jewelry, household items, home decoration, which come from ancient times and change over time, while maintaining the basic characteristic features.
Increasingly, works of decorative and applied art penetrate into people’s lives, shaping artistic taste, creating an aesthetically complete environment that determines the creative potential of an individual. Therefore, the role of preschool educational institutions is great, where work is successfully carried out to familiarize children with samples folk art. Folk art items are diverse. These can be toys made of wood, clay, dishes, carpets, lace, lacquer miniatures.
The high spiritual and ideological significance of folk arts and crafts has a powerful influence on the formation inner world children. Systematic classes in various types of artistic processing of materials have a beneficial effect on the development of children’s aesthetic taste and, at the same time, are associated with their acquisition of skills necessary for further work.
Thanks to interest in these activities and passion for them, hard work and perseverance in work are cultivated. Through the process of creating beautiful, aesthetically justified products of decorative and applied art, a love for various professions is gradually, unobtrusively, but very productively instilled in children.
The greatest educational effect comes from introducing preschoolers to the decorative and applied arts of folk arts and crafts. The products of folk craftsmen are distinguished by a sense of material, an organic unity of utilitarianism (practical orientation) of a thing with its decor, national flavor, high moral and aesthetic virtues. Folk art contains so much educational charge (not only in finished products that are pleasing to the eye, but also in the process itself, in the technology of their creation), that the question naturally arises about its most active use in working with preschoolers.
The teacher’s task is to guide the creative process of preschoolers, focusing them on studying examples of folk arts and crafts. The principle of focusing on folk art should be the basis of the content of classes with preschoolers in various types of decorative and applied arts.
In the process of studying the main types of folk art, children master the artistic structure of the ornament and get acquainted with the work of artists. Patriotic feelings, pride in one’s Motherland, one’s people, and respect for the culture and traditions of other peoples are fostered. Through folk traditions, emotional sensitivity, kindness, a sense of camaraderie and self-esteem are fostered, the individual’s artistic creativity, aesthetic sense, and outlook are developed. Pupils receive knowledge about the development of the main types of decorative and applied arts, about the work of the most significant artists and craftsmen, the characteristic features of national costumes and ornamentation, about the collection of works of art and folk art crafts of local museums; get acquainted with elementary concepts such as color, rhythm, shape, proportion, line, volume, space.
Folk art is figurative, colorful, and original in its design. It is accessible to children's perception, as it carries within itself clear content, which specifically, in simple, laconic forms, reveals to the child the beauty and charm of the world around him. These are always familiar to children fairy tale images animals made of wood and clay.
Ornaments used by folk craftsmen for painting toys and dishes include flowers, berries, leaves, some of which the child encounters in the forest, in the field, in the kindergarten area. Kindergartens should have a sufficient number of folk art items. Artistic products are shown to children during conversations about folk craftsmen and are used in educational activities. For primary preschool children, it is good to have turned wooden toys, fun toys from Bogorodsk craftsmen, and products from Kargopol craftsmen. If in the first younger group children play with toys, then already in the second younger group these toys can be examined before modeling classes. For middle group It’s good to have Semyonov, Filimonov and Kargopol toys, Bogorodsk turned wooden toys.
For children of senior and preparatory school groups, any folk toy, clay and wood.
Folk toys with their rich themes influence the child’s design during modeling and enrich their understanding of the world around them. Under the influence of folk art objects, children perceive illustrations to folk tales, whose creativity is based on national traditions. The teacher needs to know folk crafts and the history of their origin. But first of all, he must understand and love folk arts and crafts, know which folk craft this or that toy belongs to. Be able to talk about the craftsmen who make toys, and tell it in an exciting way to interest a small child.
Thus, folk art has enormous emotional impact and is a good basis for the formation spiritual world person.
Unlike faceless mass-produced products, handmade items are always unique. Masterfully crafted household utensils, clothing, and interior elements are expensive. And if in the old days such things were objects of utilitarian purpose, then in our days they have passed into the category of art. Beautiful thing made a good master, will always be in value.
In recent years, the development of applied art has received a new impetus. This trend cannot but rejoice. Beautiful dishes made of wood, metal, glass and clay, lace, textiles, jewelry, embroidery, toys - all this, after several decades of oblivion, has again become relevant, fashionable and in demand.
History of the Moscow Museum of Folk Art
In 1981, the Museum of Decorative, Applied and Folk Art opened in Moscow, on Delegatskaya Street. His collection consists of unique examples of handicrafts by Russian masters of the past, as well as the best works of contemporary artists.
In 1999, the following important event occurred - All-Russian Museum of Decorative, Applied and Folk Art accepted exhibits from the Savva Timofeevich Morozov Museum of Folk Art into its collection. The core of this collection was formed even before the 1917 revolution. The basis for it was the exhibits of the very first Russian ethnographic museum. It was the so-called Handicraft Museum of Decorative and Applied Arts, opened in 1885.
The museum has a specialized library where you can get acquainted with rare books in theory and history of art.
Museum collection
Traditional types of decorative and applied arts are systematized and divided into departments. The main thematic areas are ceramics and porcelain, glass, jewelry and metal, bone and wood carvings, textiles, lacquer miniatures and fine materials.
The Museum of Decorative and Applied Arts has more than 120 thousand exhibits in its open fund and storage facilities. Russian modernism is represented by the works of Vrubel, Konenkov, Golovin, Andreev and Malyutin. The collection of Soviet propaganda porcelain and textiles from the second quarter of the last century is extensive.
Currently, this museum of folk arts and crafts is considered one of the most significant in the world. The most ancient exhibits of high artistic value date back to the 16th century. The museum's collection has always been actively replenished through gifts from private individuals, as well as through the efforts of senior government officials during the years of Soviet power.
Thus, the unique exhibition of textiles was created largely thanks to the generosity of French citizen P. M. Tolstoy-Miloslavsky, who donated to the museum a large collection of Russian, Eastern and European textiles collected by N. L. Shabelskaya.
Two large collections of porcelain were donated to the museum by outstanding figures of Soviet art - Leonid Osipovich Utesov and their spouses Maria Mironova and Alexander Menaker.
The Moscow Museum of Applied Arts boasts halls dedicated to the life of Russian people in different time periods. Here you can get acquainted with the homes of representatives of all classes. Furniture, dishes, clothes of peasants and city residents, and children's toys were preserved, restored and put on display. Carved decorations of platbands and roof canopies, tiled stoves, chests, which served not only as convenient storage for things, but also as beds, since they were made in appropriate sizes, conjure up pictures of the quiet, measured and well-fed life of the Russian hinterland.
Lacquer miniature
Lacquer miniature as an applied art reached its greatest flourishing in the 18th and 19th centuries. The artistic centers that gave residence to the main directions were cities famous for their icon-painting workshops. These are Palekh, Mstyora, Kholui and Fedoskino. Boxes, brooches, panels, caskets made of papier-mâché were painted with oil paints or tempera and varnished. The drawings were stylized images of animals, plants, characters from fairy tales and epics. Artists, masters of lacquer miniatures, painted icons, made custom portraits, and painted genre scenes. Each locality has developed its own style of painting, but almost all types of applied art in our country are united by such qualities as richness and brightness of colors. Detailed drawings, smooth and rounded lines - this is what distinguishes Russian miniatures. It is interesting that images of the decorative and applied arts of the past also inspire modern artists. Antique drawings are often used to create fabrics for fashion collections.
Artistic painting on wood
Khokhloma, Mezen and Gorodets paintings are recognizable not only in Russia, but also abroad. Furniture, cabinets, boxes, spoons, bowls and other household utensils made of wood, painted in one of these techniques, are considered the personification of Russia. Light wooden utensils painted with black, red and green on a golden background, it looks massive and heavy - this is a characteristic manner of Khokhloma.
Gorodets products are distinguished by a multi-color palette of colors and somewhat less roundness of shapes than Khokhloma products. Genre scenes are used as plots, as well as all kinds of fictional and real representatives of the animal and plant world.
The decorative and applied arts of the Arkhangelsk region, in particular Mezen wood painting, are utilitarian objects decorated with special designs. Mezen craftsmen use only two colors for their work - black and red, that is, soot and ocher, fractional schematic drawing tues, caskets and chests, friezes in the form of borders from repeating truncated figures of horses and deer. A static, small, frequently repeated pattern evokes sensations of movement. Mezen painting is one of the most ancient. Those drawings that are used by modern artists are hieroglyphic inscriptions that were used Slavic tribes long before the emergence of the Russian state.
Wood craftsmen, before turning any object from a solid block, treat the wood against cracking and drying out, so their products have a very long service life.
Zhostovo trays
Metal trays painted with flowers - the applied art of Zhostovo near Moscow. Once having an exclusively utilitarian purpose, Zhostovo trays have long served as interior decoration. Bright bouquets of large garden and small wildflowers on a black, green, red, blue or silver background are easily recognizable. Typical Zhostovo bouquets are now decorated with metal boxes containing tea, cookies or sweets.
Enamel
Decorative and applied art such as enamel also refers to metal painting. The most famous are the products of Rostov craftsmen. Transparent fireproof paints are applied to a copper, silver or gold plate and then fired in a kiln. Using the hot enamel technique, as enamel is also called, jewelry, dishes, weapon handles and cutlery are made. When exposed to high temperatures, paints change color, so craftsmen must understand the intricacies of handling them. Most often, floral motifs are used as subjects. The most experienced artists make miniatures of portraits of people and landscapes.
Majolica
The Moscow Museum of Applied Arts provides an opportunity to see the works of recognized masters of world painting, executed in a manner that is not entirely characteristic of them. For example, in one of the halls there is a Vrubel majolica - a fireplace “Mikula Selyaninovich and Volga”.
Majolica is a product made of red clay, painted on raw enamel and fired in a special oven at a very high temperature. IN Yaroslavl region Arts and crafts became widespread and developed due to the large number of deposits of pure clay. Currently, in Yaroslavl schools, children are taught to work with this plastic material. Children's applied art is a second wind for ancient crafts, new look on folk traditions. However, this is not only a tribute to national traditions. Working with clay develops fine motor skills, expands the angle of vision, and normalizes the psychosomatic state.
Gzhel
Decorative and applied art, in contrast to fine art, presupposes the utilitarian, economic use of objects created by artists. Porcelain teapots, flower and fruit vases, candlesticks, clocks, cutlery handles, plates and cups are all extremely elegant and decorative. Based on Gzhel souvenirs, prints are made on knitted and textile materials. We are used to thinking that Gzhel is a blue pattern on a white background, but initially Gzhel porcelain was multi-colored.
Embroidery
Fabric embroidery is one of the most ancient types of needlework. Initially, it was intended to decorate the clothes of the nobility, as well as fabrics intended for religious rituals. This folk decorative and applied art came to us from the countries of the East. The clothes of rich people were embroidered with colored silk, gold and silver threads, pearls, precious stones and coins. The most valuable is considered to be embroidery with small stitches, which creates the feeling of a smooth, as if a pattern drawn with paints. In Russia, embroidery quickly came into use. New techniques have appeared. In addition to the traditional satin stitch and cross stitch, they began to embroider with hemstitch stitches, that is, laying openwork paths along the voids formed by pulled out threads.
Dymkovo toys for children
IN pre-revolutionary Russia folk craft centers, in addition to utilitarian items, produced hundreds of thousands of children's toys. These were dolls, animals, dishes and furniture for children's fun, and whistles. Decorative and applied art of this direction is still very popular.
The symbol of the Vyatka land - the Dymkovo toy - has no analogues in the world. Bright colorful young ladies, gentlemen, peacocks, carousels, goats are immediately recognizable. Not a single toy is repeated. On a snow-white background, patterns in the form of circles, straight and wavy lines are drawn with red, blue, yellow, green, and gold paints. All crafts are very harmonious. They emit such powerful positive energy that anyone who picks up a toy can feel it. Maybe there is no need to place Chinese symbols of prosperity in the corners of the apartment in the form of three-legged toads, plastic red fish or money trees, but it is better to decorate the home with products of Russian craftsmen - Kargopol, Tula or Vyatka clay souvenirs, miniature wooden sculptures of Nizhny Novgorod craftsmen. It is impossible that they will not attract love, prosperity, health and well-being to the family.
Filimonovskaya toy
In children's art centers in many regions of our country, children are taught to sculpt from clay and paint crafts in the manner of folk crafts of central Russia. The kids really enjoy working with such a convenient and flexible material as clay. They come up with new designs in accordance with ancient traditions. This is how domestic applied art develops and remains in demand not only in tourist centers, but throughout the country.
Mobile exhibitions of Filimonov toys are very popular in France. They travel around the country throughout the year and are accompanied by master classes. Whistle toys are purchased by museums in Japan, Germany and other countries. This craft, which has a permanent residence in the Tula region, is about 1000 years old. Primitively made, but painted with pink and green colors, they look very cheerful. The simplified form is explained by the fact that the toys have cavities inside with holes going out. If you blow into them, alternately covering different holes, you will get a simple melody.
Pavlovo Posad shawls
Cozy, feminine and very bright shawls from Pavlovo Posad weavers became known throughout the world thanks to the amazing collection of fashionable clothes by Russian fashion designer Vyacheslav Zaitsev. He used traditional fabrics and patterns to make women's dresses, men's shirts, other clothing and even shoes. The Pavlovo Posad scarf is an accessory that can be passed down from generation to generation, like jewelry. The durability and wear resistance of scarves is well known. They are made from high quality fine wool. The designs do not fade in the sun, do not fade from washing and do not shrink. The fringe on scarves is made by specially trained craftsmen - all the cells of the openwork mesh are tied in knots at the same distance from each other. The design represents flowers on a red, blue, white, black, green background.
Vologda lace
World-famous Vologda lace is woven using birch or juniper bobbins from cotton or linen threads. In this way, measuring tape, bedspreads, shawls and even dresses are made. Vologda lace is a narrow strip, which is the main line of the pattern. The voids are filled with nets and bugs. The traditional color is white.
Applied art does not stand still. Development and change occur constantly. It must be said that by the beginning of the last century, under the influence of developing industry, industrial manufactories equipped with high-speed electric machines appeared, and the concept of mass production arose. Folk arts began to decline. Only in the middle of the last century were traditional Russian crafts restored. IN art centers, such as Tula, Vladimir, Gus-Khrustalny, Arkhangelsk, Rostov, Zagorsk, etc., vocational schools were built and opened, qualified teachers were trained and new young masters were trained.
Modern types of needlework and creativity
People travel, get acquainted with the cultures of other peoples, and learn crafts. From time to time new types of decorative and applied arts appear. For our country, scrapbooking, origami, quilling and others have become such new products.
At one time, concrete walls and fences were decorated with a variety of drawings and inscriptions made in a highly artistic manner. Graffiti, or spray art, is a modern interpretation of an ancient look rock art. You can laugh as much as you like at teenage hobbies, which, of course, includes graffiti, but look at photographs on the Internet or walk around your own city, and you will discover truly highly artistic works.
Scrapbooking
The design of notebooks, books and albums that exist in a single copy is called scrapbooking. In general, this activity is not entirely new. Albums designed to preserve the history of a family, city or individual for posterity have been created before. Modern vision of this art- this is a creation art books with illustrations by the authors, as well as the use of computers with various graphic, music, photo and other editors.
Quilling and origami
Quilling, translated into Russian as “paper rolling,” is used to create panels, to design postcards, photo frames, etc. The technique involves rolling thin strips of paper and gluing them to a base. The smaller the fragment, the more elegant and decorative the craft.
Origami, like quilling, is work with paper. Only origami is work with square sheets of paper from which all sorts of shapes are formed.
As a rule, all crafts related to papermaking have Chinese roots. Asian arts and crafts were originally a pastime for the nobility. The poor did not create beautiful things. Their destiny is agriculture, cattle breeding and all kinds of menial work. Europeans, having adopted the basics of the technique, which historically represented very small and delicate work with rice paper, transferred the art to conditions convenient to them.
Chinese products are distinguished by an abundance of very small details that look monolithic and very elegant. Only very experienced craftsmen can do such work. In addition, thin paper ribbons can be twisted into a tight and even coil only with the help of special tools. European lovers of handicrafts have somewhat modified and simplified the ancient Chinese craft. Paper, curled in spirals of different sizes and densities, has become a popular decoration for cardboard boxes, vases for dried flowers, frames and panels.
Speaking about decorative and applied arts, it would be unfair to ignore such crafts as silk painting, or batik, printing, or embossing, that is, metal painting, carpet weaving, beading, macrame, knitting. Some things become a thing of the past, while others become so fashionable and popular that even industrial enterprises start producing equipment for this type of creativity.
Preserving ancient crafts and displaying the best examples in museums is a good cause that will always serve as a source of inspiration for people creative professions and will help everyone else to join in the beauty.
