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. Performed oil paints on papier-mache. 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 painting.
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 Semenovsky 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. It is then varnished and kilned three or four times to achieve a unique honey-gold color that gives light wooden crockery effect of massiveness.
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 ancient city 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 in early XIX 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 corners 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 Soviet time. 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 light industry. However, they were not successful. It turned out that in order to obtain such a thin and warm down goats require quite severe 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.
Cross stitch (or cross stitch) - folk craft, which has been developing since the 1860s in the Krestetsky district of the Novgorod province, since ancient times inhabited by the 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. Krestets embroidery was used to decorate garments, curtains, and towels.
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 plant 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 art craft woodcarving, 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. The writer took a lot from them. interesting stories and legends related to life in the Urals and folklore customs of the local population.
Russia's Disappearing Art Crafts: An Innovative Dimension.
Material of scientific conference. Shuya. 2012
Polezhaev A.A.
Velsk - St. Petersburg
UPDATED TRADITIONAL FOLK CRAFTS
In 2007, in the Vilegodsky district of the Arkhangelsk region, II an open competition of art craftsmen among people of different ages and status - from schoolchildren to famous masters. At the competition, it was necessary to present their research work on some kind of traditional folk craft of the Arangelsk region. One schoolboy from the city of Velsk prepared his speech about birch bark. After the speech, he was asked one question - "Are pesteri in demand in your area now?". The answer was - "No, they are not needed now." This answer to the question is very indicative for modern society and expresses the current state of affairs with the demand for traditional folk crafts. Before continuing the topic, let us designate a few concepts with which we will operate further.
Under traditional folk crafts we will understand peasant household crafts, the result of which are utilitarian items, tools, buildings, clothing and other items and objects that ensure human life in the natural environment.
Craft items and objects - these are items of peasant life, clothing, tools, residential and outbuildings, which are the result of the craft activity of a villager.
Function of traditional folk crafts – provision of utilitarian items to a person for the needs of life support.
Actualization of traditional folk
crafts
this activity:
- to study and fix the accumulated craft knowledge of the past and present with modern information technologies,
- mastering craft skills,
- on the inclusion in the culture of modern society of objects, images and motifs of folk art.
The goals of updating traditional folk crafts: preservation of traditional folk culture, increasing the importance of applied arts and popularization of manual labor.
Traditional folk crafts today are not in demand with the function that has existed for centuries and millennia. And this means that handicraft items do not correspond to the modern human environment. Is it necessary that traditional folk crafts be in demand in modern society, is it necessary to make handicraft items in demand? Traditional folk crafts are an integral part of the culture of the peoples of Russia, and "folk culture must be considered as a constantly present and fundamental - initial and main - condition for the reproduction of society itself", and therefore as the basis for the existence of peoples and the state. If folk culture does not have modern, accessible and understandable forms of existence in society, then it will not be able to act as its basis.
In this article, an attempt is made to show practical examples of how traditional folk crafts can be made in demand, how to update them in the modern human environment. This article combines the personal experience of the author and the experience of colleagues - masters of folk crafts.
In recent years, much has been said about the need to turn to folk art, to its invaluable spiritual heritage. This is undeniably so. The problems of the revival of folk art crafts are also widely discussed in the art history community. And what about the traditional folk crafts? With those occupations of the inhabitants of the countryside, which existed everywhere throughout Russia? Neither numerically in terms of the number of inhabitants, nor territorially folk art crafts could be compared with traditional folk crafts, home crafts were like air - everywhere. What is left of them today? The fading memory of artisan ancestors, museum collections of folk art and rare craftsmen in the regions, some of whom make traditional utilitarian objects, are all that remains of the crafts.
Today, in the centers of traditional folk culture, schools of folk crafts, studios, work is underway to preserve, revive and develop traditional folk crafts. What is directly understood by the words "preservation, revival, development of traditional folk crafts"? The preservation of crafts is the search for craftsmen, objects, tools, production technologies, the collection, fixation and presentation of information about them. The revival of traditional folk crafts is the development of manufacturing technologies and the reconstruction of peasant household items. Development - the qualitative and quantitative development of crafts, the development of various crafts in a certain area. Is it so?
The revival of crafts in the form in which they existed at the time of the 20-30s of the 20th century is suitable only for the zones of conservation of folk culture, and here's why. The revival of crafts is directly related to the vital necessity of the craft in each specific situation. If there is no need for a craft, then there is no point in reviving it, since any craft at any point in its life cycle is rigidly tied to human life. The craft exists for human life, otherwise it is a reconstruction, a game of the "old".
The revival of traditional folk crafts is possible only if the external (natural) and internal (public) human environment is fully and accurately reconstructed. If such conditions are feasible in a certain area, then the revival of traditional folk crafts is possible. Such a territory could potentially be places of ecological settlements far from cities, but such human settlements are rare today and there are no serious prerequisites for their appearance. In our country, the majority of the population lives in cities and urban-type settlements, where crafts cannot exist in exactly the same form as they existed in the countryside, so a revival in the vast territory of Russia is impossible. What to do? It is necessary to change the attitude towards traditional folk crafts and folk culture in general - to treat it not as a separate forgotten phenomenon, but as a phenomenon that should be directly related to modern life person.
The concepts of "preservation" and "revival" of traditional folk crafts are the concepts of preserving crafts today at the level of historical time after which their destruction began. Combining the two concepts together, “preservation” and “revival” of traditional folk crafts, we got a very capacious bundle of separate processes: the search for craftsmen, objects, tools, production technologies, their collection and fixation, reconstruction, technology training, organization of free access to museum collections . All this constitutes a process of transmission of traditions with the aim of preserving the traditional folk crafts in detail, accurate and complete.
The preservation of traditional folk crafts will not ensure their demand. The development of traditional folk crafts in terms of the qualitative and quantitative development of crafts in a certain area, all the more, will not allow crafts to be in demand, since crafts are irrelevant in the modern human environment.
The concept of updating traditional folk crafts was given at the beginning of this article. Let's see what definition the dictionaries give to the concepts of "actual" and "actualization". Actual - important for the present time; topical, urgent, corresponding to the current state. Actualization (lat. actualis - active, effective) - an action aimed at adapting something to the conditions of a given situation. Obviously, the problem of the lack of demand for traditional folk crafts can be solved by updating, which will allow changing traditional folk crafts in accordance with the requirements of modernity. Note that it is necessary to update not only the craft as such, but also the process of preserving the craft. The reasons for the actualization of traditional folk crafts and the means of actualization will not be considered in this report. A separate report on this issue is currently being prepared, but here it is necessary to briefly describe the method of updating the process of preserving traditional folk crafts, without which further narration is impossible.
The method of updating the process of preserving the craft is as follows: to restore the causal relationship of the process of creating a peasant handicraft item: purpose - material - form - technology - aesthetics. The study of the craft tradition should begin with the purpose (function) of the object - to preserve, protect, speed up, facilitate, develop a skill, etc. Then study various materials: wood, clay, bark, roots, horn, bone, etc. object functions and material properties. It is necessary to study the production technology with an understanding of the shape of the object and the properties of the material. The aesthetic properties of an object should be considered in relation to the shape of the object and decoration. To study each stage of the creation of an object sequentially on the basis of a cause-and-effect relationship.
We can assert that actualization is a natural way of craft development, since it has always existed, since the human environment has changed constantly in a long historical context. Man adapted to new conditions of life - be it climate change, migration of peoples, changes in the social system and many other changes. It is obvious that the actualization of crafts was natural process in people's lives. On the other hand, when new technologies appear to facilitate human labor, the craft is updated through these technologies, for example, with the advent of wood lathes, woodworking crafts have changed. Such actualization is a process of craft development.
This was the case in Russia before the beginning of the Soviet period of industrialization. After this time, traditional folk crafts began to lose their role in human life support: household crafts began to be replaced by industrial production. The migration of the population from the countryside to the city, the pursuit of private property, collective farming on the land also did not contribute to the maintenance of handicraft production. The function of handicrafts began to move to industry, planning and mass production.
In the mid-70s of the twentieth century, crafts aroused interest among art historians against the backdrop of support for folk art crafts by the government of the USSR. The function of crafts at this moment is considered not from the side of human life support, but from the side of aesthetic perception of objects and objects of crafts, from the side of folk art. The admiration of art historians from the newly discovered folk art is a great recognition of the skill and artistic taste of the village master. But from that time to the present day, the original function of traditional folk crafts has not been restored, but has only changed even more - it has become a souvenir.
We will outline the basic rules for updating traditional folk crafts from the point of view of the master with explanations and examples.
To consider the principles of updating crafts, let's turn to craft items. A handicraft item is characterized by physical properties and aesthetic content. The physical properties of an object are those characteristics of an object that solve the problems of human life support. The physical properties of a handicraft object are: utilitarian purpose or function, shape, size, material, technology. The aesthetic content of a handicraft item is the artistic image of the item, determined by the form (not from the point of view of purpose, but from the point of view of the perfection of proportions) and decoration (graphics, color, elements, symbolism, composition and other characteristics of the decoration).
Let us designate the actualization of handicrafts in terms of the characteristics of a handicraft item - this is the process of changing the physical properties and aesthetic content of handicraft items in accordance with changes in the environment of modern man. But this is not only a direct process of transforming handicraft items of the past into the format of the present, but also a reverse process of changing the environment of a modern person to the format of handicraft items.
Transforming handicraft items of the past into a modern format
The migration of the population from the rural environment to the urban environment determines the requirements for handicraft items. The dwelling of a person has changed from rural spacious houses to cramped apartments in high-rise buildings. brick houses It means that the whole life of a person has changed. The requirements for kitchen utensils have changed - food storage containers should not be the same size as they were in a village house, but should correspond to the size of cabinets and kitchen shelves. From the tuesk that used to exist in the Arkhangelsk region, now no one requires that you carry milk or kvass in it, but only that it stand on a shelf and keep bulk products, so you can change the principle of closing the tuesk with a lid - close from above, and not from the inside . In proportion to the change in the internal space of the house, toys should be changed in the direction of decreasing size.
Changes in life are associated not only with a change in the size of the home, but also with a change in the materials used in the construction of houses, interior decoration, the manufacture of furniture, household items, clothing and everything else that surrounds us at home, including changes in lifestyle. The flooring of a modern apartment is most often smooth - linoleum, tile, laminate, and traditional woven runners will slide underfoot, which is inconvenient. Such woven rugs can be laid on the sofa, chairs and armchairs. An example of such use can be seen in Bashkiria in the tourist complex "Tengri" - covers for office chairs are sewn from woven paths, which are beautiful and easy to use.
Let us explain this approach to updating traditional folk crafts with the following examples:
Example 1. Manufacture of furniture based on a sideboard, a slide, a chest - preserving the purpose, shape, material, but changing the size for a modern apartment and changing the technology: production automation using modern machines, the use of glued wood, modern fasteners and modern furniture assembly technology.
Example 2. Traditional utensils made of traditional materials, wood, clay, birch bark, change to the size of a person's dwelling (apartment) - the height of cabinets and shelves is less, as well as the size of the family. Dishes are reduced in size, while remaining unchanged in purpose, shape, material and technology.
Example 3. Children's environment - games, toys and other items of children's everyday life can be more perceived traditional culture. A large proportion of modern caring and thinking parents want to surround their child with environmentally friendly and safe toys. In this case, traditional toys can come into the world of the modern child with minimal changes in size and technology. A wooden bunk on wheels can be made smaller, taking into account the space of the children's room. It is not necessary to cover the wood with paint, but cover it with an environmentally friendly water-based varnish or leave the material without additional coating. Use the hanging carrycot for children under 6 months of age. The cradle is made of birch bark in the same way as a traditional half-cloth (a half-cloth is a flat container for sorting out any bulk products). In this case, the form, material and technology remain unchanged, only the size and purpose change. Birch bark in the form of birds can be used as toys - only the purpose changes. If you make a wheelchair duck out of such a solonik, then the technology will change slightly when adding wheels.
Example 4. Ornamentation of traditional household items with paintings that were previously either not decorated or decorated with other paintings. You can leave all the properties of the decor unchanged, but change the technology of painting - use modern paints, varnishes, brushes and other devices.
Example 5. Making knitted clothes with traditional patterns - sweaters, dresses, vests and other warm clothes. Such properties as graphics, color, elements, symbolism remain unchanged, but the composition and proportionality of the ornament change depending on the shape and size of the clothes.
There are many examples, but the principle should be the same - purposeful combination of craft traditions and modernity for human life support purposes.
Changing the environment of a modern person to the format of handicraft items
Over the past 100 years, technological progress has changed the human environment so much that there is simply no place and sense for a hand mill and a spinning wheel in the house - flour, bread, thread and clothes are sold in the store and are available to all segments of the population. Is it possible to talk about any impact of traditional handicraft items on the human environment? Undoubtedly, yes! The point here is the physical properties and aesthetic content of handicraft items. On the one hand, the purpose and technology of making items are so outdated that they have no place in home life. On the other hand, these qualities are unique these days and are used by designers as new and attractive design ideas for cafes, restaurants, shops, entertainment centers, various events. Aesthetic content is used even more widely, since it is possible to decorate not only the interiors of public places, but also everything that surrounds a person every day: exteriors, clothes, food packaging, dishes, furniture. Decorated with traditional surface ornament from various materials, both natural and artificial: wood, ceramics, plastic, glass, various fabrics, polyethylene, concrete and others. Many of the items and objects of decoration are modern and perform new functions in the life support of people, compared to the pre-industrial period. The wife of the author of this story, for example, likes to buy milk in a package that depicts a fragment of a Pavlovo Posad shawl with flowers. Often people choose a plastic bag from the set on the counter with a pattern stylized as “Gzhel” or other painting. A vivid example of decorating modern objects and surfaces with ornaments based on traditional paintings is the Ru.branding project of the Open Collection Foundation.
Masters of traditional paintings and designers invent and decorate modern items. The work of the masters is manual and involves copying the elements of the painting separately or in compositions on new non-traditional items, such as dishes, bags and other utilitarian items. Designers stylize the mural elements and place the created elements on various surfaces objects according to the laws of modern design: transport stops, information plates, dishes, concrete fences, clothes, cars, airplanes.
Let us explain this approach to updating traditional folk crafts with examples:
Example 1. Ornamentation of modern household items made from traditional and non-traditional handicraft materials. It is necessary to change or leave unchanged the properties of the decor in accordance with the shape and proportions of the object, and change the painting technology - use modern paints, varnishes, brushes and other devices.
Example 2. Production of haberdashery accessories such as handbags, cosmetic bags, purses, wallets, etc. using traditional techniques of weaving, knitting, felting, patchwork, etc. Ornamentation with elements of traditional embroidery, traditional images and symbols in non-traditional techniques (appliqué and other).
Example 3: The use of inlay techniques in the manufacture of modern objects from traditional handicraft materials. Inlay of traditional ornaments on traditional material.
It is necessary to speak separately about such a phenomenon as making traditional handicraft items from non-traditional materials . Wicker baskets from plastic ribbons (cut up used plastic bottles) and knitted round rugs from plastic bags. At first glance, a person who is not indifferent to folk art, such things cause shock and disgust - how can you replace birch bark with the plastic of used bottles? From the point of view of the artistic perception of the subject, this is so. But from the point of view of the village craftsman who made such a basket, it’s a little different - to go far into the forest, it’s hard to remove birch bark, it’s not good with legs, and the neighbors have a lot of used plastic bottles that no one recycles, and no one wants to bury in the garden, you can baskets for all the neighbors to weave, which will not know wear and tear. The environmentalist will take the side of the master - an excellent solution for the disposal of household waste. In the West, for a long time there has been weaving baskets and other items from non-traditional modern materials. Whether it's good or bad is for everyone to judge personally, but the actualization of the craft is evident here - the replacement of traditional material with non-traditional to ensure human life in the age of plastic packaging.
Let's single out one more direction of updating - change in the physical properties of objects with a change in the utilitarian function for a souvenir . There is an opinion that the production of souvenirs by a master is a degeneration of the craft. In our opinion, the production of souvenirs is the need of our time, our modern environment and living conditions, and the task of the master is to most correctly transfer his craft experience and knowledge into a new type of product.
Two kinds of handicraft souvenirs can be defined: authentic items and new items.
An object that is authentic to a disused household item decades ago loses its utilitarian function and becomes a keeper of information both about the object itself and, possibly, about an event, person, place, which can have its own valuable value in a historical perspective. Historical science is based on sources. Among such sources as chronicles, epics, rituals, handicraft items stand apart, since written and oral sources inevitably change over time, while an item created centuries ago remains unchanged. This means that a craft item is the most reliable source of information. Therefore, making obsolete items as a souvenir and gift is very important.
New handicraft souvenirs are made to create an image of a handicraft item and to create an image of a memorable place, event, person using handicraft technologies and traditional materials. The task of the master is to achieve maximum expressiveness and recognition of the conceived image with minimal means. The issue of the production of souvenirs by a craftsman is very important both from the side of the development of the tourism industry in the Russian regions, and from the side of improving the well-being of craftsmen and raising the artistic level of souvenirs.
The above considerations can be formulated into the rules for updating traditional folk crafts:
Rule number 1.Changing the physical properties of a traditional object under the format of modernity, using traditional materials and changing the purpose within the framework of utility.
Rule number 2.The use of the aesthetic content of some traditional items for the manufacture of other traditional items.
Rule number 3.Application of the aesthetic content of traditional objects to the manufacture of non-traditional objects (handicraft and industrial).
Rule number 4.Changing the physical properties of a traditional object to the format of modernity, using non-traditional materials.
Rule number 5.Changing the physical properties of a traditional object to the format of modernity, while changing the utilitarian purpose.
The actualization of traditional folk crafts is not a new trend in the work of modern masters, but it is a natural process of development of crafts at all times. A modern master makes changes to the craft traditions of his ancestors, thereby prolonging their life and, perhaps, creating traditions himself.
The generalization of individual experience can open the way not only to the restoration of the function of crafts, but also to the demand for folk culture as a whole in modern society. We hope that this report can serve as an impetus to comprehend and generalize the experience of modern masters in order to solve the problem of the demand for handicrafts.
Bibliography:
Barkova E.V. Policy priorities in the field of folk culture. Materials of the All-Russian Scientific and Practical Conference “Folk Art of Russia. Tradition and Modernity". Collection. Vologda, 2008. Pp. 21.
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.
V 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, clothing, 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, thanks 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 and 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 farrier who made a mold, a puttyer and a painter, a primer who varnished the product after drying
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 method 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 is distinguished by 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. The pattern of the future lace applied on the pillow is fixed on the pillow. thick paper. 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 progress historical development each nation developed a certain character of the embroidered pattern, peculiar techniques of technical implementation, 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.
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The guide is dedicated to Russian crafts, each craft is described separately in it.
Articles on relevant topics can be found under the headings:
What is a craft
Briefly, this is manual labor, work and skill, which earn a living. It is difficult to imagine humanity without handicraft activity.
The concept of craft is multifaceted. Some believe that the creation of works of art is no longer a craft. Others consider the profession of, say, an artist or an icon painter, a poet or an actor to be a craft.
, CC BY-SA 3.0One way or another, in any business you can achieve artistic and professional heights, but any professional business begins with a simple necessity, then the skill of an artisan is achieved, and only then it can turn into a wide production or glorify an individual master who has reached perfection.
Guide to Russian Crafts, CC BY-SA 3.0 There are many examples of this among the peoples of Russia. Our lacquer miniature and trays, Abramtsevo-Kudrinskaya carving and much more can be safely attributed to works of art.
Of course, in the craft, much depends on personal skill.
In one of the dictionaries we read:
"For Russia are typical: the use of simple tools, the decisive importance of the personal skill of the artisan, the individual nature of production (the artisan works alone or with a limited number of assistants)."
Guide to Russian Crafts, CC BY-SA 3.0 For what and why
The history of the craft dates back to the beginning of human production activity, it has gone through a long historical path of development, taking various forms:
- home craft - natural farming
- handicraft to order - in the conditions of decay of natural economy
- craft to market
The development and formation of crafts was greatly influenced by climate, geographical location, political and historical factors.
Handicrafts and crafts of the Nizhny Novgorod province. Production of large weight beams. Village "Red Ramen" Semyonovsky district. 1896 Unknown late 19th century photographer, CC BY-SA 3.0 For example, Byzantium enriched the world with Orthodox culture, which, in turn, had a significant impact on the development of Russian crafts.
The formation of a professional craft, especially in cities, led to the emergence new sphere production and a new social stratum - urban artisans.
Guide to Russian Crafts, CC BY-SA 3.0 The building rituals had a great influence on the spread and development of crafts.
In the 19th century, Russia began to think more and more about creating a “Russian style”, which was also supported by the tsarist government.
In 1904, Polenov created the House of Folk Art, in 1913 the First Fair of Folk Crafts was held. By the way, then the tsarist government found money to pay the way for handicraftsmen to this exhibition.
Guide to Russian Crafts, CC BY-SA 3.0 In the early 1920s, the development of handicraft folk crafts continued, but in the 1930s they were finished. Their revival began only in 1968, when the relevant party decree was issued and the corresponding organizations were created. But much has already been lost.
rebirth
In our time, there is an active revival of crafts and crafts of the peoples of Russia. There are many examples of this: according to old engravings, thanks to Alexander Anatolyevich Baukin, it was revived; Alexander Nikolayevich, together with art historian Viktor Yakovlevich, revived; fishing was revived in Odoev.
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Synonyms
- class
- profession
- speciality
- skill
- handicraft
- needlework
- Minerva
- fishing
- skill
- vocation
- banausia
Minerva
In Roman mythology - the goddess of wisdom, art, the patroness of artists and artisans. Therefore, this word can be synonymous with the word "craft".
Banauzia
Greek banausia - craft, the pursuit of science or art as a craft.
Proverbs
There are many proverbs and sayings related to the craft among the people:
You won't miss a craft.
Every craft is honest, except for theft, and theft is a craft, but not a bread one.
Craft is the golden breadwinner.
The craft is not a yoke - it will not delay the shoulders.
“When I’m in business, I hide from fun,
When I fool around - I fool around. And mix these two crafts
There is a darkness of artisans,
I am not one of them."
A. Griboedov, "Woe from Wit"
Handicrafts in our time
Often there are words that "crafts die and are forgotten." This is not true. Of course, some species simply disappear as unnecessary, for example, the production of goose feathers, which no one writes with for a long time. But in general, interest in folk art crafts is growing year by year.
In Russia there are many educational institutions where you can get a vocational education.
national wealth
Vasnetsov, Bilibin, Vrubel, Surikov studied the Russian national style, preserved in the ornaments of embroideries, folk costumes, patterns and forms of products of rural artisans.
Artists saw in this the national wealth of Russia, something that made Russians different from other peoples. This contributed to an unprecedented surge in the development of our art, expeditions began to be carried out, museums were opened, and fairs were held.
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