Popular opinion in works of art. Lecture on "folk art"

Nadezhda Obydennova
Acquaintance with Russian folk arts and crafts in the artistic work of children

Topic: « Acquaintance with Russian folk arts and crafts in the artistic work of children».

"The highest view art,

The most talented, the most brilliant

Is folk art, that is,

What is saved people carried through the centuries.

M. I. Kalinin

Currently, various social changes are taking place in life, which literally burst into the lives of each of us. And among them there are those that negatively affect the world of the child. Folk games, fun, toys are replaced by television screens, computer games.

The upbringing of a citizen and patriot who knows and loves his Motherland is a task that is especially relevant today, cannot be successfully solved without a deep knowledge of the spiritual wealth of one's own people, development folk culture.

The culture of Russia cannot be imagined without folk art which reveals the primordial origins of spiritual life Russian people, clearly demonstrates its moral, aesthetic values, artistic tastes and is part of its history. folk art preserves and passes on to new generations national traditions and developed people forms of aesthetic attitude to the world.

Arts and Crafts is one of the factors of the harmonious development of personality. Knowing the beauty folk art the child experiences positive emotions, on the basis of which there are deeper the senses: joy, admiration, delight. Figurative representations, thinking, imagination are formed.

All this causes children the desire to convey the perceived beauty, to capture those objects folk decorative arts that they liked, their creative activity awakens and develops, aesthetic feelings are formed and artistic taste, aesthetic evaluation to subjects Russian. At children develop a variety of abilities artistic so intelligent. Contact with enriches the child with folk art, cultivates pride in one's own people, maintains an interest in its history and culture.

In my work I use the program "Joy creativity» O. A. Solomennikova, whose goal is: "development artistic and creative abilities of children by means of folk and

arts and crafts».

To achieve this goal, the main tasks are being implemented art education:

Development of interest in various species art, the formation of the first ideas about art, the ability to perceive it;

Formation artistically- figurative representations and thinking, emotional and sensual attitude to art, education of aesthetic taste;

Development creative abilities in drawing, modeling, applications;

The development of fine motor skills of the hands children;

Development of sensory abilities of perception, sense of color, rhythm, composition;

Communion children to the best examples of art.

Having studied the learning objectives children with folk art, I made a long-term plan for familiarizing children with folk crafts, which indicates specific learning objectives, topics of classes in drawing, modeling, applications, related work with children.

In order to solve the tasks set, I began with the organization of the development

environment. Picked up practical material and methodological

allowances, which include genuine items

folk crafts - Khokhloma, Gzhel, Dymkovo toys,

Zhostovo, nesting dolls, Filimonov toys, Gorodets products; illustrations, albums for each type folk art. Many didactic manuals are created by their own hands: didactic games- Where is this bird from?, "Name the elements of the pattern",

tables with elements folk paintings, folder with paper silhouettes.

In the groups, a subject-developing environment for visual activity was created, where there is available material for creativity, the presence of its different types - paints, gouache, colored pencils, wax, oil, brushes, cotton swabs, stamps, etc. In accordance with the subject of the classes, the centers were replenished artistic creativity in groups with subjects, manuals arts and crafts.

The entire educational process is divided into two stage:

1. Stage - Preparatory

Tasks:

- To acquaint children with samples of folk crafts;

To develop the ability to see, understand, appreciate the beauty of handicrafts artistic craft;

Perceive the content of the pattern, the features of its figurative and expressive means;

To form a sense of rhythm, symmetry, harmony.

2. Stage - Practical

Tasks:

To independently transfer their impressions and ideas about folk plastic in different types artistic activity: modeling and drawing;

Independently build a composition of patterns on different products, taking into account their shape;

Independently compose compositions of patterns, use color combinations based on knowledge of the characteristic features of murals;

Use traditional and non-traditional work techniques.

Having carefully studied the materials relating to the history of the development of various crafts, she clarified the methods and techniques used in painting. Such methods are used - surveys, visualization, verbal, problem-motivational, practical, techniques are used - creating a game situation, showing ways of depicting new elements, naming pattern elements, linking the examination of the product of masters with the subsequent drawing up of patterns, "hand gesture".

For development children's creativity used an unconventional drawing technique - drawing with fingers, imprint with a cork, cap, poke method. This technique is used in Dymkovo, Khokhloma and Gzhel painting.

Introducing children to folk products trades I tried to teach children to see the aesthetic properties of objects, the diversity and beauty of form, the combination of colors and shades, because peering, looking and thinking, children learn to understand, feel, love.

For the purpose of emotional education, the examination of objects was accompanied by artistic word(fairy tales, legends, poems, nursery rhymes, jokes, folk music, Russian songs. Brief figurative characteristics help children remember this or that character, form a benevolent attitude towards him.

I chose the forms of conducting classes various: a journey through the ancient Russian cities famous throughout the world for its art crafts, turning into masters - artists, excursions to a fairy tale. I tried to conduct classes in a playful way, everyone comes up with titles: "Scarf for Mashenka", "Bunny Napkin", "Spoon for Zhiharka" and others. An interesting and motivated visual-playing task is set before the children, the lesson includes a complex of game action: paint a cup or dish, Give a scarf, dress up a nesting doll. The use of visual material artistic word, music - all this helps me to help children get into an unusual world art, attach to artistic culture. This makes the activity lively and interesting. As a result, children turn out bright, colorful work.

To consolidate knowledge about folk in the fisheries, we conduct integrated classes that contribute to solving problems from various regions: music, reading fiction, knowledge, communication and others. In such classes, the relationship between educators, music director, teachers of additional education is clearly visible.

Final work on acquaintance with any kind of folk painting is reflected in collective works children, which are used to decorate group rooms or locker rooms.

Joint exhibitions are organized creativity of children and their parents about folk crafts"Native motives".

In parallel, work is underway with educators, which provides for conversations, consultations on development creative abilities and the use of non-traditional drawing techniques, showing open classes in decorative drawing.

The work done is reflected in the behavior of life children: they have become more independent, more industrious, respect the work of their elders.

Deepened knowledge children about materials, from which masters create works art vocabulary has expanded. And most importantly, children understood: wealth of original art is in its people whose talented hands multiply, develop and preserve from oblivion ancient Russian culture of Russia.

Today, many are concerned about the search for national self-identification, the spiritual bonds of the people, a common idea, and in these searches, views are usually turned to cultural heights, fundamental ethical principles, and economic mechanisms. Meanwhile, the sought-for values ​​make their way into our lives, like grass through asphalt, with subtle facts, events, plots of everyday cultural practice. Who, in connection with such grandiose problems as national self-identification, will remember a small thing - a folk toy? When was the last time you saw her? And where - in the museum? At the exhibition? On grandma's chest of drawers? Or remember how at a tender age they played it? And what relation can this small and completely unimportant thing in your everyday life have to the fundamental spiritual problems of modern man and, moreover, of the whole society?

Whistles and pipes

The history of clay toys goes back thousands of years and continues to this day. And among the variety of types of clay figurines, the whistle deserves special attention. In ancient times, ceramic sounding objects were used in rituals and had a cult purpose. The clay figurine served as a talisman; magical properties were attributed to it. It was believed that with a whistle one could drive away evil spirits, protect oneself from evil. Sound and whistle caused the wind and rain. With the oblivion of pagan beliefs, the whistles lost their sacred function and almost everywhere turned into children's fun, although the cult use of toys, including whistles, remained (until recently) along with the game. In Russia, the most famous event with the participation of a whistle is the Vyatka festival of the whistle dance, or whistle.

Master from Gorodets

Professionally engaged in wood carving, Sergei Sokolov began to study the Gorodets traditions of this art. He was interested in the possibilities of Nizhny Novgorod blind carving. It is called deaf because no holes were punched in the processed board, the master formed a pattern relief on its plane with the help of chisels. So, according to tradition, they decorated the stern and sides of the Volga ships and the frontal board of peasant huts, where the board closes the place of contact of the roof pediment with the upper crown of the frame.

The master sawed out the desired contour with an electric jigsaw, painted the front side. Moreover, he applied paint (watercolor) immediately to the tree without a primer, then covered it with drying oil. Later, Sergei Fedorovich began to prime his things with natural drying oil and switched from watercolor to tempera, which gives a more saturated color.

Folk art in the paradigms of history and modernity

Art critics, ethnographers, sociologists, historians, psychologists, economists, and culturologists have different approaches to understanding traditional folk art, but only together they allow us to get closer to understanding a phenomenon that still continues to elude analysis in its entirety 1 .

Folk art crafts

The use of natural materials is one of the common and basic traditions of folk art. It is in the material that its artistic features are enclosed. Carving and painting on wood, weaving, embroidery, lace making, birch bark and root processing, pottery, artistic forging of metals - with all the variety of techniques and materials, modern folk craftsmen of these ancient arts adhere to traditional elements, forms and plots.

The Polenov House, whose successor is the State Russian House of Folk Art, is 100 years old. On December 29, 1915, a solemn opening took place in Moscow of an institution unique in the history of world culture - the Polenovsky House. The fact of its creation is connected by a century-old tradition with the history of the development of amateurism in Russia. The House had: a hall for 300 seats with a stage for staging exemplary, demonstrative folk and school performances; rooms for rehearsals, a library, decoration and costume workshops, an instructional exhibition. The building was erected according to the original design of the outstanding Russian artist, great enlightener, academician of painting Vasily Dmitrievich Polenov.

Many ways of artistic processing of leather were invented by man: embossing, appliqué, embroidery, painting and even metal inlay. Standing apart among them is the original sewing technique of Kazan patterned leather shoes. This technique can be called a leather mosaic, because it is on the principle of a mosaic that details from colored leather are combined into a complex pattern in a peculiar way of strike-embroidery.

Square Theater of the East

A striking feature of the Caucasus, which could be called the immortality of the people's memory or poetic conservatism, is the ability to preserve for thousands of years what the people's mind or imagination once gave birth to. In the ordinary view, folk traditions can be observed in special safety in some regions, in particular in the Caucasus. A lot has been written about this feature of the Caucasus.

However, already at the beginning of the last century, researchers believed that “It is not so easy to single out from a whole series of intertwined and crossed cultural influences under the influence of which the Caucasus was, what is local, what is Assyro-Babylonian or Byzantine, or Mongol-Turkic, or Russian, or Islamic with its Arabic, Persian and Turkic refractions". Despite such complex interweaving, the concept of "Eastern culture" , with all the richness of this concept, its only certainty, like many decades ago, the concept "Eastern culture" roughly equivalent to "non-European culture"

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17 most beautiful types of Russian folk art.

Folk crafts are exactly what makes our culture rich and unique. Painted objects, toys and fabric products are taken away by foreign tourists in memory of our country.

Almost every corner of Russia has its own type of needlework, and in this material we have collected the brightest and most famous of them.

Dymkovo toy

The Dymkovo toy is a symbol of the Kirov region, emphasizing its rich and ancient history. It is molded from clay, then dried and fired in a kiln. After that, it is painted by hand, each time creating a unique copy. No two toys are the same.

Zhostovo painting

At the beginning of the 19th century, the Vishnyakov brothers lived in one of the villages near Moscow in the former Troitskaya volost (now the Mytishchi district), and they painted lacquered metal trays, sugar bowls, pallets, papier-mâché boxes, cigarette cases, tea caddies, albums and other things. Since then, artistic painting in the Zhostovo style began to gain popularity and attract attention at numerous exhibitions in our country and abroad.

Khokhloma

Khokhloma is one of the most beautiful Russian crafts, which originated in the 17th century near Nizhny Novgorod. This is a decorative painting of furniture and wooden utensils, which is loved not only by connoisseurs of Russian antiquity, but also by residents of foreign countries.

Intricately intertwined herbal patterns of bright scarlet berries and golden leaves on a black background can be admired endlessly. Therefore, even traditional wooden spoons, presented on the most insignificant occasion, leave the kindest and longest memory of the donor in the recipient.

Gorodets painting

Gorodets painting has existed since the middle of the 19th century. Bright, laconic patterns reflect genre scenes, figures of horses, roosters, floral ornaments. The painting is done with a free stroke with a white and black graphic stroke, decorates spinning wheels, furniture, shutters, doors.

Filigree

Filigree is one of the oldest types of artistic metal processing. Elements of a filigree pattern are very diverse: in the form of a rope, lace, weaving, Christmas trees, paths, smooth surface. Weaves are made of very thin gold or silver wires, so they look light and fragile.

Ural malachite

Known deposits of malachite are in the Urals, Africa, South Australia and the USA, however, in terms of color and beauty of patterns, malachite from foreign countries cannot be compared with the Urals. Therefore, malachite from the Urals is considered the most valuable in the world market.

Gusevskoy crystal

Products made at the crystal factory in the city of Gus-Khrustalny can be found in museums around the world. Traditional Russian souvenirs, household items, sets for the festive table, elegant jewelry, boxes, handmade figurines reflect the beauty of native nature, its customs and original Russian values. Colored crystal products are especially popular.

Matryoshka

A round-faced and plump cheerful girl in a scarf and a Russian folk dress won the hearts of lovers of folk toys and beautiful souvenirs around the world.

Now the matryoshka is not just a folk toy, the keeper of Russian culture: it is a memorable souvenir for tourists, on the apron of which game scenes, fairy tale plots and landscapes with sights are finely drawn. Matryoshka has become a precious collectible that can cost more than one hundred dollars.

Enamel

Vintage brooches, bracelets, pendants, which have rapidly “entered” into modern fashion, are nothing more than jewelry made using the enamel technique. This type of applied art originated in the 17th century in the Vologda region.

Masters depicted floral ornaments, birds, animals on white enamel using a variety of colors. Then the art of multi-colored enamel began to be lost, it began to be replaced by monochromatic enamel: white, blue and green. Now both styles are successfully combined.

Tula samovar

In his free time, Fyodor Lisitsyn, an employee of the Tula Arms Plant, liked to make something from copper, and once made a samovar. Then his sons opened a samovar establishment, where they sold copper products, which were wildly successful.

The Lisitsyn samovars were famous for their variety of shapes and finishes: barrels, vases with chasing and engraving, egg-shaped samovars with dolphin-shaped taps, loop-shaped handles, and painted ones.

Palekh miniature

Palekh miniature is a special, subtle, poetic vision of the world, which is characteristic of Russian folk beliefs and songs. The painting uses brown-orange and bluish-green tones.

Palekh painting has no analogues in the whole world. It is made on papier-mâché and only then transferred to the surface of caskets of various shapes and sizes.

Gzhel

Gzhel bush, a district of 27 villages located near Moscow, is famous for its clays, which have been mined here since the middle of the 17th century. In the 19th century, Gzhel masters began to produce semi-faience, faience and porcelain. Of particular interest are still products painted in one color - blue overglaze paint applied with a brush, with graphic rendering of details.

Pavlovo Posad shawls

Bright and light, feminine Pavloposad shawls are always fashionable and relevant. This folk craft appeared at the end of the 18th century at a peasant enterprise in the village of Pavlovo, from which a handkerchief manufactory subsequently developed. It produced woolen shawls with a printed pattern, very popular at that time.

Folk decorative art in our country is an organic part of folk culture. Poetic images, emotions inherent in him are dear and understandable to all people. It instills a sense of beauty, helps to form a harmoniously developed personality. Being based on long-standing artistic traditions, decorative art has a positive effect on the education of a person of the future. The works created by masters from the people are a reflection of love for the native land, the ability to see and understand the beauty of the surrounding world.

The main varieties of decorative art

For many centuries, home production in peasant families, and starting from the 18th-19th centuries, handicrafts, supplied cities and villages with a variety of utensils made of clay, wood and metal, printed fabrics, ceramic and wooden toys, carpets, etc. and cheerfulness on wood, Dymkovo figurines and whistles made of clay, Lukutin painted lacquer boxes. Each of these items is a work of folk decorative art. Wooden gold - Khokhloma painting - is of great interest in Russia and abroad.

There were original crafts in the Far East, the Russian North, Siberia, and the Caucasus. Metalworking in Dagestan Kubachi, ceramic painting in Balkhara, and wood carving with silver Untsukul gained fame. Folk decorative art, the types of which are very diverse, is represented in different parts of our vast country.

Vologda lace - folk decorative art

Vologda lace gained popularity in European capitals at the end of the 18th century. And in our time, many foreigners mistakenly believe that lace in Russia is woven only in Vologda. In fact, Yelets, Kirishi, Vyatka also have reason to be proud of their products. Almost all of them have their own unique features. So, Mikhailov's colored laces are very interesting. In our country, they have gained no less popularity than the Vologda ones. Nevertheless, like hundreds of years ago, people go to Vologda for a snow-white miracle.

openwork carving

Openwork carving adorns small bone objects: boxes, caskets, pendants, brooches. A work of folk decorative art - bone lace - this is how openwork carving is poetically called.

The most widespread are three types of ornament in the case of cutting on bone:

• Geometric - a plexus of straight and curved lines.
• Vegetable.
• Rocaille - stylization of the shape of a sea shell.

The technique of openwork carving is used to create compositions based on ornament and plot. The raw material is an ordinary cow bone.

Fine work on openwork carving requires special tools: needle files, engravers, rivets, jigsaws.

beading

Beading can be proud of centuries of history, like the beads themselves. The inhabitants of ancient Egypt were the first to master the complex art of weaving necklaces based on small colored glass balls, and also decorated clothes with them. However, bead production really flourished in the 10th century. For many years, the inhabitants of Venice carefully kept the secrets of craftsmanship. Purses and handbags, shoes, clothes and other elegant things were decorated with luxurious beads.

When beads appeared in America, they replaced the traditional materials used by the natives. Here they finished cradles, baskets, earrings, snuff boxes.

The peoples of the Far North decorated with beaded embroidery high fur boots, fur coats, reindeer harness, and hats.

Batik

Batik - do-it-yourself painting of fabric using fixing compounds. The technique is based on the observation that rubber glue, paraffin, when applied to a fabric, do not allow paint to pass through.

There are several varieties of batik - nodular, hot, shibori, cold.

The name "batik" is Indonesian, which means "draw", "hatch", "cover with drops".

This painting has been used by the peoples of India and Indonesia since ancient times. Batik came to Europe in the 20th century.

painting

Painting is one of the most ancient forms of decorative art. For centuries it has been an organic part of the original culture and life of the people. This type of decorative art is widespread.

Here are some types of painting:

• Zhostovo painting is a well-known Russian craft that appeared in the 19th century in the village of Zhostovo, not far from Moscow. Belongs to the most popular crafts where Russian folk painting is created. The famous Zhostovo trays are hand-painted. Most often, bouquets of flowers are depicted on a black background.
• Gorodets painting is a craft that appeared in the middle of the 19th century in the city of Gorodets. The painting is bright and concise. Her themes are figurines of horses, genre scenes, floral patterns. Decorated doors, shutters, furniture, spinning wheels.
• Khokhloma painting is one of the oldest folk crafts. It originated in the 17th century in Khokhloma, not far from Nizhny Novgorod. Khokhloma painting - decorative painting of wooden objects, made on a golden background in black, red, less often green. After drawing the pattern, the product is coated with a special composition and treated three times in an oven, which allows you to achieve a unique honey-golden color. Traditional for Khokhloma are rowan and red strawberries, branches and flowers. Animals, fish and birds often appear in the compositions, turning what has been made into a genuine work of folk decorative art. Wooden gold - this is how Khokhloma painting is often called.

Let's get acquainted with various handicrafts used in kindergarten for the development of children.

Dymkovo toy

The products of the Kirov craftsmen impress with bright patterns, non-standard proportions and shapes. Everyone is delighted with elegant, wonderfully decorated and painted ladies-francihi, ponies, roosters, goats. The first Dymkovo toys appeared in 1811. Clay dolls with paintings were sold at the Vyatka holiday. Clay toys were made by craftsmen from the village of Dymkovo. They did it with their families.

Now a factory that produces Dymkovo toys is operating in Kirov.

Filimonov toy

No less famous is the center of folk craft in the village of Filimonovo near Tula, where wonderful clay toys are born. People and animals made by craftsmen are distinguished by their bizarre form and great expressiveness. These are peasant women, ladies, soldiers, cows, horse riders, sheep. Filimonovo toys cannot be confused with others, as they carry their own unique features in the form of modeling and painting. They play with all the colors of the rainbow.

A child who sees a Filimonovo toy that has a non-standard color and shape awakens creativity.

Kargopol toy

Kargopol is an ancient city whose inhabitants have long been engaged in pottery. Mostly they made dishes, but some craftsmen were engaged in clay toys. True, in 1930 the fishery fell into decline. The restoration of the Kargopol workshops took place in 1967.

Kargopol toys look stricter against the backdrop of bright Dymkovo and Filimonovo toys. The range of colors is brown, black and dark green. There are many funny images here, simple, but at the same time breathing warmth and humor. These are peasant women, bearded men, dolls with spinning wheels.

Gzhel dishes

Not far from Moscow is the village of Gzhel. Since the 14th century, pottery has been practiced here. Among the dishes produced by kvassniks are plates and toys, which are painted with brown and yellowish-green paints for ceramics. Now porcelain products produced in Gzhel are world famous. The reason for this is the uniqueness of the form and pattern. Gzhel porcelain is distinguished by blue painting made on a white background. True, the blue is not uniform. If you look closely, you can find the subtlest shades and halftones, evoking thoughts about the blueness of the sky, river and lake water. In addition to dishes, toys and small sculptures are produced in Gzhel. Everything that the masters do strikes with the harmony of content and form. This is a real work of folk decorative art. Everyone dreams of buying Gzhel.

Decorative art in kindergarten

The art of folk craftsmen is a property not only for adults. It is also important for children, who can enthusiastically play with both wooden nesting dolls and clay toys of Kirov craftsmen. The art of the people arouses children's interest in the originality of ideas, figurativeness and brilliance. It is understandable to children, since its content is simple and concise, but at the same time it opens up to the child the beauty of the world around him. Here are the beloved fairy-tale images of animals, which are made of clay or wood, and ornaments with flowers, berries and leaves, seen more than once in life. Masters involved in the manufacture of clay toys often paint their works with an ornament of geometric shapes: stripes, rings, circles. These drawings also find understanding in kids. All clay and wooden products in kindergartens are not only interior decoration. Guided by an experienced teacher, the children carefully look at them, drawing and sculpting them based on samples of folk products.

Folk decorative art in kindergarten enters the life of kids, bringing them joy, broadening their horizons, and having a positive effect on artistic taste. In preschool educational institutions there should be a sufficient number of handicrafts. This allows you to decorate the interiors of groups, updating them after a while. Artistic products are shown to children when conversations are being held about craftsmen. All such items must be stored in the cabinets of the pedagogy office. They must be constantly replenished and distributed among the fisheries. Younger children need to purchase fun toys, chiseled wooden toys. The guys of the middle group are better suited Filimonov and Kargopol. All types of folk toys, including clay and wooden ones, are available for older children.

Decorative modeling in a kindergarten involves the creation of children's dishes, various figurines on the themes of folk toys. In addition, children can make small decorations for dolls, souvenirs for mothers, grandmothers and sisters for the holiday of March 8.

Under the influence of classes with folk crafts, children are more deeply and interested in illustrations on the themes of Russian toys, with the richness of their subjects, spur the child's imagination during modeling, making his knowledge about the world that surrounds him richer. Classes with the use of folk art as illustrations provide an opportunity to develop the mind of kids.

However, a positive effect from this is achieved only if children are systematically and systematically introduced to objects of arts and crafts. On the basis of the acquired knowledge, they create decorative works with their own hands. They are invited to reproduce a work of folk decorative art (any). A photo, if the work itself is not available, will help the child imagine what he will draw or sculpt.

The desire of children to engage in the creation of beautiful objects is largely determined by the attention of the educator to these issues. He must have information about folk crafts, be aware of the history of their appearance. If the teacher knows what kind of folk craft this or that toy can be attributed to, and knows how to tell in an interesting way about the craftsmen who make these toys, the children will be interested, and they will have a desire to be creative.

Fine arts in elementary grades

Folk decorative art in the design activities of younger students allows children to return to the origins of folk culture, to the spiritual heritage. In the modern world, the study of the riches of national culture is the most important task of the moral education of children, turning them into patriots of their country. The soul of the nation is embodied in folk crafts, the historical memory of generations is awakened. It is impossible to educate a full-fledged personality, to develop its moral potential, the aesthetic taste of children, if talk about creativity is reduced to abstract reasoning. After all, the works of craftsmen are an illustration of the best qualities of the national character: it is the awakening of respect for one's own history and traditions, love for the motherland in general and for the place where one was born in particular, modesty, striving for beauty, a sense of harmony.

How to organize the educational process in such a way that love for the motherland is not just a beautiful phrase, but really corresponds to the inner essence of the younger generation? What can be done if there are no performances that clearly and figuratively reveal the theme of patriotism? This issue, of course, requires an integrated approach. must be addressed systematically.

In order for the child to understand what is at stake, it is proposed to consider a work of folk decorative art (any) in the lesson. An example of such a work will help to understand the issue.

The modern era requires an appeal to the very origins of art. Preservation, enhancement of folk art, development of its traditions - such difficult tasks are faced by teachers, educators, artists.

Visual arts in high school

As they grow older, children begin to understand more and more what a work of folk decorative art is. Grade 6 also systematically studies this issue.

The work program for the study of fine arts in the 6th grade provides for three main types of creative activity:

1. Visual work (painting, drawing).
2. Decorative art (ornaments, paintings, applications).
3. Observation of the surrounding world (conversation).

These varieties allow children to get acquainted with the spheres of artistic creativity. Already in the course of acquaintance, it becomes clear how closely these areas are interconnected and how noticeably they complement each other in the process of solving the tasks set by the program. It is necessary to subject each work of folk decorative art to a detailed analysis. Grade 6 is the time to develop artistic taste.

Visual arts are taught at school in close connection with other subjects. It uses the knowledge that is obtained as a result of studying literature, music, the Russian language, history, technology, biology. This makes it possible to understand the practical meaning of art lessons, their vital necessity. In the course of literature, such a topic as "The work of folk decorative art" is also studied. Essay (grade 6) allows the student to show knowledge of the subject. Children evaluate the products of folk craftsmen in it. They must draw up a work plan and describe a work of folk decorative art (any). 5-6 sentences for each item of the plan will be enough.

Folk decorative arts and Russia

Both Tatarstan and other regions of Russia were affected by folk art. Tatar decorative art is bright and multifaceted. It has its roots in the ancient times of paganism - VII-VIII centuries. In the Kazan Khanate and the Volga Bulgaria, the development of art went in line with Islamic traditions. The leading direction was diverse. This type of pattern is widely manifested in various types of Tatar art. Ornaments adorn embroidery, wood and stone carving, ceramics, jewelry, and calligraphy. The zoomorphic style was widely used in the products of the pagan masters of Bulgaria.

A feature of Russian decorative art is its mass character. In Russia, decorative art is mostly anonymous. Gambs furniture and Faberge jewelry are the exception rather than the rule. Unnamed craftsmen created masterpieces of painting, weaving, dishes and toys. The artistic production of Russia can be proud of creating great values ​​in various fields.

The first evidence of the high development of blacksmithing and jewelry production can be found among the Scythians and tribes who lived in territories stretching from the Black Sea to Siberia. Here the advantage was given to the Scythian animal style. The northern Slavs, who were in contact with the inhabitants of Scandinavia, included fragments of human and animal bodies in the ornament, which are intricately intertwined. In the Urals, Finno-Ugric tribes made amulets with images of bears and wolves, made of wood, stone or bronze.

Throughout Russia there were many icon-painting workshops. In Palekh, Ivanovo region, the finest on the plots of folk tales and songs on black lacquer has been developed. From Ancient Byzantium came to us the filigree art of chasing, granulation, niello, carved openwork on wood and bone. In the 17th century, decorative art developed into a developed artistic production. This is Rostov painted enamel, Nizhny Novgorod carving on huts, blackening on silver in Veliky Ustyug. The works of folk masters of decorative art decorated palaces and temples.

In the time of Peter the Great, Western European things came into fashion: upholstered furniture, faience. From the 18th century, mirrors began to be widely used. MV Lomonosov mastered the art of producing glass, mirrors and mosaic smalt. Talented architects of the 18th and early 19th centuries developed projects for decorative interior decoration. Some architects of that era began their creative career with decorating work, such as Rossi and Voronikhin. The imperial court and the highest nobility of Russia supplied private enterprises with numerous orders, which managed to reach the heights of excellence. Such enterprises include the Kuznetsov faience and porcelain factories, the Popovsky porcelain factory.

The study of folk art and folk crafts shows that the popularization of folk art works in the best way affects both adults and children. This brings up aesthetic taste, contributes to the emergence of spiritual needs, causes a sense of national pride and humanity. After all, amazing colorful objects are created by folk craftsmen, people whom nature has endowed with talent, imagination and kindness.

"man-nature-culture"

"The level of culture of the era,

like an individual person

is determined by the relation

to the past."

A. S. Pushkin

Folk art - the past in the present. A living tradition that invariably preserves the chain of continuity of generations, peoples, eras. Folk art has been advanced to a new level of modern problems by the century of space conquest, scientific and technological progress and the ecological crisis.

Throughout the history of mankind, folk art has been an essential part of national and world culture. M. Gorky wrote: “The people are not only a force that creates all material values, it is the only and inexhaustible source of spiritual values, the first philosopher and poet in terms of time, beauty and genius of creativity, who created all the great poems, all the tragedies of the earth and the greatest of them - history of world culture.

Artists of professional art do not stop turning to folk art, drawing ideas and inspiration from it. However, the depth of awareness of this conversion is determined by history, social changes, and spiritual demands. The spirit of ideas in art revives in it folk forms, folk poetics, but each time in a new way at the level of the ideological and artistic aspirations of the age.

In the same connection, folk art itself undergoes a different attitude towards itself.

The era of the decline of public interest in it, when it often became “despicable”, is replaced by eras of close attention, which always had its own historical reasons and which is a fact of the undiminished vitality of folk art. Having fierce opponents, it always had fiery defenders.

Hence the problem of folk art, its staging presents its own history. But it was not so much the scientific development of the concept of the subject and questions of its theory that was decisive, but the view of it as part of the general problem of tradition and innovation. This made it difficult to evaluate folk art from the standpoint of its own values. And if oral, musical folklore was the field of study of special sciences, then visual folklore, being the subject of general art history, was studied for a long time by methods developed on the material of professional art, and remained without theory.

Its absence has become acutely felt over the past two decades, when science and the public were faced with the fact of the revival of folk art - a fact unexpected for those who believed that folk art was a page of the past turned over for a long time. Life has shown that folk art not only lives and develops, but every year the need for it grows all over the world. With rapid force, interest in folk art is also growing in connection with the problems of the countryside, the village in the era of developed urbanism, in the aspect of general issues of spiritual culture in the modern world, the protection of nature, the human environment.

The decisive line in relation to folk art in our country was drawn by the historical resolution of the Central Committee of the CPSU "On folk art crafts" (1974) and the Constitution (Basic Law) of the Union of Soviet Socialist Republics (1977). However, the problems of artistic practice and scientific study have not yet received a proper solution, and first of all questions of theory.

The Decree of the Central Committee of the CPSU states: "Folk arts and crafts, which is part of the Soviet socialist culture ... actively influences the formation of artistic tastes, enriches professional art and expressive means of industrial aesthetics" 2 .

The problem posed in this way requires the researcher to combine the artistic, cultural, historical aspects of the study of folk art, since it is established in culture not in an individually subjective, but in a spiritual and value content, is formed by collective principles, since it is cognitive in the qualities of historical and spiritual, moral and national -psychological. Why can't it be limited only to the aesthetic sphere, just as it cannot be understood in a formal analysis that does not take into account the content and dialectics of development.

Folk art is a vast world of spiritual experience of the people, artistic ideas that constantly nourish the professional and artistic culture.

However, for a long time it was incorrectly regarded as just a step on the way to a higher level - the art of individual artists. The work of the folk master, assessed from these positions, was reduced to the role of an appendage of modern arts and crafts. This situation brought a lot of negative things to the activity of folk art crafts, created flawed directions in the development of thought and practice. At the root of all the mistakes lay the substitution of values, which has not been eliminated so far. This is the reason for many painful phenomena in the practice of folk art to this day.

The view of it as a relic of the past, subject to all sorts of modernizations and alterations, has become so established that it has become customary not only for the heads of crafts, artists who come to work there, but also for some art historians who draw this line on the pages of the press. This explains the polemical intonations in the statement of fundamental propositions, in the theoretical formulation of questions on the pages of our book. In the course of numerous discussions that until recently filled the pages of art history magazines, one had to defend what, by denying, was sometimes cut off from the shoulder. It is significant that now in the discussion of the fate of folk art, the still recently discussed question “Is folk art possible in the age of scientific and technological revolution?” was replaced by another question: "What is folk art?". The theory of its withering away found a new expression in the proclamation of folk art at the present stage as amateur individual creativity. On the whole, this judgment links folk art with the past; it boils down to the following three propositions. The first is the fusion of folk art with the art industry. Due to inertia, this attitude continues to be declared by some art historians as theoretical, while the art of the last decade has raised the aesthetics of man-made things and folklore as a whole. At the same time, it acquires a new meaning and interest in the spiritual and valuable content of folk art, its traditional character.

The second provision, repeated in separate articles, comes down to equating creativity in folk crafts with the art of individual artists, while denying the local features of the first, its orientation towards tradition. This not only undermines continuity - the main force of development, but also breaks the collective nature of creativity, the culture of craftsmanship.

The third provision, which we have already mentioned earlier, identifies folk art with the work of amateur artists. And this, in essence, is also its negation.

The three points noted above also correspond to some negative trends in practice. The leveling of local features has led to a mass creative impersonality of products created in the industry, a breakdown in cultural continuity, and the destruction of the ornamental system of folk art. This requires careful study, if only in order not to repeat the mistakes of the past.

In reality, quite the opposite often happens. In pursuit of imaginary novelty and for the approval of these theses, reinforcement is sought from authorities, in the statements of V. S. Voronov, A. V. Bakushinsky fifty years ago and long outdated, often dictated by the situation of the time and not related to the scientific concept of scientists in general. Without an attempt at critical reflection, these often random statements are repeated as initial ones, they are tried to pass off as a theoretical setting, which does not advance thought and does not help practice. The rather strong rooting of erroneous opinions can be explained by the fact that until the 60s, Soviet decorative art was most often represented by works of folk crafts, from which the art industry originated. All this taught to look at folk art as a non-independent form of creativity, did not make it possible to see its true value. It was artificially adapted to the methods of individual creativity alien to its system.

Of course, all these circumstances do not give the right to consider now that folk art has no place in modern culture. Meanwhile, just such a conclusion, scientifically incompetent, existed for a long time. Remaining unfounded theoretically, it gave rise to many negative trends in the art of crafts, ranging from easel painting in the 40s and 50s, ending with the denial of ornamentality and decorativeness in the first half of the 60s, which will be discussed specifically.

Now, everything is beginning to be attributed to folk art: from glass and ceramics by professional artists to factory products - fabrics and porcelain. The concept of "folk art" still remains not only unclear, but even non-existent in art history practice as an aesthetic category. It is equated with the concept of "public heritage" in the broadest sense. You can often hear: “Is the art of crafts popular?”, “Is folk art necessary in the age of technological progress?”, “Isn't it just the past?”. And these questions are discussed on the pages of magazines, all kinds of false theories are put forward, scientifically, as a rule, not substantiated. However, the very fact of the emergence of such questions is explained by the fact that there is still no theoretical position in the formulation and solution of the problems of modern folk art, despite some serious works. Much that is written about folk art does not have the proper scientific level, and is often determined by opportunistic considerations. There is no other way to explain the astonishing gap between statements in printed works and the realities of practice itself3, between the difficulties that folk art is experiencing, on the one hand, and, on the other, the ever-increasing need for its works.

It should be noted that a flawed position in the view of folk art hinders its study, leads to unproductive arbitrary conclusions in scientific works. Many questions are raised and resolved, as before, by analogy with professional art.

Actually, folk art, which our country is so rich in, is presented as an anachronism and is still not understood in all its fullness and necessity as part of spiritual culture. It is not uncommon to hear or read that the human environment of the technized world technizes art in its own way. In this case, the person himself is not taken into account at all. Meanwhile, the standard of thinking in the age of technology, giving out "ready-made blocks", brings them down not only on the viewer of exhibitions, but also on the person in his daily environment. And behind this lies the danger of the technization of perception itself, the entire structure of feeling, vision, which inevitably corrodes the living fabric of art, mortifies its spiritual trepidation, and finally destroys the humanity of the environment itself. And then there is neither one's own, nor someone else's, neither personal nor common, in honor of which so many empty declarations are made.

The first place in the understanding of art is put forward not by what is expressed by it, but by how it is done; this is often presented as an end in itself. But is it worth proving that our era, like every other in its time, has introduced new rhythms, new forms, new means and even a new world of creativity into art - technical aesthetics. This is obvious and natural. However, this does not determine the inner goal of art, spiritual culture as a whole. On the main path of their development, the comprehension of truth, truth, and beauty cannot disappear. Can an artist, if he is an artist, perceive the visual range of his surroundings without being disturbed by the movement of ideas that agitates society? Consciously or subconsciously, one way or another, he reflects the existing trends in the worldview of the era.

If until recently, artists and poets sought to introduce the world of technology into the world of man and even to technize his image, then today, which is indicative, a different desire comes - to find the human in man himself and through him to influence the technized world. And this raises the question of the values ​​and integrity of art, as well as of culture itself, in a completely different way. It forces us to take a closer, deeper look at folk art, in its connection with nature and history, not only within the ethnos, but also on a planetary scale.

The problem of "man and the world", in whatever aspect it is taken in art, naturally, cannot be solved detached from human essence, ultimately from that "higher goal", which, according to Kant, the very existence of man has. Otherwise, this would mean taking the position of Western science fiction writers who prophesy a "planet of the apes" in the future.

As you know, one of the acute problems of the modern West is the alienation of man, equating him to a thing. But no matter how human life is shackled into the unnatural, artificial, nature, in the end, still dictates its natural laws, the laws of life itself. The connection of man with the earth cannot disappear!

In the vastness of our vast country, folk art lives and develops in an unusually wide variety of national, regional, regional and regional schools of folk art, in the continuity of traditions. And any attempt to see in folk art only an anachronism, alien to the modern age, the desire to prove that it does not develop and is finally destroyed by capitalism, is refuted by life itself. In recent years, the activities of enthusiasts have expanded, discovering new talented craftsmen, new schools of folk craftsmanship.

The centers of folk art scattered throughout the country and in no small number in Russia testify to the great creative potential of the people. After all, each hearth has its own talents, its own traditions, its own artistic systems and methods, verified in the experience of many generations of folk craftsmen. And this experience builds a culture of tradition that strengthens the nationality of the art of professional artists. Thus, the traditional not only nourishes the new, it organically enters the context of the era. The 70s marked a particularly noticeable milestone in artistic culture. The role of decorative art in the organization of the environment increased, industrial aesthetics gained the widest scope, and decorative art itself was determined in its spiritual value and took a place equal to painting and sculpture.

In such a situation, folk art is also called upon to take its place in the system of modern culture, corresponding to its essence. There should be increased scientific responsibility in solving its problems. Personal responsibility and common responsibility in the face of history. Only from the position of such responsibility can one approach a productive solution, first of all, of the issues of conditions and incentives for its development. Many superficial judgments, a frontal understanding of the blurring of boundaries between town and countryside, in connection with which the allegedly natural disappearance of folk art is incorrectly put, must be subjected to principled criticism, since they bring irreparable troubles to the living art of villages, contribute to the destruction of the high spiritual values ​​​​of the people.

We must not forget that the rapprochement of the village with the city is a complex, lengthy, far from unambiguous process, in which there are various kinds of excesses, accompanied by the denial of cultural heritage4.

It has long been clear that the rural worker, no matter how the mechanized forms of his work may change, still retains the characteristics of labor determined by the very fact - the cultivation of the land, all the specifics of agricultural production. "This feature of agricultural labor will acquire an ever greater attractive force and social value, influencing the conditions of resettlement, work and recreation of the entire population" 5 .

“Man lives by nature. This means that nature is his body, with which a person must remain in the process of constant communication, “so as not to die” 6 .

“As humanity continuously reproduces itself in the birth and childhood of a child, so it continuously reproduces itself in the cultivation of the earth, “so as not to die” 7 .

And this means that the direct connection of a person with the earth, with nature always remains, there is always a basis for folk art, which continues to carry the fullness of its spiritual content and does not at all turn into a play of shapes, lines and colors, accessible only to aesthetic admiration and intended as some think, for free stylizations of a professional artist, for "beating", as they like to say. Already such an understanding of the purpose of folk art puts it in a row with something secondary in relation to genuine art, affirms the unambiguity of content. And any formalization of artistic qualities, means deprives creativity of a sense of life, ultimately, gives rise to impersonal art, turned on itself.

On the other hand, the mass reproduction of works of folk art, turned into a souvenir industry, is the same misunderstanding of its content principles.

The thesis about the fusion of folk art with industry turns into a folk industry, bringing unification and standardization to folk art. The model of the artist in this situation becomes decisive. The threads of continuity of folk craftsmanship in this case are torn, it falls catastrophically. As a result, artistic systems in the art of folk crafts are breaking down, schools of folk traditions are dying, which suffered significant damage during the periods of domination of easel trends in the 50s and without decor - in the 60s, when ornamentality was put beyond the modern. In those periods, folk art was depersonalized in its regional, national, regional features, averaged in its artistry. We have witnessed how often, instead of truly living art, phenomena were put forward that were internally flawed, artistically unpromising.

In such a situation, there was a clear substitution of values ​​both in science and in practice itself, which inevitably turned into a stagnation of scientific thought and troubles for folk art. But where, in this case, are the criteria that allow us to correctly understand folk art and manage it?

Where are the sources of his never-ending creative power hidden? They must be sought in folk art itself, in its connections with what is eternally valuable for humanity - with nature and culture. It is necessary to capture historical dynamics, in other words, to understand cultural development.

It must be said that the science of folk art, due to its youth, remains as yet a little explored area of ​​knowledge. It is precisely this that can primarily explain the spread of random and superficial judgments, points of view that currently claim to be a scientific direction, while remaining only a look that easily changes with fashion trends.

This situation was created due to the lack of development of many of the fundamental problems of folk art. Until recently, in numerous discussions that filled the pages of our journals, we had to defend folk art not only as a spiritual culture, but also as an independent type of artistic creativity.

It is precisely this approach to the formulation of the problem that was lacking in the works of V. S. Voronov and A. V. Bakushinsky (which we will discuss in more detail later). In the 1950s, A. B. Saltykov, who laid the foundations for understanding the specifics of decorative art, at the same time did not touch upon the theoretical formulation of the problems of folk art proper. At the present stage, it turned out to be separated from its past by an impassable line. It was in this direction that scientific thought developed, wanting to see everything in modern folk art, but not what it really is. Until now, in resolving issues of theory and practice, the results of studies of pre-revolutionary folk art in the works of B. A. Rybakov, G. K. Wagner, V. M. Vasilenko in the 1960s and 1970s are poorly taken into account. Thus, the question itself is: what is passed off as folk art? - has a profoundly fundamental significance and is now becoming very acute.

In this regard, the problem of integrity becomes relevant. It is especially important to know the origins of folk art, its living springs of creativity, enriching the whole culture, in the integrity of life - in the complexes of rural life and the nature surrounding man and the cultural continuity of traditions9. They are not only different among peoples, but also different in every region. But how, in this case, to overcome the inertia of thought, which continues to rely on attitudes refuted by time, such as the erasure of local features and signs of schools of folk art? After all, this attitude still makes itself felt in fruitless calls for creativity without traditions.

How to find the unity of theory and practice, effective, and not imaginary? These questions are to be answered.

If folk art is a spiritual culture, which, presumably, there is no doubt now, if it is a living part of modern culture (many exhibitions eloquently testify to this, and in particular the All-Union Exhibition of Folk Art in 1979, the first after a 15-year break), Finally, if interest in folk art grows (this is obvious both in our country and abroad), then first of all it is necessary to recognize the peculiarities of folk art as a cultural integrity and, accordingly, solve its scientific, artistic, creative, and organizational problems.

Do we contribute to such a clarification of the matter or hinder it? This question cannot but stand before everyone who, in one way or another, is connected with folk art by the nature of their activity.

In the conditions of the most acute contradictions between the modern technical achievements of mankind and the level of its morality, when the planet Earth was under the threat of death, it became necessary to look for new contacts with nature and revive the lost ones. In this atmosphere, the eternal values ​​of culture sounded with an extraordinary silon. The craving for them grows along with the craving for nature, for the earth. At the same time, the value of the natural and in art is being revived. In it, until recently, the theme of man - the conqueror of nature, absorbed all other aspects of the relationship with it. But the conqueror often becomes a consumer, a squanderer of her wealth. Man, iron robot, who is he - the guardian of nature or her gravedigger?

Many modern artists are looking for the unity of man with nature, they are moving away from the rigidly drawn path of portraying the conquering hero. In the art of the 1960s and 1970s, the natural principle noticeably intensified, and, above all, in the arts and crafts with its decisive turn from utilitarian-technical things to uniquely artistic things, to figurativeness, plasticity. Thus, in the work of the Shushkanovs, in a new unexpected form, a connection was found between natural and folk principles, which had noticeably died out in the art of previous years. Something similar happens in ceramics and art glass. The search for connections with folk tradition is inseparable from interest in national arts and, in general, in the culture of the past. In folklore, nature is always an expression of Beauty, Goodness, it is merged with the moral world. Therefore, the natural acts as a criterion of human values. And this raises the problem of folk art in the conditions of unlimitedly growing technical possibilities to a new level of environmental problems of the modern world.

The ecology of nature, the ecology of culture cannot but include the ecology of folk art as a part of culture, as a part of nature, with which man is initially associated.

Putting the question in this way, we determine the way to solve it in the system man - nature - culture.

Such a new formulation of the problem of folk art raises it to the level of great relevance, allows you to penetrate deeper into the content of images, helps to understand its essence as an independent integrity. We have undertaken a theoretical understanding of the problems of a vast field of folk art in order to determine its artistic nature, spiritual value and, accordingly, its place in culture.

As a part of culture, folk art is both nature itself and the historical memory of the people, the unbreakable connection of times. The aesthetic unity and integrity of folk art is evidence of its highly moral foundations. It is from these positions, reflected in the illustrative series of our book, that folk art is considered and questions of its theory are resolved.

This is a problem of the general and the particular, which determines the interaction of professional art and folk art, it is also a question about the specifics of folk art as a special type of artistic creativity, about the forms of its development and connections with nature. Finally, the main questions are about the values, essence, nature of the collective, about the content of the concepts of "folk art" and "folk master". The study of the key issues of the theory will allow, according to the specifics of the subject, to deepen the methodological principles of the study of folk art. It will help to clarify its place in the system of culture, its huge role - historical, moral, aesthetic - in human life, in the spiritual development of culture, its construction in the present for the future. The material of our book will be the folk art of many nationalities of our country, mainly over the past two decades.

So, we will consider folk art, first of all, as a world of spiritual values.