Decorative and applied arts examples and authors of watches. decorative arts

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Arts and crafts(from lat. deco- decorate) - a wide section of fine art that covers various industries creative activity, aimed at creating artistic products with utilitarian and artistic functions. A collective term that conventionally unites two broad types of art: decorative And applied. Unlike works of fine art, intended for aesthetic pleasure and related to pure art, numerous manifestations of arts and crafts can have practical use in everyday life.

Works of decorative and applied art meet several characteristics: they have aesthetic quality; designed for artistic effect; used for home and interior decoration. Such products are: clothing, dress and decorative fabrics, carpets, furniture, art glass, porcelain, earthenware, jewelry and other artistic products.
In academic literature, from the second half of the 19th century, a classification of branches of decorative and applied art was established according to material (metal, ceramics, textiles, wood), by technique (carving, painting, embroidery, printing, casting, embossing, intarsia, etc.) and according to functional characteristics use of an object (furniture, toys). This classification is due to the important role of the constructive and technological principle in the decorative and applied arts and its direct connection with production.

Species specificity of DPI

• Sewing- creating stitches and seams on the material using a needle and thread, fishing line, etc. Sewing is one of ancient technologies production that dates back to the Stone Age.
  • Flower making - making women's jewelry from fabric in the form of flowers
  • Patchwork (sewing from scraps), patchwork quilt - patchwork technique, patchwork mosaic, textile mosaic - a type of needlework in which a whole product is sewn together from pieces of fabric using the mosaic principle.
    • Application - a method of obtaining an image; arts and crafts technique.
  • Quilting, quilting - two pieces of fabric sewn through and a layer of batting or cotton wool placed between them.
• Embroidery- the art of decorating all kinds of fabrics and materials with a variety of patterns, from the coarsest and densest, such as cloth, canvas, leather, to the finest fabrics - cambric, muslin, gauze, tulle, etc. Tools and materials for embroidery: needles, threads , hoop, scissors.
• Knitting- the process of making products from continuous threads by bending them into loops and connecting the loops to each other using simple tools, manually or using a special machine.
• Artistic processing of leather- production of various items from leather for both household and decorative and artistic purposes.
• Weaving- production of fabric on looms, one of the oldest human crafts.
• Carpet weaving- production of carpets.
• Burnout- a pattern is applied to the surface of any organic material using a hot needle.
  • Woodburning
  • Fabric burning (guilloche) is a handicraft technique that involves finishing products with openwork lace and making appliqués by burning using a special apparatus.
  • Based on other materials
  • Hot stamping is a technology for artistic marking of products using the hot stamping method.
  • Treatment of wood with acids
• Artistic carving- one of the oldest and most widespread types of material processing.
  • Stone carving is the process of forming the desired shape, which is carried out through drilling, polishing, grinding, sawing, engraving, etc.
  • Bone carving is a type of decorative and applied art.
  • Wood carving
• Drawing on porcelain, glass
• Mosaic- image formation by arranging, setting and fixing multi-colored stones, smalt, ceramic tiles and other materials on the surface.
• Stained glass- a work of decorative art of a fine or ornamental nature made of colored glass, designed for through lighting and intended to fill an opening, most often a window, in any architectural structure.
• Decoupage - decorative technique on fabric, dishes, furniture, etc., which consists of meticulously cutting out images from paper, which are then glued or otherwise attached to various surfaces for decoration.
• Modeling, sculpture, ceramic floristry- giving shape to plastic material using hands and auxiliary tools.
• Weaving- a method of manufacturing more rigid structures and materials from less durable materials: threads, plant stems, fibers, bark, twigs, roots and other similar soft raw materials.
  • Bamboo - weaving from bamboo.
  • Birch bark - weaving from the upper bark of a birch tree.
  • Beads, beadwork - the creation of jewelry, artistic products from beads, in which, unlike other techniques where it is used, beads are not only a decorative element, but also a constructive and technological one.
  • Basket
  • Lace - decorative elements made of fabric and thread.
  • Macrame is a knot weaving technique.
  • Vine is the craft of making wicker products from wicker: household utensils and containers for various purposes.
  • Mat - weaving of flooring, flooring made of any rough material, mat, matting.
• Painting:
  • Gorodets painting is a Russian folk art craft. Bright, laconic painting (genre scenes, figurines of horses, roosters, floral patterns), made in a free stroke with a white and black graphic outline, decorated spinning wheels, furniture, shutters, and doors.
  • Polkhov-Maidan painting - production of painted turning products - nesting dolls, easter eggs, mushrooms, salt shakers, cups, supplies - generously decorated with rich ornamental and subject painting. Among the pictorial motifs, the most common are flowers, birds, animals, rural and urban landscapes.
  • Mezen wood painting is a type of painting of household utensils - spinning wheels, ladles, boxes, bratins.
  • Zhostovo painting - folk craft artistic painting of metal trays.
  • Semenovskaya painting - making a wooden toy with painting.
  • Khokhloma is an ancient Russian folk craft, born in the 17th century in the district of Nizhny Novgorod
  • Stained glass painting - hand painting on glass, imitation of stained glass.
  • Batik is hand-painted on fabric using reserve compounds.
    • Cold batik is a fabric painting technique that uses a special cold reserve compound.
    • Hot batik - a pattern is created using melted wax or other similar substances.
• Scrapbooking- design of photo albums
• Clay crafting- creating shapes and objects from clay. You can sculpt using a potter's wheel or by hand.

For myself (about the trellis):

Tapestry(fr. gobelin), or trellis, - one of the types of decorative and applied art, a one-sided lint-free wall carpet with a plot or ornamental composition, hand-woven by cross-weaving threads. The weaver passes the weft thread through the warp, creating both the image and the fabric itself. In the Brockhaus and Efron Encyclopedic Dictionary, a tapestry is defined as “a hand-woven carpet on which a painting and specially prepared cardboard of a more or less famous artist are reproduced using multi-colored wool and partly silk.”

Tapestries were made of wool, silk, sometimes gold or silver threads. Currently, a wide variety of materials are used to make carpets by hand: preference is given to threads made from synthetic and artificial fibers, and natural materials are used to a lesser extent. The hand-weaving technique is labor-intensive; one craftsman can produce about 1-1.5 m² (depending on the density) of trellises per year, so these products are only available to wealthy customers. And at present, a handmade tapestry (trellis) continues to be an expensive work.

From the Middle Ages until the 19th century, the practice was to produce tapestries in cycles (ensembles), which united products related to one theme. This set of trellises was intended to decorate a room in the same style. The number of trellises in the ensemble depended on the size of the rooms in which they were supposed to be placed. In the same style as the tapestries for the walls, the canopies, curtains, and pillowcases, which also made up the set, were made.

It is correct to call tapestries not any lint-free ornamented carpets, but only those on which the images are created using the weaving technique itself, i.e. interlacing of weft and warp threads, and therefore they are an organic part of the fabric itself, in contrast to embroidery, the patterns of which are additionally applied to the fabric with a needle. Medieval tapestries were produced in monastic workshops in Germany and the Netherlands, in the cities of Tournai in western Flanders and Arras in northern France. The most famous are millefleurs (French millefleurs, from mille - “thousand” and fleurs - “flowers”). The name arose from the fact that the figures on such tapestries are depicted against a dark background dotted with many small flowers. This feature is associated with the long-standing custom of celebrating the Catholic holiday of Corpus Christi (celebrated on the Thursday after Trinity Day). The streets along which the festive procession moved were decorated with banners woven with many fresh flowers. They were hung out of windows. It is believed that weavers transferred this decor to carpets. The earliest known millefleur was made in Arras in 1402. Carpets from this city were so popular, particularly in Italy, that they received Italian name"arazzi".

Cardboard in painting- a drawing with charcoal or pencil (or two pencils - white and black), made on paper or on a primed canvas, from which the picture is already painted with paints.

Initially, such drawings were made exclusively for frescoes; thick paper (Italian: cartone), on which the drawing was made, pierced along its contour, was applied to the ground prepared for fresco painting, and sprinkled with coal powder along the puncture, and thus a faint black color was obtained on the ground circuit. Fresco painting It was written straight away without corrections, so applying a ready-made, completely thought-out outline was necessary. Finished boards often have the value of paintings, minus the paints; such are the cardboards of Michelangelo, Leonardo da Vinci, Raphael (cardboards for "School of Athens" stored in Milan), Andrea Mantegna, Giulio Romano and others. Often famous artists made cardboards for woven carpet-pictures (trellises); seven cardboards by Raphael are known from "Acts of the Apostles", executed by him for Flemish weavers (kept in the Kensington Museum in London), four cardboards of Mantegna. From cardboards of the 19th century. we can mention the works of Friedrich Overbeck, Julius Schnorr von Carolsfeld, P. J. Cornelius ( "Destruction of Troy", "The Last Judgment" etc.), Wilhelm von Kaulbach ( "Destruction of Jerusalem", "Battles of the Huns" etc.), Ingres - for painting on glass in the tomb of the House of Orleans. In Russia, paintings were made on cardboards in St. Isaac's Cathedral(not preserved). Sometimes cardboards are created by one artist, and paintings based on them are created by others. Thus, Peter Joseph Cornelius gave some cardboards almost completely at the disposal of his students.

Materials, technology

Until the 18th century, wool was used as the basis for trellises - the most accessible and easy-to-process material, most often sheep's wool. The main requirement for the base material is strength. In the 19th century, the base for trellises was sometimes made of silk. The cotton base significantly lightens the weight of the product, it is durable and more resistant to adverse environmental influences.

In trellis weaving, the density of the carpet is determined by the number of warp threads per 1 cm. The higher the density, the more opportunities the weaver has to complete small details, and the slower the work progresses. In a medieval European tapestry, there are about 5 warp threads per 1 cm. Products from Brussels manufactories of the 16th century had the same low density (5-6 threads), but local weavers were able to convey the complex nuances of the image. Over time, the trellis gets closer to painting, its density increases. At the Gobelin manufactory, the density of tapestries was 6-7 threads per 1 cm in the 17th century, and in the 18th century it was already 7-8. In the 19th century, the density of products from the Beauvais manufactory reached 10-16 threads. Such a tapestry essentially became just an imitation of easel painting. Jean Lursa considered reducing its density as one of the means of returning the tapestry to its decorative quality. In the 20th century, French manufactories returned to the tapestry density of 5 threads. In modern hand weaving, the density is assumed to be 1-2 threads per cm; a density of more than 3 threads is considered high.

The tapestries are woven by hand. The warp threads are tensioned on a machine or frame. The warp threads are intertwined with colored wool or silk threads, and the warp is completely covered, so that its color does not play any role.

The earliest and simplest device for a weaver's work was a frame with tensioned warp threads. The base can be fastened by pulling it onto nails driven into the frame, or by using a frame with cuts evenly spaced along the top and bottom edges, or by simply winding a thread onto the frame. However, the latter method is not very convenient, since the warp threads may move during the weaving process.

Later, high and low looms appeared. The difference in working on the machines lies mainly in the arrangement of the warp threads, horizontal - on a low machine - and vertical - on a high one. This is due to their specific structure and requires characteristic movements during operation. In both cases, the method of creating volume and color transitions in the drawing is the same. Threads of different colors intertwine and create the effect of a gradual change in tone or a sense of volume.

The image was copied from cardboard - a preparatory drawing in color of a life-size trellis, made on the basis of the artist’s sketch. Using one cardboard you can create several trellises, each time slightly different from each other.

Mechanically, the technique of making trellises is very simple, but it requires a lot of patience, experience and artistic knowledge: only an educated artist, a painter in his own way, can be a good weaver, differing from a real one only in that he creates the image not with paints, but with colored thread. He must understand drawing, color and light and shade as an artist, and in addition, he must also have complete knowledge of the techniques of tapestry weaving and the properties of materials. Quite often it is impossible to select threads of different shades of the same color, so the weaver has to tint the threads while working.

When working on a vertical machine, the base is unwound from its upper shaft, as the product is ready, and the finished trellis is wound onto the lower one. Carpets made on a vertical loom are called haute-lisse(gotlis, from fr. haute"high" and lisse"the basis"). The Gottliss technique allows you to perform a more complex drawing, but it is also more labor-intensive. The weaver's workplace is located on the underside of the carpet, where the ends of the threads are secured. The image from the cardboard is transferred to tracing paper, and from it to the carpet. There was cardboard behind the weaver's back, and a mirror on the front side of the work. By spreading the warp threads apart, the craftsman can check the accuracy of the work on the cardboard.

Other carpets, in the manufacture of which the warp is located horizontally between two shafts, due to which the weaver's work is greatly facilitated, are called basse-lisse(baslis, from fr. basse"low" and lisse"the basis"). The warp threads are stretched between two shafts in a horizontal plane. The trellis faces the weaver with its reverse surface, the design from the cardboard is transferred to tracing paper placed under the warp threads, thus the front side of the product repeats the cardboard in a mirror image. The master works with small bobbins on which threads of different colors are wound. Passing a bobbin with a thread of any color through the warp and entangling the latter with it, he repeats this operation the required number of times, and then leaves it and takes up another with a thread of a different color, so as to return to the first bobbin when needed again.

Once the trellis is removed from the machine, it is impossible to distinguish which of the two techniques it was made in. To do this, you need to see the cardboard - the Baslis trellis repeats it in a mirror image, the Gotlis - in direct reflection.

Features of the artistic language of DPI

The subject of the artist's activity in decorative and applied arts determines the characteristics of the creative method. Most often, three main terms are used to refer to these features: abstraction, geometrization, stylization.

Abstraction(Latin abstraction - “distraction”) involves the abstraction of a decorative image from a specific object-spatial natural environment, since the role of such an environment, unlike easel art, is assumed by the surface being decorated. Hence the fundamental convention of decorative representation, in which different moments of time and space can easily be combined. A connoisseur of Russian ceramics, A. B. Saltykov, convincingly wrote about this, noting “the lack of unity of place, time and action” as the fundamental principle of decorative composition. In particular, the decor located on the volumetric shape of the vessel, interacting with the curvilinear space of its surface, is located depending on the “geography” of the object, and not according to ordinary ideas. Curvature, color and texture of the surface to be decorated, for example White background in painting porcelain or earthenware, they can equally easily indicate water, sky, earth or air, but, above all, the aesthetic value of the surface as such. V.D. Blavatsky wrote that the painting of the ancient Greek kylix (bowl) should be viewed by turning the vessel in the hands. Now we can circle around the museum display case.

The transitional stages of the process of abstraction and geometrization of a decorative image are called “visual ornament”, and according to genre varieties they are divided into plant, animal, mixed... One of the most interesting genre varieties of mixed figurative ornament in the history of art is the grotesque.

Stylization in the very general meaning The term refers to the intentional, conscious use by the artist of forms, methods and techniques of shaping, previously known in the history of art. At the same time, the artist is mentally transported to another century, as if immersed “into the depths of time.” Therefore, such stylization can be called temporary. Stylization can have a private, fragmentary character, then individual themes, forms, motifs, and techniques are chosen as the subject of artistic play. Sometimes this method of shaping is called stylization of the motif. A significant part of the works of art “Art Nouveau” (“new art”) of the turn of the 19th–20th centuries. is built on the stylization of one motif: waves, plant shoots, strands of hair, the bend of a swan’s neck. These lines were in vogue in the turn of the century culture. In particular, the famous French decorative artist and clothing designer Paul Poiret (1879–1944) came up with a smooth curved line women's dress, which was called the Poiret line.

Stylization of a motif can be considered as a special case of decorative stylization, since the artist’s efforts are aimed at including a separate work, its fragment or a stylized motif into a broader compositional whole (which corresponds to the general meaning of the concept of decorativeness). Using the method of holistic stylization, the artist is mentally transported to another decorative era - he strives to think organically in the object-spatial environment that has already developed around him. We called the first method the method of temporal stylization, and the second can be called spatial.

It is clear that the method of decorative stylization is most fully manifested in the decorative arts and, in particular, in the art of spectacular posters and book illustrations, although there are exceptions. Thus, the wonderful painter and draftsman A. Modigliani built the gentle expressiveness of his images on the frank stylization of line and hyperbolization of form, and his “masks” stylize African samples.

The work of many artists organically combines the methods of abstraction, geometrization and stylization.

The density, saturation of the image, the predominance of figures over the background also contribute to decorativeness. In some cases this leads to the so-called ornamentalization of the decor, in others to the “carpet style”. The processes of transformation of visual elements are united by the concept of geometrization. Ultimately, this tendency leads to extremely abstract or geometric ornament.

In addition to the fundamental methods - abstraction, geometrization and stylization - the artist of decorative and applied arts uses private methods of shaping, or artistic paths (Greek tropos - “turn, turn”).

In the visual arts, comparison is made on the basis geometrization. Wonderful examples of such comparisons are works of the “animal style”. This style dominated in products of “small forms” in the vast expanses of Eurasia from the Lower Danube, the Northern Black Sea region and the Caspian steppes to the Southern Urals, Siberia and the northwestern part of China in the 7th–4th centuries. BC e.

Classic examples of assimilation of form to format are compositions in a circle, in particular the compositions of the bottoms of ancient Greek kylixes - round wide bowls on a leg with two horizontal handles on the sides. From such bowls they drank wine diluted with water. In ancient houses, during breaks between symposia (feasts), kylixes were usually hung by one of the handles from the wall. Therefore, the paintings were placed on the outside of the bowl, around the circumference, so that they were clearly visible.

The main problems of DPI

All works of antiquity organically combined the material and spiritual, utilitarian, aesthetic and artistic value. It is interesting that in early antiquity there was no separate understanding of the qualities of the vessel as a container, its symbolic meaning, aesthetic value, contents and decor.

Later, the pictorial space of things began to be divided into internal container and external surface, shape and ornament, object and surrounding space. As a result of such a differentiation process, the problem of an organic connection between the functions and form of the product, its harmony with the environment, arose.

At the same time, the statement that a truly decorative image should be planar is not true. The abstraction of decoration lies not in adaptation, but in the interaction of pictorial form and environment. Therefore, illusory images that visually “break through” the surface can be just as decorative as those that “creep along the plane.” It all depends on the artist’s intention, compliance compositional solution idea.

The same applies to the problem of identifying the natural properties of the material of the surface being decorated. An entirely gilded porcelain vase or a metal-look cup can be no less beautiful than the finest polychrome painting, shading off the sparkling whiteness. Is it possible to say that the natural texture of wood is more decorative than its surface covered with bright paint and gilding, and that matte bisque (unglazed porcelain) looks better than shiny glaze?

In 1910, the outstanding Belgian architect, artist and Art Nouveau art theorist Henri Van de Velde (1863–1957) wrote a polemical article entitled “Animation of material as a principle of beauty.”

In this article, Van de Velde outlined his views on one of the main problems of the “new style” - the artist’s attitude to the material. He argues with the traditional opinion that the applied artist should bring out the natural beauty of the material. “No material,” wrote Van de Velde, “can be beautiful in itself. He owes his beauty spirituality which the artist brings into nature.” Spiritualization " dead material"occurs through its transformation into a composite material. At the same time, the artist uses different means, and then, based on the same materials, he gets the opposite result. The meaning of the artistic transformation of natural materials and forms, in contrast to the aesthetic properties objectively present in nature, according to Van de Velde, is dematerialization, imparting properties that the material did not have before the artist’s hand touched it. This is how heavy and rough stone turns into the finest “weightless” lace of Gothic cathedrals, the material properties of dyes are transformed into the radiance of the color rays of medieval stained glass, and gilding becomes capable of expressing heavenly light.

In the decorative and applied arts, where the artist is obliged to solve the problem of connections between the part and the whole, including his own composition in a wide spatio-temporal context, paths acquire fundamental importance. Transfers of meaning can be carried out in different ways and compositional techniques. The simplest technique is well known in the history of art of the Ancient world. This is the likening of form to format. Such a pictorial trope can be correlated with a literary comparison on the principle of “whole to whole,” for example: “The horse flies like a bird.”

Terminology in DPI

Liters

Vlasov V. G. Fundamentals of the theory and history of decorative and applied arts. Educational and methodological manual. - St. Petersburg State University, 2012.- 156 p.

Moran A. History of decorative and applied arts. - M

Arts and crafts(from Latin decoro - decorate) - a section of decorative art that covers the creation of artistic products that have a utilitarian purpose.

Works of decorative and applied art meet several requirements: they have aesthetic quality; designed for artistic effect; used for home and interior decoration. Such products are: clothing, dress and decorative fabrics, carpets, furniture, art glass, porcelain, earthenware, jewelry and other artistic products. In the scientific literature, from the second half of the 19th century, a classification of branches of decorative and applied art was established by material (metal, ceramics, textiles, wood), by technique (carving, painting, embroidery, printed material, casting, embossing, intarsia, etc.) and according to the functional characteristics of the use of the item (furniture, dishes, toys). This classification is due to the important role of the constructive and technological principle in the decorative and applied arts and its direct connection with production.

Batik, hand-painted on fabric using reserve compounds. The fabric - silk, cotton, wool, synthetic - is painted with paint corresponding to the fabric. To obtain clear boundaries at the junction of paints, a special fixative, called reserve, is used. There are several types, for example hungry and hot.

Tapestry, a lint-free wall carpet with a plot or ornamental composition, hand-woven by cross-weaving threads.

"Offer of the Heart." Arras. OK. 1410. Cluny Museum

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Thread graphics(name options: isothread, thread image, thread design), technique of obtaining an image with threads on cardboard or other solid base.

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Artistic carving:

on stone:

Acrolit - mixed media, used in ancient sculpture, in which the naked parts of the statue were made of marble, and the clothes were made of painted or gilded wood. The body (the main hidden frame of the statue) could also be made of wood.

Glyptics is the art of carving colored and precious stones and gems. One of the most ancient arts. Also applies to jewelry.

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Artistic carving:
on wood:

One of the oldest and most widespread types of artistic woodworking, in which a pattern is applied to the product using an ax, knife, cutters, chisels, chisels and other similar tools. With the improvement of technology, wood turning and milling appeared, which greatly simplified the work of the carver. Carving is used in home decor, for decorating household utensils and furniture, for making small wooden plastics and toys.

Through threads are divided into through threads and overhead threads, and have two subtypes:

Slotted thread- (through sections are cut through with chisels and cutters). Sawed thread (actually the same thing, but such areas are cut out with a saw or jigsaw). Slotted or sawn thread with a relief ornament is called openwork.

Flat grooved thread carving is characterized by the fact that its basis is a flat background, and the carving elements go deep into it, that is, the lower level of the carved elements lies below the background level. There are several subtypes of such carvings:

Contour thread- the simplest, its only element is a groove. Such grooves create a pattern on a flat background. Depending on the chisel you choose, the groove may be semicircular or triangular.

WITH cob-shaped (nail-shaped) thread- the main element is a bracket (outwardly similar to the mark left by a fingernail when pressing on any soft material, hence the name nail-shaped) - a semicircular notch on a flat background. Many such brackets of different sizes and directions create a picture or its individual elements.

G geometric (triangular, trihedral notched) thread- has two main elements: a peg and a pyramid (a triangular pyramid buried inside). Carving is performed in two stages: pricking and trimming. First, the sectors that need to be cut are pricked (outlined) with a cutter, and then they are trimmed. Repeated use of pyramids and peg at different distances and at different angles gives a great variety of geometric shapes, among which are distinguished: rhombuses, swirls, honeycombs, chains, radiances, etc.

Black lacquer carving— the background is a flat surface covered with black varnish or paint. As in a contour carving, grooves are cut into the background, from which the design is built. The different depths of the grooves and their different profiles give an interesting play of light and shadow and the contrast of the black background and light cut grooves.

Relief carving characterized by the fact that the carving elements are located above the background or at the same level with it. As a rule, all carved panels are made using this technique. There are several subtypes of such carvings:

Flat relief carving with a cushion background - can be compared with contour carving, but all the edges of the grooves are rolled up, and sometimes with varying degrees of steepness (from the side of the drawing it is more sharp, from the side of the background it is gradually, sloping). Due to such oval contours, the background seems to be made of pillows, hence the name. The background is flush with the design.

Flat relief carving with a selected background - the same carving, but only the background is selected with chisels one level lower. The contours of the drawing also become shaved.

Abramtsevo-Kudrinskaya (Kudrinskaya)— originated in the Abramtsevo estate near Moscow, in the village of Kudrino. The author is considered to be Vasily Vornoskov. The carving is distinguished by a characteristic “curly” ornament - curling garlands of petals and flowers. The same characteristic images of birds and animals are often used. Like flat-relief, it comes with a cushion and a selected background.

Carving "Tatyanka"- this type of carving appeared in the 90s of the 20th century. The author (Shamil Sasykov) named this formed style in honor of his wife and patented it. As a rule, such carvings contain floral ornaments. Characteristic feature is the absence of a background as such - one carved element gradually merges into another or is superimposed on it, thus filling the entire space.

Artistic carving:
by bone:

Netsuke is a miniature sculpture, a work of Japanese art and craftsmanship, which is a small carved keychain.

Ceramics, clay products made under high temperature followed by cooling.

Embroidery, a well-known and widespread handicraft art of decorating various fabrics and materials with a variety of patterns, can be satin stitch, cross stitch, ancient Russian facial embroidery.

Knitting, the process of making products from continuous threads by bending them into loops and connecting the loops to each other using simple tools manually (crochet hook, knitting needles, needle) or on a special machine (mechanical knitting).

Macrame, knot weaving technique.

Jewelry Art.

(from German Juwel or Dutch juweel - precious stone), the production of artistic products (personal jewelry, household items, religious items, weapons, etc.) mainly from precious (gold, silver, platinum), as well as some precious non-ferrous metals, often in combination with precious and ornamental stones, pearls, glass, amber, mother-of-pearl, bone, etc. In jewelry, forging, casting, artistic chasing and shotting are used (giving the surface of the metal grainy and dull using chasing in the form of a blunt awl or tube ), embossing, carving or engraving, obron (a technique in which the background around the design is cut out), filigree, granulation, niello, enamels (enamel), inlay, etching, polishing, etc., mechanical processing techniques - stamping, rolling, etc. .

Artistic processing of leather.

Techniques for artistic processing of leather.

Embossing. There are several types of embossing. Used in industrial production various ways stamping, when the design on the skin is squeezed out using molds. In the manufacture of artistic products, stamping is also used, but typesetting stamps and embossing are used. Another method is embossing with filling - cutting out elements of the future relief from cardboard (lignin) or pieces of blinders and placing them under a layer of pre-moistened yuft, which is then pressed along the contour of the relief. Small details are extruded without lining due to the thickness of the leather itself. When it dries, it hardens and “remembers” the relief decor. Thermal stamping is the extrusion of decor on the surface of the leather using heated metal stamps.

Perforation or die cutting is one of the oldest techniques. Actually, it boils down to the fact that using punches of various shapes, holes are cut out in the leather, arranged in the form of an ornament.

Weaving is one of the processing methods that involves joining together several strips of leather using a special technique. Jewelry often uses macrame elements made from “cylindrical” cord. In combination with perforation, weaving is used to braid the edges of products (used for finishing clothes, shoes, bags).

Pyrography (burning) is a new technique, but with an ancient pedigree. Apparently, the initial burning on the skin was side effect during thermo-stamping, but then was widely used as an independent technique. With the help of pyrography, very thin and complex designs can be applied to the skin. It is often used in combination with engraving, painting, and embossing when creating panels, jewelry, and making souvenirs.

Engraving (carving) is used when working with heavy, dense leather. A pattern is applied to the front surface of the soaked leather using a cutter. Then the slots are widened with any oblong metal object and filled with acrylic paint. When dry, the contour drawing retains its clarity and the lines retain their thickness.

Applique in leatherworking is gluing or sewing pieces of leather onto a product. Depending on what product is being decorated, the application methods differ slightly.

Intarsia is essentially the same as inlay and mosaic: image fragments are mounted end-to-end. Intarsia is made on a textile or wooden base. Depending on this, leather grades are selected. To achieve the proper quality, accurate patterns of all fragments of the composition are made from a preliminary sketch. Then, using these patterns, elements are cut out from pre-dyed leather and glued to the base using bone glue or PVA emulsion. The intarsia technique is used mainly to create wall panels, but in combination with other techniques it can be used in the manufacture of bottles, souvenirs, and furniture decoration.

In addition, the leather can be painted, it can be molded into any shape and relief (by soaking, gluing, filling).

Artistic metal processing:

Work in Filigree technique

Casting. Gold, silver, bronze have high fusibility and are easily poured into molds. The castings follow the model well. Before casting, the master makes a model from wax. Those parts of the object that must be especially durable, such as vessel handles, handles or latches, as well as ornaments and figures, are cast in sand molds. Complex items require multiple models to be made because different parts are cast separately and then connected by soldering or screwing.

Artistic forging- one of the most ancient ways metal processing. It is carried out by striking the workpiece with a hammer. Under its impacts, the workpiece is deformed and takes the desired shape, but such deformation without ruptures and cracks is characteristic mainly only of precious metals that have sufficient ductility, viscosity, and ductility.

Embossing is a very unique, most artistic and at the same time labor-intensive production technique. Precious metals can be rolled into a thin sheet, then the shape of the object takes on its shape in a cold state using accelerating hammers. Often, an artistic product is processed on a base (lead or resin pad), which is selected depending on the degree of malleability of the metal. With short and frequent blows of the hammer, with constant pressure and rotation, the metal is tapped until the desired shape is achieved. Then they move on to embossing (embossing the decor). The decor is embossed using stamps (steel rods of a certain profile). Products forged from a single piece of workpiece are the highest works of art. It is easier to work with two or more pieces of workpiece, which are then soldered together.

1. Chasing from a sheet.
2. Minting by casting or armor.
In the first case, a new work of art is created from a sheet blank by means of embossing; in the second, an artistic form that was previously cast in metal (or cut out of metal using the obrona technique) is only revealed and completed.

Metal-plastic. Artistic works made using this technique resemble sheet metal in appearance, but in essence they differ significantly, primarily in the thickness of the sheet metal.
For embossing, sheets with a thickness of 0.5 mm or more are used, and for metal-plastic, foil up to 0.5 mm is used. However, the main difference between metal-plastic is in the technological process itself and the set of tools. In embossing, the shape is formed by hitting the emboss with a hammer, and in metal-plastic, the shape is sculpted through smooth deformations carried out by special tools that resemble sculptural stacks.

Engraving is one of the oldest types of artistic metal processing. Its essence is application linear drawing or relief onto the material using a cutter. The technology of artistic engraving can be distinguished:
- flat engraving(two-dimensional), in which it is processed
surface only; Its purpose is to decorate the surface of a product by applying a contour drawing or pattern, complex portrait, multi-figure or landscape tone compositions, as well as the execution of various inscriptions and type works. Engraving decorates both flat and three-dimensional products.
Planar engraving, also called gloss engraving or engraving for appearance, also includes niello engraving, which technologically differs from conventional engraving only in that it is carried out somewhat deeper, and then the selected design is filled with niello.
—defense engraving(three-dimensional).
Armor engraving is a method in which a relief or even a three-dimensional sculpture is created from metal. In defensive engraving, there are two options: convex (positive) engraving, when the relief pattern is higher than the background (the background is deepened, removed), in-depth (negative) engraving, when the pattern or relief is cut inward.

Etching. This is another technique related to graphics. As in etching, the object was coated with resin or wax, and then the decoration was scratched onto it. When the product was immersed in acid or alkali, the scratched areas were etched, and the surface around them, often damaged by the intervention of the tool, became dull. This created a very shallow and softly emerging relief.

Filigree is a unique type of artistic metal processing, which has occupied an important place in the world since ancient times. jewelry.
The term “filigree” is more ancient, it comes from two Latin words: “phylum” - thread and “granum” - grain. The term "scan" is of Russian origin. It originates from the ancient Slavic verb “skati” - to twist, twist. Both terms reflect the technological essence of this art. The term “filigree” combines the names of two main primary elements from which a characteristic of filigree production is produced, namely, that the wire is used in this type of art, twisted, twisted into cords.
The thinner the wire and the tighter and steeper it is twisted, the more beautiful the product, especially if this pattern is complemented by grain (tiny balls).

Enameling. Enamel is a glassy solidified mass of inorganic, mainly oxide composition, sometimes with metal additives, formed through partial or complete melting, applied to a metal base.

Decorative processing
The description of the decorative finishing of the product must contain information about the location, individual dimensions, quantity, and characteristics of the elements of artistic processing. Typical elements included in the general description are given below.
1. Matting.
2. Blackening.
3. Oxidation.
Matting
The matted, or textured, surface of products is considered to be a surface that is different from polished and carries a decorative load.
The surface texture can be finely pitted, finely lined, or matte. The effect of combined texture processing with gloss is most often used. Areas of the textured surface are obtained using the molded crust of products, a polished surface (pre-processing the working surface of the stamp with sandblasting), using etching in various acid compositions, mechanical matting (with a graver, ground pumice, brushing).
Blackening
Niello (a low-melting alloy of the composition: silver, copper, lead, sulfur) is applied to a product prepared for niello, that is, with indentations with an engraved pattern. The depth of the pattern is within 0.2-0.3 mm depending on the size of the product. The surface of the product that is not covered with niello must be polished, without marks, scratches and other defects.
Oxidation
Products made of silver and silver-plated are oxidized (treated) both chemically and electrochemically. The processes of chemical and electrochemical colorless oxidation are carried out in solutions and electrolytes, the main component of which is potassium dichromate. In the process of color oxidation, products are colored in a variety of shades: blue, black, gray, dark brown, etc. To give the films a beautiful shine, oxidized products are brushed with soft brass brushes. The oxidized surface should be uniformly matte, without differences in color shades.
Electroplating
In the jewelry industry, gold, silver, and rhodium are used as electroplating coatings. On galvanic coatings there may be slight traces of contact points with current-carrying devices, which do not disturb the coating layer and do not deteriorate the appearance of the product.

Pyrography, burning on wood, leather, fabric, etc.

Stained glass, work of decorative art of a figurative nature made of colored glass, designed for through lighting and intended to fill an opening, most often a window, in any architectural structure.

Top half of the Poor Man's Bible Window, Canterbury Cathedral, UK

Currently, there are several different types of stained glass depending on the manufacturing technique:

Classic (stacked or mosaic) stained glass- formed by transparent pieces of glass held in place by partitions made of lead, copper, or brass. Classic stained glass is divided into lead-soldered (assembled on a lead profile) and stained glass using Tiffany technology (assembled on a copper tape).

Lead-solder (solder) stained glass window- a classical stained glass technique that appeared in the Middle Ages and served as the basis for all other techniques. This is a stained glass window assembled from pieces of glass in a lead frame, sealed at the joints. Glass can be colored and painted with paint made from fusible glass and metal oxides, which is then fired in specially designed furnaces. The paint is firmly fused into the glass base, forming a single whole with it.

Faceted stained-glass window is a stained-glass window made of glass with a chamfer removed along the perimeter of the glass (facet, facet) or voluminous, ground and polished glass that has a cut. To obtain a wide chamfer (this enhances the effect of light refractions), thicker glass is required, which increases the weight of the stained glass window. Therefore, the finished beveled parts are assembled into a more durable (brass or copper) frame. It is better to place such a stained glass window in interior doors or furniture doors, since such a frame is able to withstand the loads of opening/closing, and the lead in this case sags. The golden hue of a copper or brass frame gives things a precious look, being visible not only in the light, but also in reflected light, which is especially important for stained glass furniture.

Painted stained glass— a design is applied to the surface of the glass using transparent paints.

Combined stained glass— is formed by a combination of various technologies for creating stained glass.

Sandblasting stained glass created using special equipment

Sintered stained glass (fusing)— stained glass technique, in which a design is created by baking multi-colored pieces of glass together or by baking foreign elements (for example, wire) into glass.

Etched stained glass- a technique based on the ability of hydrofluoric acid to interact with silicon dioxide (the main component of glass). When interacting with acid in this way, the glass is destroyed. Protective stencils make it possible to obtain a design of any complexity and required depth.

Cast Stained Glass - Each piece of glass is hand cast or blown. Glass, the thickness of which varies from 5 to 30 mm, is also given a surface texture, which, by refracting light, enhances expressiveness. Cement mortar and metal reinforcement are used to hold the glass together.

Stacked stained glass - simplest form stained glass, usually without painting, which is created on a typesetting table from pieces of immediately cut or pre-cut glass.

Imitation of stained glass.

Film stained glass— lead tape and multi-colored self-adhesive film (English technology) are glued to the surface of the glass.

Contour stained glass window- a pattern is applied to the surface of the glass using acrylic polymers in two stages: the contour imitates the vein of a classic stained glass window, in the closed areas formed by applying the contour, colored elements are manually filled (English technology).

Overlay stained glass- obtained by gluing elements onto a base.

Mosaic, a work that involves the formation of an image by arranging, setting and fixing on the surface (usually on a plane) multi-colored stones, smalt, ceramic tiles and other materials.

The symbol of the soul - a bird - on the Byzantine mosaic of an Orthodox church of the 6th century. Chersonesos.

Technique. Laying methods.

When dialing directly mosaic elements are pressed into the ground. At reverse dialing The mosaic is assembled on cardboard or fabric, then transferred to a primed surface.

Laying mosaics: The technique is similar to laying tiles; glue and grout for mosaic joints are available in every hardware supermarket.

The base is examined for strength, all defects are identified - cracks, cavities, gravel nests, reinforcement or other foreign objects not included in the project, as well as problem areas, for example, oil stains, loose or insufficiently strong base, voids. The base must be strong, load-bearing, dry, and also level and free from adhesion-reducing agents (for example, additives that reduce adhesion and facilitate the dismantling of formwork), without traces of laitance, dust, dirt, paint residues, worn rubber, etc. If necessary, carry out mechanical cleaning of the base, for example, by sandblasting. Before you start laying the mosaic, the surface must be visually smooth, without sagging, pits and cracks, as well as dry and primed.

Laying mosaics on paper. Laying begins by applying glue to the prepared surface, after which it is evenly distributed over the entire surface. In most cases, it is recommended to use latex-based adhesives. The mosaic is glued with the back side facing the paper. Laying must be neat, so the distance between the sheets must correspond to the distance between the tiles; excessive pressure is unacceptable. Upon completion of installation, the sheets must be secured with light blows from a pad with a rubber base. After a day, the paper can be removed - moistened with a damp sponge, it comes off. Before grouting the joints, the mosaic surface must be cleaned of any remaining paper and glue, after which the grouting can be done using a rubber float. To grout joints, it is advisable to use a composition recommended by the mosaic manufacturer. Once the grouting is complete, you can clean the mosaic and polish the mosaic surface.

Laying mosaics on a grid. Unlike mosaics on paper sheets, mosaics glued to mesh are glued face up. The characteristic feature of its installation technology is that after the glue has dried, you can immediately begin grouting the joints.

In the arts and crafts, there are still many different types. Every year new technologies are discovered, there are more and more of them.

More detailed information, with visual material, can be found on the pages of well-known search engines.

Folk arts and crafts are a complex and multifaceted phenomenon. It includes a variety of directions, types, forms. But they are all united by a combination of the practical expediency of the products with the natural beauty of their appearance, coming from surrounding nature(69, p. 263).

Folk decorative and applied art is an integral part of culture and actively influences the formation artistic tastes, enriches professional art and expressive means of industrial aesthetics.

Folk decorative and applied art is called art that has come to us from the depths of centuries, from the depths of generations, predominantly collective art, formed in the folk, peasant environment.

Traditions in the field of folk arts and crafts include the most expressive proportions and shapes of objects, their color scheme, selected and polished by many generations of craftsmen, in the ornament the artistic reflection of the natural environment, flora and fauna, on the basis of which this ornamental culture and the skills of craftsmanship accumulated over centuries were formed processing of various natural materials. From generation to generation, only what was vital, progressive, what people needed and capable of further development was passed on.

In Ancient Rus', the whole life of people was literally permeated with the desire for beauty and harmony with the natural environment. The house, hearth, furniture, tools, clothing, utensils, toys - everything that the hands of folk craftsmen touched embodied their love for native land and an innate sense of beauty, And then ordinary household objects became works of art. The beauty of their form was complemented by decorative ornaments in the form of ornaments, images of people, animals, birds, and plot scenes.

Since ancient times, folk craftsmen in their creativity used what nature itself gave them - wood, clay, bone, iron, flax, wool. Nature has always served as the main source of inspiration for folk craftsmen. But, embodying images of nature in their works, the masters never copied it literally. Illuminated by folk fantasy, reality sometimes acquired magical, fairy-tale features; in it, reality and fiction seemed inseparable

It is this originality of folk arts and crafts, its unique expressiveness and proportionality that has inspired and continues to inspire professional artists. However, not all of them manage to fully comprehend and rethink its full depth and spiritual potential.

In modern conditions, the people's need for folk art, for its authenticity and spirituality, is increasing. But find ways to save folk art, its fruitful development is possible only by understanding its essence, creative and spiritual, its place in modern culture.

Folk arts and crafts are varied. These are embroidery, ceramics, artistic varnishes, carpet weaving, artistic processing of wood, stone, metal, bone, leather, etc.

Artistic wood processing. The tree is one of the ancient symbols of Russia. In ancient Slavic mythology, the tree of life symbolized the universe. Since ancient times, shady groves and oak forests, mysterious dark thickets and the light green lace of forest edges have attracted connoisseurs of beauty and awakened the creative energy of our people. It is no coincidence that wood is one of the most favorite natural materials among folk craftsmen.

In different parts of Russia, original types of artistic woodworking have developed. Each of them has its own history and its own unique characteristics.

Abramtsevo-Kudrinskaya carving.

Decorative vase

Bogorodsk products are made from soft wood - linden, alder, aspen. The main tools of folk craftsmen were an axe, a special Bogorodsk knife and a set of round chisels of various sizes. The blade of the Bogorodsk knife ends in a triangular bevel and is sharpened to a razor sharpness.

Bogorodskaya carving. I. K. Stulov.

"King Dodon and the Astrologer"

Over the centuries, so-called swing carving techniques have developed. Any product is cut with a knife “right away”, immediately clean, quickly, accurately, without any preliminary sketches prepared in drawing or clay.

Bogorodsk toys are interesting not only for their carvings, but also for their original design. Most often these are toys with movement. Their traditional hero is the Bogorodsk bear - a smart and active bear cub who performs in company with a person.

Bogorodskaya carving. V.S. Shishkin. Toy "Firemen"

A traditional type of Russian folk arts and crafts is the production of artistically designed products from birch bark, birch bark.

Even in ancient times, birch bark attracted folk artists with its dazzling whiteness. When processed, birch bark retained its natural properties: softness, velvety, flexibility and amazing strength, thanks to which it was used to make vessels for liquids, milk and honey. It is known that in the forested territory of Russia - Vologda, Arkhangelsk, Olonetsk, Vyatka, Vladimir, Nizhny Novgorod provinces, as well as in the Urals and Siberia - in the Perm and Tobolsk provinces, crafts became famous for birch bark products since ancient times.

These include low, wide, open vessels - checkmans, boxes, dials. A significant part is represented by wickerwork. These include salt shakers, wicker shoes - brodki, covers, bags - shoulder pads. The most complex and labor-intensive items of utensils are beetroot, boxes, and tueski.

Tuesok.

Veliky Ustyug. Tuesok. A.E. Markova

Expanded birch bark

Artistic stone processing. The specificity of the material - its hardness, strength, beauty and variety of colors - determines the widespread use of hard stone in the jewelry industry. This is a special area of ​​artistic processing of hard stone, which is currently very widespread. Necklaces, pendants, brooches, bracelets, rings, earrings, hairpins - a wide range of products made from hard stones.

Craftsmen working on the creation of jewelry rely on the richest traditions of this art in Russia. Artists strive to bring out the natural beauty of the stone, using an uncut surface, in which shades of color and natural inclusions are especially clearly visible.

In addition to jewelry, a fairly extensive range of products is made from hard stone. These are small decorative vases, trays for jewelry, desk utensils for writing instruments, and miniature animal sculptures.

Stone carving.

L.N. Puzanov. Vase “Autumn” Stone carving.

T.Ch. Ondar. Goat with kid

Bone carving. Bone is a material that has been widely used since ancient times.

Art crafts for processing bones developed mainly in the North. The materials for artistic processing were elephant, mammoth, and walrus tusks. Folk craftsmen were able to identify and use the remarkable properties of the material for artistic products.

Mammoth ivory has a beautiful yellowish tone and a texture in the form of a miniature mesh. Due to its hardness, impressive size, beautiful color it is suitable for creating a variety of artistic products. You can use it to make vases, cups, tabletop decorative sculptures, and items with openwork carvings.

Walrus tusk is a beautiful white-yellow material. It was used to create miniature sculptures, various products with openwork and relief carvings, as well as for engraving. In addition to these main types of bone, simple animal bone - the tarsus, as well as cattle horn - are used to create artistic products. Although after bleaching and degreasing, a simple animal bone acquires a white color, it does not have the properties, beauty, color, and hardness that walrus and mammoth tusks have.

Kholmogory bone carving. Decorative vase “Spring”. Walrus bone. Openwork carving

Carved bone.

L.I. Teyutina. "Slaughter of walruses at the rookery"

Carved bone. Table snuff box

“On Tony”, 1976. A.V. Leontyev

Carved bone.

N. Kililo.

Bear family

Artistic metal processing has ancient traditions. The emergence of artistic metal processing centers in a particular region was due to a number of historical, geographical, and economic reasons.

Russian mob. Foot. XVII century Armouries

Pos. Mstera.

Vase-candy bowl.

Copper, filigree, silver plating

Folk ceramics. Ceramics - various objects made of fired clay. They are created by potters. Wherever there were natural reserves of clay suitable for processing, master potters made bowls, jugs, dishes, flasks and other objects of various shapes and decorations, which were widely used by the people in everyday life.

Skopino ceramics. Jug.

Last quarter of the 19th century

Gzhel ceramics. In Gzhel, Moscow region, there has long been a production of ceramic products, which was carried out by almost the entire population of local villages.

Already in the 17th century. Gzhel craftsmen were famous for their pottery, and the clays they used were of high quality.

In the middle of the 18th century, Gzhel craftsmen began to produce products using the majolica technique, painted on raw enamel. They decorated dishes, kvass, and jugs with elegant paintings in green, yellow, and purple tones. They depicted flowers, trees, architecture, and entire plot scenes.

The vessels were also decorated with sculpture: conventionally rendered human figures, birds, and animals. The sculpture was done separately.

Ceramics. A.I. Rozhko.

Kvasnik on two birds Ceramics. Z.V. Okulova. Set of teapots

Lace making. Russian hand-woven lace is known in the history of our folk arts and crafts from late XVIII century Hand lace making arose and was formed immediately as a folk craft, without going through the stage of home craft. Western European lace began to penetrate into Russia in the second half of the 17th century. early XVIII centuries; it served as decoration for the clothing of nobles and landowners. With the spread of fashion for lace and lace trim, many nobles set up serf lace-making workshops. Early lace, dating back to the 18th - first half of the 19th centuries, was often made from gold and silver threads with the addition of pearls.

Vologda lace

Yelets lace

Embroidery- one of oldest species applied arts. This art arose in time immemorial and was passed on from generation to generation. Over the centuries, it gradually developed traditional circle patterns, the nature of colors, numerous techniques for performing embroidery have been developed.

Folk embroidery was done without preliminary drawing. The embroiderers knew their patterns by heart, learning them and memorizing them along with mastering the process of execution itself. The main traditional patterns, characteristic of each area, have been preserved to this day (69, pp. 263-304).

Mstera embroidery

Ivanovo embroidery Krestetsky embroidery

Arts and crafts

Decorative arts section; covers a number of creative industries that are dedicated to the creation of artistic products intended primarily for everyday use. Works of decorative and applied art can be: various utensils, furniture, fabrics, tools, weapons, as well as other products that are not the original purpose of works of art, but acquire artistic quality thanks to the application of the artist’s labor to them; clothes, all kinds of jewelry. Along with the division of works of decorative and applied art according to their practical purpose in scientific literature from the second half of the 19th century. a classification of branches of decorative and applied art was established by material (metal, ceramics, textiles, wood, etc.) or by technique (carving, painting, embroidery, printed material, casting, embossing, intarsia, etc.). This classification is due to the important role of the constructive and technological principles in decorative and applied arts and its direct connection with production. Solving in the aggregate, like architecture, practical and artistic problems, decorative and applied art simultaneously belongs to the spheres of creation of both material and spiritual values. Works of decorative and applied art are inseparable from the material culture of their contemporary era and are closely connected with the corresponding way of life, with one or another of its local ethnic and national characteristics, social group and class differences. Constituting an organic part of the objective environment with which a person comes into daily contact, works of decorative and applied art, with their aesthetic merits, figurative structure, and character, constantly influence a person’s state of mind, his mood, and are an important source of emotions that influence his attitude to the world around him. Aesthetically saturating and transforming the environment, surrounding a person, works of decorative and applied art at the same time seem to be absorbed by it, since they are usually perceived in connection with its architectural and spatial design, with other objects included in it or their complexes (a service, a set of furniture, a suit, a set of jewelry). Therefore, the ideological meaning of works of decorative and applied art can be understood most fully only with a clear idea (real or mentally recreated) of these relationships between the object and the environment and man.

The architectonics of an object, determined by its purpose, design capabilities and plastic properties of the material, often plays a fundamental role in the composition of an artistic product. Often in decorative and applied art, the beauty of the material, the proportional relationships of the parts, and the rhythmic structure serve as the only means of embodying the emotional and figurative content of the product (for example, products made of glass or other untinted materials without decoration). This clearly shows special meaning for decorative and applied art, purely emotional, non-figurative means of artistic language, the use of which makes decorative and applied art similar to architecture. An emotional and meaningful image is often activated by an association image (comparing the shape of a product with a drop, a flower, a human figure, an animal, its individual elements, with some other product - a bell, a baluster, etc.). Decor, appearing on a product, also significantly affects its figurative structure. Often, it is thanks to its decor that a household item becomes a work of decorative and applied art. Possessing its own emotional expressiveness, its own rhythm and proportions (often contrasting with the form, as, for example, in the products of Khokhloma masters, where modest, simple form the object and the elegant, festive painting of the surface are different in their emotional sound), the decor visually modifies the form and at the same time merges with it in a single artistic image. In the decorative and applied arts, ornaments and elements (separately or in various combinations) of fine art (sculpture, painting, and, less often, graphics) are widely used to create decor. Means of fine arts and ornament serve in decorative and applied arts not only to create decor, but sometimes penetrate into the form of an object (furniture parts in the form of palmettes, volutes, animal paws, heads; vessels in the form of a flower, fruit, bird, animal, figure person). Sometimes an ornament or image becomes the basis for the formation of products (lattice pattern, lace; pattern of weaving fabric, carpet). The need to harmonize the decor with the form, the image with the scale and nature of the product, with its practical and artistic purpose leads to the transformation of visual motifs, to the convention of interpretation and combination of natural elements (for example, the use of motifs of a lion's paw, eagle wings and swan's head in the design of a table leg) .

The synthetic nature of decorative and applied art is manifested in the unity of the artistic and utilitarian functions of the product, in the interpenetration of form and decor, fine and tectonic principles. Works of decorative and applied art are designed to be perceived by both sight and touch. Therefore, revealing the beauty of texture and plastic properties of a material, the skill and variety of techniques for processing it receive the significance of especially active means of aesthetic influence in decorative and applied art.

Having emerged at the earliest stage of the development of human society, decorative and applied art for many centuries was the most important, and for a number of tribes and nationalities, the main area of ​​artistic creativity. The most ancient (belonging to the prehistoric era) works of decorative and applied art, covering the widest range of ideas about the world and man, are characterized by exceptional content of images, attention to the aesthetics of the material and to the aesthetics of embodied labor, to the rational construction of form, emphasized by decor. This trend has been maintained by the tradition-bound folk art (cm. also Folk arts and crafts) up to the present day. But with the beginning of the class stratification of society in the stylistic evolution of decorative and applied art, its special branch begins to play a leading role, designed to serve the needs of the ruling social strata and responding to their tastes and ideology. Gradually, interest in the richness of material and decor, their rarity and sophistication is becoming increasingly important. Products that serve the purpose of representation are singled out (objects for religious rituals or court ceremonies, for decorating the houses of the nobility), in which, in order to enhance their emotional sound, craftsmen often sacrifice the everyday expediency of constructing the form. However, until the middle of the 19th century. masters of decorative and applied arts maintain the integrity of plastic thinking and a clear understanding of the aesthetic connections between the object and the environment for which it is intended. The formation, evolution and change of artistic styles in the decorative and applied arts proceeded synchronously with their evolution in other forms of art. Tendencies of eclecticism in the artistic culture of the second half of the 19th century. lead to a gradual impoverishment of the aesthetic quality and emotional and figurative content of decorative and applied art. The connection between decor and form is lost, an artistically designed object is replaced by a decorated one. The dominance of bad taste and the depersonalizing effect on the decorative and applied arts of intensively developing mass machine production ( cm. Art industry), artists tried to contrast unique objects made according to their designs in conditions of craft (W. Morris's workshops in Great Britain, Darmstadt Artists' Colony in Germany) or factory (Werkbund) labor, to revive the emotional-imaginative integrity and ideological content of an artistically meaningful environment ( cm. Modern). On new ideological and aesthetic foundations, these attempts were developed after October revolution 1917, which opened up prospects for creating an artistically meaningful environment for the work and life of the broadest masses. Her ideas and goals inspired artists who saw art as one of the most effective means of revolutionary agitation (for example, the so-called propaganda porcelain of 1918-25). The task of creating a comprehensive decoration of a worker’s apartment, workers’ dormitories, clubs, canteens, comfortable work clothes, rational equipment for the workplace, designed for mass factory production, opened the way for the creative quest of constructivists in the USSR, functionalists in Germany (with m. Bauhaus) and other countries, which in many ways preceded the emergence of design. Bringing the formal-technological side to the forefront in artistic creativity in the early 1920s. led to its absolutization, the identification of artistic creativity with the production of things, the denial of the role of decor in the creation artistic image works of decorative and applied art. The revival of folk crafts in the USSR and the awakening in the 30s. interest in Russian artistic heritage played a prominent role in the development by Soviet masters of decorative and applied arts of a number of technological and artistic traditions of the past. However, the approach to works of decorative and applied art with the standards of easel art, the pursuit of splendor of products, which made itself felt especially strongly in the late 40s and early 50s, noticeably slowed down the development of decorative and applied art. Since the mid-50s. in the USSR, along with the search for functional and artistic-expressive forms and decor for everyday household things produced in a factory, artists are busy creating unique works in which the emotionality of the image is combined with a variety of techniques for processing simple materials, with the desire to reveal the full richness of their plastic and decorative capabilities . Such works (as well as elegant, unique works of folk decorative and applied art due to their handicraft) are intended to serve as visual accents in an artistically organized environment, formed mainly by factory-made artistic products that are less individualized in form and objects that are created on the basis of a designer’s design. design.

About individual branches, varieties and types of decorative and applied arts techniques cm. articles Batik , Vase , Fan , Embroidery , Tapestry , Toy , Inlay , Intarsia , Ceramics , Carpet , Forging , Lace , Varnishes , Majolica , Marquetry , Furniture , Heelcloth , Notching , Carving , Decorative painting , Glass , Terracotta , Embossing , Fabrics , Porcelain, Faience, Filigree, Crystal, Embossing, Niello, Tapestry, Enamels, Jewelry.

Literature: D. Arkin, The Art of Everyday Things, M., 1932; M. S. Kagan, On applied art, Leningrad, 1961; A. V. Saltykov, Selected works, M., 1962; A.K. Chekalov, Fundamentals of understanding decorative and applied art, M., 1962; A. Moran, History of decorative and applied arts from ancient times to the present day, translation from French, M., 1982; Magne L. et H. M., L "art appliqué aux métiers, v. 1-8, P., 1913-28; Geschichte des Kunstgewerbes aller Zeiten und Völker, hrsg. Von H. Th. Bossert, Bd 1-6 , V., 1929-35; Marangoni G., Clementi A., Storia dell'arredamento, v. 1-3, Mil., 1951-52; Fleming J., Honor H., The Penguin dictionary of the decorative arts, L., 1977; Bunte Welt der Antiquitäten, Dresden, 1980; Lucie-Smith E., The story of craft, Ithaca (N.Y.), 1981.

(Source: Popular art encyclopedia." Ed. Polevoy V.M.; M.: Publishing house "Soviet Encyclopedia", 1986.)

Creation of artistic products that have a practical purpose (household utensils, dishes, fabrics, toys, jewelry, etc.), as well as artistic processing of utilitarian items (furniture, clothing, weapons, etc.). Masters of decorative and applied arts use a wide variety of materials - metal (bronze, silver, gold, platinum, various alloys), wood, clay, glass, stone, textiles (natural and artificial fabrics), etc. Making products from clay is called ceramics, from precious metals and stones – jewelry art.

In the process of creating artistic works from metal, the techniques of casting, forging, chasing, and engraving are used; textiles are decorated with embroidery or printed material (a paint-coated wooden or copper board is placed on the fabric and hit with a special hammer, obtaining an imprint); wooden objects - carvings, inlays and colorful paintings. Painting of ceramic dishes is called vase painting.

Decorative and applied products should, first of all, be easy to use and beautiful. They create an objective environment around a person, influencing his state of mind and mood. Works of decorative and applied art are designed to be perceived by both sight and touch, therefore, identifying the beauty of texture and plastic properties of the material, and the skill of processing play a crucial role in it. In the form of a vase, a toy, a piece of furniture, in the system of their decorations, the master strives to reveal the transparency of glass, the plasticity of clay, the warmth of wood and the texture of its surface, the hardness of stone and the natural pattern of its veins. In this case, the shape of the product can be either abstract or reminiscent of a flower, tree, human or animal figure.

Various types of jewelry are widely used in jewelry. ornaments. Often it is the decor that turns an everyday object into a work of art (a Khokhloma bowl of a simple shape, painted with bright patterns in gold; a dress of a modest style, decorated with embroidery or lace). At the same time, it is very important that ornaments and figurative images do not contradict the shape of the product, but reveal it. Thus, in ancient Greek vases, patterned stripes separate the body (central part) from the leg and neck; painting of the body emphasizes its convexity.

Decorative and applied arts have existed since ancient times. Art products are closely related to the way of life and customs of a certain era, people or social group (nobles, peasants, etc.). Already primitive craftsmen decorated dishes with carvings and patterns, and made primitive jewelry from animal fangs, shells and stones. These objects embodied ancient people’s ideas about beauty, the structure of the world and man’s place in it. The traditions of ancient art continue to live in folklore and in products folk crafts. In the future, utensils for the performance of sacred rites and luxury items are distinguished, designed to emphasize the wealth and power of their owners. These products used rare, precious materials and rich decoration. Development of industrial production in the 19th century. made it possible to create works of decorative and applied art for the mass consumer. At the same time, the idea, sketch of the painting, form for production, etc. belonged to major masters, and finished goods replicated by factory workers ( trellises based on sketches by famous masters, products from porcelain factories, etc.). The use of industrial technology marked the beginning of art design.