Message about decorative applied arts. Folk arts and crafts

ART AND APPLIED ARTS

Arts and Crafts- a type of creative activity in the creation of household items designed to meet the utilitarian and artistic and aesthetic needs of people.

Decorative and applied arts include products made from a variety of materials and using various technologies. The material for the subject of DPI can be metal, wood, clay, stone, bone. The technical and artistic methods of manufacturing products are very diverse: carving, embroidery, painting, chasing, etc. The main characteristic feature of the DPI object is decorativeness, which consists in imagery and the desire to decorate, make it better, more beautiful.

Decorative and applied art has a national character. Since it comes from the customs, habits, beliefs of a certain ethnic group, it is close to the way of life.

Folk arts and crafts is one of the time-tested forms of expression of a person's aesthetic perception of the world.

An important component of decorative and applied arts is folk art crafts - a form of organizing artistic work based on collective creativity, developing a local cultural tradition and focused on the sale of handicrafts.

The key creative idea of ​​traditional crafts is the assertion of the unity of the natural and human worlds.

The main folk crafts of Russia are:

Woodcarving - Bogorodskaya, Abramtsevo-Kudrinskaya; (illustrations 2-8)

Painting on wood - Khokhloma, Gorodetskaya, Polkhov-Maidanskaya, Mezenskaya,

Decoration of products from birch bark - embossing on birch bark, painting;

Artistic stone processing - processing of hard and soft stone,

Bone carving - Kholmogory, Tobolsk. Khotkovskaya,

Miniature painting on papier-mache - Fedoskino miniature, Palekh miniature, Msterskaya miniature, Kholuy miniature,

Artistic processing of metal - Veliky Ustyug black silver, Rostov enamel (painting with enamel on metal), Zhostovo painting on metal,

Folk ceramics - Gzhel ceramics, Skopinsky ceramics, Dymkovo toy, Kargopol toy,

Lace making - Vologda lace, Mikhailovsky lace,

Painting on fabric - Pavlovian scarves and shawls,

Embroidery - Vladimirskaya, Color interlace, Gold embroidery.

In Russia, there are more than 80 types of folk applied art, revived and traditionally substantiated. These are: artistic embroidery, Russian artistic varnishes, ceramics, artistic painting on fabric, clay, wood, etc. Today, there are 12 educational institutions in Russia that train students in the most complex traditional areas of folk applied culture, these include: Semyonov School , the Ural School of Arts, the Lomonosov School of Bone Carving, the Torzhok School of Gold Sewing, the Mstera School of Industrial Art, etc.

Decorative and applied art. Folk art.

1. Since ancient times, it has been human nature to strive for beauty in

the objective (material) world surrounding it. For this purpose, embroidered patterns were applied to simple fabrics, and ceramics were decorated with ornaments. Metal products were cast in figured molds, covered with embossing and notching. The pattern, decoration, as it were, was “applied” to the object, and it became more beautiful, richer, more elegant. It retained its utilitarian (practical) fundamental principle, its usefulness, but now one could simply admire it, show it as a landmark. And such an object was already valued not only because it was simply useful, but also for its pattern, for the skill of decoration, the nobility of the material and subtlety. Later, in the 19th century, this area of ​​​​artistic development of the objective world was defined as “applied art”.

applied arts serves a practical purpose and at the same time

decorates our life, creates a certain emotional mood.

Decorative art. Spread during the era

slavery. It is the desire of people to adorn themselves with necklaces, bracelets,

rings, pendants, earrings, etc. Later there were also objects

clothing decorations, and then home decorations, such as carpets, on

which they no longer sat or reclined, but hung on the wall for beauty, or floor vases - also not for flowers and not for water or wine, but for

front hall decorations. Here beauty comes first. Them

The only "benefit" was that they were beautiful. This is art in the 18th and 19th centuries.

called decorative(from the French words "decor" - "decoration"). Products

decorative arts exist only to decorate the room,

clothing or person. If design objects are produced in the millions

circulations, applied art - in the thousands, then decorative products -

tens or even units. In them, the artist shows, first of all, his

individual taste. The most important thing in the works of decorative

art - the general artistic expressiveness, the beauty of the thing as a whole. Applied and decorative arts demonstrate the taste and imagination of the artist, they reflect the material and spiritual interests of people, national traits.

Applied and decorative arts in many cases complement each other.

friend. In this case, one speaks of arts and crafts.

Decorative art is one of the types of plastic arts.

Decorative art is a work that, along with architecture,

artistically forms the material environment surrounding a person and

introduces into it an aesthetic, ideological and figurative beginning.

Types of decorative art: arts and crafts,

design, theatrical and decorative, monumental and decorative,

decoration.

Folk art.

Behind these words stands a great and important phenomenon: folk poetry and

theatre, music and dance, architecture and visual arts. Folk art is the foundation on which the building of world artistic culture has grown.

Distinctive features of folk art:

1. Folk art is different beauty and benefit.

2. Skills of technical mastery and found images are transferred from

generation to generation. Because of this, fixed for centuries

tradition selects only the best creative achievements.

3. Collective creativity . Everything in the work is dictated

centuries-old tradition: the choice of material and methods of its processing,

the nature and content of the decoration.

The amazing cheerfulness of folk art comes from consciousness

own strength, because behind every thing is the talent, work and unanimity of many people, ideally a whole nation. Beauty also comes from this source. And of course from native nature, from which the master learns.

Folk art can also be a source of ideas and inspiration

professional artists.

3. Ornament

Great importance in folk art is given to the ornament, which

decorates an object or is its structural element.

Ornament (from the Latin "ornamentum" - "decoration") - a pattern,

built on rhythmic alternation and combination of geometric or

pictorial elements. The main purpose of the ornament is to decorate

the surface of the object, emphasize its shape.

Types of ornament: geometric, natural, animalistic.

The works of arts and crafts show

material and spiritual interests of people, national traits.

The following materials are used in folk arts and crafts: wood, clay, metal, bone, fluff, wool, fur, textiles, stone, glass, dough.

By technique arts and crafts is divided into the following types.

Thread. Decoration of the product by drawing a pattern using various cutters and knives. It is used when working with wood, stone, bone.

Painting. Decoration is applied with dyes on a prepared surface (most often wood or metal). Types of r about with p and with and: on wood, on metal, on fabric.

Embroidery is performed with needles and threads of various structure and nature, while the pattern is applied to the fabric. Types of embroidery: grid, cross-stitch, satin stitch, cut-out (the fabric is cut out in the form of a pattern, which is subsequently processed with various seams), type-setting (performed with red, black threads with the addition of golden and blue tones), top-stitch (allows you to create three-dimensional patterns on large planes) . Embroidery is done mainly by hand, but recently there are more and more products decorated with embroidery machines. For embroidery, not only threads are used, but also beads, glass beads, sequins.

Knitting involves the creation of things from yarn, thread, fluff with the help of knitting needles and a hook.

Weaving refers to a technique based on the interlacing of strips in the form of a grid having a different configuration and pattern. Types of weaving: lace and beading, weaving from birch bark, from a vine, from threads (macrame), from paper.

heel used to make carpets, it is made with special needles, with the help of which woolen threads are pulled through the warp, creating a pattern. Types of heels: high (when the canvas is voluminous, strongly protruding), medium (the height of the protruding threads is about 2 cm), low (the height of the canvas is insignificant - 1 cm and lower). Another feature is density. Based on this feature, the following types are distinguished: dense heel, rare, mixed.

Casting used for precious metals. Under the action of high temperatures, the metal is brought to a molten state, and then poured into prepared molds.

Chasing. The metal in the heated state is accelerated into a thin sheet, while its elasticity and elasticity are not lost. The shape of the object is created already in a cooled state by accelerating hammers, as a result of which products of a convex and concave shape are obtained.

Forging- one of the ways of processing iron. By hammer blows, the heated billet is given the desired shape.

Gilding- a gold-making operation in which less valuable metals take on the appearance of gold. Types of gilding: cold, on fire, liquid.

Scan(filigree) (from lat. wire) is an ornament made of thin gold or silver, smooth or embossed wires, which are folded into spirals, antennae, lattices and soldered to the object.

Enamel- This is a special type of glass, which is painted in various colors with metal oxides. It is used to decorate metal products, it is a picturesque accompaniment to a gold product. Enameling is the full or partial coating of a metal surface with a glass mass, followed by firing the product.

Black. A mixture of silver with copper, sulfur and lead, compiled according to certain recipes, is applied to engraved objects made of light metal, and then all this is fired over low heat. Niello is a black mass - a special alloy of silver, similar to coal.

blowing- A technique used to work with glass. Glass, brought to a liquid state, is blown in hot form using special tubes, thereby creating products of any shape.

modeling- one of the common techniques in arts and crafts, thanks to which many toys and ceramic products are created.

By appointment: Utensil. Furniture. Fabrics, tapestries, carpets. Tools. Weapon. Clothes and jewelry. Toys. Culinary products.

Functional role:

Practical art is associated with the use of products in the economic, household life of a person to obtain practical benefits.

Artistic and aesthetic, due to the realization of human aesthetic needs.

Leisure, aimed at meeting the needs of a person (child) in entertainment and games.

Manufacturing technology:

Automated. Products are made automatically, according to a given program, scheme, patterns (Tula gingerbread, printed shawls, etc.).

Mixed. Both automated and manual labor is used.

Manual. The works are made only by hand, and each product is individually.

Folk crafts. Artistic varnishes. So it is customary to call small elegant items made of papier-mâché with miniature paintings (Fedoskino, Palekh, Mstyora, Kholuy) and lacquered iron trays (Zhostovo, Nizhny Tagil) (see color insert).

wood carving- artistic processing of wood, the most common type of folk decorative art. It has spread to many areas. There are several types of thread (Fig. 10).

wood painting- artistic processing of wood by drawing a picture with paints, followed by fixing the paint layer. Distributed in various regions, but each of them has its own specifics.

Artistic processing of bone. Main centers: Kholmogory, Tobolsk, Chukotka, Sergiev Posad, Abramtsevo, Khotkovo, Dagestan, Magadan, Kamchatka.

Toys. Folk toy, which for a long time served as a subject of children's play, is now a collector's item. Toys are divided into clay, wooden, rag and straw.

The main means of expression in arts and crafts are color, shape, proportion, rhythm, scale, silhouette, symmetry, texture

Rice. 10. Types of thread:

1. Mesh thread. 2. Geometric carving. 3. Three-sided sheared thread. 4. Carving sockets. 5. Contour carving. 6. Carving of leaves. 7. Openwork carving. 8. Volumetric thread

Folk arts and crafts is a complex phenomenon of historical, sociological, ethnographic and national artistic cultures, and at the same time the most democratic and accessible to a person from childhood. His mission in the education of an aesthetically developed personality and the development of the future culture of mankind is especially responsible.

Being an expression of folk art, a form of preservation and transmission to subsequent generations, arts and crafts preserves and transmits the traditions of folk pedagogy, which are aimed at the development of children's decorative art.

test questions

1. Give your definition of folk arts and crafts. Are there any differences in the concepts of "folk arts and crafts", "arts and crafts" and "applied art"? Justify your answer.

2. Describe the concepts of "decor" and "ornament". What is their significance for arts and crafts?

3. By what principle is it more appropriate to classify the types of arts and crafts?

4. What functions does arts and crafts perform?

decorative arts, a kind of plastic arts, whose works, along with architecture, artistically form the material environment surrounding a person and introduce an aesthetic ideological and figurative principle into it.

Includes various arts that serve to decorate works of architecture and garden and park art (monumental and decorative art), create art objects for public and private life (decorative art), artistically design festivities, spectacles, expositions, etc. (decorative art) art).

Arts and Crafts

(from lat. decoro - I decorate) - a section of fine art, covering creation of art products having a utilitarian and artistic purpose. The collective term conditionally unites two broad kinds of arts: decorative and applied. Unlike works of fine art, intended for aesthetic enjoyment and belonging to pure art, numerous manifestations arts and crafts may be of practical use in everyday life.

Works of arts and crafts form part of the subject environment that surrounds a person, and aesthetically enrich it.

Works of arts and crafts meet several requirements: have an aesthetic quality; designed for artistic effect; serve for. Such works are: clothes, dress and decorative fabrics, carpets, furniture, art glass, porcelain, faience, jewelry and other art products. Since the second half of the 19th century, scientific literature has established a classification of branches of decorative and applied arts according to material (metal, ceramics, textiles, wood), material processing techniques (carving, painting, printing, casting, embossing, intarsia, etc.) and according to the functional signs of using the object (furniture, dishes, toys). This classification is due to the important role of the constructive and technological principle in arts and crafts and its direct connection with production.

Originating in ancient times, arts and crafts has become one of the most important areas of folk art. Its history is connected with art crafts, the art industry, with the activities of professional artists and craftsmen, and since the beginning of the 20th century with artistic construction and design.

History of the development of decorative arts

Arts and Crafts existed already at an early stage in the development of human society and for many centuries was the most important, and for a number of tribes and nationalities, the main area of ​​​​artistic creativity. The oldest works arts and crafts characterized by exceptional content of images, attention to the aesthetics of the material, to rational construction. In traditional folk art, this trend has persisted up to the present day.

Man has long sought to decorate his home and everything he had to deal with in everyday life. When making any thing, the folk craftsman thought not only about its practical purpose, but also about beauty. From the simplest materials - wood, metal, stone, clay - he created true works of art that conveyed the master's poetic idea of ​​the world around him.

Native nature has always been reflected in folk art. Herbs and flowers familiar to everyone since childhood, images of birds and animals, sky and sun, earth and water, transformed by the artist's imagination, turned into a bright, expressive ornament in the product.

Over time, interest in the richness of the material and becomes increasingly important. Items that serve the purposes of representativeness (objects for religious rituals or court ceremonies, for decorating the houses of the nobility) are distinguished, in which, in order to increase their emotional sound, they often sacrifice the everyday expediency of constructing a form.

Modern products of arts and crafts are created taking into account both folk traditions and today's fashion trends. Until now, the most popular objects of this art, covered in a haze of ancient traditions, are steel and bronze products, handmade carpets and decorated with traditional ornaments - in eastern countries; ceramics, objects from sea shells - in the south; ritual masks - in Africa; amber products - in the Baltic region; porcelain, cloisonne enamel, fabrics painted with flowers, fruits, fantastic animals - in China and Japan, Korea.

Stylization in arts and crafts

Decorative and applied art has its own language and its own laws. Expressing the idea of ​​beauty with its specific means, it never seeks to blindly copy the world around it, but conveys only the most characteristic and expressive. The artist creatively reworks the forms found in nature, taking into account the specific material, its decorative merits and features of technological processing.

The language of arts and crafts is distinguished by stylization or, on the contrary, by the extraordinary precision of forms; revealing and playing up the texture and plastic properties of the material; the use of ornaments, including both the motifs of traditional images and avant-garde forms. The compositional construction of decor in objects of arts and crafts is always based on the harmony of parts and the whole.

Known since ancient times. As a method of artistic creativity, it reached a high level in Assyrian-Babylonian, Persian, Ancient Egyptian and Ancient Greek ornaments, in which, along with geometric lines and patterns, objects of flora and fauna stylized with high artistry and taste, both real and fictional, and even figures of people. Today, ornamental compositions with stylization elements are widely used in wall paintings, mosaics, stucco, carved, chased and forged jewelry and products, in embroidery, in the coloring of fabrics.

Creative stylization in the visual arts necessarily has an individual character, implies the author's vision and artistic processing of phenomena and objects of the surrounding reality and, as a result, displaying them with elements of novelty.

Along with creative stylization, there is imitative stylization, which implies the presence of a ready-made role model and consists in imitating the style of a particular era, known artistic trends, styles and techniques of creativity of a particular people, styles of famous masters. However, despite the already existing sample, imitative stylization should not have the character of direct copying. Imitating this or that style, the creator of a stylized work should strive to bring his own individuality into it, for example, by a chosen plot, a new vision of color or a general compositional solution. It is the degree of this artistic novelty that, as a rule, will largely determine the value of a stylized work.

When creating products of decorative and applied art, the most fruitful method is creative stylization. A better name for this important artistic method could be not stylization, but interpretation, which more accurately conveys the essence and peculiarity of this creative process: the artist looks at an object from the surrounding life, interprets it and emotionally conveys it as he feels it, feels it. In other words, he re-creates this natural object, as it were, but in the form of an artistic symbol. With this interpretation, it is best to follow the creative principle of the triad: "Know, evaluate and improve."

Decorative composition is a composition that has a high degree of expressiveness and modified, stylized or abstract elements that, giving it a decorative look, enhance its sensory perception. Thus, the main goal of a decorative composition is to achieve its maximum expressiveness and emotionality with a partial or complete (in non-objective compositions) rejection of authenticity, which becomes unnecessary or even disturbing.

The main common features that arise in the process of stylization of objects and elements of a decorative composition are the simplicity of forms, their generalization and symbolism, eccentricity, geometricity, colorfulness, and sensuality.

Decorative stylization is characterized by generalization and symbolism of the depicted objects and forms. This artistic method implies a conscious rejection of the complete authenticity of the image and its detailed detailing. The stylization method requires separating from the image everything superfluous, secondary, interfering with a clear visual perception in order to expose the essence of the depicted objects, display the most important thing in them, draw the viewer's attention to the previously hidden beauty and evoke corresponding vivid emotions in him.

With the development of interior design, it became necessary to create works of arts and crafts that, without stylization, would not meet modern aesthetic requirements.

Decorative and applied varieties of arts and crafts

It is necessary to distinguish between decorative and applied varieties of arts and crafts. So, if objects of applied art (furniture, utensils, dishes, jewelry) turn out to be artistic and expressive mainly due to the aesthetic perfection of their form (beauty of silhouette, proportions, elegance of lines, masterful processing of material, etc.), then decorative works ( paintings of walls and household items, decorative sculptural reliefs, small figurines, tapestries, embroideries, carpets, carved decorations, etc.) are characterized by pictorial, narrative compositions or ornamental decorations.

In order for the products not to be deprived of aesthetic value, an artist is invited, whose functions do not include the production of the product as a whole, but only its decoration: the artist began to “apply” his art to the finished product. Thus, with the expansion of industrial production, an art industry arises, where the method of applied art finds its place - the decoration of products with painting, carving, inlay, etc. But the beauty of an object is not only in the decoration, although this requires great art. The object should be expressive as a whole - in its design, proportions and details.

In applied art, the form of the product, its architectonic design carries both the utilitarian essence of the object and its aesthetic expressiveness. At the same time, the forms of applied art products are historically changeable: in different eras they are characterized by different motives - luxury, mannerisms, or, on the contrary, simplicity, naturalness. Modern reality expresses a tendency towards simplicity, conciseness, rejection of excessive detail, small size and economy. Artistically designed things not only decorate everyday life, but also play a huge role in the formation of artistic taste.

Many excellent examples of decorative and applied art can be seen in art, historical, ethnographic and local history museums, as well as in books, albums and on the pages of magazines. Each exhibition of folk art is always a discovery of the world of beauty and perfection. Products made by old masters and modern artists invariably arouse the admiration of visitors, and someone has a desire to follow the example of folk craftsmen.

In order for an object to become a work of art, it must not only be processed "according to the laws of beauty", but also carry a certain ideological and emotional content. For this purpose, the material is used properly, the most appropriate form of the object is taken into account (its proportions, rhythmic repetitions, tectonic structure), the ratio of scales between the individual parts of the object and the person is of particular importance, a special method of processing the surface of the object is applied - decor. Therefore, creating beautiful things is an essential manifestation of objective activity that carries deep aesthetic expressiveness. The impression made by applied art can often be as strong as the impact of a painting or sculpture.

Unlike faceless mass-produced items, handmade items are always unique. Masterfully made household utensils, furniture, interior elements are expensive. And if in the old days such things were utilitarian items, then today they have passed into the category of art. A beautiful thing made by a skilled craftsman will always be in price.

The surge of artistic forces in applied art

Craft work methods

In Western Europe, the position of the artist began to change in the 16th century. The decline of the urban economy, which engulfed almost all of Western Europe, led to a crisis in artistic life. In Italy, art workshops are losing their former importance. Indeed, what could be the real strength of the workshop, if there were such independent people as Michelangelo or Titian? In some cities, the workshops are subordinate to the state power, in others they are completely liquidated, and the artists find themselves without the usual class support, left to their own devices. Some of them turn into a declassed element, a kind of predecessor of bohemia. Part tries to find a haven at the courts and becomes the servants of the nobles. The desire to achieve court ranks and a title of nobility is widespread.

The result of the plight of the fine arts, created in connection with the spread of the Reformation, was an influx of artistic forces into applied arts: jewelry, silver and carpentry, the manufacture of earthenware and pewter, etc., flourished. and armor). A characteristic feature of the 16th century in northern European countries was the subordination of fine arts masters to applied artists: draftsmen and engravers made special ornamental patterns, sculptors made models for decorating furniture, appliances, and dishes. Handicraft methods of work are spreading: replicating sculptural samples, using the etching technique in engraving in order to speed up the processing of a copper plate, etc.

Arts and Crafts(from lat. deco - I decorate) - a wide section of art that covers various branches of creative activity aimed at creating art products with utilitarian and artistic functions. The collective term conditionally unites two broad kinds of arts: decorative and applied. Unlike works of fine art, intended for aesthetic enjoyment and belonging to pure art, numerous manifestations of arts and crafts can have practical use in everyday life.

Works of arts and crafts meet several characteristics: they have an aesthetic quality; designed for artistic effect; serve for decoration of everyday life and interior. Such works are: clothes, dress and decorative fabrics, carpets, furniture, art glass, porcelain, faience, jewelry and other art products. In academic literature from the second half of the 19th century, it was established classification of branches of arts and crafts by material(metal, ceramics, textiles, wood), according to the execution technique(carving, painting, embroidery, printing, casting, embossing, intarsia (paintings from different types of wood), etc.) and by functional signs of using the object(furniture, dishes, toys). This classification is due to the important role of the constructive-technological principle in arts and crafts and its direct connection with production.

TYPES OF DECORATIVE ARTS

Tapestry -(fr. gobelin), or trellis, - one of the types of arts and crafts, a one-sided lint-free wall carpet with a plot or ornamental composition, woven by hand with a cross weave of threads. The weaver passes the weft thread through the warp, creating both the image and the fabric itself. In the Encyclopedic Dictionary of Brockhaus and Efron, a tapestry is defined as “a hand-woven carpet on which a picture and a specially prepared cardboard of a more or less famous artist are reproduced with multi-colored wool and partly silk.”

BATIK - hand-painted on fabric using reserve compositions.

On the fabric - silk, cotton, wool, synthetics - the paint corresponding to the fabric is applied. To obtain clear boundaries at the junction of paints, a special fixer is used, called a reserve (reserving composition based on paraffin, gasoline, water-based - depending on the chosen technique, fabric and paints).

Batik painting has long been known among the peoples of Indonesia, India, etc. In Europe - since the 20th century.

PRINT -(stuffing) - a type of arts and crafts; obtaining a pattern, monochrome and color drawings on the fabric by hand using forms with a relief pattern, as well as a fabric with a pattern (printed fabric) obtained by this method.

Heel molds are made of carved wooden (manners) or type-setting (type-setting copper plates with studs), in which the pattern is typed from copper plates or wire. When stuffing, a form covered with paint is applied to the fabric and hit on it with a special hammer (mallet) (hence the name “heel”, “stuffing”). For multi-color designs, the number of printing plates must match the number of colors.

Making a heel is one of the ancient types of folk arts and crafts, found among many peoples: Western and Central Asia, India, Iran, Europe and others.

Printing is inefficient and almost completely replaced by printing a pattern on fabric on printing machines. It is used only in some handicrafts, as well as for reproducing large patterns, the repeating part of which cannot fit on the shafts of printing machines, and for coloring piece goods (curtains, tablecloths). Characteristic patterns of folk stuffing are used to create modern decorative fabrics.

BEADING - type of arts and crafts, needlework; the creation of jewelry, artistic products from beads, in which, unlike other techniques where it is used (weaving with beads, knitting with beads, weaving from wire with beads - the so-called bead weaving, bead mosaic and bead embroidery), beads are not only a decorative element, but also a constructive and technological one. All other types of needlework and DPI (mosaic, knitting, weaving, embroidery, wire weaving) are possible without beads, but they will lose some of their decorative possibilities, and beading will cease to exist. This is due to the fact that the technology of beading is original.

EMBROIDERY - well-known and widespread needlework art to decorate all kinds of fabrics and materials with a wide variety of patterns, from the roughest and densest, such as cloth, canvas, leather, to the finest fabrics - cambric, muslin, gas, tulle, etc. Tools and materials for embroidery: needles, threads, hoops, scissors.

KNITTING - the process of making a fabric or products (usually clothing items) from continuous threads by bending them into loops and connecting the loops to each other using simple tools manually (crocheting hook, knitting needles, needle, fork) or on a special machine (mechanical knitting). Knitting, as a technique, refers to the types of weaving.

Crochet

knitting

MACROME -(fr. Macrame, from Arabic - braid, fringe, lace or from Turkish. - scarf or napkin with fringe) - nodular weaving technique.

LACE - production of mesh fabric from woven thread patterns (linen, paper, woolen and silk). There are laces sewn with a needle, woven on bobbin, crocheted, tambour and machine.

CARPET WEAVING – the manufacture of artistic textiles, usually with multi-coloured patterns, which serve primarily to decorate and insulate rooms and to ensure noiselessness. The artistic features of the carpet are determined by the texture of the fabric (pile, lint-free, felted), the nature of the material (wool, silk, linen, cotton, felt), the quality of dyes (natural in antiquity and the Middle Ages, chemical from the second half of the 19th century), format, ratio borders and the central field of the carpet, ornamental set and pattern composition, color scheme.

QUILLING - Paper rolling(also quilling English quilling - from the word quill (bird feather)) - the art of making flat or voluminous compositions from long and narrow strips of paper twisted into spirals.

The finished spirals are given a different shape and thus quilling elements are obtained, also called modules. Already they are the "building" material in the creation of works - paintings, postcards, albums, photo frames, various figurines, watches, jewelry, hairpins, etc. The art of quilling came to Russia from Korea, but is also developed in a number of European countries.

This technique does not require significant material costs to start its development. However, paper rolling cannot be called simple, since in order to achieve a decent result, it is necessary to show patience, perseverance, dexterity, accuracy and, of course, develop the skills of twisting high-quality modules.

SCRAPBOOKING -(English scrapbooking, from English scrapbook: scrap - clipping, book - book, lit. "book of scraps") - a type of handicraft art, which consists in the manufacture and design of family or personal photo albums.

This type of creativity is a way of storing personal and family history in the form of photographs, newspaper clippings, drawings, records and other memorabilia, using a peculiar way of preserving and communicating individual stories using special visual and tactile techniques instead of the usual story. The main idea of ​​scrapbooking is to preserve photos and other memorabilia of any events for a long time for future generations.

CERAMICS -(ancient Greek κέραμος - clay) - products made from inorganic materials (for example, clay) and their mixtures with mineral additives, made under the influence of high temperature, followed by cooling.

In a narrow sense, the word ceramics refers to clay that has been fired.

The earliest pottery was used as pottery made of clay or its mixtures with other materials. At present, ceramics is used as a material in industry (engineering, instrumentation, aviation industry, etc.), construction, art, and is widely used in medicine and science. In the 20th century, new ceramic materials were created for use in the semiconductor industry and other fields.

MOSAIC -(fr. mosaique, Italian mosaico from lat. (opus) musivum - (work) dedicated tomuses) - decorative, applied and monumental art of various genres, the works of which involve the formation of an image by arranging, typing and fixing on the surface (usually on a plane) multi-colored stones, smalt, ceramic tiles and other materials.

JEWELRY ART - is a term that refers to the result and process of creativity of jewelry artists, as well as the totality of objects and works of jewelry created by them, intended mainly for the personal adornment of people, and made from precious materials, such as precious metals and precious stones. In order for a piece of jewelry or an object to be unambiguously classified as a jeweler, this piece of jewelry must satisfy three conditions: at least one precious material must be used in this piece of jewelry, this piece of jewelry must have artistic value, and it must be unique - that is, it must not be replicated by the jeweler who makes it.

In the professional jargon of jewelers, as well as students and students of educational institutions in the specialty "jewelry", the slang version of the word "jeweler" is often used.

Although it is believed that the concept of "jewellery" includes all jewelry made using precious materials, and the concept of "jewellery" includes jewelry made from non-precious materials, but, as we can see, at present the difference between jewelery and costume jewelry is becoming somewhat blurred. , and the assessment of whether to classify a given product as a jeweler or as costume jewelry is each time taken by experts individually in each specific case.

LACQUE MINIATURE - Miniature painting on small objects: boxes, caskets, powder boxes, etc. is a kind of arts and crafts and folk art. Such painting is called lacquer because colored and transparent varnishes serve not only as full-fledged painting materials, but also as the most important means of artistic expression of the work. They add depth and strength to paints and at the same time soften, unite them, as if melting the image into the very flesh of the product.

The birthplace of artistic varnishes is the countries of the Far East and Southeast Asia: China, Japan, Korea, Vietnam, Laos, where they have been known since ancient times. In China, for example, back in the 2nd millennium BC. e. lacquer tree sap was used to cover cups, caskets, vases. Then lacquer painting was born, which reached the highest level in the East.

This type of art came to Europe from India, Iran, the countries of Central Asia, where in the XV-XVII centuries. lacquer miniature, executed with tempera paints on papier-mâché objects, was popular. European craftsmen significantly simplified the technology, began to use oil paints and varnishes.

Artistic varnishes have been known in Russia since 1798, when the merchant P.I. Korobov built a small papier-mâché lacquerware factory in the village of Danilkovo near Moscow (later it merged with the neighboring village of Fedoskin). Under his successors, the Lukutins, Russian masters developed unique methods of Fedoskino painting. They have not been lost to this day.

 Palekh miniature - folk craft that developed in the village of Palekh, Ivanovo region. The lacquer miniature is executed in tempera on papier-mâché. Caskets, caskets, capsules, brooches, panels, ashtrays, tie clips, needle cases, etc. are usually painted.

 Fedoskino miniature - a type of traditional Russian lacquer miniature painting with oil paints on papier-mâché, developed at the end of the 18th century in the village of Fedoskino near Moscow.

 Kholuy miniature - folk craft that developed in the village of Kholui, Ivanovo region. The lacquer miniature is executed in tempera on papier-mâché. Caskets, capsules, needle cases, etc. are usually painted.

ARTISTIC PAINTING ON WOOD

 Khokhloma - an old Russian folk craft, born in the 17th century in the district of Nizhny Novgorod.

Khokhloma is a decorative painting of wooden utensils and furniture, made in red, green and black on a gold background. When painting a tree, not gold, but silvery tin powder is applied to the tree. After that, the product is covered with a special composition and processed three or four times in the oven, which achieves a honey-golden color, giving the effect of massiveness to light wooden utensils.

 Gorodets painting - Russian folk art craft. It has existed since the middle of the 19th century in the area of ​​​​the city of Gorodets. Bright, laconic Gorodets painting (genre scenes, figurines of horses, roosters, floral patterns), made with a free brushstroke with white and black graphic strokes, adorned spinning wheels, furniture, shutters, and doors. An artel was founded in 1936 (since 1960, the Gorodetskaya Rospis factory), which produces souvenirs; masters - D. I. Kryukov, A. E. Konovalov, I. A. Mazin.

 Mezen painting - palashchelskaya painting - a type of painting of household utensils - spinning wheels, ladles, boxes, brothers, which had developed by the beginning of the 19th century in the lower reaches of the Mezen River. The oldest dated spinning wheel Mezen painting refers to 1815, although the pictorial motifs of such painting are found in handwritten books of the 18th century, made in the Mezen region.

ARTISTIC PAINTING ON METAL

 Zhostovo painting - folk craft of artistic painting of metal trays, existing in the village of Zhostovo, Mytishchi district, Moscow region.

 Enamel - (other Russian finipt, himipet, from Middle Greek χυμευτόν, the same from χυμεύω - “I mix”) - the production of works of art using glassy powder, enamel, on a metal substrate, a type of applied art. The glass coating is long-lived and does not fade over time, and 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 the glass a ruby ​​color, cobalt - blue, and copper - green. When solving specific pictorial problems, the brightness of enamel can, unlike glass, be muffled.

 Limoges enamel - (fr.émail de Limoges), formerly known as the Limoges work ( fr.Œuvre de Limoges, lat. Opus lemovicense) is a special technique for processing enamel products, called champlevé enamel, which appeared in the middle of the 12th century in the French city of Limoges, historical province Limousin. Having received the deepest recognition in the states of Western Europe, the enamellers stopped using this technique in the middle of the 14th century.

Subsequently, from the end of the 15th century, in France a new technology for the manufacture of enamel objects appeared - artistic enamel, or also known as painted enamel. Very quickly, artistic enamel, like champlevé enamel, at one time began to be exclusively produced in Limousin workshops.

Currently, in the production of enamel products, some craftsmen use classical techniques, while others use technology updated with modern achievements.

ARTISTIC PAINTING ON CERAMICS

 Gzhel - one of the traditional Russian ceramics production centers. The broader meaning of the name "Gzhel", which is correct from a historical and cultural point of view, is a vast area consisting of 27 villages united in the "Gzhel Bush". Gzhel Bush is located about sixty kilometers from Moscow along the Moscow-Murom-Kazan railway line. Now the Gzhel Bush is part of the Ramensky district of the Moscow region. Before the revolution, this area belonged to the Bogorodsky and Bronnitsky counties.

 Dymkovo toy - Vyatka toy, Kirov toy - one of the Russian folk clay art crafts. It originated in the suburban settlement Dymkovo near the city of Vyatka (now in the territory of the city of Kirov).

There is no analogue of the Dymkovo toy. A bright, elegant Dymkovo toy has become a kind of symbol of the Vyatka land.

 Filimonov toy - Old Russian applied art craft, formed in the village of Filimonovo, Odoevsky district, Tula region. According to archaeologists, the Filimonovo fishery is more than 700 years old. According to other sources, about 1 thousand years.

ARTISTIC CARVING

 stone carving (Glyptic)(from Greek glypho - cut out, gouge) - the art of carving on colored and precious stones, gemmah. One of the most ancient arts.

 wood carving - a kind of arts and crafts (also carving is one of the types of artistic processing of wood along with sawing, turning), as well as art in general.

 bone carving - type of decorative art. In Russia, it is distributed mainly in the Northern regions: the Arkhangelsk region (Kholmogory carved bone), the Yamalo-Nenets Autonomous Okrug (Yamal carved bone), the city of Tobolsk (Tobolsk carved bone), Yakutia and Chukotka (Chukotka carved bone)

ARTISTIC LEATHER TREATMENT - 1) A type of arts and crafts, the manufacture of various items from leather, both for household and decorative and artistic purposes; 2) branch of the textile industry, decorating clothes, shoes, leather haberdashery. Receptions:

STAMPING- There are several types of embossing. In industrial production, various stamping methods are used, when the pattern on the skin is squeezed out using molds. In the manufacture of artistic products, stamping is also used, but typesetting stamps and stamps are used. Another method is embossing with filling - cutting out elements of the future relief from cardboard (lignin) or pieces of blinders and placing pre-moistened yuft under a layer, which is then pressed along the contour of the relief. Small details are squeezed out without lining due to the thickness of the skin itself. When it dries, it hardens and "remembers" the relief decor. Thermal embossing - extrusion of decor on the surface of the skin with the help of heated metal stamps.

PERFORATION- or carving - one of the oldest techniques. Actually, it boils down to the fact that with the help of punches of various shapes, holes are cut in the skin arranged in the form of an ornament. This technique is also used to create complex compositions like a stained-glass window or an arabesque (for example, in jewelry, wall panels, etc.).

WEAVING- one of the processing methods, which consists in connecting several strips of leather using a special technique. In jewelry, macrame elements are often used, made from a “cylindrical” cord. In combination with perforation, weaving is used for braiding the edges of products (used for finishing clothes, shoes, bags).

PYROGRAPHY- a new reception, but with an ancient pedigree. Apparently, initially, leather burning was a side effect of thermal embossing (first mentioned in Russia from the 12th century, and in Europe from the 13th century), but then it was widely used as an independent technique. In its classical form, pyrography is the application of various ornaments to the surface of dense leather (blinders, saddlecloth). This was done with the help of heated copper stamps and was used mainly for finishing horse harness. Modern pyrography owes its expressive possibilities to the invention of the burning device (pyrograph). With the help of pyrography, very thin and complex patterns can be applied to the skin. It is often used in combination with engraving, painting, embossing when creating panels, jewelry, making souvenirs.

ENGRAVING- used when working with heavy, dense skins (shora, saddlecloth, less often - yuft). This is done as follows - a pattern is applied to the front surface of the soaked skin with a cutter. Then with a road builder or a chisel (or any oblong-shaped metal object), the slots are expanded and filled with acrylic paint. When dried, the contour drawing retains its clarity, and the lines - thickness. Another way is to use a pyrograph instead of a road builder. In this case, the color and thickness of the lines, as well as the depth of engraving, are controlled by changing the degree of incandescence of the pyrograph needle.

APPLICATION- in the leather business - gluing or sewing pieces of leather onto a product. Depending on which product is decorated, the methods of application are somewhat different. So, when finishing garments, decor elements are made of thin leathers (flasks, chevro, velor) and sewn to the base. When creating a panel, making bottles or souvenirs, appliqué fragments can be made from any kind of leather and pasted onto the base. In contrast to intarsia, when applying, it is permissible to connect the elements "overlapped".

INTARCIA- in fact, the same as inlay or mosaic: image fragments are mounted "butt-to-butt". Intarsia is performed on a textile or wooden base. Depending on this, leather varieties are selected. When working with a textile base, thin plastic leathers are used (flask, chevro, velor and thin yuft), and when working on a board, heavy ones (shora, saddlecloth). To achieve the proper quality, according to a preliminary sketch, exact patterns of all fragments of the composition are made. Then, according to these patterns, elements are cut out from pre-dyed leathers and glued onto the base using bone glue or PVA emulsion. The intarsia technique is mainly used to create wall panels, but in combination with other techniques it can be used in the manufacture of bottles, souvenirs, and furniture decoration.

In addition, the skin can be painted, it can be molded, giving any shape and relief (by soaking, gluing, filling).

ARTISTIC PROCESSING OF METAL

metal plastics - technique for creating relief images on metal. One of the types of arts and crafts. It differs from chasing in that it is produced exclusively on thin sheets of metal up to 0.5 mm thick by extruding the outline of the pattern with special tools (and not with a blow, as in chasing), due to which smooth deformations of the metal are formed. A thicker sheet is not amenable to such processing, and a sheet thinner than 0.2 mm may tear. Metal-plastic has been used since ancient times to decorate furniture, make various decorative elements, or as an independent work of art.

Due to the simplicity and accessibility of techniques, it was included in the curriculum of the Soviet school in the 20s. However, then this technique was forgotten, and only recently interest in it has increased again.

Christian pewter miniature - a modern form of Christian arts and crafts to create a miniature sculpture of small forms. The craft appeared at the end of the 20th century in Russia against the backdrop of the revival of the life of the Russian Orthodox Church after communist persecution. It is a separate direction from the military-historical tin miniature, which uses a combination of Christian round sculpture, iconography and the ancient technology of tin casting metal-plastic.

Miniatures can depict figurines of holy saints or scenes from a biblical story. The figurines are not objects of cult religious worship. Miniatures are a living tradition in the Byzantine art of carving round ivory sculpture, lost in the 12th century. The difference is only in technical execution.

This type of Christian creativity is perceived in the church ambiguously, since the icon is traditional in Orthodoxy. The rejection of sculpture in Orthodoxy is due to the fact that there were bans on sculpture in the church. But the most authoritative theorist of church art, L. A. Uspensky, notes: “The Orthodox Church has not only never banned sculptural images, but ... such a ban cannot exist at all, since it could not be justified by anything.” From the first centuries, the Church did not reject sculpture. This is evidenced at least by the quite numerous statues of the “Good Shepherd” that have come down to our time.

Artistic forging - production by metal processing, which has the general name forging, of any forged products, for any purpose, having the properties of a work of art without fail.

Artistic casting from precious metals, bronze and brass

Artistic cast iron casting

Chasing - the technological process of making a drawing, inscription, image, which consists in knocking out a certain relief on a plate. One of the types of arts and crafts.

It is one of the options for artistic metal processing.

The chasing technique is used to create dishes, decorative panels, various jewelry.

The relief on sheet metal is created with the help of specially made tools - chasing and punching hammers, which are made from both metal and wood.

For chased works, metals such as brass, copper, aluminum and steel with a thickness of 0.2 to 1 mm are used, in some cases gold and silver.

A relief or pattern can be minted by placing a sheet of metal on the end of a birch or linden ridge, on felt, thick rubber, a canvas bag with river sand, a layer of plasticine or resin. In some cases, a lead plate is more convenient.

Folk and arts and crafts are an integral part of artistic culture. Works of applied art reflect the artistic traditions of the nation, worldview, worldview and artistic experience of the people, preserve historical memory.

Today it is obvious that folk art is a full-fledged and full-fledged part of artistic culture, and just a few decades ago, scientists had to prove it.

Folk art develops according to its own laws, determined by its essence, and as an independent type of creativity. interacts with another type of creativity - the art of professional artists.

It is especially important to note that folk art, as part of spiritual culture, can be a source of ideas and inspiration for professional artists. The picturesque canvases of the remarkable old masters A. Venetsianov, V. Vasnetsov, M. Vrubel, K. Petrov-Vodkin, V. Popov embody folk ideas about the world, the greatness of man and nature, the commonality of traditions in ancient Russian art and folk art.

A number of contemporary professional artists working in the field of painting, graphics, textiles, carpet weaving, artistic processing

glass, ceramics, wood, metal, also turn to folk art.

In a broad sense folk art (folklore) - it is created" by the people on the basis of collective creative experience, national traditions and poetry (legends, fairy tales, epics), music (songs, tunes, plays), theater (drama, puppet theater, satirical plays), dance, architecture, visual and decorative - applied art.

Works of folk art have spiritual and material value, they are distinguished by their beauty and usefulness. Masters of folk arts and crafts create their works from a variety of materials. The most common are artistic ceramics, weaving, lace-making, embroidery, painting, wood or stone carving, forging, casting, engraving, chasing, etc. We can use painted dishes, lace napkins, carved wooden boards, embroidered towels and other works of folk art in everyday life .

Great importance in folk art is given to ornament, which decorates an object (thing) or is its structural element. Motif: ornaments have ancient mythological roots.

In folk art, there are two areas: urban art craft and folk arts and crafts. As an example of traditional art crafts, we can name: painting on Khokhloma wood, Gorodets, Northern Dvina) and on porcelain (Gzhel), clay toys (Dymka, Kargopol, Filimonovo), nesting dolls (Sergiev Posad, Polkhov - Maidan), trays (Zhostovo) , lacquer miniatures (Fedoskino, Palekh, Kholuy), scarves (Pavlovsky Posad), carved wooden toys (Sergiev Posad, Bogorodskoye), jewelry (Kubachi), etc.

Folk art lives for centuries. The skills of technical mastery and the found images pass from generation to generation, being preserved in the memory of folk artists. Because of this, the tradition, fixed for centuries, reflects only the best creative achievements.

Decorative arts - it is one of the types of plastic arts. Decorative art is divided into those directly related to architecture - monumental and decorative art(stained-glass windows, mosaics, murals on facades and interiors, decorative garden and park sculpture, etc. arts and crafts (household art products)

The decorative arts is largely associated with the art industry and design. It, together with architecture and design, forms a material object-spatial environment, introducing an aesthetic, figurative beginning into it. Recently, the design art has been taken to be attributed to design. Works of decorative art are always related to the environment for which they are intended, and usually constitute ensemble.

Arts and Crafts - area of ​​decorative art: with the building of artistic products that have a practical purpose in everyday life: and are distinguished by decorative imagery (dishes, furniture, fabrics, clothes, jewelry, toys, etc.). All objects surrounding a person should be not only comfortable, practical, but also beautiful. The object should be expressive as a whole - in design, proportions, details, and so in decoration. Painting a jug with patterns, decorating a cutting board with carvings, knitting a lace napkin, weaving patterns on fabric - all this requires great skill. Probably, such products decorated with ornaments are also classified as decorative and applied art because it is necessary to make hands to create this amazing beauty. Benefit and beauty are always nearby when artists get down to business and from a variety of materials (wood, metal, glass, clay, stone, fabric, etc.) create household items that are works of art.

Another area of ​​arts and crafts is associated with the adornment of the person himself - the creation of an artistically made costume that makes up an ensemble along with a headdress, shoes and jewelry. But lately, the costume is increasingly being attributed to fashion design. However, decorative products demonstrate not only the aesthetic taste and imagination of the artist. In them, as in works of other types of art, the material and spiritual interests of people are reflected. "And although today the art industry creates products of applied art, they largely retain national characteristics. All this allows us to say that in the decorative art of a certain historical era, the features of stylistic unity are pronounced, for example, the period of Gothic, Art Nouveau, Classicism, etc.

How can you determine if a given product is a work of arts and crafts? Sometimes they argue like this: if a vase has a beautiful shape, but it is not decorated with anything, then it is not a work of decorative art, but if you put some kind of pattern on it, it will immediately turn into a work of art. This is not true. Sometimes the ornaments that decorate a vase make it a tasteless fake, turn it into kitsch. Conversely, a vessel made of pure clay or wood can be so striking in its perfection that its artistic value becomes apparent.

What are the similarities and differences between the works of folk and professional arts and crafts? How do you know if a vase or a carpet is a work of folk or professional decorative art?

Maybe the level of education of the master or artist will help here? No, it will not help, although it is generally accepted that a folk master does not have a special education, but an artist of applied art must necessarily graduate from a special educational institution. However, today there are specialized educational institutions that train specialists for such centers as Gzhel, Fedoskino, Semenov, etc.

Sometimes, according to the method of making a thing, the share of manual labor in this process, and the mass circulation, works of applied art are tried to be attributed to folk or professional decorative art. It is extremely difficult to do this, since folk art products are sometimes created in factories, and decorative works of professional artists are sometimes created in one copy.

Artistic thing today, just like a hundred years ago, the folk craftsman mainly performs by hand. At the same time, the master can work both alone and in a team, as well as in organized workshops and even in factories in the centers of traditional folk art crafts. As a rule, works of arts and crafts are created by artists of art industry enterprises or workshops. They participate both in the production of decorative items produced in mass circulation, and in the creation of individual author's designs. Professional artists in their work can rely on images of world artistic culture, refract the traditions of folk art in their own way, or completely follow only their individuality and imagination.

Probably the most important thing in determining what kind of skill to carry this or that thing is to determine in what artistic composition it was created, whether the signs of the image-type of a particular material processing technology are observed.

The creations of folk craftsmen and applied artists are united by the thoughtfulness of forms, the expediency of proportions, the stylistic arrangement of all elements.

The ability to analyze the expressive means of an artistic image in folk and arts and crafts is necessary for the top to feel and learn to better understand the general and special in each of them.

In this regard, one of the most important is the question of the relationship of the pictorial physical in decorative works, of what is transfigured in them. figurativeness or plasticity. It should be said about the complex interaction of the plastic and the belly began in the decorative arts. In some products, the plastic carries the beginning of the picturesque - Skopinskaya ceramics, Kargopol, Dymkovo toys. The synthesis of the part and the whole is obligatory for the folk master, no matter how his palette expands, no matter what prevails - the pictorial or mental principle.

The expressiveness of the line, silhouette, rhythm, color, proportions, shape, space in each of the types of decorative art largely depended on the materials used, the technology of their processing.

The relationship between form and material is obvious. The plasticity of clay, wood, the fragility and transparency of glass, the strength of metal allow the creation of vessels of various shapes, its best artistic solution is due to the properties of the material.

A folk craftsman or an artist of arts and crafts strives in his work to show in the best possible way the aesthetic properties of materials: wood, textiles, metal, ceramics, glass, paper, leather, stone, etc.

Decorativeness in folk and arts and crafts is the main means of expressing beauty, at the same time it is a feature of works of other types of art.

It must be taken into account that in every form of art, the image has its own structure, determined, on the one hand, by the peculiarities of expressing the spiritual content, and, on the other hand, by the technological nature of the material in which this content is embodied. The artistic image in folk and arts and crafts has both distinctive features.

The decorative image does not express the singular, but the general - “species”, species” (leaf, flower, tree, bird, horse, etc.). A decorative image requires artistic and figurative thinking, a mythological and poetic attitude to reality.

Therefore, in folk art, it is customary to single out images-types of products of traditional art crafts, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, a horse, a tree of life, a woman, signs-symbols of earth, water, the sun can be seen in various artistic materials: embroidery, weaving, lace, wood and metal painting, wood carving, ceramics, etc. Stability and the traditional nature of these images, their archetypal nature largely determine the high artistic and aesthetic value of works of folk art.

At the same time, the universality of images-types in the art of different peoples of the world shows their unity, associated with the commonality of approaches to the process of aesthetic cognition of natural and social phenomena.

Images in professional decorative art also reflect the ideas of this or that people about beauty. They are also often created on the basis of natural or geometric motifs, but here great freedom in the interpretation of images is allowed. Historical plots or themes of modern life are actively used in works of applied art.

Now consider the similarities and differences in the concepts of "artistic image", "symbol" and "sign" on the example of works of folk decorative art. The concept of "artistic image" will be the most capacious and multifaceted. In some cases, a symbol is a sign endowed with an organic and inexhaustible ambiguity of the image. In others, the symbol is not equivalent to the artistic

image, but, most importantly, should always have artistic value. Thus, an artistic image does not always have a symbolic meaning, and a symbol is not always figuratively expressive. A sign image, as a rule, does not carry any figurative and symbolic significance, although in folk art very often all signs are symbols, and sometimes even images. Takal polysemy of images-symbols and signs-symbols in folk decorative art presents a certain difficulty. For example, a bird in Gorodets painting or in Gzhel ceramics has a different figurativeness.If we talk about a bird in general, then this will not be an image of a specific bird and not even an image of a bird in the traditions of any craft, but an image close to the sign.At the same time the symbol of the sun can be a decorative image of a rooster.On the other hand, a number of symbols can have not one, but several meanings.So, the symbol of the sun can be not only a rooster, but also a horse.Such a symbolic-poetic system originates from signs-symbols, associated with the worship of natural deities.

Analyzing the artistic merits of a particular work of folk or professional decorative art, it is necessary to pay attention to its figurative solution, taking into account the characteristics of the material, the expressiveness of form and proportions, the color scheme, the connection between the ornament and the shape of the product, the plastic, pictorial or graphic merits of the thing. At the same time, it is important to note how rhythmic repetitions, compositional features of the construction of the ornament and things in general affect its figurative solution.

If you learn to analyze the image well in any of the artistic systems, then the richest opportunities will open up for revealing the interconnections of artistic and expressive means.

Folk and professional arts and crafts are interpreted as arts that serve the needs of a person and at the same time satisfy his aesthetic needs, bringing beauty to life.

However, one must also be aware of the significant differences between these art forms. Folk art, which transforms reality, is considered by modern art critics as a special type of artistic creativity, the hallmarks of which are: the collective beginning and traditions, the stability of themes and images, the universality of the language understandable to all peoples of the world, the universality of spiritual values. All these features of art are determined by a holistic perception of the world.

The indicated qualities are equally inherent in both folk arts and crafts, and oral, musical and poetic folklore, play, drama and other forms of folk art.

Folk art is a holistic phenomenon, since its basis is the life and life of people, their ideas about the universe, labor activity, rituals and holidays. The figurative thinking of the people is materialized in the objects of folk art. Over the centuries, various types of folk art have developed and improved in unity: oral folk art, musical folklore, arts and crafts, and architecture.

The results of the artistic and creative activity of the people reflect their life, views, ideals, therefore, the works of folk art contain the experience of moral feelings, knowledge, and behavior. Unique and rich in content, the experience gives folk art a unique value as a means of moral and aesthetic education of a person. Therefore, in this context, it constitutes such an important area of ​​social life as folk pedagogy. The versatility of folk art allows us to consider it as a huge force influencing the individual and society.

Folk art is, first of all, a huge world of spiritual experience of the people, its artistic ideas are an integral part of culture. Folk art is based on the creative activity of the people, reflecting their self-consciousness and historical memory. Communication with folk art, with its moral and aesthetic ideals developed over the centuries, plays a significant educational role. The appeal of folk art to a person and the impact on his intellectual and emotional-sensual spheres open up great opportunities for using products of traditional folk arts and crafts in the education system.

The theoretical foundations of folk art, its essence and significance as an artistic system as a whole were substantiated by the leading domestic scientists A.B. Bakushinsky, I.Ya. Baguslavskaya, G.K. Wagner, V.S. Voronov, M.A. B. Rozhdestvenskaya, A. B. Saltykov and others. In their works, the main laws of the development of folk art were defined as "collective principle" and "nationality".

One of the first researchers of folk art, who recognized the high artistic and scientific value of "peasant" art, was V.S. Voronov. He defined artistic traditions as "folk style". The scientist believed that tradition is capable of change, internally and externally it is mobile.

For a long time, the traditional nature of folk art was understood mainly as the antiquity of its images, forms and techniques, the stability of their preservation and continuity in development.

The authors of modern studies in the field of art history consider traditions as a dialectical phenomenon associated not only with the past, but also with the present and future. In the understanding of S. B. Rozhdestvenskaya, tradition is a treasury of everything aesthetically perfect that has been passed down from generation to generation, a complex of visual means that are stable and changing at the same time.

The formation and development of folk artistic traditions of a particular locality took place under the influence of natural-geographical, cultural and socio-economic factors.

M.A. Nekrasova considers folk art as a creative, cultural, historical system that asserts itself through the continuity of traditions, functions as a special type of artistic creativity in the collective activity of the people. And each nation carries its own culture of poetic and figurative and craft traditions. They have evolved over the centuries and polished by many generations of people. With traditions in folk art, not only craftsmanship is transmitted, but also images, motifs beloved by the people, artistic principles and techniques. Traditions form the main layers of folk art culture - schools and at the same time determine the special vitality of folk art.

It is impossible to underestimate the power of tradition for the development of folk art. M.A. Nekrasova rightly substantiates the artistic richness of images, forms, means and technology precisely with this. She thinks that only especially peculiar in national systems, in regional systems, in the systems of schools of folk art, can determine the life of folk art as a cultural center, only a living tradition gives way to its development. Law of Tradition turns out main force in development.

Tradition, carried through the centuries, does not interfere with the manifestation of a sense of modernity. In folk art, it is expressed not so much in external signs of the times, although, of course, they also take place, but in the ability to respond to the demands of today in a traditional form. This is reflected primarily in the perception of the world, in the idea of ​​beauty.

It is very important that folk art, with its metaphorical and symbolic live creativity and at the same time historical living memory, memory of the origins of culture. It brings the experience of knowing the world. The integrity of folk art as an artistic structure is the key to its understanding. tradition in this case - creative method.

“Considering tradition as a living one, we must first of all understand it as a holistic relationship to the world. Only then will folk art be revealed in the full scope of its meaning, ideological and emotional-aesthetic content. However, integrity does not mean the immutability of folk art.

The images of the original motifs are permanent folk art rethinks in new relationship, attaching new experiences and ideas to them. That's where its variety of forms comes from. However, at the same time, the special, which distinguishes this or that center of folk art in its national and regional characteristics, should not disappear; on the contrary, it turns out to be a necessary condition for artistic diversity,” M.A. Nekrasova believes 1 .

The traditional appears in folk art as a system for which the following aspects are important: the connection of man with nature, the expression of the national, the school of folk art (national, regional, regional, the school of individual crafts).

The most complete definition of the concept "Skoda" gave M.A. Nekrasov. She believes that this concept necessarily includes cultural continuity, that is, folk art - artistic ys / ours, shaped by tradition. Thus, in folk art, the school is seen as fixed by the continuity of traditions and characteristic skills of craftsmanship, professional techniques and artistic systems for this focus of folk art, and not in the meaning of the place of training of masters.

The continuity of traditions forms the artistic folk culture of the region, maintains the high professionalism of folk craftsmanship. It is this quality that makes it possible to single out the features of one or another school as a creative community. Only the school as a cultural continuity, determined by the existence of tradition, is able to provide such an artistic basis that makes folk art alive in time, allows the development of artistic crafts.

The main person in the arts and crafts is the folk master, a special creative personality, spiritually connected with the people, culture, nature of the kral, the bearer of traditions and collective experience.

"In every touch of the hands of the master to the created cave, a sense of beauty grows, organic to the internal structure of the people's perception. In folk art national temperament and national character are expressed. They largely determine the diversity of forms of folk art.

In folk art, artistic skill, technical skill, working methods, motives are passed from master to student. The art system is worked out collectively."

After mastering them, students get the opportunity to vary their favorite painting motifs. And only on the basis of the acquired experience do they move on to improvisation based on the painting, composing their own compositions. If everyone goes through the stage of repetition and variations without fail, then only the most talented students who can become real masters of their craft are allowed to work at the level of improvisation.

Works of folk and professional decorative art adorn and transform life.

3. Composition in folk and arts and crafts

Composition as a significant ratio of parts of a work of art in folk and decorative and applied arts can be built according to various schemes. Conventionally, the following active elements of a decorative composition are distinguished: color, ornament, plot (theme), planar or volumetric plastic solution.

To comprehend compositional patterns, it is necessary to perceive the image of an artistic thing or a spatial-volumetric composition as a whole.

Color (one of the expressive means in folk and arts and crafts) is considered as the most important component of a decorative image. It is not associated with specific features of the depicted object or phenomenon. Each center of folk art creates its own color solutions for artistic things, associated with the traditional technology of processing materials, preserving archetypes and other conditions for collective creativity. Achieving expressiveness in decorative work is associated with tone and color contrasts.

In decorative work, artists also take care of the harmonious relationship of colors, and the real colors of objects can be replaced by symbolic ones. The coloristic unity of all elements of ornaments is achieved with the help of color contrasts or nuances. When selecting color relationships in decorative work, the size of the parts of the picture, their rhythmic arrangement, the purpose of the thing and the material from which it is made are taken into account.

The ornament as part of the decorative image of a thing plays a very important role in shaping its appearance. One and the same vessel, decorated with different ornaments, each time acquires a new imagery, and hence a different expressiveness. Of great importance are the location of the ornament and

only a thin strip, in another case, its entire surface can be ornamented. When decorating an object, it is necessary to take into account the relationship between the ornament and the shape of the object. A large flower and the same small flower decorate the cup in completely different ways.

Ceramic dishes, metal trays or papier-mâché boxes are decorated not only with ornaments, but also with plot drawings. Usually they are performed without regard to perspective, since the drawings should emphasize the plane, and not show depth.

In decorative sculpture or on ceramic vessels, the theme and plot can be expressed in various ways. For example, in Gzhel ceramics, the scene of tea drinking is depicted on dishes or molded in small plastic. And the vessel can easily be turned either into a beast or into a bird.

Thematic decorative composition has its own patterns, its own artistic language. She, like any work of fine art, tells about people, things or events. But at the same time, the pictorial story is subordinated to decorative purposes, as a rule, it serves to decorate the object. Therefore, the decorative composition is also related to the ornament. Its options are innumerable depending on specific tasks, and artistic possibilities can be expanded by using a variety of materials and techniques, changing the purpose and scale of the image.

The theme of a decorative composition can be expressed in ways that fundamentally distinguish it from the composition of a painting. The spatial relationships of real nature may be completely absent. The image of the landscape may not unfold in depth, but upwards, in which case the distant plans are placed above the near ones.

A decorative thematic composition is a special artistic world with its own conventional order, and sometimes with its own architecture and specific, easily recognizable characters that relate to each other in a completely different way than in reality.

Often the image is combined with an ornament and acquires an almost ornamental character, as if “spreading” along the plane, which is due to the generalization of forms, a conditional color characteristic. With all the originality of the decorative image, it does not at all exclude narrative, it is not deprived of the opportunity to lead an entertaining story. Even book illustrations can be done decoratively.

In a decorative composition, the expressiveness of the silhouette, the graphic beauty of the contours and lines of the figures acquire a special role, it is very important to find the correct color and tone ratio of the figures and the background of the composition, since they are important in styling.

The main compositional schemes and patterns of decorative composition are the same as in the construction of the picture (circle, triangle, square, oval, etc.). The composition is symmetrical and asymmetrical, open and closed. Rapid movement can convey a composition lined up diagonally. Each of the listed expressive means in a decorative composition has its own originality.

One of the main means of artistic expressiveness of a decorative composition is rhythm. A clear rhythmic organization of shapes, lines, color spots, tone relationships is the key to constructing decorative images and patterns.

The organic property of a decorative thematic composition is the decorative transformation of any nature, the identification of elegance, colorfulness, patterning of the surrounding world, the observance of a certain measure of conventionality of the image. Skillful generalization of form does not in the least harm expressiveness. The rejection of secondary details makes the main details more noticeable, makes them sound in full force.

A theme in a decorative composition can be generalized almost to a symbol and have an appropriate artistic solution. A thematic decorative composition can be compared with an ornament, where the need to connect elements is obvious, and not only where there is a repetition of motifs, but also in a pattern that freely fills the plane.

Let's take a closer look at the problem of color. The main distinguishing feature of a decorative image from a realistic one is that the color of an object can be given without taking into account light and shadow, and even a complete rejection of the color of an object in nature is possible. The main thing is to create an artistic image with the help of color.

But one should not rush to abandon the real color, it can be taken as a basis, especially since in nature an apple, for example, can be yellow, red and green. At the same time, even one color can be light and dark, warm and cold, and contain many shades.

In decorative composition, the law of integrity plays a very important role. This does not exclude the possibility of combining silhouette and three-dimensional images in one work, using generalized and detailed images, because one stands out better, contrasting with the other. At the same time, one should not forget about the balance of parts, which can be achieved by rejecting trifles, strengthening the main thing, uniting everything with light or color, etc.

In addition, compositional techniques in folk and decorative arts can emphasize the volume or flatness of the decorated object, then the location and nature of the decor and details will be subordinated to this goal. The expressiveness of a three-dimensional composition as a whole is largely achieved through the compositional arrangement of its parts. For example, decorative mosaic compositions by Z. Tsereteli, made for the sanatorium complex in Adler, are diverse in silhouette, freely scattered forms. Some of them smoothly flow into each other, while others retain their structure.

Playful forms and sculptures in the yards of residential buildings are distinguished by a special variety of compositional techniques.

The analysis of the compositional features of works of folk and decorative and applied art is carried out taking into account the general laws of the plastic arts: from the analysis of the general form, they pass to the assessment of the location of the parts and then again to the general expressiveness of the object.

4. Ornament art

Ornament is the most important part of folk and arts and crafts. It serves to decorate buildings, clothing, household items (utensils, furniture, tools, etc.), weapons, is widely used in book and applied graphics, posters, etc. The ornament can be drawn with graphic material and painted with paints, embroidered or woven from threads, carved on wood or embossed on metal, etc. An ornament can become a thing if it is woven in the form of lace (napkin, collar, tablecloth, etc.), mats or forged from metal (lamp, setter, fence, gate, etc.). Ornament can be multi-colored (polychrome) and monochrome (monochrome), made on the surface of the object convex, embossed or, conversely, deepened. The general stylistic features of ornamental art are determined by the characteristics and traditions of the visual culture of each people, have a certain stability over a long historical period and have a pronounced national character. Therefore, we can say that the ornament is the style of the era, a reliable sign that the work belongs to a certain time and to a certain country. (Gothic, Baroque, Art Nouveau and etc.).

For many centuries, people believed in the protective power of the ornament, believed that it protects from troubles and brings happiness and prosperity. Gradually, the function of the amulet was lost, but the main task of the ornament was preserved - to make the object more elegant and attractive, artistically expressive.

The properties of the ornament depend on the purpose, shape, structure and material of the thing that it decorates. The ornament helps to emphasize the plastic and design features of the object, enhance its figurative solution, and better reveal the natural beauty of the material. All this is possible under the condition of a harmonious combination of the ornament and the shape of the object.