Mongolian clothing is conditioned by the harsh climate and adapted to the nomadic lifestyle, its smallest detail is thought out. A medieval traveler wrote: "It is amazing how this nation has created clothes suitable for all seasons and needs, well thought out and used in many ways."

The traditional Mongolian clothing is the deel, which is worn by both workers and holidays. This is a long, loose one-piece robe with sleeves and a high collar. The wide floors of the deela are superimposed in front of each other, surrounded by a sash.

Before the 1921 revolution, each social stratum had its own clothing. Animal breeders wore the usual deel both in summer and winter. The lamas wore a yellow deel with a cloak (orkhimzh) wrapped around their chest. Secular feudal lords wore chic hats and silk vests over the deel.

And women especially appreciated deel as a fashion item, trying to outdo each other in the choice of fabric, the elegance of the neckline and the originality of the cut.

There are usually three types of deel, which are worn depending on the season.

Dan deel resembles a dress, cut out of plain fabric without lining. Rural women wear it all year round, wearing warm clothes on top in cold weather.

The terlag is only lightly insulated, it is worn in the vein and in the fall. The winter deel is insulated with a sheepskin lining.

The male and female deel have the same cut, but the male deel is wider and less bright. For everyday deel, a fabric of gray, brown or other dark color is usually chosen; a festive deel is sewn from blue, green or red silk, worn with a silk belt of a contrasting color several meters long.

The belt is not just an ornament, it also serves as a soft corset during long horse rides. Men wore a sheath with a knife on their belt, a tobacco pouch, a flint and a hook for cleaning pipes, a special silver spoon for cleaning the tongue. Characteristically, the Mongols hid their smoking pipes in their boots.

The deel collar, front and sleeves are usually decorated with leather and colored brocade, wide or narrow. Deel buttons, if they are not made of decorative stones or silver, are narrow braid tied into intricate knots.

Today, Mongolians living in cities tend to wear European-style clothing, but in countryside modern attire is often uncomfortable and impractical. In addition to the deel, in cold weather, the Mongols wear a jacket or khurem, which is put on top of the deel.

Gutal are high boots made of tough leather, insulated with thin felt and decorated with embroidery and leather appliqués. The left and right boots are traditionally the same shape, worn with thick quilted socks. Traditional gutals have turned up toes and no heels. Many foreigners mistakenly believe that the turned up toes of Mongolian shoes are a sign of respect and respect for the earth, but first of all, the turned up toes allow you to perfectly keep warm thanks to the "air pocket".

Different Mongolian ethnic groups have different costumes. There are approximately 400 different garments, 20 different boots and ten belts.

One of the brightest and most original items of national clothing is the traditional headdress or malgay. Malgay is still very common in rural areas. Hats differ in form and purpose - for young and old, men's and women's, festive and everyday, for summer and winter, holidays and ceremonies. Appearance, cut and color vary according to the wearer's gender, his or her social caste, and depending on which ethnic group the future wearer belongs to.

There are over 100 different traditional styles. Each ethnic group has its own own style deel, distinguished by cut, color and finish.

The Khalkh ethnic group consists of four subgroups, they are largely named after the places where they settled: Elzhgen Khalkh, Eevenkhen Khalkh, Tov Khalkh and Borjigon Khalkh. The Khalkh is still the dominant ethnic group in Mongolia, making up 80 percent of the population.

Khalkha women traditionally wear a very distinctive deel with extremely broad shoulders. The female hairstyle of the Khalkha is very different from other groups, representing the mythical garuda bird. The hairstyle is decorated with 5-10 kg of silver and precious stones. khalkhas love red and blue colors, which symbolize fire and sky.

There are much more Barguts on the costume silver jewelry than on the clothes of other groups: on the head of a Barga woman there can be 20 kg of silver. The barga deel is distinguished by its silver ornamentation, which depicts deer and nature scenes.

Bayad people love purple. AT special occasion x women of Bayad wear tsegdeg - deel with very wide sleeves trimmed with black velvet. They also wear intricate jewelry similar to silver hair envelopes (braids). Bayad men wear a white deel daily with a wide black trim and collar. In winter they wear a malgai called shaazgai.

The Buryat costume has a unique style among other Mongolian ethnic groups and has its own characteristics.

The head ornaments of the Dargang people are richer than those of other ethnic groups, which illustrates the skill of the Dargang artisans. Their deel is similar to the deel of the Khalkhas.

Durvud's traditional deel is very different from the clothing of the Central Mongols, more reminiscent of the Oirad style. It retained many of the characteristics of the ancient Mongolian costume. Men wear a deel with white leather trim at the bottom. The women wear a white collar over the deel, trimmed with colorful thread. They also do not omit the lower part of the deel and add a long sleeveless garment. It is said that the absence of the edge symbolizes freedom. The most common malgay of Durwood is called mahlai, but others are called togrög, duulgal, toiruul, halvan and khasag. A married Durwood woman wears two braids, each in a thin cotton bag with a silver butterfly ornament.

Haughton. Khotons women traditionally braid their hair into two braids, which are put into a cotton bag called chachvag, which hangs down the woman's back. Miraculous objects, called chachvag palms, hang in an envelope. The tassel with jewels runs from the palms of the chachvag to the lower flap of the deel.

Myangad men wear a Khalkha-style deel trimmed with black silk and having a red or yellow collar. Women's deel and jewelry are similar to the Khalkh, as the Khalkh and Myangad tribes have ancient ties. One of characteristic features Myangad women is a small knife that they carry on the right side, presumably to emphasize their strength.

The Torguuds are especially notable for having preserved their traditional costume in the 19th and 20th centuries. In the warm season, men traditionally wear thin cotton deel with malgai called zhatag, loovuuz or halvan, but now they mostly wear these headdresses only during dances and songs. Torguud women traditionally wear a small malgai, the top of which is adorned with a peculiar knot-bump decorated with corals.

Malgai is characterized by six or eight colors and the shape of the moon on the front, made of silver thread. The Torguud costume differs from other ethnic costumes in that it has sleeves and is narrower in the chest. Both men and women wear felt shoes called toohuu, made from wet, thick, raw cowhide.

The traditional costume of Uriankhai demonstrates differences in class and status, especially showing the wealth of a person. The female deel has wide sleeves, the costume includes long sleeveless clothes, narrow in the chest. The men wear a white deel daily, similar to the Khalkh deel. The main difference is that the Uriankhai male deel has slits on both sides and black spiral patterns above the slits. The chest and lower part of the deel are trimmed with wide black silk and sheepskin. Uriankhai men usually wear a mulgai called loowuuz, from which hangs a thick red silk thread, or malgai called toohuu. Men wear their hair in five braids.

Zakhchin women love pale blue and bluish green colors and shades. Both men and women wear malgai called halban. Zakhchin women traditionally wear a white collar over a deel, symbolizing a "milky" heart. Five-colored scarves hang down on both sides of a long sleeveless robe like waves, symbolizing the soft heart of a woman.

INFORMATION FOR TOURISTS

MONGOLIAN CLOTHING

National clothes of the Mongols - Delhi (Mongol Deel)- well adapted to the nomadic lifestyle and is a dressing gown, the same for men and women. Delhi is girded with a sash of contrasting color material, sometimes up to 6-7 meters long. The sash significantly insulates the lumbar region, which is very important for protection against radiculitis during frequent riding, at low air temperatures.

The Mongolian deli has long been the main and only part of the Mongols' wardrobe. And to this day, deli are worn with pleasure both on holidays and on weekdays. As casual wear The deel is mostly worn by the elderly, while young people prefer to wear stylized deels. There are about 400 types of Mongolian deli, 20 types of national shoes and 10 types of belts.

Interestingly, even in the time of Genghis Khan, there was an all-state regulation of clothing and its color. There is no difference in cut between the male and female deli. Everyday delhi is sewn from dense cotton fabric "dalemba", festive ones - from patterned silk. In winter, delhi are lined with warm fur. This type of Mongolian clothing is very practical. The upper part of the delhi to the waist serves as a large pocket, from which nothing will fall out even with the fastest jump. The cut of clothes fastened on the side saves arats from strong winds. Delhi - perfect clothes riding.

The wedding deli of the newlyweds is sewn using national Mongolian elements. And the bride, as a dowry, was required to sew a new solid deli. After the revolution, the shape of the sleeves and collars, and especially the design of the women's deli, changed, and after that, the women's deli began to be called "gergiin deel" - "the deli of a wife, a married woman."

When cutting, as a measure of measurement, the Mongols used a special measuring technique, the design of the Mongolian traditional clothing designed taking into account the peculiarities of the nomadic lifestyle of the Mongols. The length of the deli covers the legs both when walking and when riding, which prevents the limbs from freezing even when severe frost. The high collar of the deli protects against throat diseases. A wide belt tightly wraps around the body around the body, and thus protects against pneumonia, sciatica. In the steppe conditions, a deli can also serve as an “emergency” bed - you can lie down on one part of the deli, and hide on the other.

In the last century, by the color and quality of the fabric from which the deli was made, it was possible to determine which class a person belongs to. Then the Mongols preferred bright colors in the choice of deli. The red color was associated with a blazing fire, which in traditional symbolism was interpreted as bringing good luck and vitality. Currently, Mongolians prefer calmer colors: beige, dark blue, brown, dark green, gray. And men - black, brown, dark brown, gray. The men's deli, unlike the women's deli, is edging from the same fabric from which the deli itself is sewn. Deli is sewn from silk, zhigun, satin, dalimba, velvet, brocade. Elegant deli were sewn from satin silk fabrics.
Manufacturers of cashmere products have put on sale deli for a couple - men's and women's deli, which are combined with each other color scheme. Dan deel (summer deli without lining) is sewn mainly from silk and without sleeves. Elegant deli without lining come in different styles. The collar and lapels of the deli are sewn at the request of the customer for every taste. For example, stand-up collar, square neckline, slanted lapel, etc.

Buttons for deli were made of precious and semi-precious stones, gold and silver.

Hats Mongols are surprisingly diverse both in form and in material: leather, fur (sheepskin, fox, tabargan), velvet, silk. Each ethnic group of the Mongols had a headdress of a special cut.

Hadak, a blue silk handkerchief, symbolizing respect, friendship, wishes of happiness and peace, is given to guests or the host as a sign of respect, friendship and peace. During the celebration of Tsagan-Sara, it is customary for guests to exchange hadaks. The same symbolism is reflected in the custom of tying khadak during the annual tailagans during the celebration of the family both.

A khadag for the Mongols is the best gift. Hadags are different in length, color, patterns. Khadag, which is called Ayuush, has images of people given to the most respected people, parents or the oldest. Khadag is a symbolic pinnacle of the spiritual and material wealth. And for a long time there has been a custom to keep the five-colored "hadags" as a good sign of well-being and tranquility.

Blue hadag- the colors of the blue sky are a sign of harmony and tranquility. The blue hadak, in addition to offering to deities, is used in the rite of worship, in the offering of ritual food.

Green- a symbol of reproduction, productivity.

Red- a symbol of fire - a sign of the safety and security of the hearth. Used in rituals to correct age (correct vitality and increase spiritual strength)

yellow hadak- removes all the bad and is a sign of exaltation, professional growth, knowledge and dissemination of Buddhist philosophy. A symbol of the removal of evil and respect for religion. Usually presented by a lama's student, the Teacher as a gift of knowledge.

White- the color of mother's milk, personifies the clear wisdom of the Buddha and good deeds, generosity.

Black hadak it is used only in special cases, for example, in rituals for the removal of the evil eye - damage.

The tradition of keeping the khadag. The most blessed hadags are considered to be 100 dashes of hadags that touched the blessed hand of God or presented in memory by the dearest, closest people. And the greatest hadags are considered "sambay", having the signature of the highest religious ranks in Buddhism (khutagt, khuvilgaan). These hadags are kept in temples and are used for worship ceremonies.
When proper storage at the house of hadag, along with archi-vodka, wealth arrives and greatness (well-being) is established.

How to present hadag? Khadag is folded in half in width, and when offered, it is held so that the open part looks towards the person to whom it is presented. This means that "hadag presented to you with good intentions, with sincere feelings and bring you well-being. "The khadag is given and accepted with both hands with a bow. The recipient takes it and folds it on his left hand. When greeting, the younger gives his khadag to the elder.

Arat shoes are peculiar. These are gutuls - boots with turned up toes and thick soles. Felt is inserted inside the gutul, so the gutuls are very warm. In addition, the upturned toes of the boots are convenient for riding in stirrups. Now these shoes are worn mainly by the elderly, carefully preserving the traditions of the past.

Naturally, city dwellers, especially young people, prefer European clothes, and it can be said with good reason that fashion is followed in Ulaanbaatar no less closely than in Moscow.

Those who are interested in national Mongolian clothing are advised to visit a small but rather interesting museum of national costumes. The guide in Russian will tell you about the features national costume in various aimags of Mongolia.

The architectural and artistic solution is included in the concept of "museum exposition" as an obligatory and organic component that embodies modern artistic and aesthetic principles. This definition expresses a modern approach to understanding the museum exposition as a unity of scientific and artistic-figurative principles, which ensures the effectiveness of the main form of museum communication.

Modern museum practice pays great attention creation of an expositional image, which is formed to a greater extent due to the architectural and artistic solution of the exposition. This refers to the artistic design and implementation in volumetric and spatial artistic environment exposition ensemble on the basis of an artistic concept in order to optimally master the content of the exposition by museum visitors. The main task of artistic design is to various kinds art to help reveal the conceptual solution of the exposition, enhance the emotional impact and ensure effective contact of the visitor with genuine museum objects. The art of architectural and artistic solutions refers to both pictorial and expressive types, relies on the entire arsenal of artistic and technical means.

Thus, decoration expositions and exhibitions in modern museums is understood as a synthesis of spatio-temporal arts and achievements of science and technology (architecture, painting, sculpture, arts and crafts, cinema, music, speech, theater, computer, etc.). Modern exposition space is an organic artistic unity of all elements of the ensemble: emotional, conceptual and plastic.

The role of the artist in the creation of the exhibition.

Artistic design is largely determined by the creative imagination of the artist, widely uses the data of psychology and pedagogy, takes into account a combination of a number of factors that affect the process of artistic perception and the ability of a person to assimilate a certain amount of information.

Among them are such important data as the optimal height of the exposition belt, the angle of inclination of the showcases, the most convenient for viewing the exhibits exhibited in it, the number of materials that fall into the field of view of a person at a time and from one position, the amount of information that a person is able to assimilate in one and a half - two hours of stay in the exhibition halls. The artist must strive to different ways to concentrate the attention of the viewer and maintain his interest throughout the examination of the exposition, to be able to remove the “museum” fatigue and emotional overload in time.

creative fantasy the artist is based on a deep, comprehensive knowledge of the object, i.e. real sociocultural process and features of its reflection by museum means. Working on the exposition, the artist must rely on knowledge of the museum audience of a particular museum, the socio-demographic composition of its visitors.

It is especially important to draw attention to the leading exposition complexes or individual items in terms of content, to keep it on those exhibits that play a major role in understanding the scientific concept of the exposition. The museum exposition is perceived visually, therefore the task of the artist is to create visual rows, areas of emotional impact and routes for visitors. However, experts-artists emphasize that artistic image in the exposition cannot be perceived only as a chain of visual associations. This is a more complex concept, the formation of which involves knowledge, reflection, a correct historical understanding of the event and its assessment.

creative method contemporary artist organizing a museum exposition is close to the method of an architect and designer, since the palette of his materials includes museum exhibits, pictorial, architectural and spatial and technical means showing them. As a result, all together they are rethought, creating a unique figurative language. The contrast of forms, materials, textures, structures, which gives plastic richness and diversity to the exposition, must be mastered by a modern museum designer.

The color organization of the exposure is necessary for activation visual perception exhibits. It enhances the overall emotional atmosphere. The emotional power of the impact of color makes it possible to develop a kind of color symphony, in which color chords, for example, sounded in the first hall, should continue to grow like a melody in a piece of music and at the end sound a solemn finale. Color should support and express the content of the exposition.

The role of the museum artist as a "director" is also manifested in the fact that the museum exposition has become a kind of performance that uses the specific means of the museum artistic language. The museum exposition organically combines the scientific authenticity of the content with the bright entertainment of the show. The task of the museum artist is to translate the scientific content of the exposition from verbal language into figurative language. effective method their communication.

Topic 5. Museum architecture and equipment in exposition and exhibition activities. Design in the museum exhibition.

Architectural and artistic aspect of the exposition. The role of the artist in the creation of the exhibition.

museum equipment, its role in the organization of the exhibition space. Types of equipment: showcases, stands, shields, podiums, stands and so on. Functional, aesthetic, ergonomic, constructive requirements for them.

Design in creating the image of the exposition. Artistic techniques in solving design problems.

Any exposition requires accompaniment to reveal its meaning to the visitor. Even expositions created by modern methods (aesthetic, installation), designed for minimal interference in the process of communication "spectator - museum object", suggest the presence of explanatory texts (indications of what kind of object, time and place of manufacture, authorship, etc.) . Traditional expositions (systematic, landscape, ensemble, thematic) are accompanied by scientific auxiliary material (reproductions and copies, maps, diagrams, diagrams, etc. - which refers to scientific auxiliary materials), texts, labels.

Texts in the exposition– thought out as a whole and systematically organized set of headings for sections and topics of the exposition, annotations, labels, indexes, etc., i.e. all inscriptions used in the exposition, which are not exhibits, but perform auxiliary functions. Texts characterize the level of scientific exposition (the more there are, the more information within the profile discipline is offered to the visitor). The texts are especially important for single visitors who independently master the exposition. An important requirement for the use of texts is to prevent the substitution of objectivity for verbal commentary.

The texts in the exposition are subdivided into headings, leading texts, explanatory texts, etiquettes, indexes. Head text - helps the visitor navigate the exposition (they contain the names of halls, thematic sections, exposition complexes). Lead text - expresses the main idea of ​​the exposition as a whole, individual sections, themes, halls, complexes. In fact, it resembles the epigraph to works of art. Explanatory text - annotation to the hall, theme, complex or individual exhibit. Explanatory texts provide information that lies beyond the perception of the exhibits by the viewer.

Label- text-annotation to a separate object containing attributive data about the object: name, authorship or origin, material, size, method and time of manufacture, whether the object has a memorial value, information about what is being shown - the original or a copy. If the exposition presents mainly originals, and the number of copies is small, the labels of the originals may not indicate the status, only mark copies. And vice versa, if the exposition consists mainly of copies (for example, in museums of casts, etc.), then only the status of the original can be specially noted on the labels, and the copy should not be marked. All labels form labeling - the totality of all labels in the exposition.

Pointers- texts that help to navigate the museum premises, independently navigate the exposition (sequence of halls, complexes, etc.). Pointers can be placed on walls, special stands, etc., i.е. in the actual museum building. The role of pointers can be played by schemes, plans placed in guidebooks.

Texts should be arranged, taking into account the peculiarities of human perception. Texts, especially title and auxiliary ones, should be read by several visitors at once and be well lit (lighting should draw attention to them). Words included in one semantic block should not be broken when line-by-line, as this will make it difficult to perceive the meaning of the text. Font composition allows for stylization, but in any case, the inscriptions should be perceived as an integral unity, and the artistic solution of the font should not make it difficult to read with variegation, complex outlines, etc. Header and leading texts should be raised above the flow of visitors - they are placed above eye level. Explanatory texts, annotations, labels, pointers are placed at eye level or slightly lower or higher. Inscriptions located above or below eye level are best placed on inclined planes perpendicular to the line of sight, which makes them easier to perceive.

In the twentieth century texts in the exposition for the convenience of visitors are beginning to be replaced by the application technical means (technical intermediaries ) transmitting verbal, visual, sound, audiovisual information with the help of special equipment. To visual aids include electrified maps, light panels, luminous signs and labels, indicators of different colors, which serve to attract the attention of visitors to certain places in the exposition and turn on during the tour.

Sound intermediaries are divided into two groups: 1) those called upon to comment on the exposition ( phono commentaries - Recording the excursion on an audio cassette, replacing a professional guide; noises of nature - the voices of animals, birds, the sound of a waterfall, etc.); 2) serving as an addition to the exposition and even sometimes playing the role of a “museum object” (voice reproduction famous singer in his memorial museum, game recording on musical instrument placed on display, etc.).

Audiovisual simultaneously affect vision and hearing. These include slide films (a series of slides voiced for demonstration), slide programs (thematic slide shows), split screens (devices for simultaneously displaying images on several screens using projectors), poly films (installations with large, usually 6-15, rarely more, screens ), movies and videos.

Museums use automatic reference installations (informers) that provide information about the museum's work, the preparation and holding of exhibitions, expositions, stock collections, the availability and location of shops, canteens or buffets, etc. The types of such devices are different: voice answering machines, mechanical directories (they give out texts printed on the scoreboard), audiovisual and visual responders

Visual and audiovisual technical means today can be part of the exposition equipment. exposition equipment - a complex of elements and devices that carry out the structural and spatial organization of the exposition, ensure the safety and fixation of exhibits at any point in the exposition space, performing certain artistic, symbolic functions. Exposition equipment has come a long way of development. Initially, it reflected the tastes of the era, and the principles of its manufacture differed little from the principles of the manufacture of any other furniture (this is especially true for private museums). closed type, often combining private chambers and a museum). Only in the 1st quarter of the twentieth century. the idea is developed that the equipment should not interfere with the perception of the exposure, and, therefore, it “to face” the simplicity of forms, functionality

Exposition equipment is divided into unique - created to demonstrate a particular collection, and universal - unified, flexible systems that can be used in any museum or continue to be used after re-exposition. Individual equipment can be styled according to a particular era to complete the look of a museum display. To the types of modern equipment include:

stands- vertical flat panels (including pneumatic equipment - inflatable stands, container stands - used both for transportation and for display). Stands include turnstiles - rigid flat surfaces, similar to books, fixed on the axis with the help of hinges

Showcases- equipment for spatial exposure of objects. Modern showcases not only protect objects from dust and unwanted contact with the visitor's hands, but can create an ideal mode of storage (for example, vacuum showcases used in the Louvre

catwalks– elevations for open display of volumetric objects

Versatile modular systems(frame, frameless, combined, frame, space-rod, rocker).

Ensemble expositions are used mannequins . In the 1960s–1980s expositions with mannequins have been criticized for being too "naturalistic", but in recent decades the use of mannequins has returned to the practice of museology

At the stage of formation of a scientific concept, the artist to whom the museum entrusts the creation of a future exposition is involved in the work (usually if the museum has such a full-time position or an artist whose cooperation is of a long-term nature), or several artists, each of whom will give his own a vision of resolving the general and specific requirements of museum workers for a future exhibition. In general, the inclusion of the artist in the work on the exposition can take place on different stages, but still no later than the compilation thematic plan. The general (scientific) concept is drawn up as a single document, including a description of the general idea, plans-drawings exposition halls indicating areas of preferred placement of exposition complexes, individual large exhibits, scientific and auxiliary material (dioramas, models, etc.).

The artist must provide a full acquaintance with the exhibits, especially museum objects: the opportunity to examine hallmarks, copyright or watermarks, brand names (for mass-produced items), heraldic signs, etc. For this, magnifying glasses can be installed to highlight a fragment of an object, an exhibit can be mounted on a rotating stand that provides an overview from all sides, a mirror surface of museum exposition equipment is used to demonstrate the back side of flat objects, etc.

Topic 6. Museum pedagogy in the implementation of the educational and recreational functions of the museum. Forms and methods of interaction between the museum and the visitor. Designing museum-pedagogical programs.

Scientific and practical nature of museum pedagogy and its direction. Interdisciplinarity of museum pedagogy and its connection with psychology, pedagogy, sociology and museology.

Terminological diversity and socio-political conditionality of the concepts: "enlightenment", "political and educational", "scientific and educational", "mass ideological and educational work", "cultural and educational", "recreational activities", etc.

Theoretical foundations of museum pedagogy. The concept of "educational potential of the museum". Recreational opportunities of the museum. The role of the museum object and the museum environment in the educational and recreational processes.

Forms and methods of working with visitors and their classification. Traditional and innovative forms of work with the visitor.

Museum-pedagogical program and stages of its design.

Museum Pedagogy– special scientific discipline at the junction of museology, pedagogy, psychology and the discipline (or their complex) specialized for a given museum, the subject of which is museum communication. Its task is to develop new methods of working with the visitor, museum and pedagogical programs, to study the impact of museum communication forms on various groups of the museum audience.

Under museum auditorium in this case, we mean the totality of people included in the scope of cultural and educational activities of museums (excluding museum employees who are involved in the scope of this activity by virtue of their profession)

Museum pedagogy as a practical form of work began to take shape in the second half of the 19th - early 20th century. The term "museum pedagogy" was introduced in 1931 by Freidel. Initially, museum pedagogy focused on the development of working methods and the study of mainly children's audiences. Only in the 1970s-1980s. the importance of such research for other groups of visitors is also recognized (although work with children and adolescent groups remains the most important direction), the connection of museum pedagogy with all parties museum work.

The data on the basis of which museum pedagogy draws conclusions is provided by museum sociology - a special scientific discipline at the intersection of sociology (primarily the sociology of culture), cultural management and museology. Museum sociology studies the functioning of the museum as social institution; implementation in its activities of social needs, requests and expectations; the museum's impact on society and society on the museum; attitude towards the museum of various social, professional, age and other groups, their needs and value orientations.

AT modern museology ideas about the importance of sociological research not only in the cultural and educational activities of museums, but also in other areas of work, were fully formed. Sociology develops methods expert assessments, functional characteristics of museum collections, meaningful and semantic indicators of museum activities, criteria for the effectiveness of intra-museum communications, links between museum and non-museum work (determining the measure of the significance of this work and its individual forms for the museum audience, experts, specialists, etc.).

Sociological research is an important part of the research work of modern museums. Museum sociology relies both on general sociological data (for example, data from censuses or general sociological studies on the size, age, social, professional, etc. characteristics of the population), and conducts its own research through surveys, questionnaires, observation, study of documents, etc. d.

Separation of museum sociology into an independent field scientific knowledge happening in late XIX- the beginning of the twentieth century. In Russia, the first studies of the social, demographic composition of visitors, their requests and behavior were carried out in the 1920s, mainly on the basis of temporary and traveling exhibitions. In the 1930s such studies were curtailed and resumed only in the 1960s. The scope of sociological research of domestic museums falls on the 1970s–1980s. During this period, sociological services were created in many large museums: the Hermitage, the State historical museum, the Russian Museum, etc. Major research is being carried out, for example

The term cultural educational activities has been used in domestic museology since the early 1990s. Prior to this, other concepts were used (mass political and educational work, scientific and educational work), reflecting the understanding of the essence of working with visitors in different historical periods and changing faster than the terminology for designating other areas of museum activity. The museum's transfer process cultural values and meanings, the purpose of which is the perception of information by visitors, is defined as museum communication, during which the information potential of museum objects is revealed, educational and other functions of the museum are realized.

The content of cultural and educational activities is expressed in the forms of organization of work with the museum audience, interaction with the education system. Back in the 1970s, it was noted that in the arsenal of the museum one can distinguish up to a hundred various forms, among which 10 basic forms are noted.
These are: lecture; excursion; consultation; scientific readings; circles, studios, clubs; literary evenings, film screenings, concerts; meeting interesting people; holidays; historical games; contests and quizzes. There are many characteristics of forms: traditional - new; dynamic - static; group - individual; active - passive; simple - complex; one-time - cyclic; commercial - non-commercial, etc. For example, traditional forms that served as the basis for the emergence of new ones include lectures and excursions, conferences, scientific readings, consultations, clubs, circles, and studios. Forms borrowed from other areas of culture, education and science or due to the development of new museum technologies can be considered as non-traditional.

AT modern conditions cultural and educational activities are focused on the personality of a potential and real museum visitor, in this regard, the following main areas can be identified: information, training, development creativity, communication, rest.
Such a selection is conditional, because the directions themselves are changeable, mobile and often closely related to each other, or intersect in some aspects.
However, in order to acquire methodological skills in museum pedagogical activity, it is necessary to clearly understand the purpose and objectives of work in each of these areas, as well as to think over the most optimal form of work with the museum audience and methods of pedagogical influence.
A collection of different forms combined common theme and subordinates to a single pedagogical goal, become the basis of the museum-pedagogical program.
Let us consider in more detail the essence of each of the directions.

1) Informing is the first step in the development of museum information, i.e. initial receipt of information about the museum, the composition and content of its collections or about individual museum items, as well as on issues related to the profile of the museum, various areas of its activity. It is carried out with the help of such traditional forms as lecture and consultation. However, the current level of development information technologies involves their introduction and active use in the museum, for example, in the form of a special information center. Information services include a wide variety of ways to present information to visitors using computers, ranging from the quality of signs, plans and guides for both adults and children, and ending with the use of information kiosks installed in the hall or halls of the museum with an Internet connection. Information Systems contain high-quality images of exhibits indicating their location, accompanying and explanatory information.

2) Education - the second stage of mastering museum information at a qualitatively new level, which includes the transfer and assimilation of knowledge, as well as the acquisition of skills and abilities in the process of museum communication.
Studying in a museum involves obtaining additional or alternative knowledge that is impossible or not fully available in other educational institutions. This is facilitated by the introduction of museum-pedagogical programs based on acquaintance and study of objects - originals.

Distinctive features learning in the museum - informality and voluntariness. A feature of learning in a museum is the opportunity to maximize one's abilities and satisfy interests; it is stimulated by the expressiveness, diversity and authenticity of museum objects. Education can be carried out in the form of excursions, museum lessons, classes in a circle. museum lesson(class) is mainly used as a form of museum work with students of schools, gymnasiums, lyceums, colleges. The circle at the museum is an association of people with the same interests with the aim of deepening, expanding and acquiring skills related to the profile of the museum.

3) The development of creative principles is the third, highest level of comprehension of museum information. The development of creativity involves the use of the potential of the museum, concentrated in the monuments of material and spiritual culture, to identify inclinations and reveal the creative abilities of the individual. The museum has special conditions for stimulating creative process. The most effective of them is the possibility of “entering” into the system the best samples, traditions, examples of the culture of the past. This direction can be implemented in the form of a studio, a creative laboratory or a festival, a quiz, a historical game, etc. The studio aims to reveal Creative skills participants based on the study of museum collections.
Creative Lab- an association of interested persons leading an experimental program in the museum under the guidance of a researcher scientific activity combined with creative practice. Festival - an action with a wide range of participants, accompanied by a display and review of various types of art or works performed by members of studios, circles, and other creative groups.

4) Communication - establishing mutual business or friendly contacts based on common interests related to the theme of the museum, the content of its collections. The museum provides ample opportunities both for communication with museum information and for meaningful, interesting and informal interpersonal communication. It can be organized in the form of a meeting, club, olympiad, get-togethers, or in some unconventional form.
Meeting - a meeting arranged for the purpose of meeting and communicating with interesting people on a topic related to the profile of the museum. The club is a public regulated organization that provides an opportunity for free communication with people who have the same orientation of interests related to the museum and its content. Gatherings - a theatrical form, the participants of which gather in the museum for communication, entertainment in combination with any joint activity of an applied nature (embroidery, lace weaving, weaving, modeling, etc.).

5) Recreation - organization of free time in accordance with the desires and expectations of the museum audience, satisfaction of the need for recreation in the museum environment. Most of of these forms of leisure is designed for an audience of different ages (fair, carnival, open doors, museum festival, concert, KVN, etc.), but there are also specially designed forms of recreation and entertainment for certain categories of visitors (a playroom for preschoolers, a Christmas tree in a museum for junior schoolchildren, tea drinking for the elderly, prom in a museum, a wedding, etc.).

Most often, successful forms are complex. Like directions, forms are mobile, they are improved and developed. They took shape over decades and changed over time under the influence of historical circumstances, scientific research and development, and the demands of society.
The basic principle of any form of cultural and educational activity is to provide visitors with the opportunity to do what interests them, to create conditions for self-realization. At the same time, it is important to take into account psychological features different types and categories of museum visitors. The effectiveness of this work also depends on the interaction of the museum with the school, the integration of school and museum pedagogy.

Currently, cultural and educational activities are one of the leading areas of museum work, primarily with children and adolescents. Museums are developing targeted programs aimed at both children and adults, creating departments of education with a new structure, organizing children's centers, expositions, and exhibitions for children and families. Integration processes contribute to the identification of new issues, methods, which is reflected in cultural and educational programs and projects.