Folk art crafts- the labor activity of folk craftsmen based on collective experience, art workshops that develop local cultural traditions, including those that produce souvenirs (for example, toys).
Craft- small-scale manual production, based on the use of hand tools, the personal skill of the worker, which makes it possible to produce high-quality, often highly artistic products that are not only aesthetic, but also practical.
art craft- based on collective experience, the culture of labor professional skills and techniques of artistic processing of various materials (leather, metal, wood, etc.).
Folk art crafts have a wide range of products. Folk arts and crafts date back to antiquity, to home crafts and village crafts, thanks to which essential items were created. Rural crafts have been known since ancient times, in fact, they appeared at a time when humanity needed new tools and household items. In different regions and regions, among different peoples, culture and art differed, therefore, their crafts also differed.
Products are considered folk craft as long as the process of their manufacture is not put on automation or mass production of an industrial or factory type. The craftsmanship of making one or another type of artistic products in folk arts and crafts was passed down from generation to generation.
Russian folk crafts in Russia
Fedoskino miniature- a type of traditional Russian lacquer miniature painting with oil paints on papier-mâché, which developed at the end of the 18th century in the village of Fedoskino near Moscow. The favorite motifs of the Fedoskino miniaturists were the subjects that were popular at that time: “ triplets”, “tea drinking”, scenes from Russian and Little Russian peasant life. Most valued caskets And caskets, decorated with complex multi-figured compositions - copies paintings by Russian and Western European artists.
“Fedoskino lacquer miniature” is executed with oil paints in three or four layers - painting is successively performed (general outline of the composition), writing or repainting (more detailed study), glazing (image modeling with transparent paints) and glare (completion of the work with light colors that transmit glare on items). The original Fedoskino technique is "writing through": a reflective material is applied to the surface before painting - metal powder, Gold leaf or potal, or inserts are made from mother of pearl. Shining through transparent layers glazing colors, these linings give the image depth, an amazing glow effect. In addition to miniature painting, products are decorated with “filigree” (an ornament of miniature pieces of foil of the desired shape is laid out on wet varnish), “tsirovka” (scratching a pattern using a pattern on varnish placed over a sheet of metal on the surface of a product), “tartan” (a complex grid , applied with liquid paints with a drawing pen using a ruler), etc.
Zhostovo painting, Painting is usually done on a black background (sometimes on red, blue, green, silver), and the master works on several trays at once.
The main motif of the painting is a floral bouquet of a simple composition, in which large garden and small wild flowers alternate.
By purpose, trays are divided into two groups: for domestic purposes (for samovars, for serving food) and as decoration.
The shape of the trays are round, octagonal, combined, rectangular, oval, etc.
Palekh miniature, Typical plots of the Palekh miniature are borrowed from everyday life, literary works of the classics, fairy tales, epics and songs. The works are usually done with tempera paints on a black background and painted with gold.
Dymkovo toy, Dymkovo toy - handmade product. Each toy is the creation of one master. Making a toy, from modeling to painting, is a unique and creative process that never repeats. There are no and cannot be two absolutely identical products. Each toy is unique, one and only.
For its production, local bright red clay is used, thoroughly mixed with fine brown river sand. The figurines are molded in parts, individual parts are assembled and molded using liquid red clay as a binder. Modeling traces are smoothed out to give the product a smooth and neat surface.
After complete drying for two to fifty days and firing at a temperature of 700-800 degrees, the toys are covered with tempera white in two or three layers (previously, whitewashing was carried out with chalk diluted in milk). Previously, toys were painted with tempera paints mixed with kvass egg, using sticks and feathers instead of brushes. The painted toy was again covered with a beaten egg, which gave shine and brightness to the faded aniline paints. Today, aniline dyes and soft kolinsky brushes are used for painting. The use of a wide range, in which there is a lot of red, yellow, blue, green, scarlet, gives the Dymkovo toy a special brightness and elegance. A strictly geometric ornament is built according to various compositional schemes: cells, stripes, circles, dots are applied in various combinations. The decoration is completed by rhombus toys made of potal or gold leaf, pasted over the pattern.
The most common plots are: nannies with children, water carriers, rams with golden horns, turkeys, roosters, deer and, of course, young people, buffoons, ladies.
Halftones and imperceptible transitions are alien to the Dymkovo toy. All of it is an overflowing fullness of feeling the joy of life. She is especially good in a pair and in a group with others, in close proximity to her brothers and sisters from the settlement on the Vyatka River.
Kargopol toyThe craftsmen sculpted toys out of the remnants of clay, without attaching special importance to them. Clay horses, teams, figures of people and animals were inexpensive, they were not in special demand, and they were sculpted more for their own pleasure than for the sake of earning money. Initially, toys, like dishes, were "scalded". After firing, the red-hot product was immersed in a "talker" - a thick flour solution. Burnt flour left a black lace pattern on the light surface of the vessel or toy. Decorated with scratched archaic ornaments, such toys, with their artlessness, rather resembled the works of artists of the Stone Age. More expensive glazed utensils and toys covered with glaze were also made. In the early 1930s, the pottery industry gradually came to naught, and the production of toys stopped even earlier. Only a few craftsmen continued to make them.
The earliest Kargopol toys that have survived to our time can be considered the works of Ivan Virenturge and Ekaterina Abdulaeva Druzhinins, who worked in the 1930s-1940s. Basically, these are single figurines of peasants and ladies, painted with lime, soot and colored clays. They are rough in modeling, and their flat faces and generalized details of the figure and clothing resemble ancient stone women. The painting of the figurines combines ovals, circles, crosses, spots, also reminiscent of ancient ornamental motifs.
Modern Kargopol toys are less archaic. Preserving traditional forms, today's masters make it more elegant, sometimes accentuating details more clearly, generously painting with oil and tempera, avoiding, however, excessive variegation. In addition to figurines of people, Kargopol people sculpt horses, cows, bears, deer, heroes of fairy tales and epics. One of the most popular characters in the Kargopol toy was and remains Polkan - a half-horse-half-man (originally half-man-half-dog) with a bushy beard, with orders and epaulettes. Among other fairy-tale heroes there are a lion, a Sirin bird, a horse with two heads.
Keeping the tradition, Kargopol toy makers come up with new forms and plots of their works. This is how multi-figured compositions appeared - troikas, wagons, hunts, etc. They are decorated not with a faded pattern induced by colored clay on a lime background, but with bright tempera painting.
Abashevskaya toy - whistles, depicting animals, often taking phantasmagoric fabulous look. The figurines have an elongated torso with short, widely spaced legs and a long graceful neck. On a small, carefully sculpted head, deeply scratched eyes stand out. The heads of goats, deer, rams are crowned with curved, sometimes multi-tiered horns. Lush bangs, curly beards and manes are clearly modeled, their contours outlined by the stack have a strict pattern and high relief.
The whistles are painted with bright enamel colors - blue, green, red, in the most unexpected combinations. Individual details, such as horns, can be painted with silver or gold. Sometimes parts of the figurines remain unpainted and contrast sharply with bright spots of enamel. Ordinary pets under the hands of the master turn into fabulous creatures.
Abramtsevo-Kudrinskaya carving, artistic craft of woodcarving,
In the Kudrin workshop, a special style of ornamental carving was formed, successful combinations of flat-relief carving with geometric carving were found, and principles for the organic use of carved decor in utilitarian objects were laid down. The products of Vornoskov and his followers - ladles, caskets, barrels, salt shakers, decorative dishes and vases covered with rhythmic floral ornaments, are distinguished by a variety of toning, emphasizing the natural beauty of wood. The floral ornament is based not only on samples of carved peasant products and house decor, but also on the ornamental screensavers of old printed books. The development of the ornament of the Kudrin masters went from the connection of individual elements - twigs, curls, rosettes - to solid ornamental compositions covering the entire product.
bogorodskaya carving, Bogorodsk toy- Russian folk craft, consisting in the manufacture of carved toys and sculptures from soft woods (linden, alder, aspen). Its center is the village of Bogorodskoye (Sergiev-Posad district of the Moscow region). Bogorodsk carving is performed using a special "Bogorodsk" knife ("pike").
One of the distinguishing features of the craft has always been the manufacture of moving toys. The most famous toy is "Blacksmiths", usually depicting a man and a bear, who alternately hit the anvil. This toy, which, according to some sources, is more than 300 years old, has become a symbol of both the Bogorodsk industry and Bogorodsky itself, having entered the coat of arms of the village.
The toy "Blacksmiths" is over 300 years old. The toy "Blacksmiths" has become a symbol of the Bogorodsk industry. It is worth moving the slats and the brisk work immediately begins. Figures move in a clear rhythm, hammers beat on the anvil in time. The toy "Chickens", very similar in principle to the "Kuznetsov", is also a long-liver: children played with it back in the days of Pushkin and Lermontov. In the intricate "fun" with balance lies the idea of rhythm, to which the child is naturally sensitive. The mechanisms themselves are simple, but the actions are effective. The sound sharpens the dynamics of the toy.
Rostov enamel, Enamel(other Russian finipt, himipet, from Middle Greek χυμευτόν, the same from χυμεύω - “I mix”) - the manufacture of works of art using vitreous powder, enamel, on a metal substrate, a type of applied art. The glass coating is long-lived and does not fade over time, while enamel products are distinguished by their special brightness and purity of colors.
Enamel acquires the desired color after firing with the help of additives for which metal salts are used. For example, gold additives give the glass a ruby color, cobalt - blue, and copper - green. When solving specific pictorial problems, the brightness of enamel can, unlike glass, be muffled.
Rostov enamel - Russian folk art craft; exists since the XVIII century in the city of Rostov (Yaroslavl region). Miniature images are made on enamel with transparent refractory paints, invented in 1632 by the French jeweler Jean Tutin.
The creativity of the Russian people, thanks to the talents of local masters, glorified them throughout Rus' and far beyond its borders. Many products have remained symbols of Russia to this day.
The products of the masters are valuable not only for the materials from which they were made and the unique technologies for their processing by hand, they trace the customs, way of life and traditions of the whole people.
The main crafts of Russian folk craft:
As a craft, lace in Rus' was developed at the beginning of the 19th century. At that time, a lace factory was built in the vicinity of Vologda. The growth in demand for Vologda lace, not only in Russia, but also in European countries, gave rise to the popularity of the occupation, and weaving of openwork fabric was practiced throughout Vologda.
Ornaments were a distinctive feature of Vologda lace. The main motifs were stylized drawings of birds and the tree of life. The lace itself consisted of a background and a pattern. It was textured, its shapes and drawings were emphasized by a wide continuous line.
The history of Pavloposad shawls dates back to the end of the 17th century. They began to produce them at the manufactory, the founders of which were Gryaznov and Labzin. The raw material for the production was woolen threads, the coloring of scarves for a long time was done exclusively by hand.
The main patterns of scarves are flowers. In addition to them, borrowed ornaments were used: Turkish cucumbers, lotus, antique vases and ancient symbols. The traditional layout was represented by ovals and stars. Large drawings were located at the edges, they decreased towards the center.
The popularity of the traditional Orenburg downy shawl is due to its unique qualities. They are the finest shawls made of natural wool, with openwork and beautiful patterns, very warm. For their production, the unique down of Orenburg goats is initially used.
The first official mention of headscarves is found in the works of the late 18th century, by Rychkov, a well-known local historian. It was they who made it possible to learn about the unique shawls in St. Petersburg and Moscow and created a demand for them both in Russia and abroad.
Russian doll
The original Russian matryoshka was first seen in Sergiev Posad at the end of the 19th century. It was made of wood by the turner Vasily Zvezdochkin. The figurines, which were inserted one into the other, were painted by Sergey Malyutin.
The first copy of the future symbol of Russia in the form of a chubby girl with a crimson blush consisted of eight dolls. The smallest was a baby.
A distinctive feature of Gusev crystal is the unique facets of the products. Rays of light, refracting through them, create a game reminiscent of the play of precious stones.
The birthplace of Gusevsky crystal is Gus-Khrustalny. The glass factory on its territory was founded by the merchant Maltsev in 1756. They produced vases and decanters, after which unique crystal dishes appeared, which were supplied to the rich houses of merchants and royal mansions.
Tula samovar
A samovar is a unique product that has no analogues in the world. The birthplace of samovars is Tula. The city gained such fame for a reason, the abundance of metal craftsmen, the iron ore deposit and its proximity to Moscow contributed to this.
Tula samovars were made of brass and copper and sold by weight. Their shape was sometimes very bizarre. Products looked like barrels and vases with handles, there were also samovars with unique taps in the shape of dolphins.
Tula gingerbread. Sour, fresh, lush and rich. They were given as parting gifts, souvenirs, as well as baked and bought for wedding festivities and memorial evenings. For the production of figured pastries, boards-forms carved from natural wood were used.
Gingerbread for the Russian people was a favorite delicacy. They were made in the form of birds, fish, letters and even names. Who was the first to bake the famous Tula gingerbread is unknown. The first mention of baking is in the writings of the late 17th century.
The Urals is famous for its mineral resources and related industries. Kasli art casting of Russian masters glorified them throughout the world in 1900 at an exhibition in Paris. The direction itself originated long before this event, in the 18th century.
Household items and decorative elements of the interior, complemented by miniature sculptures of animals, were cast from cast iron. The list of manufactured goods included plates, grates, benches, flowerpots and much more.
The history of the production of malachite products begins in the 40s of the 18th century. At first it was jewelry, after that snuff boxes and caskets were added to them. With the flourishing of the malachite business, whole rooms were lined with a beautiful patterned mineral.
Russian craftsmen were famous for their unique stone processing technology. They sawed malachite into very thin plates and after sticking them, picked up the pattern and polished, creating the impression of a monolithic product.
Abramtsevo-Kudrinskaya carving
At the end of the 19th century, Abramtsevo-Kudrinskaya carving was considered a special type of craft among Russian craftsmen. Masters worked with natural wood, creating from it not just household items, but works of art. The list of their products included vases, decorative dishes, ladles, salt shakers, caskets, etc.
The combination of geometric and flat-relief carving distinguished the products from other carved decorative and household items.
Skopinsky pottery for a long time was not in great demand, as it was rough and primitive in shape. The turning point occurred in the middle of the 19th century, when the secrets of the production of figured products and the application of glaze on their surface were learned by local potters.
A number of clay products were supplemented with beautiful decorative vases, fantasy figurines of animals and other decorative elements.
Since ancient times, dishes and other household items made of ceramics have been widely known in Rus'. One of the most famous settlements of Rus', whose inhabitants were engaged in the manufacture of ceramic porcelain dishes, is Gzhel (now the city is located on the territory of the Ramensky district of the Moscow region). Since the 17th century, and even earlier, Gzhel has been the most famous center for the manufacture of porcelain and ceramics. The products of local craftsmen are distributed throughout Russia. It should be noted that in the old days this city was one of the centers of the Old Believers-priests. The heyday of Gzhel came at the time of the activity of the Association for the Production of Porcelain and Faience Products M.S. Kuznetsov" in the late XIX - early XX century.
The formation of the Gzhel color palette familiar to us falls on the beginning of the 19th century. Researchers point out that since the 1820s, an increasing number of Gzhel products were painted white and painted exclusively with blue paint. Today, blue painting is a characteristic feature of Gzhel products. The popularity of such dishes turned out to be so great that similar products began to be created in other areas, but they had a similar blue-and-white ornament. There have also been many fakes.
Experts say that only author's works can be called authentic Gzhel products, which formed the Gzhel style familiar to us in the 80s of the XX century. These are the works of such artists as Azarova, Denisov, Neplyuev, Fedorovskaya, Oleinikov, Tsaregorodtsev, Podgornaya, Garanin, Simonov and others. Each of these masters puts on the product a personal signature or a stamp of the company where he works. If the master is an employee of the enterprise, then his products are transferred to the production workshop for the purpose of replication.
Zhostovo painting
In the middle of the XVIII century in the Urals, where the metallurgical plants of the Demidovs were located, a new type of craft was born. Local craftsmen began to paint metal trays. It is interesting that such workshops appeared in cities where a large part of the population were Old Believers, who still have prayer houses and churches there. These are Nizhny Tagil, Nevyansk and Vyisk, founded in 1722. So the so-called Tagil trays appeared. The industrialists Demidovs, who oversaw this craft, were very concerned about the quality and artistic value of the products. In order to educate and train professional personnel, they founded a school in 1806. The historical style of Tagil trays was created thanks to this school and its most authoritative teacher - a graduate of the Imperial Academy of Arts V.I. Albychev.
Painted Tagil trays were sold all over the country. Similar products began to try to produce in other places. The most successful such attempt was the organization of the production of painted trays in the village of Zhostovo, Moscow province. The trays made there became famous in the first half of the 19th century. Since then, this type of craft has received the name "Zhostovo painting". Until now, the craft of painting a tray has been preserved only in Nizhny Tagil and Zhostovo. The painting is done mainly on a black background (occasionally on red, blue, green).
The main motifs of the painting are: flower bouquets, both lush garden and small wild flowers; Ural landscapes or ancient cities. On some old trays you can see people, fabulous birds. Painted trays are used either for their intended purpose (as a samovar, for serving dinner), or for decoration. The shape of the trays are divided into round, octagonal, rectangular, oval.
Palekh miniature
After the October Revolution and the beginning of the persecution of religion, Palekh icon painters had to look for a new way to earn money. Thus, many retrained as masters of lacquer miniatures. This type of miniature is made in tempera on papier-mâché. As a rule, caskets, caskets, capsules, brooches, panels, ashtrays, needle cases and more are painted. The painting is done in gold on a black background. The original technology of the last century, which was used by the first Palekh craftsmen in the 1920s and 30s of the 20th century, has been partially preserved.
The characteristic plots of the Palekh miniature are borrowed from everyday life, literary works of the classics, fairy tales, epics and songs. Many plots are devoted to the events of history, including the revolution and the civil war. There is a cycle of miniatures dedicated to space exploration. Since the beginning of the 21st century, among some masters working in the Palekh style, there has been a tendency to return to icon-painting subjects.
Fedoskino miniature is another type of traditional Russian lacquer miniature painting. Made with oil paints on papier-mâché. Unlike the miniatures of Palekh, the techniques of which came from icon painting, the Fedoskino miniature was originally formed as a kind of applied art, hence the more “mundane” manner of writing.
The Fedoskino miniature originated at the end of the 18th century in the village of Fedoskino in the Moscow province. The main motifs of the miniature: "troikas", "tea parties", scenes from the life of peasants. Caskets and caskets, which were decorated with complex multi-figured compositions - copies of paintings by Russian and Western European artists, were most highly valued.
In the 19th century, the Fedoskino miniature served mostly decorative purposes. In the middle of the 20th century, the author's direction began to develop. The plots of miniatures began to become more complicated.
Khokhloma
Nizhny Novgorod decorative Khokhloma painting is known throughout Russia. The craft originated in the 17th century in the village of Khokhloma. It is located on the territory of the former Semenovsky district of the Nizhny Novgorod province, known in the old days for large Old Believer monasteries, such as the Sharpansky and Olenevsky sketes. It is no coincidence that in the famous novel by Andrei Melnikov (Pechersky), the Old Believers of the Semenovsky district are engaged in the manufacture of wooden utensils. They also did this in Khokhloma. Khokhloma masters nevertheless became known throughout Russia for their unusual bright paintings. They painted wooden utensils and furniture. Mostly black, red, golden, sometimes green colors were used.
In order to achieve the golden color characteristic of Khokhloma, local craftsmen apply silver tin powder to the surface of the product when painting. After that, they are varnished and baked three or four times in the oven, which achieves a unique honey-gold color, which gives the light wooden utensils a massive effect.
Thanks to this technology that creates an unusual color, Khokhloma has become popular all over the world. Plates and spoons made in this style began to be perceived in the 20th century as a symbol of Russian national dishes.
Gorodets painting appeared in the middle of the 19th century in the area of the ancient city of Gorodets, Nizhny Novgorod province. Through the efforts of the Old Believers, Gorodets became a center of wooden shipbuilding and bread trade with all-Russian fame. Merchants-Old Believers donated significant sums for the construction of churches, for the maintenance of hospitals, orphanages, public education and improvement of the city.
Gorodets painting is bright and concise. The main themes of the painting are scenes from fairy tales, figurines of horses, birds, flowers, peasant and merchant life. The painting is done with a free stroke with a white and black graphic stroke. Spinning wheels, furniture, shutters, doors, chests, arcs, sleighs, and children's toys were decorated with Gorodets painting.
That's what it says V.S. Ravens about Gorodets painting:
The Nizhny Novgorod style presents us with the purest version of genuine pictorial art, which has overcome the limits of graphic captivity and is based solely on the elements of painting.
Mezen painting
Mezen painting on wood (palashchelsky painting) is a special type of painting of household utensils, in particular spinning wheels, ladles, boxes, brothers, which developed by the end of the 19th century in the lower reaches of the Mezen River. Since ancient times, these places, like all the seaside, were inhabited by the Old Believers. And from December 1664 to February 1666 Archpriest Avvakum was in exile in Mezen itself. The oldest surviving spinning wheel with Mezen painting dates back to 1815.
The artistic motifs of the Mezen painting can be found in handwritten books of the 18th century, which were made in Pomorie. The main colors of the Mezen painting are black and red. The main motifs of the geometric ornament are disks, rhombuses, crosses. The painted object was covered with drying oil, which protected the paint from erasing and gave the product a golden color.
At the end of the 19th century, Mezen painting was concentrated in the village of Palashchelye, where entire families of craftsmen worked: the Aksenovs, Novikovs, Fedotovs, Kuzmins, Shishovs. In the mid 1960s. Mezen painting was revived by the descendants of the old palashchel masters: F.M. Fedotov in the village of Palaschelye and S.F. and I.S. Fatyanova in the village of Selishche. The exhibition of Mezen spinning wheels in 2018 was the first event in the newly opened Museum. Gilyarovsky, in Stoleshnikov Lane in Moscow.
Vologda lace is a Russian craft that originated in the Vologda region in the 16th century. Lace is woven on bobbins (wooden sticks). As a separate craft with its own characteristic features, Vologda lace was already known in the 17th-18th centuries. However, until the 19th century, lace-making was a domestic craft, it was done, first of all, by private craftswomen. With the increasing popularity of Vologda lace, the production of products was put on stream. In the 19th century, lace factories appeared in the vicinity of Vologda.
All the main images in the Vologda coupling lace are made with a dense, continuous braid of the same width. For the manufacture of Vologda lace, a cushion-roller, juniper or birch bobbins, pins, and a chip are used. A typical material for Vologda lace is linen.
The plots of Vologda lace are very different - from floral ornaments to figured compositions. In Vologda lace, you can find Christian and ancient folk symbols.
Yelets lace is no less famous. It is woven on bobbins. This type of lace originated at the beginning of the 19th century in the city of Yelets.
Lace is distinguished by a soft contrast of a small pattern (vegetative and geometric) and a thin openwork background.
It is believed that Yelets lace is lighter and more elegant than Vologda lace.
Mtsensk lace is a type of Russian lace, which is woven on bobbins.
Mtsensk lace appeared in the city of Mtsensk, Oryol region, in the 18th century. This became possible thanks to the local landowner Protasova, who gathered craftswomen from different parts of Russia and founded a manufactory - the largest lace production in Russia at that time.
A distinctive feature is the use of geometric motifs. Compared to Vologda lace, the pattern in it is less dense and saturated, as experts say - more "airy".
At the beginning of the 18th century, craftswomen engaged in the manufacture of lace appeared in the Vyatka province. However, the production of lace acquired an industrial scale only in the second half of the 19th century. This trade is carried out by craftswomen from peasants. In 1893, in the Kukarka settlement of the Yaransky district of the Vyatka province, a zemstvo school of lacemakers was organized. The forms of products are diverse and sometimes unusual: these are vests, braids of scarves, collars, napkins with patterns in the form of butterflies, lush flowers, whimsical loops.
The most interesting products from Vyatka lace were created in the Soviet era. These achievements are associated with the name of the famous lace artist, laureate of the Repin State Prize of Russia Anfisa Fedorovna Blinova. Her works are in the Tretyakov Gallery, the Russian Museum, the Russian Art Fund, the Moscow Research Institute of Art Industry.
In the conditions of the economic crisis of the 90s of the XX century, the lace factory located in the city of Sovetsk (the former settlement of Kukarka) was closed. Only quite recently, in 2012, a production cooperative artel "Kukarskoe lace" was created in the city, gradually reviving the traditions of the old craft.
Orenburg downy shawl - a knitted shawl made from the unique down of Orenburg goats, applied to a special base (cotton, silk or other material).
This craft originated in the Orenburg province in the 18th century. Products are very thin, like cobwebs, but they usually have a complex pattern and are used as decoration. The thinness of the product is often determined by 2 parameters: whether the product passes through the ring and whether it fits in a goose egg.
In the middle of the 19th century, downy shawls were presented at exhibitions in European countries, where they received international recognition. Repeated attempts were made, including abroad, to open the production of such down for the needs of light industry. However, they were not successful. It turned out that in order to obtain such a thin and warm fluff from goats, rather harsh climatic conditions and certain nutrition are necessary, the totality of which is possible only on the territory of the Orenburg Territory.
In the middle of the 19th century, in the city of Pavlovsky Posad, they began to produce woolen scarves with the so-called printed pattern, which was applied to the fabric using forms with a relief pattern. Pavloposad shawls are traditionally black or red products with a three-dimensional floral pattern.
In the 70s. In the 19th century, the palette of scarves familiar to us was formed, the range of scarves with naturalistic floral motifs expanded. Craftswomen prefer images of garden flowers, especially roses and dahlias.
Until the 1970s, the drawing was applied to the fabric with wooden carved forms: the outline of the drawing - with boards - "manners", the drawing itself - with "flowers". Creating a scarf required up to 400 overlays. Since the 1970s, dye has been applied to fabric using silk and nylon mesh patterns. This allows you to increase the number of colors, the elegance of the pattern and improves the quality of production.
Krestetskaya stitch (or Krestetskaya embroidery) is a folk craft that has developed since the 1860s in the Krestetsky district of the Novgorod province, since ancient times inhabited by Old Believers.
The Krestetskaya line is the most labor-intensive and complicated line embroidery in the execution technique.
Embroidery was performed on linen fabric, and the threads, warp and weft were cut and pulled out of the fabric, forming gaps, like a net. This fabric was used to create a variety of patterns and embroideries. Krestets embroidery was used to decorate garments, curtains, and towels.
Kasli casting - artistic products (sculptures, lattices, architectural elements, etc.) made of cast iron and bronze, produced at the iron foundry in the city of Kasli.
This plant was founded in 1749 by the Old Believer merchant Yakov Korobkov, who arrived here with his family from Tula. He was guided by the decree of Peter I, which read:
It is allowed to everyone and everyone, the will is given, no matter what rank and dignity one is, in all places, both on one’s own and on foreign lands, to search, melt, cook, clean all kinds of metals and minerals.
Sculpture "Russia" N.A. Laveretsky, Kasli casting, 1896 Most of the plant workers were also Old Believers who arrived from different places in the Urals, where the persecution of the old faith was not so noticeable.
The traditions of Kasli casting - the graphic clarity of the silhouette, the combination of carefully finished details and generalized planes with an energetic play of highlights - developed in the 19th century. During this period, the owners of the plant attracted new talented sculptors, artists, chasers and moulders. Kasli casting products received the Grand Prix award at the prestigious Paris World Exhibition of Applied Arts in 1900.
The Shemogoda slotted birch bark, which originates in the Vologda region, has gained particular popularity. Birch bark, despite its apparent fragility, is a fairly strong and durable material. Vologda craftsmen make a variety of baskets, dishes, tuesas, jewelry, and even shoes and clothes.
The peculiarity of these products is that a natural floral ornament, leaves and berries, flowers and stems, animals and people are intertwined with the traditional pattern. The traditional patterns of the Shemogodskaya slotted birch bark are engraved on birch bark sheets with a blunt awl and cut with a sharp knife, removing the background. Colored paper or another layer of birch bark is sometimes placed under the openwork; carving is complemented by embossing. In the 19th century, these products were called " birch bark lace».
In Soviet times, items made from Shemogoda birch bark were considered a symbol of the Russian forest and were in demand among foreigners. At the same time, a birch bark carving workshop was organized at the Shemogodsk furniture factory (Vologda region). And today, not a single Russian fair is complete without birch bark dishes.
This Russian craft originated among professional woodcarvers from Nizhny Novgorod. Masters use the tubular bone of cattle as the main raw material - “ tarsus and horn. Also, for the manufacture of expensive types of products, rarer and more valuable types of mammoth and walrus bones are used.
Varnavin bone carving is mainly used in the manufacture of women's jewelry (hairpins, combs, hairpins, combs, brooches, pendants, beads, necklaces, pendants, bracelets, earrings, rings, rings), caskets, caskets, fountain pens, decorative dishes and other souvenirs.
The peculiarity of such products lies in the absolute originality and individuality. Each item is made by hand, without any templates and stamps.
Abramtsevo-Kudrinskaya carving is an artistic craft of woodcarving, which was formed at the end of the 19th century in the vicinity of the Abramtsevo estate near Moscow.
Using this technique, they made ladles, dishes, vases and caskets, as well as any items of home decor and household items. The peculiarity of these products is the predominance of various curls, rosettes, twigs, tinting and polishing of wood.
The heyday of this craft falls on the Soviet period of time - 20-40s. Orders for workers of the Kudrin artel "Vozrozhdeniye" came even from the Tretyakov Gallery. Historical and modern products made in the style of Abramtsevo-Kudrinsk carving were presented at the international exhibition in Paris in 1937. After the collapse of the USSR, the Kudrinsk carving factory was closed. Today, the craft is preserved thanks to the work of private craftsmen.
The history of Gusev crystal began in 1756, when the Oryol merchant Akim Maltsov founded the first glass factory on the banks of the Gus River in dense Meshchera forests.
The first mention of the Gus volost dates back to the 17th century. When the construction of glass manufactories in the Moscow region was banned due to excessive deforestation, the first crystal factory was built in the village of Gus on the river of the same name, craftsmen for which were specially brought from Mozhaisk. Thus began the history of not just production, but a whole folk craft that continues to flourish to this day.
Now the plant is primarily famous for its artistic glass. Gusev artists, taking into account the peculiarities of the material, give it a highly artistic expressiveness, skillfully using color, form, and decor.
Filigree
Filigree (or filigree) is a jewelry craft that uses an openwork or soldered pattern of thin gold, silver, etc. on a metal background. wire. The elements of the filigree pattern are very diverse: rope, lace, weaving, herringbone, path, smooth surface. The individual elements of the filigree are connected into a single whole by soldering. Often filigree is combined with grain - small metal balls that are soldered into pre-prepared cells (recesses). The grain creates an effective texture, a play of light and shade, thanks to which the products acquire a particularly elegant, sophisticated look. The materials for filigree products are alloys of gold, silver and platinum, as well as copper, brass, cupronickel, nickel silver. Jewelry made in the filigree technique is oxidized and silvered. Filigree is often combined with enamel (including enamel), engraving, and chasing.
Filigree products were produced in royal or monastic workshops. In the 18th century, large filigree products were made, along with stones, crystal and mother-of-pearl were widely used. At the same time, small silver things became widespread: vases, salt shakers, caskets. Since the 19th century, filigree products have already been produced by factories in large quantities. This is expensive dishes, and church utensils and much more.
Scanning centers today are:
- The village of Kazakovo in the Vachsky district of the Nizhny Novgorod region, where the enterprise of art products is located, which produces unique jewelry products using the most ancient technique of artistic metal processing - filigree.
- The village of Krasnoe-on-Volga, Kostroma Region, here is the Krasnoselsky School of Artistic Metalworking, the main task of which is to preserve the traditional Krasnoselsky jewelry craft - filigree, enamel, chasing and more.
- The city of Pavlovo, Nizhny Novgorod region, where the technical school of folk arts and crafts of Russia is located.
Enamel
Enamel is the production of works of art using vitreous powder, enamel on a metal substrate. The glass coating is durable and does not fade over time; enamel products are distinguished by their special brightness and purity of colors. Enamel acquires the desired color after firing with the help of additives for which metal salts are used. For example, gold additives give glass a ruby color, cobalt a blue color, and copper a green color.
Vologda (Usolskaya) enamel - traditional painting on white enamel. The craft originated in the 17th century in Solvychegodsk. Later, they began to engage in similar enamel in Vologda. Initially, the main motive was plant compositions painted on a copper base: floral ornaments, birds, animals, including mythological ones. However, at the beginning of the 18th century, monophonic enamel (white, blue and green) became popular. Only in the 1970s of the XX century did the revival of the “Usolskaya” multi-color enamel by Vologda artists begin. Production continues to this day.
There is also Rostov enamel - a Russian folk art craft that has existed since the 18th century in the city of Rostov Veliky, Yaroslavl Region. Miniature images are made on enamel with transparent refractory paints, which were invented in 1632 by the French jeweler Jean Tutin.
Malachite products
Malachite is a green mineral with rich hues that lends itself well to processing. The stone can be from light green to black-green, and the first craft is more than 10 thousand years old. Dense varieties of malachite of good color and beautiful pattern are highly valued and have been used since the end of the 18th century for facing flat surfaces. Since the beginning of the 19th century, malachite has been used to create volumetric works - vases, bowls, dishes.
Malachite gained wide popularity outside of Russia thanks to the orders of the World Exhibition in London in 1851, prepared by. Thanks to the Demidovs, since the 1830s, malachite began to be used as a material for architectural decoration: the first malachite hall was created by order of P.N. Demidov architect O. Montferrand in a mansion in St. Petersburg on the street. B. Morskaya, 43. Luxurious interior work with malachite was made in St. Isaac's Cathedral. Malachite is also used to make jewelry. The technique of facing with malachite is called " Russian mosaic". It is based on the principle that was used by European craftsmen to reduce the cost of lapis lazuli products back in the 17th century: thinly sawn stone plates cover the surface of an object made of metal or cheap stone. This creates the illusion of carving from a monolith.
Tales of the Russian writer Pavel Petrovich Bazhov, who began his career as a teacher in a school in the remote Ural village of Shaydurikha, inhabited by Old Believers, are dedicated to the malachite craft. From them, the writer adopted many interesting stories and legends related to life in the Urals and the folklore customs of the local population.
Folk crafts and crafts of Russia.
Folk art crafts of Russia are an integral part of the national culture. They embody the centuries-old experience of the aesthetic perception of the world, turned to the future, preserving deep artistic traditions that reflect the identity of the cultures of the multinational Russian Federation.
Artistic crafts are both a branch of industry and an area of folk art.
The combination of traditions and innovation, style features and creative improvisation, collective principles and views of an individual, handmade products and high professionalism are the characteristic features of the creative work of craftsmen and craftsmen.
The unique handicrafts of Russia are loved and widely known not only in our country, they are known and highly valued abroad, they have become symbols of Russian culture, Russia's contribution to the world cultural heritage.
In the age of technological progress, machines and automation, standard and unification, handicrafts, made mainly by hand, mostly from natural materials, have acquired special significance.
Types of folk crafts in Russia. Their characteristic
Folk arts and crafts is a complex and multifaceted phenomenon. It includes a variety of directions, types, forms. But all of them are united by a combination of the practical expediency of products with the natural beauty of their appearance, coming from the surrounding nature.
In Ancient Rus', the whole life of people was literally permeated with the desire for beauty and harmony with the natural environment. House, hearth, furniture, tools, clothing, utensils, toys - everything that the hands of folk craftsmen touched embodied their love for their native land and an innate sense of beauty. And then ordinary household items became works of art. The beauty of their form was complemented by decorative ornaments in the form of ornaments, images of people, animals, birds, scenes.
From ancient times, folk craftsmen used in their work what nature itself gave them - wood, clay, bone, iron, linen, wool. Nature has constantly served as the main source of inspiration for folk craftsmen. But, embodying images of nature in their works, the masters never copied it literally. Illuminated by folk fantasy, reality sometimes acquired magical, fairy-tale features; in it, reality and fiction seemed inseparable.
It is this originality of folk arts and crafts, its unique expressiveness and proportion that have inspired and continue to inspire professional artists. However, not all of them manage to fully comprehend and rethink all its depth and spiritual potential.
As the well-known researcher of folk art M.A. Nekrasova notes, in modern conditions “the need of the people for folk art, for its authenticity, spirituality is growing. But finding ways to preserve folk art, to its fruitful development is possible only by understanding its essence, creative and spiritual, its place in modern culture.
The leading creative idea of traditional folk art, based on the assertion of the unity of the natural and human world, tested by the experience of many generations, retains all its significance in the art of modern folk art crafts.
Artistic processing of wood.
The tree is one of the ancient symbols of Russia. In ancient Slavic mythology, the tree of life symbolized the universe. Shady groves and oak forests, mysterious dark thickets and light green lace of forest edges have attracted connoisseurs of beauty since ancient times, awakened creative energy in our people. It is no coincidence that wood is one of the most favorite natural materials among folk craftsmen.
In different parts of Russia, original types of artistic woodworking have developed.
Wood carving is Bogorodsk sculptural and Abramtsevo-Kudrinskaya flat-relief carving in the Moscow region; production of products with trihedral serrated threads in the Kirov, Vologda, Tomsk, Irkutsk, Arkhangelsk regions; birch bark carving in the Vologda and Kirov regions.
The traditional art crafts of painting on wood include: Khokhloma, Gorodetsky and Polkhov-Maidan crafts of the Nizhny Novgorod region; Sergiev Posad painting with burning, painting with burning in the Kirov, Gorky, Kalinin, Irkutsk and a number of other regions; production of products with free brush painting in the Arkhangelsk and Vologda regions. Each of these crafts has its own history and unique features.
Bogorodskaya carving.
Not far from the city of Sergiev Posad near Moscow, there is an old Russian village of Bogorodskoye.
The production of the famous Bogorodsk carved wooden sculpture and toys is concentrated here. Their traditions date back to the 17th century, when carved wooden toys were sold near the walls of the Trinity-Sergius Monastery.
Bogorodsk products are made of soft wood - linden, alder, aspen. The main tools of folk craftsmen were an ax, a special Bogorodsk knife and a set of round chisels of various sizes. The blade of the Bogorodsk knife ends in a triangular bevel and is honed to a razor sharpness.
Over the centuries, the so-called flywheel carving techniques have developed. Any product is cut with a knife "on the fly", immediately clean, quickly, accurately, without any preliminary sketches prepared in drawing or clay.
Bogorodsk toys are interesting not only for carving, but also for their original design. Most often these are toys with movement. Their traditional hero is the Bogorodsk bear - a smart and active bear cub, performing in company with a person.
The Bogorodsk horses are very beautiful, plastic, expressive, quite realistic and at the same time fabulous. The human figures in Bogorodsk compositions are also very expressive. The most traditional among them is the figure of a Russian peasant, representing the classic image of a kind, cunning, skilled Russian peasant.
Artistic products from birch bark.
The traditional type of Russian folk arts and crafts is the manufacture of artistically designed products from birch bark, birch bark. Even in ancient times, birch bark attracted masters of folk art with its dazzling whiteness. When processed, birch bark retained its natural properties: softness, velvety, flexibility and amazing strength, thanks to which it was used to make vessels for liquids, milk and honey.
It is known that in the wooded territory of Russia - Vologda, Arkhangelsk, Olonets, Vyatka, Vladimir, Nizhny Novgorod provinces, as well as in the Urals and Siberia - in Perm, Tobolsk provinces, crafts have developed since ancient times, famous for birch bark products.
A variety of birch bark products of the peoples of Russia can be divided into several groups depending on the method of their manufacture, the nature and size of the birch bark used. First of all, you need to highlight things made from a whole piece of birch bark. They are the simplest in form, they are the easiest to make. These include low wide open vessels - checkmans, boxers, and nabirushkas.
A significant part is represented by wickerwork. These include salt shakers, wicker shoes - brods, covers, bags - shoulder straps. The most complex and time-consuming items of utensils are beetroots, boxes, tueski. The ways of decorating birch bark products are also diverse: scraping, engraving, embossing, carving and painting.
Decoration of birch bark products.
Birch bark embossing is one of the oldest types of birch bark decorations. The technique of drawing a pattern on birch bark with the help of stamps or chasers was widespread. For all its simplicity, embossing makes it possible to achieve a high artistic quality of the product, enriching the original surface of the birch bark with a relief pattern. It represents the simplest geometric shapes - circles, stripes, scallops, stars, evenly spaced on the surface to be decorated.
Depending on the size and type of product, birch bark is cut into strips, plates. The coarsened outer layer is removed from it. Before drawing the pattern, the birch bark is marked with an awl into stripes or cells. The prepared birch bark is placed on the board with the inner layer up. Taking a stamp in the left hand, tightly apply it with a patterned side to the birch bark and, hitting it hard with a hammer, apply a drawing. The depth of the pattern depends on the strength of the impact.
Russian craftsmen used carving on birch bark quite widely. But, perhaps, the most virtuoso was slotted or cut birch bark in the Russian North. By right, the city of Veliky Ustyug in the Vologda region occupies the first place among the traditional folk art crafts of birch bark carving. The craft originated here in the second half of the 18th century and was named after the Shemoksy River, on the banks of which it developed. In the XVIII-XIX centuries. at the city fair, one could buy elegant birch bark snuffboxes, boxes for needlework and storage of games, cigarette cases with embossed landscapes and story scenes. Gradually, the carved images became less relief, more ornamental, openwork, which was influenced by the influence of northern bone carving. At the end of the XIX century. the main stylistic features of Shemogoda carving are formed: openwork-ornamental motifs, spiral curls with a rosette inside. To make the birch bark lace better read, foil or colored paper was placed under the birch bark.
No less famous were the North Russian crafts for painting birch bark products. Among them, tuesas are distinguished, painted with Permogorsk painting, which received its name from the village of Permogorye on the Northern Dvina. The painting of the Permogorsk tuesas is distinguished by a characteristic combination of a white, golden-cream background with a small floral ornament of leaves, curls, flowers, among which various scenes of life are depicted - tea drinking, gatherings, hunting, etc.
Khokhloma painting on wood.
The world-famous Khokhloma products are made mainly in the Nizhny Novgorod region. One Khokhloma painting enterprise is located in the city of Semenov, the other in the village of Semino (100 km from Nizhny Novgorod). The art of Khokhloma painting originated at the end of the 17th century. It got its name from the village of Khokhloma, where large fairs were held in the past. They sold wooden utensils, mostly painted or otherwise painted.
Khokhloma products - ladles, brothers, spoons, supplies - are made of linden or birch. The so-called "linen" - unpainted wooden blanks, are covered with primer, puttied and smeared with drying oil three to four times, drying each layer. Aluminum powder is applied to the dried surface of the last layer of drying oil. It turns out a shiny "silver" surface. Further, the surface of the Khokhloma product is painted with oil paints with a free brush technique without a preliminary drawing.
The beginning of the production of trays in Zhostovo dates back to 1807. Each tray usually passed through the hands of three people: a farrier who made a mold, a putty putter and a painter, a primer who, after drying, covered the product with varnish
The Zhostovo letter begins with a "painting" - drawing the silhouettes of flowers and leaves with bleached paint, then shadows are applied to the dried painting with glazing (transparent) paints. This technique of "shadow" immerses the bouquet in the depth of the background. This is followed by "dense body writing", the most important stage of painting. "Glare" - the imposition of highlights - reveals the volume and light, completes the modeling of forms. Next, the "drawing" places the details, outlines the petals, veins and seeds. Completes the letter "binding" - thin grass and antennae.
Expanding the means of expression, Zhostov's painters are developing new ways of ornamental painting. Thus, a new method of “smoking” appeared, with the help of which a pattern was applied to the surface of the tray, reminiscent of the pattern of a tortoise shell.
In addition to black and white backgrounds, trays are painted on both colored and gold backgrounds. Bronze or aluminum powder is applied to the surface of the tray. Translucent through a layer of varnish, it creates the effect of gold. Against a golden background, the colors acquire a special brightness, and the tray is given the appearance of an expensive item.
Over the course of its history, Zhostovo trays from a household item have become decorative panels, and the craft, which once served as an aid to agriculture, has acquired the status of a unique type of Russian folk art.
Folk ceramics.
Ceramics - various items made of fired clay. They are made by potters. Wherever there were natural reserves of clay suitable for processing, master potters made bowls, jugs, dishes, flasks and other items widely used in everyday life by people of various shapes and decor.
Ceramics include majolica, terracotta, porcelain, earthenware, which differ from each other in the composition of clays.
Majolica is called products made of pottery clay, covered with colored opaque glazes - enamels.
Terracotta is fired clay products not covered with glazes.
Porcelain is distinguished by the composition of the mass, which includes white clay - kaolin of high melting point, or feldspar, which gives porcelain products whiteness, thin walls, and transparency.
Faience is close to porcelain, but does not have its whiteness and transparency, it has a thicker shard.
Gzhel ceramics. In Gzhel, Rechitsy, Turygin and other villages of the Ramensky district of the Moscow region, there has long been a production of ceramic products, which was carried out by almost the entire population of local villages.
Already in the XVII century. Gzhel craftsmen were famous for their pottery, and the clay they used was of high quality.
In the middle of the 18th century, Gzhel masters began to produce products using the majolica technique, painted on raw enamel. Dishes, kvass, jugs they decorated with elegant painting of green, yellow, purple tones. They depicted flowers, trees, architecture, entire plot scenes.
Vessels were also decorated with sculpture: conditionally transferred human figures, birds, animals. Sculpture was performed separately.
In the second half of the 18th century, cobalt was a favorite material in the painting of Gzhel masters. The combination of a white background with blue underglaze painting has become typical for modern masters working in the Gzhel production association.
The ornament that adorns Gzhel products is vegetable. Flowers, herbs, curved stems with leaves, ears of corn have been reworked into decorative ones. Hand painting is characterized by the freshness and immediacy of the drawing, freely and easily located on the surface of the thing. Painting a brushstroke depends on the movement of the hand. The craftswomen of the Gzhel handicraft, painting by hand, gradually created their own creative style. Repeating, it would seem, the same types of painting when replicating products, they always bring something new.
Skopinsky ceramics. The city of Skopin, Ryazan region, is a well-known center of folk pottery. In the middle of the 19th century there were more than 50 workshops in Skopin. But Skopin's fame was created by vessels of complex bizarre shapes made by local potters, candlesticks in the form of figures of fantastic animals and birds. Vessels were richly decorated with sculptural images of fantastic animals, lions, dragons. These images were often borrowed from popular prints - drawings with themes and plots close to the common people, which were usually sold at fairs.
Complicated, richly designed forms were made by craftsmen by hand, on a potter's wheel. This was reflected in the virtuoso mastery of material and technique. The variety of forms of things and sculptural fabulous images testifies to the inexhaustible imagination of the masters. Skopinsky products are usually covered with green and yellow-brown glazes. Intense color, an abundance of sculptural decorations and whimsical forms impart expressiveness and vivid originality to Skopin's art.
The craftsmanship and imagination of the Skopino craftsmen are manifested in the creation of vessels, jugs, casks for pickles, fruit vases, etc. Today, this craft is developing based on established traditions, but the shapes of the vessels have become less complex and bizarre.
Dymkovo toy. A toy from the Dymkovo settlement, located near the city of Vyatka, gained great fame. The origin of this craft is associated with the ancient folk festival "Whistle", for which throughout the winter the craftswomen prepared various whistles in the form of horses, riders, cows, birds. The spring festival was accompanied by a brisk trade in whistles. Their bright colorful painting corresponded to the general joyful spring mood.
Toys were molded from local red clay, fired, then covered with chalk soil diluted with milk. On a white background, the toy was painted with aniline paints diluted on an egg. The colors of these colors amaze with their strength, festivity. Bright crimson, yellow, blue painting on a white background is enriched with ornaments in the form of dots, circles, tassels. The combination of several colors in one product requires special skills from the craftswoman. Sometimes the pattern was covered with pieces of gold leaf, which made the products even more elegant.
The images of Dymkovo toys reflect urban life. Ladies and gentlemen, wet nurses, nannies, fashionistas, daring riders are distinguished by their bright colors, special expressiveness, bright festivity and humor. The form of products, as well as painting, is conditional.
Over time, the Dymkovo toy is widely used in everyday life as a decorative ornament. In this regard, the size of the products of Dymkovo craftswomen is also significantly enlarged. Often there are multi-figured compositions depicting folk festivals and holidays.
The Dymkovo toy is close to the people for its accurate depiction of characters, wit, and a sense of the joy of life. This is an enduring value and uniqueness.
Kargopol toy. The city of Kargopol in the Arkhangelsk region is the center of the traditional Russian folk art craft of clay toys. Its origin in Kargopol is associated with rich local deposits of clay, which determined its widespread development already in the 19th century. Here they made dishes, and along with it toys: horses, deer, rams, etc. In 1930, the hereditary potter I. V. Druzhinin revived the tradition of clay toys here. His painted toys are marked by unity of style; peasant women, hunters are presented with amazing sharpness of character; animals - horses, cows, etc. - endowed with individual characteristics. They are squat, restrained in color.
Kargopol toys were molded in parts: a skirt was put on the torso, legs were attached. The toys were fired and covered with white paint.
The cheerful Polkan the hero with the sign of the sun on the chest of the craftswoman and storyteller M Babkina is endowed with great power. His image is associated with ancient Slavic mythology.
The craftswoman retained the traditional techniques of modeling and painting. The Kargopol ornament consists of geometric patterns, a cross in a circle - the sun, circles, diamonds, zigzags, which had a symbolic meaning.
Kargopol masters use soft colors: red, yellow, brown, marsh, crimson.
Filimonov toy. The village of Filimonovo in the Odoevsky district of the Tula region is the center of traditional Russian clay toys. The origin of the craft is associated with the long-standing production of pottery. Since the 19th century Filimonov's toy becomes widely known. These are toys, mainly whistles, in the form of animal figures, decorated with geometric patterns. In 1967, a workshop was created in Filimonovo. The traditional Filimonovo toy is based on the plastic qualities of oily clay "siniki". After the clay dries, the toys crack; the cracks on them are smoothed out, giving the figures a more elongated shape. When fired, the natural blue-black color changes to white. Therefore, the background of the toy is painted with aniline paints diluted on the egg: red, yellow, green, blue, purple. The geometric ornament consists of stripes, solar signs. Often, female figures are painted not only with stripes, but also with flowers, rosettes, and triangles. Modern masters have preserved traditional forms of color combinations and ornaments in their work.
Lace weaving.
Russian hand-woven lace has been known in the history of our folk art crafts since the end of the 18th century. Hand lace-making arose and took shape immediately as a folk craft, without going through the stage of home craft. Western European lace began to penetrate Russia in the second half of the 17th - early 18th centuries; it served as a decoration for the clothes of nobles and landowners. With the spread of fashion for lace and lace trimmings, many nobles set up serf lace-making workshops. Early lace, dating back to the 18th - first half of the 19th centuries, was often made of gold and silver threads with the addition of pearls.
Hand-woven lace is made using bobbins carved from wood. In front of the lace maker is a tightly stuffed cushion - a pillow. A pattern of future lace, applied to thick paper, is fixed on the pillow. In the figure-skolka, dots indicate the places where the threads intersect and intertwine. In the hands of the lace maker from 6 to 12 pairs of bobbins with linen, cotton or silk thread.
Vologda lace. With their density, whiteness and patterning, they are very reminiscent of frosty patterns on glass and hoarfrost in the forest on trees in the dead of winter, on a quiet frosty day.
The basis of Vologda lace is a dense “linen ribbon”, which, because it twists so whimsically, outlining various forms of lace ornament, is also called “vilyushka”. For Vologda lace, a floral ornament is typical. The motif of a symmetrically deployed lush bush with wide palmate leaves and frontal six, eight - and more petal flowers-rosettes forms a wide patterned border of a lace product. The gratings have a harmonious, rhythmically perfect character, they give the impression of strength and reliability. The assortment of Vologda lace is very diverse, it includes round napkins, runners, tablecloths, decorated wall panels, window curtains, curtains.
Mikhailovsky lace. Of great interest is the lace produced in the city of Mikhailov, Ryazan province. Here they performed dense lace, made of thick threads, not only white, but also multi-colored, bright. It went well with the colorful outfits of Russian peasants. It was worn on their shirts not only by women, but also by men. They were sheathed with women's aprons, towels, sheets. It had a simple appearance of pointed teeth - "capes", fan-shaped figures, the so-called bells. Only three colors of thread were used in lace: white, red and blue, but they were so skillfully combined that each piece of lace seemed colorful in a new way. In the 1950s, noticeable changes took place in the appearance of Mikhailovsky lace. Patterns are strengthened, new colors are introduced. These changes are largely associated with the name of a talented artist - a lace maker. D.A. Smirnova. For the first time, images of human figures appear in her works. D.A. Smirnova with craftswomen seeks to preserve the beauty of color patterns as a unique phenomenon of Russian folk art.
Embroidery is one of the most widespread types of folk art.
The ornamentation of folk embroidery has its roots in ancient times. It preserved traces of the time when people spiritualized the surrounding nature. And placing on their clothes and household items images of the sun, the tree of life, birds, a female figure, as symbols of vitality, happiness, fertility, they believed that they would bring prosperity to the house.
In the process of historical development, each nation developed a certain character of the embroidered pattern, peculiar techniques of technical implementation, unique color solutions.
Embroidery did not require sophisticated equipment - a needle, thread, canvas - that's all that is needed in order to embroider and sew clothes, to make elegant items to decorate a home. Embroidery was widely used in everyday life of both rural and urban population. Many types of embroidery were actively used to decorate clothes and household items of the wealthy part of the population.
Of particular value is peasant embroidery, where it was associated with the creativity of the inhabitants of the countryside. It was in this embroidery that artistic and stylistic features were formed, which have not lost their value even today.
The embroidery of the peoples of our country is extremely diverse in terms of artistic and technical methods, the nature of use in everyday life. In any federal and autonomous republic, territory, region, district, there are unique works of talented embroiderers.
The process of formation of modern stitch-embroidery crafts is ambiguous. In each locality, it is associated with the way of life, the development of a common cultural tradition, the degree of mutual influence of the cultures of neighboring peoples. At present, embroidery has received a particularly wide development at the enterprises of art crafts in Russia, as well as in Ukraine, Belarus, Moldova, Uzbekistan and Tajikistan.
Gold embroidery was previously used to make religious items, as well as to decorate headdresses. Such embroidery was typical for the Nizhny Novgorod, Tver, Vologda and many other regions. However, this embroidery is most developed in Torzhok, where the craftswomen managed to bring their art of gold embroidery to our days. Here, labor-intensive techniques of this sewing are used: forged seam, cast seam, in attachment, etc. To achieve a great effect of the relief of the pattern, when it was made, pieces of cardboard, birch bark or leather were placed under the flooring.
The modern Torzhok gold-embroidery industry of the Tver region is unique, where, while maintaining traditional techniques, elegant items are made - belts, handbags, hats, vests, folders for special occasions.
A wide variety of patterns were used in gold embroidery - from simple stripes, eyelets, stars to complex compositions of floral ornaments. As before, gold embroidery is supplemented with sequin patches and the inclusion of a wide variety of sparse seams, which are especially often used when making additions to a costume - scarves, shawls, breast decorations.
A kind of embroidery was developed in the Vladimir region. This is a thin white surface with all kinds of banners and openwork additions and bright decorative embroidery - the so-called Vladimir seams.
