MUNICIPAL STATE PRESCHOOL EDUCATIONAL INSTITUTION OF THE CITY OF NOVOSIBIRSK "KINDERGARTEN № 388 OF THE COMBINED TYPE "BABY"
creative project "The use of manual labor in the development of children's speech through the study of Russian folk crafts"
Implementation period 1 year
From a five-year-old child to me, only a step.
And from a newborn to a five-year-old is a terrible distance.
L.N. Tolstoy
From the first year of a child's life, grasping and feeling an object is of great importance not only for the development of motor skills, but also for the development of speech. At this age, the baby is trying to "take the whole world into his own hands." From this moment begins a new stage in the development of the hand and brain. A jump in the development of motor skills leads to a jump in the development of speech.
We find attention to the problems of speech of preschool children in the works of many scientists. So A.E. Vodovozova believed that education should be based on folk speech, on folk art.
A unique type of children's activity in preschool age is productive or practical. This type of activity allows you to satisfy the basic needs of the child: the desire to practically act with objects, to get a meaningful result. In the process of practical activity, the child develops fine motor skills of the hand, spatial representations, he masters various methods of practical actions, learns the properties of various materials, elements of creativity appear, speech develops.
With the system of work and the correct approach of the educator, the elements of manual labor make an important contribution to the mental development of the child, they allow you to satisfy the basic needs of the child: the desire to practically act with objects, to get a meaningful result. These universal types of artistic activity contribute to the aesthetic, intellectual and creative development of the child.
Manual labor is closely related to cognitive development, which helps to enrich the minds of children with new content, systematize the accumulated and received information, develop artistic and creative abilities and a positive emotional perception of the world around them.
Working with children, we came to the conclusion: the child needs the result that causes him joy, amazement, surprise. After all, creating crafts with their own hands, the child reflects not only what he sees around, but also shows his imagination, creativity, imagination. In manual labor, his inner world is revealed.
We believe that the most effective means in the development of children's speech is the study of folk crafts through manual labor.
I stage of the project
Setting goals and objectives, project planning, selection of methodological tools.
Objective of the project: Creation of a system of work on the development of speech with the help of manual labor through the study of Russian folk crafts.
Tasks for children:
1. To instill interest in the "research" of the material, to awaken in the child the desire to do something with his own hands.
2. To form in children practical skills in working with materials and tools.
3. Promote the development of fine motor skills of the hand, increase the level of speech development, and a creative attitude towards the world around.
Tasks for teachers:
1. Improve professional skills, self-education, self-development.
2. Create conditions for teaching children various methods of working with materials and tools.
3. Create a system of work on this topic.
4. To form in children an interest in making crafts from various materials, to help identify the constructive and creative abilities of the child.
5. Stimulate the development of speech, memory, attention, thinking, imagination.
Tasks for parents:
1. Creation in the family of favorable conditions for the development of the child, taking into account the experience of children acquired in kindergarten.
2. Development of joint creativity of parents and children.
3. To develop in parents the ability to see a personality in a child, to respect his opinion, to discuss future work with him.
4. To interest parents in the life of the group, to promote the desire to participate in it.
Project duration: long-term
Project type: creative.
Project participants:
group educators,
- children preparatory group,
- parents.
Forms of organization of work with children:
▪ joint research activities;
▪ productive activities with a subgroup of children;
▪ independent interaction with subject environment;
▪ creative individual work of children.
Integration of educational areas:"Cognition", "Speech development", "Artistic and aesthetic", "Labor", "Social - Communicative".
Expected results of the project for children:
Expected results for teachers:
For parents:
II stage of the project
Long-term work plan for the implementation of the project
September "Russian matryoshka, Russian toy"
Target: Matryoshka. Continue to enrich children's understanding of folk art. To give children an idea of the Russian matryoshka, as if it were one old toy. To instill an interest in folk art.
Pay attention to the brightness, its elegance, constituent elements, composition, color scheme.
To develop an aesthetic perception of folk art objects.
Conversations: “Russia is my workmanship”, “All about nesting dolls”, “Traveling with a nesting doll”
"Reading fiction": Poems about nesting dolls, dolls V. Prikhodko, T. Ladonshchikov.
Drawing up creative stories: "The Adventures of Matryoshka - Nastya", "Oh, nesting doll, good!" Finger gymnastics: "Matryoshka"
Examination of illustrations and photo albums: "Russian matryoshka", "Russian folk costume", "Costumes of the peoples of Russia".
Artistic Creativity:
Drawing: "Mezen Matryoshka"
Application “Decorate a sundress for a nesting doll” Modeling: “Well, Matryoshkas are just a miracle!”
NOD: “Semenovskaya matryoshka” with a presentation Design a home-made book: “All about nesting dolls”, making a Russian nesting doll together with parents. Entertainment: “Matryoshkas came to visit us”, “Russian Fair”.
October "Dolls from Grandma's Chest"
Target: Man-made dolls have accompanied the life of Russian peasants for centuries. They were carefully kept in chests and passed down from generation to generation.
Conversations: “Where did the chest come from?”, “Russian antiquities”, “What did our grandmothers play”, “Why did our ancestors need dolls?”.
Examination of illustrations and photo albums: "Ancient dolls", "Dolls in Russian folk games and rituals."
Compilation of creative stories: "My favorite doll."
"Reading fiction" M.A. Pozharova "Rag doll", I. Ryumin "Dolls of our grandmothers".
Artistic Creativity:
Drawing: "Draw a rag doll"
Modeling: "My grandmother's toy"
NOD: “Journey into the past of a doll” with a presentation Master class: making amulet dolls “Bunny on a finger”, “Kuvadka”, “Pelenashka”, “Kuloma”.
Excursion to DDT Gaidar, circle "Sibirochka" - making dolls.
Interaction with parents: Ask grandmothers to bring handicrafts to decorate the exhibition (knitting, embroidery, etc.).
November "Clay toy" "Smoky"
Target:"Dymkovo toy" Tell the children the history of the Dymkovo toy. To form knowledge about the features of painting toys, color, the main elements of the pattern.
Conversations: “All about the history of the Dymkovo toy”
Examination of illustrations and photo albums: examination of a picture depicting the village of "Dymkovo", examination of illustrated books on Dymka. "Reading fiction": learning poems about Dymkovo toys.
Artistic Creativity:
Drawing: "Painting of the Dymkovo young lady".
Modeling: "Dymkovskaya young lady" (from salt dough)
December "Wonderful Gzhel"
Target: Continue to acquaint children with Russian folk crafts and, in particular, with Gzhel porcelain. To form knowledge about the features of painting toys, color, the main elements of the pattern.
To instill love and respect for the work of craftsmen.
To develop interest in the study of folk crafts, carrying out work on "getting used" to the image of the products of folk craftsmen, enhancing their perception through folklore.
Continue to educate children's interest in Russian folk crafts and the desire to study them.
To instill in children a love for Russian folk art and an understanding of the connection between various types of creativity (wooden architecture, ceramic crafts, Russian folk music and folklore).
Conversations: Conversation about the features of folk craft "The Blue Miracle of Gzhel".
Examination of illustrations and photo albums: Examination of products from Gzhel.
Artistic Creativity:
Drawing: "Flowers of Gzhel"
Modeling: "Gzhel teapot" (salt dough)
Application: "Fairy Gzhel flower"
NOD: "The Art of Gzhel Masters" with a presentation
Master classes on creating Gzhel dishes - papier-mâché, salt dough, plasticine, paper design and appliqué.
Painting Gzhel dishes
January "Russian cuisine"
Target: Acquaintance of children with Russian cuisine, with various recipes of Russian cuisine. To cultivate respect for Russian culture, the history of Russian cuisine. To give children an idea about a cast-iron, a cauldron, a Russian stove. About what they cooked in Rus'.
Conversations: "On the variety of dishes in Russian cuisine"
Examination of illustrations and photo albums: Examination of books, encyclopedias about Russian cuisine.
Writing creative stories: "My favorite dish"
Viewing presentations about Russian cuisine.
Artistic Creativity:
Modeling: "Baranki" (salt dough)
Drawing: "Potato - Russian food"
Application: "Kalachi in the Russian oven"
Excursion to the Russian hut.
Together with parents, draw up a home-made book "The History of Russian Cuisine"
February "Golden Khokhloma" Target: Acquaintance of children with the works of wooden craftsmen. To teach children to distinguish the characteristic features of various woodworking techniques. Continue to educate children's interest in Russian folk crafts and the desire to study them.
Conversations: "History of wooden utensils". What material are Khokhloma dishes made of? How can this utensil be used? What poems, proverbs, sayings do you know?
Examination of illustrations and photo albums: examination of illustrations, photographs, reading fiction, poems about Khokhloma.
NOD: "Khokhloma miracles" with a presentation.
Artistic Creativity:
Modeling: “Tray “Ryabinka”
Application: collective work "Plate"
Painting of wooden spoons: "Our Khokhloma spoons are the best souvenir"
March "Russian folk tales" Target: Raise interest in Russian folk tales. To develop in children creative abilities, creative imagination, thinking, fantasy, to cultivate interest in completing the task.
Conversations: “Why are fairy tales called Russian folk?”, “What kind of fairy tales are there”
Compilation of creative stories: "My favorite fairy tale"
View presentation: "Visiting a fairy tale"
Artistic Creativity:
We make fairy tales with our own hands "Chipollino", "Moydodyr", "Gingerbread Man", "The Stolen Sun", "The Frog Princess"
Excursion to the library named after Lermontov
Do-it-yourself fairy tales with parents.
April "Easter crafts"
Target: In mid-April, all Orthodox celebrate the bright holiday of Easter. Easter is also celebrated in kindergartens. Develop speech activity, aesthetic taste.
Conversations: "What is Easter?" with a presentation
"Reading Fiction": "The Legend of Christ's Lark"
Artistic Creativity:
Drawing: "Decorate Easter cakes"
Modeling: "Eggs for the holiday"
Excursion to DDT Gaidar, circle "Sibirochka".
Master class on making Easter eggs
May "Russia is my artisan"
Target: The final conversation is entertainment. To consolidate the knowledge of children about Russian arts and crafts, about Russian crafts.
To consolidate the understanding of the relationship between Russian decorative and applied arts, Russian folk music and Russian folklore.
To teach children to distinguish the features characteristic of each type of painting, for ceramic crafts, for toys of various crafts.
Together with children, parents and educators Creation of a mini-museum "Museum of Folk Crafts"
Folklore holiday "Russia is my artisan"
lll stage
Project implementation
Modeling from dough "Dymkovo young lady"
Sculpting and painting "Gzhel dishes" Creating a folder - moving "Folk crafts"
homemade books "History of Russian cuisine"
Drawing: "Draw your favorite characters of fairy tales"
IV stage
Project presentation
Children, educators and parents took an active part in creative activities and presented their project
Exhibition of works "Khokhloma spoon" Creativity of children and parents "Russian Matryoshka"
Exhibition "Wonderful Gzhel" Fairy tales with their own hands "Visiting a fairy tale"
Exhibition "Easter Egg" Exhibition of children's works "Dymkovo young lady"
Mini-Museum "Folk Crafts"
Project results.
Authors: Donina Olga Vladimirovna, Senkova Yulia Viktorovna
Position: educators of the highest qualification category
Place of work: MKDOU d / s No. 388
Location: Novosibirsk region, Novosibirsk
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Message for educators:
Topic: "Forms of work with parents to familiarize with folk art"
Head of GMO
by activity:
Serpukhov
Article 18 of the Law of the Russian Federation “On Education” states: “Parents are the first teachers. They are obliged to lay the foundations for the physical, moral and intellectual development of the personality of the child at an early age. When organizing work with parents to introduce folk art, we rely on the partnership of teachers and parents, a common understanding of goals and objectives, not only mutual understanding, respect and trust from parents, but also help. The content of work with parents on familiarization with folk art is realized through a variety of forms. The main thing is to convey to parents the role and importance of folk decorative art in the upbringing of children. There are traditional and non-traditional forms of communication between the teacher and parents of preschool children.
· parent meetings -this is an effective form of work of educators with a team of parents, a form of organized acquaintance with the tasks, content and methods of raising children of a certain age in a kindergarten and family (“Introducing the child to the origins of folk culture”)
· creative (artistic) living roomsIt is a parent-child-teacher interaction model. At these meetings, children and parents play together, sing, dance, create individual and collective works from different materials, using traditional and non-traditional techniques. It is based on the principle of interaction between the child and parents with the participation of specialists ("Journey to Gorodets")
· quiz ("Guess and tell")
Visual and informational (educational, analytical)
· photo exhibitions, including when parents (at our request) take photos while visiting interesting places, exhibitions, museums and provide photos to our piggy bank
The listed forms are used depending on the direction of involving parents in the artistic and educational space
1. increasing the competence of parents in familiarizing children with folk crafts(individual conversations, consultations, general education, seminars at the Parent University);
2. promotion of folk art(information block on the graphic page, the possibility of using the Art Kiosk music library);
3. involvement in the visual and educational process(open classes, participation in them);
4. joint visual and leisure activities(writing scripts, participating in the preparation and holding of holidays, playing roles).
The use of various forms of work with the families of pupils, of course, gives positive results: the nature of interaction between teachers and parents is changing, many become active participants in all the affairs of the kindergarten and indispensable assistants to educators. With all their work, the employees of the preschool educational institution prove to parents that their involvement in pedagogical activities, their interested participation in the educational process is important not because the teacher wants it, but because it is necessary for the development of their own child.
The use by teachers in their work of these forms of interaction with the family makes it possible to successfully implement the main general educational program of preschool education. Today's teacher is creative, interested, who is not afraid of modern innovative technologies, thinking about how to build his work in accordance with the new FGT, will use many different forms of work that can be used in visual activities with preschoolers. The main thing in all these types of work is love for children and the mood for the creative development of the individual in the game through integration in all areas.
Municipal budgetary preschool educational institution kindergarten No. 75 "Lebedushka". Surgut, Tyumen region. Project Theme "Introducing preschool children to Russian folk culture through oral folk art, familiarity with household items, holidays, folk crafts." Educator: Zanina Tatyana Valerievna.
Project in the senior group
. Project in the senior group on the topic: "Introducing preschool children to Russian folk culture through oral folk art, familiarity with household items, holidays, folk crafts."
Author
: Zanina Tatyana Valerievna, educator, MBDOU No. 75 "Lebedushka", Surgut, Tyumen Region.
Project type:
Cognitive - creative project.
Project duration:
long term.
Project participants
: children, educators, parents.
Project relevance:
“Everyone has his own side”, “Every bird loves its nest” - this is what folk wisdom says. From ancient times, people loved their homeland, glorified it in poems and songs, were proud of the beauty and grandeur of natural expanses. How to educate children at the present time respect for the Motherland, for elders, work, love for nature is not an easy task. Many traditions are lost and even lost. We learn about many things and objects only from encyclopedias and visits to museums. In the modern world, where computers and televisions dominate, there is no formation of a spiritually rich personality. People stopped appreciating good qualities: intelligence, justice, honesty. The solution to this problem is possible only if people plunge into the past, into the life and traditions of the Russian people. It is then that a rethinking of human values will take place, people will become kinder, more humane, learn to value friendship, intelligence, honesty. Therefore, in order to educate the future generation to be morally rich, intelligent, having an aesthetic taste, and a beautiful language, it is necessary to familiarize children from an early age with the customs and traditions of the Russian people. After all, childhood is the time when a genuine, sincere immersion in the origins of folk culture is possible. “What are the roots, such are the branches from the apple tree”, “What you bring up in childhood, you will rely on in old age” - this is what the folk axiom of education says. At preschool age, the integrity of ethical and aesthetic ideals is absorbed not at the level of knowledge, but at the level of lifestyle. Therefore, folk culture should play a significant role in the process of development and formation of the child's personality.
Objective of the project:
To reveal children's knowledge about Russian folk holidays, household items, costume, folk crafts and the ability to use their knowledge in everyday life.
Tasks:
Educational: To form in children knowledge about the types of oral folk art: songs and nursery rhymes. To teach children to use proverbs and sayings in work, in resolving conflict situations. Continue to teach children to guess and make riddles on their own. Introduce folk rhymes and form the ability to use them in games. To acquaint children with folk signs, teach them to use them during observations, excursions in nature. To acquaint with the folk costume, headdresses, shoes. To form ideas about the Dymkovo, Filimonovo toy, Khokhloma painting. Developing: Develop children's speech, activate speech, expand children's vocabulary. To develop in children the ability to play Russian folk games using counting rhymes. Educators: Raise interest and love for Russian national culture. To educate children in kindness, justice, love for neighbors, all living things.
Estimated result of the project
Meaningful and active participation in Russian folk holidays.
The use by children in speech of works of folklore (rhymes, rhymes, riddles, invocations and sentences, proverbs and sayings). To develop in children the ability to play Russian folk games using counting rhymes. Knowledge of Russian folk tales and fairy tale characters. Participation of parents in the implementation of the project.
Stages of work on the project
1. Preparatory stage. Working with teachers Studying methodological literature on the topic: "Introducing children to the origins of Russian folk culture." Drawing up a long-term work plan for the project "Introducing preschool children to Russian folk culture through oral folk art, familiarity with household items, holidays, folk crafts." Consultation for teachers on the topic: "The influence of oral folk art on the development of children's speech." Consultation for teachers on the topic: "Russian folk costume". A selection of Russian folk games. A selection of didactic games. Working with parents Drawing up a long-term plan for working with parents on the project. Consultation for parents on the topic: "Oral folk art in the life of a preschooler." Business game with parents. Work with children. Conducting an introductory conversation with children. An open event of theatrical activity for parents. 2. Main stage.
Working with teachers. Open event for teachers "Dramatization of the fairy tale" Alyonushka and the Fox "". Working with parents. Holding a holiday together with the parents of "Osenina". Design of the photo exhibition "What makes us happy in autumn." New Year's toy competition. Open view of the holiday "Christmas time". Easter Egg Contest. Work with children. Educational areas: Cognition, communication, health, safety: NOD "Russian folk costume", NOD "Matryoshka", NOD "Wash-washer", NOD "Furniture", NOD "Tools", NOD "Utensils", NOD "Threads Weaving", ICT viewing the presentation "Russian folk costume". Communicative activity: Learning poems, songs, nursery rhymes, riddles, proverbs, sayings. Reading Russian folk tales. Examination of illustrations based on Russian folk tales. Motor, play artistic activity: Puppet theater based on fairy tales: “Cat, rooster and fox”, “Zayushkina hut”, etc. Entertainment: “Christmas carols”, “Wide Maslenitsa”, “Easter and Spring Festival”. Board games: "Riddles and riddles", "From the past to the present", "Dress the doll", "Stories of ordinary things", "Nature and people", "Schemes based on Russian folk tales". Outdoor games: "Cat and mice", "Geese-swans", "Shine-burn brightly", "Skok-skok", etc. 3. The final stage.
Processing and design of project materials in the form of a presentation.
Project results:
Throughout the year, work was carried out to familiarize children with Russian folk culture. I used the types of folk art in different types of activities: in class, for a walk, in work, in regime moments. During this time, the children fell in love with Russian folklore, participated with great desire in various games, gatherings, and holidays. Reading, telling, playing out fairy tales in children causes great delight and joy. In addition, the children began to respect nature and its inhabitants, learned to resolve conflict situations with the help of counting rhymes and folk sayings. Became more tolerant and kinder. Interaction with parents made it possible to introduce adults into the world of folk culture, forced to look at the world of things, holidays with completely different eyes. The work to introduce children to folk culture will sow in children kindness, justice, love for their neighbors, for all living things.
Used Books:
1. Anikina V.K. "Russian Tales" M; Publishing House “Khud. Lit-ra"; 1970. 2. Botyakov O.A. Russian Ethnographic Museum - for children; St. Petersburg; ed. "Childhood - press". 2001. 3.Balashov M.E. costume of Kievan Rus. St. Petersburg; ed. "Childhood - press". 2002. 4. Dubrova V.A. "Folk Art in Labor Education". Preschool education No. 11. 5. Ishchuk M.I. "Folk holidays"; ed. Development Academy. 6. Knyazeva O.A. Introducing children to the origins of Russian folk culture. St. Petersburg; publishing house "Childhood - press". 7. Salova G.I. "To cherish Russian culture" Preschool education. No. 5. 8. Skvortsova L.V. "Formation in children of interest in Russian folklore." Preschool education. No. 5. 9. Mikhailova A.A. How to comprehend the wisdom of a fairy tale. Preschool education. No. 1.
Explanatory note.
Advice for teachers on the topic:
"The influence of oral folk art on the development
children's speeches"
Oral folk art is a powerful, effective means of mental, moral and aesthetic education of children, it has a huge impact on the development and enrichment of the child's speech. A child's acquaintance with fiction begins with miniatures of folk art - nursery rhymes, songs, fairy tales. Deep humanity, extremely precise moral orientation, humor, imagery of language are the features of these folklore works. In no other works, except for folk, one can find such an ideal combination of hard-to-pronounce sounds, such an arrangement of words thought out in terms of sound (patter, nursery rhymes). Folk tales give images of rhythmic speech, introduce the colorfulness and imagery of the native language. Kids easily and quickly memorize such images as a cockerel - a golden comb, kids - kids, a goat - dereza. The repetition of the songs of the characters in folk tales, the names of the heroes reinforce these figurative words in the creation of children, and they begin to use them in their games. Memorizing oral folk art (poems, fairy tales) has a great influence on the development of children's vocabulary, since it is from them that children learn about the world around them. So, thanks to riddles, children learn about household items (oven, broom, tub, bucket), tools (axe, saw, scythe), celestial bodies (sun, moon, stars), natural phenomena (rainbow, rain, thunder , deg). Children complete their active vocabulary with these words. At the same time, not only words are remembered, but also the meaning of each word is learned. Children learn to choose the right words when speaking. And this is helped by various songs, chants, nursery rhymes. In fairy tales, invocations, such means of expressiveness as comparisons, epithets, figurative words are used. Children easily remember them and use them in their speech, for example: “golden sun”, “good earth”, “hen - ryabushechka”, “bright birches”. This lays the foundation for the further development of the poetic word.
The synonymic possibilities of the Russian language are exceptionally great. Familiarization with the synonymous richness of the Russian language opens the way for preschoolers to improve their speech, especially in independent activities. When getting acquainted with oral folk art, the child feels the variety of meanings of the word, the variety of shades of meanings. In the future, the child will choose the most successful word or phrase for the accurate and vivid expression of his thoughts. Oral folk art plays an important role in the development of the sound culture of speech, as it teaches children to correctly pronounce sounds and words clearly and distinctly, to transfer these skills into ordinary colloquial speech. This is facilitated by tongue twisters, tongue twisters. Memorizing poems, nursery rhymes, counting rhymes improves speech hearing, develops correct speech breathing. Songs, rhymes, teasers influence the grammatical structure of speech: the correct use of case forms by children, the use of various forms in speech: verbs, prepositions, pronouns. Oral folk art has an impact on the formation of coherent speech. Children learn to independently invent fairy tales, poems, using various types of sentences, to consistently express their thoughts when telling, in conversation with adults and peers. Thus, oral folk art affects all aspects of the development of speech and has an impact on the development of the child as a whole.
Advice for educators on the topic:
"Russian folk costume"
“Everyone has his own side”, “Every bird loves its nest” - this is what folk wisdom says. Since ancient times, people loved their homeland, glorified it in poems and songs, were proud of the beauty and grandeur of natural expanses. How to instill in children at present respect for the Motherland, for elders, work, love for nature is not an easy task. Today, many household items of the people of ancient Rus' are found only in pictures or can be seen in museums. How many unusual things can be found there. Along with them, you can see
clothes of people who wore it many years ago. How did she appear? What is its name - few know. Very few of us know that earlier clothes were called trousers. That's why the name came - tailor. In the old days, fabric was made from hemp and flax plants. Plants were soaked and thread was made. The fabric was dyed with berries, tree bark, and onion husks. The poor people made their own clothes, while the tailor made the rich. Clothing was divided into festive and everyday. Men and women wore shirts - blouses, because such a shirt had a cutout on the side. She was adorned with embroidery. Shirts were sewn from canvas. They went for mowing. A sundress was worn on top - a long sleeveless garment. She also wore a skirt. For married women, she was called poneva. An apron was worn over a skirt or sundress. The girls wore shirts with a belt. In cool weather, a shower jacket was worn - short clothes with a collar and sleeves, sewn at the waist without fur trim, and a quilted jacket - with fur separately. Wear gloves in the cold. On their heads, women wore a scarf - a piece of cloth with which they wrapped their heads. The girls wore ribbons, kits - a hat in the form of horns, a kokoshnik. In winter, women wore fur hats. The men wore shirts and trousers. Pants were wide, dark in color. They were worn tucked into shoes. A caftan was worn over the shirt. Poor people wore a short caftan, and wealthy people wore a long one. A zipun was worn under the caftan. It was knee-length and fastened at the front. In winter, they wore fur coats made of dog, hare, and sable fur. The clothes of the people were simple but comfortable. People liked her. And the festive clothes were bright, elegant and beautiful. Even now, in museums you can see preserved old clothes.
Advice for parents on:
Oral folk art in the life of a preschooler.
Folklore
- this is the history of the people, its spiritual wealth. No one can name the exact time when songs, fairy tales, epics were born. They passed from generation to generation along with customs and rituals, with those skills, without which you can’t cut down a hut, you can’t get honey, you can’t cut spoons. These were a kind of spiritual commandments, covenants that the people honored.
The variety of types of oral folk art speaks of the wisdom and value of people's knowledge in the field of raising children, attaching special importance to friendship, the spiritual qualities of a person, and attitude in life in general.
Proverbs
- folk wisdom, a set of rules of life. What areas of life and situations they do not talk about, what they do not teach. Proverbs instill patriotism in a person, teach them to love their native land, understand work as the basis of life, form the moral side of a person. In proverbs - a philosophical understanding of life. Smart is not the one who talks a lot, but the one who knows a lot. That bird is stupid, which does not like its nest. Play, play, but know the matter.
sayings
- these are poetic, stable, short expressions used for the image - the emotional characteristics of people, their behavior, some everyday situations. Silly as a donkey. Pouted like a turkey. Since ancient times, man has endowed nature with the ability to live, feel, act, and influence his destiny. A special role was assigned to a natural object and phenomenon. It was believed that by serving the sun, water, wind, earth, people would be rewarded with a good harvest, well-being and prosperity. Therefore, incantations were widely used among the people.
Nicknames
- These are small songs intended for singing, imitating peasant labor. The invocation is not just an appeal to natural verses, but also collected special experiences and admiration. Mother - turnip, Ugly, strong, Not thick, nor rare, Until the great tail. Seki, seki rain, On a woman's rye, On a grandfather's seed - So that it rises in time.
sentences
– intimate treatment of nature one on one. They are turned to home life, to everyday activities. Wind, wind, wind. Don't blow in my face, but blow in my back, so that I can go with strength. In the old days, the weather was of great importance. People's lives depended on it. Numerous observations of people made it possible to create
folk signs.
This allowed the peasants to prepare for agricultural work, sow and harvest crops on time, and stock up for the winter. Smoke column - to frost. Beetles buzz - to bad weather. The Russian people have always valued intelligence and ingenuity in a person. The main means of its development was a riddle.
Puzzles
- this is an allegorical image of an object or phenomenon of reality that is proposed to be guessed. Riddles allow you to pay attention to hidden, invisible signs of objects. After all, a person is used to retaining only bright external signs. Hence - riddles were created under the influence of deep observations in nature. There is an old man - a red cap. (hornbeam) One shepherd tends thousands of sheep. (sky and stars)
Rhythm
- This is a rhythmic poem intended directly for the calculation of the players. The rhyme is characterized by the fact that you can clearly pronounce each word and even shout it. Rhyming rhymes are an anciently invented way of implementing object justice. Raspberries. Honey is sugar. Ivanushka came out - the king himself. From generation to generation passed from mouth to mouth folk
fairy tales.
They contain centuries-old traditions, a special way of reflecting reality, life phenomena and destinies are covered. They attract with the sharpness of social meaning, fiction, fantasy play. In fairy tales, the main characters are both animals, birds, and people with their own advantages and disadvantages. Whatever the actions of the heroes,
outcome of events, there is always a morality that allows you to share conclusions. The beauty of native speech, repetition, turns make folk tales a truly real treasure of our culture.
Folklore
- this is a very valuable pantry of our national culture. The future of our people, its spirituality and integrity depend on how much people will remember and protect it.
Business game with parents senior group.
Target:
Find out the knowledge of parents about the forms of oral folk art, its meaning, application in the life of children. Teach parents to try on in different situations. Two teams are formed. Each team is asked 5 questions. The team with the most points wins. Questions for the first team: 1. Name the forms of oral folk art. 2. What is the basis of fables? 3. What form can be used in difficult activities? 4. What is the difference between a call and a nursery rhyme? 5. What mental processes are affected by oral folk art? Questions for the second team: 1. How does the beauty of the Russian language appear in folklore? 2. What forms of oral folk art make children laugh? 3. How do fairy tales differ from a story? 4. Name the fairy tales in which there are symbols (egg, needle, apple, pie). 5. Name the most common beginning of a fairy tale. Answers: 1. Songs, nursery rhymes, incantations, proverbs, sayings, fables, shifters, teasers, riddles. 2. Fables are based on fictitious events that do not occur in nature. 3. Proverb or saying Do the job - walk boldly Measure a hundred times - cut once. They contribute to the development of endurance, diligence, perseverance in the child.
4. Invocation - an appeal to a natural phenomenon. A joke is a poem that reflects the surrounding activity. (Parts of the body, animals, berries, mushrooms) 5. Memory - children remember the features of objects, phenomena Thinking. - learn to compare, analyze phenomena and objects, group and generalize objects, reason. Imagination - represent and create various events, images Observation - learn to notice features, pay attention to small details Attention Speech - a dictionary is being formed, Z.K.R., G.S.R. 1. A diminutive word is used (sun-bucket) Comparison (golden bottom, butterfly - box) Exaggeration (Ivan, climb into a glass) 2. Teasers, fables 3. In a fairy tale, events are fictitious, magic happens. In the story, all the events and characters are real. 4. "Baba Yaga" "Geese - Swans" "Masha and the Bear" "At the command of the pike" 5. Lived, were ..., In a certain kingdom ...
Open event of theatrical activity for
parents in the senior group.
Puppet show "Teremok"
Target:
to demonstrate to parents the ability of children to show the puppet show "Teremok", emotionally play the role. Arouse interest in theatrical activities among parents.
Stroke:
Today we have gathered to go on a journey through fairy tales. A fairy tale is a piece of our childhood, and remembering childhood is always a pleasure. Many still remember the fairy tales that your parents told you. But do you remember fairy tales, we will now find out by guessing riddles. He uttered a word, Oh, Petya - simplicity, The stove rolled. I blundered a little, Straight from the village I didn’t listen to the cat, To the king and princess. Looked out the window. (At the command of a pike) (A cat, a fox and a rooster) And the road is far, The kids opened the door, And the basket is not easy, And everyone disappeared somewhere. Sit on a stump, (Wolf and seven kids) Eat a pie. (Masha and the Bear) The girl is red, sad, She doesn't like spring, It's hard for her in the sun, The poor girl sheds tears. (Snow Maiden) And what kind of fairy tales do your parents read to you guys? Well, now let's go to fairy tales. Let's say "By the will of the pike ..." Here we are in a fairy tale. And it is called "Teremok". (Showing a cultural performance by children). Did you like the fairy tale? Well, now it's time to go back. Let's say the magic words again. Here we are back in the garden. I hope you remember our trip.
Perspective plan of work with parents.
September.
Meeting in a Russian hut.
Purpose: To form an idea in children about the Russian upper room and household items that were in it. To acquaint with the functional purpose of objects, the features of their structure, the materials from which they are made. Fill up the dictionary with new words: oven, poker, tong, tub, towel. Raise interest in antique objects.
2.
Russian folk costume.
Purpose: To form an idea in children about the Russian costume, its parts. Replenish the dictionary with new words: apron, poneva, kosovorotka, caftan, zipun, tailor, shower jacket, quilted jacket. To develop in children knowledge of what material the costume was sewn from. To form an aesthetic taste, to cultivate interest in the Russian folk costume.
3.
We lie on the stove, listening to fairy tales.
Purpose: To consolidate children's knowledge of Russian folk tales. Develop: logical thinking through the use of diagrams, symbolic images. Activate with riddles. Cultivate perseverance, interest, develop ingenuity, resourcefulness.
4.
Russian dolls.
Purpose: To form in children an idea of the history of the origin of dolls. Teach children to correctly name the material from which they are made. Develop speech through oral folk art: riddles. Raise love and interest in Russian dolls.
October.
Ritual "Zhnivo". Acquaintance with agricultural implements.
Purpose: To form in children a generalized idea of the stubble: about how the harvest took place in the old days in Rus', how the holiday of the first harvest was celebrated,
What tools did people use to harvest their crops? Clarify the children's knowledge of how the harvest is currently taking place. Activate the speech of children through riddles, poems. Cultivate inquisitiveness, curiosity.
2.
Cover - the end of autumn.
Purpose: To form a generalized idea of the holiday. The cover, how it was celebrated at a given time, what objects and beliefs existed among the people on this day. Activate speech through riddles. Raise interest in Russian holidays.
3.
Spiritual life and nature in Rus' in a single harmony.
Purpose: To form in children an idea of the relationship between people and nature. Clarify knowledge about what household items were used from ancient times, how objects of inanimate nature and plants were used in people's lives. Develop children's knowledge through the use of models. Activate through folk calls. To cultivate love for one's land, interest in the life of people in Rus'
.
Dymkovo toy.
Purpose: To expand children's understanding of the folk toy - Dymkovo. Continue to teach children to draw patterns of Dymkovo painting. Develop a sense of color when drawing up a pattern. Develop technical skills in drawing with the end of the brush. To cultivate aesthetic taste, respect for the masters of folk toys.
November.
Village gatherings.
Purpose: To clarify and expand the children's understanding of village gatherings through the forms of oral folk art. Activate the speech of children. Raise interest in ancient customs.
2.
Folk omens.
Purpose: To teach children to understand folk signs, to establish a causal relationship between a sign and a natural phenomenon. Develop monologue speech, the ability to prove their judgments. Raise interest in folk signs.
3.
Filimonov toy.
Purpose: to acquaint children with the history of the origin of the Filimonovo toy. To form an idea about the method of its manufacture, the elements of painting. Develop a sense of beauty. Cultivate respect for folk craftsmen.
4.
Russian folk shoes.
Purpose: To introduce children to the shoes that were customary to wear in Rus'. To form an idea about the material from which the shoes were made. Fill up the dictionary with new words: bast shoes, onuchi, birch bark. Cultivate respect for your people.
December.
Folk Games.
Purpose: To introduce children to a variety of folk outdoor games. Develop knowledge of the attributes that were used in these games. Cultivate interest in games.
2.
Tea drinking in Rus'.
Purpose: To introduce children to the Russian tradition - tea drinking. To form knowledge about the Russian samovar, methods of brewing tea. Raise interest in the traditions and customs of their people.
3.
Naum - bring me to mind.
Purpose: To form in children a generalized idea of the holiday of Nahum - a literate. To teach children to compare how children studied in the old days with modern education. Activate speech through oral folk art - proverbs and sayings. Raise interest in the ancient holiday.
4.
New Year in Rus'.
Purpose: To introduce children to one of the forms of communication in Russian peasant settlements in the past - gatherings. Form an idea about Christmas time. Activate speech through oral folk art: carols, generous. Cultivate love for Russian folk culture.
January.
Hello guest Winter.
Purpose: To form in children an idea of \u200b\u200bwinter and its signs, features of the life of animals and plants. Introduce folk signs about winter. Develop the ability to establish causal relationships. Cultivate a love for winter.
2.
Business time, fun hour.
Purpose: To develop knowledge about Russian folk songs and nursery rhymes. Get to know the lies. Cause an emotional response to oral folk art. Cultivate interest.
3.
Khokhloma, how good you are.
Purpose: To summarize the knowledge of children about the origin of Khokhloma painting: the features of the elements, the use of a special material - wood in its manufacture. Cultivate interest and curiosity.
4.
Tales in a new way.
Purpose: To consolidate knowledge of Russian folk tales. To develop the ability to analyze the actions of heroes, to determine the positive and negative aspects of character. Arouse interest in fairy-tale characters. Learn to compose fairy tales with a new ending. Cultivate a love for fairy tales.
February.
Motherland, know how to defend.
Purpose: To develop knowledge of folk proverbs and sayings. To form an idea of the defenders of Rus'. Fill up the dictionary with new words: warrior, sword, cloak. Raise interest in the defenders of the past.
2.
Matryoshka.
Purpose: To introduce children to the matryoshka. To form knowledge about its historical origin, features of appearance, material from which it is made. Learn to describe a toy. Develop speech through new words: a linden is unfolding, Japan, master Zvezdochkin. Cultivate love for beauty.
3.
What brings us joy in winter.
Purpose: To consolidate children's knowledge of the signs of winter. To bring up folk signs about winter. Activate speech through riddles, proverbs and sayings. Raise interest in the winter season.
4.
Excursion to the museum.
Purpose: To replenish children's knowledge about the objects of Russian life, tools used by people in everyday life, agricultural work. To consolidate knowledge of the folk costume. Cultivate love for your people.
March.
Hello Mother Spring.
Purpose: To acquaint children with the signs of spring, the features of the life of animals and plants in spring. Summarize knowledge about the dependence of living things in nature. To develop the ability to use folk proverbs and signs, riddles in speech. Cultivate interest in spring.
2.
Birds are our friends.
Purpose: To acquaint with migratory birds, their appearance, habits. Learn to describe birds according to the scheme, use adjectives in speech, comparison. Replenish vocabulary with folk signs. Cultivate love for birds.
3.
Gorodets painting.
Purpose: To acquaint with the history of the emergence of Gorodets painting, its elements, color coloring. Develop the ability to compare with other paintings. Raise interest in folk arts and crafts.
4.
My favorite stories.
Purpose: To consolidate children's knowledge of Russian folk tales. Develop logical thinking through the use of diagrams, with the help of riddles. To educate, interest, develop intelligence, resourcefulness.
April.
Palm holiday.
Purpose: To acquaint children with the palm holiday, how it was celebrated in Rus', what ceremony was performed with willow. Develop knowledge of folk incantations. Raise interest in folk traditions.
2.
Easter.
Purpose: To form an idea of the origin of this holiday. Learn how to paint an Easter egg. Introduce children to Russian traditions.
3.
Medicinal herbs.
Purpose: To summarize the knowledge of children about medicinal herbs: plantain, coltsfoot, St. John's wort, mint. Get to know how people used healing properties in ancient times. To cultivate love for one's people, respect for their cognitive abilities.
4.
Spring is red (calls about spring).
Purpose: To systematize knowledge about spring. Learn how to use folk phrases in speech. Replenish new knowledge. Cultivate love for natural phenomena.
May.
White birch - Russian birch.
Purpose: To consolidate the knowledge of children about the Russian tree - birch. Develop the ability to answer questions with detailed, common sentences, reason, draw conclusions and conclusions. Cultivate a friendly attitude towards each other, the ability to help, cheer for the team.
2.
In the country of Russian riddles and riddles.
Purpose: To develop the ability to guess riddles of a complex nature, containing a hidden meaning, opposition, comparison, exaggeration. Learn to explain and prove your opinions. Cultivate an interest in riddles.
3.
In the world of antiques.
Purpose: To acquaint children with the history of the origin of the iron, with the stages of its development. Develop speech through oral folk art: riddles and proverbs. Raise interest in antiques.
4.
Hello summer.
Purpose: To acquaint with the holidays of summer, the behavior of animals and birds in summer. To consolidate the ability to use folk signs, incantations, riddles in speech. Develop coherent speech, the ability to correctly build a sentence, use adjectives in speech. Cultivate love for nature.
A promising plan for working with parents in senior
group.
September
February
Consultation on the topic: "Russian folk art in the life of a child." Consultation on the topic: "Russian folk costume". Holding a holiday together with parents "Osenena". Design of the photo exhibition “What makes us happy in autumn”. Consultation on the topic: "Do-it-yourself doll". Drawing competition: “Motherland is a mother, know how to protect”. Tea drinking: “At the nosed one, at Foka’s.” Consultation on the topic: "Wide Maslenitsa" Conversation on the topic: "Winter Fun".
October
March
Consultation on the topic: "Get acquainted - Dymkovo toy." Consultation on the topic: "The use of folk signs on a walk with children." Open viewing of the holiday "Zhnivo". Children's drawing competition together with adults "Autumn - eight changes." Seminar on the topic: "Use of oral folk art at home." Show dramatization of the fairy tale "Alyonushka and the Fox". Business game; "Visiting a fairy tale." Consultation on the topic: "Using spring calls with children of older preschool age."
November
April
Making a folder - moving "Guessing together". Parent meetings. Consultation on the topic: “What do we know about Russian traditions”. Consultation on the topic: "Palm Sunday". Making a folder - moving: "Easter". Competition: "Easter egg".
December
May
Seminar on the topic: "People's Tea Party". Consultation on the topic: "Riddles as a kind of oral folk art" Consultation of New Year's toys. KVN on the topic: "Russian birch". Competition ditties. Game Weak link on the topic: "In the world of riddles." Drawing competition: "Hello, Summer."
January
Consultation on the topic: "Christmas". Round table with parents "Kolyada ..." Open the viewing of the holiday "Christmas holidays".
Abstracts of classes on the development of speech and
acquaintance with the world of surrounding objects
(senior group)
Theme: "Furniture"
Tasks.
Continue to develop interest in the life of the Russian village. To consolidate children's knowledge of modern furniture. To acquaint with the analogue of a modern wardrobe - an old chest. To improve the grammatical structure of speech, to fix the correct use of the preposition "on". Develop mental activity. To teach children to resolve contradictions, to find a way out of a problem situation, using their own experience. Develop children's imagination and creativity. Improve manual skills and abilities. Continue to teach children to make crafts from waste material. Raise interest in Russian life and small poetic forms.
Vocabulary work.
Active vocabulary: sofa, wardrobe, armchair, table, chair, nightstand, bed, lock, handles, cover, walls, bottom, clothes, iron, wooden, basket. Passive Vocabulary: chest, tinker, craftsman, durable.
Materials and equipment:
blanks for productive activities (boxes, reels, bottles, etc.), glue, brushes, coasters, rags, plasticine.
preliminary work
. Conducting cognitive classes on the topics "Furniture", "Clothes". Waste material construction. Solving riddles. Playing a good-bad game.
Formation of the organization of joint activities.
Conversation. Consideration. Good-bad game. Questions. Use of TSO. Game control. Practical activity of children. Artistic word.
Lesson progress
1 part. Organizing time.
Children come to the hut and meet the Mistress there.
Hostess (H.).
Hello dear guests. Welcome to my house. Sit down, let's sit side by side and talk okay. (Children sit on benches) They noticed that my furniture is special, not like yours. I've never been in the city, but I'm interested to know what kind of furniture you have? (Children name pieces of furniture.) This is how much furniture you have in your city. I have never heard such names.
2 part. Examining the chest.
X.
And you sit closer, it will be more fun to listen. Tell me, guys, where do you store things in your city?
Children (D).
In the closet.
X.
Where do you think I keep my things? (Children give answers.) I have a chest for things. Let's Say Together: Chest (Children's choral and individual repetitions)
X.
What is the chest made of?
D.
From a tree.
X.
So, what chest?
D.
Wooden chest.
X.
What does the chest have?
D.
Cover, walls, handles, bottom, lock.
X.
What are the locks and handles made of?
D.
From iron.
X.
So what are they?
D.
Iron.
X.
Why are handles and locks made of iron?
D.
To not break.
X.
Yes, the handles and the lock of the chest will not break, because they are made of iron, durable. Let's say together: durable. (Choral and individual repetitions of children)
X.
Try to move the chest without holding on to the handles. The children are trying to move the chest. Then it is proposed to move the chest by the handles, and the children find out that it is easier to move it this way.
X.
Why does the chest have handles?
D.
To make it easier to lift the chest.
X.
That's right, it's easy and convenient for me and my grandfather to lift and rearrange the chest by the handles.
X.
Why is there a lock on the chest?
D.
To lock the chest.
X.
Yes, I lock the chest so nothing gets lost. This is good. And sometimes it's bad that there is a lock on the chest. Why?
D.
You can lose the key - and then you will not get things. The lock may break, etc.
X.
What needs to be done to prevent this from happening? (Children give answers) Guys, the lid on the chest is good. Why?
D.
Things will not get dusty. Clothes, etc. will not be visible.
X.
But, sometimes it’s bad that the chest has a lid. Why?
D.
You can slap your finger, etc.
X.
What needs to be done to prevent this from happening? (Children give answers) Is it good that the chest is so big? Why?
D.
You can put a lot of things in it.
X.
But it's bad that he's big. Why?
D.
It's hard to move him. Takes up a lot of space in the house.
X.
What can I do to keep it from interfering? (Children give answers)
3 part. Dynamic pause "Who is where?".
X.
See what you can sit on in my hut?
D.
On the benches, on the stools, on the stove, on the floor, etc. At the signal of the Mistress, the children scatter and sit down. Then the Mistress asks who is sitting on what. Children respond using the preposition "on". During the game, the Mistress draws attention to the fact that you can also sit on the chest.
4 part. Practical activity of children. Item Design
waste furniture.
The hostess brings in a basket of various materials.
X.
Now I will tell you what I have in store for you in the basket. I got all sorts of stuff here. Since we were talking about furniture, then we will try to make it ourselves. The hostess takes out junk material, examines it with the children and offers her own furniture options: a dining table made of reels and cardboard, a sofa and benches made of matchboxes, a chair made of boxes and bottles. Children make pieces of furniture according to the model. The phonogram of a Russian folk melody sounds. In the course of work, the Hostess uses proverbs: “If there was a hunt, work will work out”, “A craft suits every young man”, gives advice, instructions, and provides assistance.
5 part. Final.
At the end of the work, the Hostess, together with the children, examines the crafts. Finds out which of the children did what and why. Reward them for their efforts.
X.
Well done boys! You not only know a lot about furniture, but also know how to make it yourself. Everything can be useful in the household, if you connect ingenuity, diligence and skill. Yes, and I learned from you what kind of furniture you have in city apartments. Did you like my chest? What a miracle! The children say goodbye to the Mistress and take the crafts with them to the group.
Topic: "Tools"
Integration of educational areas:
Cognitive development, speech development, artistic and aesthetic development.
Tasks.
Continue to introduce children to the peculiarities of farming in the village. Expand children's knowledge and vocabulary
Project relevance:
In the conditions of modern society, the main priorities in raising a child are his early development and education to ensure success and prosperity in adult independent life. And such categories as morality, patriotism and spirituality are far from the first places.
No wonder they say: "Children are our future." And what it will be depends on us adults: parents, teachers, society as a whole. It is necessary to create conditions in which the child's initial desire for the sublime, holy and good would be formed and consolidated. Since the habits and values laid down in childhood will become the spiritual and moral foundation for making vital decisions in the future.
We must also remember that children are our reflection. First of all, we ourselves must become carriers of the spiritual and moral culture that we strive to instill in children.
Spiritual, creative patriotism must be instilled from childhood, and then it will become an integral part of the child's soul, the beginning that generates the personality. Necessary organize such events that form a system of knowledge about Russian folk culture among preschoolers, lay the foundations of patriotism, love for a small homeland, people of work of different professions.
Objective of the project:
On the basis of cognitive activity, to promote the speech, artistic, aesthetic, spiritual, moral, emotional and social development of children.
Through the introduction of children to the culture of their people, to form in children an idea of themselves and other people, to develop a cognitive interest in the folk crafts of Russia.
Project objectives:
Project implementation methods:
The project was implemented through the following types of joint activities:
Educational areas covered: communicative activity, artistic and aesthetic activity, search and research activity, physical culture.
Fundamental question:
Does the high artistic perfection of arts and crafts contribute to the upbringing of spiritual, moral and patriotic feelings in children.
Hypothesis: If a child is not introduced to folk arts and crafts in preschool childhood, then full familiarization with the history and culture of his people will not be achieved, which will further lead to the impoverishment of his spiritual, moral and patriotic feelings.
Stages of the project:
Preparatory stage.
main stage- informative, practical.
The final stage- presentation of the project.
Expected result:
As a result of the comprehensive work to introduce children to arts and crafts, they have a desire to learn more about the work of Russian masters.
Acquaintance with the works of folk craftsmen, with the history of crafts forms in children respect and love for the Motherland, the history of their people.
folk art contributes to the development of aesthetic education, develops the creative abilities of children.
forward planning
|
Subject |
Target |
|
What is the folk culture of Russia. Excursion. |
To introduce children to Russian folk art, to show the connection between various types of creativity: folk crafts, Russian folklore (proverbs, sayings, riddles, dances). |
|
Russian folk tales. |
Continue to acquaint children with Russian folk culture. Generate interest in folk tales. Introduce household items mentioned in fairy tales. Give the concept of good and evil. Develop moral sense in children. |
|
Acquaintance with Russian folk traditions and customs. Russian samovar and tea drinking in Rus' |
To introduce children to the samovar, the art of tea drinking and hospitality in Rus'. To cultivate appreciation for the origins of Russian folk culture and respect for people. |
|
Acquaintance with the Russian national costume. |
Introduce children to Russian folk costume. To teach children from a variety of clothes to choose what belongs to the Russian folk costume. Through names, bring children to the understanding that people of different nationalities live side by side. Every nation has its own fairy tales, songs, costumes. Cultivate kindness towards each other. |
|
Russian folk games. |
To acquaint children with the variety of folk games. Learn some of them. Cultivate kindness towards each other. |
|
Labor and crafts in Rus'. |
Continue to acquaint children with historical heritage. To give children knowledge about the features of handicraft production (weaver, potter, blacksmith, baker). To cultivate respect for the historical heritage of the native country as a whole. To cultivate appreciation for the origins of Russian folk culture and respect for working people. |
|
Russian folk toys. |
To acquaint children with the history of folk toys, with the history of the birth of Russian wooden nesting dolls. Show the variety of types of this toy. To form emotional responsiveness to the perception of a wooden nesting doll as a symbol of Russian folk art. |
|
Toy - matryoshka. |
To acquaint with the appearance, features of painting nesting dolls (color, composition, elements). Learn to draw a floral pattern in the style of Polkhov-Maidan painting using watercolor. Arouse interest and cultivate respect for the work of folk craftsmen. |
|
Golden Khokhloma. |
Golden Khokhloma. Drawing. Expand ideas about the Khokhloma fishery; learn to draw individual elements of Khokhloma painting; to form the ability to work with the end of the brush, develop imagination. |
|
Fairy Gzhel. |
To expand knowledge about the history of the Gzhel craft. To help master the simple elements of painting, to cultivate respect for craftsmen. |
|
Filimonov toys - whistles. |
To acquaint with the work of the Filimonov masters. Show the features of modeling a Filimonovo toy; learn to achieve accuracy in the transfer of form; develop motor skills. |
|
Bogorodsky toys. |
To consolidate knowledge about the variety of folk toys; continue to acquaint with folk crafts. Give the concept of the Bogorodsk toy. |
|
Dymkovo horse. |
Show the features of the constructive method of sculpting the Dymkovo horse. To consolidate the ability to observe the proportional ratio of parts, to learn to connect the parts of the figure. |
|
Gorodets toys. |
To acquaint children with the products of Gorodets masters. Mastering the simplest elements of Gorodets painting. Continue to form the ability to work with the end of the brush. |
|
The art of Zhostov. Zhostovo bouquet. |
Acquaintance with the traditional Russian art craft - Zhostovo painting. Acquaintance with the elements of Zhostovo painting, to consolidate the ability to work with a brush. |
|
Acquaintance with the "Russian hut" |
To acquaint children with the life of the Russian hut and the traditions of the Russian people. To form ideas about the appearance of the Russian village, generalizing and systematizing the knowledge of children about objects of ancient life. |
|
Entertainment "Russian Fair" |
|
|
Exhibition of art "Folk toys" |
|
Project performance:
As a result of a comprehensive work to introduce children to decorative and applied arts, children have a desire to learn more about the work of Russian masters and the life of the Russian people. Children independently began to distinguish between the styles of well-known types of decorative painting, learned how to create expressive patterns on paper.
Thus, the theme of arts and crafts is very interesting and multifaceted, it helps to develop not only a creative personality, but also brings up integrity in children, love for their native land, for their country as a whole.
Informational resources:
What is a folk toy?
Story folk toys goes back to ancient times. This is the earliest form of artistic creativity of the people who inhabited Russia, which has changed over the centuries, combining the color and versatility of the culture of our people. Materials for the manufacture of toys were varied. They made from everything that nature gave to man: clay, straw, fir cones and wood. How could a child not love such a child's toy? After all, everything from which it was made was so familiar and familiar. It was as if nature itself gave to man from her bounty, in order to encourage creativity and give life to a new creation.
As soon as the baby was born, his faithful companion became a toy or "amusement", as our ancestors called it. The smallest received rattles or "shufflers". It could be a dried poppy seed box, a ratchet, a bright piece of fabric with bells or sewn on pieces of copper.
In addition to entertainment, these toys, according to parents, served to attract a good spirit to the baby, a protective angel that protects the child from evil spirits and the evil eye. A rattle or a ball, symbolizing, according to the ancestors, the sky and the heavenly world, as it were, connected the child with the world of goodness. The most interesting thing is that in the toys of our people you will not find images of an evil or scary character, because in the old days it was believed that such a toy could bring evil to the baby.
The child grew, and the toys surrounding him changed. They became more complicated, helped him learn to walk, independently explore the space around him. For this purpose, various wheelchairs on a stick were made. Everything ingenious is simple. Wheel axles with movable parts were attached to a stick.
The toy captivated the child with the sounds that the bells or rattles attached to it made, with the rhythmic movement of the wheels - and the baby began to walk after the stick with the attached toy. It was the turn of the wheelchair, but already on a string. Most often it was a horse - as a symbol of the sun. The child felt that his friend was following him on his heels, obedient to the will of the owner. Thus, for the first time, the child could feel like a strong and courageous friend for his toy.
Our ancestors were perspicacious and intelligent. Sensitively feeling the nature of the child, they gave him that children's toy, which not only entertained, but also taught the baby, preparing him for later life. There were few toys, but each of them accustomed the child to later life.
"And what did the village girls play?" - you ask. Of course, in rag dolls. Mothers deftly made dolls for their daughters from pieces of fabric and ropes. Moreover, such a doll was not thrown away, it was carefully kept in the house, passing from daughter to daughter, because peasant families traditionally had many children. The face of such a doll was usually not drawn, and this allowed the child to come up with the character and appearance of a rag girlfriend. Our ancestors believed that such games teach the girl to be a good mother and housewife in the future.
What kind of rag dolls were not made in the vast expanses of Russian land. These are also Vepsian dolls, made from scraps of worn-out fabric, personifying a married woman. These are also "krupenichki" - doll-bags in which buckwheat grains were stored for the new harvest. Such dolls were also made for women who wanted to have children as soon as possible. This also includes a Christmas angel-doll made of fabric, simple, but, at the same time, unusual. These dolls were used to decorate the Christmas tree. There were also baby dolls. Such a baby doll easily fit in the palm of your hand. She was placed in the cradle to the newborn child, so that it was she who took upon herself all the evil that was intended for the baby. Later, such a doll was put into the baby's hand, like a kind of finger massager, and also inserted into the folds of the child's clothes. If guests came, they praised the doll, not the baby, afraid to jinx it. There were also dolls - "Muscovites" (a doll with 6 children tied to a belt - as a symbol of maternal love and tenderness), "pillars" (a doll on birch bark tubes) and chubby "kostromushki" (a plump doll in elegant dress, symbolizing satiety and wealth in the house). There were children's toys characteristic of a particular area. Such toys have survived in our culture to this day.
Russian folk toy
The history of folk toys begins in ancient times. It is connected with the creativity of the people, with folk art, with folklore. A toy is one of the most ancient forms of creativity; over the centuries it has changed along with the entire folk culture, absorbing its national characteristics and originality.
The main material for making toys was clay and wood, and starting from the first half of the 19th century, papier-mâché. They also made toys from straw, moss, fir cones, and flax. Both clay and wooden toys were made in many places in Russia. It is possible to indicate the most important centers: the wooden toy was most of all made in the Moscow and Nizhny Novgorod provinces, the clay one - in Vyatka, Tula, Kargopol. Many of the industries still exist today. The largest center of wooden toys has long been Sergiev Posad with the villages adjacent to it. Genre images, figurines of ladies, hussars, and monks dominated in the toys of Sergiev Posad. Very interesting in shape and coloring were the "ladies-fools" (as the handicraftsmen themselves called them), 30-40 cm high, they were cut from the so-called "trihedron". From one of its sides, a "back" was obtained, and the other two faces, converging at an angle, were processed by the master like a high relief.
A few-color conditional painting created an expressive artistic image. According to the plot and stylistically, sculptural miniatures - "Chinese trifle" - are connected with the "ladies" and "hussars". These are tiny, painted wooden figures, 4-5 cm in size, diverse and curious in their subjects.
Another center of toys, which was formed later, at the beginning of the 18th century, was the village of Bogorodskaya, which became a large craft for wooden toys. Bogorodsk carving still occupies a significant place in the decorative arts. Bogorodsk craftsmen, passing on the traditions of their art from generation to generation, created original, unique toys.
Perfectly using the artistic expressiveness of the texture and color of wood, the craftsmen skillfully combine smooth surface treatment with shallow cuts and notches in the toy, with which they convey various details. Bogorodsk toys are characterized by plot, group compositions, genre scenes, masters often use fairy-tale and historical themes. Many toys are made moving, which enhances their expressiveness.
The Nizhny Novgorod province was also a major center for the production of wooden and children's toys, in many of its districts - Gorodetsky, Semenovsky, Fedoseevsky - toys were cut and painted. The main plot of Gorodets toys is horses in teams. The laconicism of these toys gave rise to a peculiar stylized form. The coloring of these toys is close to the coloring of children's furniture, chests, tuesks, which created the glory of Gorodets painting.
Of particular interest is the Dymkovo toy, named after the settlement Dymkovo, near the city of Kirov. The assortment of Dymkovo toys is extremely diverse: ladies, wet nurses, horsemen, hussars, fantastic birds and animals, multi-figure plot compositions. The simplified and laconic plasticity of Dymkovo toys corresponds to the nature of its decorative painting, striking in its colorfulness and originality.
Clay toys of the Voronezh, Tula, Arkhangelsk regions differ in appearance from each other, but all of them are characterized by extraordinary clarity and simplicity of forms, beauty and fantasy.
Modern artists learn from the best examples of folk toys, learn to seek wisdom in simplicity, learn to master the material perfectly.
Russian doll.
The first Russian nesting doll was carved and painted in a Moscow toy workshop only in the 90s of the 19th century, according to a model brought from Japan.
This Japanese sample, made with great humor, was a set of figurines of the Japanese sage Fukurum inserted into each other - a bald old man with his head stretched up from numerous thoughts.
The first matryoshka was a children's group: eight dolls depicted children of different ages, from the oldest (big) girl with a rooster to a baby wrapped in diapers. Its creators were turner V.P. Zvezdochkin, who carved the first wooden dolls and the artist S.V. Malyutin. The original plots of Russian nesting dolls were exclusively female: ruddy and full wooden red maidens were dressed in sundresses and scarves, they were depicted with cats, dogs, baskets, flowers, bread and salt, etc. It suddenly turned out that Russian nesting dolls are very popular in Europe, especially in Germany and France. At the beginning of the 20th century, a mass export of matryoshka dolls began. Actually at this time, the reputation of “primordially Russians” was fixed behind nesting dolls.
- It is also interesting that after the appearance of the first nesting doll in different regions of Russia, artists began to paint nesting dolls, they liked the Matryona doll so much! And they all did it differently.
Matryoshkas from Sergiev Posad
I am from Sergiev Posad. I am very glad to meet you.
Artists gave me a bright Russian sundress.
I have had a pattern on my apron for a long time.
My handkerchief is famous for its multi-colored border.
Until the end of the 90s of the XIX century, nesting dolls were made in the Moscow workshop "Children's Education", and after its closure, the production and painting of nesting dolls was mastered by educational demonstration workshops in Sergiev Posad, an ancient center for making toys. It was here that the mass production of this toy soon began, and the type of matryoshka was chosen, which is called Sergiev Posad or Zagorsk. The rapid flourishing of the art of making and painting the Sergiev Posad nesting dolls in the first decades of the 20th century was so peculiar that it determined the style of painting nesting dolls in Russia for many years. At that time, the main types of painting of the Sergiev Posad nesting dolls were created, the main distinguishing feature of which is the desire to depict modern life in the painting. Sergiev Posad was a colorful native Russian town. The large market square, located opposite the monastery, was almost always filled with a motley noisy crowd: merchants, monks, pilgrims, artisans. In 1910, in Sergiev Posad, an artel "Handicraftsman-Artist" was organized - which included almost all local craftsmen. In 1928 it was transformed into a toy factory that still exists today. Matryoshka from Sergiev Posad has a row distinguishing features: squat shape, top, smoothly turning into a thickening lower part of the figurine, gouache painting and lacquer coating.
Matryoshka dolls from Polkhovsky Maidan
And I, girlfriends, are from Maidan.
Can I become a screen star.
Decorate my outfit with flowers
With shining petals
And different berries
Ripe and red.
In its shape, the Polkhov matryoshka differs markedly from its Sergiev and Semenov sisters. In addition, its unusual diversity is surprising, from multi-seated, vertically elongated figurines with a small, rigidly outlined head to primitive single-seat figurines - columns and plump, mushroom-like pupae. The painting of Polkhov nesting dolls is based on a combination of raspberry-red, green and black colors along a contour previously applied in ink. “Flowers with a tip” is the most typical and favorite painting in Polkhovsky Maidan, closer and “variegated” - decoration with the help of separate strokes, “pokes” and dots. The masters of Polkhovsky Maidan, as well as the Merinovsky and Semyonovsky neighbors, paint the matryoshka with aniline paints on a pre-primed surface. Dyes are diluted with an alcohol solution. The painting of Sergius matryoshkas is made without a preliminary drawing in gouache and only occasionally in watercolor and tempera, and the color intensity is achieved with the help of varnishing.
Matryoshka Semyonovskaya
I am from the quiet green town of Semyonov.
I came to visit you.
Bouquet of flowers garden pink, burgundy
Brought as a gift.
One of the main centers for the manufacture and painting of nesting dolls is the city of Semyonov. It was here that the famous Khokhloma painting was born, in the ornamental drawings of which there are motifs dating back to the culture of ancient Rus'. In their painting, the Semyonov masters follow the traditions of the “grass” ornament of Ancient Rus'. Semyonov masters leave more unpainted wood, paint the matryoshka with aniline paints, then varnish it. First, outline the contours of the face, eyes, lips with a stroke of a thin brush, bring a blush. Then they draw a scarf on the head of the nesting doll, draw a skirt, an apron, hands. The basis of the composition in the painting of the Semyonov nesting dolls is an apron, which depicts a bouquet of lush flowers. In the manner of execution of this bouquet, the painting techniques of ancient Russian masters are visible. Over time, the drawing of the bouquet seemed to be filled with the juices of herbs, becoming more dense, colorful and picturesque. Currently, masters use three colors in painting - red, blue and yellow, varying the color combinations of the scarf, sundress and apron. The main thing in the coloring of the Semyonov matryoshka is the solution of the main color in the bouquet, which sets the tone for the entire color system. The bouquet is traditionally located on the apron asymmetrically, slightly shifted to the right. Semenov turners created their own form of matryoshka, which, unlike the Sergiev Posad nesting doll, has a greater harmony, a relatively thin “top”, which sharply turns into a thickened “bottom”. The famous Semyonov matryoshka differs from the nesting dolls of other centers in its many places; up to 15-18 multi-colored dolls are put into it. It was in Semyonov that the largest 72-seat nesting doll was carved, the diameter of which is 0.5 meters and the height is 1 meter.
Vyatka matryoshka
Our lips with a bow,
Yes, cheeks like apples,
Have known us for a long time
All the people at the fair.
We are Vyatka nesting dolls
Everyone in the world is more beautiful.
Painted, bright
Our sundresses.
Residents of Vyatka and the surrounding villages have long been engaged in the production of toys. The special originality of the Vyatka painted wooden doll is that the nesting dolls were not only painted with aniline dyes, but also inlaid with straws. Straw inlay of artistic wood products on a carpentry basis, mainly boxes and caskets, has been known in these parts for a long time. For incrustation, rye straw is used, which is grown in special areas and carefully cut by hand with a sickle. To obtain a decorative effect, one part of the straw is boiled in a soda solution until golden brown, the other remains white. Then the straw is cut, smoothed, the details of the desired pattern are knocked out with a stamp. Glue the straws on the raw nitrocellulose varnish. Matryoshka, painted with aniline dyes and inlaid with straws, is covered with oil varnish. The Vyatka matryoshka is the northernmost of all Russian nesting dolls. She portrays a blue-eyed northern girl with a soft, shy smile. The face of this matryoshka fascinates and attracts you, they are so cute and friendly.
Currently, the imagination of contemporary artists has no boundaries. The traditional type of Sergiev Posad matryoshka, holding some object in hand, has now been replenished with numerous variants of nesting dolls - girls, women, sometimes even the elderly, with baskets full of fruits, samovars and baskets. Matryoshka dolls, on the aprons of which plots from Russian folk tales are depicted, are becoming more widespread. Artists with sufficient technical skill reproduce these scenes in the technique of lacquer miniature painting of decorative Palekh or realistic Fedoskin. The tendency to use decorative motifs characteristic of the traditional centers of Russian folk culture in the painting of modern nesting dolls is becoming more noticeable.
Features of manufacturing and stages of painting nesting dolls.
I wonder how a matryoshka is born?
Matryoshka dolls are made from larch, linden and aspen, cut down in early spring.
The wood is aged for two to three years, then it is turned on machines and carefully processed.
The master meticulously chooses the material for the doll, looking for one that does not have a knot or a crack, and only after making sure of the quality of the workpiece, he starts work.
First, he sharpens the smallest matryoshka, sometimes it is quite tiny, less than a nail, then more, more ...
Stages of painting nesting dolls. Workpiece grinding. Pattern outline. Background drawing. Drawing details. Final stroke. Lacquering.
Golden Khokhloma
Golden Khokhloma is one of the oldest original Russian folk crafts that has been shaping the life and way of life of entire generations for centuries and is an integral part of Russian culture.
Khokhloma is an old local word associated with the language of the Finno-Ugric peoples living in the Trans-Volga region. The name Khokhloma was given to the river flowing here, on which a village arose - also Khokhloma, which grew into a large trading settlement by the 16th century. For several centuries, artisans born in the surrounding villages brought here for sale the painted wooden utensils and spoons they made, which also began to be called Khokhloma.
The art of Khokhloma arose and developed in the forests of the Trans-Volga region, in a mass local craft that made wooden turning utensils and spoons, absorbing the precious heritage of the artistic culture of Ancient Rus' and the centuries-old labor and creative experience of many talented craftsmen. From one generation of artists to another, a unique technology of painting wood in gold without the use of gold, known to the icon painters of Ancient Rus' and adapted by local original inventors for decorating wooden utensils, is passed on in the craft. The production of Khokhloma utensils was held back for a long time by the high cost of imported tin. Only a very wealthy customer could provide the craftsmen with tin. In the Trans-Volga region, monasteries turned out to be such customers. So, the villages of Khokhloma, Skorobogatovo and about 80 villages along the rivers Uzola and Kerzhents worked for the Trinity-Sergius Monastery. From the documents of the monastery it is clear that the peasants of these villages were called to work in the workshops of the Lavra, where they could get acquainted with the production of festive bowls and ladles. It is no coincidence that it was Khokhloma and Skorobogatov villages and villages that became the birthplace of the original painting of dishes, so similar to precious ones.
Thus, starting from the 17th century, the painted wooden utensils of the Trans-Volga masters were famous all over Russia. "Ceremonial" dishes were made on special orders in small batches from different types of wood, different shapes and artistic finishes, and were intended for gifts to eminent guests and foreign ambassadors.
The art of Khokhloma is not only beautifully executed painting, but also the ability to create an expressive form of the product, knowledge of the complex technology of wood processing. And few people know how much work and patience, skill and true inspiration this complex process requires people of different specialties.
The Khokhloma pattern is also characterized by the fact that a leafy-berry, so-called herbal, ornament was created on a black, golden or red background - images of strawberries, raspberries, blackberries, gooseberries, currants, mountain ash, etc. - made in combinations of red and gold, red and black or gold and black.
In modern Khokhloma painting, the style and color of the traditional ornament, “top” and “background”, are preserved, but the color scheme is expanded. In addition to black, red and gold - the traditional tricolor that came from icon painting, green and yellow, orange and brown colors are used. The fiery firebird, decorated with bright flowers, became the symbol of Khokhloma painting. The capital of the golden Khokhloma is considered to be the city of Semenov, located in the Nizhny Novgorod region.
Today Semenov is a developed tourist center where the Golden Khokhloma - the Soul of Russia festival is held. There is something to see here. Tourists can visit the Golden Khokhloma museum and tourist center or the Khokhloma Painting factory to walk through its workshops, see how a wooden spoon, panel, matryoshka, beautiful dishes, and furniture are born and painted. Guests of our city are given the opportunity to purchase unique handicrafts. So Semyonov Khokhloma became the hallmark of the city for the whole world. This is truly the soul of Russia.
Gzhel art
The first mention of Gzhel in historical documents ("Spiritual Diploma" by Ivan Kalita).XVI century. In the will of Tsar Ivan IV "the Terrible" Gzhel is listed among the "sovereign palace volosts". XVII century. In 1663, Tsar Alexei Mikhailovich issued a decree "to find clay in the Gzhel volosts for pharmaceutical and alchemical vessels."
In 1710, the Gzhel volost was entirely attributed to the pharmacy order "for the work of alchemical dishes" and by the end of the century it consists of 16 villages, where there are 681 households and 4542 people live. Beginning of the 19th century.
Gzhel products are called "pale and colored dishes", "the best of all this kind of dishes made in Russia", and the Gzhel volost itself is "very glorious".
Already in the era of Peter I, attempts were made to organize the production of artistic ceramics in Russia, but their results made themselves felt only in the middle of the 18th century.
The honor of creating Russian artistic faience belongs to the Moscow merchant Afanasy Grebenshchikov, who at his factory for the first time in Russia in 1747 mastered the production of thin majolica or tsenina, as it was then called. Majolica products had a thick colored shard covered with white enamel; most of them remained unpainted. The glory of Grebenshchikov's dishes was precisely those products that carried beautiful blue drawings on their slightly bluish surface. Their forms were designed in the Baroque style and were borrowed from porcelain and silver dishes, while the painting was guided by samples of fashionable Delft faience from Holland, which became the aesthetic ideal of its time. Ornamental motifs filled with blue paint prevailed, each of which was not a copy, but a variant "against the overseas model". They were made up of elements typical for the murals of the era: rocaille curls, stylized baskets with flowers, shell motifs, borders with diagonal intersections. Ornaments covered large soup bowls (teriny), dishes, trays, on each item having an original interpretation, which was based on the principle of a large decorative spot on a light background.
Another characteristic principle of decorating Grebenshchikov's dishes is a white lace pattern on a bluish background with geometric elements and elements of basket weaving. Not all products of the Grebenshchikov factory are of equal artistic value: some of them are high examples of majolica, created by genuine craftsmen, others betray the hand of a novice master. The former were made to order, used at the imperial court, in state institutions or in the homes of the aristocracy (for example, a soup bowl with the coat of arms of the famous writer and theater figure P. A. Sumarokov), the latter went on sale. The Grebenshchikov factory influenced the entire further development of Russian artistic ceramics. In particular, the experience of this plant was of great importance for the largest pottery region in Russia - Gzhel.
In the history of Russian ceramics, Gzhel occupies a special place not only because it became the center of folk ceramic art, but also because it supplied many factories with clay, supplied excellent potters; they, in turn, carried the deep traditions of pottery to other places: Gzhel peasants founded ceramic enterprises everywhere. From Gzhel majolica of the 18th century. and the history of the development of folk art ceramics in Russia begins. Following majolica in the 19th century, the production of semi-faience, porcelain and faience began. In just 50 years, Gzhel mastered all the main types of artistic clay products.
The brightest pages of this history fall on the second half of the 18th century, when in Gzhel, located 50 miles from Moscow, almost the entire population of 30 villages began to make majolica. In terms of originality and mastery of performance, the most interesting are kumgans and kvass, which are characterized by a specific, many times varied form. The disc-shaped swollen body with a trunk-shaped nose was mounted on lion's paws and crowned with a two-part neck with a lid. The fermenters have a hole in the middle of the body-disk. The unique charm of the Gzhel kumgans and kvass is given by sculptural figures that were placed either on the "shoulder" of disc-shaped vessels, or on their very surface: images of men with musical instruments, women reading books, mothers with children; sometimes genre scenes of hunting, war, etc. were composed of figurines. Of great interest is the painting on Gzhel majolica products, which does not pretend to be sophistication, made in a manner close to popular print. It is distinguished by the mastery of composition and color harmony. Each picture is the fruit of the work of a potter, a person often illiterate, but with the artist's flair, which allows him to combine in his work observations of nature, urban and rural life, impressions from other types of art and the fruits of his own imagination. With a confident hand, a brown contour was applied to the unfired enamel, which was filled inside with green, blue, brown and yellow paint. Architectural motifs, flora and fauna are mainly reflected in Gzhel drawings, sometimes human figures, but most of all - birds, so loved by folk art. They were depicted in various poses: standing, sitting, fluttering, pecking, perched on branches, looking back.
Another feature inherent in folk art was inherited by Gzhel majolica - to accompany the image with inscriptions about the time the vessel was made, the names of the master or owner. Thanks to Gzhel vessels, we know such Gzhel masters of the 18th century as Nikifor Semenovich Gusyatnikov, Ivan Nikiforovich Sroslay, Ivan Ivanovich Kokun.
A special area of Gzhel majolica is sculpture. It is as original as the dishes, unusually vital, masterfully, with ingeniously found solutions. The images, taken from the real life of their time, attract not only the artistic skill of execution, but also a high degree of generalization.
Gzhel small majolica sculpture contributed to the further awakening of interest in this area of decorative and applied art and the emergence of many porcelain figurines and compositions not only in Gzhel, but also in other Russian porcelain factories. In the 19th century Two more types of artistic ceramics became widespread - semi-faience (it was created only in Gzhel) and fine faience.
The art of semi-faience was a direct continuation of the Gzhel majolica. The range of products remained almost unchanged (jugs, kumgans, kvass, rukomoi, inkwells, salt boxes), the former architecture of forms, the same careful attitude to decor and its connection with form, were preserved. But semi-faience was technologically different from majolica, it was born at a different time, and therefore its artistic image became different.
Products made of semi-faience had a white shard, but it still remained thick, it was painted with blue paint after firing and poured with transparent glaze. The combination of a white shard with blue painting, which was almost exclusively ornamental in nature with a predominance of plant forms, is the specificity of semi-faience.
The noble combination of blue paint and white background has been known and used for a long time: in Chinese porcelain, Delft faience, English fine faience. However, in terms of figurative content, compositional structure, the nature of the stroke, the place occupied on the vessel, the Gzhel blue paintings on the white background of a semi-faience shard are a completely independent phenomenon in ceramics.
The 19th century brought the rapid development of the faience industry, which developed in parallel with the production of semi-faience in Gzhel. The technology of faience production has changed, the artistic image of the new ceramic material has become different. Unlike majolica and semi-faience, faience had a thin, white, light shard covered with transparent glaze. He went to the manufacture, mainly of tableware. The ways of decorating it are extremely diverse: colored watering on a smooth or embossed surface, tinting the mass, brush painting with paints and chandeliers. However, the method of transfer printing, invented in England specifically for this type of ceramics, has received the widest distribution. It turned out to be the most economical, which was extremely important for the art industry.
In Soviet times, the main place began to belong to fine faience. Semi-faience found a continuation in another ceramic material - it inspired Soviet artists to create Gzhel porcelain, which preserved the traditions of semi-faience and, to a certain extent, its artistic image.
After semi-faience, the porcelain period began in the production of Gzhel. By the end of the 19th century, Gzhel craftsmen managed to achieve extraordinary artistic and technological heights in the manufacture of dishes. The finest faience and snow-white porcelain not only pleased the eye, but were also very durable.
After the revolutionary events of 1917, all Gzhel factories were nationalized and remained in disrepair until the middle of the 20th century.
Today, Gzhel art has revived again, and even more than that, it has received a powerful impetus in development thanks to new modern technologies.
Bogorodsk toy
Bogorodskaya carving, Bogorodskaya 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).
Origin
Sergiev Posad and its environs have long been considered the historical center of toy making in Russia. Sometimes it was called the "Russian toy capital" or "the capital of the toy kingdom." Toys were made in many surrounding villages. But the most famous was the village of Bogorodskoe, located about 29 kilometers from Sergiev Posad. The toy crafts of Sergiev Posad and the village of Bogorodsky are called by experts as two branches on one trunk. Indeed, crafts have common roots: the traditions of ancient pillar-like plastics and the school of three-dimensional, relief woodcarving at the Trinity-Sergius Lavra, known since the 15th century.
According to folk legend, a long time ago a family lived in the village. The mother decided to amuse the little children. She cut out an “auka” figurine from a block of logs. The children were happy, played and threw the "auka" on the stove. Once the husband began to gather for the bazaar and said: “I’ll take the “auka” and show it to the traders in the bazaar.” "Auka" bought and ordered more. Since then, carving of toys has been carried out in Bogorodskoye. And she began to be called "Bogorodskaya".
It is rather difficult to determine the real date of the origin of the fishery. For a long time, most researchers believed that already since the 17th century Bogorodskoye had been engaged in volumetric woodcarving. The basis for such statements was the palace books of Tsar Alexei Mikhailovich, which speaks of buying toys for the royal children on the way to the Trinity-Sergius Monastery. Moreover, they usually refer not to the primary source, but to the works of D. Vvedensky and N. Tseretelli, well-known researchers of Russian peasant toys in the 1930s, who also rely not on archival documents, but on the research of I. E. Zabelin. However, the latter made a mistake: the purchase of wooden toys is indicated in the book of expenses of Ekaterina Alekseevna, the wife of Peter I, in the entry of 1721. But, as I. Mamontova writes in her article: “However, the source unambiguously states that the purchase was made in Moscow…”
It is believed that the earliest surviving works of Bogorodsk craft (located in the State Historical Museum, the State Russian Museum, the Museum of Folk Art named after S. T. Morozov and the Art and Pedagogical Museum of Toys) date back to the beginning of the 19th century. Most likely, it would be legitimate to attribute the origin of the carved Bogorodsk toy to the 17th-18th centuries, and the formation of the craft by the end of the 18th - beginning of the 19th centuries.
At first, the craft was a typical peasant production. Products were made seasonally: from late autumn to early spring, that is, when there was a break in agricultural work. For a long time, Bogorodsk carvers were directly dependent on the Sergiev craft, working directly on orders from Sergiev buyers and manufacturing, mainly, the so-called “gray” goods, which were finally finished and painted in Sergiev Posad.
At the same time, it was at the initial stage of the formation of the Bogorodsk craft that works began to appear that are considered masterpieces of folk art, including: “The Shepherd”, which has become a kind of Bogorodsk classic, lions with cubs, dogs with puppies.
The craft arose in a purely peasant environment, but developed under the strong influence of handicraft production with a different type of culture - township. This type of culture is a symbiosis of urban and peasant traditions, which has been influenced by porcelain sculpture, book illustrations, popular popular prints and works of professional painters.
Development
Already in the middle of the 19th century, the center of carving moved to Bogorodskoye, and the Bogorodsky craft gained independence. A great influence on the formation of the Bogorodsk style proper was exerted by the work of such masters as A. N. Zinin, and somewhat later by the activity of a professional artist, a native of Bogorodsk P. N. Ustratov. The time of the 1840s-70s of the XIX century, according to a number of experts, is the heyday of the Bogorodsk carved handicraft.
The next stage in the development of toy business in Bogorodskoye is associated with the activities of the Moscow Provincial Zemstvo in 1890-1900 in this area. In 1891, an educational and demonstration workshop was organized in Sergiev Posad, which combined the functions of a research and educational institution, and also sold toys in Russia and abroad. A few years earlier, in Moscow, with the support of S. T. Morozov, the Moscow Handicraft Museum was opened. In fact, it was a whole movement, reviving and supporting the national basis in the dying folk art. Such zemstvo figures and artists as N. D. Bartram, V. I. Borutsky, I. I. Oveshkov played a significant role in the development of the Bogorodsk craft.
A professional artist, collector, and later the founder and first director of the State Toy Museum (now the Artistic and Pedagogical Toy Museum) N. D. Bartram was one of the first to try to preserve and revive ancient traditions. However, seeing that the old works did not captivate the handicraftsmen, he began to orient them towards the creation of works in the folk style, but following the models of professional artists. The opponent of this path was the artist and collector A. Benois, who considered this process an artificial rescue of the fishery.
In the first decade after the October Revolution, old zemstvo samples were preserved in Bogorodskoye, and the products of the trade were exported in large quantities. In 1923, the artel "Bogorodsky carver" was restored, in which the masters of the older generation continued their work and the Bogorodsky craft occupies one of the leading places. The change in the social structure stimulated the craftsmen to search for new forms and artistic solutions. However, it was precisely at that time that the problem of “easel painting” that emerged back in the “zemstvo period” arose. In the 1930s, the so-called toy-sculpture appeared, which was distinguished by the novelty of the theme and its disclosure.
One of the most tragic dates in the history of the Bogorodsk craft can be called 1960, when the artel organization of labor traditional for art crafts was liquidated and replaced by a factory one. This process is sometimes aptly referred to as the "manufacturing" of the fishery. From that time on, craft began to slowly die, and the concepts of “art industry”, “plan”, “val” and other completely alien concepts came to replace it. A decade and a half later, by an evil twist of fate, the village of Bogorodskoye with its peculiar landscape and the features of the Kunya River attracted the attention of power engineers. The situation in the field has worsened. Log houses with lace architraves were demolished, gardens were cut down, and traditional Bogorodsk gatherings and the simplicity of rural communication left with them. Master carvers moved to high-rise buildings on the upper floors, traditional crafts became more and more problematic. Back in 1984, G. L. Dine wrote in the journal “Decorative Art of the USSR”: “... the village next to the new buildings advancing on it seems small and miserable. Probably the security zone will not save her now either. Inevitably, the way of life of people, their spiritual and moral appearance will change, which means that Bogorodsk art will also be transformed.
Fishing features
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 Bogorodsk craft and Bogorodsky itself, having entered the coat of arms of the village
The toy "Blacksmiths" is over 300 years old. "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. And the toy "Chickens" is also a long-liver. She was played by children 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. It's fun to watch how the chickens peck at the painted grains in a strict order. The mechanisms themselves are simple, but the actions are effective. The sound sharpens the dynamics of the toy.
Colorful wooden chickens on a stand, figurines of blacksmiths, a man and a bear - pull the bar, and they will knock with hammers on a small anvil ... Funny toys, known in Rus' since time immemorial, have become the main folk craft for residents of the village of Bogorodskoye near Moscow.
The traditional Bogorodsk toy is unpainted figures of people, animals and birds made of linden, compositions from the life of a Russian peasant. Until now, the “man and the bear” are considered to be the symbol of the craft in various plot productions, the first of which was the movable toy “Blacksmiths”.
Filimonov toys
Filimonovo toys were born in the village of Filimonovo, Odoevsky district, Tula region. The village is located near deposits of good clay. Perhaps this determined her craft (the legend says that grandfather Filimon lived in these places, he made toys). Mostly women were engaged in toy business. From the age of 7-8, girls began to sculpt "whistles". They worked in the winter, in their free time from rural work. Then the toys were sold at fairs and bazaars in the nearest county towns and in Tula. At present, a ceramic toy workshop is engaged in the manufacture of clay toys in the village of Filimonovo. The figures are molded by hand, then they are dried several times in a heated room, fired in an electric muffle furnace for 12 hours at a high temperature (up to 800 C) and painted without prior whitewashing (local clay acquires a bright white color after firing). The toys are painted here not with a brush, but with a goose feather, using aniline paints diluted on an egg.
The oldest craftswomen, preserving the traditions of craftsmanship, themes and plots of toys, make their own additions and changes. Animals and animals made by artists differ in form and painting. The toys are funny, whimsical and at the same time simple in execution and very expressive.
The plots of the Filimonovo toy are traditional - these are ladies, peasant women, soldiers, dancing couples, horse riders; from animals - cows, sheep, horses, bears; from birds - chickens, roosters and much more. Unlike Dymkovo toys, all Filimonov toys are whistles, even ladies and gentlemen. The whistle is always in the tail of the beasts and birds they hold.
Local clay is special: viscous, oily, plastic. The craftswomen pull the whole figure out of it at once - with this method of modeling, the toys turn out to be graceful, plastic. When it hardens, the clay “sets”, and then it is necessary to “tighten” and smooth the products again, which makes their shape even more stretched and lengthened. And this happens several times until the toy does not "freeze" at all. After firing, they begin to paint the toy.
First, yellow stripes and spots are induced, then they are outlined with a red "feather", then green, blue, sometimes purple.
In addition, the craftswomen vary the color. A blue smear falls on yellow - it turns out green, red on yellow gives, as they say here, "hot" (orange). The painting is built according to the traditional scheme: colored stripes run along the form, alternating with sonorous local spots. There are also more complex patterns, especially on ladies' skirts: a branched "herringbone", a bright "berry", a radiant "asterisk", or "sun", sparkle, intertwine into joyful patterned inflorescences.
The circle denotes the sun in the painting, the triangle - the earth, Christmas trees and sprouts - a symbol of vegetation and life. All these patterns are reminiscent of the connections between man and nature. Despite the fact that the ornament and coloring of the painting is very simple, the toys after painting look very bright and festive, expressive and good-natured. The faces of the figurines always remain white, and only small strokes and dots outline the eyes, mouth, and nose.
There are few moldings in Filimonov's toy, especially when compared with Dymkovo's, where moldings play no less a role than painting. Filimonov's masters decorate only the eyes of animals with moldings, which achieves a special expressiveness of the image. These toys are difficult to confuse with any others, as they have their own traditions in the interpretation of form and painting. All toys have elastic bodies, long or short legs, elongated necks with small heads. For example, the ladies have high bell-shaped skirts with an inconspicuous expansion downwards, the upper part of the body seems smaller in comparison with the skirt. The small head ends in a tall elegant hat.
Funny toys depicting long-legged and elongated soldiers in characteristic costumes: a jacket in the waist and striped pants. Some toys surprise with their imagination. So, among the toys there is a monster with a deer's head. He has a chicken in his hands, a turkey on his back, and a chicken on his tail. Animal toys are distinguished by special plasticity. Sheep, cows and horses have small heads on elongated necks, and short legs give special stability to all figures. All toys are very funny, and when there are a lot of them, it's a holiday. When you look at the Filimonov toys gathered together, a joyful mood involuntarily appears.
Features of the Filimonovo toy. The bulk of the products of Filimonovo craftswomen are traditional whistles: ladies, horsemen, cows, bears, roosters, etc. Images of people - monolithic, stingy with details - are close to ancient primitive figurines. The narrow bell skirt of the Filimonovo ladies smoothly passes into a short narrow body and ends with a cone-shaped head, which is integral with the neck. In rounded hands, the lady usually holds a baby or a whistling bird. Cavaliers look like ladies, but instead of a skirt they have thick cylindrical legs shod in clumsy boots. The heads of the figurines are crowned with intricate hats with narrow brim. Interesting compositions, molded from several figures, for example, "Lyubota" - a scene of a date for lovers.
All characters of the animal world have a thin waist and a long neck with a graceful bend, smoothly turning into a small head. Only the shape of the head and the presence or absence of horns and ears make it possible to distinguish one animal from another. The ram's horns are round curls-donuts, the cow's horns stick up like a crescent moon, the deer's horns are like bizarre branched trees, and the horse's head is crowned with small conical ears. The mysterious figure of a bear with a mirror. The fairy-tale beast sits with its hind legs wide apart and holds an oval object in its front paws. With its elongated curved neck, it looks more like a giraffe, only a small head vaguely resembles a bear's.
Painting toys. Filimonovo craftswomen paint their toys with bright aniline paints mixed on an egg, applying them with a chicken feather. Despite the relative sparseness of their palette - crimson, green, yellow and blue - the toys are bright and cheerful.
Animals are traditionally painted with multi-colored stripes along the body and neck. One-color, usually green or crimson, paint is used to paint the head and chest, which are often covered with a simple lurid ornament.
Filimonovo ladies and gentlemen are always dressed smartly and brightly, their hats are decorated with multi-colored stripes, and the same simple ornament is applied on the collar of the jacket, on the skirt and trousers. The clothes of the Filimonov figurines were influenced on the one hand by the city costume, on the other hand, by peasant homespun sundresses, embroidered shirts and belts. The ornament (multi-colored strokes, spots, twigs, rosettes), applied without a specific scheme, creates a catchy colorful decor.
The production of Filimonovo toys was greatly reduced at the beginning of the 20th century, but there were several craftswomen (E. I. Karpova, A. O. Derbeneva, A. F. Maslennikova, etc.) who did not abandon their craft. In the 1960s, thanks to the efforts of art critics and collectors, this original craft was restored. Today a toy workshop is open in Odoev. Modern Filimonovo craftswomen, preserving the traditional methods of modeling and painting, try to diversify the plots and make the toy more elegant.
Dymkovo toys
Dymkovo toy is an original clay craft that originated and survived exclusively on the territory of the Vyatka Territory (Kirov Region), in the settlement of Dymkovo, where stove-makers and potters have long settled. Few other regions of Russia have such a bright and original symbol as the Vyatka region has in the form of a Dymkovo toy.
The history of the Dymkovo toy has about 400 years. The first Dymkovo toys were whistles in the form of horses, rams, goats and ducks, made for the annual holiday "Whistles", or "Whistles" - held in honor of those killed in the battle of 1418 between the Vyatchans and Ustyuzhans near the walls of the Khlynovsky Kremlin (Khlynov is the old name for Kirov ). According to legend, at night, without recognizing each other, two troops friendly to each other entered the battle. A feast was celebrated annually for those who died by accident. Later, it was reborn into folk festivals. The celebration lasted for several days and was filled with the whistling of the Vyatchans from multi-colored whistles. “When you get to the square and walk among the whistling crowd, it seems that you are walking on air. Everyone has laughing and some kind of daring faces. Walking people carefully hold in front of their faces a small clay toy, worth three or five kopecks, depicting a two-headed beast or a ram with gold spots on the sides. They whistle in the tail of this ram ... ”(“ Vyatka Notes ”, V. Lebedev.).
In the past, making Dymkovo toys was a family business. In the summer months, they prepared clay, pounded it by hand or rubbed lump chalk in paint grinders, the rest of the time they sculpted, dried, burned products, closer to the Whistler they whitened with chalk diluted in skimmed cow's milk, painted with egg paints, decorated with rhombuses of golden sweat. And in the spring, boats brought the Dymkovo toy to the city for a holiday, delighting children and adults with their art.
At the end of the 19th century, the fishery fell into decline. In the 30s of the 20th century, as part of the revival of some folk crafts, support was provided for the revival and craft of the Dymkovo toy. Several hereditary craftswomen organized the artel "Vyatka toy" with the support of the first researcher of the craft - the artist A.I. Denypin. The toy is molded from local red clay in parts (unlike other toys, which are molded from a single piece of clay). Before firing, the toys are dried and only then fired. Previously, toys were fired in a real Russian oven, now they are fired in muffle furnaces.
The fired Dymkovo toy has a red-brown color, which is common for clay. For whitewashing, a mixture of chalk and milk is used, into which a Dymkovo toy is dipped. In this case, the surface is covered with a dense white layer. For coloring, dry paints ground on an egg were used. Now gouache, diluted on an egg, is used. Over 400 years of the development of the craft, despite the variety of compositional solutions, certain plots of the Dymkovo toy have settled down, certain design techniques and a certain color scheme have been fixed. Halftones and imperceptible transitions are alien to the Dymkovo toy. Undiluted bright colors create a feeling of joy of life. Patterns have simple geometric shapes: circles, checks, waves. In general, up to 10 colors can be used in each toy. Until today, Dymkovo toy is made by hand, each toy is a unique author's work. As before, the main motifs of the Dymkovo toy are horses, ladies, turkeys, rams, roosters, deer, as well as group compositions. Historically, at first the main theme was still animals and female figurines. Later, with the development of fishing, urban motifs arose. Some irony is still characteristic of the Dymkovo toy: goats and rams are dressed up in bright trousers, bears play musical instruments.
Today, the craftsmen follow the traditions of the Dymkovo toy, but still, each craftswoman (and this craft is exclusively female) tries to develop her own special author's style.
Gorodets painting
Gorodets is a city in the Nizhny Novgorod Trans-Volga region, on the left bank of the Volga. It is one of the most ancient Russian fortified cities. Gorodets is the birthplace of a wide variety of crafts. He was famous for wood carving (“deaf” house carving), the manufacture of donets (a board on which the spin sits) inlaid with bog oak, spinning wheels, Gorodets painting, and carved gingerbread boards.
The emergence of Gorodets painting is associated with the production of wooden spinning donets in the villages located near Gorodets. The production of donets contributed to the emergence of the original local pictorial style.
Riders, carriages, ladies, soldiers, cavaliers, dogs - this is the pantheon of images created using the technique and style of carved Gorodets Donets, which is nowhere else to be found. Details and accompanying motifs - tree trunks and branches, silhouettes of birds sitting on them - were cut to the inserted figures of horses and people made of bog oak. Compositionally, the surface of the inlaid bottom was divided into two or three tiers. In the upper tier, two horsemen were depicted on the sides of a flowering tree with a bird on the branches, and dogs were depicted at the roots of the tree. The second tier was occupied by an ornamental strip, genre plot motifs were placed in the lower tier.
Compositions with horses, riders, trees and dogs still live in Gorodets murals. Fantasies on the theme of walks of gentlemen and ladies are varied, but horses are firmly preserved from traditional motifs. The image of a horse embodies the idea of beauty and strength. In the middle of the 19th century, a transition was made from donets inlay to their painting. This process begins with the highlighting of the carved bottoms. Craftsmen begin to enliven the light tone of wood and black oak inserts with color.
A freer painting technique made it possible to create new plots, taught the beauty of a free pictorial stroke, which allows you to write without first drawing a contour. Each master had his favorite shades of color and their combination. At the same time, they used common techniques to create a competent color. Gorodets masters were able to create a balance of colorful spots on the surface of an object, achieving unity of color and completeness of painting. The time of addition of Gorodets painting takes about 50 years. The style of this painting is taking shape, the Gorodets ornament is born, in which large color forms and spots, stingy and laconic, become decisive. In addition to the donets, children's wheelchairs and high chairs were painted. Close to the style of the painted donets were the paintings of urinals - bast boxes in which skeins of yarn were put. They wrote wedding stories with horses, grooms, gatherings: “a spinner and a gentleman in conversation”, “a bird on a tree”, “a dog near a tree”.
The period of 1870-1900, associated with the general rapid development of the fishing activity of the inhabitants of the forest Trans-Volga region, is marked by the final addition of the style of Gorodets painting.
After the decline experienced by the crafts at the beginning of the 20th century and the almost complete cessation of their activities during the First World War, the revival was a difficult matter. In the 1930s, public art workshops were organized.
In 1951, a trade carpentry, furniture and art artel was established in the village of Kurtsevo, and Aristarkh Konovalov, a hereditary master of Gorodets painting, was elected chairman. His mother and uncle, grandfather and great-grandfather worked in the industry.
Since 1954, the production of children's furniture with Gorodets painting begins. In 1957, a class of Gorodets painting was opened at the Semyonov vocational school. The assortment of manufactured things is expanding very slowly, the famous rocking horse from Gorodets appears, and plot paintings begin to revive. In 1960, the artel was transformed into the Gorodetskaya painting factory, and in December 1965 the Kurtsevskaya factory merged with the Gorodets furniture factory into one enterprise, which received the general name Gorodets painting. In 1969, an experimental and creative laboratory was created at the factory, in which Faina Nikiforovna Kasatova began to work, in 1970 A.V. Sokolov and L.F. Bespalova, N.A. Stolesnikov. Beautiful craftswomen L.A. appear. Kubatkina, T.N. Rukina, P.F. Sorina, G.N. Timofeeva, N.N. Noskov. It is with the work of the experimental laboratory that searches in the field of new plot compositions are connected.
The choice of the first works fell on the themes and compositions of feasts with tea drinking at the samovar. All searches were based initially on diligent adherence to the methods of the old masters. At the same time, there was a search for the type of products in the paintings of which it is advisable to place plots. This work was carried out with the help of the Institute of Art Industry. The most original work of these years was the rectangular panel "Artistic Council" by Lilia Fedorovna Bespalova. In this composition, instead of dishes and a samovar, the scheme of the traditional Gorodets feast includes art products from Gorodets. Under the guidance of the artists of the laboratory, the quality of the work of Gorodets craftswomen is gradually improving, 60 of which begin to work in the author's group. They paint bread bins, decorative wall plates, shelves with sets of supplies or cutting boards, cake boards, supplies, caskets, etc. The dominant color of Gorodets murals is either bright yellow chrome or cinnabar. They are usually the dominant color, the background of the entire painting as a whole; blue, green and sometimes "whitened" tones (pink, blue) are used to write a pattern, black and white - to work out the details.
Motives of Gorodets painting.
The most common motifs are: flowers - roses, cups with symmetrical leaves, animals - a horse, a bird. Riders, carriages, ladies, soldiers, cavaliers, dogs are traditional for the plot Gorodets painting.
Composition. There are three types of composition in Gorodets painting: flower painting; flower painting with the inclusion of the motif "horse" and "bird"; plot painting.
Such a division is conditional, since the plot painting is not complete without floral motifs, it is diverse in terms of construction schemes. And even if products with Gorodets painting are made on the basis of the same composition, but in different colors, you can not immediately catch the similarity.
flower painting. This type is most often used, it is the easiest to perform. In a less complex version, a single flower with leaves diverging from it can be depicted at work. In a more complex version, for example, a strip of floral ornament is often depicted on the side walls, and the lid is decorated with flowers inscribed in a circle. On the lids of bread bins, flowers are usually arranged in a rectangle or rhombus. In the floral ornament, the following most common types of ornament can be distinguished: "Bouquet" - depicted symmetrically. Usually written on cutting boards or dishes. "Garland" is a kind of "bouquet", when one or two large flowers are located in the center, smaller flowers with leaves diverge from them to the sides. They can fit into a circle, a strip, or be placed crescent-shaped (on corner screensavers). This type of floral ornament composition is most often used when painting cutting boards, bread boxes, caskets, dishes, and children's furniture.
Zhostovo painting
Zhostovo painting is an ancient and stunningly beautiful craft. The difference between Zhostovo and other paintings is the abundance of colors, bright and incomparable tones, the realism of flowers and birds, and other elements. Unfortunately, over time, we began to forget our traditional paintings. But recently, thanks to various creative studios, which are becoming more and more, traditional murals are gaining more popularity. People want to learn this skill. Modern Zhostovo painting is now used in everything from decorations to painting interior elements. This unique and beautiful craft decorates our everyday life.
History of Zhostovo painting
Zhostovo painting is a folk craft of artistic painting of metal trays, existing in the village of Zhostovo, Mytishchi district, Moscow region. The craft of painted metal trays arose in the middle of the 18th century. in the Urals, where the metallurgical plants of the Demidovs were located (Nizhny Tagil, Nevyansk, Verkh-Neyvinsk), and only in the first half of the 19th century, trays began to be made in the villages of the Moscow province - Zhostov, Troitsky, Novoseltsevo, etc. Soon the Moscow craft became the leading one. At present, the production of trays with lacquer painting is concentrated in the village of Zhostovo, Moscow Region, and in Nizhny Tagil. From the first half of the 19th century, workshops for the production of painted trays worked in several villages of the Moscow province: Ostashkov, s. Troitsky, Sorokin, Khlebnikov and others. The Zhostovo factory dates back to the workshop (opened in 1825) of the peasants, the Vishnyakov brothers, who paid off to the will. In 1928, several artels formed on the basis of workshops after the revolution merged into one - "Metalpodnos" in the village of Zhostovo, which later (1960) was transformed into the Zhostovo decorative painting factory.
Zhostovo painting technique
Trays are made from ordinary sheet iron. Forged products are primed, puttied, polished and varnished, which makes their surface perfectly smooth, then painted with oil paints and covered with several layers of transparent colorless varnish on top. The most important operation requiring genuine creativity is painting. Painting subjects - floral and floral ornaments and everyday scenes from folk life, landscapes, scenes of folk festivals, weddings and tea parties. The most common type of Zhostovo painting is a bouquet located in the center of the tray and framed on the side with a small golden pattern. In this construction, one can see a certain reflection of the composition of the easel still life of the 19th century, enclosed in a gilded frame. But the motive itself received a more decorative and conditional interpretation than in easel paintings. It becomes a part of a decorative thing, special techniques allowed the craftsmen to organically fit it in, as if to “melt” it into the lacquered surface of the tray. The bouquet has turned into an elegant group of flowers, loosely placed on a brilliant lacquer background. Three or four large flowers (rose, tulip, dahlia, and sometimes more modest pansies, bindweed, etc.) were surrounded by a scattering of smaller flowers and buds, interconnected by flexible stems and light “grass”, that is, small twigs and leaflets.
The image seemed to be born from a shimmering depth, dissolving in it with transparent shadows and flashing bright bouquets on the surface. Slightly "drowned" in the background, the flowers seemed light semi-volumetric, tactfully given foreshortenings and turns of the rims did not visually break through the plane of the object. The technique of Zhostovo painting, as well as the painting of each tray itself, is original and unique, because it is performed without any samples. Behind the captivating lightness and unconstrained artistry of writing, lies a huge skill developed by generations of talented unknown peasant artists in the past.
Zhostovo artists paint with oil paints and soft squirrel brushes. While working, the artist holds the tray on his knee and, when necessary, turns it. And the hand with the brush rests on a wooden plank lying across the tray. At first, the artist only outlines the future painting, draws freely with quick and precise strokes. And even repeating the drawing, the master improvises, adds something new.
Painting is carried out in 4 stages:
1. Starts with " scribbles”, the general silhouette of the image, the location of the main spots are outlined with whitened paints. The painted trays are dried in ovens for several hours.
2. The next steps, " tenezhka" And " gasket”, forms of flowers and leaves are built; first, transparent shadows are applied, then light areas of the painting are “paved” with dense bright colors.
3. This is followed by " glare”, that is, the application of whitening strokes that clarify all volumes.
4. The painting ends with elegant graphics " drawings" And " bindings". The elastic lines of the “drawing” easily run around the contour of the petals and leaves, expressively emphasizing their juicy painting in contrast. Small twigs, not accidentally called "binding", soften the transition to the background. Each craftsman uses these traditional techniques that have developed in the craft in his own way, creatively playing with the decorative possibilities of brush writing (for example, “glare” can gently “melt” with the “laying”, or can clearly stand out on it).
As a result, endless variants of similar motifs and images appear, but one never sees literal copies or repetitions among them. So each tray is a unique work of art. Sometimes the painting glows with a special flickering light. This master used mother-of-pearl fragments in the picture, laying them directly on the tray. The means of Zhostovo art are vividly expressive. It has its own artistic system, painting techniques and original style, formed from an alloy of ornamental folk paintings and a realistic pictorial still life mastered by folk masters. The art of Zhostovo is based on the techniques of writing developed by generations, without which his artistic mastery would have been impossible. It is born in the very process of a kind of painting-murals, combining the strict consistency and refinement of handicraft techniques with the improvisation of creativity. The charm of Zhostovo's art lies in the sincerity, immediacy of its content and means of expression. It is democratic in all its manifestations; its perception does not require special knowledge and training. Garden and wild flowers - both real and born by the artist's fantasy, collected in bouquets and spread out in wreaths and garlands - this theme resonates with every person, awakens a sense of beauty.
Works in the technique of Zhostovo painting
Today, decorative painting is on the rise. This does not mean that there are no difficulties and problems in the life of the fishery. They exist in all areas of our culture, which has to resist modern reckless commercialization. Zhostovo is imitated, trying to imitate the style and even the author's manners of artists. The team working in the industry has the highest professionalism, achieved by many years of hard work and creative search, improvement of skills and constant focus on the best examples from the legacy of old masters. To this we must add the study of the history of art, classical still life and various types of Russian applied and folk art, replenishing the "creative piggy bank" of masters.
