Traditional crafts. Folk crafts and crafts of Russia. Shemogoda carved birch bark

12.10.2021

Since ancient times, dishes and other household items made of ceramics have been widely known in Russia. One of the most famous settlements of Russia, whose inhabitants were engaged in the manufacture of ceramic porcelain dishes, is Gzhel (now the city is located on the territory of the Ramensky district of the Moscow region). Since the 17th century, and even earlier, Gzhel has been the most famous center for the manufacture of porcelain and ceramics. The products of local craftsmen are distributed throughout Russia. It should be noted that in the old days this city was one of the centers of the Old Believers-priests. The heyday of Gzhel came at the time of the activity of the Association for the Production of Porcelain and Faience Products M.S. Kuznetsov" in the late XIX - early XX century.

The formation of the Gzhel color palette familiar to us falls on the beginning of the 19th century. Researchers point out that since the 1820s, an increasing number of Gzhel products were painted white and painted exclusively with blue paint. Today, blue painting is a characteristic feature of Gzhel products. The popularity of such dishes turned out to be so great that similar products began to be created in other areas, but they had a similar blue-and-white ornament. There have also been many fakes.

Experts say that only author's works that formed the Gzhel style familiar to us in the 80s of the XX century can be called authentic Gzhel products. These are the works of such artists as Azarova, Denisov, Neplyuev, Fedorovskaya, Oleinikov, Tsaregorodtsev, Podgornaya, Garanin, Simonov and others. Each of these masters puts on the product a personal signature or a stamp of the company where he works. If the master is an employee of the enterprise, then his products are transferred to the production workshop for the purpose of replication.

Zhostovo painting

In the middle of the XVIII century in the Urals, where the metallurgical plants of the Demidovs were located, a new type of craft was born. Local craftsmen began to paint metal trays. It is interesting that such workshops appeared in cities where a large part of the population were Old Believers, who still have prayer houses and churches there. These are Nizhny Tagil, Nevyansk and Vyisk, founded in 1722. So the so-called Tagil trays appeared. The industrialists Demidovs, who oversaw this craft, were very concerned about the quality and artistic value of the products. In order to educate and train professional personnel, they founded a school in 1806. The historical style of Tagil trays was created thanks to this school and its most authoritative teacher - a graduate of the Imperial Academy of Arts V.I. Albychev.

Painted Tagil trays were sold all over the country. Similar products began to try to produce in other places. The most successful such attempt was the organization of the production of painted trays in the village of Zhostovo, Moscow province. The trays made there became famous in the first half of the 19th century. Since then, this type of craft has received the name "Zhostovo painting". Until now, the craft of painting a tray has been preserved only in Nizhny Tagil and Zhostovo. The painting is done mainly on a black background (occasionally on red, blue, green).

The main motives of the painting are: flower bouquets, both lush garden and small wild flowers; Ural landscapes or ancient cities. On some old trays you can see people, fabulous birds. Painted trays are used either for their intended purpose (as a samovar, for serving dinner), or for decoration. The shape of the trays are divided into round, octagonal, rectangular, oval.

Palekh miniature

After the October Revolution and the beginning of the persecution of religion, Palekh icon painters had to look for a new way to earn money. Thus, many retrained as masters of lacquer miniatures. This type of miniature is made in tempera on papier-mâché. As a rule, caskets, caskets, capsules, brooches, panels, ashtrays, needle cases and more are painted. The painting is done in gold on a black background. The original technology of the last century, which was used by the first Palekh craftsmen in the 1920s and 30s of the 20th century, has been partially preserved.

The characteristic plots of the Palekh miniature are borrowed from everyday life, literary works of the classics, fairy tales, epics and songs. Many plots are devoted to the events of history, including the revolution and the civil war. There is a cycle of miniatures dedicated to space exploration. Since the beginning of the 21st century, among some masters working in the Palekh style, there has been a tendency to return to icon-painting subjects.

Fedoskino miniature is another type of traditional Russian lacquer miniature painting. Made with oil paints on papier-mâché. Unlike the miniatures of Palekh, the techniques of which came from icon painting, the Fedoskino miniature was originally formed as a kind of applied art, hence the more “mundane” manner of writing.

The Fedoskino miniature originated at the end of the 18th century in the village of Fedoskino in the Moscow province. The main motifs of the miniature: "troikas", "tea parties", scenes from the life of peasants. Caskets and caskets, which were decorated with complex multi-figured compositions - copies of paintings by Russian and Western European artists, were most highly valued.

In the 19th century, the Fedoskino miniature served mostly decorative purposes. In the middle of the 20th century, the author's direction began to develop. The plots of miniatures began to become more complicated.

Khokhloma

Nizhny Novgorod decorative Khokhloma painting is known throughout Russia. The craft originated in the 17th century in the village of Khokhloma. It is located on the territory of the former Semyonovsky district of the Nizhny Novgorod province, known in the old days for large Old Believer monasteries, such as the Sharpansky and Olenevsky sketes. It is no coincidence that in the famous novel by Andrei Melnikov (Pechersky), the Old Believers of the Semenovsky district are engaged in the manufacture of wooden utensils. They also did this in Khokhloma. Khokhloma masters nevertheless became known throughout Russia for their unusual bright paintings. They painted wooden utensils and furniture. Mostly black, red, golden, sometimes green colors were used.

In order to achieve the golden color characteristic of Khokhloma, local craftsmen apply silver tin powder to the surface of the product when painting. After that, they are varnished and baked three or four times in the oven, which achieves a unique honey-gold color, which gives the light wooden utensils a massive effect.

Thanks to this technology that creates an unusual color, Khokhloma has become popular all over the world. Plates and spoons made in this style began to be perceived in the 20th century as a symbol of Russian national dishes.

Gorodets painting appeared in the middle of the 19th century in the area of the ancient city of Gorodets, Nizhny Novgorod province. Through the efforts of the Old Believers, Gorodets became a center of wooden shipbuilding and bread trade with all-Russian fame. Merchants-Old Believers donated significant sums for the construction of churches, for the maintenance of hospitals, orphanages, public education and improvement of the city.

Gorodets painting is bright and concise. The main themes of the painting are scenes from fairy tales, figurines of horses, birds, flowers, peasant and merchant life. The painting is done with a free stroke with a white and black graphic stroke. Spinning wheels, furniture, shutters, doors, chests, arcs, sleighs, and children's toys were decorated with Gorodets painting.

That's what it says V.S. Ravens about Gorodets painting:

The Nizhny Novgorod style presents us with the purest version of genuine pictorial art, which has overcome the limits of graphic captivity and is based solely on the elements of painting.

Mezen painting

Mezen painting on wood (palashchelsky painting) is a special type of painting of household utensils, in particular spinning wheels, ladles, boxes, brothers, which developed by the end of the 19th century in the lower reaches of the Mezen River. Since ancient times, these places, like all the seaside, were inhabited by the Old Believers. And from December 1664 to February 1666 Archpriest Avvakum was in exile in Mezen itself. The oldest surviving spinning wheel with Mezen painting dates back to 1815.

The artistic motifs of the Mezen painting can be found in handwritten books of the 18th century, which were made in Pomorie. The main colors of the Mezen painting are black and red. The main motifs of the geometric ornament are disks, rhombuses, crosses. The painted object was covered with drying oil, which protected the paint from erasing and gave the product a golden color.

At the end of the 19th century, Mezen painting was concentrated in the village of Palashchelye, where entire families of craftsmen worked: the Aksenovs, Novikovs, Fedotovs, Kuzmins, Shishovs. In the mid 1960s. Mezen painting was revived by the descendants of the old palashchel masters: F.M. Fedotov in the village of Palaschelye and S.F. and I.S. Fatyanova in the village of Selishche. The exhibition of Mezen spinning wheels in 2018 was the first event in the newly opened Museum. Gilyarovsky, in Stoleshnikov Lane in Moscow.

Vologda lace is a Russian craft that originated in the Vologda region in the 16th century. Lace is woven on bobbins (wooden sticks). As a separate craft with its own characteristic features, Vologda lace was already known in the 17th-18th centuries. However, until the 19th century, lace-making was a domestic craft, it was done, first of all, by private craftswomen. With the increasing popularity of Vologda lace, the production of products was put on stream. In the 19th century, lace factories appeared in the vicinity of Vologda.

All the main images in the Vologda coupling lace are made with a dense, continuous braid of the same width. For the manufacture of Vologda lace, a cushion-roller, juniper or birch bobbins, pins, and a chip are used. A typical material for Vologda lace is linen.

The plots of Vologda lace are very different - from floral ornaments to figured compositions. In Vologda lace, you can find Christian and ancient folk symbols.

Yelets lace is no less famous. It is woven on bobbins. This type of lace originated at the beginning of the 19th century in the city of Yelets.

Lace is distinguished by a soft contrast of a small pattern (vegetative and geometric) and a thin openwork background.

It is believed that Yelets lace is lighter and more elegant than Vologda lace.

Mtsensk lace is a type of Russian lace, which is woven on bobbins.

Mtsensk lace appeared in the city of Mtsensk, Oryol region, in the 18th century. This became possible thanks to the local landowner Protasova, who gathered craftswomen from different parts of Russia and founded a manufactory - the largest lace production in Russia at that time.

A distinctive feature is the use of geometric motifs. Compared to Vologda lace, the pattern in it is less dense and saturated, as experts say - more "airy".

At the beginning of the 18th century, craftswomen engaged in the manufacture of lace appeared in the Vyatka province. However, the production of lace acquired an industrial scale only in the second half of the 19th century. This trade is carried out by craftswomen from peasants. In 1893, in the Kukarka settlement of the Yaransky district of the Vyatka province, a zemstvo school of lacemakers was organized. The forms of products are diverse and sometimes unusual: these are vests, braids of scarves, collars, napkins with patterns in the form of butterflies, lush flowers, whimsical loops.

The most interesting products from Vyatka lace were created in the Soviet era. These achievements are associated with the name of the famous lace artist, laureate of the Repin State Prize of Russia Anfisa Fedorovna Blinova. Her works are in the Tretyakov Gallery, the Russian Museum, the Russian Art Fund, the Moscow Research Institute of Art Industry.

In the conditions of the economic crisis of the 90s of the XX century, the lace factory located in the city of Sovetsk (the former settlement of Kukarka) was closed. Only quite recently, in 2012, a production cooperative artel "Kukarskoe lace" was created in the city, gradually reviving the traditions of the old craft.

Orenburg downy shawl - a knitted shawl made from the unique down of Orenburg goats, applied to a special base (cotton, silk or other material).

This craft originated in the Orenburg province in the 18th century. Products are very thin, like cobwebs, but they usually have a complex pattern and are used as decoration. The thinness of the product is often determined by 2 parameters: whether the product passes through the ring and whether it fits in a goose egg.

In the middle of the 19th century, downy shawls were presented at exhibitions in European countries, where they received international recognition. Repeated attempts were made, including abroad, to open the production of such down for the needs of light industry. However, they were not successful. It turned out that in order to obtain such a thin and warm fluff, goats need rather harsh climatic conditions and certain nutrition, the totality of which is possible only on the territory of the Orenburg Territory.

In the middle of the 19th century, in the city of Pavlovsky Posad, they began to produce woolen scarves with the so-called printed pattern, which was applied to the fabric using forms with a relief pattern. Pavloposad shawls are traditionally black or red products with a three-dimensional floral pattern.

In the 70s. In the 19th century, the palette of scarves familiar to us was formed, the range of scarves with naturalistic floral motifs expanded. Craftswomen prefer images of garden flowers, especially roses and dahlias.

Until the 1970s, the drawing was applied to the fabric with wooden carved forms: the outline of the drawing - with boards - "manners", the drawing itself - with "flowers". Creating a scarf required up to 400 overlays. Since the 1970s, dye has been applied to fabric using silk and nylon mesh patterns. This allows you to increase the number of colors, the elegance of the pattern and improves the quality of production.

Krestetskaya stitch (or Krestetskaya embroidery) is a folk craft that has developed since the 1860s in the Krestetsky district of the Novgorod province, since ancient times inhabited by Old Believers.

The Krestetskaya line is the most labor-intensive and complicated line embroidery in the execution technique.

Embroidery was performed on linen fabric, and the threads, warp and weft were cut and pulled out of the fabric, forming gaps, like a net. This fabric was used to create a variety of patterns and embroideries. Clothes, curtains, towels were decorated with Krestets embroidery.

Kasli casting - artistic products (sculpture, lattices, architectural elements, etc.) made of cast iron and bronze, produced at the iron foundry in the city of Kasli.

This plant was founded in 1749 by the Old Believer merchant Yakov Korobkov, who arrived here with his family from Tula. He was guided by the decree of Peter I, which read:

It is allowed to everyone and everyone, the will is given, no matter what rank and dignity, in all places, both on their own and on foreign lands, to search, melt, cook, clean all kinds of metals and minerals.

Sculpture "Russia" N.A. Laveretsky, Kasli casting, 1896

Most of the factory workers were also Old Believers who arrived from different places in the Urals, where the persecution of the old faith was not so noticeable.

The traditions of Kasli casting - the graphic clarity of the silhouette, the combination of carefully finished details and generalized planes with an energetic play of highlights - developed in the 19th century. During this period, the owners of the plant attracted new talented sculptors, artists, chasers and moulders. Kasli casting products received the Grand Prix award at the prestigious Paris World Exhibition of Applied Arts in 1900.

The Shemogoda slotted birch bark, which originates in the Vologda region, has gained particular popularity. Birch bark, despite its apparent fragility, is a fairly strong and durable material. Vologda craftsmen make a variety of baskets, dishes, tuesas, jewelry, and even shoes and clothes.

The peculiarity of these products is that a natural floral ornament, leaves and berries, flowers and stems, animals and people are intertwined with the traditional pattern. The traditional patterns of the Shemogodskaya slotted birch bark are engraved on birch bark sheets with a blunt awl and cut with a sharp knife, removing the background. Colored paper or another layer of birch bark is sometimes placed under the openwork; carving is complemented by embossing. In the 19th century, these products were called " birch bark lace».

In Soviet times, items made from Shemogoda birch bark were considered a symbol of the Russian forest and were in demand among foreigners. At the same time, a birch bark carving workshop was organized at the Shemogodsk furniture factory (Vologda region). And today, not a single Russian fair is complete without birch bark dishes.

This Russian craft originated among professional woodcarvers from Nizhny Novgorod. Masters use the tubular bone of cattle as the main raw material - “ tarsus and horn. Also, for the manufacture of expensive types of products, rarer and more valuable types of mammoth and walrus bones are used.

Varnavinskaya bone carving is used mainly in the manufacture of women's jewelry (hairpins, combs, hairpins, combs, brooches, pendants, beads, necklaces, pendants, bracelets, earrings, rings, rings), caskets, caskets, fountain pens, decorative dishes and other souvenirs.

The peculiarity of such products lies in the absolute originality and individuality. Each item is made by hand, without any templates and stamps.

Abramtsevo-Kudrinskaya carving is an artistic craft of woodcarving, which was formed at the end of the 19th century in the vicinity of the Abramtsevo estate near Moscow.

Using this technique, they made ladles, dishes, vases and caskets, as well as any items of home decor and household items. The peculiarity of these products is the predominance of various curls, rosettes, twigs, tinting and polishing of wood.

The heyday of this craft falls on the Soviet period of time - 20-40s. Orders for workers of the Kudrin artel "Vozrozhdeniye" came even from the Tretyakov Gallery. Historical and modern products made in the style of Abramtsevo-Kudrinsk carving were presented at the international exhibition in Paris in 1937. After the collapse of the USSR, the Kudrinsk carving factory was closed. Today, the craft is preserved thanks to the work of private craftsmen.

The history of Gusev crystal began in 1756, when the Oryol merchant Akim Maltsov founded the first glass factory on the banks of the Gus River in dense Meshchera forests.

The first mention of the Gus volost dates back to the 17th century. When the construction of glass manufactories in the Moscow region was banned due to excessive deforestation, the first crystal factory was built in the village of Gus on the river of the same name, craftsmen for which were specially brought from Mozhaisk. Thus began the history of not just production, but a whole folk craft that continues to flourish to this day.

Now the plant is primarily famous for its artistic glass. Gusev artists, taking into account the peculiarities of the material, give it a highly artistic expressiveness, skillfully using color, form, and decor.

Filigree

Filigree (or filigree) is a jewelry craft that uses an openwork or soldered pattern of thin gold, silver, etc. on a metal background. wire. The elements of the filigree pattern are very diverse: rope, lace, weaving, herringbone, path, smooth surface. The individual elements of the filigree are connected into a single whole by soldering. Often filigree is combined with grain - small metal balls that are soldered into pre-prepared cells (recesses). The grain creates an effective texture, a play of light and shade, thanks to which the products acquire a particularly elegant, sophisticated look. The materials for filigree products are alloys of gold, silver and platinum, as well as copper, brass, cupronickel, nickel silver. Jewelry made in the filigree technique is oxidized and silvered. Filigree is often combined with enamel (including enamel), engraving, and chasing.

Filigree products were produced in royal or monastic workshops. In the 18th century, large filigree products were made, along with stones, crystal and mother-of-pearl were widely used. At the same time, small silver things became widespread: vases, salt shakers, caskets. Since the 19th century, filigree products have already been produced by factories in large quantities. This is expensive dishes, and church utensils and much more.

Scanning centers today are:

The village of Kazakovo in the Vachsky district of the Nizhny Novgorod region, where the enterprise of art products is located, which produces unique jewelry products using the most ancient technique of artistic metal processing - filigree.
The village of Krasnoe-on-Volga, Kostroma Region, here is the Krasnoselsky School of Artistic Metalworking, the main task of which is to preserve the traditional Krasnoselsky jewelry craft - filigree, enamel, chasing and more.
The city of Pavlovo, Nizhny Novgorod region, where the technical school of folk arts and crafts of Russia is located.

Enamel

Enamel is the production of works of art using vitreous powder, enamel on a metal substrate. The glass coating is durable and does not fade over time; enamel products are distinguished by their special brightness and purity of colors. Enamel acquires the desired color after firing with the help of additives for which metal salts are used. For example, gold additives give glass a ruby color, cobalt a blue color, and copper a green color.

Vologda (Usolskaya) enamel - traditional painting on white enamel. The craft originated in the 17th century in Solvychegodsk. Later, they began to engage in similar enamel in Vologda. Initially, the main motive was plant compositions painted on a copper base: floral ornaments, birds, animals, including mythological ones. However, at the beginning of the 18th century, monophonic enamel (white, blue and green) became popular. Only in the 1970s of the XX century did the revival of the “Usolskaya” multi-color enamel by Vologda artists begin. Production continues to this day.

There is also Rostov enamel - a Russian folk art craft that has existed since the 18th century in the city of Rostov Veliky, Yaroslavl Region. Miniature images are made on enamel with transparent refractory paints, which were invented in 1632 by the French jeweler Jean Tutin.

Malachite products

Malachite is a green mineral with rich hues that lends itself well to processing. The stone can be from light green to black-green, and the first craft is more than 10 thousand years old. Dense varieties of malachite of good color and beautiful pattern are highly valued and have been used since the end of the 18th century for facing flat surfaces. Since the beginning of the 19th century, malachite has been used to create volumetric works - vases, bowls, dishes.

Malachite gained wide popularity outside of Russia thanks to the orders of the World Exhibition in London in 1851, prepared by. Thanks to the Demidovs, since the 1830s, malachite began to be used as a material for architectural decoration: the first malachite hall was created by order of P.N. Demidov architect O. Montferrand in a mansion in St. Petersburg on the street. B. Morskaya, 43. Luxurious interior work with malachite was made in St. Isaac's Cathedral. Malachite is also used to make jewelry. The technique of facing with malachite is called " Russian mosaic". It is based on the principle that was used by European craftsmen to reduce the cost of lapis lazuli products back in the 17th century: thinly sawn stone plates cover the surface of an object made of metal or cheap stone. This creates the illusion of carving from a monolith.

Tales of the Russian writer Pavel Petrovich Bazhov, who began his career as a teacher in a school in the remote Ural village of Shaydurikha, inhabited by Old Believers, are dedicated to the malachite craft. From them, the writer adopted many interesting stories and legends related to life in the Urals and the folklore customs of the local population.

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Ministry of Culture of the Volgograd Region

State educational budgetary institution of culture of higher professional education

"Volgograd State Institute of Arts and Culture"

(GOBUK VPO VGIIK)

I stage

Faculty of distance learning

Department of Arts and Crafts

Abstract by discipline:

Organization and leadership of the NHP

on the topic : « Folk crafts and crafts of Russia»

Completed:

Popova E.I.

(gr. 5RSDPT FZO)

Checked:

Professor

Taranov N.N.

Volgograd 2017

Introduction
1. Folk crafts and crafts
2. Kinds of crafts
2.1 Artistic metalwork
2.2 Wood products
2.3 Weaving
2.4 Embroidery
2.5 Artistic pottery
2.6 Felting
2.7 Art painting
2.8 Toy industries
2.9 Artistic processing of bone
2.10 Lace and down knitting
Conclusion
Bibliography

Introduction

Folk crafts are one of the forms of folk art (in particular, the manufacture of decorative and applied arts). The traditions of folk art are rooted in antiquity, reflecting the peculiarities of the labor and everyday life, aesthetic ideals and beliefs of a certain people. The motives and images of folk art have been preserved almost unchanged for centuries, being passed down from generation to generation. Products of folk craftsmen (ceramics, fabrics and carpets, products made of wood, stone, metal, bone, leather, etc.) are designed primarily to bring beauty and joy to everyday life. In Russia, the most popular were Gzhel ceramics, painted with blue colors on white; Dymkovo clay toy; Vologda lace, Gorodets wood painting, lacquer miniatures of Palekh, Kholuy, Mstyora, Khokhloma, Veliky Ustyug blackening on silver, etc.

With the development of mass industrial production, many ancient crafts and trades fell into decay. In con. 19 - beg. 20th century on the wave of interest in the national past in many countries, the revival of folk art crafts began. In Russia, traditional crafts were purposefully cultivated in the workshops of Abramtsev and Talashkino. Nowadays, craftsmen working in the traditions of folk crafts create both unique works of art and sketches for the production of mass industrial products.

1. Folk crafts and crafts

What unites and unites crafts and crafts?

The word "craft" comes from the Latin "crafts" (carpenter) and denoted different types of manual work. Crafts - from "provide", that is, to think. In Dahl's explanatory dictionary, "craft" was explained as "the skill by which bread is obtained, a craft that requires mostly bodily rather than mental labor."

If we leave aside the controversial statement about the ratio of physical and mental labor, we will see that the main thing is labor that generates income. The craft turned into a trade when craftsmen began to create items on order and for sale.

When certain skills and means of expression become habitual, a tradition emerges. And this happens thanks to the joint efforts of different people, so the nature of folk art is collective, but this does not detract from the significance of the creativity of the most talented and seeking masters.

Becoming massive, the craft reproduced the same type of objects, but at the same time did not lose the samples already found. The craft perished if it did not generate income, as happened with the introduction of factory production.

Nowadays, folk art has not disappeared, it has largely moved into another area, and a definition has appeared: arts and crafts. The word "decor" means "I decorate". The basis of the decor is a pattern, an ornament. Applied - the subject must have its purpose. And, perhaps, some objects are already losing their utility, but at the same time they acquire a new sound - they decorate everyday life, and this is also important in the modern world.

In folk art, first of all, the technological methods of manual labor, transmitted from generation to generation, are successive. The works of traditional manual labor bring to us many artistic images that connect our time with the culture of antiquity. The manual nature of the work enables the master to improvise, to introduce his own creative options into traditional forms, to have “his own handwriting”, different from the “handwriting” of other masters.

If in industry an artist creates a sample, which can then be reproduced by a machine in a huge number of identical copies, then in art crafts a master, using the traditional form of an object and traditional forms of decor, working by hand, each time makes changes to a greater or lesser extent in the product, making it similar and at the same time not similar to similar objects. Products of folk art, which are always made by hand, are valued precisely because they preserve the creative nature of the work of a folk master, are a prerequisite for the fact that each product is a unique work of art. Therefore, manual labor in folk art cannot and should not be supplanted by machine labor. Here, of course, we are talking only about creative manual labor, which allows the master performer to vary his products. If he has only to copy the model given to him, then his work is of no aesthetic value. Technical improvements that do not exclude the creativity of the performer, do not interfere with the manifestation of the master's virtuosity, can and should be widely used; change in folk art. Thus, the potter's wheel has long been used in ceramics, a lathe has been used in artistic processing of wood, a drill was introduced at bone-cutting enterprises in the late 40s, and sewing machines of classes 1 and 22A are used in embroidery. All these mechanisms help the master in his work.

Folk arts and crafts is one of the historically established forms of folk arts and crafts, which is a commodity production of artistic consumer goods with the mandatory use of creative manual labor. Inheriting the best traditions of folk art, folk crafts are the most developed centers of folk national culture.

craft creativity craft beliefs

2. Kinds of crafts

2.1 Artistic metalwork

It has already been said above that the first type of artistic craft that emerged as an independent production was metalworking.

The wonderful works of art left by the masters of the past speak of their perfect mastery of the material, knowledge of its natural properties, and a subtle understanding of their capabilities. The hardness, plasticity, structure, color of the metal, its ability to take certain forms and COMBINE with other materials were thoroughly studied by the craftsmen and prompted them to make an artistic decision.

Artistic metal processing covers many techniques and techniques that allow you to perform an unusually wide range of objects: the smallest jewelry made of precious metals and monumental products made of iron and cast iron.

art casting.

Artistic casting is one of the most ancient types of metal processing. Its essence lies in the fact that the product is made from molten metal mass in special forms. On the territory of Russia, artistic casting was mastered already in the 6th - 8th centuries. Initially, cast products were made of gold, silver and low-melting bronze alloys.

Craftsmen from Kyiv, Novgorod, Vladimir, Moscow and other ancient Russian cities used this technique to make belt linings, bracelets, buckles, pendants for necklaces, fasteners for caftans. And larger items: scabbard tips and sword hilts, candlesticks, chandeliers, lamps, aquarians, battle weights, richly decorated with ornaments.

Often foundry work was combined with other techniques - granulation, filigree, embossing, niello, enamel. So, wide cast silver bracelets with a black pattern are among the best works of art of Ancient Russia. The surface of the Kyiv and Vladimir bracelets is covered with the finest drawings that clearly stand out against the black background, depicting birds, lions, leopards, centaurs, dancers, warriors, and harpists.

Excellent examples of jewelry casting are the details of book bindings - overlaid silver hemispheres - "burrs", which are a complex weaving of patterned motifs, ornamentally interpreted images of animals.

A large center for casting copper alloys in the late 17th - early 18th centuries. becomes the city of Pavlovo-on-0ke. The work of the Pavlovsk “locksmiths”, who made cast figured locks of the most intricate designs, was distinguished by high craftsmanship. Padlocks, very often miniature, were given the shape of animal figures, fairy-tale creatures. These images were interpreted in conditional, sometimes grotesque forms, rooted in the casting of Ancient Russia in the 9th - 10th centuries. These traditional forms are sometimes used now in souvenir products produced by the Pavlovsk Souvenir Factory.

In the first half of the XV century. the art of cast iron began to develop.

The first craftsmen who mastered the iron casting of cannons were bell makers. The cannons were skillfully decorated with ornaments, inscriptions, images of fabulous animals.

Forging.Chasing.

The technique of manual forging - the plastic processing of red-hot iron - was developed already in the 9th - 10th centuries. Blacksmith equipment: a forge, bellows, anvils of various styles, hammers and tongs - almost did not change until the end of the 19th century. The metal was flattened, stretched, bent, cut - locksmith techniques in forging until the 18th century. almost never used.

A large number of blacksmith products for the needs of architecture - gratings, doors, gates, railings and brackets for canopies - were made in Moscow, Kaluga, Tula, Yaroslavl, Kostroma, Vologda and Veliky Ustyug.

In the cities of the Russian North, not only architectural, but also household forged metal was produced. In the 17th century a large number of lights, candlesticks, scales, cuts and other products were made. Most of these objects are characterized by a clear compositional solution, in which the basis of the product is one rod with branches that played a constructive and decorative role. Supports, connections and brackets were interpreted in the form of stems, leaves, flowers, birds, horse heads.

An example of the skill of Russian blacksmiths is forged cuts, on which several petals of twisted, gradually decreasing spirals end with half-figures of galloping horses - one of the favorite pictorial motifs in peasant art. The abundance of details does not interfere with the integrity of the perception of a clear cut silhouette. The product also demonstrates the art of forge welding, which is used in this relatively small item in more than a hundred places.

In the forging of door hinges and lock plates, the principle of flaking was used, in which side branches were separated from the central strips in hot form on both sides, which, in turn, were split and formed new branches. This purely blacksmithing principle has found application in the ironing of chests.

The word "chasing" comes from the word "choke", minting - knocking on metal. It is minted with a hammer, one end of which is rounded, and the other has a flat area for hitting the coinage. The working end of the coinage is hardened and has a different shape to give the plate the required texture.

Usually a chaser had on hand at least 200 coinage bearing certain names: a coinage with a slightly blunt point - "kanfarnik", in the form of a chisel - "consumables", with a rectangular platform - "hollow", with a concave sphere - "tube", etc. P.

In order not to tear thin metal, chasing was made on plastic materials: the end of a tree, specially prepared resin, wax, alum, and lead.

Coinage can be divided into flat and embossed, although both types were used for some works. The simplest coinage used in the 9th - 10th centuries. Smolensk and Chernigov masters, consisted in the fact that with various stamps the drawing was applied directly to the front surface of the thing. Very often, chasing-tubes were used, giving a false-grained embossed pattern, or chasing-kanfarniks, with the help of which the background was covered with tiny pits. Hryvnias, wide bracelets, false plaques were made in these techniques in Pskov, Novgorod, Suzdal.

A common type of chasing is the textured chasing of the background, drowning it around the images. The outline of the drawing was preliminarily applied with a coin-consumable.

An excellent example of coinage of the X century. (partially covered with black) is a silver frame of a turye horn from near Chernigov. When cutting the background, the master inflicted several thousand blows with a chaser. A detailed plot depicts hunters with bows, winged animals resembling dragons, eagles, and dogs. The composition impresses with the rapid movement of the figures, the mastery of their drawing.

In the XV - XVII centuries. especially often decorated with embossing brothers. The names of bratins: faceted, spoon-shaped, scaly - are associated with varieties of chased ornament, consisting of "scales", "spoons", "apples", etc.

In the XVIII century. St. Petersburg became the center of artistic metal processing, where in 1711 the masters of the Armory were also transferred. Products of the second half of the 18th century in St. Petersburg are produced mainly in the technique of chasing and casting in the Rococo style. The elegant and lush chased pattern was distinguished by an asymmetrical solution, an abundance of curls, and intricately curved lines in the conventional images of shells.

New types of tableware appeared: samovars, teapots, coffee pots, sugar bowls and whole sets with large chased ornaments. Garlands of flowers and fruits, images of fantastic marine animals are interspersed in a rich pattern of embossing.

Engraving and blackening.

Blackening is carried out by fusing a special mixture consisting of silver, copper, lead and sulfur onto the surface of silver items. The velvet-black tone of the black pattern stands out beautifully against the gray-blue surface of the silver. Black was also applied to gold. This technique belongs to the oldest types of decorative finishing of art products in Russia. Near Smolensk and Chernigov, silver jewelry with niello and engraving dating back to the 10th century was found.

Methods for revealing a pattern in products with niello are different. Often, niello is a background that highlights the pattern in contrast, as, for example, on products of Kievan Rus of the 10th - 12th centuries: wide bracelets, belt plaques, etc. At the same time, after blackening, the outline and internal pattern filling of images were engraved again.

Sometimes the internal niello drawing becomes more complicated and begins to prevail over the niello of the background. This new artistic technique found application in the things of Vladimir-Suzdal Russia of the 13th century. On some objects, the entire background remains brilliant, and the engraved drawing is filled with rich black.

Moscow master jewelers reached by the XVI century. great perfection in the art of blackening. This time is characterized by a velvety black color of niello, especially on a gold base. Niello was used to decorate secular and ecclesiastical items.

An excellent example of the niello art of this time is the golden dish located in the Armory. On the side of the dish there is an elegant draft pattern, in which inscriptions in the form of scrolls are arranged, indicating that the dish was made by order of Tsar Ivan the Terrible for Tsarina Maria Temryukovna in 1561.

Filigree (scanned) production.

The name "filigree" comes from two Latin words: "filum" - thread and "granum" - grain. The word "filigree" is Old Slavic and means "twist", "twist". Both names indicate the peculiarity of the technology of this type of metal processing - from the twisting of two wires, a “rope” is obtained, which is later used for the manufacture of filigree products. Tightly twisted wire looks especially impressive, resembling a row of densely packed grains. Complemented by filigree and "grain", i.e. small balls that make the product even more beautiful.

Filigree is made from pure metals - gold, silver, copper, which have good toughness and ductility. These qualities contribute to the drawing and rolling of the wire, its torsion and filigree.

Items made using the filigree technique almost always include granulation - balls, sometimes 5 - 6 times smaller than a pinhead. In the early eras, silver crescents were especially richly decorated with grain. Some of them soldered up to 2250 tiny silver grains. On Kyiv earrings-colts, the number of grains reaches 5000. The pattern formed by the grain is a decorative accent in scanned lace.

Since ancient times, two different types of set have been practiced: soldered filigree, in which the set is soldered onto the base, and openwork, when the wire elements are soldered together.

A very common type of filigree jewelry of Ancient Russia X - XI centuries. there were three-bead temple rings. Openwork beads made of the finest gold filigree were distinguished by especially skillful work.

In Muscovite Russia, the filigree technique becomes much more complicated, many new techniques appear, bringing endless variety to the silver pattern lace.

A frequently used filigree motif is a continuously winding stem with branches in the form of spirals covered with small shoots. The stem is laid out with smooth flattened wire, and the curls are laid out with the finest filigree. Often filigree is beautifully shaded with transparent emerald-colored enamel, black ligature.

An excellent example of filigree craftsmanship is the 1449 chalice by Ivan Fomin. A coolly curled drawing of the finest filigree, including twisted and smooth elements, becomes the prevailing motif here; a dense pattern with elements of the same type is freely, almost arbitrarily located on the surface of the object.

Scanning production revived already in the years of Soviet power. In the works of the 1920s, the influence of Art Nouveau trends is still noticeable, but the great merit of the masters of the older generation is that they adopted the best traditions of Russian scanned art: high quality and purity of work, the ability to use various techniques of this fine technique. Moscow jewelers I. K. Efimov, M. N. Firsov, A. V. Voronin passed on remarkable craftsmanship to the younger generation.

Masters of the 50s A. I. Efimov, B. M. Sergeev and others created a new range of filigree products for the artel "Moscow Jeweler" - rings, pendants, brooches, toilet boxes, which attract with decorativeness and a high level of technical performance.

Krasnoselsky jewelry craft is an ancient center for the production of artistic metal products, the emergence of which dates back to the 16th - 17th centuries. Silversmiths worked in Kostroma, the villages of Krasny-on-Volga, Sidorovsky, Podolsky, Zdemirovo. They made silver brothers, cups, salt shakers, bowls, feet, icon frames, covers of church books, crosses and other church utensils.

enamel business.

The earliest items with enamel on the territory of Ancient Russia include decorations with champlevé enamel, made by craftsmen from the Dnieper region in the 4th - 5th centuries. All Dnieper jewelry was cast from golden bronze according to a wax model, on which a simple pattern was imprinted.

Enamel - a vitreous mass - was crushed into powder, mixed with water and laid out in the form of a thick dough in the recesses. Then the product was fired on a brazier, and the enamel, melting, filled the cells.

Cloisonne enamels brought great fame to Russian jewelry art: after soldering the partitions, enamel was laid out in cells, fired, and then the protruding partitions were polished flush. The cells were sometimes fractions of a millimeter.

In the XI - XIII centuries. in Russia, deaf and transparent enamels were used, which had a rich range of colors. In the images of people, for example, opaque enamels were used for clothes, and transparent enamels were used for faces and hands. Earrings-colts, tiaras, made using cloisonné enamels, were often decorated with images of birds on the sides of the "tree".

The works of enamellers of Kievan Rus can be considered unsurpassed at the present time.

Enamel was used not only in jewelry, but also in book bindings. The properties of transparent enamels and a translucent textured background, contrasts of color combinations were successfully used in the products.

The high art of enamel on filigree was achieved by Moscow craftsmen in the setting of the Hodegetria icon (1560 from the collection of the Armory Chamber of the Moscow Kremlin). The elegant filigree floral pattern of the frame is filled with enamels of red and green hues, echoing with juicy spots of precious uncut stones - emeralds, sapphires, almandines. White enamels and large pearls framing the margins of the frame are in an equally organic color balance. Delicate colorful gamut is characteristic of most of the enamels on filigree of the era of Ivan the Terrible.

In the second half of the XVII century. the art of filigree enamel is at its peak.

Transparent green enamel with the inclusion of emerald is a favorite combination in decorating products. In this scale, a golden spoon bowl, kept in the Moscow Armory, is trimmed. The translucent green enamel with a golden gap here reaches such sonority, the canopy of the stairs, and in contrast with them, the massive sculptural pillar supporting the porch, give the building a fabulous look. He crowned the northern hut with an okhlupen - a log of larch, at one end of which, located closer to the root, the head of a horse, deer, bird was cut down with an ax.

2.2 Wood products

There are many riches in the vastness of the Russian land. One of the available ones is undoubtedly wood. It is available not only because it covers most of the territory, but also in terms of processing methods. Agree, for some types of processing you do not need complex devices and fixtures. Hence the variety of types and subspecies of crafts associated with the use of wood. In the past, Russian wood carvers, carpenters, joiners had to occupy a lot of time with the interior decoration of rich estates, churches and even palace buildings. Carved iconostases have been preserved, which give the impression of gold. In fact, they are made of wood and are richly decorated with solid relief carvings of the ship and house carving type, covered with gesso and gilded. Russian craftsmen were also well acquainted with fashionable in the 17th and 18th centuries. inlay and mosaic techniques that they mastered while making furniture for palace buildings.

Woodcarving.

There are several types of woodcarving:

Flat thread (contour, bracket, geometric, etc.);

Relief carving (flat-relief carving, deaf, Kudrinskaya, etc.);

Through thread (cut and saw);

Sculptural carving (3D);

House carving (can combine several types);

Milling. Processing on a lathe, milling cutter;

birch bark;

Birch carving;

Birch bark embossing;

Tues manufacturing;

Souvenir production (amulets, jewelry, accessories, toys and pictures);

Vine weaving.

birch bark.

There is a saying: "If it wasn't for the bast and birch bark, the peasant would fall apart." Elasticity, water resistance, resistance to decay, and beauty made it possible to use birch bark from building houses to dishes, shoes.

Birch bark products, dishes, shoes are good because they work like thermoses. They put berries, sour cream, cottage cheese in birch bark boxes - the juice does not leave, as in wooden ones, the products do not rot, do not deteriorate.

Inlay- a technique for finishing and decorating wood products, mainly furniture, in which decorative elements made of precious wood are cut into the surface of a tree, for example, into the top working board of a table, or into the straight back of a chair (usually at the same level with the surface of this product). a different color, as well as from mother-of-pearl or metal.

Mosaic in the artistic processing of wood is a technique for drawing a Pattern or a pattern from multi-colored pieces of wood, more precisely, from pieces of multi-colored plywood. An example of remarkable mosaic work is the floors in the Winter Palace, the Pavlovsk Palace Museum near Leningrad, the Ostankino, Arkhangelskoye and Kuskovo museums near Moscow.

The same outstanding phenomenon in Russian folk decorative art, like carving, is wood painting. The origins of many of its species should be sought in ancient Russian art. Thus, a comparison of miniature manuscripts of the 17th century, which depict scenes of sowing, plowing, haymaking and grazing, with genre paintings of Permogorsk spinning wheels allows us to speak not only about the closeness of the plots, but also about the general principles of constructing the composition (narrative and the presence of plots at different times on the sheet of the miniature and on a spinning wheel), about the coloristic community, about the proximity of the very technique of performance. The painting on the spinning wheels of Permogorye is based on a clear black contour of the image applied on a white background. The drawing was then painted over with color inside. This method of painting is called graphic. Scenes of folk life: village gatherings, horseback riding, feasts - which the masters from Permogorye liked to depict, are organically combined with ornamental motifs. Floral patterns with thick carpet patterns cover not only spinning wheels, but also household items - ladles, bowls, dishes, bread bins, beetroots, jugs, baby cradles.

abramtsevo-kudrinskaya carving.

At the end of the 19th century, in the Moscow region, near the Bogorodsk craft, another artistic craft arose - Abramtsevo-Kudrin woodcarving.

The emergence of the craft is associated with the organization in 1884 of a carpentry workshop in Abramtsevo, one of the picturesque places in the Moscow region. Before that, the famous “Abramtsevo circle” was created here, in which I. E. Repin, V. A. Serov, I. I. Levitan and many other outstanding artists of the last century united and worked fruitfully for a number of years.

The workshop was headed by the artist E. D. Polenova. The artists employed in the workshop showed great interest in Russian folk decorative art, in ancient Russian architecture. From trips to the Russian North, they brought samples of folk embroidery, wooden items decorated with carvings and paintings, and clay toys. They also collected samples of folk art in the surrounding villages near Moscow. They themselves tried to create samples of furniture, dishes and utensils in the nature of peasant folk art. According to the drawings of E. D. Polenova, carvers - residents of the surrounding villages who worked in the workshop, began to make furniture, caskets, shelves, decorative caskets, etc. In decorating products, the technique of northern trihedral-notched and flat-relief carving was mainly used. , made in the workshop, were very popular because of the fashionable at the end of the 19th - beginning of the 20th century. style "under the Russian antiquity". The study of folk decorative art in those years was just beginning. The number of monuments in museum collections was very limited and did not allow one to feel the versatility of folk art, to understand the artistic patterns of its development. Therefore, when creating their own samples, the artists of the Abramtsevo workshop made inevitable miscalculations for their time.

Silhouette images of horses, riders, birds, and later genre scenes were enlivened with whitewash strokes - “animations” that draw details and make the images three-dimensional. The pictorial beginning clearly triumphs over the graphics of animation, the local colors of the painting, for all their decorativeness and brightness, as a rule, are subtly harmonized and well matched, which indicates the undoubted coloristic abilities of the masters.

2.3 Weaving

In the old days, almost all women knew how to weave, because without these skills the family would not have been able to live. Therefore, it was not in vain that the wedding ceremony necessarily included an element of transferring “gifts” to the relatives of the future husband, and most often these were canvases made by the bride herself.

The era of industrialization practically put an end to this craft. At the moment, weaving traditions are supported by numerous enthusiasts in craft centers. Now interest in the past has increased, and there is a great demand within the societies of military historical reconstruction. In addition, using the same technologies, modern craftswomen weave magnificent rugs, which have their own demand.

Carpet weaving.

Hand carpet weaving is one of the most widespread and interesting types of arts and crafts. Both in ancient times and at present, carpets have been and are widely used in everyday life. Carpets are used to decorate the interior, to identify and organize the internal architectural space. Next to the carpet, the aesthetic properties of a wide variety of things are revealed in a special way. The carpet can enhance or muffle their decorative qualities in the ensemble of decoration of the room.

The artistic purpose of the carpet is closely related to its utilitarian function. They hang it on the wall, they fence off part of the room, cover the floor, cover the furniture. The soft woolen fabric of the carpet helps to keep the right temperature in the house: warm in winter, cool in summer. It drowns out outside noise.

In the carpet, as in any work of arts and crafts, the spiritual world of the person who created it is reflected. The ornamental structure of the carpet, its colors, compositional schemes embody the centuries-old tradition of national artistic culture, express the spirit of the people and their ideas of beauty.

The interpretation of pictorial motifs in Russian peasant carpets was schematized, various combinations of the simplest geometric figures were used. The color scheme of these carpets was based on a comparison of bright colors. Vegetable dyes were used to dye the yarn. There were few colors of yarn: red, blue, green, yellow, black. But, using their combinations, Russian craftswomen achieved a great artistic effect - sonority of colors, harmony in drawings.

The abolition of serfdom in 1861 gave Russia the opportunity to quickly follow the path of capitalist development. After the reform, landlord carpet establishments were deprived of serf labor, and the production of carpets in them became unprofitable for their owners. From the second half of the XIX century. carpet weaving is especially developed at home, taking the form of handicraft production of carpets for sale, especially in the southern Russian and western Siberian regions of the country. Here in the villages there were quite a lot of master carpet weavers, wool was less expensive, and carpet products were sold by the local population. By the end of the XIX century. not only individual families, but also entire counties and villages began to manufacture carpets.

By the beginning of the XX century. two main areas of handicraft carpet production were formed, which received their further development in the Soviet era and are traditional centers of Russian carpet art. The center of lint-free carpet weaving was the Kursk province and the surrounding areas. Pile carpet weaving began to develop intensively in Western Siberia and the Urals.

2.4 Embroidery

Embroidery is one of the most common types of folk art. The art of creating patterns on fabrics using a needle and threads has been known since ancient times. This difficult but fascinating work accompanied the Russian woman all her life. Starting as a girl to prepare a dowry for herself, she learned the secrets of craftsmanship from an early age. For the wedding, each girl had everyday and festive clothes, the required number of tabletops (tablecloths), valances and towels that served in everyday life or were home decorations on holidays, tens of meters of canvas. For making clothes for husband and children. All items included in the dowry were bright and decorative, and embroidery most often played the main role in this. Women's festive clothes have always been the most striking, especially among young women who have recently married. Their shirts, aprons, sarafans blazed with woven, embroidered and printed patterns.

In addition, each girl prepared special colorful towels, which she presented at the wedding to honored guests. The bride had up to 80-100 such gift towels for the wedding.

By the beginning of the XX century. The vast majority of peasant women mastered the art of embroidery, and in the city one could find many craftswomen who sewed and embroidered everything necessary for their family. Therefore, this type of folk art, in addition to gold embroidery, remained within the framework of home crafts for a long time. And only from the second half of the XIX century. embroidery crafts begin to develop: craftswomen began to embroider for sale, most often for a city buyer.

2.5 Artistic pottery

The word "ceramics" comes from the Greek "keramos" - clay. Ceramics finds application in the electrical industry, construction, chemistry, medicine, architecture and the manufacture of utensils; the role of ceramics in the manufacture of art products is great.

Ceramic products are not afraid of dampness and atmospheric influences, therefore history has preserved samples of ceramic art (sometimes in fragments and fragments) from the most ancient magical clay figurines to products made of the finest porcelain, exceptional in their artistic merit.

The oldest finds of ceramic vessels also show us the first attempts to decorate them: primitive decorations in the form of small depressed holes, embossed wavy stripes, etc.

Artistic ceramics are art products from clays and other mineral masses, one of the components of which is clay, both monumental and applied. Monumental ceramics include architectural panels, mosaics, sculpture, garden and park ceramics. Ceramic dishes, vases, flowerpots, small plastic - works of arts and crafts.

At present, the artistic ceramic crafts of the Russian Federation represent a rather extensive branch of the local industry with its own specifics and artistic and stylistic orientation. In them, as in other types of crafts, one can single out enterprises that preserve and develop the artistic traditions of this craft, which have developed in the distant past, and newly formed enterprises with an artistic and stylistic orientation, which were formed in Soviet times.

2.6 Felting

The most ancient predecessors of felt boots were discovered by archaeologists in Altai in layers of the 4th century BC. The inhabitants of Asian territories wore felted cats, chuni, kengi with a cloth top or without a top at all. In Russia only by the XVIII century. artisans of the Nizhny Novgorod and Yaroslavl provinces invented "pima", "tipper", "rolled wire". At the end of XIX - early. Since the 20th century, felted footwear is becoming more and more common and becomes the main winter footwear for Russian peasants in European Russia (with the exception of the Far North and the southeast) and competes with the fur footwear of the Russian population of Siberia.

Masters in the manufacture of felt boots (or rolled iron) were called katali or rollers. The first artels of wheelers - usually relatives did not exceed three or four people. Having settled in some spacious hut, they made shoes first for the host family, then for other customers. The work of a wheeler is very hard and harmful, because. had to work in steamy dampness. The first felt boots were made in two stages: first, low felted cats were made, and then the tops were sewn to them. Soon they switched to making boots entirely, on a block.

Felt felting supposedly came to the Yelets region about 200 years ago from the Ryazan province. The complexity of production (specifics of raw materials, manufacturing skills, availability of tools, premises, etc.) limited the number of people involved in felt craft. Being handicraft, the Yelets felting industry did not have a permanent production base. At the end of XIXB. in Yelets, about six relatively large wool felting workshops were known. After the October Revolution of 1917, such establishments were transformed into artels.

At present, the Yelets boot factory LLC operates in Yelets, producing from two to five thousand pairs of felt boots per season. The quality of Yelets boots is becoming widely known and highly valued in the market. Some specimens are decorated with embroidery, braid, beads. Yelets craftsmen also make miniature souvenir felt boots.

2.7 Art painting

Since ancient times, Russia has been famous for its porcelain and the art of artistic painting. There were even different schools and directions of these folk crafts:

Gzhel is the name of porcelain with elegant blue painting on a white background. This name comes from the name of the area near Moscow. Pottery has existed here since the beginning of the 14th century. Gzhel ceramics is known and popular all over the world.

Zhostovo painting (after the name of a village near Moscow) is a decorative oil painting on metal trays, then varnished: flowers and fruits, filled with bright colors on a black background.

Palekh miniature (after the name of the regional center in the Ivanovo region) is the name of painting on papier-mâché lacquerware. Caskets and caskets with household folklore, literary, historical, religious subjects, made in bright colors on a black background. The art of Palekh lacquer miniature dates back to the 15th century. Initially, artists painted icons. The ancient technology of painting is passed down from generation to generation.

Khokhloma is hand-painted on wood. This craft is over 300 years old. Cups, salt shakers, chairs, shelves - painted with outlandish fiery scarlet flowers. The secret of these products is that they are varnished two or three times, and then tempered in an oven. As a result, the lacquer turns yellow, and wooden painted cups look like precious gilded dishes.

Lubok - Russian folk pictures created by printing on paper from a wooden block. Sold at fairs as early as the 17th century, right up to the beginning of the 20th century, they were considered the most massive type of fine art in Russia. The subject matter of folk pictures is very diverse: it covers the themes of religious and moralizing, folk epos and fairy tales, historical and medical, necessarily accompanied by an instructive or humorous text, telling about the customs and life of that time, containing folk wisdom and humor.

2.8 Toy industries

Along with the pottery, where craftsmen were pestered by the manufacture of dishes, in many parts of Russia there were centers that specialized in clay toys. These industries include Dymkovo. The name of the craft comes from the settlement of Dymkovo, located in the suburbs of the city of Vyatka (now the city of Kirov), where the local population has long sculpted clay toys.

Toys were molded by Dymkovo Sloboda residents from local red clay, dried, fired in Russian ovens, then painted with paints diluted on an egg on a chalked background, sometimes using gold leaf to finish the details.

The earliest in origin are animalistic toys and whistles. One-headed and two-headed horses, cockerels and ducks - such is the initially poor assortment of Dymkovo toys. Figures of deer, bears, rams, cows, goats, etc. appear. Early toys are characterized by generalized, even somewhat archaic forms. The craving for everyday narrative, which the craftswomen were increasingly striving for, gave rise to fairy-tale plots: a bear - a nanny rocking a child; the bear is a musician playing the balalaika.

A significant place in the Dymkovo toy is occupied by a group of dolls, the so-called ladies and nurses. The main volume of such figurines was molded undivided - a bell skirt, motionless frontal poses. The hairstyle, headdress, details of the toilet (carefully fashioned beads, ribbons) are conveyed in somewhat more detail.

Further development of the Dymkovo toy went in the direction of strengthening the pictorial principle. Genre scenes were made from figurines. Ladies and gentlemen walk in pairs, nannies walk with children, a hunter with a dog returns with prey, etc. In separate group scenes, the figures of people and animals are endowed with more specific features. However, as before, in many sculptures, the frontal poses are observed, and the characters are not related to each other compositionally. Among genre toys there are complex multi-figure scenes. They feel the movement surrounding the landscape, however, transmitted very conditionally and naively. These are scenes depicting a date between a lady and a gentleman, dancing, tea drinking, a walk, riding from the mountains, a company of vacationers and musicians in a boat. In addition to urban scenes, episodes from peasant life also appear: milking a cow; piglets feeding piglets; girl herding geese. Here, the desire of the craftswomen to unite the figures with a common action is noticeable, to give them from a perspective, in motion, the figures have legs-columns, for stability they are placed on round stands, this technique is clearly borrowed from porcelain plastics.

The festivity and elegance characteristic of the Dymkovo toy is achieved mainly through painting. It is the painting that largely determines the originality and individuality of the Dymkovo toy. We can say that color models the form, enriches it.

The decorativeness of the toy is emphasized by a white background, which was obtained as a result of whitewashing the toys with chalk diluted in milk.

The basis of Dymkovo painting is the simplest geometric ornament, consisting of circles, ovals, straight, wavy, and zigzag lines. These geometric elements, sometimes touching, sometimes approaching each other, create a multi-colored ornamental pattern. The gamma of painting is bright and open. It is built on the contrast of colors: blue and yellow, crimson and green, black and white, blue, pink, brown and other colors are also used.

By the end of the XIX century. Dymkovskaya was gradually replaced by cheap plaster sculpture.

Real recognition and world fame came to the Dymkovo fishery already in Soviet times.

A huge merit in the revival of the craft belongs to the artist A. I. Denshin. In the 1920s and 1930s, he carried out serious research work on the art of Dymkovo toys, he wrote a number of works on the history and artistic features of the traditional craft. AI Denshin was for many years the artistic director of the Dymkovo workshop. He devoted a lot of effort and work to popularizing the art of Dymkovo craftswomen by organizing exhibitions, appearances in the press, collecting museum collections of toys from the best craftswomen - A. A. Mezrina, E. A. Koshkina, E. I. Penkina, O. I. Konovalova, E. I. Koss- Denshina and others.

She always treated the traditional toy very carefully, knew it well and worked on its improvement. The artist was more inclined towards fine harmonious painting.

Today, the Dymkovo toy has ceased to be only child's play. It is a wonderful decorative sculpture that easily fits into the interior of a modern home. It pleases us with elegance and DECORATIVENESS, expressiveness and originality, being a particle of living folk art.

Another traditional center for the production of clay toys has developed in the village. Filimonovo, Odoevsky district, Tula region

Clay toys have been made in this old pottery area since the middle of the 19th century. They sculpted toys from a whole piece of clay, unlike Dymkovo toys, which were made in parts. At first, the craftswoman made a tourniquet from a piece of clay, and “pulled” the conceived shape out of it. If it was supposed to mold a lady or a nanny, the tourniquet turned into a cone-skirt, then it passed into the torso, arms, face and ended with a headdress, usually in the form of a small flat hat. If the figurine of a soldier was conceived, then they took two tourniquets; legs were sculpted from them, then the whole figure and, finally, a high headdress, also slightly flattened. Such crumpled headdresses are one of the features of Filimonov toys.

Finished toys were dried in a heated oven. They painted with cheap aniline paints diluted on an egg.

Filimonovo toys are characterized by elongated proportions, which can be explained by the property of local clay to shrink quickly during drying and form cracks. As a result of additional smoothing, the toys acquired elongated shapes.

The theme of Filimonovo toys does not go beyond the plots of ordinary clay figurines and whistles, which were made in different places in Russia. These are ladies-nannies, soldiers, horsemen, various animals and birds: horses, deer, rams, bears, roosters, etc.

Almost all toys were whistles at the same time. Devices for issuing a whistle were arranged in the body of animals and birds or inserted under the arms of human figures in the form of small birds - chickens, ducks.

In terms of form, Filimonov's toys are highly generalized, the craftswomen never modeled the faces, hands of people, they sculpted animal figures in the same general way.

The most remarkable among Filimonovo toys is the painting - bright, elegant, mostly in two colors; it was done with a brush in transverse narrow stripes along the entire body of the figurines.

The oldest Russian folk art craft is Bogorodskaya woodcarving.

The emergence of the art of the Bogorodsk carvers dates back to the 16th-17th centuries, when, under the influence of craftsmen from the Trinity-Sergius Lavra, various crafts began to develop, including the production of toys. For the amusement of Tsarevich Alexei, the son of Peter I, the toys “Blacksmiths”, “Crossing goats”, “Cleavers on a wheel”, etc. were bought here.

The heyday of toy craft in the villages and villages located in the vicinity of Sergiev Posad (now the city of Zagorsk) dates back to the end of the 18th - beginning of the 19th century. However, in view of the fact that wooden toys were not taken care of, and their collecting began relatively late, only a few specimens of the late 18th - early 19th centuries have come down to us. The museum collections contain dapper hussar dolls with an overcoat thrown over their shoulders, in shakos and uniforms, lady dolls with mites on their hats and umbrellas in their hands. The images of peasants performing various types of work, rural musicians, animalistic sculptures are expressive. All of them are expressive in plastic, imbued with humor.

Sharp observation also marked the brightly colored figures of the so-called “Chinese trifles”, depicting monks, ladies, dandies, soldiers, sellers of pies, maids.

The products of the Bogorodsk carvers have always been distinguished by the accuracy of figurative characteristics, the perfection of performing skills.

The manufacture of the Bogorodsk toy-sculpture begins with splitting a part of the trunk of a linden or aspen tree into trihedral chocks with an axe. The shape and size of the chock is determined by the composition of the sculpture that the master intended to carve. With an ax, the main contours of the future sculpture, toys are “hacked”, its movement is outlined. Then, with a set of chisels, the excess is removed and the form is worked out. The plastic image of the product is completed by a sharp and straight “Bogorodsky” knife, which is masterfully wielded by carvers. The movements of the craftsmen who create toys and sculptures from wood are well-balanced, there is nothing superfluous or accidental in them. Rapidly and rhythmically, the knife touches the soft wood, completing the sculptural modeling of the form. The expressiveness of the Bogorodsk sculpture is closely connected with these refined, rhythmic movements of the master's hand.

The technique of fast, flywheel carving requires a special approach to the interpretation of the image, the expressiveness of which largely depends on the master's selection of the most important, characteristic details. In the compositions of the best Bogorodsk sculptures, the feeling of the mass of a piece of wood is preserved.

The craftsmen show their love for wood as a material of high artistic merit in the fact that they do not paint or tint most of the products with stain, preserving the light tone of the wood.

A classic example of traditional Bogorodsk carving is the famous "Blacksmiths", which have become a kind of symbol of the Bogorodsk trade, clearly revealing the plastic possibilities of Bogorodsk woodcarving. This toy attracts attention not only with an entertaining plot and movement of figures, warm humor, typical characters, laconism of expressive plasticity, which is worth the traditional skill of more than one generation of Bogorodsk carvers. Since ancient times, the main theme in the work of the Bogorodsk carvers has been peasant life. "Troika", "Sawers", "Peasant playing the flute", "Peasant on the hunt", etc. - the most common scenes.

2.9 Artistic processing of bone

Artistic bone processing has ancient traditions. Archaeological research carried out by Soviet scientists made it possible to discover a number of interesting monuments of artistic bone processing, made many centuries ago.

The hardness of the bone made it possible for craftsmen to use slotted openwork carving; its plasticity made it possible to achieve soft modeling of relief and sculptural forms. The brilliance of the polished surface of the material, its subtle color shades gave a special beauty to the created things.

Various types of bones were used to make art products: elephant tusks, mammoth tusks, walrus tusks. Elephant tusks, especially valuable ones, were imported from the East; mammoth tusks were found in the permafrost of Siberia, Yakutia, and Chukotka; the walrus was beaten in the northern seas. These valuable types of bone, similar in structure, differed in color shades, luster, and texture. Mammoth ivory has a warm yellowish tone and a micro-mesh texture. Walrus ivory is lighter and colder in color, unlike mammoth tusk, it has a cellular interior, which somewhat narrows the possibility of creating artistic products.

In addition to these valuable types of bone, a simple animal bone (tarsus) has long been used. It does not have such wonderful properties as mammoth tusks and walrus tusks. The tubular shape, white uneven color, matte surface - all this limited the possibilities of creating artistic products. However, folk craftsmen found a variety of interesting artistic techniques for decorating it.

Animal horn was also used, which has such qualities as various shades of color, translucency, softness and plasticity. From the horn snuffboxes, combs, hairpins were made. The peoples of the North used deer horn for the manufacture of knife handles, powder flasks, parts of deer and dog harness.

The bone processing technique is varied, including turning and typesetting, three-dimensional, openwork, relief carving, engraving (both colored and colorless), inlay with colored pieces of bone, wood, as well as staining a simple animal bone in different colors (mainly green, brown ). Bone goes well with other materials - wood, metal.

Modern bone processing involves the use of a drill, mainly in auxiliary operations. The rest of the craftsmen's work is done by hand with special metal tools, which requires certain skills acquired in special art institutions.

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Ancient crafts: 5 places on the map of Russia

To sculpt a clay toy, weave lime bast shoes or paint a tray? We invite you to a virtual tour of cities and villages, where the traditions of folk crafts are inherited. Get to know unique crafts and #have a restinRussia.

Sloboda Dymkovo (city of Kirov) - whistles for "whistle dancing"

Dymkovo toy

Painting of a Dymkovo clay toy

Dymkovo toy

More than 400 years ago, in the settlement of Dymkovo (today - a microdistrict of the city of Kirov), the first ceremonial toys - whistles appeared. They were made from red clay and river sand for the spring holiday "pandemonium". Thus, one of the oldest art crafts in Russia was born in Dymkovo. Dymkovo toys acquired their familiar appearance in the 19th century: they began to be painted with characteristic colorful patterns.

Tourists usually come to Dymkovo in summer or autumn: spring floods occur here. In the "Vyatka Venice", as the locals call the settlement, festivals, competitions, concerts, as well as master classes in modeling and painting toys are held. At the end of August, Dymkovo residents celebrate Spasov Day - the main holiday of the settlement.

The museum "Dymkovo toy" works in Kirov. Museum guests can learn the history of ancient crafts, meet craftswomen and together with them sculpt famous clay figurines.

The village of Korovino (Vladimir region) - dishes from "clay dough"

Ware before firing, molded by master V.V. Karavaev from the village. Korovino, Melenkovsky district, Vladimir region. Photo by A.G. Kuleshova. 2010

Melenkovskaya ceramics. Pots for second courses, made in the workshop of the Malakhovs from the village. Korovino, Melenkovsky district, Vladimir region. Photo by A.G. Kuleshova. 2010

Melenkovskaya ceramics. Beer mugs made in the Malakhov workshop from the village of. Korovino, Melenkovsky district, Vladimir region. Photo by A.G. Kuleshova. 2010

Pottery craftsmen from the village of Korovino used local clay for work - white and red. Ceramics were fired in a special way, and then covered with colored contrasting glaze. Durable and beautiful earthenware was in great demand at the fairs of Vladimir, Suzdal, Murom and Pavlov.

Ceramics are still being made here according to ancient technologies. The craftsmen prepare the clay themselves. First, it is stored in special pits and "ripens" in the sun. Then water is added to it and “clay dough” is prepared. The molded dishes are dried by craftsmen, then fired and decorated with colored or transparent glaze. Masters can cover the entire product, paint it or decorate it “marbled”, mixing several colors.

Guests of the village of Korovino can not only look at the work of masters, but also take a few lessons in pottery. Tourists here will be told about the history of the local craft and taught its main secrets.

Zhostovo village (Moscow region) - "blooming" trays

Zhostovo tray

Zhostovo factory of decorative painting

The village of Zhostovo, which is located near the city of Mytishchi near Moscow, is famous for metal painting. From the beginning of the 19th century, Zhostovo masters conquered the Russian Empire with trays with picturesque bouquets.

The first "lacquer workshop" was opened here by Count Sheremetyev's serf Philip Vishnyakov at the beginning of the 19th century. At first, papier-mache items (purses, cigarette cases, snuff boxes) were painted here, and by the 1930s, several local workshops began to produce forged metal trays at once. They were decorated with a special - "Zhostovo" - painting: bouquets of field and garden flowers, as if illuminated from the inside, and small gold ornaments along the edge.

Today in Zhostovo, everything reminds of the old craft: even the signs on the facades of buildings and road signs are made in the form of trays. Many locals open their own workshops or work in a decorative painting factory. In the only Tray Museum in the world, guests decorate metal blanks themselves. After drying in a special oven and applying varnish, the products can be taken home.

The village of Kubachi, Dakhadaevsky district (Dagestan) - gold inlay

Stirrups of the late XIX - early XX century. Gold notch on iron. Photo by P.R. Gamzatova. 2013

Daggers of the late XIX - early XX century. Gold notch on bone and iron. Photo by P.R. Gamzatova. 2013

The Dagestan village of Kubachi is known for its traditional crafts. "Goldsmiths" make chain mail, jewelry, dishes from different materials: steel and iron, silver and bronze, bones and horns. They are inlaid with non-ferrous metals. Ornaments are applied to products with special sharp tools, then gold or silver wire is driven into the notch with a small hammer. The most popular pattern among jewelers is the traditional floral pattern, but geometric elements, images of animals and birds, and national ornaments are also used in the decor.

The main craft of the village of Preobrazhenovka (Lipetsk region) was linden bast sandals. The fibrous part of the bark was harvested here twice a year. It was dried and stored, rolled into skeins. When the masters were not engaged in seasonal field work, they steamed or soaked the bast and made bast shoes from it. The shoes, created using the so-called oblique weaving technique, were neat and durable, and people from many surrounding villages and villages came to buy them.

Bast shoes in the Lipetsk region were worn until the middle of the twentieth century. As local residents recall, during the war years and immediately after the war, there was no choice. Today, bast shoes are made only to order - for folklore ensembles or as souvenirs.

The material was prepared by the Kultura.RF portal and the Perspektiva Foundation as part of the All-Russian campaign of the Civic Chamber of the Russian Federation #have a restinRussia.

Folk crafts and crafts of Russia.

Folk art crafts of Russia are an integral part of the national culture. They embody the centuries-old experience of the aesthetic perception of the world, turned to the future, preserving deep artistic traditions that reflect the identity of the cultures of the multinational Russian Federation.

Artistic crafts are both a branch of industry and an area of folk art.

The combination of traditions and innovation, style features and creative improvisation, collective principles and views of an individual, handmade products and high professionalism are the characteristic features of the creative work of craftsmen and craftsmen.

The unique handicrafts of Russia are loved and widely known not only in our country, they are known and highly valued abroad, they have become symbols of Russian culture, Russia's contribution to the world cultural heritage.

In the age of technological progress, machines and automation, standard and unification, handicrafts, made mainly by hand, mostly from natural materials, have acquired special significance.

Types of folk crafts in Russia. Their characteristic

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

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

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

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

As the well-known researcher of folk art M.A. Nekrasova notes, in modern conditions “the need of the people for folk art, for its authenticity, spirituality is growing. But finding ways to preserve folk art, to its fruitful development is possible only by understanding its essence, creative and spiritual, its place in modern culture.

The leading creative idea of traditional folk art, based on the assertion of the unity of the natural and human world, tested by the experience of many generations, retains all its significance in the art of modern folk art crafts.

Artistic processing of wood.

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

In different parts of Russia, original types of artistic woodworking have developed.

Wood carving is Bogorodsk sculptural and Abramtsevo-Kudrinskaya flat-relief carving in the Moscow region; production of products with trihedral serrated threads in the Kirov, Vologda, Tomsk, Irkutsk, Arkhangelsk regions; birch bark carving in the Vologda and Kirov regions.

The traditional art crafts of painting on wood include: Khokhloma, Gorodetsky and Polkhov-Maidan crafts of the Nizhny Novgorod region; Sergiev Posad painting with burning, painting with burning in the Kirov, Gorky, Kalinin, Irkutsk and a number of other regions; production of products with free brush painting in the Arkhangelsk and Vologda regions. Each of these crafts has its own history and unique features.

Bogorodskaya carving.

Not far from the city of Sergiev Posad near Moscow, there is an old Russian village of Bogorodskoye.

The production of the famous Bogorodsk carved wooden sculpture and toys is concentrated here. Their traditions date back to the 17th century, when carved wooden toys were sold near the walls of the Trinity-Sergius Monastery.

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

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

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

The Bogorodsk horses are very beautiful, plastic, expressive, quite realistic and at the same time fabulous. The human figures in Bogorodsk compositions are also very expressive. The most traditional among them is the figure of a Russian peasant, representing the classic image of a kind, cunning, skilled Russian peasant.

Artistic products from birch bark.

The traditional type of Russian folk arts and crafts is the manufacture of artistically designed products from birch bark, birch bark. Even in ancient times, birch bark attracted masters of folk art with its dazzling whiteness. When processed, birch bark retained its natural properties: softness, velvety, flexibility and amazing strength, due to which it was used to make vessels for liquids, milk and honey.

It is known that in the wooded territory of Russia - Vologda, Arkhangelsk, Olonets, Vyatka, Vladimir, Nizhny Novgorod provinces, as well as in the Urals and Siberia - in Perm, Tobolsk provinces, crafts have developed since ancient times, famous for birch bark products.

A variety of birch bark products of the peoples of Russia can be divided into several groups depending on the method of their manufacture, the nature and size of the birch bark used. First of all, you need to highlight things made from a whole piece of birch bark. They are the simplest in form, they are the easiest to make. These include low wide open vessels - checkmans, boxers, and nabirushkas.

A significant part is represented by wickerwork. These include salt shakers, wicker shoes - brods, covers, bags - shoulder straps. The most complex and time-consuming items of utensils are beetroots, boxes, tueski. The ways of decorating birch bark products are also diverse: scraping, engraving, embossing, carving and painting.

Decoration of birch bark products.

Birch bark embossing is one of the oldest types of birch bark decorations. The technique of drawing a pattern on birch bark with the help of stamps or chasers was widespread. For all its simplicity, embossing makes it possible to achieve a high artistic quality of the product, enriching the original surface of the birch bark with a relief pattern. It represents the simplest geometric shapes - circles, stripes, scallops, stars, evenly spaced on the surface to be decorated.

Depending on the size and type of product, birch bark is cut into strips, plates. The coarsened outer layer is removed from it. Before drawing the pattern, the birch bark is marked with an awl into stripes or cells. The prepared birch bark is placed on the board with the inner layer up. Taking a stamp in the left hand, tightly apply it with a patterned side to the birch bark and, hitting it hard with a hammer, apply a drawing. The depth of the pattern depends on the strength of the impact.

Russian craftsmen used carving on birch bark quite widely. But, perhaps, the most virtuoso was slotted or cut birch bark in the Russian North. By right, the city of Veliky Ustyug in the Vologda region occupies the first place among the traditional folk art crafts of birch bark carving. The craft originated here in the second half of the 18th century and was named after the Shemoksy River, on the banks of which it developed. In the XVIII-XIX centuries. at the city fair, one could buy elegant birch bark snuffboxes, boxes for needlework and storage of games, cigarette cases with embossed landscapes, story scenes. Gradually, the carved images became less relief, more ornamental, openwork, which was influenced by the influence of northern bone carving. At the end of the XIX century. the main stylistic features of Shemogoda carving are formed: openwork-ornamental motifs, spiral curls with a rosette inside. To make the birch bark lace better read, foil or colored paper was placed under the birch bark.

No less famous were the North Russian crafts for painting birch bark products. Among them, tuesas are distinguished, painted with Permogorsk painting, which received its name from the village of Permogorye on the Northern Dvina. The painting of the Permogorsk tuesas is distinguished by a characteristic combination of a white, golden-cream background with a small floral ornament of leaves, curls, flowers, among which various scenes of life are depicted - tea drinking, gatherings, hunting, etc.

Khokhloma painting on wood.

The world-famous Khokhloma products are made mainly in the Nizhny Novgorod region. One Khokhloma painting enterprise is located in the city of Semenov, the other in the village of Semino (100 km from Nizhny Novgorod). The art of Khokhloma painting originated at the end of the 17th century. It got its name from the village of Khokhloma, where large fairs were held in the past. They sold wooden utensils, mostly painted or otherwise painted.

Khokhloma products - ladles, brothers, spoons, supplies - are made of linden or birch. The so-called "linen" - unpainted wooden blanks, are covered with primer, puttied and smeared with drying oil three to four times, drying each layer. Aluminum powder is applied to the dried surface of the last layer of drying oil. It turns out a shiny "silver" surface. Further, the surface of the Khokhloma product is painted with oil paints with a free brush technique without a preliminary drawing.

The beginning of the production of trays in Zhostovo dates back to 1807. Each tray usually passed through the hands of three people: a blacksmith who made a mold, a puttyer and a painter, a primer, after drying, varnished the product

The Zhostovo letter begins with a "painting" - drawing the silhouettes of flowers and leaves with bleached paint, then shadows are applied to the dried painting with glazing (transparent) paints. This technique of "shadow" immerses the bouquet in the depth of the background. This is followed by "dense body writing", the most important stage of painting. "Glare" - the imposition of highlights - reveals the volume and light, completes the modeling of forms. Next, the "drawing" places the details, outlines the petals, veins and seeds. Completes the letter "binding" - thin grass and antennae.

Expanding the means of expression, Zhostov's painters are developing new ways of ornamental painting. Thus, a new technique of “smoking” appeared, with the help of which a pattern was applied to the surface of the tray, reminiscent of the pattern of a tortoise shell.

In addition to black and white backgrounds, trays are painted on both colored and gold backgrounds. Bronze or aluminum powder is applied to the surface of the tray. Translucent through a layer of varnish, it creates the effect of gold. Against a golden background, the colors acquire a special brightness, and the tray is given the appearance of an expensive item.

Over the course of its history, Zhostovo trays from a household item have become decorative panels, and the craft, which once served as an aid to agriculture, has acquired the status of a unique type of Russian folk art.

Folk ceramics.

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

Ceramics include majolica, terracotta, porcelain, earthenware, which differ from each other in the composition of clays.

Majolica is called products made of pottery clay, covered with colored opaque glazes - enamels.

Terracotta is fired clay products not covered with glazes.

Porcelain differs in the composition of the mass, which includes white clay - kaolin of high melting point, or feldspar, which gives porcelain products whiteness, thin walls, and transparency.

Faience is close to porcelain, but does not have its whiteness and transparency, it has a thicker shard.

Gzhel ceramics. In Gzhel, Rechitsy, Turygin and other villages of the Ramensky district of the Moscow region, there has long been a production of ceramic products, which was carried out by almost the entire population of local villages.

Already in the XVII century. Gzhel craftsmen were famous for their pottery, and the clay they used was of high quality.

In the middle of the 18th century, Gzhel masters began to produce products using the majolica technique, painted on raw enamel. Dishes, kvass, jugs they decorated with elegant painting of green, yellow, purple tones. They depicted flowers, trees, architecture, entire plot scenes.

Vessels were also decorated with sculpture: conditionally transferred human figures, birds, animals. Sculpture was performed separately.

In the second half of the 18th century, cobalt was a favorite material in the painting of Gzhel masters. The combination of a white background with blue underglaze painting has become typical for modern masters working in the Gzhel production association.

The ornament that adorns Gzhel products is vegetable. Flowers, herbs, curved stems with leaves, ears of corn have been reworked into decorative ones. Hand painting is characterized by the freshness and immediacy of the drawing, freely and easily located on the surface of the thing. Painting a brushstroke depends on the movement of the hand. The craftswomen of the Gzhel handicraft, painting by hand, gradually created their own creative style. Repeating, it would seem, the same types of painting when replicating products, they always bring something new.

Skopinsky ceramics. The city of Skopin, Ryazan region, is a well-known center of folk pottery. In the middle of the 19th century there were more than 50 workshops in Skopin. But Skopin's fame was created by vessels of complex bizarre shapes made by local potters, candlesticks in the form of figures of fantastic animals and birds. Vessels were richly decorated with sculptural images of fantastic animals, lions, dragons. These images were often borrowed from popular prints - drawings with themes and plots close to the common people, which were usually sold at fairs.

Complicated, richly designed forms were made by craftsmen by hand, on a potter's wheel. This was reflected in the virtuoso mastery of material and technique. The variety of forms of things and sculptural fabulous images testifies to the inexhaustible imagination of the masters. Skopinsky products are usually covered with green and yellow-brown glazes. Intense color, an abundance of sculptural decorations and whimsical forms impart expressiveness and vivid originality to Skopin's art.

The craftsmanship and imagination of Skopino craftsmen are manifested in the creation of vessels, jugs, casks for pickles, fruit vases, etc. Today, this craft is developing based on established traditions, but the shapes of the vessels have become less complex and bizarre.

Dymkovo toy. A toy from the Dymkovo settlement, located near the city of Vyatka, gained great fame. The origin of this craft is associated with the ancient folk festival "Whistle", for which throughout the winter the craftswomen prepared various whistles in the form of horses, riders, cows, birds. The spring festival was accompanied by a brisk trade in whistles. Their bright colorful painting corresponded to the general joyful spring mood.

Toys were molded from local red clay, fired, then covered with chalk soil diluted with milk. On a white background, the toy was painted with aniline paints diluted on an egg. The colors of these colors amaze with their strength, festivity. Bright crimson, yellow, blue painting on a white background is enriched with ornaments in the form of dots, circles, tassels. The combination of several colors in one product requires special skills from the craftswoman. Sometimes the pattern was covered with pieces of gold leaf, which made the products even more elegant.

The images of Dymkovo toys reflect urban life. Ladies and gentlemen, wet nurses, nannies, fashionistas, daring riders are distinguished by their bright colors, special expressiveness, bright festivity and humor. The form of products, as well as painting, is conditional.

Over time, the Dymkovo toy is widely used in everyday life as a decorative ornament. In this regard, the size of the products of Dymkovo craftswomen is also significantly enlarged. Often there are multi-figured compositions depicting folk festivals and holidays.

The Dymkovo toy is close to the people for its accurate depiction of characters, wit, and a sense of the joy of life. This is an enduring value and uniqueness.

Kargopol toy. The city of Kargopol in the Arkhangelsk region is the center of the traditional Russian folk art craft of clay toys. Its origin in Kargopol is associated with rich local deposits of clay, which determined its widespread development already in the 19th century. Here they made dishes, and along with it toys: horses, deer, rams, etc. In 1930, the hereditary potter I. V. Druzhinin revived the tradition of clay toys here. His painted toys are marked by unity of style; peasant women, hunters are presented with amazing sharpness of character; animals - horses, cows, etc. - endowed with individual characteristics. They are squat, restrained in color.

Kargopol toys were molded in parts: a skirt was put on the torso, legs were attached. The toys were fired and covered with white paint.

The cheerful Polkan the hero with the sign of the sun on the chest of the craftswoman and storyteller M Babkina is endowed with great power. His image is associated with ancient Slavic mythology.

The craftswoman retained the traditional techniques of modeling and painting. The Kargopol ornament consists of geometric patterns, a cross in a circle - the sun, circles, diamonds, zigzags, which had a symbolic meaning.

Kargopol masters use soft colors: red, yellow, brown, marsh, crimson.

Filimonov toy. The village of Filimonovo in the Odoevsky district of the Tula region is the center of traditional Russian clay toys. The origin of the craft is associated with the long-standing production of pottery. Since the 19th century Filimonov's toy becomes widely known. These are toys, mainly whistles, in the form of animal figures, decorated with geometric patterns. In 1967, a workshop was created in Filimonovo. The traditional Filimonovo toy is based on the plastic qualities of oily clay "siniki". After the clay dries, the toys crack; the cracks on them are smoothed out, giving the figures a more elongated shape. When fired, the natural blue-black color changes to white. Therefore, the background of the toy is painted with aniline paints diluted on the egg: red, yellow, green, blue, purple. The geometric ornament consists of stripes, solar signs. Often, female figures are painted not only with stripes, but also with flowers, rosettes, and triangles. Modern masters have preserved traditional forms of color combinations and ornaments in their work.

Lace weaving.

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

Hand-woven lace is made using bobbins carved from wood. In front of the lace maker is a tightly stuffed cushion - a pillow. A pattern of future lace, applied to thick paper, is fixed on the pillow. In the figure-skolka, dots indicate the places where the threads intersect and intertwine. In the hands of the lace maker from 6 to 12 pairs of bobbins with linen, cotton or silk thread.

Vologda lace. With their density, whiteness and patterning, they are very reminiscent of frosty patterns on glass and hoarfrost in the forest on trees in the dead of winter, on a quiet frosty day.

The basis of the Vologda lace is a dense “linen ribbon”, which is also called “vilyushka” because it twists so whimsically, outlining various forms of lace ornament. For Vologda lace, a floral ornament is typical. The motif of a symmetrically deployed lush bush with wide palmate leaves and frontal six, eight - and more petal rosette flowers forms a wide patterned border of a lace product. The gratings have a harmonious, rhythmically perfect character, they give the impression of strength and reliability. The range of Vologda lace is very diverse, it includes round napkins, runners, tablecloths, decorated wall panels, window curtains, curtains.

Mikhailovsky lace. Of great interest is the lace produced in the city of Mikhailov, Ryazan province. Here they performed dense lace, made of thick threads, not only white, but also multi-colored, bright. It went well with the colorful outfits of Russian peasants. It was worn on their shirts not only by women, but also by men. They were sheathed with women's aprons, towels, sheets. It had a simple appearance of pointed teeth - "capes", fan-shaped figures, the so-called bells. Only three colors of thread were used in lace: white, red and blue, but they were so skillfully combined that each piece of lace seemed colorful in a new way. In the 1950s, noticeable changes took place in the appearance of Mikhailovsky lace. Patterns are strengthened, new colors are introduced. These changes are largely associated with the name of a talented artist - a lace maker. D.A. Smirnova. For the first time, images of human figures appear in her works. D.A. Smirnova with craftswomen seeks to preserve the beauty of color patterns as a unique phenomenon of Russian folk art.

Embroidery is one of the most widespread types of folk art.

The ornamentation of folk embroidery has its roots in ancient times. It preserved traces of the time when people spiritualized the surrounding nature. And placing on their clothes and household items images of the sun, the tree of life, birds, a female figure, as symbols of vitality, happiness, fertility, they believed that they would bring prosperity to the house.

In the process of historical development, each nation developed a certain character of the embroidered pattern, peculiar techniques of technical implementation, and unique color solutions.

Embroidery did not require sophisticated equipment - a needle, thread, canvas - that's all that is needed in order to embroider and sew clothes, to make elegant items to decorate a home. Embroidery was widely used in everyday life of both rural and urban population. Many types of embroidery were actively used to decorate clothes and household items of the wealthy part of the population.

Of particular value is peasant embroidery, where it was associated with the creativity of the inhabitants of the countryside. It was in this embroidery that artistic and stylistic features were formed, which have not lost their value even today.

The embroidery of the peoples of our country is extremely diverse in terms of artistic and technical methods, the nature of use in everyday life. In any federal and autonomous republic, territory, region, district, there are unique works of talented embroiderers.

The process of formation of modern stitch-embroidery crafts is ambiguous. In each locality, it is associated with the way of life, the development of a common cultural tradition, the degree of mutual influence of the cultures of neighboring peoples. At present, embroidery has received a particularly wide development at the enterprises of art crafts in Russia, as well as in Ukraine, Belarus, Moldova, Uzbekistan and Tajikistan.

Gold embroidery was previously used to make religious items, as well as to decorate headdresses. Such embroidery was typical for the Nizhny Novgorod, Tver, Vologda and many other regions. However, this embroidery is most developed in Torzhok, where the craftswomen managed to bring their art of gold embroidery to our days. Here, labor-intensive techniques of this sewing are used: forged seam, cast seam, in attachment, etc. To achieve a great effect of the relief of the pattern, when it was made, pieces of cardboard, birch bark or leather were placed under the flooring.

The modern Torzhok gold-embroidery industry of the Tver region is unique, where, preserving traditional techniques, elegant items are made - belts, handbags, hats, vests, folders for special occasions.

A wide variety of patterns were used in gold embroidery - from simple stripes, eyelets, stars to complex compositions of floral ornaments. As before, gold embroidery is supplemented with sequin patches and the inclusion of a wide variety of sparse seams, which are especially often used when making additions to a costume - scarves, shawls, breast decorations.

A kind of embroidery was developed in the Vladimir region. This is a thin white smooth surface with all kinds of banners and openwork additions and bright decorative embroidery - the so-called Vladimir seams.

Folk crafts have come down to us from ancient times - painting, carving, lace, but there are also new folk crafts. Most often they began with peasant household art.

Art painting in Russia

Wooden, metal products, children's toys and furniture were painted in Russia from time immemorial. Technology in different regions of the country differed significantly from each other. Further details about the most famous types of painting.

Gorodets painting

Gorodets painting originated in the Volga region, in the villages of the Nizhny Novgorod province. They were located near a large village called Gorodets. Fairs were held there, where they traded in the products of masters. Hence the name - Gorodets painting.

Polkhov-Maidan painting

The birthplace of the Polkhov-Maidan painting is the south of the Nizhny Novgorod region. There, in the village of Polkhovsky Maidan, the village of Voznesenskoye and the village of Krutets, there is the center of this painting. It arose only a hundred years ago on the basis of the turning industry developed in those places. Masters painted nesting dolls, children's toys, mushrooms, Easter eggs, while using only four colors - green, blue, yellow and red.

Palekh painting

Palekh painting appeared quite recently - already in Soviet times, however, the roots of this painting go back to antiquity. Thanks to the unique craft, the village of Palekh, Ivanovo region, became known throughout Russia. It is known about Palekh painting, Palekh miniature, Palekh icon painting. The peculiarity of the painting is that the artists create not just ornaments, but draw whole plots, compositions with the smallest details.

Painting Zhostovo

Zhostovo painting is a lacquer painting on trays, which appeared in 1825. Such trays are made at a factory in the village of Zhostovo and in the city of Nizhny Tagil. The main difference of this craft is the abundance of colors, incomparable tones, the realism of all elements.

Gzhel

Gzhel painting, as the name implies, originated in the city of Gzhel. Her patterns are predominantly floral patterns and simple geometric patterns, done in bright cobalt blue paint on a snow-white background. The city of Gzhel is a center for the production of ceramics. In many ways, this was the reason for the appearance of its unique painting in this city. Gzhel art craft is not young, its roots go back to the fourteenth century. It was then that the Kudinovskoye clay deposit was discovered.

Russian crafts that have become crafts

Sometimes Russian crafts became crafts. They arose when handicrafts were put on stream. It is known about the manufacture of toys from clay, about special woodcarving, about lace craftsmanship, and so on.

Dymkovo toy

Near the city of Vyatka was the settlement of Dymkovo, now it is one of the districts of the city. Painted ceramic toys for children appeared in the Dymkovo settlement in the nineteenth century. Deposits of clay and sand in those places became the reason for the manufacture of clay jugs and lids by craftsmen. For the amusement of children, bright funny toys were made. Modeling and painting of toys were carried out exclusively by women or children. The pattern on the Dymkovo toy is always geometric, consisting of circles, stripes, and cells. In addition to the original painting, the toy is distinguished by the fact that it is trimmed with gold.

Filimonov toy

The production of Filimonovo toys arose on the basis of the production of dishes from clay, which occurs near the village of Filimonovo. These toys are a variety of whistles. A distinctive feature is the elongated shape of the products, which is associated with the characteristics of local clay. To this day, whistles are painted only with a goose feather.

Abramtsevo-Kudrinskaya carving

Carving, which has become a craft, appeared in the Abramtsevo estate, not far from Moscow, in the nineteenth century. Its name is Abramtsevo-Kudrinskaya carving. The carvers studied and worked in the carpentry and carving workshop, where they were taught painting and drawing. So a small workshop became the basis of the future craft, which is distinguished by a peculiar style of carving.

Vyatka lace

Vyatka lace has been known since the eighteenth century. In the second half of the nineteenth century, a zemstvo school of lacemakers was organized in the Vyatka province. For many years, a lace factory operated in those places, but in the early nineties it was closed. Lace makers have preserved their unique craftsmanship, traditions and technology of craft. They please with new products, having united in artels or small enterprises.

New folk crafts

Not all folk crafts have a rich history. Some have appeared very recently. What kind of crafts, we learn further.

Painting Christmas decorations

Painting Christmas tree products as a craft originated in the nineteenth century in the village of Danilovo. They also made toys there. The peasants were engaged in this at home, using simple burners for blowing. The demand for such toys grew, and the number of single craftsmen also increased. Soon, some homeowners organized small-scale production with hired workers.

Factory "Ariel"

The oldest factory in Russia engaged in the manufacture of New Year's toys is the Ariel factory. It is located in Nizhny Novgorod. Despite the changing fashion over the years, the factory does not change the tradition of making handmade toys. Near the factory there is a museum of Christmas decorations and a shop.

The most recognizable folk craft in Russia

Perhaps the most recognizable Russian folk craft is the Khokhloma gold painting. It originated at the end of the seventeenth century in the Nizhny Novgorod region, when at fairs in the village of Khokhloma they sold wooden products painted by locals from the surrounding villages.

All items are elegant and colorful. A distinctive feature of the painting is the presence of a golden background, or a golden ornament. Masters come up with their drawings while painting on the go, it is always improvisation when following the rules of Khokhloma painting. A master turns a simple wooden thing into a work of folk art. Housewives still use such utensils. It is exhibited in museums. The site has a site about the largest museums in the world.
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