GANGUR Natalya Alexandrovna

FOLK DECORATIVE AND APPLIED

ART OF THE EASTERN SLAVIC

POPULATION OF THE KUBAN

(on the example of textiles)

24.00.01 - theory and history of culture

for a degree

candidate of historical sciences

Krasnodar - 2002

The work was done at the Department of Theory and History of Culture of the Krasnodar State University of Culture and Arts

Scientific adviser:

Doctor of Historical Sciences

Official opponents:

doctor of historical sciences, professor ,

Candidate of Historical Sciences, Associate Professor

Lead organization: Rostov State University

The defense will take place on June 03, 2002 at a meeting of the dissertation council D.210.007.02 at the Krasnodar State University of Culture and Arts Krasnodar, st. 40th Anniversary of Victory 33, Kor. 1, room 116.

The dissertation can be found in the library of the Krasnodar State University of Culture and Arts

Scientific Secretary of the Dissertation Council

Doctor of Philosophy, Professor

general description of work

Relevance of the research topic. Currently, there is an increased interest in the scientific community in the study of folk culture. Considerable attention is paid to the culture of the regions. In some regions, this also applies to the Kuban, the pictorial fund of traditional folk art has not been identified.

The Kuban region was settled by Russians relatively late from the end of the 18th century. On this territory, two cultures historically united - Eastern Ukrainian and South Russian, in many respects similar to each other. On their basis, in interaction with the culture of the peoples of the North Caucasian region, a new regional ethnic culture developed, which had its own characteristics, different from the metropolitan ones. This largely determined the specifics and nature of samples of folk art. visual arts.

This dissertation is devoted to the main types of applied art of the East Slavic population of the Kuban - embroidery and weaving. The study of peasant embroidery, according to the words, "is an equally interesting and fascinating task for the psychology of art, and for its history, and for its formal study."

The necessity and importance of studying the folk applied art of the region under consideration determined the choice of the dissertation topic, which is due not only to the sphere of scientific interests. Appeal to ethno-cultural traditions in the upbringing and educational process is one of the urgent problems of modern art education, which is actively developed in pedagogical research (T. Ya-Shpikalova, etc.). In the Krasnodar Territory, the trend towards the use of traditional folk art, as part of the regional culture, in the educational process of educational and cultural institutions various levels. There is a situation when the pedagogical experimental base of the research is far ahead of the scientific and theoretical development of a complex of problems in the history of folk arts and crafts in the region under study.

During ten years of active search and research work, the author has identified, fixed the visual fund of traditional folk art, which was the basis of this work.

The degree of scientific development of the problem. The founder of the science of Russian applied art is considered.

He was the first to raise the question of the origin of folk ornament, published extensive material on sewing, fabrics, and lace. In the second half of the XIX century. there are publications of samples of Russian embroidery, lace from private collections - in the form of albums (., K. Dalmatova, etc.). During this period, zemstvo institutions with great care and scrupulousness collect and publish materials on various crafts in Russia, which were studied under the research programs of the "handicraft industry". As a result, the most valuable material on folk art was collected, comprehended and partially published.

In the first post-October decades, the book “Peasant Art” (1924) became a significant phenomenon in art history literature, in which for the first time a clear classification and description of the main types of folk art was given, and the content of numerous types of folk ornamentation was considered. Archaeologist's article "Daco-Sarmatian religious elements in Russian folk art” (1926), devoted to the issue of the origin of a number of ancient motifs preserved in folk art, marked the beginning of the study of semantics in folk art.

In the years , and turn to the problem of the genesis and disclosure of the semantics of the ancient ornamental motifs of Russian embroidery.

In the 50-60s. the study of folk art expanded and deepened, research methods were updated. from the standpoint of a cultural historian gave dynamics artistic culture of the Russian village, dividing the material into chronological groups and tracing the evolution of style, artistic features of the work of Russian peasants of the 17th-20th centuries. In his work "On the Content in Russian Peasant Art of the 18th - 19th", he emphasized the presence of a deep content in folklore fine art.

Research Institute of the Art Industry since the 50s. began to publish a series of works "Artistic crafts of the RSFSR". A series of books-albums compiled by NIIHP. was the first experience of studying the regional features of Russian embroidery (). The State Russian Museum publishes works devoted to embroidery and lace (and others).

Among ethnographers, issues related to folk art. were doing. The extensive material they collected contains valuable information about clothing and patterned weaving (East Slavonic Collection, 1960). In the historical and ethnographic atlas, they consider the general nature of the ornamentation of the clothes of the Russian peasant population of the European part of Russia in the middle of the 19th - early 20th centuries, reveal the variety of forms and techniques of its decoration.

Materials on folk textiles are presented in albums and album-type publications. in the book "Russian Folk Embroidery" (1972) she studied the figurative-plot and color system of embroidery in the south of Russia. Among ethnographers, the study of ornament as a historical source has developed and established itself (). In 1978, the fundamental work “Ornament of Russian Folk Embroidery as a Historical and Ethnographic Source” was published, in which the author, using the example of the northern and partially central regions of Russia, considered the technique of execution, ornament plots, their semantics, determined the connection of embroidery with the social environment and the ethno-cultural history of the population .

There are several publications about towels in Russian life and rituals -, -Torn,. In the most fundamental studies (, M. Ramanyuk) devoted to clothing, comparative ethnographic materials on the clothing of Russian, Ukrainian, Belarusian peoples, clothing is considered as a source of study of ethnic history, cultural closeness of the East Slavic peoples.

There is a significant literature on the symbolism of the folk costume, on the symbolic essence of the ornament, which is largely contradictory in view of the complexity and controversy of the very subject of research, which was also manifested in the discussion about the semantics of folk art, which took place on the pages of the journal " decorative arts USSR" (). The semantic side of Slavic art received deep coverage in the works of the academician, and researchers of semiotic sign systems -,. In the well-known work "Functions national costume in Moravian Slovakia” by a Russian ethnographer and folklorist, the folk costume is analyzed as a special semiotic system.

When studying the Kuban folk textiles, the dissertation attracted the research of Ukrainian scientists. Detailed Analysis scientific literature devoted to Ukrainian ornament, embroidery is contained in the doctoral dissertation (M., 2000). For the topic of this dissertation, the works of [Vovk X. K.], V. Shcherbakivsky, -Vasilyeva, L. Bulgokova, are of great importance. Of particular value are albums, catalogs dedicated to folk embroidery, fabrics, clothes, towels, published in Ukraine since the 1950s.

Among the studies created in different years on the basis of local material and of interest to the topic of this dissertation, one can single out works devoted to: traditional clothing, including ritual, -, A. A, Lebedeva,; the iconic function of objects of folk arts and crafts - ; various aspects of the traditional culture of the Kuban Cossacks -; general characteristics folk applied art of Kuban - I. Babenko, S. Kapyshkina, N. Korsakova, O. Slobchenko.

There are no printed generalizing works on folk textiles of the East Slavic population of the Kuban. She wrote about it in her famous book: “Embroidery of the middle and lower Don, Kuban has not been studied enough ... Illumination, at least in general terms, of embroidery in these areas is possible provided that the necessary, now extremely insufficient, data are accumulated.” Until recently, the ornamental side of folk applied art, as well as its genesis, formation and dynamics of development, remained outside the scientific study.

Object of study - folk textiles of the East Slavic population of the Kuban as a cultural and historical phenomenon.

Subject of study- artistic, stylistic, functional, semantic features of a textile ornament and the symbolic functions of its carrier.

Based on the degree of study of the designated problem and taking into account the relevance of its further development purpose dissertation is a comprehensive study of folk textiles of the East Slavic population of the Kuban as a basic material in the study of folk art of the studied region.

This goal determined the solution of a number of interrelated and at the same time relatively independent tasks:

To identify a set of little-studied and practically unstudied aspects of the topic, to determine the methodology and source base;

To study both regional and typological common features in the development of traditional Kuban textiles;

Explore the main types of folk applied art in a historical aspect and trace the dynamics of their development;

Determine the iconic functions of textile products (interior fabric, clothing) in various structural elements of the rite;

To systematize the material on the ornament of the Slavic population of the Kuban, to characterize its plot, composition, color scheme, material and technique;

Explore the sources and semantics of folk ornament;

- identify traditions and innovations in the ornamentation of products;

To study the culture of textile production.

The scope of the tasks set determined the nature of the main directions of the study of folk applied art: historical analysis, functional, meaningful, structural.

Timeline of the study limited to the second half of the 19th - early 20th century, due to the degree of availability of available sources.

Territorial boundaries of the study limited to the boundaries of the former Kuban region, formed in 1860, and separated from it in 1896 by the Black Sea province,

Source base of the dissertation. For the development of the designated topic, wide circle sources, which can be conditionally divided into several groups:

1. Works of folk applied art from the ethnographic collections of local historical museums of the Krasnodar Territory and the Republic of Adygea, a collection of cult towels from the St. Catherine's Cathedral in Krasnodar, as well as embroidered items from private collections.

2. Museum documents: act books, collection lists, registration cards containing information about the master maker, his ethnic and social characteristics, indications of the place, time of manufacture and functional purpose of the product, terminology of patterns.

3. Field materials: diaries, photographs, sketches of ethnographic expeditions of the Krasnodar State Historical and Archaeological Museum of the Reserve. ; audio cassettes of annual folklore and ethnographic expeditions of the department of folklore and ethnography of the Regional State Creative Scientific Institution "Kuban Cossack Choir"; field researches of the author (personal archive).

4. Folklore materials: folk poetry, proverbs and sayings that existed on the territory of the Kuban.

5. Materials of the State Archive of the Krasnodar Territory: statistical reports on the state of the region and troops, information on handicrafts and crafts, materials of agricultural exhibitions, etc.

6. Illustrations of works of folk arts and crafts in albums and album-type publications.

7. Publications of a review, statistical, historical and ethnographic nature relating to the pre-revolutionary period, contained in periodicals: "Kuban collection", "Collection of materials for describing the localities and tribes of the Caucasus." They contain information about the history of settlement, economy, clothing, rituals and other aspects of the culture of individual settlements of the Kuban region. However, a qualified description is relatively rare, most often it is a superficial coverage of the external features of rural life, which does not give us the necessary idea of ​​the objects under study. Separate publications are devoted to the customs and rituals of the population of the Kuban.

In 1889, the Administration of the Caucasian Educational District published a publication on handicrafts and crafts in the Terek and Kuban regions. Compiled on the basis of materials from rural teachers, it gives a general idea of ​​the state and degree of development of handicrafts both in general in the Kuban and in individual (but not all) settlements areas. The book contains material about fisheries in the Kuban region. Information about the development of weaving, embroidery production among the inhabitants of the upland villages of the Kuban region is contained in studies. Of undoubted interest is the description of the Yekaterinodar Agricultural Exhibition of 1869, made by Krym-Girey on behalf of the Free Economic Society. It has sections devoted to the culture of flax and hemp, the state of linen production in the Kuban army and the embroidery art of the Cossacks.

Diverse and in many respects diverse source base, as well as the absence or limitation of materials on a number of issues, determined the task of comprehensive coverage and study of the problem. Therefore, during the reconstruction of the facts of material culture, it was necessary to expand the source base by attracting comparative material on various aspects of Russian and Ukrainian culture.

Research methodology. The methodological basis was an integrated approach to the processing and systematization of the available material on this topic. The author widely relies on research on the problems of folk art culture by prominent historians, ethnographers, folklorists, art critics and cultural experts. The study theoretical aspects The problem required an appeal to the works of domestic scientists:, and others. In the works of folklorists, questions of the specificity of folk art, its connection with the surrounding reality, culture and life of the people are developed.

The study of Slavic mythology, symbolism folklore images and rituals based on the works,,.

in the unpublished book "Clothes Mari-Cheremis" defined the methodological basis for describing embroidery as an ethno-cultural phenomenon. The principle of historicism is the basis of the methodology for studying folk art. Modern level knowledge requires an integrated approach to the phenomena of folk art and the necessary contacts with related sciences - archeology, ethnography, history, folklore, art history. The range of tasks of a researcher studying folk art includes the study of the various functions of folk art. The functional aspect of the problem has two types of analysis - historical and synchronous. A systematic approach allows us to consider the folk art tradition as the result of the interaction of internal and external relations of folk art with the environment.

When deciphering ornamental motifs, the author uses data from folklore, ethnography, mythology, and the history of religion as an explanatory principle of their semantics. “Today, it is unthinkable to consider the issue of the content of works of folk art outside their cultural context - customs, rituals, oral folk art” ().

The specificity of the topic under study determines the dominance of ethnographic and art history approaches within the framework of the historical and cultural approach used here.

Research methods. To complete the disclosure of the problem, to identify the potential of the entire available database of sources, as well as to analyze and summarize the facts, the author uses various methods scientific research: historical, logical, classificatory, descriptive, empirical, retrospective, structural-functional, semantic. In the field work, the method of observation was used, which included the following methodological components: personal direct observations, interview-work with informants, fixing the received materials (photography, sketches).

An important part of the methodology of scientific research is the comparative-historical method. The application of this method helps to determine the prevalence of the phenomenon, to identify local and typological common features in the development of folk applied art of the Kuban. The task of the comparative historical study of ornament, as well as folk art in general, involves its study not only in time, but also in spatial terms. The combination of diachronic and synchronous research methods makes it possible to build models that are close to reality.

Plots, ornament motifs, their semantics, compositional and coloristic solutions, stylistic devices- this whole range of problems associated with the study of folk art is quite wide and requires a comprehensive research method.

The scientific novelty of the study lies in the fact that this topic was not the subject of a special study.

Firstly, the visual fund of traditional folk art has been identified and systematized. Secondly, this work is the first attempt to summarize materials on the designated topic. Thirdly, for the first time on a comprehensive basis, the genesis, the process of formation and development of a local artistic tradition in the course of the historical development and cultivation of the space of the studied region is investigated, the main types of folk applied art, their functions, semantics, decor are considered. Particular attention is paid to the study of the semantic side of folk culture objects, the sign function of things. This side of the problem remains virtually unexplored based on the material of the traditional culture of the Kuban Cossacks. Fourthly, a block of systematized data on the nature and methods of ornamentation of textiles, techniques and technology of weaving production on the territory of the studied region, as well as unpublished archival documents and field materials of ethnographic expeditions on this topic are introduced into scientific circulation. Fifth, new in the work are many techniques of an integrated approach to covering issues of the topic that border on such areas of knowledge as ethnography, art history, cultural studies.

Practical value. The results of the study contribute to a more complete study of the artistic culture of the Kuban and the revival of the traditions of folk crafts. The main conclusions and materials of the work can be used:

To write summarizing works on the history of artistic culture, ethnography of the region;

In the practice of university, school education and upbringing

In the courses "Culturology", "Ethnography", "History of Art", " Folk costume”, “History and theory of folk arts and crafts”. "Local history", in the lessons of fine arts and labor;

In the practice of artistic creativity of professional and amateur groups, the creativity of individuals involved in artistic embroidery, folk stage art;

When designing expositions and in the practice of educational activities of local history museums and museums of fine arts.

Testing and implementation of research results. The main provisions of the dissertation are published in the author's textbook "The ornament of folk embroidery of the Slavic population of the Kuban in the 19th - early 20th century" (Krasnodar, 19.4 sheets). The conclusions and main results of the work were presented by the author in reports and communications at the international scientific conference"Regional aspects of information and cultural activities" (Krasnodar, 1999), XXVI scientific conference of students and young people scientists of the South Russia, dedicated to the 30th anniversary of KubGAFK (Krasnodar, 1999), scientific and practical conference "The emergence of the Cossacks and the formation of Cossack culture" (Rostov-on-Don, 1999), VIII regional interuniversity and postgraduate student conference "Archaeology, ethnography and local history of the Kuban "(Armavir-Krasnodar, 2000).

In addition, on the topic of the dissertation, based on the results of its approbation, four scientific articles were published in the following publications: “Results of folklore and ethnographic studies of the ethnic cultures of the Kuban for 1998. Dikarevsky Readings (Krasnodar, 1999), Proceedings of the Scientific Research Institute of Problems of Physical Culture and Sports of KubGAFK. Anniversary issue (Krasnodar, 1999), collections of scientific articles "Orthodoxy, traditional culture, education "(Krasnodar, 2000) and" Questions of the history of the Kuban (XIX - early XX centuries) "(Krasnodar, 2001).

The results of the study were implemented:

In the educational process of the Krasnodar experimental art school them. (arts and crafts) in the classes on applied composition, lessons in embroidery art, used in the course “History of Fine Arts” taught by the author; materials were widely and effectively used by students when creating easel compositions on the topic “Folk holidays and rituals of the Slavic population of the Kuban” and illustrating the book “Kuban folk tales and legends” (Krasnodar, 2001);

In the practice of higher education - in the courses "Local history", "Cultural studies" (student reports, essays); in the educational process of the Krasnodar State University of Culture and Arts at the Faculty of Traditional Cultures (Department of Folk Decorative and Applied Arts);

They were tested in art and music schools, departments of art schools, in circles and centers of folk art and preschool institutions;

Used in secondary schools in the classroom for fine arts and artistic work;

Structure and scope of work determined by the purpose and objectives of the study. The dissertation consists of an introduction, two chapters divided into paragraphs, a conclusion, a list of references and sources, as well as an appendix, which includes graphic author's drawings and photographs, reflecting the essence of the problem under consideration and the logic of the study.

MAIN CONTENT OF THE THEsis

In the Introduction the relevance of the study, the degree of its scientific development are substantiated, the goals and objectives are determined, the object and subject, chronological and territorial framework are indicated, methodological basis, methods, scientific novelty, theoretical and practical significance is revealed, approbation of the research results is highlighted, the source base, structure and scope of work are indicated.

The first chapter "Ornamented textiles in the everyday life of the East Slavic population of the Kuban" consists of three paragraphs.

AT the first paragraph "Weaving and embroidery - homework, art and craft" the culture of production and consumption of textile craft items is considered.

Almost ubiquitous in the Kuban was hand weaving, which survived until the 30s of the last century, not only as a craft, but also as a home production. The material for weaving was yarn from hemp, flax and sheep's wool. They produced a thin linen and cloth fabric. The most common was the shaft technique (with the help of threads and steps). Fabrics were made in a wide variety of patterns (in rows, herringbone, circles, shotgun, etc.), with plain weave and embossed. One- and two-color (white with red) patterned, as well as openwork weaving, is widespread. Coarse colored rows, “redyugi”, “cobblers”, “loose”, “shingles”, “half”, etc. were made in large quantities.

Weaving craft occupied a prominent place in Art. Novominskaya, Novoshcherbinovskaya, Nekrasovskaya, Ilyinskaya and others; in some places there is specialization between producers: some of them are engaged in spinning, others in weaving, and still others in dyeing finished products (st. Khanskaya, Ploskaya). In many settlements of the region, professional “weavers” and “weavers” from other cities are singled out, who work to order, for sale, while various forms of their hiring and remuneration are practiced. During the period under review, the emergence of a variety of cheap factory-made products gradually steadily led to the decline of linen production and its sharp reduction.

The material for embroidery was mainly homespun, as well as white factory linen - calico. They embroidered on the whole fabric with various “tops” - a cross, a satin stitch and transparent line seams on a sparse fabric - a white line (less often with the introduction of a red thread). Sources for embroidery were very diverse, including printed samples. In many villages there were especially skilled craftswomen who were famous for their embroidered products, their needlework was distinguished by the purity and complexity of work, and the creative development of patterns.

In the period under review, cross-stitching replaced traditional stitches, colored patterned weaving, adapting to the old ones and mastering new forms and motifs in accordance with changing tastes and ideas.

In the second paragraph "Artistic and design features, structure and functions of the traditional folk costume" the analysis of the iconic function, artistic techniques for creating individual elements and clothing complexes was carried out. The traditional clothing (with the exception of the uniform Cossack costume) of the Slavic population of the Kuban region has been studied very little, which, due to the peculiarities of socio-economic development, early underwent radical changes, was influenced by the culture of the city, and then was replaced by an urban-type costume.

The basis of both men's and women's costumes was a shirt. During the period under review, three types of men's shirts were common in the Kuban - a kosovorotka, a shirt (among Ukrainians) and a shirt "with a waist" (yoke). Shirts were decorated with embroidery along the hem, along the edges of the sleeves, along the collar and on the chest. In ornamentation, a transparent seam - a hemstitch, was widely used, often in combination with other seams - a cross, a satin stitch. The red-black gamut of colors dominated, polychromy spread in the 20-40s. 20th century The nature of the ornamentation is geometric and floral.

Everyday weekend shirts, and especially festive ones, were sewn from the best homespun or factory-made (chintz, calico, sickle) linen and decorated with embroidery. The wedding shirt, while retaining the figurative structure and structure of the functions of the festive one, being included in the structure of the ceremony, became, like the towel (“the day of towels”), a “common” symbol of one of the stages of the wedding - “carry the shirt to the groom”, “behind the shirt”.

At the end of the XIX century. shirts made from factory fabrics, which began to be considered festive, come into fashion. However, the use of factory fabrics and the degree of provision with them were directly dependent on the material condition of the family.

A long shirt (shirt) with sleeves was the basis of a women's costume; it served as underwear and outer home (and work) clothing. According to the cut, there are three main types of shirts that were most widely used in the period under review: a tunic-shaped shirt with a straight slit and a low standing collar, one-piece and compound shirts with poliks, a shirt “on a yoke” (with a waist, a later look). In compound shirts, the camps were sewn from a thinner homespun or factory linen, and the base, hem (“podtychka”) - from a coarser one. Festive, ceremonial (including mortal) shirts among Ukrainians were mostly one-piece (“slim”, “long”). The same shirts were worn during field work, in some places a “long” shirt with a belt was the only clothing for boys and girls under 15 years old.

The artistic and figurative structure of the festive shirt consisted of the nature and method of designing the product, its cut, the use of various embroidery stitches (hemstitching, cross, satin stitch), a combination of factory fabrics of different textures and colors, and their constructive solution. At the same time, the nature of the decor, the dignity of matter perform not only aesthetic and practical functions, but are also a sign of property differences and act as an ethno-differentiating feature. The use of a variety of colored inserts, stripes, more often kumach, on the shoulders and sleeves of shirts is typical for Russians; for Ukrainians - the widespread use of embroidery stitches, rich floral ornamentation of the entire field of the sleeve, etc.

The principle of placing the ornament, its composition had various solutions closely related to the cut of the shirt. Artistic design was determined by the purpose, age and degree of wealth. The shirts of older women were not ornamented. Weekday weekend shirts were decorated with modest embroidery, and festive ones were distinguished by more elegant decor. characteristic feature embroidery of local shirts of the late 19th - early 20th centuries. there was a black and red range of colors and a floral-floral type of ornament. The predominance of one of the colors depended on the purpose of the shirt and the age of the wearer. The embroidery on the sleeves had a rich palette of various motifs and compositions, as it carried the main decorative function.

In the second half of the XIX century. in the Kuban, a complex of clothes with a skirt spread widely. The skirt was part of everyday, festive ritual costumes. They were homespun, dyed, or with colored stripes; canvas skirts were decorated with black and red embroidery, a woven pattern, or hemlined. With the spread of factory fabrics, they began to be worn as lower ones (“hem”, “spine”). The underskirt - “zonovka” (“white hem”) made of madapolam, white cambric, muslin, decorated with embroidery, lace, scallops along the hem was worn only by wealthy Cossack women. The number of skirts, the quality of matter, the presence and degree of decor - embroidery, lace, glass beads, beads, buttons - all this was a sign of property and estate differences, a sign of social prestige.

One of the elements of the women's costume was an apron ("veil", "zapon", "apron"). They were worn both with an everyday suit and a festive one. Widespread were "waist" aprons, which were sewn from homespun canvas or factory fabrics. They were decorated with woven geometric ornaments (“interlaces”), embroidered floral patterns, seams, frills, lace and dressed with everyday, festive and ritual clothing.

Embroidery was sometimes used to decorate a hat - an obligatory headdress for married women. She was part of the structure of everyday and festive costume, acting as a thing and as a sign of distinguishing between a married woman and an unmarried woman. With the simplification of the traditional costume and, accordingly, headdresses, scarves and shawls are widely used. Along with factory, there were manual knitted scarves, bobbin lace shawls, and in some places "zonal" shawls with embroidery were preserved as distinguishing feature traditional women's costume.

In the second half of the XIX century. in the Kuban region, there was an active process of replacing traditional clothing with new forms common to Ukrainians and Russians, which developed largely under the influence of the city. The processes of leveling national clothes took place in different ways in individual settlements of the region and depended both on the economic and economic situation of a particular village, the development of trade relations in it, connection with the city, and on how monolithic the National composition the population of these villages. The departure from the traditional costume did not take place in all districts of the Kuban region and not in all social groups in the same way. Even inside the village, despite the uniformity of the costume as a whole, there was a variability in cut, decor, colors, which depended on material wealth, ethnic traditions, and also on the tastes of the wearers.

AT third paragraph "Functions of towels / towels in family customs and rituals of the East Slavic population of the Kuban" the role and place of the towel in traditional culture is determined.

Towel is the most common type of ornamented items in peasant life. According to their functions, towels are divided into: "utirach" ("dash"), "dezhniki", "kilk". “mirror”, “gift”, “gods”, etc. The main attention is paid to the consideration of the symbolic function of the towel in the rituals life cycle. In addition to the aesthetic, utilitarian function, the towel has a number of others:

magical (covering the bride, spreading towels at the entrance of the young into the house); the function of communication in syndiasmic (connecting) rites of marriage magic (fastening the hands of the bridegroom of the bride at various stages of the wedding ceremony); acts as the hallmarks of wedding ranks - boyars, elders, matchmakers, boyfriend and girlfriend, half-friends, as well as the bride (in the Black Sea villages); marking objects that have a special sacred status - ceremonial bread, an icon; marking of topographical and "mythologically" determined borders, acting in the spatial code of the East Slavic wedding in the form of opposing "one's own" "foreign" side - the bride and groom (tying the gate in the bride's yard before the expected arrival of the matchmakers); structuring "foreign" space, its adaptation (for the bride, this is the groom's house). From the moment she entered her husband's house, the young mistress had to hang up her towels.

Giving towels (the main type of gifts) at certain stages of the wedding accompanied the rite of the bride's "transition" from her future husband's clan to her future husband's clan and had a prestigious significance as an indicator of the bride's wealth, her needlework and hard work. Often ornamented objects are regarded as a sign of wealth.

In the funeral and memorial rites, the towel is one of the significant elements of the structure of the ritual action, an indispensable component of the ritual. The importance of the “path” category and the associated actualization of boundaries is no less significant than in the wedding ceremony. In funeral rituals, a towel performs the following main functions:

utilitarian - on specially prepared long (up to 6 m) woven towels they carried the coffin to the cemetery and lowered it into the grave; apotropaic (curtaining mirrors in the house of the deceased); magical - a steadfast belief in the healing properties of a towel, with which on memorial days they tied a cross on the grave ("secret alms"); ensuring the passage of the path to the “other world” - covering the road with towels to the cemetery itself; acts as distinctive signs of participants in the funeral procession; indicates the gender of the deceased (if a man, then towels were placed on the coffin lid, if a woman - scarves); used as a reward (when washing the deceased, to cooks preparing a funeral dinner); marking sacred objects (ceremonial cross); marking. topographical boundaries, understood "mythologically" as "this" and "that" light (tying a gate in the yard after the removal of the deceased, spreading a towel on the gate before taking out the "string" from the house, at the crossroads, on the bridge and at the entrance to the cemetery). The purpose of ritual actions with towels in some cases is aimed at closing and strengthening the boundaries, in others - their opening.

Towels appear in rituals associated with the construction of a house (they raised a swag on them), in calendar rituals (in Christmas, Epiphany and Easter divination about marriage), on Maslenitsa - as a substitute for a wooden block (sign function), as a talisman (bought cattle into the house, having previously laid a towel on the gate), in the rites of “making rain” (Chernoerkovskaya station), seeing off the Cossack to the service.

On the example of one local tradition, one microzone - Giaginskiy district(Republic of Adygea) the dissertation student shows the functional role of the towel and its pictorial symbols in traditional culture. The choice of this area is due to the greater representativeness of the material, its comparative integrity and the originality of the local tradition. It reflected both the specifics of the Cossack life and the impressions of the dynamically changing surrounding reality, which stimulated the emergence of new motives and plots in connection with the complication of economic activity and the interests of the population.

The above examples far from exhaust all the variety and functional purpose of towels in peasant life. Thanks to the functionality of the thing, the rushnikov "text" became, as it were, a part of real life, its metaphorical rethinking. Being included in the structure of the rite, becoming one of its elements, the towel functioned not as a thing, but as a sign, being a symbol of another layer of folk art culture - ritualism.

The second chapter "Sources and ethno-cultural semantics of folk ornament" consists of three paragraphs. The ornamental structure of embroidered and woven products is considered from the side of the nature of the motifs depicted on them.

AT first paragraph "Geometric and alphanumeric motifs" a number of ornamental signs most commonly used in textiles are identified, their forms and meaning are characterized.

Geometric motifs are widely represented in patterned weaving, lace, embroidery - in the ornamentation of shirts, tablecloths, towels, often in combination with floral patterns. Primary archaic motifs include dots, lines (straight and broken), circles, polygons, meander, etc. Rhombus in most cases formed the basis of ornamental compositions, and also served as an addition to other geometric or plant motifs. Rhombuses were combined in different combinations: they fit into one another, connected in a chain, arranged in rows, alternated with rosettes, octagonal stars, oblique crosses, etc. In addition to simple rhombuses (“circles”), there are more complicated versions of it: comb, radiant, stepped, wicker , a rhombus crossed by two diagonals and a rhombus with hooks ("frog"). Rhombuses of various configurations often make up the “framework” of the ornament, which is overgrown inside and out with small rhombuses, rosettes, stars, ovals, zigzags, etc., creating a complex rich pattern pattern. The most common composition is built on a simple alternation of a rhombus with an eight-petal rosette; its other variant is a socket inscribed in a rhombus. Rhombuses make up the heads of anthropomorphic figures, are part of the images of a tree, and are placed in different places against the background of the pattern. The image of a rhombus among the Slavs has always been associated with the concept of home, estate, sun, warmth and well-being.

Triangles, squares and rectangles most often act as an ordinary element of a geometric ornament, are filled with other signs or “overgrown” with them. Cross-shaped figures are a frequent element of embroidery and especially weaving. The idea of ​​prosperity, good luck was associated with the cross, therefore, repeated reproduction of the cross was practiced in order to strengthen and increase well-being. It was used in folk art as a talisman and a symbol of the sun. Often the cross appeared in conjunction with rhombuses, rosettes, squares, circles. Most often there is an oblique cross and an equilateral one, as part of plot embroidery and on cult towels: Latin, trefoil, supporting, crossed. They were enriched by the introduction of additional decorative elements, ornamental filling of internal planes. At the same time, a cross and a sign of death, from where its image on ritual towels V. Shcherbakivsky noted that a cross with various additions was embroidered on Ukrainian towels intended for funeral processions. The author finds several towels with the same type of composition, consisting of a high cross (on a hill), entwined with a plant or without it, on the sides are two trees, birds, a fence and at the bottom there is an inscription: “My love is on the cross, my grave is under the cross.” Deciphering the ornamental signs in their syntactic connection leads to the conclusion that these towels were intended for a funeral rite.

On woven towels there are rectangular-pyramidal figures with crosses that outwardly resemble a church, geometric images with crosses that look like candlesticks. The last motive is borrowed from Krolevets towels. On embroidered wedding towels there are stylized "candlesticks" in a three-part composition with figures of swans. The meaning of this figure is apparently related to the semantics of the candle and its role in the wedding ceremony.

The circle in Kuban embroidery is a relatively rare motif; in patterned weaving, in the ornamentation of men's shirts, the circle often appears in a rhombus. The image of this figure on the wooden tympanums of houses is also connected with the apotropaic function of the circular shape. The classic meander, and especially its modification “serpentine meander” (“running wave”), in combination with plant shoots, decorates towels and tabletops, giving the feeling of moving objects to static embroidered patterns. On ritual towels there are images of anchors - christian symbols well-being, life path and travel to the other world.

A significant place among the geometric motifs in Kuban textiles was occupied by the motif of an eight-petalled rosette - an ancient symbolic figure ("Perun's flower"). It could make up a rapport of a pattern, be depicted inside a geometric figure, act as an additional element in an ornamental composition. On wedding tablecloths, towels, on women's shoulders and in breast embroidery on men's shirts, the rosette often appears in alternation with a smooth rhombus, or a rhombus crossed by two diagonals, or a 2-shaped (bispiral) sign. These simple combinations of motifs are presented in line technique. Various artistic techniques emphasize the importance of ornamental signs - size, location in the overall composition. Peripheral patterns are developed with other embroidery stitches, most commonly with a cross stitch; contrasts of color, texture, nature of motives are used. The placement of a rhombus and a rosette, a rhombus and a cross next to each other in ancient times acted as a symbol of the union of male and female principles. A 2- or 5-shaped figure, depending on the context, can mean water, a snake (snake) or a sun-bird. The appearance of the “snake” motif on ritual objects next to the rhombus is semantically conditioned, since it was already considered the patron of the hearth. A pair of bispirals in a composition with an anthropomorphic cruciform figure enclosed in a polygon is an echo of the ancient image of a woman with birds (or snakes) in a temple (one of the components of complex archaic plots). Filled with deep meaning and significance, the ancient cosmogonic signs retained their apotropaic function in embroidery and woodcarving. There is also a motif of an octagonal star, there are brackets in the form of the letter "3", "small lattices".

In their essence, jagged and brush-like elements, which decorated the bottom of wedding towels, are close to the geometric ornament. By the nature of the interpretation, they resemble a lambrequin. This tradition is widely represented in Ukrainian folk textiles. decorative elements classic styles- lambrequins, medallions, brushes, flower garlands with bows - were widely included by Kuban craftswomen in the ornamentation of towels, table-tops.

A special place on the field of the towel was occupied by the text, the monogram, the letter. The texts were very diverse, there are poetic dedications, words from prayer, church hymns. The text was often artistic technique in creating the composition of the ornament, and the letters were sometimes used as a purely decorative element. On rich products, monograms were decorated with wreaths, as well as crowns of various configurations. The font ornament was often enriched with plant elements and always organically enters into the structure of the embroidered towel.

Second paragraph "Anthropomorphic and zoomorphic motifs)) is devoted to the analysis of zoomorphic and anthropomorphic images of the Kuban folk textiles.

In the works of a number of researchers, issues related to the genesis, semantics and iconography of the image of the Great Goddess - Mother Earth and her attributes were covered. In Kuban embroidery, anthropomorphic motifs are relatively rare. These include anthropomorphic plants, images of a woman-tree (woman-vase), presented in line technique. Straight branches with large six-petal rosette flowers at the ends depart from the geometrized trunk, at the top of the disk is an ideogram of the sun. Everything is permeated with solar symbolism. On the lower branches are crosses with crossed ends, with rays diverging from the center, meander curls branch off from the disk and body. There is a fusion in the ornament of the signs of a person, a plant, the water of the sun. The horned figure - a woman-tree is also all saturated and surrounded by signs-symbols: horns, rhombuses, crosses (a straight Greek and an oblique cross superimposed on it - an ancient symbol of the union of male and female principles), "keys" (a sign of safety, integrity). These ancient motifs, preserved in the embroidery of wedding items, had the meaning of wishing young people happiness, kindness, prosperity, and an increase in offspring.

Female plants have spiral roots, a cruciform head with a crown and plant processes surrounded by phytomorphic "stars". Very geometrized schematic female figures are included in the structure of compositions with the "tree of life" ("tree-flower", "vase"). Some have rosettes in their hands. On one of the towels (st. Ternovskaya), very conditional figures of people are “scattered” around the tree of life; one of them is turned upside down. The author is inclined to believe that this is an image of a deceased family member. There are also realistically interpreted male figures - “little men in hats”, in belted shirts and wide trousers, in embroidered plot compositions figures of people acquire greater concreteness, "overgrow" with numerous everyday details.

A large number of studies have been devoted to the symbolism of animals in various folklore and ethno-cultural traditions, based on which the author determines the specifics of zoomorphic motifs. Purely animal ornamental compositions are very rare. The zoomorphic ornament is closely intertwined with the plant. A prominent place is occupied by ornithomorphic motifs. The image of the bird is polysemantic both in folklore and in ornament. Birds make up independent patterns in the following compositions: in the form of a frieze, where they rhythmically follow one another, in the form of a three-part composition with a traditional tree, bush, often they are simply turned towards each other. There are single images of a flying bird or a viburnum sitting on a branch and pecking at a berry. Lots of pictures of pigeons. The embroidery reflects both the folklore love and marriage symbolism and the Christian interpretation of the image. On children's towels - this is an image of tenderness, consent, humility; on towels - "gods" "string" of birds (pigeons, roosters) following one after another symbolizes "the procession to the church." In embroidery we find images of pure "God's" birds: swallows - messengers of goodness, happiness, spring, home comfort and also a lark.

The rooster is one of the most beloved towel images. The image of this bird is polysemantic: it is a zoomorphic image of the sun, a messenger of light, dawn (sometimes it is depicted singing); the owner of the house, a symbol of the hearth, contentment, prosperity; symbol of the masculine. The rooster is also associated with the symbolism of the resurrection from the dead, the eternal rebirth of life. On funeral towels, his images performed an apotropaic function (a talisman against evil). Numerous information about wedding rituals and a rooster is confirmed by its numerous images on wedding towels: in a three-part composition with a bowl, a tree, a Christmas tree (wedding giltse), an ear, a temple, etc.

Waterfowl - ducks, geese, swans are not widely reflected in the Kuban folk textiles. Duck patterns are found on woven towels as an independent frieze composition or in contamination with a heraldic eagle. Ideas of purity, fidelity, chastity, perfection are associated with the swan. In embroidery, the image of this bird is very expressive. The image of a fabulous peahen is very popular - a bird of family happiness, often depicted on wedding items. In embroidery, a pattern called pava bird is found in various compositions, techniques and style solutions. In the technique of the cross, it acquires a highly decorative interpretation; in line seams - more generalized: the peahen has a lush bushy crest on the head, loose tail feathers end in rounded or diamond-shaped curls. Some birds have individual signs of peahen iconography, but the images are difficult to recognize.

Double-headed heraldic eagles are a popular image on woven towels, borrowed from purchased Krolevets towels. In patterned weaving, images of this bird usually looked like Ukrainian counterparts, while maintaining general and ornamental structure of the entire composition. In embroidery there is an expressive interpretation of this image, but in a later tradition it is included in the embroidered pattern without any connection with the meaning of the image or is transformed into a flower rosette.

From insects among plant patterns, there are schematized beetles, bees that look like flies, and rather realistic images of butterflies. The symbolism of the bee embodies the idea of ​​"kind", generosity and wealth, motherhood and kindness. Ukrainians often used embroidered towels with bee signs as amulets for apiaries. In this context, apparently, one should consider the "swarm" of bees on the tabletop from Art. Giaginskaya. The inclusion of these insects in the ornamental composition of a funeral towel may indicate both the nature of the deceased person's occupation and the reflection of ideas about the soul in the form of a bee. In embroidery we find single images of a frog, a horse, goats, leopards in heraldic poses. There are practically no images of winged snakes, lizards, dragons.

Third paragraph "Plant motifs" is dedicated to phytomorphic ornamental signs widespread in the Kuban folk art. The motif of a flowerpot is often presented in embroidery. When comparing Ukrainian towels with a similar motif, stylistic closeness and similarity are revealed not only in the configuration of the vase, but also in the bouquet: an elegant, slender vase on a thin stem and a large, lush bouquet. Another type is a simplified vase, without a stem, with straightened walls and volute-shaped handles. From the vessel "grows" a large open flower on a long stem with buds. In the stitching technique, the flowerpot is subjected to a greater degree of stylization, generalization and laconism in the interpretation of forms, the emphasis is on the floral and leafy filling. Often the flowerpot was replaced by a pot of flowers or was thought of as a tree. A kind of flowerpot is the image of a bouquet. All compositions of plant forms are variants of the same tree-flower element.

The image of the "tree of life" had magical power bring happiness, eradicate evil, all divination. In Kuban embroidery, schematic, very generalized geometrized trees with

symmetrical branches, sometimes ending in rosette flowers, make up the composition of the row. Birds are inextricably linked with the tree and are included in the structure of the composition. Images of a tree are rhomboid or have a rhombic or cruciform top. On some towels, a thin flowering tree emerges from a large spiral curl densely dotted with seeds or sprouts - a symbol of development, resurrection, rebirth of life. The roots of trees are usually indicated schematically by embroiderers: in the form of a horizontal line, various geometric shapes.

Quite often on embroidered products there is a motif of a curved or broken branch with flowers, buds, leaves or berries rhythmically extending from it. Sometimes they are not specific, but most often recognizable: rose, lily, carnation, viburnum, grapes. Images of viburnum - a symbol of girlish purity, innocence; grapes - a symbol of abundance, contentment, love, marriage life is typical for wedding items. The images of strawberries and wild strawberries are similar in meaning. Patterns of leaves and hop cones are also related to wedding symbols.

Flowers in a wide variety of combinations - on branches, in garlands, bouquets, vases, on trees, etc. - occupied a central place in embroidery. Some of them were interpreted very conditionally, others were highly geometrized, but in most cases they were close to nature, while maintaining the main species properties of the depicted plant. The favorite motifs were roses of various modifications, lilies - a symbol of purity, purity. There are images of blooming (fuchsia, from wild flowers - poppy, cornflower, chamomile, periwinkle. Oak, grape leaves are always recognizable, the rest are carved - generalized images of grape-viburnum leaves.

In the Conclusion, the results are summarized, the main conclusions of the dissertation research are formulated. The study of the historiography of folk arts and crafts, archival and folklore-ethnographic materials, written sources, analysis of folk art objects (over 1000 items) made it possible to comprehensively explore the nature and characteristics of folk textiles in this region.

The Kuban region was an area of ​​interaction between various ethnic groups, a kind of contact zone, which largely determined the features and nature of the objects of folk applied art, bearing the imprint of interethnic and intercultural interaction in the production technique, in the methods of ornamentation, and in the features of the style solution.

Folk textiles as a cultural and historical phenomenon appeared in the Kuban already in its current form. The history of the formation and development of this (as well as others) type of applied art as a whole took place outside the studied region. But over the course of a century, it went its own way of development in the process of forming a sub-ethnos - the Kuban Cossacks, as a result of which a local version of traditional everyday culture arose.

The study shows that the objects of the material and spiritual culture of the people - a suit, a towel - have utilitarian, aesthetic, iconic, prestigious and other ideological and ideological functions. The sign properties of things are most fully manifested in ritual situations. The content of the rite determined the content and form of images, and their placement on specific objects.

When considering the Kuban folk textiles, a number of historical and cultural layers and borrowings are revealed, the relationship of which determined its artistic originality. The textile ornament in the period under review was an alloy of heterogeneous components, among which the archaic layer occupied a small place. Ornamentation of folk art has largely lost its ancient meaning, was filled with new images and symbols, its decorative function came to the fore. New materials, new stylistic and technical techniques arose. Cross-stitch, which has spread everywhere, has practically replaced traditional stitches and ornamental compositions. The new artistic consciousness was no longer satisfied with geometric motifs; they were replaced by lush plant and flower forms. But the content of folk art did not disappear at all: the ornament and its motifs were imbued with meaning (symbolism). The old and the new were not only side by side, but also gave transitional forms, mixed with each other, and through transitional forms the new made its way.

The main provisions of the dissertation are reflected in publications, with a total volume of 10.5 pp.

1. Ornament of folk embroidery of the Slavic population of the Kuban XIX - early XX century: Proc. settlement Krasnodar. 19s. - 8.4 p. l.

2. Some aspects of the classification of folk embroidery of the Slavic population of the Kuban in the 19th - early 20th centuries // Results of folklore and ethnographic studies of the ethnic cultures of the Kuban for 1998. Dikarevsky readings (5). Krasnodar, 1999. - S. 70-75.

3. Ornament of folk embroidery of the Slavic population of the Kuban (XIX - early XX century) // Actual issues of physical culture and sports: Proceedings of the Research Institute of Problems of Physical. culture and sports KubGAFK. T. 2. Anniversary. release. Krasnodar, 1999. - S. 146-150. (co-author)

4. Ceramics and embroidery in the everyday life of the population of the Kuban XIX - early XX century // Regional aspects of information and cultural activity. Abstracts of the international scientific conf. Krasnodar, 1999. - S. 158-160. (co-author)

5. The value of embroidered towels in the family and ritual sphere of the Slavic population of the Kuban XIX - early. XX centuries // Abstracts of the XX scientific conference of students and young scientists of the South of Russia, dedicated to the 30th anniversary of KubGAFK. Krasnodar, 1999. - S. 13. (Co-author).

6. Functions and artistic features traditional embroidery of the Kuban Cossacks // The emergence of the Cossacks and the formation of the Cossack culture: Materials of scientific. - practical conf. Rostov-on-Don, 1999. - S. 35-37.

7. Folk arts and crafts of the Kuban (embroidery, ceramics, forging) XIX - early XX century. // Archeology, ethnography and local history of the Kuban: Materials of the regional interuniversity and graduate student conference. Armavir-Krasnodar, 2000. - S. 24-25.

8. Traditional culture in the context of teaching fine arts in secondary school No. 3 // Orthodoxy, traditional culture, education: Sat. scientific articles. Krasnodar, 2000. - S. 165-169.

9. On the history of pottery of the Slavic population of the Kuban (XIX - early XX centuries) // Questions of the history of the Kuban (XIX - early XX centuries): Sat. scientific works. Krasnodar, 2001. - S. 62-72.

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The main types of arts and crafts

Folk crafts of the Kuban

Map of the Krasnodar Territory

Crafts of Kuban

• Ceramics: mainly pottery production of dishes, clay toys;

• Textiles: embroidery, lace knitting, patterned weaving;

• Weaving: from a vine (mainly from willow), straw, corn cob leaves;

• Wood carving;

• Kovan;

• Painting.

Ceramics

Pottery production of clay utensils was set as the basis. The most common items were: glaciers, makitras, sour cream, jugs, beekeepers, florists etc. They were decorated with watering, painting, relief ornament. The most common in the Kuban were Russian and Ukrainian traditions. Non-residents were mainly engaged in pottery production. The potters of the villages of Pashkovskaya, Temizhbekskaya, Otradnaya, Mostovskaya, Kholmskaya and others were famous in the Kuban for their products. An accompanying type of craft was the manufacture of clay whistle toys in the form of birds (ducks, cockerels (kochets) and animals). Bricks (adobe), tiles, facing plates for stoves and fireplaces were also made from clay.

Ceramics

Ceramics

Makitra

for the Kuban, a very important household item, the mother of all pottery: ferment milk, knead the dough, pickle cucumbers, pour grains, crush poppy seeds in a pie, water a horse, but you never know what such a dish will do. Yes, and potters have fun - they unscrewed a larger pot, but simpler, and a wider throat, in a word, as God gave - here's makitra for you.

pottery

Textile

Embroidery.

It was the most common type of folk arts and crafts in the Kuban. Folk craftsmen embroidered towels (towels), tablecloths (tabletops, tabletops), handkerchiefs, napkins, pillowcases, curtains, shirts, valances, etc. They embroidered mainly on hemp homespun linen, with a cross, black and red threads. Most of the products had vegetable or geometric ornament.

Textile

Lace. On the territory of the Kuban, crocheting of lace is widespread, passed down from generation to generation. Exploring and analyzing crochet lace in this region, we can distinguish characteristics: the spread of loin knitting technique everywhere, the presence of an ornament (geometric and floral), created on the basis of embroidery elements. It was carried out mainly to decorate towels, valances, pillowcases. There is lace made with knitting needles (napkins), shuttle (fillet-guipure), needle (collars, cuffs, handkerchiefs, scarves). Covers for pillows, napkins, tablecloths, bedspreads, etc. were also made.

Textile

Weaving.

In the Kuban, it developed mainly among the non-Cossack population (non-residents). Used mainly hemp fibers. Making hemp cloth is a complex and time-consuming process. The cloth was woven on a loom, which was brought to the Kuban mainly by settlers from Ukraine. The fabric ready for linen was usually bleached with ash or taken out into the cold.

Weaving

Vine weaving

It arose before pottery and occupied a significant place in life. ancient man. Back in the Stone Age, man mastered the art of weaving baskets, nets, and vessels.

From the vine weaved dwellings. Walls were woven from hazel rods, and in order to be durable, they were coated with clay. Weaving patterns varied.

Weaving was the progenitor of macramé, weaving, and even led to the appearance of lace.

The willow vine played the main role in weaving. A green willow met a person at birth - they made a cradle for a child and rattles from it.

In basket weaving, along with willow, many other types of raw materials were used: reeds, straw, cereals.

Weaving materials are also available. They can be easily found on the banks of a river, lake, in the forest, in meadows and in the garden.

Straw weaving

Vine weaving

Kovan

blacksmith craft

The Kuban people believed that a blacksmith could forge happiness for the young. And if he wants, he will bring misfortune. In ancient times, iron and products made from it were highly valued. Iron protected the hooves of horses, and the person who found the horseshoe was considered lucky. Blacksmiths forged knives, axes, nails, arrows, chain mail. Chain mail was a necessary accessory for any person; warriors put it on when going into battle. This metal clothing reliably protected the wearer from enemy blows.

The forge is always dark. Why do you think?

It turns out that in a dark room you can catch the moment when the metal acquires the desired color and is ready for forging.

At the end of the 19th century, artistic forging began to be widely used, the main products were stair visors. Before the revolution, there were 4 forges in our city. The largest forge Lomakin, which even made carts.

Kovan

Art painting

Painting.

They painted topping up (earthen floor), stove, chests. Sometimes there was a painting of huts outside. The most common in the Kuban is Petrakovskaya painting. This type of painting came to the Kuban from Ukraine. Settlers from the area of ​​the Ukrainian village of Petrakovka brought with them the skills and techniques of this painting. It is simple in execution, it uses different colors, but mostly red. The Cossacks liked this painting for its brightness. They painted gates, shutters with such a painting, they painted a Russian stove, a baby cradle, dishes in a hut. Floral (flowers, leaves) and animal (roosters, doves) ornaments were used in the motifs of the painting.

Goals and objectives of the lesson: Consider the traditional material culture of the Kuban of the XIX century Consider the traditional material culture of the Kuban of the XIX century Introduce students to the housing of the Cossacks, to the technique of building huts To acquaint students with the housing of the Cossacks, to the technique of building huts folk traditions To cultivate love and respect for the native land, for folk traditions

When the frame was ready, relatives and neighbors were called for the first smear "under the fists" - clay mixed with straw was hammered into the wattle fence with fists. A week later, they made a second smear “under the fingers”, when the clay mixed with sexual clay was pressed in and smoothed out with fingers. For the third "smooth" stroke, chaff and dung (dung thoroughly mixed with straw cutting) were added to the clay. the fourth stroke is “wiggle”, when with a rag - “wiggle” - they washed away the walls, applying clay to them with a neat layer.

They covered it with reeds, tangled straw or straw sheaves - parks. Then they put a stove in the hut - rude. The technology for building such a hut was transferred from Ukraine. They covered it with reeds, tangled straw or straw sheaves - parks. Then they put a stove in the hut - rude. The technology of building such a hut was transferred from Ukraine.

Construction of adobe houses The Cossacks built their own dwellings from adobe. Saman is a brick made of clay mixed with straw. The whole village gathered for the construction. Women and children kneaded clay with straw with their feet, men formed it into bricks, dried, and then laid out walls from them.

Check yourself 1. When was the village founded? How many years have we celebrated this year? 2. What part of the region was inhabited by the Black Sea Cossacks? 3. Where did the linear Cossacks settle? 4. What kind of huts were built? The building of the estate - farmstead. 5. What building material did you use? 6. Describe internal organization in a Cossack house. 7. How did the houses of the Lineians differ from the huts of the Black Sea people? 8. What was the name of the Kuban settlements since 1842?

Text material to accompany the presentation

"Decorative and applied art" Grade 5

Slide #1

The theme of the presentation is "Arts and crafts"

Slide #2

Among the objects that surround us in everyday life, there are surprisingly beautiful, created by the hands of artists. They belong to the area decorative and applied arts.

Its name comes from lat. decoro - decorate, and the definition of "applied" contains the idea that it serves the practical needs of a person, while satisfying his basic aesthetic needs.

Decorative and applied art is not only the most ancient of the arts, but also one of the most modern, because until now the works folk craftsmen decorate everyday life.

Slide #3

Decorative and applied art is diverse. Every nation has its own species artistic crafts. It depended on what materials were available to people: wood, clay, metal, etc.

Let's get acquainted with some types arts and crafts our country.

Embroidery is the brightest, most diverse and fascinating form of artistic creativity. In the old days, they embroidered on homespun fabric with counted and through seams. Today, cross-stitch, satin stitch, ribbons, and beads are widely used.

Slide #4

Knitting and lace making are ancient forms of art. You can knit on knitting needles and crochet from various yarns. They knit a wide variety of products: scarves, hats, scarves, mittens, socks, sweaters and other things. Pride of Russia - Orenburg down scarf. Down-knitting craft originated in the Orenburg region in the 18th century.

Lace is called "frozen colors of the northern winter."

Lace weaving began to be practiced in Russia in the 16th-17th centuries. The most famous lace craft is located in the Vologda region. Craftswomen weave products for home interior decoration - tablecloths, napkins, runners, and for fashionistas - blouses, collars, vests, scarves, etc.

Slide #5

Wood painting is an old Russian folk craft.

Khokhloma painting is decorative painting wooden utensils and furniture. The Khokhloma craft got its name from the large trading village of Khokhloma in the Nizhny Novgorod province, to which wooden products were brought for sale from nearby villages (these products were never produced in the village of Khokhloma itself). For Khokhloma fishing is typical original technique coloring wood in a golden color without the use of gold.

Three main colors are used in Khokhloma painting: red, black and gold , auxiliary colors used in small quantities are green and yellow. The painting is applied by masters with a brush by hand without preliminary marking.

Another type of painting on wood is Gorodets painting. Exists since mid-nineteenth in. near the town of Gorodets. The painting is done with a free stroke with a white and black stroke on a clean wooden background.

Compositions with horses, riders, trees and dogs still live in Gorodets murals. Fantasies on the theme of walks of gentlemen and ladies are varied, but horses are firmly preserved from traditional motifs. image of a horse represents the idea of ​​beauty and strength.

Slide #6

Hand-painted on batik fabric has long been known among the peoples of India, Indonesia and in translation means “a drop of wax”. In Russia, painting on fabric appeared quite recently, from the 20th century. and gained great popularity.

The technique is based on the use of a wax-based reserve composition, which is applied to the fabric with special tools, and then the paint corresponding to the fabric is applied.

Slide number 7

In Russia, manual carpet weaving is one of the leading artistic crafts of Dagestan. The art of carpet weaving came to us from the countries Arab world. Dagestan handmade carpets are of a national character and are highly valued as family heirlooms. Making a carpet or even a small piece of carpet is a very time-consuming process.

Slide #8

In the old days, fabric was made at home on looms with a simple linen weave (homespun fabric). Weaving with a more complex weave using colored threads was called patterned. Belts, ribbons, tracks, ribbons, clothing items were woven in this way.

Slide #9

The art of patchwork has been known to the peoples of the world for a long time.

In Russia, patchwork began to develop actively from the middle of the 19th century, when factory-made cotton fabrics became widespread.

Interest in this species decorative and applied art is growing steadily. More and more exhibitions of various levels are dedicated to the art of working with textile flaps. Festivals, competitions, master classes are held. In the city of Ivanovo, the All-Russian exhibition-competition "Patchwork Mosaic of Russia" is held every two years.

The inspiration for the collection of clothes for the games in Sochi was the image of a patchwork quilt.

When creating the collection, national ornaments of Russia were used, which, like particles of the most vivid impressions of the Games in Sochi, combined into a colorful and at the same time harmonious pattern on jackets and T-shirts.

Slide #10

The Kuban is a unique region, where for two centuries the elements of the traditional Eastern Ukrainian culture have been in close interaction with the elements of the South Russian culture.

Along with agriculture and cattle breeding, various trades and crafts played a certain role in the Cossack life and occupations: blacksmithing and pottery, woodworking, basket weaving, weaving, embroidery, artistic processing metal, manufacturing of products from leather and felted wool.

Since the end of the 19th century, the motifs of Russian, Ukrainian and Caucasian traditions have dominated in the art of folk Kuban masters.

The art of artistic woodworking has a deep tradition in the Kuban and is currently being widely developed. Wooden utensils - barrels, buckets, troughs, bowls, spoons, mortars, stirrers and other items were made in all mountain and foothill villages rich in forests.

Slide #11

Pottery in the Kuban was widespread in places where there was clay suitable for making ceramics. Basically, they made simple dishes, unpretentious toys for children.

In the Kuban, potters enjoyed great honor and respect; songs, fairy tales, and proverbs were composed about them. The forms of Kuban ceramics are simple, the ornament is bright and floral. At present, the tradition of pottery is continued by ceramic workshops led by Viktor Turkov (Krasnodar), Anatoly Shtanko and Nikolai Nadtochiev (Labinsky District), Mikhail Chudny and Gennady Mashkarin (Slavyansk-on-Kuban) and other craftsmen.

Slide #12

Basket weaving was brought to the Kuban by the Black Sea Cossacks from Ukraine at the end of the 18th century. A significant part of household utensils - from vegetable baskets to wicker and outbuildings, residents of the Kuban villages made from a vine. In basket weaving, along with willow, many other types of raw materials were used: reeds, straw, cereals.

Today, the masters of the Krasnodar experimental forestry worthily continue the traditions of the Kuban basket weaving. And in the village of Pashkovskaya lives a hereditary craftswoman from Cossack family Valentina Trofimovna Zhuk. Her baskets, boxes and even rings made of thin willow vines are taken abroad with pleasure by tourists as an example of a truly Kuban decorative and applied folk craft.

Slide #13

Historically, in the Kuban, the most widespread forging - blacksmithing. Blacksmiths were the master craftsmen. Since the end of the 19th century, up to five forges have been working in each Kuban village. Everything necessary for the life of villagers was made here - horseshoes, locks, tongs, chimneys for pipes, as well as interior items.

The Kuban people believed that a blacksmith could forge happiness for the young. And if he wants, he will bring misfortune. In ancient times, iron and products made from it were highly valued. Iron protected the hooves of horses, and the person who found the horseshoe was considered lucky.

Slide #14

The art of embroidery has always been appreciated in the Kuban. Embroidered patterns not only decorated clothes and household items made of fabric, but also served as amulets against evil forces. In every family, regardless of social status, women had to master various types of needlework: weaving and embroidery.

At present, the tradition of folk embroidery and weaving is continued by masters Galina Ruban from Krasnodar, Nina Maksimenko from Novokubansk and many others.

Slide #15

Krasnodar State Historical and Archaeological

museum-reserve them. E.D. Felitsyna-one from the largest regional scientific and educational institutions of the country. The collections of its funds include more than 500 thousand monuments of history and culture. In November 1990, the museum was named after its founder E.D. Felicina.

Reference E. D. Felitsyn - historian, local historian, initiator of many useful deeds in the social and cultural life of both the Kuban region and the North Caucasus.

Slides #16-19 introduce students to museum exhibits that reflect various types of decorative and applied art of the Kuban.

slide number 20

It is not enough to be proud of the art of one's people in the past, one must be worthy successor its best traditions. The Kuban is rich in craftsmen. Exhibitions that have now become traditional "Kuban craftsman", contribute to the further development of folk art of the region. interest in the most various types folk arts and crafts is constantly growing.

Krasnodar Territory, Vyselkovsky district, Vyselki village

Municipal educational institution average comprehensive school No. 2 named after I. I. Tarasenko of the village of Vyselki municipality Vyselkovsky district

Decorative and applied art of Kuban

Summary of extracurricular activities in grade 1

Prepared by a primary school teacher:

Nikitina Irina Vladimirovna

TOPIC: Decorative and applied art of Kuban.

GOAL: to create conditions for acquaintance with the folk - applied art of the Kuban.

Tasks :

Continue acquaintance with applied art and folk crafts of the Kuban;

To develop the creative qualities of the individual and aesthetic taste;

To cultivate love for the native land and respect for the traditions of the Cossacks.

Characteristics of the student's activity:

Use acquired knowledge and skills in practical activities.

Analyze and process Additional information about trades and crafts common in the Kuban.

Participate in a joint creative activity, when decorating a towel.

EQUIPMENT: presentation, items decorated with Kuban embroidery, samples of folk embroidery, cards for pair work, folders for technology lessons.

DURING THE CLASSES

1. Organizing time.
2. Reviewing what was learned in the previous lesson.

What is the name of the country we live in?

What is the name of our small homeland?

The student tells a poem about the Kuban.

Kuban - Russian land,

boundless spaces,

Gardens, fields, fields,

Seas, plains, mountains.

By your rivers and springs

Crystal cold water

Kuban is mine, and I know

That you are a child of Russia.

This poem was written by a resident of the village of Belaya Clay Zinaida Marenko.

1. Work in pairs.

In the last lesson, we studied how our ancestors lived, now we will find out if you were attentive in the lesson? Children in pairssolve the crossword puzzle.

1. The dwelling of the Cossacks.

2. How did you cover the roof of the hut?

The student recites the poem:

culture small homeland rich
In front of you is the dwelling of the ancestors - a hut,
Turluchnaya, and the roof - with reeds,
The blizzards didn't care for its residents.

3. Wicker fence around the hut.

4. What did the Cossack and his family sit on during dinner?

5. Embroidered towel.

A student recites a poem:

There are benches, a table, a chest of drawers and chests in the hut.
Makitras, glechiki, and spoons, towels,
As a rule, it is surrounded by wattle,
She is hidden and the shadows of the gardens.

Fizminutka: Kui, kui, chebotok, give the woman a hammer.

If you don't give a hammer, you won't get a kick. (Children perform exercises that a pre-prepared child demonstrates)

4. Reporting the topic of the lesson. Work on the topic of the lesson.

Today at the lesson we will get acquainted with the arts and crafts of the Kuban.

A certain role in the Cossack life and occupations was played byvarious craftsand crafts: blacksmithing and pottery, woodworking, basket weaving, weaving, embroidery, artistic metalworking, leather and felt wool products.

Since the end of the 19th century, the motifs of Russian, Ukrainian and Caucasian traditions have dominated in the art of folk Kuban masters.

potteryin the Kuban was common in places where there was clay .These are the four main areas where pottery has developed significantly. These are the villages of Pashkovskaya, Staroshcherbinovskaya, Rozhdestvenskaya and Batalpashinskaya. The villages, Pashkovskaya and Elizavetinskaya, had the best deposits of pottery clay in the Kuban. Basically, simple dishes, unpretentious toys for children were made, often pottery was combined with brick making. The jugs needed in everyday life - "glechiks", "makitras", bowls, mugs, were covered with brown or dark green glaze. The motifs of Russian, Ukrainian and Caucasian ceramics very often echoed in the forms and ornaments. At present, the tradition of pottery is continued by ceramic workshops.

One of the oldest folk crafts of the Eastern Slavs is weaving . It was brought to the Kuban by the Black Sea Cossacks from Ukraine at the end of the 18th century. A significant part of household utensils - from vegetable baskets to wicker and outbuildings, residents of the Kuban villages made from vines . All kinds of tops, baskets, various wattle fences, wallets (containers for storing grain) were woven from a flexible willow vine.

Historically, in the Kuban, the most widespread forging - blacksmithing. Blacksmiths were the master craftsmen. Since the end of the 19th century, up to five forges have been working in each Kuban village. Everything necessary for the life of villagers was made here - horseshoes, locks, tongs. Kuban blacksmiths they created real works of art from metal: forged over-wing umbrellas - “peaks”, lattices for windows, doors, balconies, front stairs, fences, weather vanes.

The most widely distributed in the Kuban embroidery. Cossack craftswomen embroidered towels, tablecloths, napkins, curtains, shirts, pillowcases.

Towel has long served as an indispensable accessory for traditional folk customs and rites. A special role was playedwedding towel. At least 40 towels had to be prepared for the wedding.
The largest and most elegant, " hands-on "- to the groom as a sign of the consent of the bride and her parents to the marriage. The bride gave the groom's relatives gifts with towels, they decorated the wedding train: they tied instead of reins, twisted arcs, laid them along the backs of the horses. And everyone who participated in the trip was also "scheduled by them ": the bride and groom held a towel in their hands, the boyfriend tied it crosswise on his chest. That's where the custom of wearing ribbons came from witnesses.

Before the wedding parents blessed the young with icons decorated with "blessed"Towels. They were embroidered with red threads, richly decorated. They were an obligatory accessory of the dowry.

At the wedding, the young stand at the lectern for the "wedding "a white towel - as if on a cloud, the bride and groom are delivered, torn out of the world for a while and, as it were, admiring inthe Kingdom of heavenfor there the blessing of their marriage takes place.

During the wedding, the priest bandages the hands of those who are getting married with "allied "Towel. This tradition bears a symbol of spiritual ties, a sign of the union of love and mutual affection of spouses, their close spiritual unity. Embroidered on the towel floral ornament, names of the bride and groom, advice and love.

According to an old Russian tradition after the wedding parents meet the newlyweds with a loaf at the wedding " hospitable "towel. The towel depicts pairs of birds (larks, doves). They symbolize the bride and groom. The drawing personifies family happiness, fidelity in love. Floral ornaments are also embroidered as a wish for the young "prosperity", health, wealth, the birth of children.

Each towel was decorated with embroidery, and now the art of embroidery has been preserved, your classmate did the cross-stitch and now he will tell you how he did it.

The student recites a prepared poem:

To stitch stitch-

And lay down a leaf

On a fabric stretched taut.

To stitch stitch -

And petal

Opened a flower as a gift to a friend.

1. Practical work.(Work in pairs). Towel decoration. Students draw a pattern on a piece of paper
2. Summary of the lesson. What have you learned?

What was interesting?

What did you especially like about the lesson?