INTRODUCTION

Decorative art is the most extensive area of ​​human creative activity. Products made of ceramics, wood, glass, textiles are the oldest products of human labor and creativity, they mark the progressive development of civilization and culture at all stages of history. Having arisen at the earliest time in the development of human society, arts and crafts for many centuries was the most important, and for a number of tribes and nationalities, the main area of ​​​​artistic creativity. However, the role and importance of decorative art in the general cultural process is still underestimated. In the world history of art, it is usually not singled out as a special area of ​​​​aesthetic activity, but is considered only in its utilitarian function: as the design of object products and the living environment, as a product of handicraft or industrial production. In principle, this is true: the decorative arts are closely related to material production and architecture. It is difficult to agree that the cultural level of the era is determined only by the fine arts and architecture, and artistic items - furniture, dishes, textiles, jewelry - only serve the everyday needs of people and shine with the reflected light of "high arts".

This paper sets the goal of a comprehensive study of modern domestic decorative art, establishes the problem of the development of mass production in the context of the socio-cultural situation in Russia in the 20th century.

The following tasks are set in the work:

Principles of modern shaping of subject and decorative products;

Their influence on the composition of the artistic style of the objective world and the living environment

The specific place of decorative art in the visual culture of the modern era is noted.

RESEARCH SECTION

History of Arts and Crafts

Folk arts and crafts is the result of creativity of many generations of craftsmen. It is unified in its artistic structure and extremely diverse in its national characteristics, which are manifested in everything from the choice (use) of material to the interpretation of pictorial forms.

Born among farmers, pastoralists, hunters, folk art throughout the history of its development is associated with nature, the laws of its renewal, the manifestation of its life-giving forces.

The very existence of man is inseparable from nature, which provides material for housing and clothing, food, determines the rhythm of human life by the change of day and night, the alternation of the seasons. Therefore, all this is reflected in the works of folk art, which constitute an integral phenomenon of the culture of each people.

The well-known assertion that folk art is firmly connected with everyday life concerns not only arts and crafts. Songs and dances, epics and fairy tales are also inseparable from the daily life of the people, because they embodied dreams of beauty, ideas about a better life, about good and evil, about the harmony of the world. In harvest festivals, seeing off winter, meeting spring, in various ceremonies and rituals, the creative principle manifested itself in a complex, multifunctional way. In this regard, folk art is called syncretic, i.e. uniting different functions of objects and connecting them with everyday life (Appendix, Fig. 1).

And today, art products made by folk craftsmen from various materials serve as an indispensable part of a person's daily life. They entered everyday life as necessary items that perform certain utilitarian functions. These are floor carpets and ceramic dishes, woven bedspreads and embroidered tablecloths, wooden toys and decorations for women's clothing. Their well-thought-out shape and proportions, the pattern of the ornament and the color of the material itself characterize the aesthetics of these things, their artistic content, turn a utilitarian object into a work of art. All such products belong to the field of arts and crafts, in the sphere of which they find an organic unity of the spiritual and material principles of creativity. The world of this area is vast.

Many art objects are produced by enterprises equipped with advanced technology, which makes it possible to make things in large quantities. But in them there is a mechanical repetition of the original sample. This type of production is called the art industry. Adjacent to it, but noticeably different in the nature of the products, are folk art crafts, in which the appearance of the object, the formation of its artistic features depend on the manual creative work of the master artist, which determines the final result. Therefore, the significance of the master in folk art is so great. The artistic level of the thing he creates depends on how he masters his craft, how he uses his knowledge and practical skills.

As a result of this development of folk art, the form of products was polished, beautiful and meaningful motifs of ornament were preserved, an artistic tradition was formed as a system of worldview of folk craftsmen and as a handicraft basis for creativity.

All these features that characterize folk arts and crafts manifested themselves in the course of its historical development. Coming from the depths of centuries, the creative development of the material, the improvement of the function of each object led to the endowment of the thing with additional significance. For example, a lock in the shape of a lion was supposed to enhance, according to the master, the protective function of this household item. The ornament in the form of a hoop, encircling the body of the lathe, visually strengthened the shape.

Folk arts and crafts not everywhere and not at the same time switched to functioning in the form of crafts. They arose only where there were appropriate economic conditions (steady demand, a sufficient amount of local raw materials, etc.). The most active development

Even before the revolution, the artel form of housekeeping was tested by masters of the Moscow Region and a number of other centers of folk art. So, after the ruin of the owners of the craft of the Fedoskino miniature, the craftsmen organized an artel in 1903, thanks to which the core of creatively working painters was preserved, and the art of craft did not die out (Appendix, Fig. 3).

In the 1920-1930s. the process of creating cooperative industrial artels of an artistic profile continued. New productions arose, but the main attention was paid to the strengthening of traditional crafts in the areas where the ancient centers of folk art united several settlements. The production of products with Khokhloma painting on wood was restored on a large scale in the Nizhny Novgorod region, the manufacture of handmade lace in the Vologda region. New types of products were also born. So, the masters of the former icon-painting crafts switched to work in the field of lacquer miniatures. Painting on papier-mache by the masters of the village of Palekh, Ivanovo region, already in the first works, was highly appreciated by the largest scholars and researchers of folk art.

By the early 1960s, supplies of art products for export were being restored. In the future, a number of decrees were issued to promote the development of crafts. In particular, an important decision is being made to employ homeworkers. It not only made it possible to expand the staff, but also made it possible to create entire associations of craftsmen working at home in many Union republics. Masters of artistic crafts are provided with a number of economic benefits. In accordance with the tasks set in the directive documents, expeditions, competitions, gatherings of masters, crafts festivals began to be held regularly. Such an integrated approach to enhancing the creativity of masters, promoting their achievements allowed each nation to see the values ​​of its national culture, to attract young people to the craft, which makes it possible to show their abilities. That is why the number of young people who want to enter special educational institutions is increasing every year.

Elegance, artistic content of handicrafts creates an atmosphere of festivity, causes a person to be in high spirits. Products of folk craftsmen are indispensable attributes of our life, enliven the daily life of people, become the main "actors" in solemn occasions. Costumes in folk traditions are obligatory attributes of folklore ensembles, fairs, special exhibitions. Finally, almost every thing created by craftsmen serves as a wonderful gift for any important event in the life of an individual, family or team. And small, convenient things for transportation - souvenirs - signs of memory of the national culture of the people and even the whole country.

Decorative - applied art.

Decorative and Applied Arts (DPI) - the art of making household items that have artistic and aesthetic qualities and are intended not only for practical use, but also for decorating dwellings, architectural structures, parks, etc.

The whole life of primitive tribes and civilizations was connected with paganism. People worshiped various deities, objects - grass, the sun, a bird, a tree. In order to “appease” some gods and “drive away” evil spirits, the most ancient man, when building a house, necessarily supplemented it with “amulets” - a relief, platbands on windows, animals and geometric signs that have a symbolic and symbolic meaning. Clothing necessarily protected the owner from evil spirits with a strip of ornament on the sleeves, hem and collar, and all dishes had a ritual ornament.

But since ancient times, the desire for beauty in the objective world around him was also characteristic of man, so the images began to take on an increasingly aesthetic appearance. Gradually losing their original meaning, they began to decorate a thing more than carry some kind of magical information. Embroidered patterns were applied to fabrics, ceramics were decorated with ornaments and images, first squeezed and scratched, then applied with clay of a different color. Later, colored glazes and enamels were used for this purpose. Metal products were cast in figured molds, covered with embossing and notching.

The arts and crafts are and artistically made furniture, dishes, clothes, carpets, embroidery, jewelry, toys and other items, as well as ornamental paintings and sculptural and decorative decoration of interiors and facades of buildings, facing ceramics, stained-glass windows, etc. Intermediate forms between DPI and easel art are very common - panels, tapestries, plafonds, decorative statues, etc. - which are part of the architectural whole, complement it, but can also be considered separately, as independent works of art. Sometimes in a vase or other object, it is not functionality that comes first, but beauty.

The development of applied art was affected by the living conditions, the life of each people, the natural and climatic conditions of their habitat. DPI is one of the oldest art forms. For many centuries, it has developed among the people in the form of folk arts and crafts.

Embroidery. It takes its origins in ancient times, when bone and then bronze needles were used. Embroidered on linen, cotton, woolen clothes. In China and Japan they embroidered with colored silk, in India, Iran, Turkey - with gold. Embroidered ornaments, flowers, animals. Even within the same country, there were completely different types of embroidery depending on the area and the people living there, such as, for example, red thread embroidery, colored embroidery, cross-stitch, satin stitch, etc. Motives and color often depended on the purpose of the object, festive or everyday.

Application. Multi-colored pieces of fabric, paper, leather, fur, straw are sewn or glued onto a material of a different color or dressing. Application in folk art, especially of the peoples of the North, is extremely interesting. Application decorate panels, tapestries, curtains. Often the application is performed simply as an independent work.

Stained glass. This is a plot decorative composition made of colored glasses or other material that transmits light. In a classic stained glass window, individual pieces of colored glass were interconnected by spacers made of the softest material - lead. Such are the stained-glass windows of many cathedrals and churches in Europe and Russia. Also used was the technique of painting on colorless or colored glass with silicate paints, which were then fixed by light firing. In the 20th century stained-glass windows were made of transparent plastics.

Modern stained glass is used not only in churches, but also in residential premises, theaters, hotels, shops, subways, etc.

Painting. Compositions made with paints on the surface of fabrics, wooden, ceramic, metal and other products. Murals are plot and ornamental. They are widely used in folk art and serve as decoration for souvenirs or household items.

Ceramics. Products and materials made of clay and various mixtures with it. The name comes from the area in Greece, which was the center of pottery production since ancient times, i.e. for the manufacture of pottery and utensils. Ceramics is also called facing tiles, often covered with paintings. The main types of ceramics are clay, terracotta, majolica, faience, porcelain, stone mass.

Lace. Openwork products from threads. According to the technique of execution, they are divided into manual (woven on turned sticks - bobbins, sewn with a needle, crocheted or knitting) and machine-made.

Weaving from birch bark, straw, vines, bast, leather, thread, etc. one of the oldest types of decorative and applied art (known since the Neolithic). Mostly weaving was used to make dishes, furniture, bodies, toys, boxes.

Thread. A method of artistic processing of materials, in which sculptural figures are cut out with a special cutting tool or some kind of image is made on a smooth surface. In Rus', woodcarving was the most common. She covered the platbands of houses, furniture, tools. There is a carved sculpture made of bone, stone, gypsum, etc. Many carvings are ornaments (stones, gold, bronze, copper, etc.) and weapons (wood, stone, metals).

There are many ways to instill in kids a love of beauty, to develop the rudiments of aesthetic taste. And one of them is classes with a child in applied art. These do not have to be practical lessons with a focus on folk topics. Familiarization of preschoolers with arts and crafts can be done by doing wire or paper crafts, patchwork, stained glass painting, etc.

Various techniques of children's arts and crafts not only allow you to take your free time, train your hand, teach your child to work with various tools. Among other things, applied techniques develop a child's aesthetic taste, the ability to combine objects and details, distinguish between shades, create new shapes, objects or paintings. This has a positive effect on the development of abstract thinking, and also brings up the artistic taste of your child.

What is the role of arts and crafts in the development of children?

The great teacher V. A. Sukhomlinsky spoke about the role of arts and crafts in the development of children. According to him, "the origins of the abilities and talents of children are at their fingertips." And this is absolutely true, because any actions that a child performs with his fingers have a direct impact not only on the development of his writing skills, but also on mental development, on the cognitive activity of his brain and on the creative component of his life.

It is no secret that children's arts and crafts are directly related to the development of fine motor skills, which means it stimulates the brain, triggers the mechanisms of speech and develops the creative abilities of each child.

Creative modeling brings up an aesthetic taste in a person, develops imaginative thinking, helps in acquiring skills in working with various tools and significantly enriches your child's knowledge about the world.

Moreover, the use of applied techniques gives the parent a unique chance to be creative with their child. And finished products will perfectly decorate the interior of your home, complementing the developing space of the children's room.

Applied art is designing and modeling from improvised materials, the ability to create something new from parts of something. This is any artistic work that your child does.

It is easy to conduct an interesting creative design lesson with a child, it is enough to connect the imagination and stock up on the necessary materials.

While working with small parts is formed. The child learns to hold small details with his fingertips, rationally distributes the tension of the arm and hand muscles.

In addition to the influence on fine motor skills, the role of arts and crafts in the development of the child is also that it has a beneficial effect on the formation of aesthetic and artistic taste, introduces the elements of abstract thinking.

Applied art includes colored paper appliqué, modeling from natural materials, working with plastic materials, working with tools, and even decorating playgrounds.

Below are several types of arts and crafts for children that you can do at home.

Children's arts and crafts: the art of mosaic

Mosaic is the oldest form of art, involving the compilation of paintings from small parts.

To assemble a mosaic, you must have perseverance and will. Unlike an appliqué or a painted picture, the image in a mosaic appears gradually, from small details.

Mosaic is created from pebbles, clay, plasticine or plain paper. It can be made from beads, beads, sand and even semolina. This is the most common type of applied art for children.

During the assembly of the mosaic pattern, the child develops fine motor skills, imagination is manifested, artistic taste and imaginative thinking are formed. In addition, creating a picture from a mosaic perfectly trains perseverance and attention, helps to concentrate on the little things.

Do not be afraid of an overabundance of mosaic patterns in your home, mosaic panels are a new word in modern decor. You can add zest to the children's room with paintings and sketches from the mosaic. It can decorate almost everything in the living space.

Most importantly, remember: doing this children's arts and crafts, the details of the mosaic should be large and comfortable for the child's hand. With the elder, you can use materials such as beads or semolina in a mosaic picture.

With the help of a mosaic pattern, you can not only make a picture on the wall, but update and complement the interior of a children's room.

One of the original types of applied art for children is the use of natural materials as mosaic spare parts: shells, stones, plant seeds or dried tree leaves. Working with such material requires increased attention, accuracy and great perseverance.

With a small child, it is useful to decorate a mosaic with cereals. Buckwheat, rice and even millet groats perfectly develop grasping skills and form tactile perception.

But the most versatile and affordable material for mosaics is colored paper. In order to make a mosaic decor out of it, the paper needs to be cut or torn into small parts so that they are enough for the whole picture. Paper can be combined with salt dough, acrylic paints, sand compositions.

Arts and Crafts for Preschool Children: Stained Glass

Another successful version of applied art for children, which forms an aesthetic taste, develops fine motor skills, imagination and trains attention, is stained glass painting.

There are several types of stained glass painting techniques: fusing, tiffany, film stained glass windows and stained glass windows created with stained glass paints.

Let's dwell on stained glass paints, since it is this material that is most convenient to work with children. Moreover, stained glass paints can be made independently, at home.

Since stained glass paints are based on PVA glue, the finished drawing, after drying on a stencil, is easy to transfer to glass. Due to the gluten on the base, the design adheres well to the glass, but if necessary, it can be easily removed and disposed of by rolling into a small ball.

Both a small child and an adult can work with stained glass paints. Particular perseverance requires drawing the outline of the future drawing. For beginners, these contours are much thicker than necessary. Before using the stained glass tube, you need to shake it a little, but it is not recommended to shake it strongly, as you risk getting a large accumulation of oxygen. If air bubbles appear on the drawing when applying paint, gently poke them with the tip of a stained-glass pencil with paint or mix with a brush.

The finished stained-glass window made of such paint must be left on the stencil for 24 hours until completely dry. At the heart of such stained glass paintings is a stencil with a printed pattern under a plastic cover. The stained glass picture is transferred to the glass carefully, only after complete drying.

To engage in this type of arts and crafts with children, you need to decide which paints you prefer to use. The manufacturers took care of our needs, and each can has a dispenser nozzle, which eliminates the use of additional tools.

All paints for stained glass can be divided into fired and non-fired. Fired allow you to calcinate the finished product in the furnace, that is, to extend the life of the finished stained glass window.

For children mastering the skills of such arts and crafts, it is recommended to buy imported paints. In their packages, convenient dispensers, the consistency is optimal. It will not flow, smear.

Water-based stained glass paints contain glycerin in the thickener and give a large number of air bubbles at the exit, which will have to be fought to avoid voids in the stained glass pattern.

Contours for stained glass paints are sold in special tubes. Very often, beginners buy a black outline. It is not right. Working with a black outline is more difficult than it seems at first glance. Lines can be unnecessarily wide, and the outline can be conspicuous, overshadowing the whole drawing.

A beginner in stained glass decoration and decor is better to use the contours of silver or white flowers. Don't be afraid, at first the line will be larger than you planned, but with experience you will understand how to extrude the contour paint to the desired width.

So that the tip of the nozzle does not dry out and does not become overgrown with paint residues, always place a damp sponge next to the product, on which you can wipe off all excess.

Among the variety of stained glass paints, do-it-yourself stained glass paints stand apart. Such material is ideal for work even for a small child. You can make your own stained glass paints from PVA glue and food coloring.

Mix the dye with PVA until you get a homogeneous, thick mass. Under the containers, you can use empty gouache tubes or baby food jars.

Do-it-yourself stained glass paints are applied to a file sheet containing the desired picture. After complete drying, the picture is separated from the polyethylene and glued to the glass.

If you are seriously thinking about doing such arts and crafts with preschool children, do not rush to master windows and glazed doors. First, you should try to draw a stained-glass window on a small area. For example, decorate a night light or a vase, a glass plate or a mug.

Before working with glass, it must be cleaned of dirt and excess grease. To do this, wash the base under running water with detergent.

Now for the sketch. If you do not want to repeat replicated pictures and dream of creating something unusual, then the drawing can be done using special programs; the simplest of them - Paint - is on every computer.

Having created and printed a sketch, we proceed to transfer it to a glass product. If this is a night light for decor, then we carefully set the sheet with the pattern inside the glass lampshade, fix it with adhesive tape.

Now we take a black marker for working on glass (its contour is erased very easily) and draw the outlines of the picture on our lampshade. The next step: apply the stained glass contour and leave the product to dry.

When teaching preschoolers such arts and crafts, it is important to master the correct technique for working with stained glass paints. Before use, each tube must be shaken, but not shaken, so as not to raise a bunch of bubbles.

Stained glass paints are applied in a thick layer on every detail of the picture. Allow each side to dry completely. The finished product can be opened with acrylic varnish to fix the parts, or it can be calcined in an oven. In the second case, pay attention to the heat resistance of the base glass.

Introducing children to arts and crafts: quilling

The English fun - to twist strips of paper, and then collect the resulting details into a certain pattern - has circled the entire planet. The use of this technique in the development of fine motor skills of a child makes it possible to gain experience with a quilling machine, hones the ability to work with small details, capture, glue them into patterns.

Introducing children to such arts and crafts develops perseverance, forms abstract and figurative thinking, opens up opportunities for the development of artistic taste in a child.

Tools for working with paper in the technique of quilling. First of all, you need to buy a paper twisting tool. If you did not find it in the store - do not be discouraged and make it yourself.

Attach a large tailor's needle with a sharp part to the shaft and remove the upper loop on the ear with wire cutters. The paper twisting tool is ready.

You can purchase a stencil with circles of various diameters for doing arts and crafts with children at an office supply store. Glue is also sold here. You can use special glue bases, but it’s easier to stock up on a glue gun and PVA tubes.

To work with paper, you will need tweezers with long, pointed ends. You can use a flat one, but in this case you will have to make sure not to wrinkle or damage the finished parts.

Standard strips of paper for crafts with children 5-7 years old are sold in needlework stores. If the required color is not available or the assortment of strips is not of the right width, try cutting quilling blanks by hand. To do this, staple together several sheets of colored office paper, mark the workpiece and use a utility knife and a ruler to cut the required number of strips.

Workplace and work practices. When organizing a workplace for quilling, take care of good lighting. An armchair or desktop chair must be chosen in such a way that during painstaking work your spine does not get tired, and your hands do not go numb.

• On the desktop, put a paper spinning machine, tweezers, a ruler with stencils of circles and a regular ruler.
• Prepare glue and a wet sponge, which is convenient to remove excess glue.
• Get ready for the fact that the first time a masterpiece may not work, but you will make a pattern on a postcard.

Quilling, like many applied art techniques for preschoolers, is aimed at developing visual-figurative thinking and forming fine motor skills of the hands.

The quilling technique can also be used in the developing space of the children's room.

Fancy twisted paper patterns look equally good both on photo frames and in full-wall decorative panels:

In the children's room, quilling patterns are used as a developing environment.

For example, when a child is learning the alphabet, voluminous rolled paper letters on the walls of the nursery will help with memorization. A night light in the form of a ship with openwork sails, ready to take to the skies at any moment, will add a fabulous mood to the world of a young dreamer.

Unusual patterned numbers on the wall will help the kid remember the number series and teach simple calculations. Plots from familiar fairy tales, household items, quilling-style geometric shapes - all this can become a visual teaching aid and a worthy decoration for a child's room.

Handicrafts made by preschoolers do not have to be related to toys, although a good finger theater will come out of twisted paper. Quilling can decorate jars for pencils, planters for flowers. Even a desktop can be decorated with a picture of twisted paper by placing it under tempered glass.

It doesn’t matter how you use finished quilling products, the main thing is that this technique can and should be used in joint creativity with a child, especially during the period of “formation of a hand” and preparation for writing.

Artistic crafts for children 5, 6, 7 years old: classes with wire

If you've never used wire for decorative purposes before, twisted it into intricate shapes, and invented intricate frames for toy furniture, then you'll have to start small.

To introduce children to the arts and crafts, buy copper wire in a skein for crafts from beads. This material can be purchased at any needlework store. A tool for working with any wire is similar to pliers with an elongated nose, it is called round nose pliers.

Crafts from copper wire can be done with children of the age of five, when the muscles of the hands have become stronger and some perseverance has appeared. It is enough to explain the principles of work and control at the initial stage.

To learn how to twist intricate wire figures, you have to start small. Learn how to twist, fasten and wrap a simple copper thread sold in skeins for beading.

There are enough sketches for such arts and crafts with children on the Internet. Many crafts made from such material can be safely used in the design of a children's room. For example, a three-dimensional picture woven of beads on copper wire can be a good decoration for a child's room.

With the help of copper wire, beads and beads, you can decorate photo frames, flower pots or wall clocks. Small copper wire crafts can fill a calendar planning space or a first grader's day routine.

The most important thing is that a child of 5, 6 and 7 years old will be interested in such applied art, and it is very easy to work with wire.

After mastering the copper wire for creativity, it's time to move on to materials that are more elastic and resistant to deformation. For example, create crafts from wire with a multilayer coating and a larger diameter than a copper skein.

To work with such material, you will need curved pliers and a vise handle. If you plan to put the finished product on a support, do not forget to purchase a set of special pins. Those who have mastered the technique of working with wire can use a variety of devices to create patterns and decorations.

Such applied art is interesting not only for children of 5, 6 and 7 years old - working with elastic wires will also interest older schoolchildren. Today, jewelry made of copper curls has become fashionable. Earrings, beads, rings and bracelets - this is an incomplete list of what a girl can do under the guidance of her mother for her own jewelry.

Angels in the nursery of a younger brother or sister, Christmas trees on the window in the nursery, a funny clock or an original wire night light - all this will keep the child busy and decorate the house.

Familiarization of preschoolers with arts and crafts: patchwork

By the age of six, many children still do not really know how to work with a needle and thread. Parents are either afraid to give the needle into the hands of the child, or they themselves are not fond of sewing. It is rare that girls sew outfits for their dolls or learn to cross-stitch. But sewing is one of the main methods for developing fine motor skills of a preschooler's hands.

Moreover, today there are safe needles that cannot be pricked. Wide eyelets for easy threading of the needle. No one talks about difficult sewing, but some simple fabric stitching, embroidery, or fabric co-creation with mom is great training for the hands of a six-year-old.

As an introduction to arts and crafts for preschoolers, you can use patchwork fabric work.

In Rus', a patchwork decoration was considered an indicator of the housewife and talent of the hostess. In England, both clothes and tapestries were sewn from pieces of fabric, as well as curtains for windows. Quilting underlay the creation of leather armor and simple clothing in the Middle Ages.

The name of this technique comes from the English language: patch - patch, work - work. Patchwork - work with patches, or sewing from pieces of fabric.

Over time, products from different pieces of fabric and leather began to be used not only for practical purposes. Today, the patterns that patchwork craftsmen create are used more for aesthetic purposes, decorating and complementing the interior of our home.

In patchwork, it is not necessary to put a separate pattern into each piece. Due to the original assembly, “patches” often complement the main drawing, being an indispensable link in it. Patchwork can be knitted, woven, or done using the macrame technique. The main thing is to follow the intended pattern.

When practicing arts and crafts for the development of children, when organizing work with flaps, follow the following rules:

• follow the correct lighting;
• sort the details of the proposed product by color, shape or size, so that later you do not look for what you need in a pile of multi-colored patches;
• when thinking about working with patches, keep a ready-made scheme at hand;
• select threads to match the material, check them for strength in advance.

Carpets and rugs woven from scraps of fabric, knitted items for dolls and their hostesses - all this can be bright, fun, original and simple.

Yes, arts and crafts classes with children take time. Creativity is always demanding. But with all the "inconvenience" you get a unique result. Especially if you involve a child in updating the interior of a children's room. For example, entrust him with the choice of colors for future patches. Or let him cut out all the blanks, or grind a few "patches" according to the sketch. Thus, the decorative applied development of children is not only an introduction to beauty, but also benefits.

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Folk arts and crafts - one of the means of aesthetic education - helps to form artistic taste, teaches us to see and understand the beauty in the life around us and in art. Folk art, national in content, can actively influence the spiritual development of a person, the formation of patriotic and international feelings.

Folk art contributes to the artistic education of children, since it is based on all the specific patterns of decorative art - symmetry and rhythm. In the patterns of decorative paintings, characteristic of various folk crafts, a certain rhythm, symmetry, proportionality of individual elements, and countability in the execution of the ornament are observed. This provides material for the development of elementary mathematical concepts.

Russian folk arts and crafts is closely connected with folklore, customs and rituals, folk holidays and folk music. Therefore, familiarization with folk crafts can be supplemented by the musical education of preschoolers.

Folk arts and crafts of our country is an integral part of culture. Emotionality, poetic imagery of this art are close, understandable and dear to people. Like any great art, it fosters a sensitive attitude towards beauty, and contributes to the formation of a harmoniously developed personality. Based on deep artistic traditions, folk art enters the life and culture of the people, has a beneficial effect on the formation of a person of the future. Artistic works created by folk craftsmen always reflect love for their native land, the ability to see and understand the world around them.

In contemporary culture, folk art lives on in its traditional forms. Thanks to this, the products of folk craftsmen retain their stable features and are perceived as carriers of an integral artistic culture.

Increasingly, works of arts and crafts penetrate into the life of people, forming an artistic taste, creating an aesthetically complete environment that determines the creative potential of the individual. Therefore, the role of kindergartens is great, where work is being successfully carried out to familiarize children with examples of folk art.

“The nature of the images and motifs of folk decorative art is inextricably linked with its inherent tasks of transforming the environment surrounding a person, and himself in accordance with the idea of ​​goodness and beauty. This art has the ability to bring joy, bright colors, vigorous rhythms into life, to affirm positive ideals. Folk decorative art contributes to the education of people who are optimistic about life, spiritually rich, endowed with a subtle poetic feeling, teaches them to love and appreciate what is recognized by the people.

Decorativeness, expressiveness of color and plasticity, patterned ornamentation, a variety of textures of materials - these are the characteristic features of works of folk applied art that are consonant with the aesthetic sense, perception and understanding of children. Both in the works of folk art and in the work of children, everything is joyful and colorful. And here and there, life is perceived and depicted in upbeat, major tones. The images of fantastic birds, animals and plants depicted on fabrics, gingerbread boards, in the paintings of spinning wheels are perceived by children, first of all, as fabulous, and at the same time they recognize in them birds and plants familiar to them in life, because in folk art " the image of domestic animals, birds, animals and plants, everyday scenes acquired special significance and spirituality, and fantastic images did not lose their credibility.

The composition of the pattern and its color structure are subject to aesthetic laws, which gradually become available to children. In this regard, classes in decorative drawing and appliqué contribute to the development of artistic taste.

Folk art poeticizes life. Folk craftsmen often use images of wildlife to create a special expressive form of household items, to decorate them. A meeting with a colorful bird depicted on a spinning wheel, with a swift clay horse, scattering its mane in the wind, with a patterned ornament on a fabric, with sparkling glazed ceramics can be a fertile material for children, developing their imagination.

In folk art, the expressiveness of the artistic image is achieved for the most part by generalizing details, color spots. It lacks illusiveness and fragmentation in compositional solutions. The three-dimensional form, the pictorial solution is conveyed simply, concisely, only by the main, essential features.

Samples of folk art contribute to the development in children of the ability to work decoratively with color, to proceed from the whole in creating clay products, achieving a sharp plastic solution with laconic means, enrich the graphic expressiveness of children's works.

Folk applied art is inherent in the unity of aesthetic and utilitarian (practical use). In any object, be it a ceramic jug, a folk costume, an old castle, a light for a torch, a household, practical purpose - the thing is in amazing accordance with its decor. All expressive means are subordinated to the creation of a thing: the shape of the object, the material from which it is made, the ornament, the color scheme. Painting a birch bark tuesok with flowers, decorating a wooden ladle with carvings, the artist creates according to the laws of beauty. The pursuit of beauty through things whose social function consists not only in their utilitarian nature, but equally in their ability to decorate our life, to multiply beauty in it, is the spiritual meaning of the works of folk art.

The connection with everyday life and work determined the features of the content and artistic language of folk art. Nature supplied the masters with the simplest materials: wood, clay, metals, bone, linen, wool, processing which, with the help of simple tools, they reached a high artistic level and technical perfection.

Revealing the natural beauty of the material, the ability to extract the greatest decorative effect was often combined with simple, purely technical methods: applying pits, strokes and stars with a special stamp, using evenly alternating weaves of stripes or threads. Being one of the important sources of artistic expressiveness of folk art products, the technical simplicity of these techniques is of particular interest in connection with familiarizing children with various materials and various ways of decorating them. Mastering individual techniques is quite accessible for preschool children and can bring a certain novelty to the creativity of children, make it more interesting and exciting.

Analyzing the peculiarities of children's perception of works of folk art, N.P. Sakulina notes: “Children of preschool age are close and understand many of the works of masters of decorative painting, carving, embroidery, the art of a toymaker is understandable. Young children perceive them deeper and more fully than large canvases of painting and easel sculpture, and this greatly helps the kindergarten teacher in shaping the artistic taste of children and in directing their fine art. The educational value of folk art was repeatedly noted by A.P. Usova. She wrote that the use of folk art in kindergarten was never an accidental impulse or fashion, but always acted in close connection with the pedagogical and artistic tasks of preschool pedagogy, the practical implementation of which was greatly facilitated by folk art. “Little children still have no idea about the Motherland. Education at this age is to prepare the ground for them by raising a child in an atmosphere saturated with vivid images, bright colors of his country.

At present, folk applied art is widely used in the artistic education of children in kindergartens. Authentic samples of folk art and modern works of arts and crafts are used in the classroom and in the design of kindergartens.

All this allows us to say that works of folk applied art should play an important role in the artistic development of preschool children: in the development of their imagination, fantasy, in the formation of artistic taste, in enriching the figurative expressiveness of the works created by children.

Products of folk craftsmen help to educate children in an attentive and careful attitude towards the environment, since arts and crafts are close to nature in their motives. For centuries, artists have observed the world of animals, the beauty of birds, the diversity of plants, have seen and felt the harmony of nature. Then her beauty, proportion, rationality, orderliness were reflected in the patterns of decorative paintings. In them - the image of a man, animals, birds, floral patterns, ornaments. Handicrafts help to understand and feel that a person is a part of nature, and this is the basis for the harmonious development of a child.

Folk art is the property of not only adults, but also children who enthusiastically play both with wooden painted nesting dolls and with clay figurines of Kirov masters. Children like Bogorodsk joke toys and Zagorsk turned products.

As already mentioned, fine folk art has a great power of emotional impact and is a good basis for the formation of a person's spiritual world. Folk art is figurative, colorful, original in its design. It is accessible to children's perception, as it carries content understandable to children, which specifically, in simple, concise forms, reveals to the child the beauty and charm of the surrounding world. These are fabulous images of animals, always familiar to children, made of wood or clay.

Ornaments used by folk craftsmen for painting toys and dishes include flowers, berries, leaves that the child meets in the forest, in the field, in the kindergarten. So, the masters of Khokhloma painting skillfully make ornaments from leaves, viburnum berries, raspberries, cranberries. Gorodets craftsmen create their ornaments from leaves and large flowers of kupavka, wild rose, and rose.

Clay toy masters paint their products most often with geometric ornaments: rings, stripes, circles, which are also understandable to young children. All these products, both wooden and clay, are used in kindergartens not only to decorate the interior of the room. Under the guidance of a teacher, they carefully examine them, draw and mold according to samples of folk products.

Under the influence of objects of water art, children perceive illustrations for Russian folk tales by such artists as I. Bilibin and Yu. Vasnetsov, whose work is based on national traditions, more deeply and with great interest.

Classes using folk art items help develop the mental activity of a small child. However, this is possible only if a planned, systematic acquaintance of children with objects of folk art is carried out, as a result of which children create their own decorative works: toys, dishes, plates decorated with ornaments like tiles.

Discipline: Miscellaneous
The type of work: coursework
Topic: The development of arts and crafts in our time

Introduction……………………………………………………………………...........3

1. The role of arts and crafts in the life of the people………………....6

1.1. A special place of arts and crafts…………...…………..6

1.2. Philosophy of arts and crafts………………………….9

2. The development of arts and crafts in our time……………..13

2.1. The emergence of arts and crafts…………………...13

2.2. The role of arts and crafts in modern society…..16

2.3. Decorative and applied arts as an integral part of the cultural life of society…………………………………………………………………….20

Conclusion………………………………………………………………………….26

List of used literature…………………………………………...29

Introduction

Decorative and applied art has its roots in the depths of centuries. Man has been creating aesthetically valuable objects throughout his development, reflecting material and spiritual interests in them, therefore, works of arts and crafts are inseparable from the time when they were created. In its basic meaning, the term \"arts and crafts \" means the design of household items that surround a person all his life: furniture, fabrics, weapons, dishes, jewelry, clothes - i.e. everything that forms the environment with which he daily comes into contact. All things that a person uses should be not only comfortable and practical, but also beautiful.

This concept was formed in human culture not immediately. Initially, what surrounds a person in everyday life was not perceived as having aesthetic value, although beautiful things have always surrounded a person. Even in the Stone Age, household items and weapons were decorated with ornaments and notches, a little later jewelry made of bone, wood and metal appeared, a wide variety of materials were used for work - clay and leather, wood and gold, glass and plant fibers, claws and teeth of animals. The painting covered dishes and fabrics, clothes were decorated with embroidery, notches and chasing were applied to weapons and dishes, jewelry was made from almost any material. But a person did not think about the fact that the usual things that surround him all his life can be called art and separated into a separate trend. But already in the Renaissance, the attitude towards everyday objects began to change. This was caused by the awakening of people's interests in the past, associated with the cult of antiquity that arose at that time. At the same time, interest arose in housing as an object equivalent in terms of aesthetic value to other objects of art. Decorative and applied art reaches its greatest development in the era of baroque and classicism. Very often, the simple, practically convenient form of an object was hidden behind exquisite decorations - painting, ornamentation, embossing.

In the highly artistic works of the masters of Ancient Rus', the plastic principle was manifested in everything: spoons and cups were distinguished by sculptural forms, impeccable proportions, ladles usually took the form of a bird - a duck or a swan, the head and neck served as a handle. Such a metaphor had a magical meaning, and the ritual meaning determined the traditional character and stability of such a form in folk life. Gold chains, a monista of elegant medallions, colored beads, pendants, wide silver bracelets, precious rings, fabrics decorated with embroidery - all this gave the festive women's dress multicolor and richness. Painting a jug with patterns, decorating a cutting board with carvings, weaving patterns on fabric - all this requires great skill. Probably, such products decorated with ornaments are also classified as decorative and applied art because it is necessary to apply hands and soul to make amazing beauty.

The modern artistic process is complex and multifaceted, just as modern reality is complex and multifaceted. Art, understandable to everyone, surrounds us everywhere - at home and in the office, at the enterprise and in the park, in public buildings - theaters, galleries, museums. Everything - from rings, bracelets and coffee sets to a holistic thematic complex of works of arts and crafts for a large public building - bears a variety of artistic searches of masters who subtly feel the decorative purpose of the object, organizing and filling our life with beauty. To create the comforts necessary for a person and at the same time to decorate his life, artists strive to ensure that all things that are used in everyday life not only correspond to their purpose, but also be beautiful, stylish and original. And beauty and usefulness are always nearby when the craftsmen take up the work, and from a variety of materials (wood, metal, glass, clay, stone, etc.) they create household items that are works of art.

1. The role of arts and crafts in the life of the people

1.1. Special Place for Arts and Crafts

For more than a century, ethnic problems have literally invaded the humanities disciplines in various forms, re-sorting already more or less established concepts and revealing new content in them. Indeed, the outwardly observable syncretism and heuristic nature of ethnic reality cannot remain unnoticed by those sections of human science that claim to be systematic. Along with the research tasks of revealing the general and particular in the cultural life of various ethnic communities, there is an acute, in many cases urgent need to search for folk customs, and promptly solve practical psychological problems to establish minimum cultural means.1

A special place among these means is occupied by arts and crafts (DPI), which is closely connected, more precisely, organically grows out of the usual, rooted way of life of the people. The DPI of peoples, in particular, is now rightly considered not as obsolete household items, but as polyfunctional, constituting at the same time the mentality (according to L. Fevre) and utilitarian use, as beautiful, skillfully and appropriately made things, in which folk talents and artistic culture, technology and self-awareness of the ethnic group, the personality of the author and the social norm. DPI has never limited its functions to only utilitarian design (decorative). Whichever side of the life of the Slavic tribes is considered, everywhere you can see two mutual influences: life on art and art on life. In this "inhalation and exhalation" of art, the rhythm of the people's thinking, its magic and "prelogicality", the worldview and the system of interpersonal relations, educational foundations and ethical priorities are tangibly traced. The way in which these signs, past the crucible of artistic comprehension, influence the emerging generation of an ethnic community is the object of our study.

According to G. W. F. Hegel, “if we are talking about the universal, and not the random goal of art, then, taking into account its spiritual essence, this ultimate goal can only be spiritual and, moreover, not accidental, but rooted in the very nature of the goal character. With regard to edification, this goal could only be to bring essential spiritual content to consciousness by means of a work of art. Art really became the first teacher of peoples.” It should be added to this that the identity of the people and its culture means its self-realization, the otherness of its spirit, its expansion and external representation in the form of products of the culture of its thinking. The artistic image that accompanies a work of art is not only determined by the purpose of the thing or the material from which it is made, but is also the source, means and result of semiotic activity, a sign and a message at the same time. Therefore, in relation to peoples with a primordially preserved DPI, it can be argued that from the very birth, mute envoys of culture begin to educate a child from birth. Whatever object a child picks up, from an early age he is faced with the need to deobjectify this message, since there is no such area of ​​\u200b\u200buse, especially among peoples whose way of life is not yet very receptive to the ideals of mass European or Asian culture (where, along with mass character, alienation), where the products of the artist of “everyday life” would not penetrate. The general task of psychological research can thus be oriented toward determining the actual role of the PPI in the children's development of the people, since even the most preliminary observation of established forms of education indicates the deep involvement of the PPI in all the cultural circumstances of children's activity.

Among the Slavs, who continue to live in the context of nature (village, farm, etc.) and retain their usual way of life, this upbringing takes place with the help of the surrounding world, which is formed not only in “concepts”, like in a technogenic society, but also in symbolic symbolic space a kind of refraction through decor, ornament and mosaic embedded in household items, in clothes, in the way of life, in eternally living and carefully kept commandments, which are transmitted from century to century not in the form of instructions and advice “how to live”, but through the traditions of joint study, use, production of DPI objects. According to D. Lukach, “decorating the tools of labor, a person already in time immemorial mastered individual objects, which, both practically and technically, have long been a kind of continuation of his subjective radius of action, making them an integral part of his “I” in a broad sense.” In fact, DPI among the Slavs is a language of community, the initial signs of mastering which can be found in children as well. This language was not formed on purpose, but in the conditions of a national boarding school a kind of border between two cultures: external and internal, its own, it becomes one of the most developed systems of means that a child is ready to dispose of in a new situation for himself.2

1.2. Philosophy of arts and crafts

The combination of ethnographic, historical, cultural and psychological methods is, according to I. S. Kon, necessary for the correct study of the psychological and philosophical phenomenon. That is why, in the study of the function and role of DPI in the formation of the means of adequate orientation of children in the world around us, we consider DAYS as an independent phenomenon, trying at the first steps to determine its boundaries and to present its philosophical phenomenology in general terms. In other words, the point of our research is turned to the phenomenon of DPI in such a way that behind the forms of play behavior and thinking of the child, captured in the solution of special tasks, to reveal the general significance of DPI for child development.

Studies of a cultural and philosophical nature (J. Fraser, E. B. Tylor, L. Levy-Bruhl, K. Levy-Strauss, etc.) reveal for us a special space for the existence of the thought of "natural" Slavs (still maintaining a special relationship with nature). This space is filled with the spirit (thinking) of the people, shaped by its traditions, rituals, ethnic stereotypes, saturated with magic, participation, pralogicality, etc. DPI is an essential and integral part, a moment of this spirit; one of its most essential properties is addressing each newly emerging generation of an ethnic community. It is in this form (along with formalized or emerging writing) in the language of costume and ornament, pattern and ritual, decor and color that peoples retain the connection of times and pass on their ethnic norms from grandfather to grandson. This transmission process is hidden from prying eyes; it is intimate though everyday, unsystematic though regular; it is set by cultural routine, but is mastered in a personal way.

So, all household items of the Slavs were made exclusively from local materials. Each family had a lot of birch bark containers of various shapes and purposes, and men carved mortars, tubs, scoops, and spoons from wood. Boxes and plates were original. Clothes and small items were stored in bags and various bags made of skins and fabrics. Perhaps more important than these purely practical and utilitarian functions were the informative and magical functions of DPI. Clothes and shoes were made colorfully and artistically, with great imagination. The informative (identifying) function was carried by the elements of color design and the ornament, which was widespread. Patterns decorated clothes, shoes, hats, belts, needle cases, pillows, bags, boxes, bodies, cradles. The ornament of the Slavs, like any other ethnic grapheme language, was distinguished by the richness of forms, the variety of plots, the rigor and clarity of construction. Therefore, the ornamentation of objects, as well as all DPI in general, should be perceived by us not as a whimsical fantasy of the master, but as an important part of folk culture, as a means of expressing artistic tastes, national characteristics of the people, their worldview and history.3

The educational function of the DPI may not be clearly expressed for an outside observer, but its thoroughness and regularity are certainly noticeable. From the cradle, the child is accompanied by household items made in the bright artistic technique of DPI. As far as we can judge from the results of surveys, interviews and observations, in the course of this inclusion in the culture, a kind of transformation of the “symbiosis” of the educator takes place (in the Khanty it is not explicitly distinguished, this function is taken on by all adults who are next to the child), sign-symbolic system of DPI and the child. The psychological distance between the adult, the child, and the object begins already in early childhood to be substantially transformed in this laconic culture into a kind of parity.

Being the language of the community, DPI carries ideas that unite the people into a single whole, a common sign that consolidates the spiritual forces of the Khanty and their ways of self-awareness and expression of faith in a better future, signs of which are easily detected in children. At the same time, it is noteworthy that the DPI language is not fully formed (or has already been lost) as a universal ethnic universal and is used mostly without understanding.

Most likely, the educational value of DPI exceeds all our possible ideas about it. One thing is clear, it is not limited to practical, utilitarian functions only: once upon a time, DPI products carried the function of a “talisman” and not a single person could do without them. Evil spirits would jump on him and injure him or send him sick. These products, such as jewelry for women, an ornament or a generic sign on clothes for men, protected their owners from the influence of forces that were not yet clear to them. In our time, people do not always admit that they believe in the miraculous power of jewelry and ornaments, but they continue to make and wear these products. In addition to the fact that jewelry is beautiful and amazing, they express national, tribal and ethnic affiliation, and in the past they also carried the identification and personal identity of their owners.4

The DPI phenomenon permeates all aspects of life: the organization of everyday life, the way of family, tribal, "international" and interpersonal relations. The role and functions of the DPI (enlightenment, ritual, aesthetic, etc.) are not always clearly understood, but they are consistently contained in any object of art, in manifestations of behavior and thinking. DPI is understood, appreciated, and used by all members of this community, and it would not be an exaggeration to say that many are involved in it. Attitude towards DPI can serve as a measure of the self-consciousness of the people as containing mental integrity and expressed in a sign-symbolic "message" for others and for themselves.

2. The development of arts and crafts in our time

2.1. The emergence of arts and crafts

Therefore, we will not invent any new definitions of DPI and turn to the Russian Encyclopedic Dictionary (RES), a book designed to dryly state stereotypical views on any scientific phenomena. DPI is presented in a very detailed article:

“Decorative and applied art area of ​​decorative art: the creation of artistic products that have a practical purpose in public and private life, and the artistic processing of utilitarian items (utensils, furniture, fabrics, tools, vehicles, clothing, jewelry, toys, etc. .). When processing materials (metal, wood, glass, ceramics, glass, textiles, etc.), casting, forging, embossing, engraving, carving, painting, inlay, embroidery, print, etc. are used. Prod. D.-p.i. form part of the objective environment surrounding a person, and aesthetically enrich it. They are usually closely connected with the architectural and spatial environment, the ensemble (on the street, in the park, in the interior) and with each other, forming a thin. complex. Having arisen in ancient times, D.p.i. became one of the most important areas of folk art, its history is connected with artistic crafts, with the activities of professional artists and craftsmen, since the beginning of the 20th century. also with design and construction.”5

So, in the "decorative art" three types are distinguished: monumental and decorative art, design art and DPI.

Let us immediately ask ourselves the question: why of these three types only DPI received a short name known to almost everyone? Why is there a commonly used name for artists working in the field of arts and crafts “DPIs”, and there are no “MDIs” and “OIs”? Why, when they talk about “applied”, they mean exactly the artists of the DPI?

Let's see: any muralist can call himself a painter (or sculptor), and no one will object to this. Designers (as well as poster artists, as well as stage designers) have the right to be called either graphic artists or painters (and sometimes sculptors), and this is also in the order of things. But the “DPIshniki” (officially “applied workers”) these are jewelers, and ceramists, and casket-makers, and masters of folk crafts, and anyone, but not painters, not ...