Borage fishing
- Making and painting boxes (boxes with a lid) from birch bark. This type of craft has become widespread in Nizhny Tagil, and in the Nizhnesalda Museum of Local Lore you can see the largest collection of beetroots.
Flax production
- Weaving and sewing from flax developed in settlements on the site of the modern Alapaevsky region. Flax was grown everywhere and is one of the most important agricultural crops in the region. Folk craft became the basis for the development of light industry and the emergence of flax factories in Sverdlovsk region.
Chest fishing
- The centers of development of this craft in the 19th century were the city of Nevyansk and the village of Byngovsky - here were largest factories. Chests and caskets were made from pine and cedar wood, rich decoration was made from iron and types of tin: blackened, painted, printed, embossed, bronzed and many others.
Samovar production
- The samovar business was developed at the Nizhneirginsky plant near Krasnoufimsk. The date of manufacture of the first samovar is 1746. The local history museum houses the richest exhibition of locally produced samovars.
Artistic casting
- The active development of the metallurgical industry in the Urals contributed to the emergence of artistic crafts in this area: many iron and iron smelting plants had artistic casting workshops. Kasli and Kusinsky cast iron is the pride of the Southern Urals.
Lacquer painting on metal
- The birthplace of this fishery is Nizhny Tagil. The art of lacquer painting was formed in the 19th century; over the years of its existence it has not only successfully developed, but also been put on an industrial footing.
Stone carving
- The Ural school of stone carving originated in the 18th century. On the territory of the modern Sverdlovsk region there were many private workshops. Local stones such as jasper, malachite, marble and many others served as the basis for stone-cutting products. The ancient traditions of this craft are still developing today, not only in small workshops, but also in large stone-cutting enterprises.
Porcelain production
- Established in 1960 in the city of Sysert. The local porcelain factory is famous for its products throughout the country, and the artistic element “Sysert Rose” based on Ural house painting has become a characteristic symbol of Ural porcelain.
Bell production
- The Pyatkov and Co. plant was founded in 1991 in the city of Kamensk-Uralsky and is the first private bell casting enterprise in Russia. Since 2005, the city has held a bell ringing festival, which annually attracts thousands of listeners.
Russian folk arts and crafts are an integral part of national culture. They embody the centuries-old experience of aesthetic perception of the world, looking to the future, and preserve deep artistic traditions that reflect the originality of the cultures of the multinational Russian Federation.
Arts and crafts are both an industry and a field of folk art.
The unique artistic products of Russian folk crafts are loved and widely known not only in our country, they are known and highly valued abroad, they have become symbols of national culture, Russia’s contribution to the world cultural heritage.
Works of Russian folk art can tell a lot about the Russian national character, about the history of Russia, about the people's ideals of happiness and beauty. Most folk crafts arose in ancient times, their roots lie in village crafts. Nature itself suggested both materials and subjects to man. In the forest belt, turning crafts and wood or birch bark (birch bark) carving developed. In places where clay deposits were found, the art of artistic processing of ceramics arose. In the northern regions of European Russia, where flax was grown, the art of lace making arose. The Urals, a place of deposits of iron ore and semi-precious and semi-precious stones, are famous for iron casting, weapon decoration and stone products.
Wood and bone carving, lace weaving, embroidery, painting on wood and metal, ceramics, printed fabrics, leather and fur products - there are dozens of different folk crafts. However, only a few of them have gained worldwide fame - nesting dolls, Khokhloma painting, Gzhel ceramics, Palekh miniatures, Zhostovo trays, Pavlovo Posad shawls, Vologda lace, Dymkovo toy, Gorodets painting, Kasli iron casting.
1. Variety of folk crafts
Matryoshka - the most common Russian souvenir - is still quite “young”, it is just over 100 years old. It came from a detachable Japanese wooden doll - the Buddhist sage Fukurumu. Just a few years after its birth, the nesting doll was already exhibited at the World Exhibition in Paris, where it received a medal and world fame. But “Khokhloma” - painting on wood with gold, red and black paints - originated a long time ago, in the 17th century, and since then the technology for its production has changed little. It is believed that the plant design with red and black elements on a golden background was invented by the Old Believers in the second half of the 18th century. Another legend says that painting originated in ancient monasteries.
They say that one of the “Khokhloma” masters, Mikhail Krasilnikov, in 1884 sent his painting “Peasant Morning”, painted on a table top in the Khokhloma tradition, to an exhibition in St. Petersburg. The master dreamed that he would be allowed to study in St. Petersburg. The film was a success: Mikhail was summoned to St. Petersburg and awarded a watch and a sheepskin coat. However, no one offered him to study in the capital.
Trans-Volga peasants, in order not to die of hunger, were forced to engage in trades.
They made dishes with Khokhloma painting - very durable and convenient in everyday life, painted brightly and expressively. The demand for it did not fall.
For themselves and at the request of fellow villagers, craftsmen painted arcs, spinning wheels, baskets for berries, mushrooms and other things that surrounded them in everyday life.
The homely, rustic furnishings were poor, and how pleasant it was to put on the farmer’s table elegant, golden-shimmering wooden dishes! The most beautiful dishes were made in a village called Khokhloma, on the Volga. There the world-famous art of Khokhloma painting was born. Russian people have used wooden utensils since ancient times. It was painted by peasants who lived in villages around Khokhloma. The dishes were cheap and durable. How was it made?
First, they made baklushi from linden, aspen or birch, then they were dried, covered with liquid clay, then drying oil and painted (it was inconvenient to use unpainted dishes: they quickly became dirty). The dishes were decorated with ornaments that gave them a unique look. Softly glowing gold, decorated with black and red grass, bowls, dishes, spoons and salt shakers became the favorite utensils of the village people and with their attire brought joy to even the poorest home.
Today, Khokhloma products are produced at more than thirty enterprises in Russia.
Palekh miniature arose on the basis of ancient icon painting. In the 20s, during the time of “militant atheism”), the craft did not die, but was reoriented. Former masters of icon painting began to make boxes, brooches, cigarette cases, painting them in “the same manner, but filling them with new content - scenes of Soviet life, illustrations of folk tales, historical and literary subjects. What was surprising was the combination of this sophisticated “spiritual” letter with “earthly” content: tractors, women and red banners.
Boxes appeared already in the 20s of the last century. However, the craftsmen began to make boxes not because of a good life. Palekh has long been famous for its icons. However, after the revolution, icon painters were left without work. The masters transferred their art to cardboard boxes. And the painting was based on scenes from Russian folk tales.
They say that after October 1917. The Americans offered the residents of Palekh to transport them overseas along with their huts, livestock and household utensils, so that Palekh art would not die. However, the patriotic artists refused.
Today, artists in Palekh work not in workshops, but at home. There are no more than 120 artists left who paint in the original Palekh tradition. A high-quality painted box costs up to a thousand dollars
Gorodets painting, which appeared in the middle of the 19th century, reveals the people’s ideas about the “good life”. In addition to flowers and animals, Gorodets artists loved to depict festivities, tea parties, holidays, etc. The heroes of these scenes are wealthy peasants, city dwellers and merchants - cheerful, rich, smartly dressed.
Nowadays, Russians really love and appreciate works of folk art. In almost every house you can see a Kasli figurine or a Gorodets kitchen board, a Khokhloma wooden spoon or a Polkhovamaidan barrel; among children's toys there will definitely be a matryoshka doll and a painted pyramid. It is not uncommon to find entire collections of Gzhel, Khokhloma or Dymkovo toys.
Handicrafts are sold in all tourist centers. When leaving Russia, it is impossible not to take some folk work with you. Lush flowers and delicate paintings, elegant lace or naive funny toys will remind you of a huge country, of kind, generous and talented people.
Man-made miracles. Vologda lace
How nice it is to admire frosty patterns on glass, or a winter forest, where fluffy snow intertwines into a wonderful lace through which sun rays. The only pity is that this beauty is short-lived. The warm sun will warm you up, the wind will blow - and she’s gone.
But these openwork patterns, this fabulous beauty will not disappear, will not melt. Because it was created not by frosts and snow blizzards, but by the hands of skilled craftswomen. This is the famous Vologda lace.
Lace making has been known in Rus' since the 17th century. The Vologda lace industry developed at the turn of the 18th and 19th centuries. The owners of the workshops were nobles, and serf peasant women from the age of 6 worked in them. By the age of 14, girls turned into experienced craftswomen.
The lace was woven in damp semi-basements; in the humid atmosphere it shrunk and became even more delicate. There was very little light in the basements, and by the age of 25 the craftswomen were completely blind.
They say that the production rate for childless people was higher than for lacemakers with children. Children were specially selected from a skilled craftswoman in order to increase the standard.
The clothes of boyars and kings were decorated with expensive lace. Lace could be seen on the royal throne, on saddles, and on church decorations.
Today, the center for the production of real Vologda lace is the Vologda lace company “Snezhok”
Vologda lace is woven from cotton, linen, and less often synthetic threads using bobbins. The color of the lace can be white, gray, blue, cream, black. A characteristic feature of Vologda lace is a clear division into a large, expressive pattern and a transparent, airy “lattice” background. The drawing preserves the traditions of folk ornamental embroidery.
Bouquets from Zhostovo. Zhostovo trays
In Rus' they loved to have tea - with jam, bagels, and sweets. And a tray for tea drinking is an indispensable thing. It is convenient to place a hot samovar and vases with jam, gingerbread cookies and other treats on it. What can I say, a tray is a necessary thing.
Zhostovo art craft is decorative painting on metal trays. The origin of the craft dates back to the beginning of the 19th century, when in the village of Zhostovo, Troitskaya volost (now Mytishchi district, Moscow region), a workshop was opened to produce lacquered papier-mâché products with painted miniatures. But soon Zhostovo craftsmen began making metal trays painted with oil paints and varnished. In 1928, an artel was founded, now the Zhostovo Decorative Painting Factory. The Zhostovo craft developed under the influence of Ural decorative painting, Fedoskina lacquer miniatures, and painting on porcelain from factories near Moscow. But by the middle of the 19th century a distinctive artistic style Zhostovo masters. The subjects of painting are floral and plant ornaments, everyday scenes from folk life, landscapes. Various shapes of trays.
The masters use still lifes, landscapes, images of fairy-tale characters and, of course, the Russian troika as subjects.
However, the calling card of Zhostovo painting remains the bouquet. Real flowers and those born from the artist’s imagination are collected in bouquets or arranged in wreaths and garlands on a black lacquer, colored metallized or mother-of-pearl background. The painting is created as a brilliant improvisation on floral motifs, so repetition or standardization is excluded.
Hereditary masters and family dynasties work in the craft; there are their own forms of teaching the continuity of the artistic craft.
1. 2 The birth of new crafts
(Painting on fabric)
Fabric painting is widespread in our country and occupies a large place in modern Russian folk arts and crafts. It arose recently. In the 30s of the XX century, and immediately received general recognition. Many artels in various cities of the RSFSR are engaged in painting fabrics. Mostly, light fabrics intended for finishing women's suits are decorated with painting. There are a variety of scarves, scarves, scarves, and inserts. In the interior decoration of our homes, you can also often find skillfully painted curtains, panels, lampshade scarves, etc.
Manual art painting fabrics on silk, viscose and synthetic fabrics are produced in three main ways, each of which has its own design features. Two of them are cold and hot batik- are based on the use of reserve compounds that limit the spread of paint over the canvas. [cm. appendix 4]
Indonesia is considered the birthplace of hot batik. Classic hot batik is a very labor-intensive type of painting. Just preparing the fabric took several days. First, the fabric was kept in water for 1-2 days to soften, then washed and dried. Then boiled in rice starch for 15 minutes. After drying again, the fabric was beaten until soft with a wooden roller.
With hot batik, the artist applies (along the contour of the design) with a brush or a special device - batik in font - onto the silk, stretched tightly onto the frame, heated paraffin (reserving composition), which preserves the natural color of the fabric when it is dyed. The fabric is painted right there on the frame with aniline dyes using a cotton swab.
When reproducing products using the hot batik method, the performer must have high skill as a draftsman, since when replicating samples, he invariably brings in something of his own, individual.
With the invention of an adhesive material called reserve, a fundamental development new technology paintings - cold batik.
In cold batik, the reserve composition is applied to the fabric in the form of a closed contour, within which the product is painted with special paints in accordance with the sketch. The artistic features of this painting method are that the presence of a mandatory contour color and the use of this contour for various ornamental designs gives the drawing a graphically clear character. Moreover, the number of colors used for painting is almost unlimited. The third method of hand-painting fabrics is the so-called free painting. The design is applied to the fabric with loose strokes, and only final finishing drawing is sometimes done using a cold reserve composition. Here, individual creativity is even more manifested, since the use of any templates is almost excluded, and the master, repeating the sample, involuntarily varies the design.
All three methods of painting are constantly being improved; those working in this area are finding more and more new artistic techniques.
Chapter 2. Traditional folk crafts of the Urals
Folk crafts in the Urals have a centuries-old history. They began to develop more than three centuries ago, when the first factory settlements began to be built in our region, and its population grew significantly due to immigrants from Central Russia.
Initially, traditional Ural crafts were distinguished by a variety of directions and styles. They were developed by talented, original craftsmen.
Nowadays, traditional trades and crafts are being revived in Ural cities and villages. The activities of folk craftsmen are coordinated and directed by the regional artistic expert council on folk arts and crafts.
More than half of the Ural crafts have long been associated with stone and metal processing. Pavel Petrovich Bazhov glorified the art of the Ural stone-cutters in his tales. From ancient times to this day, products from the Urals adorn the best museums in the world and private collections.
In 1726, on the initiative of Vasily Nikitich Tatishchev, a lapidary workshop was created in Yekaterinburg, which later became a lapidary factory. Since the second half of the 19th century, stone-cutting enterprises appeared in the Berezovsky, Verkh-Isetsky, Polevsky, Mramorsky, Nizhneisetsky factories, and the village of Shartash. Today's craftsmen - jewelers and stone cutters - are reviving and continuing the traditions of Danila the Master.
The textile products of Ural craftswomen were also widely known in the past. Many residents of the village of Verkh-Isetsky plant were engaged in bobbin lace making, and in the villages and hamlets surrounding Yekaterinburg, women made carpets self made. To this day, there is a hand-made carpet weaving factory in the village of Butka.
One of the areas of work of the Ural artisans was ceramics. Back in the first half of the 18th century, ceramic dishes were produced in the village of Nizhnie Tavolgi, Nevyansk region. And today, ceramic masters of the Sysert Porcelain Factory make unique faience iconostases for churches and monasteries of the Yekaterinburg diocese.
From the mid-18th century in the Urals, Nizhny Tagil, Verkh-Neyvinsky, Turinsk and Nevyansk, another interesting craft began to develop - varnish painting on metal. Nowadays, the largest enterprise in this direction is the Metal Shop enterprise in Nizhny Tagil, where excellent craftsmen and artists work.
The art of making products from birch bark also developed in the Urals - the so-called “borer” craft. Its centers were the Nizhnesaldinsky, Verkhnesaldinsky and Nizhny Tagil factories, where more than 40 handicraft workshops operated at the beginning of the 20th century.
At the beginning of the 18th century, the first bell was cast at the Nevyansk plant by order of Nikita Demidov. Today, the Kamensk-Ural enterprise “Pyatkov and K” is widely known, which has become one of the leading bell factories in Russia.
Folk crafts in the Urals live and develop. As of old, in great demand products of Ural stone-cutters, jewelers and blacksmiths, Nizhny Tagil masters of varnish painting on metal are used, china hand-painted, Kamensk-Ural bells. Masters honor age-old traditions, keep secrets and create new techniques for creating original products that cannot be confused with any others.
2. 1. Beauty born of fire. Kasli iron casting
“Kasli” is translated from Tatar as “goose pit”. Obviously, the name of this town, located near the forts of the Ural Range, comes from the fact that there are many picturesque lakes here. That’s why Kasli is also called the “Ural Venice”
Kasli iron casting Not far from the city of Snezhinsk, one of the oldest cities in the Southern Urals is located - Kasli. This small town is famous all over the world for its products created using iron casting technology. In 1747, the Tula merchant Yakov Korobkov established the Kasli ironworks and iron smelting plant in the Southern Urals. He bought vast lands in the area from the Bashkirs for almost nothing.
And the places turned out to be rich: pine forests, lakes, iron ore lying almost on the surface. In 1752, the Kasli plant was bought by Nikita
Demidov is the owner of many factories in the Urals and Siberia. By that time, the plant was smelting cast iron, which was converted into opener, strip and lump iron. Cannons and cannonballs were sent to the Center of Russia. Demidov's iron had its own brand - two sables standing on their hind legs. It was the most high quality in the world! And if in the 18th century the plant became famous for its excellent iron, then in the 19th century its artistic casting brought great fame to it. It turned out that Kasly has large reserves of good molding sands. In addition, there was plenty of wood for making coal. The first castings from Kasli cast iron appeared in the 50s of the 19th century. These were large items. Among them:
slabs, gratings, garden benches, tombstone bas-reliefs.
In the years 1860-1890, cast iron artistic casting reached its highest peak. At this time, Kasli cast iron foundry receives diplomas and medals from exhibitions in St. Petersburg, Paris, Vienna, Philadelphia, Stockholm.
The World Exhibition in Paris in 1900 brought great fame and glory to Kasli casting, where it was presented most interesting work cast iron pavilion.
Kasli art casting represents a whole world of diverse themes and subjects: from the peasant plowman to the Venus de Milo, from massive solemnly sad tombstones to the thinnest chain for a pocket watch, from monumental sculptural figures to miniature ones
[cm. app5]
The famous Ural storyteller P.P. Bazhov used to speak with admiration about the magical Kasli art: “Kasli foundry workers pour cast iron into a mold, and it cools with silver.” Bazhov kept a cast-iron snuffbox slightly larger than an old matchbox with a demon on the roof. This snuff-box actually cost more in Paris than the same silver cigarette case, and cast-iron rings and brooches-earrings were close in price to gold ones.
The production of artistic castings is increasing in Kasli every year. The plant casts parts for many architectural structures in the country's cities, the Moscow Canal, and the All-Union Agricultural Exhibition. In 1937, the Kasli plant participated in the World Exhibition in Paris. The exhibition featured works made using previous models and those of Soviet sculptors. The best craftsmen took part in it. In 1940, the country's first exhibition of artistic cast iron was opened in Moscow, in which the Kasli plant also took part. After the Great Patriotic War A special vocational school was opened in Kasli to train young new workers at the plant, including molders, chasers and specialists in painting cast products.
2. 2 Lacquer painting of the Urals
While sorting out the property of the Onega Monastery many years ago, researchers came across descriptions of iron octagonal trays with riveted sides. In the corner, as usual, there was the mark of the author - one of the Tagil artists - self-taught - and the date of manufacture - 174th. This year is taken as the starting point of the tray business in Nizhny Tagil.
In November 2006, the tray business turned 260 years old.
Three names are especially valuable for the almost three-century history of Tagil tray craft. Naturally, the Demidovs, sensitive and perspicacious breeders, especially the grandson of the founder of the family, Nikita Akinfievich, not only condescendingly encouraged the pictorial amusements of talented nuggets, but began to teach them, founding the first art school. There was a lot of iron, amazing in its softness, strength and malleability, in Tagil, as well as craftsmen from among the serfs. They became the first artisans who made boxes, crackers, tables and, as the pinnacle of creation, trays that served as both kitchen utensils and interior elements.
Inseparable from the craft is the name of the Khudoyarov artists, several generations of whom devoted themselves to painting on metal. The grandson of the founder of the dynasty, Stepan, is included in the annals of industrial history as Bryullov’s most talented student. It was they who invented a special crystal varnish - unusually durable, transparent and strong, with which they coated their products and thanks to which the fame of Tagil trays instantly spread throughout Russia, crossing its borders.
Agrippina Vasilievna Afanasyeva is another Ural nugget, but from the 20th century.
The hands of Agrippina Vasilyevna Afanasyeva forever remembered the lessons of pre-revolutionary craftswomen. It was she who in the 70s tied up the broken thread: the true Tagil brushstroke was revived, the beauty and originality of the fly painting, old compositions, and color features returned to the trays. Tagil rose and the entire fishery gained full lungs to heal new life. But the time came when everyone had no time for trays. The craftsmen turned out to be unclaimed, as were their original discoveries and experiments. Production (a huge workshop where up to 250 artists worked simultaneously) came to almost nothing. To survive, craftswomen went into different professions, but after selling at the kiosk, they returned to paints and brushes. Most of them today work from home. A corner in the room, daylight or a table lamp, two dozen brushes, fantasy, inspiration and a harsh iron blank comes to life and turns into a tray.
But it’s scary to put a samovar on it or put a hot pie on it. One can only silently and secretly admire him. Like a painting in a museum. For many trays are paintings made on metal. A stroke, another, a third, and now the Ural rocks, harsh in their beauty, the bends of mountain rivers, a unique autumn forest, a capercaillie lurking on a frost-covered branch. Metal seems to add its own energy to the landscape, imbuing it with the fire of life.
The Tagil fishery arose on the crest of the industrial heyday of the Urals, which today is again on an industrial rise. Currently, interest in lacquer painting in the Urals has not faded away. In Nizhny Tagil there is a school that trains artists involved in metal painting. The traditions of tray crafting are continued by masters A.V. Afanasyeva, S.V. Veselkov, T.D. Kotova, Olga and Sergey Ivanov, working at the enterprises "Metal Shop", "Smena", "Istok-1", and others. The Nizhny Tagil tray was presented at many Russian and international exhibitions and gained worldwide recognition and fame.
2. 3. Ural paintings
A widespread type of folk art in the Urals is decorative painting: painted utensils, painted peasant houses. There were a lot of colorful things in the houses of the Ural workers - wooden candlesticks, buckets and rockers, “oilcloths” - a kind of holiday rugs.
Folk decorative painting was closely related to icon painting, since icon painters, as a rule, were engaged in decorating household utensils and interiors. The diversity of herbal ornaments was facilitated by specialization in the production of icons. Among the icon painters there were “herbalists”, “lychniki”, “dolichniki”. Master herbalists painted spinning wheels and rollers, and decorated the houses of the wealthy part of the population. At this time, two directions of painted utensils were developing in the Urals - painting of metal and wooden products. The first became widespread in the villages at the Demidov factories - Nizhnesaldinsky, Nevyansk, Nizhny Tagil and became an urban craft. The second became a craft in rural areas of the Urals and was concentrated in the most populated villages. Various villages specialized in the production of one type of product. Thus, rockers were painted near Kungur, painted carts were made near Okhansk, and spinning wheels were made near Dalmaton.
Among this abundance of household utensils, spinning wheels stood out. Peasant life, filled with ritual elements of decorative applied arts, contributed to the sustainable preservation of ancient motifs in folk crafts. A developed type of folk art in the Urals was the creation of festive ritual spinning wheels. Professional craftsmen worked on them; certain types of compositions of spinning wheel decor were developed, characteristic of different regions, but always associated with a specific purpose of the spinning wheel. Parents gave a child's spinning wheel to the girl as a sign of introduction to work. The beauty of the spinning wheel contributed to the festivity of the moment. A large spinning wheel was presented to the girl when she reached the age of the bride and was supposed to appear at the gatherings. A beautiful spinning wheel seemed to represent the girl, spoke about the well-being of her family, and served as an addition to an elegant costume. The beauty of the many spinning wheels brought to the gatherings festively transformed the hut and created a joyful and warm atmosphere. A young man gave a spinning wheel to his betrothed. It was inherited from grandmothers and mothers. Preserved the memory of loved ones. In the Urals, spinning wheels were clearly distinguished according to their design principle. There were root, compound and turning spinning wheels. The spinning wheels and roots were made by the peasants themselves. Dyers passing through villages painted such spinning wheels with floral motifs, stylistically related to house paintings.
In Kungur and its surroundings there were root and turning spinning wheels. They were distinguished by their slender proportions and the characteristic design of the upper edge of the blade in the form of a ridge with three semicircular cutouts. Their paintings were varied. In general, Kungur painting belongs to the picturesque type of Russian brush paintings. Its special feature was floral motifs that densely filled the surface. The most beloved and most often used was the composition of a flowering tree with birds sitting on it. In Ural painting, cold tones were preferred, and blue, light blue and green colors predominated in the background color of the spinning wheel.
Along with utensils, in the Urals it was customary to paint houses. This custom appeared in the middle of the 19th century; this is explained by the fact that before this period, peasant huts were heated in black. The formation of a holistic style of Ural house painting was facilitated by the fact that this craft was characterized by great mobility. Professional peasant artists moved from volost to volost, painting huts. They subordinated their painting to the tastes of the local population. First of all, the artists painted the entrance doors and golbets. A beautiful bush was painted on them, with people and guardian animals nearby. Then they painted the stove, a symbol of life in the house. It was decorated especially carefully, since according to legend, a brownie lived underground under the stove - a kind creature-guardian of the house, without which life in the house was considered impossible. The hut was divided into “corners”: the hallway was the space under the curtains, the middle was the place by the stove where the woman cook worked, the hut itself with the “red corner” was the dining room and the place for receiving guests. The range of painting was limited to a few colors of red, blue, yellow, green, and dark brown was rarely used. But there was always white for modeling forms and black for adding graphic elements. The painting technique itself was very simple. After determining the preliminary size of the motif and composition, an underpainting was prescribed, which designated the main spots of flowers, buds, and leaves. Then they were modeled with white if the “underpainting” was colored, or with some other paint if it was white. By dipping the brush in paint of the desired color and rotating it around its axis, in one movement they turned the underpainting into a berry or petal. Thanks to this technique, which was preserved and developed the traditions of herbal paintings of the 17th-18th centuries, soft transitions from color to color were created.
Chapter 3. Popular folk crafts of the Northern Urals
Famous crafts of the Urals - stone-cutting and jewelry art, traditional Ural embroidery, clay toy, painted trays, wickerwork, patchwork technique.
3. 1. Jewelry making - business card mountainous Urals.
The history of the emergence of jewelry goes back thousands of years. Man's desire to decorate himself manifested itself at the dawn of evolution. In the Stone Age, our distant ancestors created jewelry from colored pebbles, transparent rock crystal and shells. The famous Indian mineralogist Rao Bahadur claims that, judging by archaeological finds in India and Burma, men and women not only wore various stone jewelry, but also decorated their homes, weapons and household items 7.5-10 thousand years ago. These were local stones - chalcedony, agate, jade. The use of emeralds began 2000 BC, sapphires and rubies from placers in Ceylon - 600 BC. e. Diamonds appeared in India - 1000-500 BC. e. Finds of items made of lapis lazuli, garnets, amethyst, and amazonite on the territory of modern Egypt date back to the Neolithic. It has now been established that emeralds were mined in the mountains on the shores of the Red Sea almost 2000 BC. e.
Precious stones mined at the mines flocked to the storerooms of the Yekaterinburg lapidary factory, which already in 1774 had grown into a powerful gem processing enterprise for its time. Here, at the factory, the art of lapidaries is gradually taking shape and developing, whose legacy has been preserved in the memory of centuries as folklore, as tales and legends that feed the creativity of modern Ural jewelry artists.
Factory craftsmen quickly mastered the secrets and subtleties of cutting gems into “star”, “rose”, ribbon and diamond cuts. However, the craft would probably have remained a craft, if not for the “life in business”, which brought the Uralians out of the ranks of apprentices, gaining them fame not only in Russia, but also among jewelers in Europe.
Cutting sparks from rock crystal and phenacite became widespread in the 20-30s of the 19th century. The craftsmen of the Berezovsky plant were especially famous. They made a large, medium and small spark. The large and medium ones were used for heads for crosses, the small one - for a scattering of rings and tiaras.
Having received their freedom, the lapidaries began to work from home. There was no special habit of soil, and stone work remained the first and most important thing. We bought a simple tool, installed grinding machines in the huts
18 laps. By the 80s, the main centers of lapidary handicrafts were emerging in Yekaterinburg and its environs: Berezovsky, Nizhne-Isetsk, Verkhne-Isetsk, Uktus, Polevsky, Mramorskoye.
The craftsmen, who had undergone factory training, strictly preserved the secrets of their craft and did not work in front of strangers, so that competitors would not appear. Nevertheless, more and more generations adapted to stone processing. Partly by passing on the experience of father to son, partly by ferreting out secrets.
As it developed, the cutting industry created many branches, branches of manufacturing things from ornamental stone. The main ones were malachite, jasper and selenite. How much narrow specializations was in the trade! In one house the family made keychains, in another - easter eggs, in the third - ashtrays, in the fourth - match holders in the shape of a shoe - really, you can’t count them all. And what’s most interesting is that artisans began to use semi-precious stones for decoration.
Malachite workers Ivanov, Turunev, Alekseev, Kvasnikov made malachite bracelets and necklaces from Gumeshevsky corduroy and light Mednorudyanka malachite, along with paperweights, boards for inkstands, candlesticks, and boxes. Up to a hundred pieces of hand-carved balls, carefully selected in size and color, were contained in the thread. Sometimes all the beads were the same, sometimes their size increased gradually, and the largest one was placed in the center.
Nowadays one can speak about the Ural jewelry art not only in the impartial tone of a chronicle, accurately recording facts and events. It is also interesting to present it in the analysis of main trends artistic development, in their crossing, interweaving. Since the beginning of the sixties, the creative activities of artists have become more diverse. Not just one or two, as was the case during the formation period, but a whole group of masters made up the team that took on all the burdens of the first searches and discoveries.
The most common original Russian jewelry is considered to be products containing freshwater pearls, which are quite abundant in clean northern rivers, as well as products made from amber, the frozen resin of trees. Products made from semi-precious stones – semi-precious stones – are also common. Products made of gold and silver still remain popular.
The Ural jewelry school is known throughout the world. Its victorious march began in the era of the Demidovs. The living tradition of the Ural gem is also being developed by our contemporaries - stone masters.
A new world discovery of the Ural jewelry school began in the sixties, when the Honored Artist of Russia Leonid Fedorovich Ustyantsev presented at an exhibition in Paris a brooch made of silver and jasper called
"Ural". This event once again opened the way to the international arena for Ural colored stone products.
In 1965, the Ural master became a participant in the all-Union art exhibition “Art and Life,” and two years later, Leonid Ustyantsev’s gold and diamond products were purchased for the unique exhibition “Diamond Fund of the USSR” in Moscow.
The jeweler’s creativity flourished precisely in the 60s. Leonid Fedorovich then worked at the Ural Jewelers plant as part of an experimental group. Its employees were given the task of supplying the fashion designers of the enterprise, and especially the section of individual products, with sketches, drawings and models of new designs.
Leonid Ustyantsev recalls: “We made a small “revolution” that influenced everything further development jewelry art in the Urals, opened the way for the widespread use of the countless stone storehouses of our region.”
His works were born on the basis of Ural gems. The master preferred rock crystal, agate, chalcedony, carnelian, jasper, rhodonite, malachite, and amethyst. He looked carefully at the gemstone, in which the design was already embedded. I always searched for a long time for an expressive composition and color scheme before setting a stone.
Today, the jewelry art of the Urals is a kaleidoscope of manners and styles. This is confirmed by modern Ural jewelry stores, where you can walk all day long, choosing a gift from a precious stone. But, having found a piece of jewelry you like, you can be sure of its quality.
Leading jewelry Russian companies, dealing with gems - “Russian Gems” and “Jewelers of the Urals”. OJSC "Russian Gems" was created in 1992 through the reorganization of the state production association"Russian Gems", dating back to 1912. Today it is one of the leading Russian manufacturers of exclusive and mass jewelry, enamel-filigree silverware, silverware, painted enamel miniatures, watches and watch bracelets, gold and silver jewelry , stone-cutting products. The company's assortment includes more than 3.5 thousand models - the plant produces both mass-market products and exclusive works in a single copy or in small batches.
OJSC "Jewelers of the Urals" is an enterprise that has more than a hundred years of history and produces a wide range of jewelry from
20 precious metals with precious and semi-precious stones, as well as souvenirs using ornamental stones. Qualified specialists not only continue the traditions of old masters, but also constantly improve methods and techniques for processing precious metals and stones.
3. 2. Wicker weaving.
Wicker weaving is one of the most ancient crafts. It arose in ancient times and occupied a significant place in the life of ancient man. Dwellings and outbuildings were built from the branches of woody plants, fences, children's cradles, sleigh and cart bodies, furniture, children's toys and dishes were made. And the most common products made from wicker were baskets.
In Rus', basket weaving was quite common. Almost every peasant could weave a good basket if necessary. Well, basket makers wove them for every taste: small and large, round and rectangular, oval and conical, with simple and complex weaving, with and without lids. It was difficult to manage without baskets on the farm. They wore clothes to the river; taken on the road, setting off on a long journey; they harvested crops; We went mushroom hunting with them.
In modern life, baskets also find various uses, and it’s hard to imagine a real mushroom picker without them. And willow is best suited for mushrooms. The willow branches from which the basket is woven contain large number tannins. Thanks to them, the mushrooms do not spoil for a long time, and the air passing between the rods, as if through a filter, is cleaned of harmful microorganisms. In addition, willow twigs absorb excess moisture and, thanks to their thermal insulation properties, protect mushrooms from overheating. And, of course, a good basket is light, beautiful and convenient. Today you rarely see a real willow basket even at the market. Therefore, it is better to weave it yourself, to your taste.
Weaving is one of the very interesting species folk art, which conceals great opportunities. For weaving, various materials are taken - pine and spruce roots, vine twigs of different varieties, bast, birch bark, rye straw and cattail, known as chased, or reed.
Wicker weave. The vine has long been used to make various household crafts; fishing rods, baskets for mushrooms and berries, tables and sofas, women's bags - this is not a complete list of things that can be made from wicker.
Root weaving. Nowadays, few people know what root weaving is, and even fewer people are professional in the artistic processing of this material. The root of coniferous trees, durable and beautiful, was previously extremely widely used in the manufacture of various household utensils. However, the great labor intensity, the complexity of procuring raw materials, and most importantly, the change in the life of the rural population and the departure of those who have become
22 objects that are not needed by modern people, for example baskets - enchantments for baking bread, have sharply reduced the need for things woven from roots.
The roots of coniferous trees - pine, spruce, fir - have been used in weaving since ancient times. Weaving products from the root - durable and beautiful baskets, boxes, salt pans - are found over a vast territory among different peoples of our country. Not so long ago, baskets of a special shape were woven from the root - hemispherical, with one handle, as if closing this sphere, or wide, oval, with two handle-holes at the sharp ends.
Large, round, pot-like vessels with lids were used to store cereals and flour. Utensils and accessories for needlework were kept in oval baskets - caskets. Low oval baskets with lacy sides decorated the festively decorated table.
Weaving from roots is much more labor-intensive, but it has advantages over weaving from other materials, consisting not only in strength, but also in the beauty of the material, as well as in the special texture of the weaving.
3. 3. Bead embroidery, beadwork, patchwork technique.
The art of making jewelry from beads is called beading. Beads can be embroidered using a special thread, strung on thread or wire, or glued to the surface of something (for example, fabric). The history of beads goes back a long way. The material, magnificent in its decorative qualities, has attracted the attention of craftsmen since time immemorial. Glass beads - the immediate predecessors of beads - decorated the clothes of the ancient Egyptian pharaohs. The nomadic tribes of the Sarmatians and Scythians, several centuries before the birth of Christ, wore clothes and shoes trimmed with beads. Small glass balls decorated the collars, sleeve edges and breasts of shirts, as well as trousers, belts and hats. Beads are also not ignored in Rus'. The first information about its use in clothing decoration dates back to the 9th-12th centuries. Burials in Latvia, in which fabric crowns decorated with bronze spirals and beads were found, also date back to the same period.
For several centuries, the only center of bead production in Europe was the Venetian Republic. Before that, it was made in glass workshops in Germany and Gaul. From these places it migrated to Byzantium, and from Byzantium it came to Venice.
The island of Murano became the center of Venetian glass production. They made them there various types vessels (mostly inflatable), mirrors, beads, buttons, beads and The history of beading goes back to ancient times. Glass beads made from beads were known already in ancient times. In Egypt, clothes were made from a beaded mesh, which was assembled from large opaque cylindrical beads. The production of beads improved, and over time they began to be made, first from translucent, and then from clear glass. Beads are very small glass beads. At first they were made by wrapping a thin layer of molten glass around a metal rod.
The secret of its manufacture was kept strictly confidential. Masters for disclosing the secret were punished according to the strictest laws, including the death penalty.
Later, beads began to be made in Bohemia. The invention of machines for making beads at the end of the 19th century made it possible to reduce the cost of production, and Bohemian beads quickly spread throughout the world. Bohemian beads were distinguished by ease of processing, clarity of glass and special cutting. In Russia, beadwork received its greatest development in the 18th century. Embroidery and knitting with beads were most common, as well as the creation of pictures by pressing beads into molten wax.
Beads were brought to Russia from Venice and Bohemia. Bead production in
M.V. Lomonosov tried to implement this in our country, creating in 1754 a factory for the production of bugles, beads and mosaic glass. But it did not last long, unfortunately, and closed soon after Lomonosov’s death. High quality beads are not produced in our country to this day. Beads come to us from the Czech Republic, Japan and Taiwan.
By the beginning of the 19th century, a real bead boom began in Russia. In villages, beads and glass beads have become almost a mandatory decoration of folk costume. During the long evenings, peasant women wove, weaved, weaved, embroidered collars, made beads and necklaces, decorated headdresses, belts, and festive sundresses, competing in speed and dexterity. It was not for nothing that it was believed that “a village is made up of a harrow and a needle.”
On landowner estates, serf girls were taught needlework in special workshops. Landowners' daughters and wives usually embroidered the main pattern, and the background was made by serf craftswomen.
In the cities, especially in Moscow, almost every house embroidered with beads, decorated houses with handicrafts, and gave each other gifts for holidays and name days. The family gathered in the living room, read aloud, played music, had conversations, and the women did needlework. Society ladies, merchants, and townswomen who excelled in this art participated in domestic and foreign exhibitions and received awards. The rich girl whiled away the time, and the poor girl earned her bread. Mastery of handicrafts served as a sign of good upbringing and home education.
Royalty also did not disdain handicrafts. In the mansions on the women's side, in a special room, church utensils were made, sometimes of very high quality; Among worldly things they loved to embroider seams - velvet and satin scarves; they decorated ladies' hats, shoes and much more with beads.
But the real centers of needlework were the nunneries. Here they prepared decorations for churches, the robes of clergy were embroidered with gold, silk, silver, stones, and icons made in stockinette stitch, with pearls and beads, competed with painted icons.
Both rich fashionistas and statesmen trusted nuns-needlewomen, who decorated their uniforms with sewing. The nuns were involved in charity, especially for children: they created orphanages, taught literacy, singing and handicrafts, and gave orphan girls a craft in their hands. In the 11th century in Kyiv, the granddaughter of Yaroslav the Wise Anna-Yanka founded the first school for novices on Russian soil at the monastery.
For centuries, monasteries have collected and stored a variety of handicraft techniques. Thanks to them, we can admire beautiful works of art - icons, patriarchal vestments, royal robes in the Armory Chamber of the Moscow Kremlin and other museums in the country, etc.
History of patchwork
Until recently, it was believed that patchwork (patchwork or quilt) was the “youngest” type of needlework. However, the oldest appliqué, dating back to 980 BC. e. was found in Egypt. And in Scythian burial mounds (100 BC -200 AD) fragments of quilts with applique elements were discovered.
Russia until the middle of the 18th century was homespun. Long winter evenings left a lot of time for needlework. The women whiled away his time at the spinning wheel, the weaving mill, and the hoop. The raw materials for making fabric among the Eastern Slavs were flax, hemp and wool. Women wove fabric by hand from the fiber at home. The process of growing these crops and processing raw materials was very long and labor-intensive, so fabrics were woven 40 cm wide, corresponding to the cut of a shirt or towel, so that there was practically no waste left during sewing. Clothes made from homespun linen were durable and passed down from the older generation to the younger.
In Russia, homemade fabrics were used for home decoration mainly by peasants, and until the second half of the 19th century, by city dwellers. But from the end of the 18th century and especially in the 19th century, thanks to the development of machine production in Russia, inexpensive, colorful, bright cotton fabrics began to increasingly enter household use. The width of the chintz fabric was 75-80 cm, that is, it was wider than the cut of clothes, and savvy housewives began to lengthen children’s clothes with the remaining scraps, decorate the hems of shirts, sleeves and shoulders.
The smallest scraps and preserved parts of worn-out clothing were sewn into a single multi-colored fabric. This is how the art of patchwork sewing and its symbol appeared - a patchwork blanket, an indispensable attribute of the decoration of a peasant house, where comfort reigned, created by a talented female hand. The patchwork quilt brought beauty to modest everyday life and gave joyful colors to simple peasant housing. When the parents collected the bride's dowry, they did not forget to prepare a patchwork quilt. A baby blanket was always sewn for newborns.
It can be said without exaggeration that patchwork quilts helped to survive in the cold dank nights of revolutions and wars, warmed “various
26 flowers" memories of a happy, peaceful life. In the 1970s, the folk style came into fashion, and in connection with it, interest in the traditions of patchwork awoke. Not only local, but also the largest museums in Russia paid attention to Russian textiles and began to study it as a form of art.
Today, the art of patchwork is experiencing its rebirth. Many masters have appeared who have raised this type of needlework to unprecedented heights; numerous clubs, studios, and workshops have been created to study and develop this ancient and ever-new patchwork.
Chapter 2. Experimental research.
Craftsmen from Novaya Lyalya
While working on this topic, I decided to conduct research and make sure that folk craftsmen also live in my city of Novaya Lyalya. It turned out that there are many people who master crafts. I met some of them, learned about their activities, asked about their lives, about their future plans in the field of creativity.
One of these folk craftsmen is Galina Arkadyevna Zainova. She skillfully cross-stitches pictures, of which she has a lot.
I met her works at an exhibition dedicated to City Day. I liked her work and wanted to get to know her better.
This friendly woman hospitably welcomed us into her home. Imagine my surprise when I saw cross-stitched work on the walls of her apartment. The subjects of the works were varied. These were icons, the Cathedral of Christ the Savior, the Novo-Maiden Convent in Moscow, domestic and wild animals. [cm. Appendix 8]
Galina Arkadyevna has already cross-stitched forty works. She started doing artistic embroidery in August 2006. Galina Arkadyevna donated one of her works to the church of our city for Christmas in 2008. This is embroidery of the icon of St. Nicholas the Wonderworker, in at the moment This work is located in the altar of the Church of the Resurrection of Christ. She gave 17 works to her family and friends.
But besides this, Galina Arkadyevna makes excellent crafts from Origami paper. Beautiful swans and flowers decorate her apartment.
She also manages to sing in the choir of the Russian Song ensemble for more than 30 years, and attends the Veteran club.
I asked her how she manages everything, and she simply answered me in beautiful words, which became her motto in life:
Colored thread on canvas
The best medicine
I was able to create my own kingdom. It's cozy and warm here with an angel behind my shoulders and all my sorrows are left outside the window.
And another folk craftsman and talented person– this is Lyubov Vasilievna Shunta.
Lyubov Vasilyevna Shunta, a teacher of Russian language and literature at our school, revealed a completely new side to me. She has extensive experience working at our school.
Strict, but at the same time friendly, but it turns out she’s also interesting, creative, and energetic.
Sometimes we know little about the people who surround us, and the people we see every day, to whom we are accustomed.
I found out that Lyubov Vasilievna is engaged in painting on fabric - cold batik. We agreed to meet with her. The friendly, attentive hostess welcomed us into her home. The walls of the apartment were decorated with works made by Lyubov Vasilyevna.
Lyubov Vasilyevna has been making cold batik for about a year. Twice a week she goes to a group at the GDC, where she learns this skill and communicates with people who share her interests.
I was very happy when Lyubov Vasilyevna suggested that I try to go through all the stages of making the product myself.
The stages of work are as follows:
1. First you need to put a drawing on paper
2. Apply a design to fabric from paper
3. Take a reserve of special paint and outline the drawing with it, wait until it dries
4. Using a brush and special paints, paint the design on the fabric
With a sparkle in her eyes, Lyubov Vasilievna told and showed how to paint on fabric. And I also wanted to do this, because such works are pleasing to the eye, improve mood and, moreover, are a fashionable decoration for women. These are silk scarves and kerchiefs that Lyubov Vasilievna paints.
This year I continued my acquaintance with the folk craftsmen of our city.
I found out that in my city there are people who make jewelry. This is Fanis Vagapovia Vagapov. While talking with him, I learned that Fanis Vagapovich loves beautiful things, loves visiting museums and exhibitions.
The idea of his activity is to make it interesting and useful for people.
He has been making jewelry for 10 years. His consultant was Vasily Ivanovich Dzyuba, who graduated from the Tagil School of Applied Arts.
Fanis Vagapovich uses the material to make jewelry
Cupronickel is an alloy of copper (up to 70%) and nickel, similar in color to silver, suitable not only for the manufacture of jewelry, but also for the production of dishes, cutlery, and pocket watches
Nickel silver (from German neusilber - “new silver”) is an alloy of copper and nickel with the addition of zinc. Nowadays, nickel silver is widely used for making medals and jewelry. Uses filigree filigree.
Fanis Vagapovich also purchases material for his work from the Kamensk-Uralsky Non-Ferrous Metals Processing Plant.
Among the jewelry you can see bracelets with corals, earrings of various shapes: domed (they have 175 elements), earrings with pistachios (talking);
31 chulpas for braids (whoever wears them, the negative charge is removed), you can also see sets of jewelry (chain with pendant, earrings, bracelets) and many others
And in 2007 he was invited to Saint Petersburg to the international jewelry and mineralogy exhibition-fair.
I was very happy about this meeting; it turns out that to make jewelry you need patience, knowledge and, of course, love for your work.
Continuing to work on the topic of my research, I was surprised that beauty lies not only in jewelry. It turns out that a lot of beautiful and useful things can be woven from vines and the roots of coniferous trees.
In the museum of our city, I learned that in our Novolyalinsky district there are people who are engaged in weaving from wicker. One of them is Yegor Mikhailovich Polyakov. He began to engage in this craft when his granddaughter Irina gave him the book “Weaving from vines. Technique. Techniques." His first work was a “ladies bag”, which he gave to his granddaughter Ira. Yegor Mikhailovich also weaves baskets, vases, boxes, firewood baskets and much more.
I learned from him that baskets are woven in different ways. This is weaving a basket from the bottom and from the hoop. It turns out that willow is best suited for mushrooms. The willow branches from which the basket is woven contain a large amount of tannins. Thanks to them, the mushrooms do not spoil for a long time, and the air passing between the rods, as if through a filter, is cleaned of harmful microorganisms. In addition, willow twigs absorb excess moisture and, thanks to their thermal insulation properties, protect mushrooms from overheating. And, of course, a good basket is light, beautiful and convenient. Today you rarely see a real willow basket even at the market. Therefore, it is better to weave it yourself, to your taste.
In order to weave baskets and various vases, Yegor Mikhailovich first prepares vines and twigs, then the twigs are rooted and split, and then weaving, and he varnishes some of his products.
People of our city turn to Yegor Mikhailovich with a request to weave baskets or something else.
I learned that in our city there are entire dynasties producing such products. This is Vera Vasilievna Yurlova, her parents: Nadezhda Sergeevna and Vasily Dmitrievich Yachmenev, daughter Natasha. The women in this family embroider with cross stitch and beads. Vera Vasilievna and her daughter Natasha also practice patchwork techniques.
Vera Vasilievna Yurlova leads the “Handicraft” club. She participates in various competitions: “The Edge of Talent”, “ Family traditions", etc. She gives all her skills to children. I noticed that all her works are bright and colorful. Some products take a lot of time, even up to 2-3 months. And Vera Vasilievna embroidered one of her works for six months.
Vera Vasilievna's father was engaged in wood carving. Some of his works were even exhibited abroad.
I found out that many teachers at our school do artistic embroidery. My class teacher Alla Yuryevna Luganskaya and Russian language and literature teacher Svetlana Alekseevna Turaeva do cross stitch.
This year I again conducted a survey among the children and parents of our class. The questions were the same as last year.
The survey results are as follows:
To the question: What folk crafts do you know?
2009 - 48% of children named the following folk crafts: Khokhloma painting, Gorodets painting, nesting dolls, Dymkovo toy
2010 – already 73% of children know folk thoughts.
And to the question: What people in our city do you know who are engaged in folk crafts?
2009 - only 35% of parents named folk craftsmen, and this year 2010 - 68%
Conclusion
This work examined folk crafts that are found and practiced in Rus', in the North of the Urals and in our city.
In the course of the work, scientific and popular literature on this topic, Internet sites and local history materials from the museum of Novaya Lyalya were studied. During the study, a survey and sociological survey of children and parents of my class were conducted. Next, a study was carried out, the purpose of which was to get acquainted with the folk craftsmen of our city and their works.
The hypothesis I put forward was confirmed. Folk crafts of the Northern Urals are major center Russian national art. Folk crafts in the Urals live and develop. It was also confirmed that the Ural land is rich in folk talents and my city is no exception.
During the study, a survey was conducted and it turned out that there are people who carefully preserve grains of folk craftsmanship and develop creative skills.
Consequently, the tasks posed during the study have been solved.
I am going to continue my work in the practical part. In the future of my research, I plan to get acquainted with wooden architecture Novolyalinsky district.
Description of the presentation by individual slides:
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Folk crafts of the Urals Prepared by a teacher additional education Karpuk Nadezhda Aleksandrovna Chelyabinsk region, Bakal city, MBUDO "House of Children's Creativity"
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MBOU DOD DDT Bakal Karpuk Nadezhda Aleksandrovna. Master class: “Tagil Monogram” Introduction modern man to the traditional art of one’s people is significant for their aesthetic and ethical education; it is on this basis that respect for one’s Land and Motherland grows, and a revival of national self-awareness occurs. This is determined by the specifics of traditional applied art as the age-old cultural experience of the people, based on the continuity of generations who passed on their perception of the world, embodied in artistic images folk art
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Folk crafts of the Urals Folk art amazes with two features: comprehensiveness and unity. “Comprehensiveness” is the permeation of everything that comes out of a person’s hands and mouth with an artistic element. Unity is, first of all, the unity of style and national taste” (D.S. Likhachev). Folk arts and crafts are one of the time-tested forms of expressing a person’s aesthetic perception of the world. The unique artistic products of folk crafts of the Southern Urals are loved and widely known not only in our country, they are known and highly valued abroad, they have become symbols of national culture, Russia’s contribution to the world cultural heritage.
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Folk crafts of the Urals Folk art as one of the forms of information culture. Traditional art, in addition to its undoubted significance as a result of the creative activity of a particular people, is also a most valuable ethnographic source used in solving ethnogenetic and many cultural and historical problems. Its images and symbols contain encrypted information about the development of the worldview of our distant ancestors. Starting from the most ancient stages of the formation of human culture, creativity harmoniously combined two methods of cognition and transformation of reality - artistic and intellectual; in it the aspirations of the soul and mind that were inherent in human nature found a way out and merged together.
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Folk crafts of the Urals include Ural house painting Stone-cutting art of the Urals Ural iron casting Pottery and clay toys CHELYABINSK REGION Kasli casting Zlatoust steel engraving Artistic processing copper ORENBURG REGION Down scarf BASHKORTOSTAN Wood carving, wooden dishes, spindle products Cotton mills
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Folk crafts of the Urals Folk crafts in the Urals have a long history. They began to develop more than three centuries ago, when the first factory settlements began to be built in our region, and its population grew significantly due to immigrants from Central Russia. Initially, traditional Ural crafts were distinguished by a variety of directions and styles. They were developed by talented, original craftsmen. Nowadays, traditional trades and crafts are being revived in Ural cities and villages. More than half of the Ural crafts have long been associated with stone and metal processing. Pavel Petrovich Bazhov glorified the art of the Ural stone-cutters in his tales.
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Folk crafts of the Urals In 1726, on the initiative of the founder of the city of Chelyabinsk, Vasily Nikitich Tatishchev, a lapidary workshop was created in Yekaterinburg, which later became a lapidary factory. Since the second half of the 19th century, stone-cutting enterprises appeared in the Berezovsky, Verkh-Isetsky, Polevsky, Mramorsky, Nizhneisetsky factories, and the village of Shartash. Today's craftsmen - jewelers and stone cutters - are reviving and continuing the traditions of Danila the Master. The textile products of Ural craftswomen were also widely known in the past. Many residents of the village of Verkh-Isetsky plant were engaged in bobbin lace making, and in the villages and hamlets surrounding Yekaterinburg, women made handmade carpets. To this day, there is a hand-made carpet weaving factory in the village of Butka.
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Folk crafts of the Urals One of the areas of work of the Ural artisans was ceramics. Back in the first half of the 18th century, ceramic dishes were produced in the village of Nizhnie Tavolgi, Nevyansk region. And today, ceramic masters of the Sysert Porcelain Factory make unique faience iconostases for churches and monasteries of the Yekaterinburg diocese.
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Folk crafts of the Urals At the beginning of the 18th century, the first bell was cast at the Nevyansk plant by order of Nikita Demidov. Today, the Kamensk-Ural enterprise “Pyatkov and K” is widely known, which has become one of the leading bell factories in Russia. The art of making products from birch bark also developed in the Urals - the so-called “borer” craft. Its centers were the Nizhnesaldinsky, Verkhnesaldinsky and Nizhny Tagil factories, where more than 40 handicraft workshops operated at the beginning of the 20th century.
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Folk crafts of the Urals From the mid-18th century in the Urals, in Nizhny Tagil, Verkh-Neyvinsky, Turinsk and Nevyansk, another interesting craft began to develop - varnish painting on metal. Nowadays, the largest enterprise in this direction is the Metal Shop enterprise in Nizhny Tagil, where excellent craftsmen and artists work. Folk crafts in the Urals live and develop. As in the old days, products from Ural stone-cutters, jewelers and blacksmiths, Nizhny Tagil masters of lacquer painting on metal, hand-painted porcelain dishes, and Kamensk-Ural bells are in great demand. Masters honor age-old traditions, keep secrets and create new techniques for creating original products that cannot be confused with any others.
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Tagil Wenzel Nizhny Tagil, founded by the Tula blacksmith Nikita Demidovich Antufiev in 1725, was and is famous for the talented serf artisans of the owners of the Ural metallurgical plants - the Demidovs. Their products were known not only in Russia, but also abroad. To this day, here and there you can barely discern islands of old, but still good, buildings of the last century. One of them, the former Demidov plant administration, now houses the local history museum. Nizhny Tagil was rich in craftsmen. Handicraftsmen bought sheets of soft and malleable roofing iron and made ladles, boxes, tables, trays from them, covering them with paintings.
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Tagil monogram Entire dynasties were formed, jealously guarding the secrets of their craft. The workshops of the Dubasnikovs, Perezolovs, Golovanovs were very famous... But the first master was considered Andrei Stepanovich Khudoyarov, a man of a tough and stubborn disposition. Rumor ascribes to him the honor of inventing the famous varnish, which was transparent like glass, hard - could not be scratched with a knife, resistant to heat - neither a hot samovar, nor boiling water accidentally spilled spoiled its sparkling armor, nor acid, nor fire. They said: “The paper will be burned on it, the ashes will remain - that’s all.” The old man passed on his skill to his sons Vavila and Fedor
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Tagil monogram They, like their father, received the right from Demidov to have their own workshops of painted iron products. In 1784, the Khudoyarov brothers painted “bright butterflies and birds” on lacquered iron plates for the Demidov house in Moscow. For this work they were awarded sashes, hats and cloth for caftans, and their father (he was already over sixty) was released from factory work. The grandfather's tradition was continued by the sons of Fyodor Andreevich Khudoyarov - Pavel, Isaac and Stepan, talented painters. Pavel owns the painting “Sheet-Pilling Shop”, a rare depiction of workers’ labor at that time.
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Tagil Monogram The Tagil Museum houses the works of old masters... And although the colors on them have faded with time, the flowers still glow as if they were alive, and the varnish shines like glass. Russian traveler of the 18th century, academician Pyotr Pallas, wrote that in the Urals “there are things painted with varnish that are not much worse than Chinese, but better than French, including paintings.” But this folk art, which developed in the Ural ironworks in the first half of the 18th century, could have disappeared forever if not for the painstaking and selfless interest of many of today’s guardians of our culture. True, one secret of Ural lacquer painting has not been solved to this day.
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Tagil monogram How were Nizhny Tagil trays created in those distant times? First of all, the farrier got to work. He cut out round, rectangular or guitar-shaped pieces of roofing iron with scissors, then selected six blanks so that each subsequent one was smaller than the previous one, and strengthened the “six” on a cast-iron gutter. With a five-pound hammer, the forger struck the workpieces until the iron took the shape of the trays. After that, he made a “edge” - he folded the edges, made wing-shaped or slotted edges and handles. Before varnishing, the master putty and sanded the tray, then covered it with drying oil and put it in a hot oven to “blue”. This procedure was repeated several times.
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Tagil monogram After varnishing, the surface of the product acquired depth and began to sparkle mysteriously. Tagil craftsmen prepared the background of the trays in a variety of tones. In one case they symbolized green grass, in another - a fiery evening dawn, in a third - a warm summer night. Sometimes the background was painted “to resemble a turtle” or “to resemble malachite.” After drying, the tray was carefully polished again and only after that it fell into the hands of the painters - “scribbler”. Do you think something has changed since those distant times?... No, the only thing is that the blanks are stamped without the use of manual labor.
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Master class Tagil monogram I bring to your attention where the Tagil monogram is used today. You see that a wide variety of household items are painted.
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Master class Tagil monogram Nizhny Tagil, a city rich in metals, received both dissenters and fugitives, who could put their “golden hands” not only to enrich the Demidovs, but also themselves. And what is important, self-enrichment became another reason for the formation of a distinctive culture of the Urals. The Russian people, even being Christian, had deep-rooted pagan roots; the tradition of decorating household items remained, perhaps that is why they began to paint products made of flattened metal. There are suggestions that Tagil metal painting takes its origins from Old Believer icon painting, but there is another version that says that Turin artisans could have become interested in such painting. One way or another, the Nizhny Tagil tray began to be decorated with it.
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1860-1890 - the time of dawn of the Kasli cast iron art casting. During this period, the Kasli Foundry received the Small Gold Medal of the Free Economic Society in 1860; the plant participated in exhibitions in St. Petersburg, Nizhny Novgorod, Paris, London and other cities of the world. Remarkable All-Russian exhibition in Nizhny Novgorod (1896), where Kasli craftsmen first presented their goods in an openwork cast-iron pavilion. A special historical event for the Kasli plant was the Paris World Exhibition of Applied Arts in 1900, at which the plant’s craftsmen cast a huge cast-iron pavilion-pavilion in the Byzantine style according to the design of E. E. Baumgarten. The central element of the pavilion was the sculpture “Russia” by N. A. Laveretsky, located at the entrance and depicting a female warrior protecting the world and ready for new victories. The pavilion was recognized as a masterpiece of foundry art and received the highest award - the Grand Prix. At the exhibition there were many people who wanted to buy the pavilion, but buyers wanted to buy the pavilion only along with all the exhibits displayed in it, including the statue itself. Russian authorized trustees agreed to all the buyers' conditions, except one - they refused to sell the sculpture “Russia”, which symbolized the Russian state, and stated that ““Russia” is not for sale!” The deal did not take place; the statue, along with the pavilion, returned to Russia. After this, for many years the boxes with the pavilion’s parts lay in the basement of one of the private houses in Kasly. 1860-1890 - the time of dawn of the Kasli cast iron art casting. During this period, the Kasli Foundry received the Small Gold Medal of the Free Economic Society in 1860; The plant participated in exhibitions in St. Petersburg, Nizhny Novgorod, Paris, London and other cities of the world. The All-Russian Exhibition in Nizhny Novgorod (1896) is noteworthy, at which Kasli craftsmen presented their goods for the first time in an openwork cast-iron pavilion. A special historical event for the Kasli plant was the Paris World Exhibition of Applied Arts in 1900, at which the plant’s craftsmen cast a huge cast-iron pavilion-pavilion in the Byzantine style according to the design of E. E. Baumgarten. The central element of the pavilion was the sculpture “Russia” by N. A. Laveretsky, located at the entrance and depicting a female warrior protecting the world and ready for new victories. The pavilion was recognized as a masterpiece of foundry art and received the highest award - the Grand Prix. At the exhibition there were many people who wanted to buy the pavilion, but buyers only wanted to purchase the pavilion together with all the exhibits displayed in it, including the statue itself. The Russian authorized trustees agreed to all the buyers' conditions, except one - they refused to sell the sculpture “Russia”, which symbolized the Russian state, and stated that ““Russia” is not for sale! ". The deal did not take place; the statue, along with the pavilion, returned to Russia. After this, for many years, boxes with parts of the pavilion lay in the basement of one of the private houses in Kasli. First World War, the October Revolution and the Civil War in Russia at the beginning of the twentieth century, the Second World War negatively affected the Kasli iron casting industry, as well as its craftsmen and products. In subsequent years, literally bit by bit, it was necessary to restore the almost lost craft and the richest collection of products. Only in 1957, under the leadership of master S. M. Gilev, work began on the restoration of the cast-iron pavilion, which lasted about eight months. On May 3, 1958, in one of the halls of the art gallery in Yekaterinburg, the opening of the restored pavilion took place - a symbol and pinnacle of the art of the work of the masters of Kasli artistic iron casting.
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For about 200 years, a rare art has been developing and improving - Zlatoust steel engraving. For about 200 years, a rare art has been developing and improving - Zlatoust steel engraving. In the 19th century The Kosotur factory produced mainly saber blades with antique allegorical motifs, hunting scenes, and Rococo ornaments. But since the 2nd half of the 19th century, Zlatoust engraving has already been used in the manufacture of household items (cups, cigarette cases, writing instruments, etc.). Steel products are decorated with compositions made by engraving, “drawing” (applying a design with a reserve compound followed by etching the pattern), gold and silver incisions, gilding and silvering, combined with bluing. Ivan Bushuev The founder of this unique art form, Ivan Bushuev, created the world-famous winged horse, which became the coat of arms of Chrysostom. The end of the 19th century was the peak of the Zlatoust engraving’s heyday; the main technique was notching with gold and silver thread on a blue background. Steel engraving is a poem in metal. Turning to realistic subjects in the depths of decorative and applied art, such as Zlatoust steel engraving, required great artistic and aesthetic taste. The measure of reality of what is depicted (specifically for this type of art), the scale of the ratio of the significance of the plot to the size of the decorated surface (so that the decoration does not overshadow the thing, remains secondary) - all this is very subtly maintained in the works of Ivan Bushuev, precisely on that edge of the blade, deviations from which are in One way would lead to lack of expression, and the other would lead to overload. Bushuev found the line that allows his work to be considered.
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Folk arts and crafts- one of the forms of folk artistic creativity, the production of artistic products. The origin of folk artistic crafts, as a rule, is determined by the history of the economic and cultural development of the region, and in most cases they are based on local natural resources. Folk arts and crafts - important element culture and life of the population.
Folk arts and crafts in our country are diverse in their products, materials used, techniques and technology used. The most common are hand weaving and painting of fabrics, artistic stitching and embroidery, lace weaving, carpet weaving, wood carving and painting, artistic pottery, bone carving, soft stone processing, artistic metal processing, lacquer miniatures, etc.
The Chelyabinsk region occupies a worthy place in the palette of Russian folk art. Unique items of Zlatoust engraving on steel are made on the South Ural soil; Kasli casting and Ural bronze are famous all over the world.
More than half of the Ural crafts have long been associated with stone and metal processing. Pavel Petrovich Bazhov glorified the art of the Ural stone-cutters in his tales.
Zlatoust steel engraving originated in 1816 - 1817.
The art of Zlatoust absorbed the richest traditions of Russian and Western European gunsmiths of the 17th-18th centuries, but soon the Ural engravers created their own unique style of decorating weapons.
Zlatoust weapons gained fame not only in Russia, but also far beyond its borders. At the end of the 1830s, the factory began to decorate household appliances - various boxes, caskets, and trays. In the second half of the 19th century, the range of products expanded - decorated cutlery, paper knives, cigarette holders, cigarette cases, hunting knives and hatchets appeared.
Today, along with gift weapons, the factory produces prizes, decorative souvenirs, and wall panels, which are close in artistic design to easel painting.
Orenburg downy shawl
Knitted scarves made from goat down are an ancient craft that originated in the Orenburg region 250 years ago. Handmade scarves, knitted by craftswomen, are light as feathers and warm as the palms of a mother. Down scarves live a long time and are passed on from generation to generation, warming their ancestors with their warmth and accumulated energy. Russian craftswomen make three types of scarves: shawls, cobwebs and stoles. They are different in shape, knitting density, color and pattern. Down scarves not only fulfill their direct purpose - to insulate and warm, but are also an exclusive decoration. Openwork light shawls and white cobwebs will become an adornment for any woman, emphasizing her grace and delicate taste.
Kasli art casting
Garden furniture, trellises, tombstones, household items, sculptures made of cast iron and bronze, made at the Kasli Iron Foundry (Southern Urals), become a work of art. The traditions of Kasli casting include complex technologies for molding and casting products, hand-chasing, and graphic clarity of the silhouette. The plant was built in the 18th century, and since then the iron foundry has been a center for casting highly artistic products. Openwork lattices, slabs with ornaments, bas-reliefs and sculptures, plates and candlesticks are not inferior in quality and artistic value to the best world samples. Famous sculptors and artists, graduates of the St. Petersburg Academy of Arts, worked at the plant. With their participation, many projects were developed and implemented, incl. manufacturing memorial plaques with portraits, monuments, architectural castings for the Moscow metro.
Ural painted trays began to be manufactured at the beginning of the 18th century, during the period of development of metallurgical production, also associated with the production of sheet iron. Bright multicolor painting has been entrenched in Nizhny Tagil for a long time. At the turn of the XVIII-XIX centuries. In Nizhny Tagil trays, plot painting by professional artists appeared, creating a new direction of painting that brought the tray closer to a decorative painting.
Artistic processing of plant materials. Natural resources - the presence of various tree species - contributed to the development of Chelyabinsk region woodworking crafts. Here they prepared capo root, bast, splint, green and peeled twig, birch bark, and bast. Woodworking enterprises specialized in the production of furniture, agricultural implements, carts, sleighs, boats and household utensils - chests, dishes. The cooperage craft was developed. The production of products from birch bark is developed in the Satka and Ashinsky districts of the Chelyabinsk region. The presence of linden on the western slopes of the Urals led to the development of crafts related to its processing - the production of bast shoulder bags, baskets, and bast shoes. At all times, weaving from willow twigs has been very popular. Craftsmen from the Uvelsky district wove baskets and furniture from wicker.
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