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Russian arts and crafts of the 18th century briefly. Decorative and applied art of the 18th century

Russian arts and crafts of the 18th century briefly. Decorative and applied art of the 18th century

01.07.2020

An important place in the culture of the XVIII century. occupied decorative and applied arts. Rococo interior decoration made the space light, the walls seemed thin, hidden by decorative panels and mirrors, reflected in each other, screens played an important role. Furniture becomes elegant, seems fragile, takes on bizarre outlines. The colors of the wallpaper and furniture are dominated by pastel colors.

The room was supposed to give the impression of a boudoir, (a room intended for communication only with close people).

Rococo interiors were often supplemented with either authentic Chinese products: screens, porcelain, lacquer paintings, or decorative compositions stylized as Chinese painting.

From the middle of the XVIII century. with the development of neoclassicism, interior design became simple and rather strict. If French interiors were a model of Rococo, then English interiors were a model of neoclassicism. The interiors of the English architect were especially famous Robert Adam(1728-1792). Creating manor houses, the artist decorated them with columns, pilasters, and sculptures. This style is called "Adam style". It is distinguished by elegance, decorativeness, organically including sometimes genuine antiquity objects.

In clothes and hairstyles of the XVIII century. style changes are also detected. In the era of Louis XV, the appearance of a person became a work of art: the toilets of the nobility were pretentious and refined, fantastic hairstyles (wigs came into fashion), black flies on a powdered face became a special language in a love dialogue. “A woman, dressed up and combed like a toy, and shod in narrow shoes with heels, had to step very carefully in order to maintain her balance and not fall apart - this developed the habit of floating gait and the smooth movements of the minuet. They wanted to see a woman as a precious doll, a bird of paradise, an exquisite flower. Such creatures befitted a fantastic and capriciously airy environment of rocaille interiors” (2, 45).

The costume, especially for women, becomes a work of art. Such a suit was uncomfortable and impractical, but unusually attractive.

The men's suit was just as elegant as the women's, and delicate shades of pastel colors were chosen.

Love for everything elegant contributed to the flourishing of jewelry and porcelain.

The heyday of European porcelain art also falls on the middle of the 18th century. and associated with the Rococo style. The most famous are French porcelain from the city of Sevres and German porcelain from Meissen (Saxony). In their compositions, the Meissen masters depicted "gallant festivities" - the refined entertainment of aristocrats.

Rococo was not a style like Gothic and Baroque, it did not become a large and holistic artistic movement. The spread of the tastes of the era of the Regents was prepared by the very fate of the French nobility, who prospered in the 18th century. only in one - in the arrangement of a secure and happy life. It was an idle life surrounded by elegant luxury. Art was an adornment of the idle life of the French nobility.

Decorative arts play a special role (even gastronomy is raised to the level of art).

The main task of art is to please, art itself is identified with luxury, playfulness and mockery.

Mirrors become a favorite wall decoration, they are placed against each other, giving an infinite number of reflections.

The need for luxury goods created in France entire branches of artistic production thanks to the work of furniture makers, weavers, sculptors, jewelers and embroiderers.

Rococo's favorite decorative motifs are the shell, stems and flowers.

In the field of decor, neoclassicism turned to the interior of the halls, which were furnished in the antique manner. The exploits of the Napoleonic army brought new decorative motifs: swords, banners. In the Napoleonic era, changes occur in clothes and hairstyles. The fashion for everything antique is spreading: from the silhouette and cut of dresses, reminiscent of chitons and tunics, to freely falling loose curls. Not only crinolines and fizhmas disappeared, but also diamonds, carved stones set into a frame (gems) came into fashion.

Unlike other forms of art in the music of the XVIII century. baroque as a stylistic direction was still widely represented. The greatest masters of the Baroque era in music were Bach and Handel.

Johann Sebastian Bach(1685-1750) was the greatest musician of the 18th century, and the influence of his music continues to grow. His composing work was surprisingly versatile despite an outwardly modest life (he was a cantor - leader and conductor of the church choir). From childhood, Bach was deeply religious, and adhered to the Protestant faith. It was the Reformation in Germany that put forward the fervor of the Protestant chant (choral chant). By making the church ceremony simpler and more rigorous, Protestantism increased the importance of music in it. The church became the center of musical art, and the church organist was its representative. Organ art was extremely widespread in Germany, and therefore it is not surprising that the organ accompanied Bach's entire life. His organ heritage includes several genres, among which the chorale preludes and two-part polyphonic cycles stand out. l fugue. Bach's music expresses religious humility, pathos, lyricism, and impulse. Along with naturalness and simplicity, sublimity and significance are inherent in his writings. Among the musical creations of Bach there are a huge number of true masterpieces that have received worldwide recognition.

Next to Bach rises another major figure in the musical baroque - Georg Friedrich Handel(1685-1759). His life was spent in large European cities, he received an excellent musical education. The very first opera, Rinaldo, staged in London, brought fame to Handel. Handel wrote music in a variety of genres, but oratorios (large vocal-symphonic works with a developed plot) form the pinnacle of his legacy. The literary source of the composer's most famous oratorios was the first part of the Bible - the Old Testament. Handel lived in England and the events of its political history, as well as the epic scope of biblical stories, could not but arouse his interest.

The composer was characterized primarily by civil themes. Choosing biblical subjects, Handel admires the power of human passions. It was passion, dynamism, the image of confrontation that were characteristic of the Baroque.

If the first half of the XVIII century. in music, baroque was defined as a musical style, then its second half became the heyday of the composers of the Viennese classical school:

Gluck, Haydn, Mozart and Beethoven. The highest achievements of classicism were associated with Vienna, the capital of the vast Austrian Empire, a city thoroughly saturated with music.

The Viennese classical school responded to the moods and ideas of the Enlightenment. Musical art reflected spiritual quests and contradictory artistic processes of its time. For example, Lessing influenced the work of Mozart.

The principles of classicism found their embodiment in the music of the Enlightenment.

Christoph Willibald Gluck(1714-1787) entered the history of music as a reformer of operatic art, who laid the foundation for a new operatic style. The operas that Gluck wrote were unusual both in content and in the manner of expressing the feelings of the characters. Gluck's activities took place in Vienna and Paris and were also associated with controversy in philosophy and aesthetics, in which the enlighteners were involved. They criticized the court opera and believed that the ancient theater ideally combined music, plasticity and recitation.

Gluck tried to dramatize the opera, to give it truthfulness and naturalness. All of Gluck's best operas, starting with Orpheus, were written precisely on ancient subjects, in which the composer found powerful characters and strong passions. During Gluck's lifetime, his operas provoked fierce controversy, but time has shown the viability of the principles, and it is no coincidence that other outstanding composers also implemented them.

Joseph Haydn(1732-1809) for almost three decades remained a bandmaster (leader of a choir and orchestral chapel), and devoted only his free time to composing music. If Gluck reformed opera, then Haydn created perfect symphonies. His creative path ran through different artistic eras, but the composer's work was connected precisely with the Age of Enlightenment. Enlighteners believed in the progress of society and man, and Haydn's music expresses optimism and the pursuit of happiness. Haydn's creations are quite rationalistic: they are characterized by thoughtfulness and harmony, which is also consonant with the rationalistic principles of the Enlightenment.

In his oratorios, Haydn addresses the theme of nature, the cult of which was characteristic of such an educator as Rousseau. It was Haydn who became the brightest composer of the Enlightenment.

Wolfgang Amadeus Mozart(1756-1791) began to compose at an early age, he traveled a lot, gained fame early. Like Gluck, Mozart became the great reformer of opera, not only symphonizing, but also actualizing it. By choosing such a play as Crazy Day or The Marriage of Figaro, Mozart showed his commitment to educational ideas. In The Magic Flute, the composer presents a kind of utopia, close to the faith of the enlighteners in the moral progress of mankind. Mozart's music surprisingly combines naturalness and harmony, sincerity and perfection, impeccable clarity and quivering excitement. The highest achievement of Mozart's music was the famous "Requiem" - his last composition.

German composer Ludwig van Beethoven(1770-1827) spent most of his life in Vienna. His writings also bear the imprint of the Enlightenment. The composer showed himself precisely in the genres of sonata and symphony, which finally took shape precisely in this era. His works reveal the thoughtfulness of the whole idea and individual details, the clarity of forms.

In his most famous works, the heroic theme, the theme of struggle, is embodied, which is connected both with the personality of the composer himself and with the peculiarities of his biography: he survived the events of the Great French Revolution as a nineteen-year-old youth. Although the ideas of the Enlightenment were characteristic of Beethoven's music, he already represents a new era, anticipating romanticism. The composer's musical style differs from the art of other Viennese classics in scope, drama, and emotional strength. Such are the "Pathetic Sonata", the Third Symphony ("Heroic"), the Fifth and Ninth Symphonies, especially the "Ode to Joy", which completes the last. The entire legacy of Beethoven as a whole had a tremendous impact on the development of music, especially on the formation of romanticism.

Changes in everyday life and their impact on arts and crafts. Features of the ornament and decor of the artistic styles of baroque, rococo, classicism.

Silver and gold business: Petersburg school, Moscow craftsmen and manufactories, black silver of Veliky Ustyug. New types of tableware made of precious and non-ferrous metals: teapots, coffee pots, bouillottes, samovars. Household and church utensils. State regalia. Orders and medals. Enamels. Enamel artists A.G. Ovsov, G.S. Musikisky.

The emergence of Russian porcelain. D.I. Vinogradov. Imperial and private porcelain factories. Majolica, faience. Art glass. Decorative fabrics and tapestries. New in clothes. Cabinet and type-setting furniture. Marquetry. Wood carving in civil and church interiors. Crews. Decorative rock. Cameos.

Artistic folk crafts. Carved and inlaid donets of Gorodets. Bone carving Kholmogor. Gold embroidery of the Tver province. Lace of Galich and Vologda. Gzhel ceramics.

Music and theater in the 18th century

Multi-voiced choral singing. Kants. Instrumental music and orchestras. Opera art. Ballet. Music in court, urban and peasant life. The emergence of the national school of composers. E.I. Fomin. I.E.Khandoshkin. D.S. Bortnyansky. M.S. Berezovsky. A.O. Kozlovsky.

Attempts to create a public public theater under Peter the Great. Amateur performances at the court. School theaters in spiritual and secular educational institutions. Professional troupes of foreign actors.

Dramaturgy of Russian classicism: tragedies and comedies. The influence of sentimentalism on the theater repertoire. The appearance of drama and comic opera on the Russian stage. A.P. Sumarokov - playwright and theatrical figure. Founder of the Russian professional theatre, actor and director F. G. Volkov. His friend and follower I.A. Dmitrevsky. Mass theatrical performances.

Fortress theatre. Troupe of Count P.B. Sheremetev. P.I. Kovaleva-Zhemchugova, T.V. Shlykova-Granatova and other artists. Palace-theater in Ostankino. People's Theatre.

ABBREVIATIONS OF THE NAMES OF THE MAIN MUSEUM COLLECTIONS MENTIONED IN THE LIST OF CULTURAL MONUMENTS

BAN - Library of the Russian Academy of Sciences (St. Petersburg)

VMDPNI - All-Russian Museum of Decorative, Applied and Folk Art (Moscow)

GIM - State Historical Museum (Moscow)

GMGS - State Museum of Urban Sculpture (St. Petersburg)

GMMK - State Museums of the Moscow Kremlin (Moscow)

GNIMA - State Research Museum of Architecture (Moscow)

GOP - State Armory Chamber (Moscow)

State Russian Museum - State Russian Museum (St. Petersburg)

State Tretyakov Gallery - State Tretyakov Gallery (Moscow)

State Hermitage Museum (St. Petersburg)

ZIKhMZ - former Zagorsk (now Sergiev-Posad) historical and art museum-reserve (Sergiev Posad, Moscow region)

MIDU - Museum of Historical Treasures of Ukraine (Kyiv)

MPIB - Museum of Applied Arts and Life of the 17th century "The Cathedral of the Twelve Apostles and the Patriarchal Chambers in the Moscow Kremlin" (Moscow)

NGM - Novgorod United State Museum-Reserve (Novgorod)

NGP - Novgorod Chamber of Facets (Novgorod)

SHM - Samara Art Museum (Samara)

MONUMENTS OF RUSSIAN CULTURE

SECTION I. HISTORY OF RUSSIAN CULTURE OF ANCIENT AND MIDDLE AGES

(BEFORE THE END OF THE XVII CENTURY)

FOLK WOODEN ARCHITECTURE

RELIGIOUS BUILDINGS

1. Klet churches: Church of Lazarus from the Murom Monastery (14th-16th centuries) - Kizhi Nature Reserve; Church of the Deposition of the Robe from the village of Borodava (15th century) - Kirillo-Belozersky Museum-Reserve; Church of the Transfiguration from the village of Spas-Vezhi (17th century) - Kostroma Museum-Reserve; St. Nicholas Church from the village of Tukholya (17th century) - Novgorod Museum-Reserve "Vitoslavlitsy"; the chapel of Michael the Archangel from the village of Lelikozero (18th century) - the Kizhi Museum-Reserve; Church of St. Nicholas from the village of Glotova (18th century) - Suzdal Museum-Reserve.

2. Tent churches: St. Nicholas Church in the village of Lyavlya (16th century); the Church of St. George from the village of Vershina (17th century) - the Arkhangelsk Museum-Reserve "Small Korely"; Resurrection Church from the village of Patakino (18th century) - Suzdal Museum-Reserve; Church of the Assumption (18th century) in the city of Kondopoga.

In the second half of the 18th century, Russian applied art reached a significant upsurge. This was facilitated by the development of the economy, trade, science and technology and, to a large extent, close ties with architecture and fine arts. The number of large and small factories, plants, workshops producing fabrics, glass, porcelain, and furniture grew. The landowners in their estates arranged various workshops based on serf labor.

The humanistic ideas of the Enlightenment were reflected in a peculiar way in the applied art of the late 18th century. The masters of this time were distinguished by attention to personal tastes and needs of a person, the search for convenience in the environment.

The new style - Russian classicism - at the turn of the 1770-1780s was established in all types of applied art. Architects M. F. Kazakov, I. E. Starov, D. Quarenghi, C. Cameron, A. N. Voronikhin created interiors in the spirit of noble simplicity and restraint with a clear division of parts, with a structurally justified arrangement of both plastic and picturesque architectural decor.

Furniture, candelabra, and chandeliers were designed for the palace premises in the same principles. In the ornamentation of furniture, dishes, fabrics, built in a clear rhythm, antique motifs appeared - acanthus, meander, ionics, vividly interpreted flowers, garlands, images of cupids, sphinxes. Gilding, colors became softer and more restrained than in the middle of the 18th century.

At the end of the 18th century, a passion for antiquity forced to abandon even a complex and magnificent costume. Light loose dresses with flowing folds, with a high belt in the antique style came into fashion (V. L. Borovikovsky. "Portrait of M. I. Lopukhina." 1797).

The synthesis of arts in Russian classicism is based on the principle of a harmonious combination of all types of arts.

Furniture. During the period of classicism, its forms are simple, balanced, clearly built, the rhythms are calm. The outlines still retained some softness, roundness, but vertical and horizontal lines already stood out. Ornaments (low carvings, paintings, bronze and brass onlays) emphasized the expressiveness of the structures. There was more concern for convenience. For front rooms for various purposes, sets were designed: a living room, an office, a front bedroom, a hall. New furniture forms arose: tables for card games, handicrafts, light portable bobbie tables (with a bean-shaped lid), various types of chests of drawers. Sofas were widely used, and in office furniture bureau-secretaries, a bureau with a cylindrical rolling lid.

As in previous periods, Russian furniture is more massive, more generalized, simpler in details than Western furniture. The material for it was local wood species - linden, birch (with gilding and staining in light colors), walnut, oak, poplar, ash, pear, bog oak. At the end of the 18th century, they began to use Karelian birch and imported colored wood of mahogany, amaranth, rosewood and other species. Masters were able to show their beauty, structure, color, brilliance, skillfully emphasized by polishing.

Russian craftsmen achieved great achievements in the technique of typesetting (marquetry). Its essence is in the composition of ornaments and whole Pictures (usually from engravings) on the surface of wooden objects from pieces of colored wood. Works of this kind are known not only among the capital's court furniture makers, but also among former serfs who worked in Moscow and the Moscow region: Nikifor Vasilyev (Fig. 78), Matvey Veretennikov and the nameless masters of Tver, Arkhangelsk, who introduced walrus ivory into the set. Samples of the high art of carving the furniture of the Ostankino Palace belong to the serfs Ivan Mochalin, Gavrila Nemkov and others. Furniture and carvings by craftsmen from Okhta, who were transferred to the capital from different places under Peter I, were famous in St. Petersburg.

Fabrics. Of all the industries in the second half of the 18th century, the textile industry developed most successfully (Moscow, Ivanovo, Yaroslavl, Vladimir province). Its rise was determined not only by large manufactories, but also by small peasant enterprises. Special perfection was achieved by the craftsmen in new patterned linen fabrics with complex weaves, with a play of natural silvery-white shades of linen. Here the traditions of peasant weaving, a deep understanding of the material affected. Mass cheap motley and krashenina were also produced. The decorative qualities of colored cloth and woolen fabrics have improved significantly.

The production of silk fabrics for dresses and decorative fabrics, scarves, ribbons developed rapidly (ill. 80). By the end of the 18th century, they were not inferior in quality to French ones - the best in Europe. Russian weavers learned to use a variety of threads, the most complex weaving, reminiscent of embroidery. Compositional techniques, the richness of the palette in decorative fabrics achieved the transfer of space, the subtlety of tone transitions, the accuracy of the pattern of flowers, birds, landscapes. Such fabrics were used in the decoration of palaces, sent as gifts abroad.

Until the 1780s and 1790s, patterns from complex, wavy flower garlands, ribbons, and beads were used in fabrics for dresses, especially in sundress fabrics. But gradually the garlands were replaced by stripes, the patterns became simpler, their rhythms smoother, the color scheme lighter, softer.

In the 1750-1760s in St. Petersburg and later in Moscow, in the village. Ivanovo (now the city of Ivanovo) developed the production of chintz (cotton fabric with a printed pattern with custard, non-fading paints and subsequent burnishing). In the patterns of chintz, the craftsmen, especially those from Ivanovo, reworked the motifs of silk fabrics in a peculiar way. On the basis of folk heeling, they combined a juicy picturesque spot and graphic cutting (pattern contours, lattices, background dots). At first, calicoes were very expensive. By the end of the 18th century, their cheap varieties began to be produced.

Porcelain. By the end of the 18th century, Russian porcelain became one of the best in Europe. The State Porcelain Factory worked successfully in St. Petersburg. His products were distinguished by their slightly warm whiteness, brilliant glaze, and high technical quality. The forms of dishes, vases, their painting were not inferior to Western ones.

The most significant of the sets was created - Arabesque for court receptions (1784, ill. 77). The table decoration of this set of nine allegorical sculptures glorifies the annexation of Georgia and the Crimea, the "virtue" of Catherine II (sculptor Zh. D. Rashet). It is dominated by the calm poses characteristic of classicism of the end of the 18th century, light gilding, strict proportions of service dishes painted in the form of arabesques, based on antique ornaments.

In the 1780s, a series of sculptures "Peoples of Russia" was created (creative processing of engravings) - brightly decorative, with characteristic images - representatives of individual nationalities (Yakut, Samoyed, Tatar). Sculptural figurines of street vendors, artisans depicted in motion and at work were produced. Porcelain sculpture has become a favorite decoration of noble interiors for many decades.

Of the private porcelain factories, the factory of Franz Gardner (1765) (Verbilki village near Moscow) is the most viable. Already at the end of the 18th century, he made sets for the royal house with the original use of motifs of Russian orders in the paintings. Fairly cheap Gardner chinaware, distinguished by its simplicity of form and rich flower painting close to folk traditions, was a success both in the capital and in the provinces (ill. 79).

Glass. Colored glass brings true glory to Russian glass in the last third of the 18th century. M.V. Lomonosov, with his work on the theory of color and the technology of colored glasses, opened up new paths for Russian glassmaking, enriched the palette of glass, and revived Russian mosaics. He organized a factory for the production of smalt, beads and glass in the village of Ust-Ruditsa, Petersburg province. Masters of the State-owned plant in St. Petersburg Druzhinin and Kirillov were trained in the melting of colored glass by Lomonosov. The plant masters the production of glass of deep and pure tones - blue, violet, rose-red, emerald green. Now its production is no longer dominated by engraved crystal, but by thin colored and colorless glass. Glasses, goblets, decanters get smooth shapes, in which the body smoothly passes into the leg, creating soft, graceful contours. The gold and silver paintings of garlands, bows, stars, monograms are calm in rhythm and emphasize the plastic volumes of the vessels.

The so-called milky-white glass (mugs, carafes, church objects) is also produced, reminiscent of the appearance and nature of the murals of more expensive porcelain.

By the end of the 18th century, the private glass factories of Bakhmetyev in the Penza province, the Maltsevs in the Vladimir and Oryol provinces, and many others were developing and achieving great success. Their colorless and colored glass, crystal are widely distributed throughout Russia.

Artistic processing of metal. The heyday of jewelry art in Russia begins in the middle of the 18th century and continues throughout the century. It has artistic materials of extraordinary beauty: diamonds, emeralds, sapphires and other precious and semi-precious stones, painted enamels, non-ferrous metals (gold, silver, platinum, alloys). The art of cutting stones reaches a high degree of perfection. To enhance the play of a stone, jewelers find a variety of artistic and technical techniques for mounting, moving parts. Jewelery artists create whimsical shapes, multi-colored jewelry: earrings, rings, snuff boxes, buckles for shoes, buttons for luxurious suits for both men and women.

In the last third of the 18th century, the forms of jewelry acquire balance, the color range of precious stones becomes stricter.

During this period, silversmiths achieved great success. In accordance with the new tastes, the forms of silver sets are simple and clear. They are decorated with flutes, antique ornaments. On silver glasses and snuff boxes, the masters of Veliky Ustyug reproduce from engravings images of ancient scenes, victories of Russian troops.

An outstanding phenomenon in the applied art of the 18th century is the steel art products of Tula masters: furniture, caskets, candlesticks, buttons, buckles, snuff boxes. They build the decorative effect of their works on the opposition of smooth light steel and decorations in the form of faceted pieces sparkling like diamonds. Craftsmen use burnishing (heat treatment in a furnace at different temperatures) of metal, which gives different shades - green, blue, purple, from thick to bright. The traditions of folk art are reflected in the love for bright color, in a deep understanding of the material.

Colored stone. In the second half of the 18th century, deposits of marbles, cherry-pink eagle in the Urals, multicolored jaspers, variegated breccias, Altai porphyries, and blue Baikal lapis lazuli were discovered. In addition to Peterhof (1722-1723) and Yekaterinburg (early 1730s), in the very heart of Altai, the Loktevskaya factory began to work in 1787 (since 1802 it was replaced by Kolyvanskaya). There are ample opportunities for the use of colored stone in the decoration and decoration of monumental and decorative works of palace interiors.

The ability to reveal the aesthetic qualities of the material has always distinguished Russian masters, but it was especially clearly expressed in the art of stone-cutting. Working according to the projects of architects, stone cutters artistically reveal the fabulous beauty of the stone, its natural pattern, unusual shades of color, brilliance, enhancing them with excellent polishing. Gilded bronze in the form of handles, the pommel only complements and emphasizes the shape. Projects for stone-cutting products, obelisks, vases, which were based on ancient forms, were created by Quarenghi and Voronikhin.

The heyday of Russian applied art of the 18th century was associated with the work of the architects Kazakov, Starov, Quarenghi, Cameron, Voronikhin and a number of trained folk artists. But its true glory was created for the most part by the remaining unknown serf craftsmen - furniture makers, carvers, weavers, stone cutters, jewelers, glassmakers, ceramists.

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"Decorative and applied art of the 18th century."

Introduction

One of the brightest phenomena of Russian culture is Russian folk art, the history of which has as many centuries as a person lives on earth.

Russian arts and crafts, folk crafts are original phenomena that have no analogues in world culture. From time immemorial, the Russian land has been famous for its craftsmen, people who are able to create and create real beauty with their own hands. Through the art of folk crafts, the connection between the past and the present is traced.

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 kind of needlework.

The main types of needlework

DYMKOVO TOY

Dymkovo toy (Vyatka, Kirov toy), Russian folk art craft; has long existed in the settlement of Dymkovo (now in the city of Kirov). The Dymkovo toy is molded from clay, fired and painted on the ground with tempera, including gold leaf. Depicts animals, riders, ladies in crinolines, fabulous, everyday scenes. The artistic originality of the Dymkovo toy is determined by massive laconic plasticity, emphasized by harmonious decorative painting in the form of a large geometric ornament (circles of different colors, cells, etc.).

Dymkovo toy is the most famous of the clay crafts in Russia. It is distinguished by an extremely simple and clear plastic form, a generalized silhouette, and bright ornamental painting on a white background.

Traditionally, the Dymkovo toy industry does not have mass production in-line.

Khokhloma is an old Russian folk craft that arose in the 17th century in the Trans-Volga region (the village of Semino, Nizhny Novgorod province). This is perhaps the most famous type of Russian folk painting. It is a decorative painting on wooden utensils and furniture, made in red and black (rarely green) tones and gold on a golden background. It is surprising that when painting a tree, not gold, but silver tin powder is applied. Then the product is coated with a special composition and processed three or four times in an oven. This is when this delightful honey-gold color appears, thanks to which light wooden utensils seem massive.

BOGORODSKAYA TOY

Colorful wooden chickens on a stand, figures of blacksmiths, a man and a bear - pull the bar and they will knock with hammers on a small anvil ... Funny toys, known in Rus' since time immemorial, have become the main folk craft for residents of the village of Bogorodskoye near Moscow.

"Bogorodskaya toy" owes its birth to the village of Bogorodskoye, now located in the Sergiev Posad district of the Moscow region. In the 15th century, the famous Moscow boyar M.B. Pleshcheev, after whose death, the village, together with the peasants, was inherited by his eldest son Andrei, and then by his grandson Fedor.

From 1595, the village of Bogorodskoye became the property of the Trinity-Sergius Monastery, and the peasants became monastic serfs. It was the peasants who laid the foundations of woodcarving in the 16th-17th centuries, which glorified Bogorodskoye, the current "capital of the toy kingdom", to the whole world.

MATRYOSHKA

Matryoshka is the most famous and beloved Russian souvenir, a world-class phenomenon. The first Russian matryoshka doll appeared at the end of the 19th century; nevertheless, it gained unprecedented recognition as one of the all-encompassing images of Russia, a symbol of Russian folk art. The predecessor and prototype of the Russian matryoshka was the figurine of a good-natured bald old man, the Buddhist sage Fukuruma, in which there were several more figurines nested one inside the other. This figurine was brought from the island of Honshu. The Japanese, by the way, claim that an unknown Russian monk was the first to carve such a toy on the island of Honshu.

The Russian wooden detachable doll was called a matryoshka. In the pre-revolutionary province, the name Matryona, Matryosh was considered one of the most common Russian names, which is based on the Latin word "mater", meaning mother. This name was associated with the mother of a large family, with good health and portly figure. Subsequently, it became a household word and began to mean a split-turning, colorfully painted wooden product. But to this day, the matryoshka remains a symbol of motherhood, fertility, since a doll with a large doll family perfectly expresses the figurative basis of this ancient symbol of human culture.

The first Russian matryoshka doll, carved by Vasily Zvezdochkin and painted by Sergey Malyutin, was for eight pieces: a boy followed a girl with a black rooster, then another girl, and so on. All the figurines differed from each other, and the last, eighth depicted a swaddled baby.

ORENBURG DOWN SHAWL

The foundations of applied art, thanks to which Orenburg became known to the whole world, were laid by Cossack wives at the end of the 17th century, when Russian pioneers, gaining a foothold in the Urals, entered into trade relations with the local population.

The harsh climate of these places required warm, but light clothing. The Cossack women easily adopted goat down needlework from the Kazakhs and Kalmyks. Only the manner of knitting among the steppe dwellers was continuous, and the Yaik wives began to use Russian lace ornaments.

PAVLOPOSADSK SHAWL

Bright and light, feminine Pavloposad shawls are always fashionable and relevant. And today, the original drawings are complemented by various elements such as fringe, created in different colors and remain a great accessory to almost any look.

Pavlovsky Posad printed, woolen and semi-woolen shawls, decorated with traditional colorful printed ornaments, originated in the city of Pavlovsky Posad near Moscow in the 1860s-80s. The Pavlovsky Posad area (the territory of the former Bogorodsky district) is one of the oldest Russian textile centers. In the 18th - first half of the 19th centuries. Bogorodsk shawls and sarafan fabrics were distinguished by the special beauty of the ornament woven with gold thread. Later, silk weaving was widely spread here, and from the 1860s. the production of woolen and semi-woolen shawls, decorated with colorful printed ornaments, began. Gradually, production grew and acquired a pronounced national character.

ROSTOV Enamel

Rostov enamel is a unique traditional folk art craft that arose in the second half of the 18th century. as iconography. In this series, he is related to Palekh, Mstyora, Kholuy, only the material is quite rare - painting on enamel. "Enamel" comes from the Greek noun tsEggpt (phengos), meaning "flicker". Special paints (invented in 1632 by the French jeweler Jean Tutin) based on glass with the addition of metal oxides are applied to a metal base (steel, copper, silver, gold sheet) and fixed by firing in a kiln. Rostov enamel is one of the ten best folk crafts in Russia.

Gzhel is the name of a picturesque region near Moscow, which is 60 kilometers from Moscow. The word "Gzhel" is incredibly popular today. It is associated with the beauty of harmony, fairy tale and reality. Porcelain with elegant blue painting and multicolored majolica are now known not only in Russia, but also abroad. Gzhel products attract everyone who loves beauty, rich imagination and harmony, high professionalism of their creators. Gzhel is the cradle and main center of Russian ceramics. Here its best features were formed and the highest achievements of folk art were manifested.

How old is this Russian folk craft? Archaeological research on the territory of Gzhel confirms the existence of pottery here since the beginning of the 14th century. And no wonder, the Gzhel land has long been rich in forests, rivers, high-quality clays, .. "which I have not seen anywhere with superior whiteness." Since then, in its more than six centuries of history, Gzhel has experienced different periods.

The end of the 19th - beginning of the 20th centuries became a period of deep crisis. It seemed that Gzhel art was lost forever.

The post-war period is associated with the beginning of the revival of the craft and the search for its own figurative language. It took years of painstaking and tireless work, training of new masters. As a result, it has led to success. Dymkovo toy matryoshka Gzhel applied

In 1972, the Gzhel association was created, based on six small industries located in several villages. Creative teams developed new patterns. Completely new forms of products were created. The painting has become richer and fulfills the artistic demands of the present day.

TAGILI TRAY

Ural lacquer painting on metal originated in the 18th century. at the Nizhny Tagil factories. The Tagil tray is older than the Zhostovo one. It is Nizhny Tagil that is considered the birthplace of Russian metal painting. The Ural breeders Demidovs, being the main customers of painted products, supported the lacquer craft in every possible way. Tagil painting on metal cannot be confused with any other: it is characterized by a richness of colors, purity and elegance in the processing of colors, completeness of the composition, and refined ligature of ornaments.

Zhostovo painting is a folk craft of artistic painting of metal trays, existing in the village of Zhostovo, Mytishchi district, Moscow region. The craft of painted metal trays arose in the middle of the 18th century. in the Urals, where the metallurgical plants of the Demidovs were located. Only in the first half of the XIX century. trays began to be made in the villages of the Moscow province - Zhostov, Troitsky, Novoseltsevo. The Moscow Region fishery soon became the leading one.

Zhostovo trays are paintings, mainly of floral ornaments, the creators of which were ordinary Russian peasants. They brought to lacquer painting bright cheerfulness of colors, simplicity and intelligibility of images, accuracy of characteristics, clarity of drawing.

The painting is carried out by means of a free brush stroke, without preliminary drawing. The most commonly used black background. The volumes of flowers and leaves seem to grow out of the depth of the background. This is done by gradually moving from dark tones to lighter ones. Flowers seem to come to life in the painting.

The modern technology for making trays differs little from that used earlier by the masters of the village of Zhostovo. A thin sheet of iron is pressed into the desired shape, the edges of the tray are rolled to stiffen, and the surface is leveled. The front surface of the tray is primed and puttied, and then sanded and covered with black (rarely of a different color) varnish. The trays are dried in ovens at temperatures up to 90 degrees C. The coating is done three times, after which the colored surface of the tray acquires a shine.

FEDOSKINO

Fedoskino miniature, a type of traditional Russian lacquer miniature painting with oil paints on papier-mâché, which took shape at the end of the 18th century. in the village of Fedoskino near Moscow.

The production of papier-mâché products arose in 1798, when the merchant P.I. Korobov organized a trump production in the village of Danilkov, which he bought (now part of Fedoskin). A few years later, Korobov visited the factory of Johann Stobwasser in Brauschweig, adopted the technology of papier-mâché products there and started manufacturing at his factory the popular at that time snuff boxes, decorated with engravings pasted on the lid, sometimes painted and varnished. In the second quarter of the 19th century snuffboxes, beads, caskets and other items began to be decorated with pictorial miniatures made with oil paints in a classical pictorial manner.

The masters worked at the factory for hire, many of them came from the icon-painting workshops of Sergiev Posad and Moscow, some had an art education received at the Stroganov School. The names of some of them are known - S. I. Borodkin, A. A. Shavrin, A. V. Tikhomirov, D. A. Krylov and others.

The favorite motifs for painting by the Fedoskino miniaturists were subjects popular at that time: “troikas”, “tea parties”, scenes from Russian and Little Russian peasant life. The most valued chests were decorated with complex multi-figure compositions - copies of paintings by Russian and Western European artists.

The Fedoskino miniature is executed with oil paints in three or four layers - painting is successively performed (a general sketch of the composition), writing or repainting (more detailed study), glazing (modeling the image with transparent paints) and glare (completing the work with light colors that convey glare on objects).

The Palekh miniature 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.

The peculiar and delicate art of the Palekh lacquer miniature absorbed the principles of ancient Russian painting and folk art as a basis. Currently, the Palekh miniature is an integral part of the domestic arts and crafts in general. Along with the development of ancient traditions, it carries a poetic vision of the world, characteristic of Russian folk tales and songs.

The birth of this art in Palekh is not accidental. It was a natural result of the development of centuries-old traditions in new historical conditions, having inherited the skill of many generations of icon painters. The old Palekh experience is rich and varied. From time immemorial, the traditions of ancient Russian art have been studied and preserved in Palekh.

An independent Palekh style of icon painting was formed only by the middle of the 18th century. He absorbed and developed the basic principles and elements of the Novgorod and Stroganov schools and painting of the Volga region of the second half of the 17th century. In the 17th-19th centuries, Palekh masters repeatedly completed orders for icons in the Novgorod style or in the character of Moscow fryaz.

Conclusion

The ability to reveal the aesthetic qualities of the material has always distinguished Russian masters, which manifested itself in all spheres of life from everyday life to architecture, where skill was expressed in stone-cutting art.

The heyday of jewelry art in Russia begins in the middle of the 18th century and continues throughout the century.

An outstanding phenomenon in the applied art of the 18th century is the steel art products of Tula masters: furniture, caskets, candlesticks, buttons, buckles, snuff boxes.

Literature

History of Russian art. Managing editors I.A. Bartenev, R.I. Vlasova - M., 1987

History of Russian art. Ed. I.E. Grabar. V. 1-12 (sections of arts and crafts). M.: 1953-1961

Russian arts and crafts. Ed. A.I. Leonova. T. 1-3. M.: 1962-1965

Rybakov B.A. Russian applied art of the X-XIII centuries. L.: 1971

Vasilenko V.M. Russian applied art. Origins and formation. 1st century BC. - XIII century. AD M.: 1977

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