The main means of expressing beauty in folk art. Folk art

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Folk arts and crafts. Artistic crafts of Russia
Part 1

Compiled by Tatiana Kosntantinova

ISBN 978-5-4485-5649-4

Created in the intellectual publishing system Ridero

Preface

The currently intensifying processes of erosion of the spiritual identity of national culture are gradually leading to the loss of the historical and cultural identity of individual territories, cities and regions. The commercialization of cultural life continuously unifies folk customs and traditions according to foreign models, resulting in the loss of national and cultural identity and the destruction of cultural individuality. Current problems today are also the decline in the level of artistic culture of the population, the lack of demand for traditional decorative and applied arts as a means of artistic development of the individual, and a decrease in interest both in artistic creativity and in art in general. All of the above leads to the loss of technologies of folk crafts and crafts, traditional forms of artistic creativity, and the transformation of folk art products into a type of mass souvenir products.

The author of the proposed manual tries to solve the above problems by systematizing numerous materials about decorative and applied arts. This publication is aimed at developing artistic culture among various categories of the population using the example of the best examples of world decorative and applied art, nurturing historical consciousness and a sense of identity with the image of traditional culture. A large amount of educational information and numerous illustrations presented in the book will introduce the reader to the basics of decorative and applied art, through which in various historical periods people expressed their ideas about beauty, trying to transform the surrounding space according to the laws of harmony and beauty.

Petryakov Petr Anatolievich,

Doctor of Pedagogical Sciences, Professor, Head of the Department of Pedagogy

technologies and crafts, NovSU.

1. Folk arts and crafts in the system of cultural values

Latin worddecorare translated as"decorate". This is the root of the concept"decorative" , that is"decorated" . Therefore the term"decorative arts" literally means"the ability to decorate" .

Folk arts and crafts (NDPA) are an integral part of artistic culture, which develops according to its own laws. Works created by masters of folk arts and crafts reflect the artistic traditions, world understanding, worldview and artistic experience of the people, preserve historical memory and have spiritual and material value, distinguished by beauty and usefulness.

Masters of folk arts and crafts create their works from a variety of materials. They pass on technical skills from generation to generation. Because of this, a tradition consolidated over centuries selects only the best creative achievements.

The most common types of folk arts and crafts are artistic ceramics, weaving, lace-making, embroidery, painting, wood or stone carving, forging, casting, engraving, chasing, etc. All this, for the most part, is created so that you can use in everyday life.

When decorating NDPI works, great importance is given to ornament, which not only decorates the object (thing) or is its structural element, but also carries a semantic load that has ancient mythological roots. Painting a jug with patterns, decorating a cutting board with carvings, knitting a lace napkin, weaving patterns on fabric - all this requires great skill. Such products decorated with ornaments have great value, which lies in the fact that it takes hands to create this amazing beauty.

How can you determine whether a given product is a work of decorative art? Sometimes they argue like this: if a vase has a beautiful shape, but it is not decorated with anything, then it is not a work of decorative art, but if you put some kind of pattern on it, it will immediately turn into a work. This is wrong. Sometimes the ornaments decorating a vase make it a tasteless fake and turn it into kitsch. Conversely, a vessel made of pure clay or wood can be so striking in its perfection that its artistic value becomes obvious.

What are the similarities and differences between works of folk and professional arts and crafts? How can you tell whether a vase or carpet is a work of folk or professional decorative art?

Sometimes, based on the method of making a thing, the share of manual labor in this process, and the mass circulation, they try to classify works of applied art as folk or professional decorative art. This is extremely difficult to do, since folk art products are sometimes created in factories, and decorative works by professional artists are sometimes created in one copy.

Today, just like a hundred years ago, a folk artist mainly performs an artistic work by hand. At the same time, the master can work either alone or in a team, as well as in organized workshops and even in factories in the centers of traditional folk arts and crafts.

As a rule, works of decorative and applied art are created by artists from art industry enterprises or workshops. They participate both in the production of decorative items produced in mass quantities, and in the creation of individual designer designs. Professional artists in their work can rely on images of world artistic culture, refract the traditions of folk art in their own way, or completely follow only their individuality and imagination.

The most important thing when determining which type of art to classify this or that thing is to determine within the framework of which artistic tradition it was created, whether the characteristics of the image-type of a particular craft and the technology of processing the material are observed.

The creations of folk craftsmen and applied artists are united by thoughtfulness, expediency and stylistic unity of all elements.

The ability to analyze the expressive means of the image of an artistic object in folk and decorative arts is necessary in order to feel and learn to better understand the general and special in each of them.

It is very interesting to see how all the main artistic means of the language of fine art acquire a new meaning and their own specificity in folk and decorative arts. In this regard, one of the most important is the question of the relationship between the pictorial and graphic in decorative works, that figurativeness or plasticity predominates in them. For example, in the ornaments of Khokhloma and Zhostovo, the main thing is the picturesque principle, and the ornaments of the Kubachi and Balkhara masters are basically graphic.

It should be said about the complex interaction of plastic and pictorial principles in the decorative arts. In some products, the plastic carries the beginning of the picturesque - Skopinskaya ceramics, Kargopol, Filimonovskaya, Dymkovo toys. In others, the picturesque carries within itself the beginning of the plastic: Zhostovo, Gorodets and Polkhov-Maidan paintings, Pavlovo Posad shawls, Vologda lace.

The synthesis of part and whole is obligatory for a folk artist, no matter how his palette expands, no matter what predominates - the pictorial or ornamental principle.

The expressiveness of line, silhouette, rhythm, color, proportions, shape, space in each type of decorative art largely depends on the materials used and the technology of their processing.

A folk craftsman or artist of decorative and applied arts in his work strives to show in the best possible way the aesthetic qualities of materials: wood, textiles, metal, ceramics, glass, paper, bone, leather, stone, etc.

Decorativeness in folk arts and crafts it is the main means of expressing beauty, at the same time it is a feature of works of other types of art (pictures 1, 2).

It is necessary to take into account that in each type of art the artistic image has its own structure, determined, on the one hand, by the peculiarities of the expression of spiritual content, and on the other hand, by technology, the nature of the material in which this content is embodied. The artistic image in folk and decorative arts has common and distinctive features.

The decorative image expresses not the individual, but the general – “specific”, “generic” (leaf, flower, tree, bird, horse, etc.). A decorative image requires artistic-imaginative thinking, a mythopoetic attitude to reality.

Therefore, in folk art it is customary to highlight image-types of products of traditional artistic crafts, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, a horse, the tree of life, a woman, signs-symbols of the earth, water, the sun can be seen in various artistic materials: embroidery, weaving, lace, wood and metal painting, wood carving, ceramics, etc. Sustainability and the traditional nature of these images largely determines the high artistic and aesthetic value of works of folk art.

At the same time, the universality of image-types in the art of different peoples of the world shows their unity, associated with the commonality of approaches to the process of aesthetic cognition of natural and social phenomena.

Images in professional decorative art also reflect the ideas of a particular people about beauty. They are also often created based on natural or geometric motifs, but here great freedom is allowed in the interpretation of images. Historical subjects or themes of modern life are actively used in works of applied art.

Now let’s look at the similarities and differences in the concepts of “artistic image”, “symbol” and “sign” using the example of works of folk decorative art. The most capacious and multifaceted concept will be “artistic image”. In some cases, a symbol is a sign endowed with the organic nature and inexhaustible ambiguity of the image. In others, a symbol is not equivalent to an artistic image, but, what is especially important, it must always have artistic value. Thus, an artistic image does not always have a symbolic meaning, and a symbol is not always figuratively expressive. A symbolic image, as a rule, does not carry any figurative and symbolic significance, although in folk art very often all signs are symbols, and sometimes even images.

Figure 3. Symbols of the sun, a sown field and vegetation on the blade of a carved spinning wheel.

For example, a bird in Gorodets painting or in Gzhel ceramics has a different imagery. If we talk about birds in general, then this will not be an image of a specific bird or even an image of a bird in the traditions of some craft, but an image close to the sign (pictures 3, 4). At the same time, a decorative image of a rooster can be a symbol of the sun. On the other hand, a series of symbols can have more than one meaning. So, not only a rooster, but also a horse can be a symbol of the sun. This symbolic-poetic system originates from signs and symbols associated with the worship of natural deities.

When analyzing the artistic merits of a particular work of folk or professional decorative art, it is necessary to pay attention to its figurative solution, taking into account the characteristics of the material, the expressiveness of form and proportions, the color scheme, the connection of the ornament with the shape of the product, the plastic, pictorial or graphic merits of the thing. At the same time, it is important to note how rhythmic repetitions, compositional features of the construction of the ornament and the thing as a whole influence its figurative solution.

If you learn to analyze an image well in any of the artistic systems, then rich opportunities will open up for identifying the interrelations of artistic and expressive means.

Folk and professional arts and crafts are interpreted as arts that serve the needs of man and at the same time satisfy his aesthetic needs, bringing beauty to life.

However, you need to be aware of the significant differences between these types of arts. Folk art, which transforms reality, is considered by modern art historians as a special type of artistic creativity, the distinctive features of which are: a collective principle and traditions, the stability of themes and images, the universality of a language understandable to all peoples of the world, the universality of spiritual values. All these features of art are determined by a holistic perception of the world.

Folk art is a holistic phenomenon, since its basis is the life and way of life of people, their ideas about the universe, work activity, rituals and holidays. Objects of folk art materialize the imaginative thinking of the people.

The results of the artistic and creative activity of a people reflect their life, views, and ideals, therefore, the works of folk art contain the experience of moral feelings, knowledge, and behavior. Unique and rich in content, experience gives folk art a unique value as a means of moral and aesthetic education of a person. Therefore, it constitutes such an important area of social life as folk pedagogy. The versatility of folk art allows us to consider it as a huge force influencing the individual and society.

Folk art is, first of all, a huge world of spiritual experience of the people, its artistic ideas are an integral part of culture. Folk art is based on the creative activity of the people, reflecting their self-awareness and historical memory. Communication with folk art, with its moral and aesthetic ideals developed over centuries, plays a significant educational role. The appeal of folk art to people and the impact on their intellectual, emotional and sensory spheres opens up great opportunities for the use of traditional folk arts and crafts in the education system.

The formation and development of folk artistic traditions of a particular area took place under the influence of natural-geographical, cultural and socio-economic factors. Tradition carried through centuries does not prevent the feeling of modernity from appearing. In folk art it is expressed not so much in external signs of the time, although, naturally, they also have their place, but in the ability to respond to the demands of today in a traditional form. This is reflected primarily in the perception of the world, in the idea of beauty.

It is very important that folk art with its metaphor and symbolism - live creativity (Figure 5) and at the same time historical living memory , memory of the origins of culture. It brings the experience of knowing the world. The integrity of folk art as an artistic structure is the key to its understanding. Tradition in this case - creative method .

Traditional appears in folk art as a system, for which the following aspects are important: the connection between man and nature, the expression of the national, schools of folk art (national, regional, regional, school of individual crafts).

Figure 5. Image of the Sirin Bird in the paintings of the Northern Dvina.

The continuity of traditions shapes the artistic folk culture of the region and supports the high professionalism of folk craftsmanship. It is this quality that allows us to highlight the characteristics of a particular school as a creative community. Only school, as a cultural continuity determined by the existence of tradition, is capable of providing such an artistic basis that makes folk art alive in time and allows artistic crafts to develop.

The main person in artistic craft is a folk master, a special creative personality, spiritually connected with the people, culture, nature of the region, a bearer of traditions and collective experience.

In every touch of the master’s hands on the thing he creates there lives a feeling of beauty, organic to the internal structure of popular perception. National temperament and national character are expressed in folk art. They largely determine the variety of forms of folk art.

In folk art, artistic skill, technical dexterity, working methods, and motives are passed on from master to student. The artistic system is developed collectively.

The basis of peasant art was crafts. Laconism of expressive means, economy and refinement of performance techniques characterize the work of the master. A sense of the material, knowledge of its expressive properties, processing by hand using the simplest tools lead to an artistic generalization of the form. Often a folk artist creates his works based on natural forms (Figure 6).

Figure 6. A - WITH kopkar (Permogorsk wood painting); b - Utitsa (Khokhloma painting on wood).

To create an artistic image of a thing, the material, methods and nature of its processing are important. The use of natural materials is one of the main traditions of folk art.

Each school had a system of proven labor techniques, technology based primarily on the properties of the material being processed. The master’s art was to transform even the properties of a material that were inconvenient for processing into artistic merits of a thing. For example, the different properties of clay determined the uniqueness of its processing techniques and the aesthetic solution of the image. Too soft and plastic white clay helped create the special elongated silhouette of the Filimonov toy.

The concept of “craftsmanship” includes the presence of creative abilities and the ability to properly organize work, observing a certain sequence of creating an artistic object: concept, development of technology, production of materials, finishing, self-esteem. The creative abilities of the master are largely determined by the ability to vary and improvise within the framework of the school tradition. Knowledge of the properties of the materials being processed, a high level of proficiency in tools and processing techniques are important.

Mastering the skill occurs on the basis of the main principles of folk art - repetition, variation and improvisation. For example, the study of painting, as a rule, is carried out in the following way: first, the master sits students around him and forces them to strictly repeat the elements of the ornament.

After mastering them, students have the opportunity to vary their favorite painting motifs. And only on the basis of the acquired experience do they move on to improvising based on painting and composing their own compositions. If everyone goes through the stage of repetition and variation without fail, then only the most talented students who can become real masters of their craft get to work at the level of improvisation.

Works of folk and professional decorative art decorate and transform life.

2. Decoration in space-time arts

2.1. Aesthetic essence. Decorativeness as a technique of artistic and figurative thinking

Term "decorative" Currently, it is widely used in the fine and decorative arts, in architecture and design, in the study of modern problems of art synthesis, in the theory of aesthetic organization of the environment.

However, the term “decorativeness” often refers to various concepts that, to one degree or another, reflect its essence. Some researchers identify decorativeness only with the function of decoration, recognize decorativeness as an additional property of a work of art, others generally reject decorativeness on the grounds that decorative convention allegedly overshadows the content of a work of art and complicates its understanding, while others see the active use of decorative techniques as a prospect for further development of fine arts, in particular decorative painting.

Concept "decorative" comes from the Latin word "decor"- beauty, charm, grace, sometimes it is translated as decoration. Latin word "decorare" means - to decorate, clean, dress up. Attire, attire, decoration are denoted by another Latin word - "ornamentum".

Thus, etymologically, the concept of “decorativeness” means decoration, which is inextricably linked with the quality of the decoration itself, with beauty.

Decorativeness is a specific feature of decorative and applied art, which can be interpreted as a form of expression of beauty.

Decorativeness as a positive quality of products of decorative and applied art, as an aesthetic value, is fixed in their meaningful form. Internal organic decorativeness differs from external decorativeness, “decor” as an ornament and an additional property that does not have independent aesthetic significance due to its optional presence in a given thing.

Decorativeness can act as a constructive basis for arts and crafts products. Decorativeness is a technique of artistic and figurative thinking, the characteristic feature of which is the creation of a special compositional model. Decorativeness as a technique serves to reveal the internal consistency of a work, the proportionality and orderliness of all its details and forms and is used not only in decorative and applied arts, but also in all space-time arts.

Thus, decorativeness is not only a specific feature of decorative and applied art, inextricably linked with expressiveness, since decorative and applied art in aesthetics is classified as an “expressive type” of art, but also a technique of artistic and figurative thinking in all space-time arts, in including in decorative painting.

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Folk art

artistic, folk art, folklore, artistic creative activity of the working people; poetry, music, theater, dance, architecture, fine and decorative arts created by the people and existing among the masses. In collective artistic creativity, people reflect their work activities, social and everyday life, knowledge of life and nature, cults and beliefs. N. t., developed in the course of social labor practice, embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. Having absorbed the centuries-old experience of the masses, N. t. is distinguished by the depth of artistic mastery of reality, the truthfulness of images, and the power of creative generalization.

The richest images, themes, motifs, and forms of literary art arise in the complex dialectical unity of individual (although, as a rule, anonymous) creativity and collective artistic consciousness. For centuries, the people's collective has been selecting, improving and enriching the solutions found by individual masters. Continuity and stability of artistic traditions (within which, in turn, personal creativity is manifested) are combined with variability and diverse implementation of these traditions in individual works.

The collectivity of scientific literature, which constitutes its constant basis and undying tradition, manifests itself during the entire process of formation of works or their types. This process, including improvisation, its consolidation by tradition, subsequent improvement, enrichment and sometimes renewal of tradition, turns out to be extremely extended in time. It is characteristic of all types of literary work that the creators of a work are simultaneously its performers, and the performance, in turn, can be the creation of variants that enrich the tradition; Also important is the close contact of performers with people who perceive art, who themselves can act as participants in the creative process. The main features of folk music include the long-preserved indivisibility and highly artistic unity of its types: poetry, music, dance, theater, and decorative art merged in folk ritual actions; in the people's home, architecture, carving, painting, ceramics, and embroidery created an inseparable whole; folk poetry is closely related to music and its rhythmicity, musicality, and the nature of the performance of most works, while musical genres are usually associated with poetry, labor movements, and dances. The works and skills of scientific literature are directly passed on from generation to generation.

N. t. was the historical basis of all world artistic culture. Its original principles, the most traditional forms, types and partly images originated in ancient times in the conditions of a pre-class society, when all art was the creation and property of the people (see Primitive art). With the social development of mankind, the formation of class society, and the division of labor, professionalized “high,” “scientific” art gradually emerges. N. t. also forms a special layer of world artistic culture. It identifies layers of different social content associated with the class differentiation of society, but by the beginning of the capitalist period, non-fiction art was universally defined as the collective traditional art of the working masses of the village, and then the city. An organic connection with the fundamental principles of the people’s worldview, a poetic integrity of attitude towards the world, and constant polishing determine the high artistic level of folk art. In addition, scientific technology has developed special forms of specialization, continuity of skill, and training in it.

The science of technology from different peoples, often far removed from each other, has many common features and motifs that arose under similar conditions or were inherited from a common source. At the same time, national literature has for centuries absorbed the peculiarities of the national life and culture of each people. It has retained its life-giving labor basis, remained a storehouse of national culture, an exponent of national self-awareness. This determined the strength and fruitfulness of the influence of literary criticism on all world art, as evidenced by the works of F. Rabelais and W. Shakespeare, A. S. Pushkin and N. A. Nekrasov, P. Bruegel and F. Goya, M. I. Glinka and M. P. Mussorgsky. In turn, N. t. adopted a lot from “high” art, which found diverse expression - from classical pediments on peasant huts to folk songs based on the words of great poets. N. t. has preserved valuable evidence of the revolutionary sentiments of the people, their struggle for their happiness.

Under capitalist conditions, having fallen into the sphere of bourgeois socio-economic relations, science and technology develops extremely unevenly. Many of its branches are degrading, completely disappearing or are in danger of being replaced; others lose their valuable traits by industrializing or adapting to market demands. In the 19th century The growth of national self-awareness, democratic and national liberation movements, and the development of romanticism aroused interest in scientific literature. At the end of the 19th and 20th centuries. The influence of folklore on world culture is increasing, some lost branches of folklore are being restored, and museums and societies for its protection are being organized. At the same time, state and private patronage of the arts often subordinates tourism to commercial goals and the interests of the “tourism industry,” for which purpose it cultivates its most archaic features and religious-patriarchal remnants.

In a socialist society, conditions have been created for the preservation and development of scientific technology; inheriting and establishing national folk traditions, it is imbued with the ideas of socialism, the pathos of reflecting a new, transformed reality; N. t. enjoys systematic support from the state and public organizations, and its masters are awarded prizes and honorary titles. A network of research institutions has been created - institutes and museums that study the experience of scientific technology and contribute to its development. Many traditional genres of folklore are dying out (for example, ritual folklore, spells, folk drama), but others are finding a new place in life. New forms of artistic culture of the masses are also being born. Amateur artistic performances (choirs, choreographic groups, folk theaters, etc.), which have a different nature than N. t., but partly use its heritage, are developing intensively. The high examples of artistic art created over many centuries retain the significance of an ever-living cultural heritage, a treasury of the artistic experience of the masses.

Folk poetry is the mass verbal artistic creativity of a particular people; the totality of its types and forms, denoted in modern science by this term, has other names - folk literature, oral literature, folk poetry, folklore. Verbal artistic creativity arose in the process of the formation of human speech. In a pre-class society, it is closely connected with other types of human activity, reflecting the beginnings of his knowledge and religious and mythological ideas. In the process of social differentiation of society, various types and forms of oral verbal creativity arose, expressing the interests of different social groups and strata. The most important role in its development was played by the creativity of the working masses. With the advent of writing, literature arose that was historically associated with oral literature.

The collectivity of oral literature (meaning not only the expression of the thoughts and feelings of a group, but above all the process of collective creation and dissemination) determines variability, that is, the variability of texts in the process of their existence. At the same time, the changes could be very different - from minor stylistic variations to significant reworking of the plan. In memorizing, as well as in varying texts, a significant role is played by peculiar stereotypical formulas - the so-called commonplaces associated with certain plot situations, passing from text to text (for example, in epics - the formula for saddling a horse, etc.).

In the process of existence, genres of verbal literary fiction experience “productive” and “non-productive” periods (“ages”) of their history (emergence, distribution, entry into the mass repertoire, aging, extinction), and this is ultimately associated with social and cultural - everyday changes in society. The stability of the existence of folklore texts in folk life is explained not only by their artistic value, but also by the slowness of changes in the lifestyle, worldview, and tastes of their main creators and guardians - the peasants. The texts of folklore works of various genres are changeable (albeit to varying degrees). However, in general, traditionalism has immeasurably greater strength in literary fiction than in professional literary creativity.

The collectivity of verbal literature does not mean its impersonality: talented masters actively influenced not only the creation, but also the dissemination, improvement, or adaptation of texts to the needs of the collective. Under the conditions of division of labor, unique professions of production performers arose. N. t. (ancient Greek Rhapsodes and Aeds, Russian Skomorokhs, Ukrainian kobzars (See Kobzar), Kazakh and Kyrgyz Akyns, etc.). In some countries of the Middle East and Central Asia, and in the Caucasus, transitional forms of verbal literature developed: works created by certain individuals were distributed orally, but the text changed relatively little; the name of the author was usually known and was often introduced into the text (for example, Toktogul Satylganov in Kyrgyzstan, Sayat-Nova in Armenia).

The richness of genres, themes, images, and poetics of verbal folk music is due to the variety of its social and everyday functions, as well as the methods of performance (solo, choir, choir, and soloist), the combination of text with melody, intonation, and movements (singing, singing, and dancing, storytelling, acting out, dialogue, etc.). Over the course of history, some genres have undergone significant changes, disappeared, and new ones have appeared. In the ancient period, most peoples had tribal traditions, work and ritual songs, and conspiracies. Later, magical and everyday tales, tales about animals, and pre-state (archaic) forms of Epic arose. During the formation of statehood, a classical heroic epic emerged, then historical songs (See Song) and ballads (See Ballad) arose. Even later, non-ritual lyrical song, Romance, Chastushka and other small lyrical genres and, finally, workers' folklore (revolutionary songs, oral stories, etc.) were formed.

Despite the bright national coloring of the literary works of different peoples, many motifs, images, and even plots in them are similar. For example, about two-thirds of the plots of fairy tales of European peoples have parallels in the fairy tales of other peoples, which is caused either by development from one source, or by cultural interaction, or by the emergence of similar phenomena based on general patterns of social development.

Until the late feudal era and the period of capitalism, verbal literature developed relatively independently of written literature. Later, literary works penetrate the popular environment more actively than before (for example, “The Prisoner” and “Black Shawl” by A. S. Pushkin, “Peddlers” by N. A. Nekrasov; see also about this in the article Free Russian Poetry, Popular literature). On the other hand, the work of folk storytellers acquires some features of literature (individualization of characters, psychologism, etc.). In a socialist society, the accessibility of education provides an equal opportunity to discover the talents and creative professionalization of the most gifted people. Various forms of mass verbal and artistic culture (the creativity of songwriters, ditties, the composition of interludes and satirical skits, etc.) are developing in close contact with professional socialist art; Among them, traditional forms of verbal folk music continue to play a certain role. Centuries of existence have ensured the enduring artistic value and long-term existence of such songs, fairy tales, legends, etc., which most clearly reflect the characteristics of the spiritual make-up of the people, their ideals, hopes, and artistic tastes, everyday life This also determines the profound influence of verbal literary theory on the development of literature. M. Gorky said: “... The beginning of the art of words is in folklore” (“On Literature”, 1961, p. 452). For the recording of folklore, its study, and methodological principles of study, see Folklore.

Folk music (musical folklore) - vocal (mainly song), instrumental and vocal-instrumental collective creativity of the people; exists, as a rule, in non-written form and is transmitted through performing traditions. Being the property of the entire people, musical theater exists mainly thanks to the performing art of talented nuggets. These are among different peoples Kobzar, guslar (see Gusli), buffoon (See Buffoons), Ashug, Akyn, kuishi (see Kuy), Bakhshi, gusan (See Gusans), Hafiz, olonkhosut (see Olonkho), aed (See Aeds), Juggler, Minstrel, Shpilman, etc. The origins of folk music, like other arts, go back to the prehistoric past. The musical traditions of various social formations are extremely stable and tenacious. In every historical era, more or less ancient and transformed works coexist, as well as those newly created on their basis. Together they form the so-called traditional musical folklore. Its basis is the music of the peasantry, which for a long time retains the features of relative independence and is generally different from the music associated with younger, written traditions. The main types of musical folklore are songs (See Song), epic tales (for example, Russian epics, Yakut olonkho), dance melodies, dance choruses (for example, Russian ditties (See Chastushka)), instrumental pieces and tunes (signals). , dancing). Each piece of musical folklore is represented by a whole system of stylistically and semantically related variants that characterize changes in folk music in the process of its performance.

The genre wealth of folk music is the result of the diversity of its vital functions. Music accompanied the entire work and family life of the peasant: calendar holidays of the annual agricultural circle (carols (See Carol), Vesnyanka, Maslenitsa, Kupala songs), field work (mowing, harvest songs), birth, wedding (lullabies and wedding songs), death (funeral lamentations). Among pastoral peoples, songs were associated with taming a horse, driving livestock, etc. Later, lyrical genres received the greatest development in the folklore of all peoples, where simple, short melodies of labor, ritual, dance and epic songs or instrumental tunes are replaced by detailed and sometimes complex musical improvisations - vocal (for example, Russian lingering song, Romanian and Moldavian Doina) and instrumental (for example, program pieces by Transcarpathian violinists, Bulgarian cavalists, Kazakh dombra players, Kyrgyz komuz players, Turkmen dutar players, Uzbek, Tajik, Indonesian, Japanese and other instrumental ensembles and orchestras).

In various genres of folk music, various types of Melos have developed - from recitative (Karelian, Runes, Russian epics, South Slavic epic) to richly ornamental (lyrical songs of Near and Middle Eastern musical cultures), polyphony (See Polyphony) (polyrhythmic a combination of voles in ensembles of African peoples, German choral chords, Georgian quarto-second and Middle Russian subvocal polyphony, Lithuanian canonical Sutartins), rhythmics (See Rhythmics) (in particular, rhythmic formulas that generalized the rhythm of typical labor and dance movements), fretwork scale systems (from primitive narrow-voluminous modes to developed diatonic “free melodic structure”). The forms of stanzas, couplets (paired, symmetrical, asymmetrical, etc.), and works as a whole are also varied. Musical music exists in single-voice (solo), antiphonal (see Antiphon), ensemble, choral, and orchestral forms. The types of choral and instrumental polyphony are varied - from heterophony (See Heterophony) and bourdon (a continuously sounding bass background) to complex polyphonic and chord formations. Each national folk musical culture, including a system of musical folklore dialects, forms a musical and stylistic whole and at the same time unites with other cultures into larger folklore and ethnographic communities (for example, in Europe - Scandinavian, Baltic, Carpathian, Balkan, Mediterranean and etc.).

The recording of folk music (in the 20th century with the help of sound recording equipment) is carried out by a special scientific discipline - musical ethnography, and its study - ethnomusicology (musical folkloristics).

On the basis of folk music, almost all national professional schools arose, each of which contains examples of various uses of folk heritage - from the simplest arrangements of folk melodies to individual creativity, freely implementing folk musical thinking, laws specific to a particular folk musical tradition. In modern musical practice, music is a fertilizing force for both professional and various forms of amateur art.

In Russia, the dramas “Tsar Maximilian and his rebellious son Adolf”, “Boat” (variants - “Boat”, “Gang of Robbers”, “Stepan Razin”, “Black Raven”) were most widespread in the peasant, soldier, and factory environment; The dramas “King Herod” and “How the Frenchman Took Moscow” were also performed. By their type, they belong to the tyrant-fighting, heroic or so-called robber dramas known among many nations. “Tsar Maximilian” has a literary source - the school drama “The Crown of Demetrius” (1704), which is based on “The Life of St. Demetrius”; “The Boat” (late 18th century) is a dramatization of the folk song “Down the Mother Volga.” The final formation of these plays is associated with the inclusion in their text of fragments from the works of poets of the late 18th - first half of the 19th centuries. - G. R. Derzhavin, K. N. Batyushkov, A. S. Pushkin, M. Yu. Lermontov, motives and images of popular print novels. In Rus' there were also satirical plays “The Barin”, “The Naked Barin”, “Petrushka”.

The most characteristic feature of folk theater (as well as folk art in general) is the open conventionality of costumes and props, movements and gestures; During the performances, the actors directly communicated with the audience, who could give cues, intervene in the action, direct it, and sometimes take part in it (sing along with the choir of performers, portray minor characters in crowd scenes). The folk theater, as a rule, had neither a stage nor decorations. The main interest in it is focused not on the depth of revealing the characters of the characters, but on the tragic or comical nature of situations and situations. Of great importance are the exit monologues of the characters, the performance by the characters of songs (folk or specially composed for the performance), and arias from operas. There are two types of characters in folk drama - dramatic (heroic or romantic) and comic. The former are distinguished by a high solemn style of addresses, monologues and dialogues, the latter by comic, parody techniques, and wordplay. The traditional nature of performance in the folk theater subsequently determined the emergence of a special type of theatrical performances that received a stable form. These performances in many countries are called traditional theater. Folk dance pantomime performances have been widespread in Asian countries since ancient times. On their basis, the traditional theater of the peoples of Asia was formed: wayang topeng theaters in Indonesia, kolam theaters on the island. Sri Lanka (Ceylon), Kathakali in India, etc.

The originality of the artistic and performing techniques of the folk theater attracted professional theater figures and was used by them (W. Shakespeare, Moliere, C. Goldoni, A. N. Ostrovsky, E. De Philippe, etc.).

Folk dance is one of the oldest types of folk dance. The dance was part of folk performances at festivals and fairs. The appearance of round dances and other ritual dances is associated with folk rituals (Ceylonese fire dance, Norwegian torch dance, Slavic round dances associated with the rituals of curling a birch tree, weaving wreaths, and lighting fires). Gradually moving away from ritual actions, round dances were filled with new content that expressed new features of everyday life. Peoples engaged in hunting and animal husbandry reflected their observations of the animal world in their dance. The character and habits of animals, birds, and domestic animals were conveyed figuratively and expressively: the bison dance of the North American Indians, the Indonesian pencak (tiger), the Yakut bear dance, the Pamir dance of the eagle, the Chinese dance, the Indian dance of the peacock, the Finnish dance of the bull, the Russian crane, the gander, the Norwegian cockfighting, etc. Dances on the theme of rural labor appeared: Latvian dance of reapers, Hutsul dance of woodcutters, Estonian dance of shoemakers, Belarusian lyanka, Moldavian poame (grapes), Uzbek silkworm, buttermilk (cotton). With the advent of craft and factory work, new folk dances emerged: the Ukrainian cooper, the German glassblowers’ dance, the Karelian “How cloth is woven”, etc. Folk dances often reflect the military spirit, valor, heroism, battle scenes are reproduced (“pyrrhic” dances of the ancient Greeks, combining dance art with fencing techniques, Georgian khorumi, berikaoba, Scottish sword dance, Cossack dances, etc.). The theme of love occupies a large place in dance folk music; initially these dances were openly erotic; later dances appeared that expressed the nobility of feelings, a respectful attitude towards a woman (Georgian Kartuli, Russian Baynovskaya Quadrille, Polish Masur).

Each nation has developed its own dance traditions, plastic language, special coordination of movements, methods of relating movement to music; For some, the construction of a dance phrase is synchronous with the musical one, for others (among the Bulgarians) it is not synchronous. The dances of the peoples of Western Europe are based on the movement of the legs (the arms and body seem to accompany them), while in the dances of the peoples of Central Asia and other Eastern countries the main attention is paid to the movement of the arms and body. In folk dance, the rhythmic principle always dominates, which is emphasized by the dancer (tamping, clapping, ringing of rings, bells). Many dances are performed to the accompaniment of folk instruments, which the dancers often hold in their hands (castanets, tambourine, drum, doira, accordion, balalaika). Some dances are performed with household accessories (scarf, hat, dish, bowl, bowl). The costume has a great influence on the nature of the performance: for example, Russian and Georgian dancers are helped to move smoothly by a long dress that covers their feet; A characteristic movement in Russian and Hungarian men's dance is tapping on the top of hard boots.

The flourishing and popularity of folk dance in the USSR contributed to the emergence of a new stage form - folk dance ensembles. In 1937, the USSR Folk Dance Ensemble was created, which established stage folk dance in professional choreography. Elements of folk dance are also used in classical ballet. Professional folk dance ensembles and song and dance ensembles have been created in all republics of the Soviet Union. Professional and amateur folk stage dance groups are common in countries around the world (see Dance).

Folk architecture, fine and decorative arts include tools, buildings (see Wooden architecture, Housing), household utensils and household furnishings (see Wood in art, Iron, Ceramics, Artistic varnishes, Furniture, Copper, Art vessels, Glass ), clothing and fabrics (see Embroidery, Kilim, Carpet, Lace, Printed cloth, Clothing, Art fabrics), toys (See Toy), Lubok, etc. Among the most important artistic and technical processes common in science and technology are pottery, weaving, artistic carving, decorative painting, forging, artistic casting, engraving, embossing, etc. Folk architecture and decorative arts belong to material production and are directly creative in nature; hence the unity in them of aesthetic and utilitarian functions, imaginative thinking and technical ingenuity.

By creating and designing an object-based environment and giving object-aesthetic expression to labor processes, everyday life, calendar and family rituals, N. t. has been an integral part of the slowly changing structure of people's life from time immemorial. In some features of the N. t., norms of work and life, cults and beliefs can be traced, dating back to the Neolithic and Bronze Ages. The most common element of artistic design is the ornament, which was born in antiquity, which helps to achieve organic unity of the composition and is deeply interconnected with the technique of execution, the feeling of the subject, the plastic form, and the natural beauty of the material. Individual ornamental motifs, most of which originally had a mythological meaning (“world tree”, “great goddess” with her upcoming ones, solar symbols), captured the features of primitive consciousness, mythological and magical ways of communicating with nature. These ancient roots appear, for example, in folk toys, in which the features of primitive cult plastic art can be traced. The works of N. t. often have a specific connection with one or another custom, which persists even when the memory of the cult nature or mythological conditionality of this custom is lost. This also explains the fragility and ephemerality of many N. t. objects (sand drawings, painted eggs), designed for periodic reproduction in a regularly repeated ritual.

Unlike the “high” art of the social elite, N. t. does not know contrasting changes in artistic styles. In the course of its evolution, individual new motifs appear, but the degree of stylization and the nature of understanding of old motifs change more; images that were once associated with indigenous ideas about the world gradually acquired a narrowly utilitarian meaning (for example, in various amulets and spell signs that decorated everyday objects) or began to play a purely decorative role, while the shape of the object often underwent only minor structural and functional changes . The idea of a thing in scientific art is usually not fixed in a preparatory model or drawing, but lives in the mind and hand of the master; at the same time, the results of his individual ingenuity, leading to the development of the most rational methods of work, must be accepted by the people's collective. Because of this, the tradition fixed by centuries of selection undergoes constant, but only partial, specific changes. The oldest objects (for example, wooden ladles in the shape of a duck) can be extremely close to life; Later interpretations of these forms in scientific literature, while preserving the original typology and figurative basis, combine them with centuries-old techniques of generalization, decorative stylization, and the rational use of technical means and materials.

As society differentiates itself by class, the prerequisites arise for the emergence of artistic production, serving the needs of the lower strata of society and initially limited to domestic artistic work for oneself and to village crafts. The presence of a special folk branch is already revealed in ancient art (for example, in votive objects (See Votive objects) of the Italo-Etruscan circle, reminiscent of Neolithic sculpture). The initial monuments of palace and even religious architecture are clearly connected with the simplest ancient examples of folk wooden and stone architecture (Aegean Megaron, German halle), portable dwellings of nomads, etc., but then the paths of urban and estate construction and folk architecture serving in mainly peasant life (dwelling house, threshing floor, barn, shed, stable, etc.).

In medieval Europe, feudal-church culture was opposed by the desire to preserve the cultural tradition of the clan system, economic and political isolation, and the cult of local gods; an expression of this became the folk current in medieval art, usually saturated with images of the animal style (See Animal style). The folk worldview, expressed with particular purity in pagan jewelry-amulets, also appears in monuments that are examples of the influence of folk culture on the court and church (such are the reliefs of the Vladimir-Suzdal school (See Vladimir-Suzdal school), the grotesque plasticity of Romanesque and Gothic churches, ornamentation of manuscripts). However, the underdevelopment of commodity-money relations, the weak differentiation of forms of life, as well as the fundamental anonymity of medieval art and the proximity of its masters to the people did not contribute to the complete isolation of art. In countries that later entered the early capitalist stage of development, in particular in medieval Russia, such the situation persisted until the end of the 17th and beginning of the 18th centuries. In the countries of the East, which preserved the medieval way of life especially for a long time (until the 19th and 20th centuries), all decorative and applied arts are deeply imbued with folk craft skills, and highly developed arts and crafts are not fundamentally different from the crafts of the privileged strata; in the fine arts of a number of countries there is a strong folk current (Chinese, Japanese, Indian popular prints). Finally, in countries that experienced colonization, the basis for national technology was usually the ancient native culture, although it absorbed many features of the introduced cultures.

With the decomposition of feudalism and the guild system, a folk art craft working for the market emerged; Thanks to this, N.T., while still maintaining a close connection with folk life, masters new types of products, new forms and themes. On the other hand, the identification of artistic individuality and the cult of ancient art, established during the Renaissance, lead to the fact that literary art emerges more and more clearly as something local, isolated, tied to native antiquity. Folk artistic culture - works of religious art (votive painting, icons painted on glass, painted sculpture), rapidly developing from the 16th-17th centuries. (especially in countries of the Catholic cult), the design of festivals, popular prints, with their naive archaism of forms, already has a completely different figurative system than the exquisite, sometimes innovatively unusual works of “high” art; A similar discrepancy arises in the style of household items. This gap is less noticeable where folkloric elements penetrate deeply into the culture of the privileged strata and the church. In Russia this was manifested, for example, in the architecture of the palace in the village. Kolomenskoye (17th century), with its abundance of forms of folk wooden architecture, and in Latin American countries - in the decor of Baroque churches, which absorbed the features of the art of pre-Columbian civilizations. In the 17th-18th centuries. in N. t. the ideographic principle noticeably weakens. In plant motifs, which are now everywhere replacing symbolic-geometric patterns, the decorative structure becomes freer and more diverse. More and more fresh observations and everyday subjects are penetrating into folklore, and there is an increasing desire for a fairytale-folklore understanding of the life of the upper strata of society, for borrowing the forms of dominant styles, and for simulating the texture of expensive and labor-intensive materials. However, new motifs and forms (Renaissance, Baroque, Empire), penetrating into literary style, retain only a very distant resemblance to the model, becoming simplified and frozen in a rhythmically clear decorative scheme. In general, for the 17th - early 19th centuries. This is the era of the heyday of N. t., which gave an extraordinary variety of its types and forms. This was facilitated by the equipping of folk art with materials and tools previously inaccessible to it, the emergence of new technical capabilities, the expansion of the horizons of folk artists, and the development of folk poetry and satire.

In the 19th century the intensively developing artistic handicraft production is increasingly drawn into the system of the capitalist economy; Trade crafts in most countries are finally separated from conservative home crafts. In Russia after 1861, folk arts and crafts acquired the character of private workshops working for the all-Russian market. The narrow specialization of crafts, the growing division of labor and the standardization of motifs give rise to patterns and forms that are extremely fused with virtuoso techniques of technical execution (sometimes reaching almost machine speed); at the same time, artisanal, mechanically impeccable skill is increasingly crowding out creativity. By imitating examples of mass urban production, often random and anti-artistic, masters destroy the unity of technical and aesthetic principles typical of folklore. Compositions that were previously strictly organized and rich in semantic associations become freer, but less logical. In painting, tempera paints are being replaced by oil paints, and later by aniline paints; the folk icon and popular print are replaced by Oleography; in plastic, the three-dimensional object form loses its architectural character. The image and ornament, previously fused with the thing, now become like a picture pasted onto the surface. Some industries, unable to withstand competition with cheap factory products, decline or die out, but others emerge and expand, mostly using techniques, stylistics, and even examples of professional easel art and the commercial art industry. In a number of countries that previously had the richest cultural heritage (England, Denmark, the Netherlands), it almost completely disappears, but is developing intensively in industrially backward areas that have preserved powerful layers of medieval culture (the northern provinces of Russia, Brittany in France, Tyrol in Austria , Slovakia, Balkan countries, Spain, Sicily in Italy).

Since the mid-19th century, following the recognition of the value of verbal folklore, interest in folk decorative art arose in a number of countries. Since that time, the aesthetics of national art (both national and exotic), its colorfulness and rhythm have increasingly influenced professional architecture and the fine and decorative arts. The collection of art collections begins, public organizations and philanthropic circles revive a number of extinct crafts and organize new ones. This activity acquired particular scope at the turn of the 19th and 20th centuries. with the spread of the “Modern” style and related national-romantic movements. However, by imposing easel-type solutions on folk craftsmen, artists and theorists of “modernism” often showed a lack of understanding of the specifics of artistic painting. Similar mistakes were made later (including in Soviet practice in the 1930s-50s); in a number of capitalist countries, on the contrary, attempts were made to bring folk sculpture and ornament closer to abstract art.

The works of modern folk art are mainly of the nature of decorative items and souvenirs, figuratively indicating the uniqueness of the folk culture of a particular area; Thanks to their clearly handmade appearance, they impart characteristics of national tradition and immediate humanity to an environment created largely by standardized industrial means. Folk arts and crafts play an important role in the economies of developing countries. In many countries (primarily in the USSR and other socialist states), funds are being sought to protect folk crafts and their artistic originality, the activities of folk craftsmen are encouraged through competitions and exhibitions, vocational schools and colleges train artists and performers. With the participation of research institutes and museums, traditions are carefully studied and samples of art are collected, in particular, in order to highlight products and decorative techniques that are in tune with the modern way of life. N. t. has an undiminished influence on the art industry, helping to find the most expressive forms and decor of everyday objects; Some features of folk art live in the works of amateur artists, as well as professional artists who use the experience of folk art. In the USSR, a number of extinct folk crafts were revived, many received new development and orientation associated with Soviet life (for example, former centers of icon painting became world-famous centers of lacquer miniatures). In the diverse types and genres of Soviet literature, careful preservation of folk traditions is combined with a breadth of interests and an active perception of Soviet reality.

For information about the literary arts of various peoples, see the sections Literature, Architecture and Fine Arts, Music, Ballet, Drama Theatre, and Circus in articles about individual countries and the republics of the USSR.

Lit.: Chicherov V.I., K. Marx and F. Engels about folklore. Bibliographic materials, in the collection: Soviet folklore, No. 4-5, M. - L., 1934; Bonch-Bruevich V.D., V.I. Lenin on oral folk art, “Soviet ethnography”, 1954, No. 4; Lenin's legacy and the study of folklore, Leningrad, 1970. Propp V. Ya., Specifics of folklore, in the book: Proceedings of the anniversary scientific session of Leningrad State University. Section of Philological Sciences, Leningrad, 1946; his, Folklore and Reality, “Russian Literature”, 1963, No. 3; Chicherov V.I., Questions of the theory and history of folk art, M., 1959; Gusev V. E., Aesthetics of folklore, Leningrad, 1967; Bogatyrev P. G., Questions of the theory of folk art, M., 1971; Kravtsov N.I., Problems of Slavic folklore, M., 1972; Chistov K.V. Specificity of folklore in the light of information theory, “Questions of Philosophy”, 1972, No. 6; Schulze F. W., Folklore..., Halle/Saale, 1949; Cocchiara G., Storia del folklore in Europa, Torino, 1952 (Russian translation - M., 1960); Corso R., Folklore, 4 ed., Napoli, 1953; Thompson S., Motifindex of folk-literature, v. 1-6, Bloomington, 1955-58; Aarne A. The types of the folktale. A classification and bibliography, 2 ed., Hels., 1964; Krappe A. H., The science of folklore, N. Y., 1964; Bausinger H., Formen der “Volkspoesie”, B., 1968; Vrabile G., Folklorul. Obiect. Principle. Methoda. Categorii, Buc., 1970.

Melts M. Ya., Russian folklore. Bibliographic index, 1945-1959, Leningrad, 1961; the same 1917-1944, L., 1966; the same 1960-1965, L., 1967; Kushnereva Z.I., Folklore of the peoples of the USSR. Bibliographic sources in Russian (1945-1963), M., 1964; Volkskundliche BibliogrgIphie B, - Lpz., 1919-957; [Continued], in the book: Internationale volkskundliche BibliogrgIphie Bonn, 1954-70.

Bartok B., Why and how to collect folk music [trans. from Hungarian], M., 1959; Kvitka K.V., Izbr. works..., vol. 1-, M., 1971-1973; Essays on the musical culture of the peoples of Tropical Africa, collection. art., comp. and ter. L. Golden, M., 1973; Bose F., MusikaIlische Völkerkunde, Freiburg im Breisgau, 1953; Nettl B., Theory and method in ethnomusicology L. 1964; Brăiloiu S. Folklore musical, in his book: CEuvres, v. 2, Buc., 1969, p. 19-130.

Alferov A.D., Petrushka and his ancestors, M., 1895: Onchukov N.E., Northern folk dramas, St. Petersburg, 1911; Russian folk drama of the 17th-20th centuries. Texts of plays and descriptions of performances, ed., intro. Art. and comments by P. N. Berkov, M., 1953: History of Western European Theater, ed. S. S. Mokulsky, vol. 1, M., 1956; Avdeev A.D., Origin of the theater, M. - L., 1959; Vsevolodsky-Gerngross V.N., Russian oral folk drama, M., 1959; Dzhivelegov A.K., Italian folk comedy..., 2nd ed., M., 1962; Cohen S. Le théâtre en France au moyen-âge, v. 1-2, nouv. ed., P., 1948.

Tkachenko T. S. Folk dance M., 1954; Goleizovsky K. Ya. Images of Russian folk choreography, M., 1964; The encyclopedia of social dance, N.Y., 1972.

K. V. Chistov(literature),

I. I. Zemtsovsky(music),

N. I. Savushkina(theater),

A. K. Chekalov, M. N. Sokolov(architecture, fine and decorative arts).

Folk and decorative arts - as part of artistic culture

There are many types of artistic processing of materials. However, not every one of them can be an integral part of the content of classes in general education schools, as one of the educational means. They must meet certain pedagogical requirements. Types of decorative and applied arts used in educational work should be accessible to schoolchildren in terms of their artistic and technological characteristics, in terms of effort and time. Along with accessibility and feasibility, these classes must have a potential margin of complexity so that each task is completed according to the didactic principle of learning. At a level of difficulty that allows you to more fully reveal the spiritual and physical capabilities of schoolchildren. Such types of decorative and applied arts are becoming widespread, in the process of mastering which program interdisciplinary connections are established, as well as connections between practical application and the further development of knowledge and skills acquired by schoolchildren. Because it is one thing to theoretically study a course in a subject and quite another to apply the acquired knowledge in practice. Experience shows that knowledge consolidated in practical activities is absorbed for a long time and firmly.

Every child is naturally endowed with feelings, the development and upbringing of which determines his ability to perceive reality aesthetically.

Folk and decorative arts are an integral part of artistic culture. Works of applied art reflect the artistic traditions of the nation, the worldview, worldview and artistic experience of the people, and preserve historical memory.

In a broad sense, folk art is poetry, music, theater, dance, architecture, fine and decorative arts created by the people on the basis of collective creative experience, national traditions and existing among the people.

Another area of decorative and applied art is associated with the decoration of the person himself - the creation of an artistically executed costume that makes up an ensemble along with a headdress, shoes and jewelry. But recently the suit is increasingly considered To clothing design.

Works of folk art have spiritual and material value, are distinguished by their beauty and usefulness. Masters of folk arts and crafts create their works from a variety of materials. The most common are artistic ceramics, weaving, lace-making, embroidery, and painting. As well as wood or stone carving, forging, casting, engraving, chasing, etc. We can use painted dishes, lace napkins, carved wooden boards, embroidered towels and many other works of folk art in everyday life.

Great importance in folk art is given to the ornament that decorates an object or is its structural element. The motifs of the ornament have ancient mythological roots.

Folk art has lived for centuries. Technical skills and found images are passed down from generation to generation, preserved in the memory of folk artists. Because of this, the tradition established over centuries selects only the best creative achievements.

Decorative and applied art is a field of decorative art: the creation of artistic products that have a practical purpose in everyday life and are distinguished by decorative imagery (dishes, furniture, fabrics, clothing, jewelry, toys, etc.). All objects surrounding a person should not only be comfortable and practical, but also beautiful. Use and beauty are always nearby when artists get down to business and create household items that are works of art from a variety of materials.

Another area of decorative and applied art is associated with the adornment of the person himself - the creation of an artistically executed costume that makes up an ensemble along with a headdress, shoes and jewelry. But recently the suit is increasingly considered To clothing design.

However, decorative products demonstrate not only the aesthetic taste and imagination of the artist. They, like works of other types of art, reflect the material and spiritual interests of people. And although today applied art products are created by the art industry, they largely retain national characteristics. All this allows us to say that in the decorative art of a certain historical era, the features of stylistic unity are clearly expressed, for example, the period of Gothic, Art Nouveau, Classicism, etc.

How can you determine whether a given product is a work of decorative art? Sometimes they argue like this: if a vase has a beautiful shape, but it is not decorated with anything, then it is not a work of decorative art, but if you put some kind of pattern on it, it will immediately turn into a work. This is wrong. Sometimes the ornaments decorating a vase turn it into a tasteless craft and turn it into kitsch. Conversely, a vessel made of pure clay or wood can be so striking in its perfection that its artistic value becomes obvious.

What are the similarities and differences between works of folk and professional arts and crafts?

Sometimes, based on the method of making a thing, the share of manual labor in this process, and the mass circulation of works of applied art, they try to classify works of applied art as folk art. This is extremely difficult to do, because folk art products are sometimes created in factories, and decorative works of professional artists are sometimes created in one copy.

Probably the most important thing when determining which type of art to classify this or that thing is to determine within the framework of which artistic tradition it was created, whether the characteristics of the image-type of a particular craft and the technology of processing the material are observed.

The creations of folk craftsmen and applied artists are united by thoughtfulness of forms, expediency of proportions, and stylistic unity of all elements. The expressiveness of line, silhouette, rhythm, color, proportions, shape, space in each type of decorative art largely depends on the materials used and the technology of their processing.

A folk craftsman or artist of decorative and applied arts in his work strives to show in the best possible way the aesthetic qualities of materials. Decoration in folk and decorative arts is the main means of expressing beauty, at the same time it is a qualitative feature of works of other types of art.

It is necessary to take into account that in each type of art the artistic image has its own structure, determined, on the one hand, by the peculiarities of the expression of spiritual content, on the other hand, by technology, the nature of the material in which this content is embodied. The artistic image in folk and decorative arts has common and distinctive features.

Therefore, in folk art it is customary to highlight image-types of products of traditional artistic ideas, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, a horse, the tree of life, a woman, signs and symbols: earth, water, sun can be seen in various artistic materials. Embroidery, weaving, lace; paintings on wood and metal; wood carvings; ceramics, etc. The stability and traditionality of these images, their archetypal nature largely determine the high artistic and aesthetic value of works of folk art.

At the same time, the universality of image-types in the art of different peoples of the world shows their unity. Associated with the commonality of approaches to the process of aesthetic cognition of natural and social phenomena.

Folk and professional arts and crafts are interpreted as arts that serve the needs of man and at the same time satisfy his aesthetic needs, bringing beauty to life.

The theoretical foundations of folk art, its essence and significance as an artistic system as a whole were substantiated by leading domestic scientists: , etc. In their works, the main laws of the development of folk art were defined as “collective principle” and “nationality”.

The art of ornament is a complex, meaningful phenomenon that requires deep study, theoretical understanding and practical mastery.

Ornament- This is a pattern built on rhythmic alternation and organized arrangement of elements.

The term "ornament" is related to the word "decoration". Depending on the nature of the motifs, the following types of ornaments are distinguished: geometric, floral, zoomorphic, anthropomorphic and combined.

Geometric the ornament can consist of dots, lines, circles, rhombuses, stars, crosses, spirals, etc. Complex patterns such as meanders, found in the art of Ancient Greece, can also be classified as geometric patterns. Geometric patterns in Eastern countries were particularly diverse. 3

Vegetable the ornament is made up of stylized leaves, flowers, fruits, branches, etc. In ancient Greek plant ornaments, images of acanthus, lotus, papyrus, palm, etc. were often used. And among the eastern peoples, a popular plant motif was the “islimi” ornament - a spiraling twisting bindweed. The compositions of such ornaments are very diverse.

Zoomorphic the ornament depicts stylized figures or parts of figures of real and fantastic animals. Decorative images of birds and fish also belong to this type of ornament.

Anthropomorphic The ornament uses male and female stylized figures or parts of the human face and body as motifs. This includes various fantastic creatures such as the maiden of birds, the horse-man, etc.

Often in patterns there are combinations of a variety of motifs: geometric and plant, anthropomorphic and zoomorphic. Such an ornament can be called combined.

Ornament is the most important part of folk and decorative arts. It is used to decorate buildings, clothing, household items, weapons, and is widely used in book and applied graphics, posters, etc. The ornament can be drawn with graphic material and painted, embroidered or woven from thread, carved on wood or embossed on metal and etc. An ornament can become an object if it is woven in the form of lace (napkins, collar, tablecloth, etc.), a mat, or forged from metal. The ornament can be multi-colored or single-colored, made on the surface of the object in a convex, relief manner or, conversely, deepened.

The general stylistic features of ornamental art are determined by the characteristics and traditions of the visual culture of each nation, have a certain stability over a long historical period and have a pronounced national character. Therefore, we can say that the ornament is the style of the era, a reliable sign that the work belongs to a certain time and to a certain country (Gothic, Baroque, Art Nouveau, etc.).

For many centuries, people believed in the protective power of ornament, believing that it protects from troubles and brings happiness and prosperity. Gradually, the function of the amulet was lost, but the main purpose of the ornament remained - to make the object more elegant and attractive, and artistically expressive.

The properties of an ornament depend on the purpose of the shape, structure and material of the thing that it tames. Ornament helps to emphasize the plastic and design features of an object, enhance its figurative design, and better reveal the natural beauty of the material. All this is possible provided there is a harmonious combination of the ornament and shape of the object.

Based on the nature of the compositional schemes, the following types of ornament can be distinguished: ribbon (frieze, border, border), having seven different types of symmetry, mesh and closed (in a circle, square, rectangle, triangle, etc.).

Rhythm is very important in ornamentation. Rhythm in an ornament is the alternation of pattern elements in a certain sequence. Rhythmic construction in an ornamental composition can be achieved through various techniques; rapport repetition of a motif creates a varied rhythm. Repeated elements of an ornament are called repeat. There are different types of rapport compositions.

A special theme is ornament and symmetry. Symmetry in art is the precise pattern of arrangement of objects or parts of an artistic whole.

An ornament created in a circle by dividing it into equal parts by diameter is called a rosette or rosette. Symmetry helps create a certain rhythm in the ornament. Not only symmetrical, but also asymmetrical ornamental compositions are very diverse.

Stylization is a decorative generalization and highlighting of the characteristic features of objects using a number of conventional techniques.

Folk ornaments are created, as a rule, based on the stylization of natural forms. The example of the ornament is clearly visible. How the shapes of plants, animals and even human figures can be turned into geometric elements.

Selecting the main thing, the master transforms the object, subordinating its shape and color to the rhythmic structure of the ornament. The work of a folk artist is based on emotional and associative perception, his figurative solution can differ significantly from nature.

A flower, leaf, branch can be treated almost as geometric shapes or the natural smooth outlines can be preserved. Based on real images, the artist creates new ornaments based on creative imagination.

In decorative art, in the process of generalizing a form, the artist, while maintaining its plastic expressiveness, highlights the main and typical, abandoning secondary details. All shades observed in real form are reduced to several colors. A complete rejection of the real color is also possible.

The overall style of the ornament, its linear and color composition are based on a creative rethinking of nature.

Ornaments are an inextricable part of applied art. It clearly testifies to the level of material and spiritual culture of the people; the depth of their thoughts, creative imagination and artistic skill are concentrated in it.

In embroidery, craftswomen combined floral and geometric patterns. Rectangle, square, rhombus, triangle, trapezoid - these are the simplest geometric shapes often found in cloth appliqué. Festive clothing is lavishly decorated with ornaments, the main patterns of which are linden and herringbone. The craftswoman decorates her products with ornamented stripes and fashionable plaques.

In addition, in works of Yakut applied art, along with ornaments, various plot designs with heraldic meanings are depicted: horseman - unicorn, lion, horse, folklore holy tree - Aal Luuk mas, etc.

The language of ornament was used to create artistic images that were understandable to the broad mass of the population. Over time, the contents of many ornaments have been forgotten and modern research will require a lot of painstaking work to solve the mystery of the contents of at least part of them. Some ornaments have become traditional without any explanation. Geometric motifs in Yakut clothing are found in border decorations of headdresses, shoulder clothing and shoes. Subsequently, the outlines of the ornaments become more complex. Curvilinear motifs appear - waves, arched arcs, curved figures.

The details of the ornaments in their outlines resemble eyes, horns, heads, and animal figures. Often, the ornaments include stylized images of individual animal patterns, reflected in the shapes and names: “tanalai oyuu” (sky pattern), “buer oyuu” (kidney pattern), “surekh oyuu” (heart pattern).

The ornamental pattern of Yakut folk clothing is a whole layer of spiritual and material culture of the Sakha people, which requires painstaking study: clarification of its ethnic identity, compositional plastic, coloristic, constructive and connecting features. The artistic imagery of the ornament is closely connected with folk rituals, ethnographic customs, mythology, and epic.

The whole life of the Yakuts was closely connected with the surrounding nature; they obtained everything from it, food, clothing and tools. According to their concepts, the most important thing in our Universe was Nature. Therefore, the clothing of the Sakha people, as part of the material culture, was inseparable from their beliefs, rituals, nature, and deities.

Patterns and fabrics were embroidered according to a preliminary design with threads, beads, and beads and decorated with metal plaques, plates, and appliques of multi-colored cloth mosaics.

The craftswomen knew how to coordinate the design of the ornament with the size and shape of the products and the technique of execution, and the pattern of Yakut embroidery itself is the result of the creativity of many generations. The craftswomen brought a lot of personal creative imagination into their work, but even when creating new patterns, they did not deviate from traditions and did not violate the established artistic style.

In the history (culture) of any nation, patterns have a mystical meaning and serve the owner as amulets and even as a kind of “passport”. So in Ancient Rus', carefully, carefully looking at the embroidered collar of a shirt, they determined which tribe its owner belonged to. In the old days in Yakutia, just by taking a small look at a woman’s clothes and jewelry, one could quite accurately find out her age, financial situation and even the number of children, as well as cows, horses and deer. Even today, a Yakut craftswoman, having examined the pattern, will be able to tell in which ulus the master who made it lives.

The patterns on clothes were arranged in strict accordance with the location of... the chakras. For example, a patterned line along the spine (any yogi will tell you that it is along the spinal column that the energy of the kundami rises) not only masks the seam on clothing, but also performs a protective function, protecting the vital core from negative external influences. It can be present on both men's clothing and women's clothing.

But embroidered hems and patterns on the hips are typical for women's clothing. They rarely depict the nest of the goddess Aiyyyt (the patroness of women, childbirth and motherhood), who protects the womb from the evil eye not on the nest, but on a heart with open edges. Often a closed pattern is repeated three times in order to protect all three souls a person has - salgyn kut, buor kut, ie kut (airy, earthly, maternal soul). On bastyn head decorations or summer caps, the solar symbol (decoration symbolizing the solar circle) is usually located in the middle of the upper part of the forehead in the place of the third eye. Two more circles on both sides of the temples also cover the chakras.

A continuous pattern along the hem of clothing, which wards off evil spirits of the lower world, was considered mandatory for both men's and women's clothing. Often this black and white pattern is tangalat, meaning the path of life and an obstacle to the path of evil. To understand what it looks like, just look at an ordinary border post.

Color designations for Yakuts.

The entire way of life and economic activity of the Yakuts were closely connected with Mother Nature. Therefore, the colors of their clothes reflect the natural palette - the colors of the earth, sky, plants, sun and snow, colors that are always harmonious and pleasing to the eye with freshness and beauty. The awakening of nature, the arrival of summer, the spring blossoming and autumn withering of plants, the rising and setting of the sun - all this was reflected in the patterns embroidered by our ancestors, where white, black, blue - blue, green and red colors predominated.

Since ancient times, the red color has been associated with religion - it is the color of blood, the color of strength, life, connection with the mother, therefore the amulet of the belief of the mother - soul (ie - kut) protected her; Green color (green grass); blue (blue sky); blue (blue expanses, blue) – the color of nature.

Our ancestors in their songs and olonkho very colorfully sang all these colors and their shades, for example, the green color personified the connection with the life of wildlife, and the blue symbol of Salgyn Kut (air soul), it represented the blue bottomless space with blue breath (kuoh tyyn) . And it was a sign of development, the flourishing of life.

Yellow, white colors of sunshine, snow, they are associated with the environment and are a symbol of life, happiness, all that is bright and good.

Black, dark gray, brown - the color of the earth, personified Buor kut (earth soul), Mother - earth.

When studying special literature, it was confirmed that the Sakha people worship everything that surrounds us and attached great importance to them, which was conveyed by patterns, signs, and symbols.

We, modern Yakutians, are beginning to understand that our culture is one of the oldest, which combines, first of all, love for our native nature, animals, faith and worship of deities. Also the worship of a woman, the ancestor of a clan, a tribe, the continuer of people’s lives.

Nowadays, former symbols and signs are fading, turning into simple elements of a pattern, which is stereotypically repeated from generation to generation by inertia. Therefore, now many researchers of folk culture and craftsmen are restoring the forgotten styles of ancient Sakha clothing.

2.1. Applique is one of the types of decorative and applied art for performing ornamental works.

Applique belongs to the arts and crafts and is a type of embroidery used to decorate clothing, household items, and to create decorative panels.

What is decorative and applied art? This is how this concept is defined in a short dictionary of aesthetics (ed. - M., 1964. - pp. 73-74): decorative and applied art - “a type of art (close to fine art), the works of which are objects, possessing certain artistic and aesthetic properties, but at the same time having a direct practical purpose in everyday life, work, or specially intended for decoration...”

By its origin, decorative and applied art is one of the most ancient forms of art.

For a long time, people have strived to make their homes, clothes, and household items not only comfortable, durable, but also beautiful. The main source of inspiration for people was the amazing natural world around them. The peoples of the North depicted deer, walruses, and spruce in their designs (Fig. 2). In the endless steppes of Kazakhstan, the main motive for composing patterns was the various branched horns of rams).

The richness of shapes and bright colors of the flowers of the fields of Ukraine were transformed by masters into decorative elements of the ornament.

The Azerbaijani people have invested all their art into complex intertwining floral and geometric patterns.

The patterns of Vologda lace, complex weaves in the ornamental decorations of the minarets of Samarkand, illustrations of ancient Armenian books and Belarusian embroidery evoke delight.

National styles of patterns have been improved over many generations, becoming laconic and easy to imitate.

During classes at school, children get acquainted with the products of well-known folk art crafts for processing various materials: Palekh, Mstera, Fedoskina (miniature painting on papier-mâché); Khokhloma, Gorodets (wood painting); Kubachi (metal engraving); Vologda, Yelets (lace weaving); Gzhel (artistic painting on ceramics); Azerbaijan (carpets); Uzbekistan (architectural ornaments on plaster); Ukraine (Hutsul inlays with different types of wood), etc.

The teacher must teach children to understand and be proud of the works of folk craftsmen of all nationalities of our country. And this, in turn, contributes to the development of artistic taste, understanding of the features of pattern construction, taking into account the purpose of the product, its shape and the material used.

The order of the USSR Ministry of Education dated January 1, 2001 “On measures for the further development of folk artistic crafts” allows, where possible, to organize the study of technical techniques for making artistic products in labor lessons. The results show that arts and crafts in school have received new development in recent years. Now schools are increasingly using ornamental patterns to decorate objects of labor. Students enjoy studying in clubs on embossing and engraving, embroidery and knitting, wood and bone carving, inlay and painting. Pre-professional training of students in folk crafts is carried out at educational and production plants. Hence, the role of primary school is great, laying the foundations for visual activity in children of primary school age. During the lessons, schoolchildren not only study the art of the peoples of the USSR, but also learn the techniques of artistic work. In extracurricular activities, interesting and captivating activities continue for the children.

The application technique has great teaching and educational opportunities. In the process of artistic and labor activity, the child masters a number of graphic skills (use a pencil, ruler, square, compass), learns to analyze phenomena and objects of the surrounding world, use scissors, apply glue correctly with a brush, carefully glue parts, etc.) He has imagination, voluntary attention, visual memory, eye, sense of form, rhythm, perception of spatial concepts, color and its transformation develop; a love of beauty, of precision and accuracy is fostered; patience, perseverance, and the desire to complete the work begun are formed. Students can later transfer the art of making paper appliqué to work on fabric, wood, leather, metal, etc.

The founders of art, he wrote, were potters, blacksmiths and goldsmiths, weavers and weavers, masons, carpenters, wood and bone carvers, gunsmiths, painters, tailors, seamstresses and in general - artisans, people whose artistically made things, delighting your eyes fill museums” (A Brief Dictionary of Aesthetics/Ed., M., 1964.- P. 74).

Works of decorative and applied art differ by the type of products created (furniture, lace, jewelry, toys, etc.), by the material from which the product is created (metal, wood, glass, porcelain, bronze, ceramics, etc.). ), according to the technique of material processing (artistic carving, painting, embossing, artistic casting, etc.). Decorative and applied art lives around us in carpets, fabrics, clothing, ceramic dishes, book design, banknotes, and in the decoration of architectural structures. Posters, wall newspapers, and ornamental text posters are decorated with ornamental patterns. Children begin to perceive their surroundings early, but in order for them to appreciate what they see, to distinguish what is truly beautiful from the motley and vulgar, this must be taught, and the sooner the better. Work on developing a child’s artistic taste begins in the family and in preschool institutions.

When working with school-age children, using applications you can organize a fun and educational learning process.

Sensory education gives children the opportunity to compare figures by making applications. By composing and constructing various objects and elements of the flora and fauna from rectangles, squares, triangles, circles, children become familiar with the basics of creative activity.

Based on completed applications, conversations are held that promote the development of oral speech.

Application work in the middle classes is included in the labor training program. In elementary grades, appliqué work is usually done on sheets of paper, and in middle grades they are used mainly to decorate products that have socially useful significance. Appliques are used to decorate bookmarks, boxes, folders, car models and other objects; they are used in the repair of books, tables, the production of visual aids and in design work. Applique works decorate everyday life. And this in no way diminishes the significance of the application, but once again emphasizes its applied nature.

Nurturing children's deep and lasting interests in artistic work continues in extracurricular activities. Classes in technical and artistic design clubs expand the individual cognitive interests of schoolchildren. Children use in their work the knowledge and skills acquired in mathematics, natural history, and fine arts lessons. In classes in circles, using various artificial and natural materials, they perform more complex and interesting appliqué work; they are given more independence in choosing subjects or patterns for decoration. Not limited by rigid lesson time, children show more creativity and imagination. Club leaders must purposefully identify children’s inclinations and, taking into account pedagogical requirements, offer them work topics in accordance with their interests and capabilities.

In extended-day groups, in classes in clubs, the child has the opportunity to work simultaneously with colored paper, cardboard, fabric, plasticine and, by modeling, create various crafts (see: Extracurricular work on labor / Comp. - M., 1981).

Interesting classes are held on making equipment for playrooms, decorations for puppet theaters, carnival costumes, various design works, competitions for the best example of an invitation card, emblems for the names of an asterisk, circle, and squad. Works made with appliqué are posted for general viewing and discussion. Based on appliqué samples, high school students can cut some works out of plywood or make them in other ways.

Art appliqué clubs work successfully in boarding schools, art houses, children's camps, and they are easy to organize at children's educational institutions. The organizers and leaders of such circles can be teachers, parents, and high school students.

A teacher or circle leader must not only teach younger schoolchildren certain work techniques, his main task is to develop their ability to be creative, awaken interest in work, and instill skills in a work culture and friendly mutual assistance.

The products planned for implementation in their design, technology, and artistic design should be within the capabilities of middle school students. The work should not only be visually attractive, but, most importantly, it should be done with high quality by each student. It is very important to form in a child a constant sense of interest in the process of everyday work, so that he does any work with pleasure, creatively, rejoices at successes and persistently tries to correct shortcomings, achieving accuracy and beauty in everything.

At the same time, planning simplified tasks leads to a decrease in children's interest in work. Therefore, no matter how difficult it is for the leader, he must select tasks for students individually. differentiated, so that each child can apply all his knowledge and skills when performing this or that work.

When choosing certain products to make in class, it is necessary to accurately determine in which specific elements of knowledge and skills children will advance; what they will learn to do new; what they simply practice, how they use existing ideas and skills when making a new product.(67)

ARTS EATING

L.A. KUZNETSOVA, Candidate of Pedagogical Sciences, Associate Professor of the Department of Decorative and Applied Arts and Technical Graphics, Oryol State University

Tel. 89065717982

FOLK ART

The article reveals the history of the study of folk decorative art, its role in the development and formation of artistic and aesthetic inclinations of students. The article discusses folk crafts and their role in the education of younger generations. The question of the role of the collective in the process of creating decorative products by masters of folk applied art is raised, and the role of the heritage of decorative and applied art for modern artists is revealed.

Key words: folk art, decorative and applied arts, craft, folk craftsman, folk culture.

“...Folk art is the past living in the present, looking towards the future with its dream of the unprecedented. It creates its own world of Beauty, lives by its ideal of Goodness and Justice, and develops according to its own laws. This is the cultural memory of the people, inseparable from the deepest aspirations of our time.”1

The study of folk art began in the late 19th and early 20th centuries. The works of art critics A.V. have received universal recognition. Bakushinsky, V.S. Voronova. Significant contributions were made by the work of A.B. Saltykova, V.M. Vasilenko (50s, 70s of the 20th century). AND I. Boguslavskaya, T.M. Razina, A.K. Chekalov in their works revealed various aspects of folk art. A special place is occupied by the research of M.A. Nekrasova, in her works the role of folk art in culture is defined at the methodological level, the laws of its development are revealed, and a system of concepts related to the specifics of folk art as a special type of artistic creativity is identified.

Scientific research on folk art has today become part of the theory of art. The science of folk art was formed, gradually emerging from the context of issues of culture, ethnography, material life, and art history. The work that folk art researchers have done and are doing is important not only as a method for solving scientific problems. The study of folk culture in the 18th century was closely linked to the strengthening of the state. Ethnographic materials obtained as a result of expeditions at the end of the 18th century became the basis for subsequent methods of studying folk art. The beginning of the 19th century was marked by the confrontation between “Westerners” and “Slavophiles”, the discussion between which contributed to the formation of diverse ideas about folk culture. By the middle of the 19th century, ethnography was established as a science. It receives official recognition, and the newly formed Russian Geographical Society (1845) clearly proclaims its main provisions for the first time. In the pre-reform 50s and post-reform 60-70s of the 19th century, government changes occurred that caused great changes in Russian society. Issues of folk art

The “Society of Ancient Art” and the “Archaeological Society” begin to work in Moscow and St. Petersburg. During this period, issues of the development of folk art were dealt with by such scientists as V.I. Dahl, P.A. Bessonov, P.I. Yakushkin and others.

The mid-19th - early 20th centuries are characterized by the emergence of ideas about the content and high value of folk culture. Economic interest in the craft is becoming of great importance. The problem of representation appears along with an understanding of the social heterogeneity of Russian art. The first experience of systematic study of peasant crafts dates back to the early 50s of the 20th century. On behalf of the Ministry of State Property, special commissions were created, which were entrusted with the most complete collection of information about peasant crafts and handicraft industries. During this period, an invaluable contribution was made by V.S. Voronov, A.I. Nekrasov, A.V. Bakushinsky, N. Shcheko-tov. Of particular importance for understanding the specifics of the artistic image in folk art are the research of V.S. Gorodtsov (1926), which were continued by L.A. Dintses (1951), V.Ya. Propp (1963). The research of these scientists revealed the importance of semantics for art criticism. When the semantic basis, the ritual and rhythmic basis, the meaning of the ornamental compositions of an artistic image are clear, then it is revealed more clearly and fully.

Folk art is of interest not only from artistic, but also from historical, ethnographic, sociological and scientific points of view. Knowledge of the origins of folk art, its artistic nature and spiritual values should become an integral part of the spiritual culture of a student studying in an artistic field. Folk art makes it possible to cultivate in them a certain culture of perception of the material world, to develop the creative qualities of the individual, ensuring readiness to inherit the spiritual values of folk art, to be ready to conduct a dialogue between cultures of different eras and peoples of the world.

Folk art and culture, constantly creating, giving experience and wisdom to the culture of professional artists, help them demonstrate the ability to settle in and feel the world. The synthesis of natural and folk can be identified as the main source of aesthetic experiences in Russian art. The world of folk art is the world of a holistic person. It grows and develops in the natural environment. Man, using the benefits of nature obtained by labor

on earth, feels inside nature. Thus, a folk artist especially feels involved in the culture of his native land, maintaining a universal scale in his work. An artist who turns to folk art understands the world through knowledge of himself. Participation in the whole creates in each culture its own national image of the world, its own images, types. The essence of the people's ideal has always been the opposition of good - evil, beauty and order - world chaos, the transformative forces of creativity - decay, death, the eternal - the finite, the temporary.

Folk most often means its decorative, visual and applied form, which is associated with household items and folk architecture. Other types of folk art have their own names, for example: folklore, folk dance, oral creativity, fairy tales and other folk art as a social phenomenon goes back to the worldview of the pre-Christian or even pre-pagan period of social development. After the adoption of Christianity by Russia, folk art adopted a lot from Greek-Byzantine culture.

As a historical and artistic form of experience, folk art ends in the 20-30s of the 20th century. Now Russian folk art remains only the source of our ideas about the history of the worldview. The change in popular consciousness in the first third of the 20th century was associated with social reconstruction, when the values of the peasantry and handicrafts were pushed into the background by the development of industrial society. But folk art still carries great significance, this is due to its diverse functions. One of the most important is the experience of aesthetic experience, which remains in demand today, despite new realities. It closely intertwines the features of the artistic form and the concept of a national ideological basis. All this is convenient material for educational programs in which the figurative nature of knowledge is connected with technological experience, techniques and methods of sensory and sensitive experience inherent in the fine and decorative arts. In the matter of humanizing education, turning to folk art will provide an opportunity to form the general cultural intelligence of the individual, bringing him closer to nature as the beginning of the human soul.

Folk art expressed a holistic worldview, the worldview of the Russian people. The main thing in it was not momentary, it was based on the eternal, the general, which determined the connection of time.

Myon and at each segment of its development created something of its own, new. Despite the diversity of its manifestations, Russian folk art is distinguished by its great love for natural forms. Folk art, like any folk craft, is the result of the creativity of a team that is constantly honing and improving the culture of craftsmanship and artistic language. Craft not only unites people with a common cause, but also directs the creative activity of different individuals towards one goal. The deep spirit of collectivity of village life had a great influence on the entire folk culture. In folk art, it imparts a universal scale to the image and forms the very essence of creativity, its spiritual and moral basis, those principles of collectivity on which art in folk craft is born and developed.

The pedagogical value of knowledge of folk and decorative arts lies in the fact that works of these types of art allow one to cultivate a certain culture of perception of the material world, contribute to the formation of an aesthetic attitude to reality, and help to better understand the artistic and expressive aspects of the environment. Based on knowledge about folk art, national regional programs for the revival of the crafts of the peoples of Russia are being developed. Educational programs in which folk art materials were introduced were given the opportunity to address the roots of the historical and artistic heritage that determine the broad social context of folk art.

The objective world around us is changing very quickly. It is necessary to practically guide the artistic inclinations of students so that it helps them in organizing their housing, choosing clothes, and revealing the aesthetic significance of works of decorative and applied art of past eras and the present. Introducing students to decorative imagery, especially in the works of folk artists, contributes to the development of their aesthetic attitude to reality. The origins of decorative expressiveness and decorative art lie in the ability of masters to aesthetically comprehend nature. The importance of works of decorative and applied art for the formation of artistic taste is also determined by the fact that they specifically refract the expressive means of other types of fine art.

arts - painting, graphics, sculpture, architecture. For example, in Russian artistic varnishes such painting techniques as underpainting and glazing are preserved, giving a special sonority and expressiveness to the color scheme. In other types of decorative and applied art - ceramics, artistic processing of wood, stone, bone, horn - sculptural qualities predominate. In the works of folk craftsmen one can see a deep understanding of the organic connection between the aesthetic perception of the form of an object and its functional purpose. The process of generalization in decorative creativity, the creation of form, is inseparable from identifying the properties of the material. The material dictates its conditions. Consider the folk toy whistle. The basis of the toy is a decorative image of a bird, but it is interpreted differently in clay and in wood. Making clay whistles requires softness, pliability of clay, the ability to reveal texture differently, shiny under glaze and matte, rough when simply painted. The shape of a wooden turned toy has strict lines, the volume of the toy is created on the basis of rotation with the surface of the wood, smooth to a shine. The different shapes of bird whistles are not only due to the difference in material, all clay toys are different in shape, character and expressiveness. The same material behaves differently in the hands of different masters of Dymkovo, Filimonov, Kargopol, and Pleshkov toys. Using the example of old masters, modern craftsmen learn to understand the decorative nature of the material: texture, color, texture.

It is difficult to imagine objects of decorative and applied art without a pattern. Over time, an amazing harmony of content and form, ornament and means of its implementation was born, which even today delights us in any product of folk art. Examples of ornamental compositions made by folk craftsmen in different materials, using various technologies for processing the shape of an object, make it possible to simply and clearly acquaint students with the unity of the aesthetic and functional in the creation of an artistic object, highlight the techniques of decorative generalization, and show that each thing is created for a person and lives in close relationship with surrounding things.

Folk art shows us an example of the true greatness of artistic power, created by a folk collective, it is brilliant, it continues to live and develop.

PEDAGOGY AND PSYCHOLOGY

Bibliography

1. Boguslavskaya I.Ya. Problems of tradition in the art of modern folk arts and crafts // Creative problems of modern folk arts and crafts. - L., 1981.

2. Vasilenko V.M. Russian applied art. - M., 1977.

3. Kaplan N., Mitlyavskaya T. Folk arts and crafts. - M., 1980.

4. Koshaev V.B. Issues of concept formation in the science of folk art. - Izhevsk, 1998.

5. Nekrasova M.A. Folk art of Russia // Folk art as a world of integrity. - M., 1983.

6. Popova O., Kaplan, N. Russian artistic crafts. - M., 1984.

7. Rondeli L. Folk arts and crafts. - M., 1984.

This article exposes the history of folk decorative art research, its role in the development and formation of artistic and aesthetic bents of students. In this article folk crafts and their role in education of rising generations are considered. The role of the collective in the process of decorative products creation by masters of a folk applied art is mentioned. The role of arts crafts heritage for modern artists is revealed in the article.

Key words: folk art, arts and crafts, craft, folk master, folk culture.

Topic 1. Folk and decorative arts

Folk and decorative arts are an integral part of artistic culture. Folk art develops according to its own laws and interacts with the art of professional artists.

In a broad sensefolk art (folklore) - these are poetry (legends, fairy tales, epics), music (songs, tunes, plays), theater (drama, puppet theater, satirical plays) created by the people on the basis of collective creative experience, national traditions, dance, architecture, fine arts and arts and crafts.

Works of folk art have spiritual and material value, are distinguished by their beauty and usefulness. Masters of folk arts and crafts create their works from a variety of materials. The most common are artistic ceramics, weaving, lace-making, embroidery, painting, wood or stone carving, forging, casting, engraving, chasing, etc. We can use painted dishes, lace napkins, carved wooden boards, embroidered towels and many other works of folk art at home.

Great importance is given to folk artornament, which decorates an object (thing) or is its structural element. The motifs of the ornament have ancient mythological roots.

There are two directions in folk art:urban art craft Andfolk arts and crafts. Examples of traditional artistic crafts include: painting on wood (Khokhloma, Gorodets, Northern Dvina) and porcelain (Gzhel), clay toys (Dymka, Kargopol, Filimonovo, Abashevo), nesting dolls (Sergiev Posad, Semenov, Polkhov-Maidan) , trays (Zhostovo), lacquer miniatures (Fedoskino, Palekh, Mstera, Kholuy), scarves (Pavlovsky Posad), carved wooden toys (Sergiev Posad, Bogorodskoye), jewelry (Kubachi), etc.

Decorative arts - This is one of the types of plastic arts. Decorative art is divided into those directly related to architecture -monumental and decorative art (stained glass windows, mosaics, paintings on facades and interiors, decorative garden sculpture, etc.),arts and crafts (household art products). The term “decorative art” is broad in scope. Decorative arts are largely related to the art industry anddesign. Together with architecture and design, it forms a material object-spatial environment, introducing an aesthetic, figurative element into it.

Decorative and applied arts - the field of decorative art: the creation of artistic products that have a practical purpose in everyday life and are distinguished by decorative imagery (dishes, furniture, fabrics, clothing, jewelry, toys, etc.). All objects surrounding a person should not only be comfortable and practical, but also beautiful. The item must be expressive as a whole - in design, proportions, details, as well as in decoration. Painting a jug with patterns, decorating a cutting board with carvings, knitting a lace napkin, weaving patterns on fabric - all this requires paingreat skill. Such products decorated with ornaments are also classified as decorative and applied arts because hands must be used to create this beauty. Use and beauty are always nearby when artists get down to business and create household items that are works of art from a variety of materials (wood, metal, glass, clay, stone, fabric, etc.).

The expressiveness of line, silhouette, rhythm, color, proportions, shape, space in each type of decorative art largely depends on the materials used and the technology of their processing.

The relationship between form and material is obvious. The plasticity of clay, the fibrousness of wood, the fragility and transparency of glass, and the strength of metal make it possible to create vessels of various shapes; its best artistic solution is determined by the properties of the material.

Decoration in folk and decorative arts is the main means of expressing beauty.

The decorative image expresses not the individual, but the general - “specific”, “generic” (leaf, flower, tree, bird, horse, etc.). A decorative image requires artistic and figurative thinking, a mythical and poetic attitude to reality.

Folk and professional arts and crafts are interpreted as arts that serve the needs of man and at the same time satisfy his aesthetic needs, bringing beauty to life.

The theoretical foundations of folk art, its essence and significance as an artistic system as a whole were substantiated by leading domestic scientists A.B. Bakushinsky, I.Ya. Boguslavskaya, G.K. Wagner, V.S. Voronov, M.A. Nekrasova, S. B. Rozhdestvenskaya, A. B. Saltykov and others.

One of the first researchers of folk art who recognized the high artistic and scientific value of “peasant” art was V.S. Voronov. He defined artistic traditions as “folk style.” The scientist believed that tradition is capable of change, internally and externally it is mobile. According to Voronov, decorativeness, constructiveness and ornamentation in peasant everyday creativity “affirm the indisputable right to be called art” and “are a characteristic summary feature by which one can always distinguish and highlight the product of artistic peasant labor.”

M.A. Nekrasova considers folk art as a creative, cultural, historical system that asserts itself through the continuity of traditions and functionsas a special type of artistic creativity in the collective activities of the people. And each nation carries its own culture of poetic, figurative and craft traditions. They took centuries to develop and were polished by many generations of people. With traditions in folk art, not only skill is transmitted, but also images, motifs beloved by the people, artistic principles and techniques. Traditions form the main layers of folk artistic culture -schools and at the same time determine the special vitality of folk art.

In folk art, artistic skill, technical dexterity, working methods, and motives are passed on from master to student. The artistic system is developed collectively.

Main literature

Konstantinova S.S. History of decorative and applied arts. Lecture notes. - Rostov n/d.: Phoenix 2004.

Butkevich L.M. History of ornament: A textbook for students. high ped. textbook institutions.- M.: Humanit. ed. VLADOS Center, 2003.

Armand T. Guide to painting fabric. /Ed. N.N. Soboleva. - St. Petersburg, Polytechnic, 1992.

Sokolova M.S. Artistic painting on wood. – M.: Humanitarian. Ed. VLADOS Center, 2005.

Khvorostov A.S. Arts and crafts at school. - M.: 1988.

Koroleva N.S., Kozhevnikova L.A. Modern patterned weaving. – M., 1970.

additional literature

1. Decorative and applied arts and folk crafts / O.N. Nizhibitsky. - St. Petersburg: Politekhnika, 2007.

2. Zhegalova S.K. Khokhloma Murals: A Story. – M., 1991

3. Konovalov A.E. Gorodets painting: Stories about folk art. – Gorky, 1988

4. Skvortsov K.A. Workshop in educational workshops. - M.: 1987.

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The main means of expressing beauty in folk art. Folk art

Folk arts and crafts. Artistic crafts of Russia Part 1

Preface

1. Folk arts and crafts in the system of cultural values

2. Decoration in space-time arts

2.1. Aesthetic essence. Decorativeness as a technique of artistic and figurative thinking

Based on the nature of the compositional schemes, the following types of ornament can be distinguished: ribbon (frieze, border, border), having seven different types of symmetry, mesh and closed (in a circle, square, rectangle, triangle, etc.).

A special theme is ornament and symmetry. Symmetry in art is the precise pattern of arrangement of objects or parts of an artistic whole.

An ornament created in a circle by dividing it into equal parts by diameter is called a rosette or rosette. Symmetry helps create a certain rhythm in the ornament. Not only symmetrical, but also asymmetrical ornamental compositions are very diverse.

Main literature

Folk arts and crafts. Artistic crafts of Russia
Part 1