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Arts and Crafts(from lat. decor- decorate) - a wide section of fine arts, which covers various branches of creative activity aimed at creating art products with utilitarian and artistic functions. The collective term conditionally combines two broad types of arts: decorative And applied. Unlike works of fine art, intended for aesthetic enjoyment and related to pure art, numerous manifestations of arts and crafts can be of 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.
Since the second half of the 19th century, the classification of branches of arts and crafts has been established in academic literature. by material (metal, ceramics, textiles, wood), according to the execution technique (carving, painting, embroidery, printing, casting, embossing, intarsia, etc.) and according to functional features use of the object (furniture, toys). This classification is due to the important role of the constructive-technological principle in arts and crafts and its direct connection with production.

Species specificity of DPI

• Sewing- creating stitches and seams on the material using a needle and thread, fishing line, etc. Sewing is one of the oldest production technologies that arose back in the Stone Age.
  • Flower making - making women's jewelry from fabric in the form of flowers
  • Patchwork (sewing from patches), patchwork quilt - patchwork technique, patchwork mosaic, textile mosaic - a type of needlework in which, according to the mosaic principle, a whole product is sewn from pieces of fabric.
    • Application - a way to obtain an image; arts and crafts technique.
  • Quilted products, quilting - two pieces of fabric stitched through and a layer of batting or cotton wool laid between them.
• Embroidery- the art of decorating all sorts of fabrics and materials with a variety of patterns, from the coarsest and densest, such as, for example: 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 products from continuous threads by bending them into loops and connecting the loops to each other using simple tools manually or on a special machine.
• Artistic leather processing- production of various items from leather, both for household and decorative purposes.
• Weaving- the production of fabric on looms, one of the oldest human crafts.
• Carpet weaving- production of carpets.
• Burnout- a pattern is applied to the surface of any organic material with a hot needle.
  • Woodburning
  • Burning out on fabric (guilloche) is a needlework technique that involves finishing products with openwork lace and making appliqués by burning them out using a special apparatus.
  • For other materials
  • Hot stamping is a technology for artistic marking of products by hot stamping.
  • Wood treatment with acids
• Artistic carving- one of the oldest and most widespread types of material processing.
  • Stone carving is the process of forming the desired shape, which is carried out by drilling, polishing, grinding, sawing, engraving, etc.
  • Bone carving is a kind of arts and crafts.
  • wood carving
• Painting on porcelain, glass
• Mosaic- formation of an image by arranging, setting and fixing multi-colored stones, smalt, ceramic tiles and other materials on the surface.
• stained glass- a work of decorative art of a pictorial or ornamental nature made of colored glass, designed for through lighting and intended to fill an opening, most often a window, in any architectural structure.
• Decoupage- a decorative technique for fabrics, dishes, furniture, etc., which consists in scrupulously cutting out images from paper, which are then glued or otherwise attached to various surfaces for decoration.
• Modeling, sculpture, ceramic floristry- shaping plastic material with the help of hands and auxiliary tools.
• Weaving- a method of manufacturing more rigid structures and materials from less durable materials: threads, plant stems, fibers, bark, twigs, roots and other similar soft raw materials.
  • Bamboo - weaving from bamboo.
  • Birch bark - weaving from the upper bark of a birch.
  • Beading, beading - the creation of jewelry, artistic products from beads, in which, unlike other techniques where it is used, beads are not only a decorative element, but also a constructive and technological one.
  • Basket
  • Lace - decorative elements made of fabric and threads.
  • Macrame is a knot weaving technique.
  • Vine - the craft of making wicker products from a vine: household utensils and containers for various purposes.
  • Mat - flooring weaving flooring from any rough material, mat, matting.
• Painting:
  • Gorodets painting is a Russian folk art craft. Bright, laconic painting (genre scenes, figurines of horses, roosters, floral patterns), made with a free stroke with white and black graphic strokes, adorned spinning wheels, furniture, shutters, doors.
  • Polkhov-Maidan painting - the production of painted turning products - nesting dolls, Easter eggs, mushrooms, salt shakers, goblets, supplies - generously decorated with juicy ornamental and plot painting. Among the picturesque motifs, flowers, birds, animals, rural and urban landscapes are the most common.
  • Mezen painting on wood - a type of painting of household utensils - spinning wheels, ladles, boxes, brothers.
  • Zhostovo painting is a folk craft of artistic painting of metal trays.
  • Semyonovskaya painting - making a wooden toy with a painting.
  • Khokhloma is an old Russian folk craft that was born in the 17th century in the district of Nizhny Novgorod
  • Stained glass painting - hand painting on glass, stained glass imitation.
  • Batik - hand-painted on fabric using reserve compositions.
    • Cold batik - the technique of painting on fabric uses a special reserving composition with cold.
    • Hot batik - a pattern is created using melted wax or other similar substances.
• scrapbooking- design of photo albums
• Clay crafting— creation of forms and objects from clay. Can be sculpted with a potter's wheel or by hand.

For myself (about the tapestry):

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.”

Tapestries were made of wool, silk, sometimes gold or silver threads were introduced into them. Currently, a wide variety of materials are used for the manufacture of carpets by hand: threads from synthetic and artificial fibers are preferred, natural materials are used to a lesser extent. The technique of hand weaving is laborious, one master can make about 1-1.5 m² (depending on density) of trellis per year, so these products are available only to wealthy customers. And at present, a handmade tapestry (trellis) continues to be an expensive piece.

From the Middle Ages and up to the 19th century, the production of tapestries was practiced in cycles (ensembles), which combined products related to one theme. This set of tapestries was intended to decorate the room in the same style. The number of tapestries in the ensemble depended on the size of the premises in which they were supposed to be placed. In the same style as wall trellises, canopies, curtains, pillow cases, which also made up the set, were made.

It is correct to call tapestries not any lint-free ornamented carpets, but only those on which images are created using the technique of weaving itself, i.e. interweaving of weft and warp threads, and therefore they are an organic part of the fabric itself, in contrast to embroidery, the patterns of which are applied to the fabric additionally with a needle. Medieval tapestries were produced in the monastic workshops of Germany and the Netherlands, in the cities of Tournai in the west of Flanders and Arras in northern France. The most famous are millefleurs (French millefleurs, from mille - “thousand” and fleurs - “flowers”). The name arose from the fact that the figures on such tapestries are depicted against a dark background dotted with many small flowers. This feature is associated with the old custom of holding the Catholic feast of the Body of the Lord (celebrated on Thursday after the day of the Holy Trinity). The streets along which the festive procession moved were decorated with panels woven with many fresh flowers. They were hung out of windows. It is believed that weavers transferred this decor to carpets. The earliest known millefleur was made in Arras in 1402. Carpets from this city were so popular, in particular in Italy, that they received the Italian name "arazzi".

Cardboard in painting- a drawing with charcoal or a pencil (or two pencils - white and black), made on paper or on a primed canvas, from which a picture is already painted with paints.

Initially, such drawings were made exclusively for frescoes, thick paper (ital. cartone), on which the drawing was made, pierced along its contour, superimposed on the ground prepared for fresco painting, and sprinkled with charcoal powder along the puncture, and thus a faint black was obtained on the ground circuit. Fresco painting was written immediately without amendments, so the application of a finished, completely deliberate contour was necessary. Finished boards often have the value of paintings, with the exception of paints; such are the cardboards of Michelangelo, Leonardo da Vinci, Raphael (cardboards for "School of Athens" kept in Milan), Andrea Mantegni, Giulio Romano and others. Often, famous artists performed cardboard for woven carpet-pictures (trellis); known seven cardboard Raphael from "Acts of the Apostles", performed by him for the Flemish weavers (kept in the Kensington Museum in London), four cardboards by Mantegna. From 19th century cardboard we can mention the works of Friedrich Overbeck, Julius Schnorr von Karolsfeld, P. J. Cornelius ( "Destruction of Troy", "Last Judgment" and others), Wilhelm von Kaulbach ( "Destruction of Jerusalem", "Battles of the Huns" etc.), Ingra - for painting on glass in the tomb of the Orleans house. In Russia, paintings were made on cardboard in St. Isaac's Cathedral (not preserved). Sometimes cardboards are created by some artists, and paintings on them by others. So, Peter Josef Cornelius gave some of the cardboard almost completely at the disposal of his students.

Materials, technique

Until the 18th century, wool was used for the base in tapestries - the most affordable and easy-to-work material, most often it was sheep's wool. The main requirement for the base material is strength. In the 19th century, the basis for tapestries was sometimes made of silk. The cotton base significantly lightens the weight of the product, it is durable, more resistant to adverse environmental influences.

In tapestry weaving, the density of the carpet is determined by the number of warp threads per 1 cm. The higher the density, the more opportunities the weaver has to complete fine details, and the slower the work progresses. In a medieval European tapestry, there are about 5 warp threads per 1 cm. The products of the Brussels manufactories of the 16th century had the same low density (5-6 threads), but local weavers managed to convey the complex nuances of the image. Over time, the tapestry is getting closer and closer to painting, its density increases. At the Gobelin manufactory, the density of tapestries was 6-7 threads per 1 cm in the 17th century, and in the 18th century it was already 7-8. In the 19th century, the density of the products of the Beauvais manufactory reached 10-16 threads. Such a tapestry, in fact, has become just an imitation of easel painting. One of the means of returning decorativeness to the tapestry, Jean Lursa considered reducing its density. In the 20th century, French manufactories returned to the density of tapestries in 5 threads. In modern hand weaving, the density is taken at 1-2 threads per cm, the density of more than 3 threads is considered high.

Tapestries are woven by hand. The warp threads are stretched on the machine or frame. The warp threads are intertwined with colored woolen or silk threads, while the warp is completely covered, so its color does not play any role.

The earliest and simplest device for the weaver's work was a frame with stretched warp threads. The base can be fastened by pulling on nails driven into the frame, or by using a frame with cuts evenly spaced along the top and bottom edges, or by simply winding the thread around the frame. However, the latter method is not very convenient, since the warp threads can shift during the weaving process.

Later, high and low looms appeared. The difference in working on the machines lies mainly in the arrangement of the warp threads, horizontal on a low loom and vertical on a high loom. This is due to their specific device and requires characteristic movements during work. In both cases, the way to create volume and color transitions in the picture is the same. Threads of different colors are intertwined and create the effect of a gradual change in tone or a sense of volume.

The image was copied from cardboard - a preparatory drawing in full-size color of the tapestry, made on the basis of the sketch of the artist. On one cardboard, you can create several tapestries, each time something different from each other.

Mechanically, the tapestry production technique is very simple, but it requires a lot of patience, experience and artistic knowledge from the master: only an educated artist can be a good weaver, a painter in his own way, differing from the real one only in that he creates the image not with paints, but with colored thread . He must understand drawing, color and light and shade like an artist, and in addition, he must also have complete knowledge of the techniques of trellis weaving and the properties of materials. Quite often it is impossible to pick up threads of different shades of the same color, so the weaver has to tint the threads in the process of work.

When working on a vertical machine, from its upper shaft, as the product is ready, the base is unwound, and the finished trellis is wound onto the lower one. Carpets made on a vertical loom are called haute-lisse(Gotlis, from fr. haute"high" and lisses"the basis"). The Gotliss technique allows you to perform a more complex drawing, but it is also more laborious. The weaver's workplace is located on the wrong side of the carpet, on which the ends of the threads are fixed. The image from the cardboard is transferred to tracing paper, and from it to the carpet. Cardboard was placed behind the back of the weaver, and a mirror was placed on the front side of the work. By spreading the warp threads, the master can check the accuracy of the work on cardboard.

Other carpets, in the manufacture of which the warp is located horizontally between two shafts, due to which the work of the weaver is greatly facilitated, are called basse-lisse(baslis, from fr. basse"low" and lisses"the basis"). The warp threads are stretched between two shafts in a horizontal plane. The trellis is turned to the weaver with the wrong side, the pattern from the cardboard is transferred to the tracing paper placed under the warp threads, so the front side of the product repeats the cardboard in a mirror image. The master works with small bobbins, on which threads of different colors are wound. Passing a bobbin with a thread of any color through the warp and entangling the latter with it, he repeats this operation the required number of times, and then leaves it and takes another with a thread of a different color, in order to return to the first bobbin when needed again.

After the tapestry is removed from the loom, it is impossible to distinguish in which of the two techniques it was made. To do this, you need to see the cardboard - the baslis tapestry repeats it in a mirror image, the Gotlis - in direct.

Features of the artistic language of the DPI

The subject of activity of the artist of arts and crafts determines the features of the creative method. Most often, three main terms are used to refer to these features: abstraction, geometrization, stylization.

abstraction(lat. abstraction - “distraction”) involves the distraction of a decorative image from a specific object-spatial natural environment, since the role of such an environment, in contrast to easel art, is taken over by the decorated surface. Hence the fundamental conventionality of decorative depiction, in which different moments of time and space can easily be combined. A connoisseur of Russian ceramics A. B. Saltykov convincingly wrote about this, noting the “lack of unity of place, time and action” as the fundamental principle of decorative composition. In particular, the decor located on the three-dimensional form of the vessel, interacting with the curvilinear space of its surface, is located depending on the "geography" of the object, and not according to ordinary ideas. The curvature, color and texture of the surface to be decorated, for example, a white background in porcelain or faience painting, can equally easily denote water, sky, earth or air, but, above all, the aesthetic value of the surface as such. W. D. Blavatsky wrote that the painting of the ancient Greek kylix (bowl) should be viewed by turning the vessel in the hands. Now we can circle around the museum showcase.

The transitional stages of the process of abstraction and geometrization of a decorative image are called “pictorial ornament”, and according to genre varieties they are divided into vegetable, animal, mixed ... One of the most interesting genre varieties of mixed pictorial ornament in the history of art is the grotesque.

Stylization in the most general meaning of the term, the intentional, conscious use by the artist of forms, methods and techniques of shaping, previously known in the history of art, is called. At the same time, the artist is mentally transferred to another century, as if plunging "deep into time." Therefore, this stylization can be called temporary. Stylization can have a private, fragmentary character, then individual themes, forms, motifs, and techniques are chosen as the subject of an artistic game. Sometimes this method of shaping is called the stylization of the motif. A significant part of the works of art "art nouveau" ("new art") of the turn of the XIX-XX centuries. built on the stylization of one motif: a wave, a plant shoot, strands of hair, a bend of a swan's neck. These lines were in vogue of the "turn of the century" culture. In particular, the famous French decorator and fashion designer Paul Poiret (1879-1944) came up with a smoothly curved line of women's dress, which they called: the Poiret line.

The stylization of a motif can be considered as a special case of decorative stylization, since the artist's efforts are aimed at including a separate work, its fragment or a stylized motif into a broader compositional whole (which corresponds to the general meaning of the concept of decorativeness). Using the method of holistic stylization, the artist is mentally transferred to a different era, a decorative one - he strives to think organically in the object-spatial environment that has already developed around him. We called the first method the method of temporal stylization, and the second one can be called spatial.

It is clear that the method of decorative stylization is most fully manifested in the decorative arts and, in particular, in the art of spectacular posters and book illustrations, although there are exceptions. Thus, the remarkable painter and draftsman A. Modigliani built the tender expressiveness of images on frank stylization of line and hyperbolization of form, and his “masks” stylize African patterns.

In the work of many artists, the methods of abstraction, geometrization and stylization are organically combined.

The density, saturation of the image, the predominance of figures over the background also contribute to decorativeness. In some cases, this leads to the so-called ornamentation of the decor, in others - to the "carpet style". The processes of transformation of pictorial elements are united by the concept of geometrization. Ultimately, this trend leads to an extremely abstract or geometric ornament.

In addition to the fundamental methods - abstraction, geometrization and stylization - the artist of arts and crafts uses private methods of shaping, or artistic tropes (Greek tropos - "turn, turn").

In the visual arts, comparison is based on geometrization. Remarkable examples of such comparisons are works of "animal style". This style dominated “small forms” items in the vast expanses of Eurasia from the Lower Danube, the Northern Black Sea region and the Caspian steppes to the Southern Urals, Siberia and the northwestern part of China in the 7th-4th centuries. BC e.

Classical examples of assimilation of form to format are compositions in a circle, in particular, compositions of the Donets of ancient Greek kiliks - round wide bowls on a stem with two horizontal handles on the sides. From such cups they drank wine diluted with water. In ancient houses, in between symposiums (feasts), kylixes were usually hung by one of the handles from the wall. Therefore, the paintings were placed on the outside of the bowl, around the circumference, so that they were clearly visible.

The main issue of DPI

All works of antiquity organically combined material and spiritual, utilitarian, aesthetic and artistic value. It is interesting that in early antiquity there was no separate understanding of the qualities of a vessel as a container, its symbolic meaning, aesthetic value, content and decor.

Later, the pictorial space of things began to be divided into the inner container and the outer surface, the form and ornament, the object and the surrounding space. As a result of such a differential process, the problem of the organic connection of the functions and form of the product, its harmony with the environment arose.

At the same time, the assertion that a truly decorative image should be planar does not correspond to reality. The abstraction of decor does not consist in adaptation, but in the interaction of pictorial form and environment. Therefore, illusory images that visually “break through” the surface can be just as decorative as those that “creep along the plane”. It all depends on the artist's intention, the correspondence of the compositional solution to the idea.

The same applies to the problem of revealing the natural properties of the material of the surface to be decorated. A completely gilded porcelain vase or a “metal-like” cup can be no less beautiful than the finest polychrome painting, shading the sparkling whiteness. Is it possible to say that the natural texture of wood is more decorative than its surface covered with bright paint and gilding, and matte biscuit (unglazed porcelain) looks better than shiny glaze?

In 1910, the eminent Belgian architect, painter and art nouveau theorist Henri Van de Velde (1863–1957) wrote a polemical article entitled “The Animation of Material as a Principle of Beauty”.

In this article, Van de Velde outlined his views on one of the main problems of the "new style" - the attitude of the artist to the material. He argues with the traditional opinion that the applied artist should bring out the natural beauty of the material. “No material,” Van de Velde wrote, “can be beautiful in itself. It owes its beauty to the spiritual principle that the artist brings to nature.” Spiritualization of "dead material" occurs through its transformation into a composite material. In this case, the artist uses different means, and then on the basis of the same materials he gets the opposite result. The meaning of the artistic transformation of natural materials and forms, in contrast to the aesthetic properties that are objectively present in nature, according to Van de Velde, is dematerialization, giving properties that this material did not have before the artist's hand touched it. This is how a heavy and rough stone turns into the thinnest “weightless” lace of Gothic cathedrals, the material properties of dyes are transformed into the radiance of the color rays of a medieval stained-glass window, and gilding becomes capable of expressing heavenly light.

In the arts and crafts, where the artist is obliged to solve the problem of the relationship between the part and the whole, including his own composition in a wide spatio-temporal context, the paths acquire fundamental importance. Transfers of meanings can be carried out in different ways and compositional techniques. The simplest technique is well known in the history of the art of the ancient world. It is likening form to format. Such a pictorial trope can be correlated with a literary comparison on the basis of the “whole with the whole” principle, for example: “A horse flies like a bird.”

Terminology in DPI

Liters

Vlasov V. G. Fundamentals of the theory and history of arts and crafts. Teaching aid. - St. Petersburg State University, 2012. - 156 p.

Moran A. History of decorative and applied arts. - M

Man has always tried to embellish his life, introducing elements of aesthetics and creativity into it. Craftsmen, creating household items - dishes, clothes, furniture, decorated them with ornaments, patterns, carvings, encrusted with precious stones, turning them into real works of art.

Decorative art, in fact, existed in prehistoric times, when he decorated his dwelling with rock paintings, but in academic literature it was singled out only in the 50s of the 19th century.

Term meaning

The Latin word decorare translates as "to decorate". That it is the root of the concept of "decorative", that is, "decorated". Therefore, the term "decorative art" literally means "the ability to decorate."

It is subdivided into the following constituent types of art:

• monumental - decorating, painting, mosaics, stained-glass windows, carvings of buildings and structures;
• applied - applies to everyone, including dishes, furniture, clothes, textiles;
• decoration - a creative approach to the design of holidays, exhibitions and shop windows.

The main feature by which the decorative is distinguished from the elegant is its practicality, the possibility of using it in everyday life, and not just aesthetic content.

For example, a painting is a piece of fine art, while a carved candlestick or a painted ceramic plate is applied art.

Classification

The branches of this art form are classified by:

• Materials used in the process of work. It can be metal, stone, wood, glass, ceramics, textiles.
• Execution technique. A variety of techniques are used - carving, inlay, casting, printing, embossing, embroidery, batik, painting, weaving, macrame and others.
• Functions - the object could be used in different ways, for example, as furniture, dishes or toys.

As can be seen from the classification, this concept has a very wide scope. Closely associated with artistry, architecture, design. Objects of arts and crafts form the material world that surrounds a person, making it more beautiful and richer in aesthetic and figurative terms.

Emergence

Throughout the ages, artisans have tried to decorate the fruits of their labor. They were skilled craftsmen, had excellent taste, improved their skills from generation to generation, carefully guarding the secrets within the family. Their goblets, banners, tapestries, clothes, cutlery and other household items, as well as stained-glass windows, frescoes were distinguished by high artistry.

Why did the definition of "decorative art" appear precisely in the middle of the 19th century? This is due to when, in the course of the rapid growth of machine production, the manufacture of goods from the hands of artisans passed to plants and factories. Products have become unified, non-unique and often unattractive. Its main task was only rough functionality. Under such conditions, applied craft literally meant the production of a single product with a high artistic value. Craftsmen applied their art, creating exclusive decorated household items, which, under the conditions of the industrial boom, began to be in special demand in the rich sections of society. And so the term "arts and crafts" was born.

History of development

The age of decorative art is equal to the age of mankind. The first objects of creativity found belong to the Paleolithic era and are rock paintings, jewelry, ritual figurines, bone or stone household items. Given the primitiveness of the tools, the decorative arts in ancient society were very simple and crude.

Further improvement of the means of labor leads to the fact that objects that serve practical purposes and at the same time decorate everyday life become more and more elegant and refined. Masters put their talent and taste, emotional mood into household items.

Folk decorative art is permeated with elements of spiritual culture, traditions and views of the nation, the nature of the era. In its development it covers vast temporal and spatial layers, the material of many generations is truly immense, therefore it is impossible to line up all its genres and types in one historical line. The stages of development are conditionally divided into the most significant periods, within which the most striking masterpieces of arts and crafts stand out.

Ancient world

The decorative art of Egypt is one of the most significant pages in the history of applied art. Egyptian craftsmen brought to perfection such artistic crafts as bone and wood carving, metal processing, jewelry, colored glass and earthenware, and the finest patterned fabrics. Leather, weaving, pottery were at the height. Egyptian artists have created wonderful monuments of art, which the whole world admires today.

No less significant in the history of applied art were the achievements of ancient Eastern masters (Sumer, Babylon, Assyria, Syria, Phenicia, Palestine, Urartu). The decorative art of these states was especially pronounced in such crafts as carving on ivory, chasing on gold and silver, inlaid with precious and semi-precious stones, and artistic forging. A distinctive feature of the products of these peoples was the simplicity of forms, the love of small and detailed details in the decor, and the abundance of bright colors. Reached a very high level

Products of antique artisans are decorated with images of plants and animals, mythical creatures and heroes of legends. The work used metal, including noble, faience, ivory, glass, stone, wood. Cretan jewelers achieved the highest skill.

The decorative art of the countries of the East - Iran, India - is permeated with deep lyricism, refinement of images, combined with classical clarity and purity of style. Centuries later, fabrics are admired - muslin, brocade and silk, carpets, gold and silver items, chasing and engravings, painted glazed ceramics. The chandelier and border tiles that adorned secular and religious buildings amaze the imagination. Artistic calligraphy has become a unique technique.

The decorative art of China is distinguished by its unique originality and exclusive techniques, which had a serious influence on the work of the masters of Japan, Korea, and Mongolia.

The art of Europe was formed under the influence of the arts and crafts of Byzantium, which absorbed the spirit of the ancient world.

The identity of Rus'

Folk decorative art was influenced by the Scythian culture. Artistic forms have achieved great pictorial power and expressiveness. The Slavs used glass, rock crystal, carnelian, amber. Jewelry and metalworking, bone carving, ceramics, and decorative painting of temples were developed.

A special place is occupied by Easter eggs, woodcarving, embroidery and weaving. In these types of art, the Slavs reached great heights, creating sophisticated, exquisite products.

National ornaments and patterns became the basis of decorative art.

Introduction.

The whole world is an object of art, which is a specific form of labor, and as the researcher of decorative art A.B. Saltykov, "one of the manifestations of human creativity."

The beauty of a thing lies in the artistic expressiveness of the form and the complete consistency of this character with the purpose of the thing itself. The main feature of decorative art is decorativeness, as a special form of beauty expression.

Beauty is inherent in human nature itself. With it, a person seeks to fill the world around him, to endow tools and objects that accompany him in everyday life. This area of ​​material culture is called arts and crafts. An integral component of the decoration of the things around us is an ornament.

The idea of ​​Jawaharlal Nehru (political figure of India) that by studying arts and crafts, one can write the history of civilization, is confirmed by the practice of studying ornaments.

Goal of the work: the study of ancient ornaments in modern decorative art.

Work tasks: 1. To study the history of the appearance of kuskar and paisley ornaments.

2. To study the use of these ornaments in art and household items.

3. Master the technique of making ornaments in the technique of dot painting.

4. Make a painting of household items with ancient ornaments using the modern technique of dot painting with a contour on glass.

Hypothesis: we assume that ancient ornaments are relevant in modern arts and crafts and continue their life in the objects of modern authors.

Work object: interpretation of ancient ornaments.

Subject of study: kuskar and paisley ornaments.

Methods used:

Ø Description;

Ø Collection of information;

Ø Observation;

Ø Analysis;

Ø Practical work in the technique of spot painting with a contour on glass.

We see the practical application of the results of this work in the aesthetic perception of the received household items, the vision of ancient ornaments as a connecting thread between the ancient and modern arts and crafts of man.

Decorative and applied art has never existed separately from other human activities. It was woven into them, existed as an integral part of hunting, fishing, farming, and other types of human economic activity. And now arts and crafts continues to be an integral part of many activities. Especially those that require manual labor. For example, the work of potters, glass blowers, jewelers, shoemakers, tailors, cabinet makers.

The origins of arts and crafts go back centuries. The works of decorative and applied art embodied the peculiarities of the worldview of the people, their understanding of beauty. Weaving, embroidery, artistic and decorative processing of wood, metal and leather, the features of decorating clothes and homes provide us with excellent examples of ornamentation.

1.2. Ornament - as a kind of arts and crafts

The origin of the ornament and its ancient meaning are associated with the religious worldview of people who sought to decorate clothes and household items to propitiate evil spirits, protect themselves from them or give themselves strength. Many elements are found in different peoples.

Translated from Latin, "ornament" means "decoration, pattern."

The ornament is an obligatory component of the decoration of things. Researchers of the ornament believe that it arose already in the Upper Paleolithic era (15-10 thousand years BC). Based on non-pictorial symbolism, the ornamentation was almost exclusively geometric, consisting of the strict forms of the circle, semicircle, oval, spiral, square, rhombus, triangle, cross, and various combinations thereof. Zigzags, strokes, stripes, a “Christmas tree” ornament, a braided (“rope”) pattern were used in the decor. Ancient man endowed his ideas about the structure of the world with certain signs. For example, a circle is the sun, a square is the earth, a triangle is mountains, a swastika is the movement of the sun, a spiral is development, movement, etc., but they, in all likelihood, did not yet have decorative qualities for objects (often covered with ornaments hidden from human eye parts of objects - bottoms, reverse sides of jewelry, amulets, amulets, etc.). Gradually, these signs-symbols acquired the ornamental expressiveness of the pattern, which began to be considered only as an aesthetic value. The purpose of the ornament was determined - to decorate. But it is fair to say that pictography, an early stage of writing, appeared from ornamental motifs.

Ornament is one of the oldest types of human pictorial activity, which in the distant past carried a symbolic and magical meaning, significance. In those days, when a person switched to a settled way of life and began to make tools and household items. The desire to decorate your home is characteristic of a person of any era. And yet, in ancient applied art, the magical element prevailed over the aesthetic, acting as a talisman against the elements and evil forces.

Types of patterns

Modern types of patterns can be divided into two groups

Fine ornaments based on objects of the real world - plants, animals (zoomorphic motifs), landscapes, human images (anthropomorphic motif), various objects;

Geometric elements, abstract and psychedelic images that may have originally had a real prototype, but have changed beyond recognition.

More ancient are the geometric types of patterns on fabrics - these are such well-known motifs of ornaments as a strip, zigzag, cage, rhombus, polka dot, triangle, etc.

Apparently, the very first ornament adorned a vessel molded of clay, when the invention of the potter's wheel was still far away. And such an ornament consisted of a series of simple dents made on the neck with a finger approximately at an equal distance from each other. Naturally, these dents could not make the vessel more comfortable to use. However, they made it more interesting (pleased the eye) and, most importantly, "protected" from the penetration of evil spirits through the neck.

The same applies to the decoration of clothes. Magic signs on it protected the human body from evil forces. Therefore, it is not surprising that spell patterns were placed on the collar, sleeves, and hem.

But the early decorative and ornamental elements could not have a semantic meaning, but be only abstract signs in which they expressed a sense of rhythm, form, order, symmetry.

So what is an ornament? The art of savages or the code of the nation, trifle or fate? Each nation has its own set of rhythmically repeating color patterns, which, if desired, can be read and understood a lot: from the fate of ethnic groups to the character of an individual. The history of the ornament and the history of the people are inseparable from each other. Moreover, everything is so closely intertwined that now you will not immediately understand whether the character of the people creates an ornament, or a characteristic ornament, like a guiding thread, leads its people through the labyrinths of centuries into the future. The ornament is the "blood" of the people. For example, in terms of blood composition, South American Indians have nothing in common with North American Indians, because. the first are the descendants of the Indochinese, and the second are immigrants from the north of Eurasia. Therefore, the inhabitants of these two continents are different not only at the genetic level, but also in their worldview, which is expressed in different ways in their work. Or, say, the Bulgarians. By blood - northern Greeks, Thracians, and by language and mentality - Slavs.

The ornament clearly gives an idea of ​​the history of the people. For example, arable farming and draft power appeared among the people, and a new fashion for stylized images of horses immediately arose, which was immediately imprinted in ornaments. Contacts with southern neighbors have been established - new patterns with exotic plants and an eastern bend of lines have appeared. Thus, the unusually rich ornament absorbed the best and most stable ornamental traditions.

Knowing the origins of a nation, one can understand a lot in national art. K. M. KLIMOV, head. Department of Art History of UdGU, Doctor of Art History, Professor, Head of the project “Slavic, Finno-Ugric, Turkic World: Interaction of Cultures” writes in his book “Udmurt Textile Ornament as a Dialogue of Cultures”: “One familiar Kazakh woman living in Russia, somehow complained: “You have here all the space with corners - streets, house, furniture, but everything is different with us - yurt, steppe, horses. I can’t dig a garden in a straight line, I want to move in a circle ... ”And I immediately imagined a Kazakh ornament - flowing, smooth, flowing, like the movements of a rider guiding a herd of horses ... Perhaps the ornament originates at the psychophysiological level.”

Ornament is not only something original, original. This is also a consequence of migration processes, trade and economic ties, and the dialogue of cultures. For example, in some ornaments, a layer of Judaic can be traced, which appeared as a result of trade relations with the Khazar Khaganate, an ancient Jewish state. From the Khazars came raw silk, with which embroideries were made, and from our places - furs.

Not everyone knows that Khokhloma painting is associated with the Old Believers, who were exiled for their religious beliefs to Nizhny Novgorod, Siberia and Altai. The Old Believers were copyists of religious books, in which the initial letters were decorated in exactly the Khokhloma manner, as we now say. And since it was impossible for them to copy books, but they had to live somehow, they transferred their skill to household utensils, which were perfectly dispersed at fairs.

For example, in the Udmurt ornaments of the 19th-20th centuries, the Belarusian-Ukrainian influence (lush roses, large plant motifs) is visible, which is also historically explainable. The influence went through the zemstvo workshops and stencil drawings that came into fashion.

The origins of the Bashkir arts and crafts are lost in the mists of time. The needs of nomads for weapons and equipment, and the needs of farmers for tools contributed to the widespread development of various folk crafts. This opened a wide path to the emergence of arts and crafts, which was embodied in weaving, embroidery, artistic and decorative processing of wood and metal, in the design of national costumes and home decorations. Through all this, the Bashkirs expressed their attitude to nature and to the life of society.

In ancient times, all decorations of arts and crafts played the role of talismans and amulets, protected a person from the evil eye, from the effects of evil forces and spirits. Over time, a person's ideas about the world have changed, and the purpose of jewelry has changed. They gradually lost their original magical function and became mere objects of decoration.

Decorating their products, the people talked about themselves, about their kind, about the surrounding life, nature, therefore, one more definition of the ornament can be given - this is the symbolic-graphic language of the people, expressing their feelings, concepts.

The very special place of the ornament in the culture of a traditional society can be judged by the activity of its use. They decorated clothes (everyday, festive, ritual), women's jewelry, various items (household utensils and religious objects), housing, its decoration, weapons and armor, horse harness.

Ornament is one of the ancient forms of pictorial activity since the Paleolithic. The initial images were unsophisticated: a twig, a fragment of a shell, held on wet clay, or plant seeds pressed into it. Over time, real seeds were replaced with their images. Already in the Neolithic era, the ornament of ceramics was not a random set of strokes, stripes, dashes, but a thoughtful, compositionally verified drawing filled with symbolic content. Any ornament is readable like a book, because it has its own "alphabet", thoughts, plots, history, attitude to the world. And in the language of symbols, lines, colors, rhythm, he speaks about his people: what he is, what temperament, character, fate he has.

1.3. Kuskar - as a form of fine art of the people.

Ornament for the Bashkir people was the only form of artistic and visual creativity. The almost complete absence of realistic images of animals, people and landscapes in Bashkir folk art was due to the influence of Muslim culture, namely, the prohibition of Islam to depict living things. Islam not only excluded from art all other images, except for the ornament, but also determined the extreme stylization of its form, the spread of geometric ornament. However, the northern regions of the Muslim world knew the widespread use of animal images in ornamentation, more often stylized, and sometimes even of a relatively realistic nature.

Paganism, with its magical, totemic and animistic ideas, had a significant impact on the ornament, its content and form. The adoption and spread of Islam led to the destruction of a unified system of pagan ideas and beliefs. However, pagan motifs associated with folk myths lived long and firmly in decorative and applied art.

Tamga, as a talisman, was found on clothes, headdress, shoes, carved wooden utensils, izhau ladles, military weapons. Each clan had its own generic sign - tamga. For each clan, the tamga had its own outlines, which reflected the type of activity, occupation in the family. And if a girl got married, then the pattern of her generic tamga changed, was supplemented, enriched with elements of the groom's family tamga. The repetition of the totemic element led to the emergence of an ornament. Thus, the ornament is the product of a long historical development. It preserves layers of various periods of cultural development, traces of complex interactions and mutual influences between tribes and peoples.

Bashkirs have long adorned horse harness, household utensils, clothes, shoes, and dwellings with diverse, bright and colorful ornaments. This is a pattern that is formed by a combination of geometric, zoomorphic and plant shapes and elements.

Among the Bashkirs, the most ancient ornamental complex is a combination of the simplest geometric shapes: triangles, zigzags, parallel oblique lines, circles, vortex rosettes. Most of all, this complex was distributed in the mountainous part.

Kuskar - ram's horns - a symbol of cattle breeding, herbs, fertility - a symbol of human productive activity, fertility.

Heart - hospitality

Solar sign - the sun

Rhombus - a symbol of agriculture

· S-shaped ornament

· Goose foot

Kuskar is a symbol of the nomadic people engaged in cattle breeding, a symbol of hospitality of the Bashkir people. Kuskar refers to the elements of floral ornament. The improvisation of this symbol through additional spiral curls led to the formation of various ornamental patterns and many other options.

In terms of color, the Bashkir ornament is bright, multi-colored, based on contrasting, strong and pure colors prevails:

Red is the color of warmth and fire

Yellow is the color of abundance and wealth

Black is the color of earth and fertility

Green is the color of evergreen

White - purity of thoughts, peacefulness

Blue is the color of freedom

Brown is the color of old age withering.

The Bashkir ornament has its own specific features that distinguish it from the ornament of even the closest peoples in terms of cultural and ethnic kinship. Despite the many motifs characteristic of other peoples, the Bashkir ornament represents a unique formation. Some of its elements, the most ancient ones, are known. Among other peoples, thousands of kilometers distant to the west and east. There are elements characteristic of the art of most peoples of Eurasia. This indicates that the culture of the Bashkir people was born in a single mainstream of the development of world culture, in the process of active contacts with the tribes of the Turkic East and the Finno-Ugric population. This is the reason for the complexity, versatility of the pictorial language of the Bashkir people, which tells about the history of the development of their culture.

From Wikipedia, the free encyclopedia

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

Works of arts and crafts meet several characteristics: they have an aesthetic quality; designed for artistic effect; serve for registration of a life and an interior. 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, the classification of branches of arts and crafts has been established in academic literature. by material (metal, ceramics, textiles, wood), according to the execution technique (carving, painting, embroidery, printing, casting, embossing, intarsia, etc.) and according to functional features use of the object (furniture, 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 arts and crafts

• Sewing is the creation of stitches and seams on the material using a needle and thread, fishing line, etc. Sewing is one of the oldest production technologies that arose back in the Stone Age.
  • Flower making - making women's jewelry from fabric in the form of flowers
  • Patchwork (sewing from patches), patchwork quilt - patchwork technique, patchwork mosaic, textile mosaic - a type of needlework in which, according to the mosaic principle, a whole product is sewn from pieces of fabric.
    • Application - a way to obtain an image; technique of arts and crafts.
  • Quilted products, quilting - two pieces of fabric stitched through and a layer of batting or cotton wool laid between them.
• Embroidery is the art of decorating all kinds of fabrics and materials with a variety of patterns, from the coarsest and densest, such as cloth, canvas, leather, to the finest fabrics - cambric, muslin, gas, tulle, etc. Tools and materials for embroidery: needles, thread, hoop, scissors.
• Knitting is the process of making products from continuous threads by bending them into loops and connecting the loops to each other using simple tools, manually or on a special machine.
• Artistic processing of leather - the manufacture of various items from leather, both for household and decorative and artistic purposes.
• Weaving is the production of fabric on looms, one of the oldest human crafts.
• Carpet weaving - production of carpets.
• Burning - a pattern is applied to the surface of an organic material with a hot needle.
  • Woodburning
  • Burning out on fabric (guilloche) is a needlework technique that involves finishing products with openwork lace and making appliqués by burning them out using a special apparatus.
  • For other materials
  • Hot stamping is a technology for artistic marking of products by hot stamping.
• Artistic carving is one of the oldest and most widespread types of material processing.
  • Stone carving is the process of forming the desired shape, which is carried out by drilling, polishing, grinding, sawing, engraving, etc.
  • Bone carving is a kind of arts and crafts.
• Painting on porcelain, glass
• Mosaic - the formation of an image by arranging, setting and fixing multi-colored stones, smalt, ceramic tiles and other materials on the surface.
• A stained-glass window is a work of decorative art of a pictorial or ornamental nature made of colored glass, designed for through lighting and designed to fill an opening, most often a window, in any architectural structure.
• Decoupage is a decorative technique for fabrics, dishes, furniture, etc., which consists in scrupulously cutting out images from paper, which are then glued or otherwise attached to various surfaces for decoration.
• Modeling, sculpture, ceramic floristry - shaping plastic material with hands and auxiliary tools.
• Weaving is a method of making more rigid structures and materials from less durable materials: threads, plant stems, fibers, bark, twigs, roots and other similar soft raw materials.
  • Bamboo - weaving from bamboo.
  • Birch bark - weaving from the upper bark of a birch.
  • Beading, beadwork - the creation of jewelry, artistic products from beads, in which, unlike other techniques where it is used, beads are not only a decorative element, but also a constructive and technological one.
  • Lace - decorative elements made of fabric and threads.
  • Macrame is a knot weaving technique.
  • Vine - the craft of making wicker products from a vine: household utensils and containers for various purposes.
  • Mat - flooring weaving flooring from any rough material, mat, matting.
• Painting:
  • Gorodets painting is a Russian folk art craft. Bright, laconic painting (genre scenes, figurines of horses, roosters, floral patterns), made with a free stroke with white and black graphic strokes, adorned spinning wheels, furniture, shutters, doors.
  • Polkhov-Maidan painting - the production of painted turning products - nesting dolls, Easter eggs, mushrooms, salt shakers, goblets, supplies - generously decorated with juicy ornamental and plot painting. Among the picturesque motifs, flowers, birds, animals, rural and urban landscapes are the most common.
  • Mezen painting on wood - a type of painting of household utensils - spinning wheels, ladles, boxes, brothers.
  • Zhostovo painting is a folk craft of artistic painting of metal trays.
  • Semyonovskaya painting - making a wooden toy with a painting.
  • Khokhloma is an old Russian folk craft that was born in the 17th century in the district of Nizhny Novgorod
  • Stained glass painting - hand painting on glass, stained glass imitation.
  • Batik - hand-painted on fabric using reserve compositions.
    • Cold batik - the technique of painting on fabric uses a special reserving composition with cold.
    • Hot batik - a pattern is created using melted wax or other similar substances.
• Scrapbooking - design of photo albums
• Clay modeling is the creation of shapes and objects from clay. Can be sculpted with a potter's wheel or by hand.

see also

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Notes

Literature

• Vlasov V. G. New Encyclopedic Dictionary of Fine Arts: In 10 volumes - St. Petersburg: ABC Classics. - T. 3., 2005. - S. 379-383, 384-391.
• Vlasov V. G.. - St. Petersburg State University, 2012. - 156 p.
• Yulia Karpova.// "Emergency ration". 2011, no. 4(78).
• Moran A. History of decorative and applied arts. - M .: Art, 1982.
• Sadokhin A. World Art. - M .: Unity, 2000.

Links

• V Open Encyclopedia Project
• (Round table at the festival "Unforgotten traditions 2012, ethnofuturism")
• Decorative art of the USSR - magazine in the USSR

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An excerpt characterizing Decorative and applied arts

One group of Frenchmen stood close by the road, and two soldiers - the face of one of them was covered with sores - were tearing a piece of raw meat with their hands. There was something terrible and animal in that cursory glance that they threw at the passers-by, and in that vicious expression with which the soldier with sores, glancing at Kutuzov, immediately turned away and continued his work.
Kutuzov looked at these two soldiers for a long time; Wrinkling even more, he narrowed his eyes and shook his head thoughtfully. In another place, he noticed a Russian soldier, who, laughing and patting the Frenchman on the shoulder, said something affectionately to him. Kutuzov again shook his head with the same expression.
- What are you saying? What? he asked the general, who continued to report and drew the attention of the commander-in-chief to the French taken banners that stood in front of the front of the Preobrazhensky regiment.
- Ah, banners! - said Kutuzov, apparently with difficulty breaking away from the subject that occupied his thoughts. He looked around absently. Thousands of eyes from all sides, waiting for his word, looked at him.
In front of the Preobrazhensky Regiment he stopped, sighed heavily and closed his eyes. Someone from the retinue waved for the soldiers holding the banners to come up and place them around the commander-in-chief with flagpoles. Kutuzov was silent for several seconds and, apparently reluctantly, obeying the necessity of his position, raised his head and began to speak. Crowds of officers surrounded him. He scanned the circle of officers with a keen eye, recognizing some of them.
– Thank you all! he said, addressing the soldiers and again to the officers. In the silence that reigned around him, his slowly spoken words were clearly audible. “Thank you all for your hard and faithful service. The victory is perfect, and Russia will not forget you. Glory to you forever! He paused, looking around.
“Bend down, bend down his head,” he said to the soldier who held the French eagle and accidentally lowered it in front of the banner of the Transfiguration. “Lower, lower, that’s it. Hooray! guys, - with a quick movement of your chin, turn to the soldiers, he said.
- Hooray ra ra! roared thousands of voices. While the soldiers were shouting, Kutuzov, bent over in his saddle, bowed his head, and his eye lit up with a meek, as if mocking, gleam.
“That’s what, brothers,” he said when the voices fell silent ...
And suddenly his voice and facial expression changed: the commander-in-chief stopped talking, and a simple, old man spoke up, obviously wanting to tell his comrades something very necessary now.
There was a movement in the crowd of officers and in the ranks of the soldiers in order to hear more clearly what he would say now.
“Here’s the thing, brethren. I know it's hard for you, but what can you do! Be patient; not long left. We'll send the guests out, then we'll have a rest. For your service, the king will not forget you. It is difficult for you, but you are still at home; and they - see what they have come to, ”he said, pointing to the prisoners. - Worse than the last beggars. While they were strong, we did not feel sorry for ourselves, but now you can feel sorry for them. They are also people. So guys?
He looked around him, and in the stubborn, respectfully bewildered glances fixed on him, he read sympathy for his words: his face became brighter and brighter from the senile meek smile, puckering up in stars at the corners of his lips and eyes. He paused and lowered his head as if in bewilderment.
- And then say, who called them to us? Serves them right, m ​​... and ... in g .... he suddenly said, raising his head. And, waving his whip, he galloped, for the first time in the whole campaign, away from the joyfully laughing and roaring cheers, upsetting the ranks of the soldiers.
The words spoken by Kutuzov were hardly understood by the troops. No one would have been able to convey the contents of the first solemn and at the end of the ingenuously old man's speech of the field marshal; but the heartfelt meaning of this speech was not only understood, but that same, that same feeling of majestic triumph, combined with pity for the enemies and the consciousness of one’s rightness, expressed by this, precisely this old man’s, good-natured curse, is the very (feeling lay in the soul of every soldier and was expressed in a joyful, long-lasting cry.When after that one of the generals turned to him with the question of whether the commander-in-chief would order the carriage to arrive, Kutuzov, answering, suddenly sobbed, apparently being in great agitation.

November 8 is the last day of the Krasnensky battles; it was already getting dark when the troops arrived at the place of lodging for the night. The whole day was quiet, frosty, with light, rare snow falling; By evening it became clear. A black-purple starry sky was visible through the snowflakes, and the frost began to intensify.
The musketeer regiment, which had left Tarutino at the number of three thousand, now, at the number of nine hundred men, was one of the first to arrive at the appointed place of lodging for the night, in a village on the main road. The quartermasters, who met the regiment, announced that all the huts were occupied by sick and dead Frenchmen, cavalrymen and headquarters. There was only one hut for the regimental commander.
The regimental commander drove up to his hut. The regiment passed through the village and at the outermost huts on the road put the guns in the goats.
Like a huge, multi-membered animal, the regiment set to work arranging its lair and food. One part of the soldiers dispersed, knee-deep in snow, into the birch forest, which was to the right of the village, and immediately the sound of axes, cleavers, the crack of breaking branches and cheerful voices was heard in the forest; another part busied about the center of the regimental carts and horses, put in a pile, taking out boilers, crackers and giving food to the horses; the third part scattered in the village, arranging quarters for headquarters, picking out the dead bodies of the French that lay in the huts, and taking away boards, dry firewood and straw from the roofs for fires and wattle for protection.
About fifteen soldiers behind the huts, from the edge of the village, with a cheerful cry, were swinging the high wattle fence of the shed, from which the roof had already been removed.
- Well, well, at once, lean on! shouted voices, and in the darkness of the night a huge wattle fence covered with snow swayed with a frosty crack. The lower stakes cracked more and more often, and finally the wattle fence collapsed along with the soldiers pressing on it. There was a loud rudely joyful cry and laughter.
- Take two! give the rocha here! like this. Where are you going then?
- Well, at once ... Yes, stop, guys! .. With a shout!
Everyone fell silent, and a soft, velvety pleasant voice sang a song. At the end of the third stanza, right at the end of the last sound, twenty voices cried out in unison: “Uuuu! Goes! Together! Come on, kids!..” But, despite the united efforts, the wattle fence did not move much, and heavy panting was heard in the established silence.
- Hey you, the sixth company! Damn, devils! Help ... we will also come in handy.
The sixth company of about twenty, walking to the village, joined the dragging; and the wattle fence, five sazhens long and a sazhen wide, bent, pressing and cutting the shoulders of the puffing soldiers, moved forward along the village street.
- Go, or something ... Fall, eka ... What have you become? That's it ... Cheerful, ugly curses did not stop.
- What's wrong? - suddenly I heard the commanding voice of a soldier who ran into the carriers.
- The Lord is here; in the hut the anaral himself, and you, devils, devils, swindlers. I'll! - shouted the sergeant major and with a swing hit the first soldier who turned up in the back. - Can't it be quiet?
The soldiers fell silent. The soldier, who had been hit by the sergeant-major, began, groaning, to wipe his face, which he had torn into blood when he stumbled upon the wattle fence.
“Look, damn it, how he fights!” I’ve already bloodied my whole face, ”he said in a timid whisper, when the sergeant-major walked away.
- You don't like Ali? said a laughing voice; and, moderating the sounds of the voices, the soldiers went on. Having got out of the village, they again spoke just as loudly, sprinkling the conversation with the same aimless curses.
In the hut, past which the soldiers were passing, the highest authorities gathered, and over tea there was a lively conversation about the past day and the proposed maneuvers of the future. It was supposed to make a flank march to the left, cut off the Viceroy and capture him.
When the soldiers dragged the wattle fence, the fires of the kitchens were already flaring up from different sides. Firewood crackled, snow melted, and the black shadows of the soldiers scurried back and forth across the entire occupied, trampled in the snow space.
Axes, cleavers worked from all sides. Everything was done without any order. Firewood was dragged in reserve for the night, huts for the authorities were fenced in, pots were boiled, guns and ammunition were handled.
The wattle fence brought by the eighth company was placed in a semicircle from the north side, supported by bipods, and a fire was laid out in front of it. They struck the dawn, made a calculation, had dinner and settled down for the night by the fires - some repairing shoes, some smoking a pipe, some naked, evaporating lice.

It would seem that in those almost unimaginably difficult conditions of existence in which Russian soldiers were at that time - without warm boots, without sheepskin coats, without a roof over their heads, in snow at 18 ° below zero, without even a full amount of provisions, not always keeping up with the army - it seemed that the soldiers should have presented the saddest and most depressing sight.

Decorative - applied art.

Decorative and Applied Arts (DPI) - the art of making household items that have artistic and aesthetic qualities and are intended not only for practical use, but also for decorating dwellings, architectural structures, parks, etc.

The whole life of primitive tribes and civilizations was connected with paganism. People worshiped various deities, objects - grass, the sun, a bird, a tree. In order to “appease” some gods and “drive away” evil spirits, the most ancient man, when building a house, necessarily supplemented it with “amulets” - a relief, platbands on windows, animals and geometric signs that have a symbolic and symbolic meaning. Clothing necessarily protected the owner from evil spirits with a strip of ornament on the sleeves, hem and collar, and all dishes had a ritual ornament.

But since ancient times, the desire for beauty in the objective world around him was also characteristic of man, so the images began to take on an increasingly aesthetic appearance. Gradually losing their original meaning, they began to decorate a thing more than carry some kind of magical information. Embroidered patterns were applied to fabrics, ceramics were decorated with ornaments and images, first squeezed and scratched, then applied with clay of a different color. Later, colored glazes and enamels were used for this purpose. Metal products were cast in figured molds, covered with embossing and notching.

The arts and crafts are and artistically made furniture, dishes, clothes, carpets, embroidery, jewelry, toys and other items, as well as ornamental paintings and sculptural and decorative decoration of interiors and facades of buildings, facing ceramics, stained-glass windows, etc. Intermediate forms between DPI and easel art are very common - panels, tapestries, plafonds, decorative statues, etc. - which are part of the architectural whole, complement it, but can also be considered separately, as independent works of art. Sometimes in a vase or other object, it is not functionality that comes first, but beauty.

The development of applied art was affected by the living conditions, the life of each people, the natural and climatic conditions of their habitat. DPI is one of the oldest art forms. For many centuries, it has developed among the people in the form of folk arts and crafts.

Embroidery. It takes its origins in ancient times, when bone and then bronze needles were used. Embroidered on linen, cotton, woolen clothes. In China and Japan they embroidered with colored silk, in India, Iran, Turkey - with gold. Embroidered ornaments, flowers, animals. Even within the same country, there were completely different types of embroidery depending on the area and the people living there, such as, for example, red thread embroidery, colored embroidery, cross-stitch, satin stitch, etc. Motives and color often depended on the purpose of the object, festive or everyday.

Application. Multi-colored pieces of fabric, paper, leather, fur, straw are sewn or glued onto a material of a different color or dressing. Application in folk art, especially of the peoples of the North, is extremely interesting. Application decorate panels, tapestries, curtains. Often the application is performed simply as an independent work.

Stained glass. This is a plot decorative composition made of colored glasses or other material that transmits light. In a classic stained glass window, individual pieces of colored glass were interconnected by spacers made of the softest material - lead. Such are the stained-glass windows of many cathedrals and churches in Europe and Russia. Also used was the technique of painting on colorless or colored glass with silicate paints, which were then fixed by light firing. In the 20th century stained-glass windows were made of transparent plastics.

Modern stained glass is used not only in churches, but also in residential premises, theaters, hotels, shops, subways, etc.

Painting. Compositions made with paints on the surface of fabrics, wooden, ceramic, metal and other products. Murals are plot and ornamental. They are widely used in folk art and serve as decoration for souvenirs or household items.

Ceramics. Products and materials made of clay and various mixtures with it. The name comes from the area in Greece, which was the center of pottery production since ancient times, i.e. for the manufacture of pottery and utensils. Ceramics is also called facing tiles, often covered with paintings. The main types of ceramics are clay, terracotta, majolica, faience, porcelain, stone mass.

Lace. Openwork products from threads. According to the technique of execution, they are divided into manual (woven on turned sticks - bobbins, sewn with a needle, crocheted or knitting) and machine-made.

Weaving from birch bark, straw, vines, bast, leather, thread, etc. one of the oldest types of decorative and applied art (known since the Neolithic). Mostly weaving was used to make dishes, furniture, bodies, toys, boxes.

Thread. A method of artistic processing of materials, in which sculptural figures are cut out with a special cutting tool or some kind of image is made on a smooth surface. In Rus', woodcarving was the most common. She covered the platbands of houses, furniture, tools. There is a carved sculpture made of bone, stone, gypsum, etc. Many carvings are ornaments (stones, gold, bronze, copper, etc.) and weapons (wood, stone, metals).