1. Historical patterns of development of decorative art 3
2. Kindergarten dating tasks 11
3. Programs for teaching arts and crafts 14
4. Methods for introducing children to decorative applied arts 16
5. Practical part 19
1. Historical patterns of development of decorative art
Decorative art has gone a long way of development - from elementary decorations by primitive people of various tools, pottery, clothing to a complex set of numerous items in a modern interior, city. This development proceeded in several directions, or cuts. One of them is the genre development of decorative art. Decorative creativity captures into its orbit gradually more and more wide circle objects of the environment and today has become almost universal. New genres arose and are emerging in it not only when new phenomena were drawn into the sphere of decorative art, for example, shipbuilding in the 10th-11th centuries, book printing in the 14th-15th centuries, landscape gardening in the 16th-15th centuries. XVII centuries etc. They also appear due to the development of technologies for decorative processing of materials. Thus, in the 17th - 18th centuries, the European production of porcelain tableware arose, which soon gave impetus to the development of small decorative plastics. In the 19th century, as a result of progress in metallurgy and metalworking, the genre of easel art chasing was born, which has now become very widespread along with its new genre - monumental, which went out into the street.
It is characteristic that soon after the appearance of the first electric lighting devices, attempts were made to use them for the evening illumination of the city (“Russian light” in Paris on eiffel tower). Today, thanks to the simplicity and safety of the arrangement of complex systems of electrical illumination, the decorative theatricalization of space and actions with the help of light, which was already used in antiquity with the use of torches (for example, torchlight processions), has gained grandiose scope.
The genre development of decorative art is significantly influenced by social development society, steadily leading to the democratization of life, involvement in vigorous activity all large sections of society. In particular, with the transition from the slave-owning socio-economic formation to the feudal one, the development of folk decorative art proper and its peculiar genres, often unique among different peoples, begins: embroidered or embroidered towels, clay toys, carved decoration of the facades of huts, carpet weaving, etc. modern era decorative art was marked by an even greater development of the amateur beginning, including amateur performance among children and schoolchildren. It has firmly penetrated into social life, production and educational processes, becoming their necessary element in the form of wall newspapers, bulletin boards, invitation cards, posters, visual teaching aids and etc.
A feature of the development of decorative art, associated with the specifics of its aesthetic function to serve as an artistic enrichment of the environment of life, is that its genres, once having appeared, no longer die. Some of them for a time, sometimes significant, seemed to be forgotten.
There is no strict classification of decorative art genres. It is customary to distinguish them according to the characteristics of the material, technique of execution and types of purpose. Currently, there are the following main genres of decorative art: interior design (domestic, public, industrial, educational), design of museums, exhibitions and exhibition areas, gardening art, street decoration, including evening decoration, on holidays, etc. , theatrical and decorative art, clothing, decorative household products and decorations, souvenirs and badges, toys, small graphics, forms, decorative posters and wall newspapers, easel chasing, monumental types of chasing, painting and graphics (included in the design of interiors, territories, streets) , tapestry, art furniture, jewelry art, etc.
Another cut in the development of decorative art is the change of artistic styles.
In decorative art, peculiar features artistic style are most clearly found in the organization and design of interiors, street and garden ensembles, that is, in the principles, techniques and means of a complex solution of a decorative environment specific to a particular era. The leading role of these genres in the stylistic development of all decorative art is explained by the fact that the impulses for stylistic development come from architecture, with which these genres are most closely connected. Styles in architecture in their main features almost immediately find a response and support, development in decorative art. Therefore, the periodization of the styles of the latter basically coincides with the stylistic periodization of the history of architecture. However, when studying the history of decorative and applied art, one must take into account that there were separate periods when this type of art played a more important role compared to architecture in the creation of artistic image interior. This applies in particular to the modern interior of residential and public buildings. Their architectural and construction basis is distinguished by constructive rationalism, one of the reasons for which is the strict economic standards of mass construction.
The third section of the historical development of decorative art is the themes, motifs and plots of works, including ornamentation. Their change occurs in direct connection with the emergence of new genres in the decorative arts and the change of styles. The themes and motifs that are associated with the economic, industrial and social activities of people have always been and will always be displayed in the subject of decorative art. In the monuments of art of nomadic tribes, we see almost exclusively images of animals, on which the interests and thoughts of man were concentrated. The theme of decorative art of settled agricultural peoples is decisively dominated by vegetable world and varied, sometimes cosmological, symbolism associated with the main cycles of the life of nature and agricultural activities.
In the following centuries, the thematic structure of the decorative arts became much more complex. But it still shows quite clearly, albeit often not directly, the impact of the main interests Everyday life of people. True, the spread of Christianity in Europe in the 6th-10th centuries led to a certain leveling of local thematic features of decorative art, to the internationalization of themes and motifs. Nevertheless, some specific national motifs are preserved, especially in folk art, woven into compositions of a pan-European type.
They were much more strongly preserved and in many respects have survived to this day. national characteristics in the artistic interpretation, manner, handwriting of the construction of forms and the nature of expressive techniques and means.
Today, in the decorative arts, the themes and plots of modern economic and industrial and social activities people, such as industrial production, Scientific research, space exploration, the struggle for peace, concern for the preservation of ancient monuments, etc. This mainly applies to the visual genres of decorative art: monumental painting, graphics, easel chasing. But even in its ornamental genres, the influence of the modern way of life is easily traced, indirectly expressed in laconism, accuracy and non-traditional rhythms, color combinations, textures, silhouettes and other compositional qualities of the works.
The folk craftsmen are described in the Ipatiev Chronicle. A visual representation of the colorfulness of the ancient choirs is given by the miniatures of the Ostroum Gospel. The Izbornik of Svyatoslav of 1073 contains images of painted facades of buildings.
folk craft Kievan Rus was represented by masters of many professions, including art and decoration.
The places of concentration of folk art crafts were determined long ago and are associated primarily with the presence of one or another natural material, as well as with crossroads of trade routes, cultural centers and a number of other factors. By the 16th - 17th centuries, the current geography of crafts had already developed on the lands of our state, their national and local identity was determined in compositional solution forms, in the understanding of the material, in drawing and plasticity, color and decoration.
The close connection of folk applied art with the whole life of people, its conditions and traditions determined in it the features of truthfulness and emotional immediacy. So, the graphic quality of the monochrome, stingy in color Mezen painting, which originated in the North of the country, is not accidental. It is natural and constant aspiration of the peoples of the solar Central Asia to a bright multi-color palette in ceramics, carpet weaving, and mosaics. Peoples often borrowed from each other the technique of execution, recipes for finishing products and even their shape. But each time, having got into new conditions, the borrowed elements were processed in the spirit of national traditions or acquired a new sound due to the original national basis of products.
Folk applied art often absorbs certain achievements in the work of professional craftsmen. Known, in particular, the role of painters of the late XIX - early XX century in the activities of the Moscow region and Smolensk art crafts, in the revival of the Vyatka toys, in the development of small bone plastics.
The main type of material for artistic crafts in the forest regions of the country from ancient times to the present day is wood. The handwriting of its processing is very different, for example, carving in Sergievsky Posad, Bogorodsky (Bogorodsk carving) and Khotkovo, turning with coloring in Semenov, Khokhloma and Rorodets. For a long time, the technique of inlaying wood with metal, colored stones, shell mother-of-pearl, “tortoise”, as well as the technique of intarsia - a set of pictures or ornaments on the surface of objects and boards from different-colored pieces of wood of different species, including valuable imported ones, has also been used for a long time.
In the central strip of the country, many products were produced from the vine of bird cherry and willow - in Kostroma, Kineshma, in the Ivanovo region. Birch bark was also used almost everywhere, from which beetroots (tueski) were made for water, milk and kvass, nabirukha, or baskets, for berries and mushrooms, boxes and pesteri (a type of shoulder box). For the manufacture of various household products and toys, straw of cereal plants was also used (in the Baltic states and in the south - reeds, in the Caucasus - bamboo).
Making pottery has always been one of the most common crafts throughout the country. From century to century, it has been improved: they have learned to select varieties of clay, knead it with additives, burn it under various conditions, pour glass, paint, stamp. Depending on the resources of raw materials and fuel, specialization appeared: pottery is produced in Skopin, Balkhar, Dymkovo, Chernigov, etc., majolica - in Gzhel, Kosovo, etc., faience and porcelain - on the Upper Volga.
Clothing decoration is one of the most massive and original types of creativity among all the peoples of our country. Fabric, which is almost always the main material for the manufacture of clothing, is subjected to a wide variety of artistic finishes. An ornament from carved boards (a heel) is stuffed onto it, it is painted, embroidered, including pearls and beads, corrugated, decorated with knitted lace (Vologda, Vyatka, Yelets, Ryazan, etc.). There was a craft of patterned weaving in Russia, Ukraine, Belarus. Woolen knitting has long been widespread in the Baltic States, Ukraine and the Caucasus.
Carpet weaving, initially appearing in the nomadic economy, was adopted and developed by settled peoples. In the North, carpets were made from skins, in Kazakhstan and in the mountainous Caucasus - felted.
Among the sedentary agricultural peoples of Central Asia, Ukraine and others, a busy woven carpet, hand-woven on large looms, reaches a high level of perfection.
The north of the country was famous for products made of fur and leather. They were embroidered with colored thread, beads, beads. Often fur, leather and cloth were combined in one product. Leather was dyed and embossed here (in the Baltics), often tinting the embossed ornament.
Like clay products, metal products have been widely used since ancient times as a product of folk craft. Metal was forged, bent, poured, minted, engraved, inked. Tin products in Zhostovo were signed. A fairly large range of household products was made from metal, gradually expanding. Often, decorative metal parts, mainly from sheet and strip iron, were used as building decorations with useful feature: chimneys, aquarians, door fittings, etc. They were also widely used in furniture.
In the northern regions of the country (Kholmogory, Tobolsk, Yakutia), a prominent place was occupied by small bone sculpture, engraving on walrus tusks, and carved bone for decorating small utensils. During the excavations of ancient Novgorod, many bone items were also found, including chess pieces. To the south, for example, near Moscow in Khotkovo, but especially in the mountainous regions of the Caucasus (Kislovodsk, the villages of Dagestan, etc.), there is still a trade for processing horn.
Amber craft occupies a prominent place in the Baltic republics to this day. Since ancient times, the Baltic States has been a supplier of amber to the whole world. The Polish writer J. Makhovsky in his book "The History of Sea Piracy" wrote that filibusters, corsairs, privateers specifically hunted for ships that were going from the Baltic to Egypt with a load of amber. In Palanga, in the Tyszkiewicz Palace, an amber museum has now been established.
Later, other crafts began to develop stone processing (Urals, Altai) and the manufacture of glassware (Leningrad, Gus-Khrustalny, etc.).
In the Central regions of Russia in late XIX century began to appear on the basis of icon painting and paintwork, a wonderful lacquer miniature on small caskets and later on small scarves (Fedoskino, Palekh, Mstera, Kholuy). This is one of the examples of the relatively recent emergence of a new genre in folk arts and crafts. Gypsum casting (piggy banks in the form of cats, figurines), popular prints, etc., also became very widespread. It should also be noted that, apparently, ancient types of art crafts, such as painting eggs (Ukraine, southern Russia) and baking curly and patterned carved gingerbread ( Tula, Moscow, etc.).
In general, the diversity of fisheries is extraordinary. They appear, in fact, where there is some kind of free material and, of course, a certain artistic idea. Today, one can sometimes see on the market, for example, relatively slightly processed (without a plot) influxes on tree trunks, interesting and somewhat reminiscent of plant roots, etc. The fame of Russian masters of art crafts has long become worldwide. Our country is rich in artistic talents. Only in Russian Federation more than 70 thousand craftsmen are currently working. Among them are prominent artists such as the Hero of Socialist Labor, folk artist USSR N. Zinoviev, lace maker N. Vasilyeva, people's and honored artists of the RSFSR Palesha B. Ermolaev, master of Khokhloma painting O. Lushina, Kubachin R. Alikhanov and many others. Over the past few years, more than 30 folk crafts artists have become laureates of the I.E. Repin. IN different cities countries organized exhibitions of folk art.
A huge role in replenishing the cadres of craftsmen belongs to modern school and children's preschool institutions, fruitfully working in it artists-teachers, many of whom are themselves enthusiasts of arts and crafts based on folk traditions.
2. Tasks for acquaintance in kindergarten
The task of developing the creativity of children, educators, teachers, university professors was put forward as one of the central tasks of the entire education system in our country.
The development of creativity in a society that rejects the "spiritual monopoly" is becoming one of the primary tasks of educating the younger generation. Nowadays, the need to form a new person is emphasized, combining spiritual wealth, moral purity and physical perfection.
The tasks of restructuring the system of public education in the country, set in the documents of the reform of general education and vocational schools, including its first link - preschool institutions, require the development of independence, initiative and creativity of children in all areas of their activity. This work should begin from early childhood and be carried out by various means, among which a special place belongs to artistic and creative activities. One of these activities is arts and crafts. It starts getting attention early.
In the classroom for decorative and applied painting, aesthetic perception, representation, aesthetic feelings develop. Sensory experience is accumulated, speech is enriched. Children develop thought processes: comparison, analysis, synthesis, generalization. Recently, the importance of classes in decorative and applied painting in kindergarten has been emphasized for the formation of collective forms of work, the ability to work together, act in concert, together, and help comrades. The ability to rejoice at the successes of each pupil, the achievements of the entire team of the group develops. All this creates the basis for the further education of true collectivism, mutual exactingness and, at the same time, comradely mutual assistance.
Teaching decorative and applied painting to preschoolers contains great potential opportunities for the comprehensive development of the child. However, these opportunities can be realized only when children gradually master this activity in accordance with age characteristics and receive satisfaction from it. If the children do not feel joy from what they have created, if the creative process does not cause them a good mood, but on the contrary, the children will experience dissatisfaction, disappointment that what they have planned does not work out, then this will gradually lead to a loss of interest in painting, and then they influence on the comprehensive development of the personality will not be with a plus sign, but with a minus sign. In this regard, we were faced with the task of finding ways to optimize activities in order to increase its impact on the comprehensive upbringing of the child's personality, the development of his abilities and creative potential.
Of exceptional importance in spiritual development preschoolers, in their labor and aesthetic education, in preparing them for work in the national economy has arts and crafts. Folk arts and crafts is an integral part of culture, actively influences the formation of artistic tastes.
The high spiritual and ideological significance of folk arts and crafts has a powerful influence on the formation inner peace children. Systematic classes in various types of artistic processing of materials have a beneficial effect on the development of the aesthetic taste of children and, at the same time, are associated with the acquisition of the skills necessary for their further work. The technological process of processing materials is based on industrial equipment and at the same time is impossible without the use of hand tools, the ability to master the techniques of the work of a carpenter, turner, miller, puncher, welder, solderer, moulder, electrician, blacksmith and many others. Being engaged in the artistic processing of materials, preschoolers master the skills of these specific professions, acquiring skills creativity to work operations.
Various types of artistic processing of materials make children involuntarily come into contact with technical and technological tasks. Thanks to interest in these activities, enthusiasm for them, industriousness and perseverance in work are brought up. Through the process of creating beautiful, aesthetically justified products of arts and crafts, gradually, unobtrusively, but very productively, love for various professions is instilled in children.
Classes in arts and crafts combine the foundations of many sciences that are of primary importance in the polytechnical development of children.
Decorative and applied art, like no other type of educational and creative work of preschoolers, allows, simultaneously with arming them with technical knowledge, developing their labor skills, psychological and practical training to work, to the choice of profession to reveal the beauty, the great spiritual value of products folk craftsmen, their high skill and art, to form an aesthetic taste and an aesthetic ideal.
Thus, the specificity of arts and crafts, expressed in the unity of the form and practical purpose of a decorative thing, in the unity of labor skills, skills and artistic and aesthetic taste, allows for an integrated approach to the organization of classes in arts and crafts in kindergarten, determines the organic unity of labor and aesthetic education of preschool children. This unity is also due to the modern requirement of international standards in industrial products, which is expressed not only in a highly efficient level of workflow, but also in the requirements of technical aesthetics.
The greatest educational effect is given by the acquaintance of preschoolers with the arts and crafts of folk art crafts.
The products of folk craftsmen are distinguished by their sense of material, the organic unity of the utilitarian (practical orientation) of a thing with its decor, national color, and high moral and aesthetic merits. IN folk art there is so much educational charge (not only in finished products that please the eye, but also in the process itself, in the technology of their creation), that the question naturally arises of its most active use in working with preschoolers.
The role of the educator is to guide creative process preschoolers, orienting them to the study of samples of folk arts and crafts. The principle of focusing on folk art should form the basis of the content of classes with preschoolers in various areas of arts and crafts.
3. Programs for teaching arts and crafts
Scientific interest in folk art as a means of education in Russian pedagogy has especially increased in the last two decades. It was at this time that historical and pedagogical works appeared, highlighting the problems of folk pedagogy, including issues of aesthetic education.
Scientists rightly note that the growth in the number and expansion of the number of historical and pedagogical research on folk issues that have occurred in recent decades is one of the largest achievements of historical and pedagogical science. The importance of these studies cannot be overestimated. Only with their help can all the complexity and diversity of the process of development of the national school and pedagogy be revealed in the organic unity of the all-Russian, national and regional manifestations of this.
Recently, publications and Ph.D. dissertations have appeared that reflect progressive tendencies methods of teaching decorative drawing and aesthetic education by means of folk art.
Dissertation works of the 90s reflect different levels of adaptation of the achievements of pedagogical theory and the achievements of art history in the content of aesthetic education and training. It is important to note that the studies concern the main links in the system of aesthetic education and training of children and adolescents.
So, Ph.D. thesis of S.V. Maksimova "The role of folk applied art in the artistic development of children aged 5-7 years" is devoted to determining the meaning and place of children's fine arts using samples of Russian folk arts and crafts in the system of aesthetic education in kindergarten.
When developing the problems of the continuity of the visual activity of kindergarten children and younger schoolchildren, this study may be useful for determining further ways of the most effective pedagogical influence on the development of children's creativity under the influence of folk applied art.
Several dissertations (R. Khasanov, Ya.A. Savzonov, L.N. Lyubarskaya, V.S. Belova) are devoted to the methodology of teaching decorative drawing on the basis of folk art in primary school.
In a study by R. Khasanov and Ya.A. Savzonov on the material of the folk art of Uzbekistan and Tajikistan, a sequence of tasks was tested, devoted to the study of the specifics of oriental ornament in decorative work with younger schoolchildren.
In the dissertation of L.N. Lyubarskaya "Development of artistic and creative activity among younger schoolchildren in the process of fine arts" on the material of Ukrainian folk painting shows the process of formation of abilities for aesthetic assimilation of reality and needs for productive aesthetic activity through the development of a sense of decorativeness in schoolchildren of I - III classes.
Research by B.S. Belova "Ways to improve the methods of teaching fine arts in teacher training primary school(decorative drawing in relation to the faculties of pedagogy and methodology primary education)" is aimed at solving an important problem - identifying ways to more successfully solve the pedagogical task of improving aesthetic education and education of primary school teachers to guide the visual activity of children.
It is important that in the work of B.S. Belov, for this purpose, effective ways of solving visual problems in decorative and applied arts with the wide involvement of the folk art of the Mari Republic are shown, which contribute to the activation of visual activity in general.
In his Ph.D. thesis, D.G. Pilipenko "Study of the aesthetic and educational opportunities for decorative art in kindergarten" reflects some provisions on the importance of folk art in the aesthetic education and training of preschoolers when the author determines an approximate systematization of certain types of decorative and artistic activities of children of the older and younger groups.
4. Methods of introducing children to arts and crafts
different goals facing academic subjects"fine art" and "artistic work" determine and different approaches in the aesthetic understanding of folk art materials. Thus, acquaintance with arts and crafts in kindergartens located in places of traditional arts and crafts is aimed at mastering the basics of arts and crafts by children. In the practice of dating in kindergartens of this type, there are excellent examples of solving the indicated goals. For example, the experience of a kindergarten in the village of Kubachi in the implementation of a system of educational and creative work in the classroom artistic work mastering the art of metal processing. The team of educators in their work relies on a complex teaching materials: an approved program of artistic work, albums, books, tables dedicated to the history of Kubachi art. Educational work is not limited to the classroom. Appreciate and respect the work of a folk master is taught here in everyday life. The experience of folk pedagogy of the Kubachins, when for many centuries in every family the father passed on the secrets of processing expensive materials to his son, found a modern transformation in the aesthetic and labor education of preschoolers.
An active search for the program content of art work lessons is conducted by kindergarten teachers on the basis of art craft enterprises in the Gorky region. Thanks to the joint efforts of workers in the system of preschool education in kindergartens of the region, the study of the basics of folk artistic painting on wood is carried out with the help of folk craftsmen from the factories "Khokhloma Artist" (Semino village) and "Khokhloma Painting" (Semenov), craftsmen of wood painting in Polkhov-Maidan and Gorodets.
In understanding the aesthetic content of education in labor classes in kindergartens on the basis of folk art craft enterprises, the work of employees of the All-Russian Research Institute of the Art Industry is of great help to educators. For example, the two-volume book "Fundamentals of Artistic Craft". Employees of the Institute of the Art Industry are developing a series of art work lesson programs, taking into account the specifics traditional technique folk art, established art schools skill.
The involvement of folk decorative art as an active means of aesthetic education in the system of decorative drawing lessons in kindergarten has its own advantages. The main ones are the broad horizons of aesthetic knowledge and the diverse aspects of the educational impact of folk art in the process of harmonic education of the personality of a preschooler.
Introduction to the cutting edge pedagogical experience of aesthetic education by means of folk decorative art in kindergartens of the Russian Federation allows us to talk about numerous examples of the implementation by educators of effective methods and techniques that reveal the features of the style of different art schools of folk art in order to more fully use the educational functions of the works of folk masters. For example, teachers of senior groups in the city of Kostroma and the region are enthusiastically working with children on topics related to folk artistic painting and woodcarving. To this end, there is an acquaintance not only with the monuments of wooden architecture native land, but the art of folk craftsmen from neighboring regions is also widely attracted: Yaroslavl, Ivanovo, Vladimir, Gorky. Thanks to pedagogical skills, small conversations in the classroom of decorative drawing turn into a series of exciting journeys to the country of beauty and goodness, created by the hands of folk craftsmen,
In kindergartens in Zagorsk, Moscow Region, a center for the production of traditional Russian wooden toys, teachers conduct classes in a variety of ways based on the art of Russian toys. Many educational opportunities open up before the kindergarten to promote Russian folk art in collaboration with the staff of the Zagorsk State Museum-Reserve.
Inexhaustible wealth artistic ideas embraces the study folk costume, and, as practice shows, two directions in the development of this topic are especially promising. The study of the history of the folk costume of the native land and the interpretation of motifs in the illustration of legends, historical events of the region, the creation of souvenirs. This approach is reflected in the work of kindergarten teachers in the city of Pavlovo, Gorky region. Another interpretation of the topic is related to the study of the current center of folk art crafts, the production of which is associated with the use of folk aesthetic traditions in modern costume. Such work is carried out by specialist educators in the city of Pavlovsky Posad, Moscow Region, where the famous printed Pavlovian shawls, shawls, and printed woolen shawls are produced.
5. Practical part
We consider the construction of a new system of educational and creative tasks based on folk decorative art as the construction of a part of the system of classes in fine arts in kindergarten as a whole. The system of studying fine arts, like any other methodological system characterize the leading idea (goal) and didactic principles that determine the selection of the content of the program, the originality of teaching methods.
The leading goal set by society in front of our subject is to achieve a close unity of labor, moral and aesthetic education for the comprehensive development of the personality of each child. In the educational process in the classroom for decorative drawing We see the solution of such an important state task in the implementation of a system of educational and creative tasks based on the material of folk decorative art. Such a system should serve to reveal the spiritual powers of the child, be effective for the aesthetic development of the personality of the preschooler, and activate the children's decorative creativity.
The social order of modern society should be reflected in the content of teaching decorative drawing by means of folk arts and crafts. To this end, we took into account the unity of the content and procedural aspects of education from the point of view of didactics, the development of the current state of teaching fine arts in kindergarten. This gave us reason to determine the following leading factors for building a system of educational and creative tasks:
Systematic and integrated planning of educational goals and objectives in the classroom of decorative drawing;
Systematic selection of works of folk arts and crafts, objects of reality for aesthetic knowledge and decorative work children;
Differentiation of methods, techniques of pedagogical guidance, methods of stimulation both by the process of aesthetic knowledge and by the decorative work of children;
Accounting for the assessment of the levels of aesthetic education based on the results achieved by children in decorative work.
Taking into account the named methodological prerequisites in the construction of a system of educational and creative tasks allowed us to highlight the essential aspects of the educational process at the level: types of decorative work of children; leading aesthetic knowledge and forms of aesthetic knowledge; intersubject and intrasubject communications; volume of graphic skills and abilities.
Based in the study of folk art on the implementation of the most important didactic principles, we sought to generalize methodological techniques, determine the place and significance of the artistic analysis of folk art in the classroom of decorative drawing, as well as to develop criteria for the levels of aesthetic education of children, keeping in mind the ultimate goal of effective creative development preschooler personality.
Fundamentally important in this system is the unity of aesthetic knowledge and the content of decorative work (labor activity) of children on the basis of folk arts and crafts, and such methodological techniques are developed that stimulate the creative creation of independent compositions by children, and not a simple imitation of the methods of folk art. For this purpose, in the classroom for decorative drawing, folk painting Gorodets, Polkhovsky Maidan, Khostov, Khokhloma, clay Dymkovo and Filimonovo toys, wooden folk toys, household items made by masters of the North, embroidered items from Ryazan, Vladimir, Torzhok, works by masters of artistic varnishes from Palekh. In working with children, the aesthetic knowledge of preschoolers is deepened and systematized on the basis of acquaintance with the folk ceramics of Gzhel, Skopin, with folk heeling, folk engraving - popular prints.
The concretization of the essential aspects of the educational process in the classroom for decorative drawing, conducted on the basis of a system of educational and creative tasks, can be seen in the dynamics of the forms of aesthetic knowledge and types of decorative work of children (Table I).
Table 1
Approximate forms of aesthetic knowledge of children
List of used literature
Belyaev T.F. Exercises for the development of spatial representations of students. - M., 1989.
Moran A. History of arts and crafts. - M., 1986.
Fundamentals of decorative art at school. - M., 1981.
Decorative and applied art is one of the factors of the harmonious development of personality. Through communication with folk art, the soul of the child is enriched, love for one's land is instilled. Folk art preserves and transmits to new generations national traditions and forms of aesthetic attitude to the world developed by the people. The art of folk craftsmen helps to reveal the world of beauty to children, to develop their artistic taste.
Having fallen in love with what surrounds him, the child will better understand and appreciate what is inherent in all folk art, what unites all types, he will see what distinguishes them from each other depending on natural conditions, the activities of local residents, their tastes.
Contact with folk arts and crafts enriches the child, brings up pride in his people, maintains interest in its history and culture.
Learning the beauty of folk art, the child experiences positive emotions, on the basis of which deeper feelings arise: joy, admiration, delight. Figurative representations, thinking, imagination are formed. All this causes in children the desire to convey the perceived beauty, to capture those objects. folk arts that they liked, their creative activity awakens and develops, aesthetic feelings and artistic taste are formed, an aesthetic assessment of objects of Russian decorative and applied art. Children develop a variety of abilities - both artistic and intellectual.
Acquaintance of a child with Russian folk arts and crafts is based on the principle of general didactics - connection with life, systematicity and consistency, individual approach in the education and artistic development of children, visibility.
Successful implementation of program requirements in the classroom in different age groups depends on the preparation of the educator and children before them, as well as on the availability of the necessary equipment.
Each group should have visual aids, works of decorative art, a variety of materials available to children, in particular white and colored paper. White paper should be strong (dense), and colored - such that paint fits well on it. Glossy and chalk paper for decorative drawing is not suitable.
It is advisable to use brushes for drawing round, hairy, with a soft elastic bristle and a sharp end.
Gouache is used for decorative drawing. Dilute it with water to the density of sour cream. The best is “artistic” gouache, but you can also use poster gouache. It is desirable that it be of different colors and shades. The teacher must be able to independently create a certain color or its shade. For this purpose, the method of mixing paints of primary colors - red, yellow, blue - is used to form orange, green, purple and others. Shades of different colors are obtained by mixing white gouache with the desired color. So, pink color obtained by adding red paint to white. It is necessary to breed gouache in a separate vessel. To do this, it is collected with a small spoon or stick and, pouring in a little water, stir until a homogeneous mass is obtained.
For drawing classes, you need to prepare jars of water for washing brushes (preferably two each - for washing and rinsing), napkins for drying brushes after washing, stands for them, linings 25x35 cm in size. Paints are poured into cups, which are placed on trays.
In the middle group, rectangular paper (1/2 of a landscape sheet), a strip (1/4 of a sheet), a square (with a side of 15 cm), a circle (10 cm in diameter), and objects cut out of paper are used.
It is best for children of the middle group to draw with a brush number 12 - round, with a sharp tip. A wide one follows from it, and thanks to this, you can quickly complete the pattern. You need to prepare at least 4 colors for the lesson, so that children can not copy the colors suggested on the sample, but choose them on their own. At the end of the lesson, those children's works are shown that are most successfully combined with colors.
For decorative drawing classes in the senior group, one should prepare not only brushes (preferably No. 8), but also patches, sometimes even two patches per lesson, if, for example, there should be spots of two colors or two sizes in the pattern.
Paper is needed in such a form that children can learn to draw patterns on it: in the form of a strip, square, polygon, rosette, circle, flat objects. A polygon, a rosette, a circle are cut out from a whole landscape sheet, a square - with a side of 16 cm. To convey the color of Ukrainian ceramics, the background of brown, yellow, green tones is best.
In the older group, children are often offered paper of different colors in one lesson so that they can choose the background on their own.
Children of the older group are taught to choose from six colors those that combine well or correspond to the color of a certain type of art of ceramics, embroidery, decorative painting. This work is not limited to one lesson, it is necessary to learn gradually, at each lesson.
In the preparatory group, children draw patterns with a brush number 6. They can be offered two brushes - No. 12 for drawing large elements in pattern No. 6 - for making thin lines, small elements. Sheets of paper can be large or small. For drawing based on Ukrainian paintings, it is better to give light-colored paper; Gorodets patterns are painted on yellow. Khokhloma and Zhostovo patterns - on black, red or golden paper. Gouache should be offered in 8-10 colors in a set so that children can choose desired color, show your taste, knowledge of color.
To demonstrate children's work, to show the method of the image, it is best to use an easel or board-stand.
Decorative and applied art is perhaps one of the most ancient. Its name comes from lat. decoro - I decorate, and the definition "applied" contains the idea that it serves the practical needs of a person, while simultaneously satisfying his basic aesthetic needs.
Decorative and applied art is a kind of fine art that meets the everyday needs of a person and at the same time satisfies his aesthetic needs, bringing his beauty to life.
A person has long tried to decorate his home and he did it with the help of the material that was next to him, i.e. at hand is wood, clay, bone, etc.
Of great importance in the artistic and aesthetic education of preschool children is folk arts and crafts. The teacher should introduce children to the products of folk craftsmen, thereby instilling in the child a love for the Motherland, for folk art, and respect for work.
Folk arts and crafts is not only the fruit of skill, the crafts of its creators, but also an integral part of their life, everyday life.
Acquaintance of a child with Russian folk arts and crafts is based on the principle of general didactics - connection with life, systematicity and consistency, an individual approach to teaching and artistic development of children, and visibility.
Artistic and aesthetic education should cause active activity of the preschooler. It is important not only to feel, but also to create something beautiful. Education, which is purposefully carried out in kindergarten, is also aimed at developing artistic and aesthetic feelings, therefore, systematic classes such as music, familiarization with fiction, drawing, modeling and appliqué are of great importance, especially if the teacher teaches children to select shapes, colors , make up beautiful ornaments, patterns, set proportions, etc.
Folk art is the property of not only adults, but also children who enthusiastically play with both wooden nesting dolls and clay figurines of the Kirov masters. Children like Bogorodsk toys-caskets and Kargopol toys. Wooden spoons, wicker baskets, patchwork halves and other items of folk craftsmen are in special demand. Folk art is figurative, colorful, original in its design. It is accessible to children's perception, as it carries an understandable content, which specifically, in simple, concise forms, reveals to the child the beauty and charm of the surrounding world. It's always familiar to children fabulous images animals made of wood or clay. Ornaments used by folk craftsmen for painting toys and dishes include flowers, berries, leaves that the child meets in the forest, in the field, in the kindergarten. So, the masters of Khokhloma painting skillfully make ornaments from leaves, viburnum berries, raspberries, cranberries. Gorodets craftsmen create their ornaments from leaves and large flowers of leotards, wild roses, and roses. Clay toy masters paint their products most often with geometric ornaments: rings, stripes, circles, which are also understandable to young children. All these products, both wooden and clay, are used in kindergartens not only to decorate the interior of the room. Under the guidance of a teacher, children carefully examine them, draw and mold according to samples of folk products.
In the first junior group, the folk toy is mainly used for games. However, in some classes, the teacher, in order to attract children to this type of activity, shows them how to model.
There is no decorative molding in this group yet, but children's tendency to decorate their products is already observed. The first attempts of kids to decorate their modeling lead to a chaotic arrangement of the pattern along the edge of the product, which is the reference line for the child. Given this feature and knowing that it is easier for the child, the task can be reduced to decorating the edge of a molded cookie or gingerbread. Decoration elements can first be dots, and then stripes made with a stick. Toddlers are fascinated by the opportunity to make indentations in the clay with a stick. They do it with pleasure, realizing that their toys will become more beautiful. The educator should support the child's desire to decorate his work by making appropriate suggestions at every opportunity.
Children of the second younger group perceive the Dymkovo toy well, they are not hindered by the conventionality of the shape and color of these toys. They freely define objects and highlight the elements of painting: stripes, circles, dots and rings. The perception of folk art objects makes it possible to set visual tasks for children and trace the influence of folk art on the nature of children's modeling. However, the selection of items for modeling should take into account the age characteristics of preschoolers. Showing the nesting doll to the children, the teacher says that the nesting doll has a head, hands, names the details of clothing: an apron, sleeves, a scarf, show beautiful flowers, leaves and other decorative elements on them.
In decorative painting, all groups use only gouache, which allows you to apply color on color, and this is often required in decorative drawings and is not feasible when working with watercolor.
Children acquire initial visual skills in the first and second younger groups, and some tasks in the second younger group are decorative in nature (for example, decorate the edges of a scarf with stripes). But the main goal of such an activity is not to create a pattern, but to consolidate the ability to draw straight lines in different directions.
Direct instruction in decorative drawing begins with children of four years.
Compositional skills are developed in the rhythmic arrangement of forms in a pattern on a strip, square, circle; a sense of color - the ability to beautifully combine contrasting colors; skills are also developed in drawing various large and small forms - simple elements of a pattern; technical skills in using a brush (it is easy to touch the paper, making dots; to act with the entire surface of the brush, drawing stripes, strokes).
Children of the fifth year of life can be given more complex tasks of decorative drawing, since the level of development of aesthetic feelings at this age is much higher.
Children need to be taught:
Symmetrically arrange the pattern depending on the shape of a sheet of paper or a three-dimensional object;
Use a variety of straight, rounded lines and shapes, plant elements in the pattern;
Find beautiful combinations of colors depending on the background; skillfully use the brush (draw with the end, with the whole brush, freely move it in different directions).
In the older group, the principle of alternation of elements is more often used as a compositional technique, which makes the pattern more decorative. Alternation may include 2-3 elements, different in shape or color.
As elements of the pattern, children learn to use a variety of linear shapes (thick and thin lines, strokes, dots, circles) and more. complex shapes- vegetable (leaves, berries, flowers), which are more difficult to repeat several times. The children are shown a new method of drawing with a brush, applying the brush flat to the paper. The resulting prints in the shape of a petal are good in a pattern of leaves, flowers. Children learn to use the different colors of the spectrum in combination with a colored background. In decorative painting, the colored background can be more varied than in thematic painting. In addition to contrasting combinations, children learn to see the beauty of colors in a certain range: blue, blue, white, red, orange, yellow, etc. Children are able to feel the beauty of a single-color pattern, for example, thin lace patterns of snowflakes, lace.
Children who are familiar with the basic principles of constructing a pattern on rounded and rectangular shapes come to the preparatory group. They are offered new shapes - a rectangle and a polygon, and various planar shapes of objects - vases, jugs, cups, mittens, hats, etc. These objects do not have the correct geometric shape, and the pattern on them requires the use of different principles (for example, on a jug according to the edge of the neck - a linear ornament, on the rounded part - a pattern from the center). The concept of symmetry also becomes more complex. In addition to the arrangement of the same forms to the right and left, children get acquainted with mirror image, where the parts of the pattern change their position accordingly.
In the preparatory group, the guys learn to use not only paints, but also colored pencils. In the younger groups, pencils were used only in thematic drawing, since children cannot achieve the desired color effect in a pencil drawing, which is so important in a decorative pattern. Technical difficulties in neat, even, bright shading would take too much attention and effort from children.
In the preparatory group, children already have certain skills, and they can use a pencil to get different shades, creating a pattern in one color. For example, each row of flower petals is shaded from the center with a pencil with different pressure. Children learn to see the beauty of not only bright combinations, but also more gentle, calm and at the same time pleasing to the eye. This task is solved in the preparatory group both when drawing with pencils and paints.
The colorful world of folk art is revealed in a special way if the teacher's story about it is emotional and exciting. In order to vividly and figuratively tell children about how the artists of the golden Khokhloma paint their solar products, how it appears under ringing bobbins frosty pattern Vologda lace, how decorative bouquets of flowers bloom on Zhostovo trays, and how a fairy tale miniature is born on Palekh lacquer boxes, kindergarten teachers themselves should know, understand and love folk art well. Introducing children to the works of folk arts and crafts, a preschool educational institution represented by a teacher implements the unity of the aesthetic and labor education of preschoolers and their spiritual development through arts and crafts and traditional types of folk arts and crafts.
Conference: Development of preschool children
Organization: GBOU secondary school No. 1 "OC" p.g.t. Building ceramics, kindergarten "Solnyshko"
Location: Samara region, p.g.t. building ceramics
Many scientists (A.V. Bakushinskaya, P.P. Blonsky, Yu.V. Maksimov, R.N. Smirnova and others) wrote about the role and significance of folk decorative art in the upbringing of children. They noted that art awakens the first vivid, figurative ideas about the Motherland, its culture, contributes to the education of a sense of beauty, develops Creative skills children.
Our difficult time is a time of social change. Political storms and upheavals. They literally burst into the life of each of us. Folk games, fun and toys are replaced by commercialized spectacles, television screens are flooded with cruelty. In essence, this is alien to the nature of a child, the nature of a growing person. The upbringing of a citizen and a patriot who knows and loves his Motherland, a particularly urgent task today, cannot be successfully solved without a deep knowledge of the spiritual wealth of his people, the development of folk culture.
The process of cognition and assimilation should begin as early as possible, as our people figuratively say: “With mother’s milk”, a child should absorb the culture of his people through lullabies, pestles, nursery rhymes, fun games, riddles, proverbs, sayings, fairy tales, works of decorative and applied arts. Only in this case, folk art - this pure source of beauty will leave a deep mark in the soul of the child, will arouse a steady interest. The beauty of native nature, the peculiarities of the life of the Russian people, their all-round talent, industriousness, optimism appear before children vividly and directly in the works of folk masters. The culture of Russia cannot be imagined without folk art, which reveals the primordial origins of the spiritual life of the Russian people, clearly demonstrates its moral, aesthetic values, artistic tastes and is part of its history.
The importance of experience for the spiritual development of preschoolers, their aesthetic education, acquaintance with the art of folk craftsmen is great. Folk art raises topics of great civic content, has a deep ideological influence on children. It helps children to look at familiar things and phenomena in a new way, to see the beauty of the world around them. The teacher is predetermined with a high mission - to bring everything to the world of childhood moral values, to help the child discover this world in all the richness and diversity of arts and crafts. This means that any activity, meeting with a toy, creative work, conversation are subject to a single goal: to comprehensively develop the personality of a child, because all children must live in a world of beauty, games, fairy tales, music, fantasy and creativity.
The art of folk craftsmen helps to reveal the world of beauty to children, to develop artistic taste in children.
It is very important to vaccinate children with early years interest in applied arts, whether it be drawing, embroidery or more complex types of creativity - decoupage or papier-mâché. Any painstaking manual work contributes to the development fine motor skills, perseverance, which, in turn, helps to develop the child's thinking, speech and imagination faster.
For three years I conduct in my group circle work "Decorative drawing".I introduce children to Russians folk traditions, I educate them on the material of the history of our people, acquaintance with the folk crafts of Russia, the skill of folk craftsmen and Russian folklore. On the basis of acquaintance with folk art, children learn to understand the beautiful, assimilate the standards of beauty (verbal, musical, visual). Listening to a fairy tale, they get ideas about good and evil, looking at works of arts and crafts, children experience a feeling of joy, pleasure from bright cheerful colors, richness and diversity of species and motives, imbued with respect for the folk master who created them, they have a desire to learn create more beautiful.
I consider the following to be the main objectives of my work:
- the formation in children of emotional responsiveness and interest in objects of folk art; understanding its features; distinguish the styles of the most famous species decorative painting(Dymkovskaya, Gorodetskaya, Khokhloma, etc.)
- development by children of characteristic elements, color, composition, patterns of a particular painting;
- the ability to create expressive patterns on paper of different formats;
- fostering a sense of rhythm, shape, symmetry.
- arouse children's interest in studying the history of Russia, Russian folk art.
- develop creative abilities.
- to cultivate love for beauty, for folk arts and crafts.
Acquaintance of children with arts and crafts can be carried out through almost all types of children's activities. For the development of speech, the products of folk craftsmen provide rich material: you can compose descriptive stories on toys (Dymkovo toys, nesting dolls), invent fairy tales.
In my work I use visual aids: reproductions, postcards, illustrations, plot pictures, finished products. These are elements of didactic games and a manual for classes. The group has a corner of visual activity, a book corner, where various reproductions, illustrations, books, pictures are constantly exhibited for free viewing.
Conducting this work systematically, my pupils acquired certain knowledge, skills and abilities. The child's vocabulary, meaningful activities are enriched, the game plan develops: decorative ornament items. The children learned how to use the acquired baggage of knowledge to be creative in their work. The work began to give children a lot of joy and satisfaction, to bring up the desire to create, to create their own products.
“... the task of the educator is not to train future masters of Khokhloma, Gorodetskaya or other painting, but to familiarize the child with the origins of folk art, to give the opportunity, having mastered some skills, to make a pattern, paint a fashioned horse, lady, feel the joy of creativity”A. A. Gribovskaya
Circle work in kindergarten is one of the areas of creative, social, personal and intellectual development. She gives children a lot of bright, unforgettable impressions. Joyful experiences raise vitality, support the cheerful mood of adults and children. The child begins to appreciate the beautiful, and, feeling respect for himself as an equal, gradually begins to liberate himself and begins to create.
In the classroom for decorative and applied painting, aesthetic perception, representation, aesthetic feelings develop. Sensory experience is accumulated, speech is enriched. Children develop thought processes: comparison, analysis, synthesis, generalization. Recently, the importance of classes in decorative and applied painting in kindergarten has been emphasized for the formation of collective forms of work, the ability to work together, act in concert, together, and help comrades. The ability to rejoice at the successes of each pupil, the achievements of the entire team of the group develops. All this creates the basis for education, and further genuine collectivism, mutual exactingness and, at the same time, comradely mutual assistance.
Of exceptional importance in the spiritual development of preschool children, in their labor and aesthetic education, in preparing them for work in the national economy, is arts and crafts. Folk arts and crafts is an integral part of culture.
The high spiritual and ideological significance of folk arts and crafts has a powerful influence on the formation of the inner world of children.
Thus, the specificity of arts and crafts, expressed in the unity of the form and practical purpose of a decorative thing, in the unity of labor skills, skills and artistic and aesthetic taste, allows for an integrated approach to the organization of classes in arts and crafts in kindergarten, determines the organic unity of labor and aesthetic education of preschool children. This unity is also due to the modern requirement of international standards in industrial products, which is expressed not only in a highly efficient level of workflow, but also in the requirements of technical aesthetics.
The greatest educational effect is given by the acquaintance of preschoolers with the arts and crafts of folk art crafts.
The products of folk craftsmen are distinguished by their sense of material, the organic unity of the utilitarian (practical orientation) of a thing with its decor, national color, and high moral and aesthetic merits. There is so much educational charge in folk art (not only in finished products that please the eye, but also in the process itself, in the technology of their creation), that the question naturally arises of its most active use in working with preschoolers.
The task of the educator is to guide the creative process of preschoolers, orienting them to the study of samples of folk arts and crafts. The principle of focusing on folk art should form the basis of the content of classes with preschoolers in various areas of arts and crafts.
Folk art is a pure and eternal source. It has a beneficial effect on children, develops their creativity, equips them with knowledge, brings beauty to children. It comes from the soul, and the soul folk goodness and beautiful. Introducing children to handicrafts, we introduce children to their native culture, encourage the need to love and enjoy life.
Bibliography:
1. Moran A. History of arts and crafts. - M., 1986.
2. Sakulina, N. P. Visual activity in kindergarten / N. P. Sakulina, T. S. Komarova. - M.: Enlightenment, 1982.
3. Gribovskaya A.A. Folk art and children's creativity: a manual for educators. – M.: Enlightenment, 2006.
4. Gribovskaya A.A. Children about folk art: a teaching aid. – M.: Enlightenment, 2006.
5. Skorolupova O.A. Acquaintance of preschool children with Russian folk arts and crafts. Moscow. Scriptorium, 2003.
Many works of folk craftsmen are examples of genuine art, in which form, decor and content are inseparable unity. For centuries, the people have selected perfect forms in nature, joyful combinations of colors, stylized them and created new ones, surprising and delighting with their ingenuity and taste. The art of all the peoples of our multinational Soviet country has reached a brilliant flowering. Its diversity is clearly expressed in local national artistic traditions (plot, composition, color, technical), which is most conveniently traced by the murals of the masters of Khokhloma, Gorodets, Zhostov, Zagorsk, Semenov, Polkhov-Maidan, Dymkov, Gzhel, by the patterns of Vologda lace and Russian heels, in the ornaments of Uzbek ceramics and Ukrainian painting and in the works of masters of other national art centers. They are beautiful, full of an optimistic attitude, express the form well and can be used in working with children in order to cultivate artistic taste, love for native nature, for the people and their art, and, of course, for the development of technical and compositional skills and abilities.
The program "I'm in the world" provides for the following tasks in decorative drawing: to learn to draw based on Ukrainian embroidery, ceramics, carpet weaving, Easter eggs, folk toys; perform patterns on a rectangle, square, circle, various flat paper forms that imitate household items. To form the ability to rhythmically place pattern elements over the entire area, along the edges, in the middle; use pattern elements: lines, strokes, dots, circles, rings; color combinations inherent in embroidery and ceramics. The program provides for the acquaintance of children with such types of Ukrainian decorative painting as: Petrikovskaya, Dymkovskaya, Gzhel, Polkhov-Maidanovskaya, acquaintance of children with Vasilkovskaya, Kosovo, Opishnyanskaya ceramics.
Petrikovskaya painting. The village of Petrikovka in the Dnipropetrovsk region is one of the few where the traditions of ancient folk crafts are carefully preserved. The famous Petrykivka painting has long been a hallmark of Ukraine. They were painted with brushes made of cat hair, matches wrapped in soft cloth, and simply with fingers. Paints were bred on eggs and milk, and the brightest colors were chosen, to match the colorful nature of the Dnieper region. The hostesses competed with each other, trying to make their house the most picturesque, and looked jealously at someone else's art. They said about the most successful murals: beautiful, like in a church. But if the hut remained white, they stopped greeting the hostess as if they were a stranger.
Masters of Petrikovskaya painting use a variety of materials and devices - homemade brushes, pipettes, nipples, cotton buds, toothpicks, squirrel brushes and just the master's fingers.
Before you start painting, you need to dilute the paint. We spread a small amount of gouache on the palette with a palette knife, add PVA glue in proportions of 2: 1, stir everything with a palette knife and, diluting with water, bring to the density of sour cream. For the first training work, it is enough to dilute some one paint. The brush is held like an ordinary pencil, while the hand should rest on the table so that the strokes are even and accurate. The base you draw on can be rotated to different sides, - it is more convenient to guide the brush and perform the correct strokes. The resulting flowers and leaves are decorated with a thin brush with darker paint, and small yellow dots representing stamens are made reverse side brushes.
In the compositions of Petrikovskaya painting, in addition to large, large flowers and leaves, small elements are also depicted - these are small flowers, daisies, buds, berries. Basically, for small elements, a thin brush No. 1 or a brush made of cat hair is used.
Small compositions in the form of postcards are called “little ones”. After completing all the previous exercises, you can start painting.
The color scheme of the Petrikovskaya painting is very diverse and therefore always pleasing to the eye. And yet, the traditional color combination is green leaves and red shades of flowers, and auxiliary colors are yellow, burgundy and orange.
“Runners” - they are also called “paths” or “friezes” - decorate various products and household items, decorate decorative panels. In all friezes, rhythm is observed, both in the construction of the composition and in the color scheme.
In Petrikovskaya painting, of course, floral ornament prevails, but many masters, in addition, also depict insects (grasshoppers, butterflies) and various birds, both real and fabulous (cockerels, owls, firebirds, etc. .). Painting is done on paper, metal, glass, ceramics and wood (Appendix 1).
Dymkovskaya painting. On the low bank of the Vyatka River opposite the city of Kirov, there is an old wooden settlement Dymkovo. Since time immemorial, here, in a marginal area with a harsh climate, they have been modeling clay toys depicting horses, deer, goats, ducks, turkeys, ladies, water carriers, wet nurses, horsemen, etc. This craft was exclusively women's business. In autumn, red clay was prepared in the meadows for the whole winter, and pure sand was prepared in the shallows of the river. Mixing clay with sand and water, knead thoroughly until a homogeneous mass is obtained. First, large main parts of the toy were sculpted from thick clay dough, and separately small ones, which were then stuck and smeared with a wet rag. The fashioned toy was dried for 2-4 days at room temperature and fired in a Russian oven on burning logs and iron pans. Upon cooling, the surface of the product was whitened with chalk diluted in skimmed milk. 6-10 paints were prepared for work, for which the paint powder was ground on a cast-iron stove, a little water was added, and a whole raw egg was added before painting, as a result of which egg tempera paint was obtained, which was used to apply bright multi-colored painting on the white background of the toy. Painting begins with an image black paint two strands of hair; with a thin splinter - the “eye socket” - two points of the eyes and thin arches of the eyebrows are applied, with another stick from the bast - the “fifteen” - the mouth and two red circles of the blush of the cheeks are printed. The toy is alive. At the second stage, they evenly paint over (“smear”) with yellow or red paint the headdress and another saturated color - the jacket. At the final stage, with a free brush, a pattern is improvised on a skirt, dress, apron, kokoshnik. The nature of the patterns of the clay Dymkovo toy was determined by the generalized form of the figures, which required conditional decorative elements: circles, stripes, straight and wavy lines, dots and strokes that make up a geometric ornament. At the same time, the features of the natural coloration of animals were peculiarly imprinted in the Dymkovo pattern; apples in the form of colored circles, rings, dots on the cereals of horses, deer, cows and goats. The ornamentation of human figurines reflects woven patterns of linen motley, embroideries, bright patterns of arcs, sledges, yokes, etc. Wide and narrow multi-colored stripes drawn with the whole brush or its sharp end create a patterned grid reminiscent of the colors of plaid fabric, or outline the basis of the future pattern. Small straight or wavy lines are drawn along these stripes - snakes. Sometimes colored dots are placed on both sides of the snakes with a thin stick, evenly filling the entire strip. Often, solid colored stripes are replaced by stripes of dots and circles, decorated with two or three short strokes or double crosses. Also used in painting is a mesh ornament of stripes and cells filled with circles, dots and strokes. The color structure of the painting is determined by the predominance of warm or cold colors. In the first case, the brightness of, for example, yellow, orange and red elements is enhanced by small elements - blue or green. In another case, the sound of blue, blue and green colors is emphasized by a pink, red or orange element. Such a tactful inclusion of a contrasting color in the painting increases its emotional impact on the viewer, helps to avoid color variegation, to achieve a harmonious fusion of all elements.
The simplicity of decorative elements and gouache technique, the variety of combinations of bright colored figures attract children's interest in ornamental creativity. (Annex 1).
Gzhelskaya painting. Gzhel is an ancient village located in the Ramensky district of the Moscow region. It is believed that it received its name from the words “burn”, “burn”, expressing important side fire industry. Here and in the surrounding villages, rich in high-quality clays, from ancient times they were engaged in the creation of pottery and toys, which were always called Gzhel. The art of Gzhel masters already in the XVIII century. reached a high peak. In the 19th century 50 porcelain and faience factories and about 40 porcelain painting workshops worked in Gzhel. Gzhel dishes are distinguished by a wide variety of forms and especially by the beauty of the painting, which has absorbed the richness of the forms of nature and the expressiveness of traditional folk art.
The painting is applied to the surface of the fired product with a free brush with ceramic paint, mainly blue cobalt. With a wide stripe or bouquet, it highlights the body as the main part of the vessel, with narrower ribbons - the edges of the throat, bottom and handles. The pattern is always associated with the form, emphasizes its features and integrity. The main motives of the painting were grass, cereals, birds, field and garden flowers - roses, asters, carnations, the form of which is processed and becomes rather conventional, but picturesque and decorative.
A variety of techniques of work: clear strokes of petals and leaves of dark blue color or strokes with soft blurry edges are applied with the whole brush of richly saturated paint, with different pressure; with the end of the brush, veins, hatching and whimsically curved stems and antennae are applied; with a brush dipped in paint on one side, turning around the handle, a “stroke with shadows” is obtained, that is, a differently colored image of a three-dimensional petal or leaf. Often dark blue color The painting is enriched with the brilliance of fine golden lines and strokes that depict the veins and contours of leaves and flowers. If the white surface of the product is entirely painted with cobalt, creating a cornflower blue background, then the painting is applied only with gold.
The painted product is covered with glaze, which, when fired, forms a glossy transparent film that protects the painting, which is why the latter is called underglaze. Overglaze multi-color painting is also possible.
Love for their art, diligence and talent of the Gzhel masters again called from oblivion the ancient symbols of happiness and dreams of beauty - blue roses and blue birds - and inspired the patterns and the world of human things with them. (See Attachment).
Opishnyansky pottery art products
Opishnya ceramic products are folk art pottery with engobe (clay) underglaze painting, produced by artels in Opishnia, Poltava region. Opishnia has long been famous for its pottery, the manufacture of which developed there due to large deposits of high-quality clays nearby. The development of modern craft dates back to the 19th century, when the majority of the population of Oposhnya was engaged in the production of original decorative jugs for wine with a body in the shape of a donut (kumantsy), eggplants, flasks, barrels with legs (barily), rams, bowls and other utensils; whistles (clay toys) in the form of animal figurines and oven facing tiles. Modern Oposhnyansky ceramic products have retained their cheerful character and a rich variety of forms, among which, along with traditional national ones, a number of new ones have appeared - vases, decorative dishes, etc. floral ornament, combined with simple geometric motifs, without sharp broken lines, having softened often rounded outlines. Flowers are very conditional in shape, on the same branch they often have a completely different pattern, their character is close to Ukrainian multi-color wall paintings, the technique of execution gives them a certain specificity.
Opishnyanskaya pottery has a rather thin and smooth reddish-yellow shank, a relatively small weight in relation to its size, and a clean finish. The color of the shard is explained by the fact that the main component of the mass from which the dishes are made is light yellow plastic clay, to which 25-30% dark brown clay is added to compact it and give greater strength to the shard. Household utensils and sculptural vessels are molded on foot potter's wheels by hand (pulled out of a lump of clay), some small attachments (handles, spouts, coasters) are imprinted in plaster molds, and then attached with liquid clay - slip. The painting is done with colored engobes (fr. Coating), prepared from local white clay with small additions of chalk, kaolin, sand and corresponding metal oxides, which give the engobe one color or another. Red, yellow, cherry, dark brown, black, engobes are made from local red and yellow clay with the addition of appropriate dyes. The painting turns out to be somewhat embossed, protruding above the background of the product, thanks to the overlay a large number thick engobe.
The painting on the products is done by women, whose skills are passed down from generation to generation; made on paper, but they do not hinder the creativity of the craftswomen: no one copies the samples, and the painting is done in an infinite number of options. It is applied to the dried surface. But not yet fired products, without any preliminary marking or powder, directly with a colored engobe, with the help of a rubber pear, at the end of which a piece of straw is inserted, which makes it possible to obtain thin lines. First, the craftswoman puts the product on the potter's wheel and, slowly rotating it, applies horizontal, straight and wavy stripes of different widths. Then, holding the product on her knee, she draws a contour pattern, starting with the largest elements that organize the entire composition and determine its main axes, the direction of movement and scale. At the same time, the combination of colors is taken into account, since the craftswoman, in accordance with her imagination, performs different parts of the drawing with engobes of different colors. At the end of application contour drawing, it is painted, some contour elements are completely filled with one color, in others ornamental cutting is given. Large color spots are connected by the image of stems, herbs, leaves, which help to balance the whole composition, give it integrity and completeness. The difficulty of painting is that the real color of the engobe is revealed under the glaze only after firing. The craftswoman, drawing, must mentally imagine what the color of the finished products will be. A special type of decoration of dishes with colored engobes is flendrovka, which is performed mainly on bowls and represents patterns from a combination of horizontal and vertical lines and spots on the background of the crock natural color or engobed. It is performed with liquid engobe. After painting, the products are covered with colorless glaze and fired. Some types of dishes are not decorated with painting, but are completely poured with colored glazes - brown (manganese) and green (copper).
Whistles are molded by hand and painted in the same way as dishes, only with a smaller and simpler ornament.
The most common motifs are peas, leaves, stripes. The painting emphasizes the conditional nature of the figurines. The sculptural form of whistles is solved very generally. The smooth surface is not modeled: horns, wings are molded separately and attached to the body, which is molded together with legs and head on a round stick, so that the whistle remains hollow inside. The range of depicted animals and birds: a horse, a ram, a goat, a deer, a pig, a cow, a rooster, etc. Despite the conventional form and painting of the figures, they are very specific and depict not fantasy creatures, but animals that actually exist (Appendix 1).
