Nadezhda Obydennova
Acquaintance with Russian folk arts and crafts in the artistic work of children

Theme: « Acquaintance with Russian folk arts and crafts in the artistic work of children».

"The highest view arts,

The most talented, the most brilliant

Is an folk art, that is,

What is saved, what people endured through the centuries. "

M. I. Kalinin

Currently, various social changes are taking place in life, which literally burst into the life of each of us. And among them there are those that negatively affect the child's world. Folk games, fun, toys are being replaced by television screens, computer games.

The upbringing of a citizen and a patriot who knows and loves his homeland is a task that is especially relevant today, cannot be successfully solved without a deep knowledge of the spiritual wealth of his people, development folk culture.

Russian culture cannot be imagined without folk artthat reveals the primordial origins of spiritual life russian people, clearly demonstrates his moral, aesthetic values, artistic tastes and is part of its history. Folk art keeps and passes on to new generations national traditions and developed the people forms of aesthetic attitude to the world.

Arts and crafts is one of the factors for the harmonious development of personality. Cognizing beauty folk art the child experiences positive emotions, on the basis of which deeper the senses: joy, admiration, delight. Figurative representations, thinking, imagination are formed.

All this causes children the desire to convey the perceived beauty, to capture those objects folk decorative arts that they like, they awaken and develop creative activity, form aesthetic feelings and artistic taste, aesthetic assessment of subjects russian... Have children various abilities are formed - how artistic, so intelligent. Contact with folk art enriches the child, fosters pride in your people, maintains an interest in its history and culture.

In my work I use the program "Joy creativity» O. A. Solomennikova, whose goal is an: "Development artistic and creative abilities of children by means of folk and

arts and crafts».

To achieve this goal, the main tasks are being implemented arts education:

Development of interest in various species arts, the formation of the first ideas about art, the ability to perceive it;

Formation artistically- shaped representations and thinking, emotional and sensory attitude to art, education of aesthetic taste;

Development creative skills in drawing, modeling, application;

Development of fine motor skills of hands children;

Development of sensory abilities of perception, sense of color, rhythm, composition;

Introduction children to the best examples of art.

Having examined the learning objectives children with folk art, I made up long-term plan by introducing children to folk crafts, which specifies specific learning objectives, topics for drawing, modeling, applications, related work with children.

In order to solve the set tasks, I started with the organization of development

environment. I picked up practical material and methodological

manuals that include genuine items

folk crafts - khokhloma, gzhel, dymkovo toys,

zhostovo, nesting dolls, Filimonov toys, Gorodets products; illustrations, albums for each type folk art... Many didactic aids were created by their own hands: didactic games "Where does this bird come from?", "Name the elements of the pattern",

tables with elements folk paintings, folder with paper silhouettes.

In the groups, a subject-developing environment for visual activities was created, where there is available material for creativity, its presence different types- paints, gouache, colored pencils, wax, oil, brushes, cotton swabs, stamps, etc. The centers were replenished in accordance with the subject of the classes artistic creation in groups with subjects, manuals arts and crafts.

The entire educational process is divided into two stage:

1. Stage - Preparatory

Tasks:

- To acquaint children with examples of folk crafts;

Develop the ability to see, understand, evaluate the beauty of handcrafted artistic craft;

To perceive the content of the pattern, the features of its pictorial and expressive means;

Form a sense of rhythm, symmetry, harmony.

2. Stage - Practical

Tasks:

Independently transfer your impressions and ideas about folk plastic in different types artistic activities: sculpting and drawing;

To independently build a composition of patterns on different products, taking into account their shape;

To independently compose patterns of patterns, use color combinations based on knowledge about the characteristic features of paintings;

Use traditional and non-traditional work techniques.

Having carefully studied the materials relating to the history of the development of various crafts, she clarified the methods and techniques used in painting. The following methods are used - examination, visualization, verbal, problem-motivational, practical, techniques are used - creating a game situation, showing ways of depicting new elements, naming pattern elements, linking the examination of the masters' product with the subsequent drawing up of patterns, Hand gesture.

For development creativity of children used an unconventional drawing technique - finger painting, cork, cap, poke method. This technique is used in Dymkovo, Khokhloma and Gzhel painting.

Introducing children to folk products I tried to teach crafts children to see the aesthetic properties of objects, the variety and beauty of the form, the combination of colors and shades, because by peering, looking closely and thinking, children learn to understand, feel, love.

For the purpose of emotional education, the examination of objects was accompanied by artistic word(fairy tales, legends, poems, nursery rhymes, jokes, folk music, russian songs... Brief figurative characteristics help children remember this or that character, form a benevolent attitude towards him.

I chose the forms of teaching various: a journey through the ancient russian citiesfamous all over the world for their artistic crafts, turning into masters - artists, excursions to a fairy tale. I tried to conduct classes in a playful way, everyone comes up with titles: "Scarf for Masha", "Bunny napkin", "Spoon for Zhikharka" other. An interesting and motivated visual-play task is set for the children, a complex of play action: color a cup or dish, give a scarf, dress up a nesting doll. Use of visual material, artistic word, music - all this helps me to help children get into an unusual world arts, attach to artistic culture ... This makes the activity lively and interesting. As a result, children are bright, colorful works.

To consolidate knowledge about folk fields, we conduct integrated classes that contribute to solving problems from various areas: music, reading fiction , cognition, communication and others. In such classes, the relationship between educators, music director, and teachers of additional education is clearly visible.

Final work on familiarization with any kind of folk murals are reflected in collective works children, which are used to decorate group rooms or changing rooms.

Exhibitions of joint creativity of children and their parents about folk crafts"Native motives".

At the same time, work is underway with educators, which provides for conversations, consultations on development creative abilities and use unconventional techniques drawing, showing open classes in decorative painting.

The work done is reflected in the behavior of life. children: they have become more independent, more hardworking, respectful of the work of their elders.

Knowledge deepened children about materialsfrom which masters create works arts, the vocabulary has expanded. And most importantly, children understood: the wealth of the original art - in its people, whose talented hands multiply, develop and keep from oblivion ancient Russian culture of Russia.

In a broad sense folk art (folklore) -these are created by the people on the basis of collective creative experience, national traditions and popular poetry (legends, fairy tales, epics), music (tunes, plays), theater (drama, puppet theater, satirical plays), dance, architecture, fine and decorative arts. Works of folk art have spiritual and material value, are distinguished by their beauty and usefulness. Craftsmen of folk arts and crafts create their works from a variety of materials. The most common: art ceramics, weaving, lace-making, embroidery, painting, wood or stone carving, engraving, chasing, etc. We can use painted utensils, lace napkins, wooden carved boards, embroidered towels in everyday life.

17. Types of folk art. There are two directions: urban art craftand folk arts and crafts.As an example of traditional art crafts, one can name: painting on wood Khokhloma, Gorodets, Northern Dvina) and on porcelain (Gzhel), clay toys (Dymka, Kargopol, Filimonovo), matryoshka dolls (Sergiev Posad, Polkhov - Maidan), trays (Zhostovo) , lacquer miniatures (Fedoskino, Palekh, Kholui), scarves (Pavlovsky Posad), carved wooden toys (Sergiev Posad, Bogorodskoe), jewelry (Kubachi).

18. Decorativeness.Decorativeness in folk and decorative-applied art is the main means of expressing beauty, at the same time it is a feature of works of other types of art. A decorative image expresses not a single one, but a general one - "specific" (leaf, flower, tree, bird, horse, etc.). A decorative image requires artistic and imaginative thinking. Therefore, in folk art, it is customary to distinguish images-types of products of traditional artistic crafts, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, horse, tree of life, woman, signs-symbols of earth, water, sun can be seen in various artistic materials: embroidery, weaving, lace, painting on wood and metal, wood carving, ceramics, etc. the traditional character of these images, their archetypal nature in many respects 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 knowledge of natural and social phenomena. Images in professional decorative arts also reflect the ideas of a particular people about beauty. They, too, are often created on the basis of natural or geometric motives, but here a great deal of freedom is allowed in the interpretation of images. Historical plots or themes of modern life are actively used in works of applied art.

19. Folk art traditions... The authors of modern studies in the field of art history view traditions as a dialectical phenomenon associated not only with the past, but also with the present and the future. In S.B.'s understanding, the Christmas tradition is a treasury of everything aesthetically perfect that has been passed down from generation to generation, a complex of visual means that are stable and changing at the same time. The formation and development of folk art traditions of a particular area took place under the influence of natural-geographical, cultural and socio-economic factors. MA Nekrasova considers folk art as a creative, cultural, historical system that asserts itself through the continuity of traditions, functions as a special type of artistic creationin the collective activity of the people. And each nation carries its own culture of poetry-figurative and craft traditions. They have been formed over the centuries and have been polished by many generations of people. Traditions in folk art convey not only craftsmanship, but also images, popular motives, artistic principles and techniques. Traditions form the main layers of folk art culture - schoolsand at the same time determine the special vitality of folk art. The power of tradition for the development of folk art cannot be underestimated. M.A. Nekrasova quite rightly justifies the artistic richness of images, forms, means and technology precisely by this. She believes that only especially peculiar in national systems,in regional systems, in systems of schools of folk art, it can determine the life of folk art as a cultural center, only a living tradition provides a way for its development. Law of traditionturns out the main force in development.

20. National character. In folk art expressed national temperament and national character. It is they who largely determine the diversity of forms of folk art. The integrity of folk art as an artistic structure is the key to understanding it. Traditionin this case - creative method.The traditional appears in folk art in the form of 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). In folk art, artistic skill, technical dexterity, working methods, motives are passed from master to student. The art system is worked out collectively. After mastering them, students get the opportunity to vary their favorite motives of painting. And only on the basis of the acquired experience do they switch to improvisation based on painting, composing their own compositions. If everything goes through the stage of repetition and variation without fail, then at the level of improvisation only the most talented students are allowed to work, who can become true masters of their craft.

21 . Composition how a significant ratio of parts of a work of art in folk and decorative-applied art can be built according to various schemes. The following active elements of the decorative composition are conventionally distinguished: color, ornament, plot (theme), planar or volumetric plastic solution. To comprehend compositional laws, it is necessary to perceive the image of an artistic thing or a spatial-volumetric composition as a whole.

22. Color- one of the means of expression in folk and decorative-applied art - is considered as the most important component of the decorative image. It is not associated with specific features of the depicted object or phenomenon. Each center of folk art creates its own coloristic solutions for artistic things associated with the traditional technology of processing materials, preservation of archetypes and other conditions of collective creativity. Achieving expressiveness in decorative work is associated with tonal and color contrasts. In decorative work, artists also take care of the harmonious balance of colors, with the real colors of objects being replaced by symbolic ones. The coloristic unity of all ornamental elements is achieved with the help of color contrasts or nuances. When choosing color relationships in decorative work, the size of the parts of the drawing, their rhythmic arrangement, the purpose of the thing and the material from which it is made are taken into account.

23. Topic... In decorative sculpture or on ceramic vessels, theme and plot can be expressed in different ways. For example, in Gzhel ceramics, the scene of tea drinking is depicted on dishes or molded in small plastic. And the vessel is easily transformed into an animal or a bird. Thematic decorative composition has its own laws, its own artistic language. She, like any work of fine art, talks about people, things or events. But at the same time, the pictorial story is subordinated to decorative purposes, as a rule, it serves to decorate the object. Therefore, the decorative composition is also related to the ornament. Its options are innumerable, depending on specific tasks, and artistic possibilities can be expanded by using a variety of materials and techniques, changing the purpose and scale of the image. The theme of a decorative composition can be expressed in ways that fundamentally distinguish it from the composition of a painting. Spatial relationships of real nature may be completely absent. The landscape image can unfold not in depth, but upward, in this case, distant plans are placed above the close ones.

Folk and arts and crafts as part of artistic culture

There are many types of artistic processing of materials. However, not every one of them can become an integral part of the content of classes in general education schools, as one of the educational means. They must meet certain pedagogical requirements. The types of arts and crafts used in educational work should be available 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 reserve of complexity so that each task is completed according to the didactic teaching principle. At a level of difficulty that allows you to more fully reveal the spiritual and physical capabilities of schoolchildren. Such types of arts and crafts are becoming widespread, in the process of mastering which program interdisciplinary connections are established, as well as links between practical application and further development of knowledge and skills acquired by schoolchildren. Because it is one thing to theoretically study a course of a subject, and quite another to apply the knowledge gained in practice. Experience shows that the knowledge consolidated in practice is assimilated for a long time and firmly.

Each child is naturally endowed with feelings, on the development and upbringing of which his ability to aesthetic perception of reality depends.

Folk and arts and crafts are an integral part of artistic culture. Works of applied art reflect the artistic traditions of the nation, world outlook, world perception and artistic experience of the people, 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 popular among the people.

Another area of \u200b\u200barts and crafts is associated with the decoration of the person himself - the creation of an artistically executed costume that makes up an ensemble together with a headdress, shoes and jewelry. But lately, the costume has been increasingly referred to to fashion design.

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

Of great importance in folk art is the ornament that adorns an object or is its structural element. The motives of the ornament have ancient mythological roots.

Folk art has lived for centuries. The skills of technical craftsmanship and found images are passed from generation to generation, remaining in the memory of folk artists. Because of this, the tradition, which has been consolidated for centuries, selects only the best creative achievements.

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

Another area of \u200b\u200barts and crafts is associated with the decoration of the person himself - the creation of an artistically executed costume that makes up an ensemble together with a headdress, shoes and jewelry. But lately, the costume has been increasingly referred to to fashion design.

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

How can you tell if a given product is a work of arts and crafts? Sometimes they reason 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 it is worth putting some kind of pattern on it, so it will immediately turn into a work. This is not true. Sometimes the ornaments that adorn the vase make it a tasteless craft, 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 decorative and applied art?

Sometimes, according to 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 refer to folk art. It is extremely difficult to do this, since 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 in determining which type of art a particular thing belongs to is to determine within the framework of which artistic tradition it was created, whether the signs of the image-type of a particular craft and the technology of material processing are observed.

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

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

It should be borne in mind that in each type of art the artistic image has its own structure, conditioned, 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 applied art has common and distinctive features.

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

Therefore, in folk art, it is customary to distinguish images-types of products of traditional artistic thoughts, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, a horse, a tree of life, women, signs-symbols: earth, water, sun can be seen in various artistic materials. Embroidery, weaving, lace; painting on wood and metal; wood carvings; ceramics, etc. The stability and traditional character of these images, their archetypal nature in many respects 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 generality of approaches to the process of aesthetic knowledge of natural and social phenomena.

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

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 peculiarities of the material, expressiveness of form and proportions, to the color scheme, the connection of ornament with the form of products, 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 an ornament and things in general affect its figurative solution.

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

Folk art is, first of all, a huge world of the 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 the centuries, plays a significant educational role.

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

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

Ornament- it is a pattern based on rhythmic alternation and an organized arrangement of elements.

The term "ornament" is associated with the word "decoration". Depending on the nature of the motives, the following types of ornaments are distinguished: geometric, plant, zoomorphic, anthropomorphic and combined.

Geometric the ornament can consist of dots, lines, circles, rhombuses, stars, crosses, spirals, etc. Complex ornaments such as meanders found in art Ancient Greece, can also be attributed to a geometric ornament. Geometric ornament in the countries of the East was especially diverse. 3

Vegetable the ornament is made of stylized leaves, flowers, fruits, branches, etc. In ancient Greek floral ornaments, images of acanthus, lotus, papyrus, palm trees, etc. were often used. And among the eastern peoples, the popular floral motif was the islimi ornament - a spiraling bindweed. The compositions of such an ornament 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 Ornament as motives is used by male and female stylized figures or parts of a person's face and body. This includes various fantastic creatures such as the bird maiden, horse man, etc.

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

Ornament is the most important part of folk and decorative applied art. It is used to decorate buildings, clothing, household items, weapons, and is widely used in book and applied graphics, posters, etc. etc. An ornament can become a thing if it is woven in the form of lace (napkins, collar, tablecloth, etc.), mats, or forged from metal. The ornament can be multi-colored and one-color, it is made on the surface of the object convex, relief, or vice versa, 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 styles of the era, a reliable sign of the belonging of a work to a certain time and to a certain country (Gothic, Baroque, Art Nouveau, etc.).

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

The properties of an ornament depend on the purpose of the form, structure and material of the thing that it tames. The ornament helps to emphasize the plastic and design features of the object, to enhance its figurative solution, to better reveal the natural beauty of the material. All this is possible provided that the ornament and the shape of the object are harmoniously combined.

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

Rhythm is very important in the ornament. The rhythm in the ornament is the alternation of the elements of the pattern in a certain sequence. The rhythmic construction in the ornamental composition can be achieved through various techniques, the rapport repetition of the motive creates a varied rhythm. Repeating elements of an ornament are called rapport. There are different types of rapport compositions.

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

An ornament created in a circle by dividing it into equal parts by diameters 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 usually created based on the stylization of natural forms. The example of the ornament is clearly visible. How the forms of plants, animals, and even human figures can be turned into geometric elements.

Selecting the main thing, the master transforms the object, subordinates its shape and color to the rhythmic structure of the ornament. At the heart of the folk master's work is emotional-associative perception, his imaginative solution can differ significantly from nature.

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

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

The general stylistic solution of the ornament, its linear and color composition are based on a creative rethinking of nature.

Ornaments are an integral part of applied art. It clearly testifies to the level of material and spiritual culture of the people, the depth of his thought, creative fantasy, artistic skill, is concentrated in it.

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

In addition, in the works of Yakut applied art, along with ornaments, various plot drawings with heraldic meanings are depicted: a finite man - a unicorn, a lion, a horse, a folklore sacred tree - Aal Luuk mas, etc.

The language of ornament was used to create artistic images that were understandable to the general population. Over time, the content of many ornaments has been forgotten and modern research will require a lot of painstaking work to puzzle the content of at least part of them. Some ornaments became traditional without any explanation. Geometric motifs in Yakut clothing are found in the border ornaments of headwear, shoulder clothing and shoes. In the future, the outlines of the ornaments become more complicated. Curvilinear motives appear - waves, arched arcs, skew-like figures.

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

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

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

Patterns and fabrics were embroidered according to a preliminary pattern with threads, beads, beads and decorated with metal plaques, plates, appliqués from multi-colored cloth mosaics.

The craftswomen knew how to coordinate the pattern 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 work of many generations. The craftswomen brought a lot of personal creative imagination into the work, but even 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, serve as amulets for the owner and even a kind of "passports". So in Ancient Russia, carefully, carefully looking at the embroidered collar of a shirt, they determined whether its owner belonged to some tribe. In the old days in Yakutia, just a small glance 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, the Yakut craftswoman, having examined the pattern, will be able to say in which ulus the master who made it lives.

The patterns on the clothes were located 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 kundam energy rises upward), not only masks the seam on clothes, 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 the embroidered floors, drawings on the hips are typical for women's clothing. They rarely depict the nest of the goddess Aiyyyt (patroness of women, childbirth and motherhood), who protects the womb from the evil eye not on the nest, but on the heart with open edges. Often a closed pattern is repeated three times to protect all three souls in a person - salgyn kut, buor kut, iye kut (airy, earthly, motherly soul). On the head ornaments of the Bastian or summer hats, 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 close the chakras.

A continuous pattern along the hem of clothing, driving away the 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 road 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, flowers that are always harmonious pleasing to the eye with freshness and beauty. The awakening of nature, the arrival of summer, spring bloom and autumn wilting of plants, sunrise and sunset - all this was reflected in the patterns embroidered by our ancestors, where white, black, blue - blue, green and red colors prevailed.

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 (iye - kut), protected her; Green (green grass); blue (blue sky); blue (blue open spaces, blue) is the color of nature.

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

Yellow, white colors are a sunbeam, snow, they are associated with the environment and are a symbol of life, happiness of all light 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 people of Sakha worship everything that surrounds us and attached great importance to them, which was conveyed by patterns, signs, symbols.

We, modern Yakuts, 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 worship of a woman, the progenitor of a clan, tribe, the lifespan of people.

In our time, the old symbols and signs are fading, turning into simple elements of the pattern, which is stereotypically repeated from generation to generation by inertia. Therefore, now many researchers of the folk culture of the master restore the forgotten styles of ancient Sakha clothes.

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

Application refers to arts and crafts and is a type of embroidery used to decorate clothes, household items, to create decorative panels.

What is arts and crafts? This is how this concept is defined in a concise dictionary of aesthetics (ed.,. - M., 1964. - pp. 73-74): decorative and applied art is “a kind 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 designed for decoration ... "

By its origin, arts and crafts are one of the most ancient forms of art.

Since ancient times, man has striven to make his home, clothing, household items not only comfortable, durable, but also beautiful. The main source of inspiration for people was the environment around them wonderful world nature. The peoples of the North were depicted on the patterns of deer, walruses, spruce (Fig. 2). In the endless steppes of Kazakhstan, the main motive for drawing up patterns was a variety of branched horns of rams).

The wealth of forms and bright colors of the colors of the fields of Ukraine were transformed by masters into decorative ornamental elements.

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

The patterns of Vologda laces, intricate interweaving in the ornamental decorations of Samarkand minarets, illustrations of ancient Armenian books and Belarusian embroidery are delightful.

National styles of patterns have been perfected by many generations, becoming laconic and accessible for imitation.

In the classroom at school, children get acquainted with the products of widely known folk art crafts for processing various materials: Palekh, Mstera, Fedoskina (miniature painting on papier-mâché); Khokhloma, Gorodets (painting on wood); Kubachi (metal engraving); Vologda, Yelets (lace weaving); Gzhel (art painting on ceramics); Azerbaijan (carpets); Uzbekistan (architectural plaster ornaments); 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 peculiarities of constructing patterns, taking into account the purpose of the product, its shape and the material used.

The order of the Ministry of Education of the USSR dated 01.01.01 "On measures for the further development of folk art crafts" allows, where possible, to organize the study of techniques for making art products at labor lessons. The results show that decorative and applied arts in schools have received a new development in recent years. Now in schools, ornamental patterns are used more widely to decorate objects of labor. Students enjoy engaging in chasing and engraving, embroidery and knitting, wood and bone carving, inlay and painting circles. In educational and industrial complexes, pre-professional training of students in the specialties of folk crafts is carried out. Hence the great role primary school, laying the foundations of visual activity in younger children school age... In the classroom, schoolchildren not only study the art of the peoples of the USSR, but also learn the techniques of artistic labor. In extracurricular activities, interesting, exciting activities continue.

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 (to act with a pencil, ruler, square, compass), learns to analyze the phenomena and objects of the surrounding world, use scissors, apply glue correctly with a brush, carefully glue parts, etc.) imagination, voluntary attention, visual memory, eyes, a sense of form, rhythm, perception of spatial representations, color and its transformation develop; love for beauty, for precision, accuracy is brought up; patience, perseverance, the desire to complete the work begun are formed. Students can later transfer the art of making paper applique 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, dressmakers and in general - artisans, people whose artistically made things, pleasing your eyes fill museums ”(A Brief Dictionary of Aesthetics / Ed., .- M., 1964.- p. 74).

Works of decorative and applied arts differ in the type of products created (furniture, lace, jewelry, toys, etc.), in 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, chasing, artistic casting, etc.). Decorative and applied art lives around us in carpets, fabrics, clothes, ceramic dishes, book design, banknotes, and in the decoration of architectural structures. Ornamental patterns are used to decorate posters, wall newspapers, ornamental-text posters. Children begin to perceive their surroundings early, but in order for them to appreciate what they see, to distinguish the really beautiful from the variegation and vulgarity, 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 children of school age, using the application, you can organize an exciting and informative learning process.

Sensory education enables children, performing applications, to compare figures. By composing, constructing from rectangles, squares, triangles, circles, various objects and elements of flora and fauna, children get acquainted with the basics of creative activity.

On the basis of the completed applications, conversations are conducted to promote the development of oral speech.

Application work in the middle grades is included in the labor training program. In the primary grades, application work is performed, as a rule, on sheets of paper, and in the middle grades, they are mainly used to decorate items of socially useful value. The applique is used to decorate bookmarks, boxes, folders, car models and other items; they are used to repair books, tables, make visual aids and decorate. Applique works are used to decorate everyday life. And this in no way diminishes the significance of the applique, but once again emphasizes its applied character.

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

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

There are interesting classes on making equipment for toy libraries, decorations for puppet theaters, carnival costumes, various design works, contests for the best sample of an invitation card, an emblem for the names of an asterisk, a mug, a detachment. The works made by the application are displayed for general viewing and discussion. According to the applique patterns, high school students can cut some works out of plywood or make them in other ways.

Circles of artistic application successfully work in boarding schools, houses of art, children's camps, they are easy to organize at DEZs. The organizers and leaders of such circles can be teachers, parents, high school students.

The teacher or the leader of the circle should not only teach the younger schoolchildren certain methods of work, his main task is to develop their ability to be creative, to awaken interest in work, to instill the skills of work culture, comradely mutual assistance.

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

At the same time, the planning of 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 a particular job.

When choosing certain products for making in class, it is necessary to determine precisely in which specific elements of knowledge and skills the children will move forward; that they will learn to do new things; in which they simply practice, how to use existing ideas and skills in the manufacture of a new product. (67)

"Man-nature-culture"

"The level of culture of the era,

as well as an individual,

determined by attitude

to the past. "

A. S. Pushkin

Folk art is the past in the present. A living tradition that invariably preserves the chain of continuity of generations, peoples, eras. Folk art has been pushed to a new level of contemporary problems by the century of space conquest, scientific and technological progress and the ecological crisis.

Throughout the history of mankind, folk art has been an essential part of national and world culture. M. Gorky wrote: “The people are not only a force that creates all material values, they are the only and inexhaustible source of spiritual values, the first philosopher and poet in time, beauty and genius of creativity, who created all the great poems, all the tragedies of the earth and the greatest of them - history of world culture "1.

Professional artists never stop turning to folk art, drawing ideas and inspiration from it. However, the depth of awareness of this appeal is determined by history, social changes, and spiritual needs. The spirit of ideas in art revives in it folk forms, folk poetics, but each time in a new way at the level of the ideological and artistic aspirations of the century.

In the same connection, folk art itself undergoes a different attitude towards itself.

The epoch of a decline in public interest in it, when it often became "despicable", is replaced by epochs of close attention, which always had its own historical reasons and which is the fact of the non-diminishing vitality of folk art. Having fierce opponents, it always had fiery defenders.

Hence the problem of folk art, its presentation presents its own history. But it was not so much the scientific development of the concept of an object and the issues of its theory that turned out to be decisive in it, as a view of it as part of the general problem of tradition and innovation. This made it difficult to evaluate folk art from the standpoint of its own values. And if oral, musical folklore was an area of \u200b\u200bstudy of special sciences, then visual folklorebeing the subject of general art history, for a long time it was studied by methods developed on the basis of professional art, remained without theory.

Its absence has become acutely felt over the past two decades, when science and the public were faced with the fact of the revival of folk art - a fact unexpected for those who believed that folk art was a long turned page of the past. Life has shown that folk art not only lives, develops, but every year the need for it grows all over the world. Interest in folk art is growing with rapid force in connection with the problems of the countryside, rural areas in the era of developed urbanism, in the aspect of general issues of spiritual culture in the modern world, nature protection, and the human environment.

A decisive line in relation to folk art in our country was drawn by the historical decree of the Central Committee of the CPSU "On folk arts and crafts" (1974) and the Constitution (Basic Law) of the Union of Soviet Socialist Republics (1977). However, the problems of artistic practice and scientific study have not yet received a proper solution, and primarily questions of theory.

The Resolution of the Central Committee of the CPSU says: "Folk arts and crafts, which are part of the Soviet socialist culture ... actively influences the formation of artistic tastes, enriches professional art and expressive means of industrial aesthetics."

The problem posed in this way requires the researcher to combine the artistic, cultural, historical aspects of the study of folk art, since it is affirmed in culture not in an individual-subjective, but in a spiritual-value content, formed by collective principles, since cognitively in the qualities of historical and spiritual, moral and national -psychological. Why it cannot be limited only to the aesthetic sphere, how it cannot be understood in formal analysis that does not take into account the content and dialectics of development.

Folk art is a huge world of the spiritual experience of the people, artistic ideas that constantly feed the professional and artistic culture.

However, for a long time it was incorrectly viewed as just a step on the path of development to a higher level - the art of individual artists. The creativity of the folk master, assessed from these positions, was reduced to the role of an appendage of modern decorative and applied art. This situation introduced a lot of negative into the activities of folk art crafts, created flawed directions in the development of thought and practice. At the root of all mistakes was the substitution of values, which has not been eliminated until now. This is the reason for many painful phenomena in the practice of folk art to this day.

The look at it as a relic of the past, subject to all kinds of modernization and alteration, has become so established that it has become customary not only for the leaders of industries, artists who come to work there, but also for some art critics who draw this line on the pages of print. This explains the polemical intonations in the statement of fundamental provisions, in the theoretical formulation of questions on the pages of our book. In the course of numerous discussions, which until recently filled the pages of art history magazines, it was necessary to defend what, in denial, was sometimes chopped off the shoulder. It is significant that now in the discussion of the fate of folk art, the recently debated question "Is folk art possible in the age of scientific and technological revolution?" replaced by another question: "What is folk art?" The theory of its withering away has found a new expression in the proclamation of folk art at the present stage as an independent individual creativity. In general, this judgment connects folk art with the past, it boils down to the following three provisions. The first is the fusion of folk art with the art industry. Due to inertia, this attitude continues to be declared by some art critics as theoretical, while the art of the last decade has raised the aesthetics of man-made things and folklore in general. At the same time, it acquires a new meaning and interest in the spiritual and value content of folk art, its tradition.

The second provision, repeated in individual articles, boils down to equating creativity in folk crafts with the art of individual artists, while denying the local features of the former, its orientation towards tradition. This not only undermines continuity - the main force of development, but also breaks the collectivity of creativity, the culture of craftsmanship in the field.

The third position, which we have already mentioned earlier, identifies folk art with the work of amateur artists. And this, in essence, is also his negation.

Some negative directions in practice correspond to the three points noted. The leveling of local features led to the mass creative facelessness of the products created in the craft, the breaking of cultural continuity, to the destruction of the ornamental system of folk art. This requires careful study, if only in order not to repeat the mistakes of the past.

In fact, the opposite happens most often. In pursuit of imaginary novelty and for the approval of these theses, reinforcement is sought from authorities, in the statements of V.S.Voronov, A.V. Bakushinsky fifty years ago and long outdated, often dictated by the situation of the time and not related to the scientific concept of scientists in general. Without an attempt at critical comprehension, these often random statements are repeated as initial ones, they are trying to pass off as a theoretical setting, which does not at all promote thought and does not help practice. The rather strong entrenchment of erroneous opinions can be explained by the fact that until the 60s, Soviet decorative art was most often represented by works of folk crafts, from which the artistic industry originated. All this taught to look at folk art as a non-independent form of creativity, did not give an opportunity to see its true value. It was artificially adapted to methods of individual creativity that were alien to its system.

Of course, all these circumstances do not give the right to believe now that folk art has no place in modern culture. Meanwhile, just such a conclusion, scientifically incompetent, has been prevalent for a long time. Remaining unjustified theoretically, it gave rise to many negative tendencies in the art of handicrafts, starting from easel painting in the 40-50s, ending with the denial of ornamentation and decorativeness in the first half of the 60s, which will be discussed specifically.

Now everything is beginning to be attributed to folk art: from works of glass and ceramics professional artists to manufactured goods - fabrics and porcelain. The concept of "folk art" still remains not only unclear, but even non-existent in art history practice as an aesthetic category. It is equated with the concept of "national property" in the broadest sense. You can often hear: "Is the art of handicrafts folk art?", "Is folk art necessary in the age of technological progress?", "Isn't it just the past?" And these questions are discussed on the pages of magazines, all kinds of false theories are put forward, scientifically, as a rule, not substantiated. However, the very fact that such questions arise is explained by the fact that there is still a lack of a theoretical position in the formulation and solution of the problems of modern folk art, despite some serious works. Much that is written about folk art does not have the proper scientific level, and is often determined by opportunistic considerations. Otherwise, it is impossible to explain the striking gap between the statements in published works and the realities of practice itself3, between the difficulties that folk art is experiencing, on the one hand, and on the other, the growing need for its works every day.

It should be noted that a flawed position in the view of folk art inhibits its study, leads to scientific works to unproductive arbitrary conclusions. Many questions are raised and resolved, as before, by analogy with professional art.

Actually, folk art, in which our country is so rich, is passed off as an anachronism and is still not understood in its entirety and necessity as a part of spiritual culture. It is not uncommon to hear or read that the environment of a person in the technicized world technicizes art in its own way. At the same time, the person himself is not taken into account at all. Meanwhile, the standard of thinking in the age of technicism, issuing "ready-made blocks", brings them down not only on the viewer of exhibitions, but also on the person in his daily environment. And behind this lies the danger of the technicalization of perception itself, of the entire structure of feeling, vision, which inevitably eats away at the living tissue of art, deadens its spiritual trepidation, and finally destroys the humanity of the environment itself. And then there is neither our own, nor someone else's, nor personal, nor in common, in honor of which so many empty declarations are made.

In the first place in the understanding of art comes not what is expressed by it, but how it is done; this is often presented as an end in itself. But is it worth it to prove that our era, like every other in its own time, has introduced into art new rhythms, new forms, new means and even a new world of creativity - technical aesthetics. This is obvious and logical. However, this does not determine the inner goal of art, spiritual culture as a whole. On the main path of their development, the comprehension of truth, truth, beauty cannot disappear. Can an artist, if he is an artist, perceive the visual range of his environment without worrying about the movement of ideas that excites society? Consciously or subconsciously, in one way or another, it reflects the existing trends in the worldview of the era.

If not long ago artists and poets strove to introduce the world of technology into the world of man and even to technicize his image, then today, which is indicative, comes a different desire - to find the human in man himself and through it to influence the technicized world. This raises the question of values \u200b\u200band the integrity of art, as well as culture itself, in a completely different way. It makes us look more closely, deeper into folk art, in its connection with nature and history, not only within the ethnos, but also on a planetary scale.

The problem of "man and the world", in whatever aspect it may be taken in art, naturally, cannot be solved apart from human essence, ultimately from that "higher goal" which, according to Kant, the existence of man has in itself. Otherwise, it would mean to take the position of Western science fiction writers who prophesy in the future "planet of the apes".

As you know, one of the acute problems of the modern West is the alienation of man, equating him with a thing. But no matter how human life is chained into the unnatural, artificial, nature, in the end, still dictates its natural laws, the laws of life itself. The human connection to the earth cannot disappear!

In the vastness of our vast country, folk art lives and develops in an unusually wide variety of national, regional, regional and regional schools of folk art, in the continuity of traditions. And every attempt to see in folk art only an anachronism, alien to the modern age, the desire to prove that it does not develop and is finally destroyed by capitalism, is refuted by life itself. Behind last years the activity of enthusiasts expanded, discovering new talented craftsmen, new schools of folk art.

The centers of folk art, spread all over the country and in no small number in Russia, testify to the great creative potential of the people. After all, each hearth has its own talents, its own traditions, its own artistic systems and methods, verified in the experience of many generations of folk artists. And this experience creates a culture of tradition that strengthens the nationality of the art of professional artists. Thus, the traditional not only nourishes the new, it organically enters the context of the era. The 70s marked a particularly noticeable milestone in artistic culture. The role of decorative art in the organization of the environment increased, industrial aesthetics gained widespread scope, and decorative art itself was defined in its spiritual value and took a place equal to painting and sculpture.

In such a situation, folk art is also called upon to occupy the system modern culture its place, corresponding to its essence. Scientific responsibility in solving its problems must be increased. Personal responsibility and shared responsibility in the face of history. Only from the standpoint of such responsibility can one approach a productive solution, first of all, the issues of conditions, incentives for its development. Many superficial judgments, a frontal understanding of the erasure of boundaries between town and country, in connection with which the supposedly natural disappearance of folk art is incorrectly put, should be subjected to fundamental "criticism, since they bring irreparable harm to the living art of villages, contribute to the destruction of the high spiritual values \u200b\u200bof the people.

We must not forget that the rapprochement between the village and the city is a complex, lengthy, far from unambiguous process, in which there are all sorts of excesses, accompanied by the denial of cultural heritage4.

It has long become clear that the rural worker, no matter how the mechanized forms of his work change, still retains the peculiarities of labor, determined by the very fact - the cultivation of the land, the entire specificity of agricultural production. "This feature of agricultural labor will acquire an ever-increasing attractive force and social value, influencing the conditions of settlement, work and rest of the entire population."

“Man lives by nature. This means that nature is his body, with which a person must remain in the process of constant communication, “so as not to die” 6.

“As continuously humanity reproduces itself in the birth and childhood of a child, so continuously it reproduces itself in the cultivation of the earth,“ so as not to die ”7.

And this means that the direct connection of man with the earth, with nature is always preserved, the basis for folk art always remains, which continues to carry the fullness of its spiritual content and does not at all turn into a play of shapes, lines and color, accessible only to aesthetic admiration and intended, as some think, for the free stylization of a professional artist, for "playing around", as they like to say. Even such an understanding of the purpose of folk art puts it in a row of something secondary in relation to genuine art, asserts the uniqueness of its content. And any formalization of artistic qualities, means deprives creativity of the sense of life, in the final analysis, gives rise to impersonal art, directed at itself.

On the other hand, the mass replication of works of folk art, turned into a souvenir industry, is the same lack of understanding of its content.

The thesis of the fusion of folk art with industry turns into a folk industry, bringing unification and standardization to folk art. The artist's example becomes defining in this setting. In this case, the threads of continuity of folk craftsmanship break, it falls catastrophically. As a result, artistic systems in the art of folk crafts are breaking down, schools of folk traditions are being destroyed, which suffered significant damage during the periods of easel-style dominance in the 50s and no decor - in the 60s, when ornamentation was put beyond the modern. In those periods, folk art was depersonalized in its regional, national, regional features, averaged in its artistry. We have witnessed how often, instead of truly living art, phenomena were put forward that were internally flawed, artistically unpromising.

In such a situation, there was an obvious substitution of values \u200b\u200bboth in science and in practice itself, which inevitably turned into stagnation of scientific thought and troubles for folk art. But where, in this case, are the criteria for correctly understanding and managing folk art?

Where are the sources of his never-ending creative power hidden? They must be sought in folk art itself, in its connections with what is eternally valuable for humanity - with nature and culture. It is necessary to capture the historical dynamics, in other words, to understand cultural development.

It must be said that the science of folk art, due to its youth, remains as yet a little studied area of \u200b\u200bknowledge. This, first of all, can explain the spread of casual and superficial judgments, points of view that currently claim to be a scientific direction, while remaining at the same time only a look that easily changes from fashion trends.

This situation has arisen due to the undeveloped nature of many fundamental problems of folk art. Until recently, in numerous discussions that filled the pages of our magazines, it was necessary to defend folk art not only as a spiritual culture, but also as an independent type of artistic creation.

It is this approach to formulating the problem that was lacking in the works of V.S.Voronov and A.V. Bakushinsky (which we will discuss in more detail later). In the 1950s, A. B. Saltykov, who laid the foundations for understanding the specifics of decorative art, at the same time did not touch upon the theoretical formulation of the problems of folk art proper. At the present stage, it turned out to be separated from its past by an impassable line. It was in this direction that scientific thought developed, wishing to see everything in modern folk art, just not what it really is. Until now, in solving problems of theory and practice, the results of studies of pre-revolutionary folk art in the works of the 60s and 70s by BA Rybakov, GK Wagner, and VM Vasilenko are poorly taken into account. Thus, the question itself is: what is passed off as folk art? - is of deep fundamental importance and is now becoming very acute.

In this regard, the problem of integrity becomes relevant8. It is especially important to know the origins of folk art, its living springs of creativity, enriching the entire culture, in the integrity of life - in the complexes of rural life and the nature surrounding man and the cultural continuity of traditions9. They are not only different among the peoples, but also different in every region. But how, in this case, to overcome the inertia of thought, which continues to rely on attitudes refuted by time, such as the erasure of local features and signs of schools of folk art? After all, this attitude even now makes itself felt in fruitless calls for creativity without traditions.

How to find the unity of theory and practice effective and not imaginary? These questions have to be answered.

If folk art is a spiritual culture, which, presumably, there is no doubt now, if it is a living part of modern culture (many exhibitions eloquently testify to this, and in particular the 1979 All-Union Exhibition of Folk Art, the first after a 15-year break), Finally, if interest in folk art increases (this is obvious both in our country and abroad), then first of all it is necessary to recognize the peculiarities of folk art as a cultural integrity and, accordingly, to solve its scientific, artistic, creative, organizational problems.

Are we helping or hindering such clarification? This question cannot but confront everyone who, in one way or another, is connected with folk art by their kind of activity.

In the conditions of the most acute contradictions between the modern technical achievements of mankind and the level of its morality, when the planet Earth was under the threat of destruction, it became necessary to look for new contacts with nature and to revive the lost ones. In this atmosphere, the eternal values \u200b\u200bof culture sounded with extraordinary power. The craving for them increases along with the craving for nature, for the earth. At the same time, the value of natural and art is being revived. Until recently, the theme of man, the conqueror of nature, absorbed all other aspects of the relationship with her. But the conqueror often becomes a consumer, a squander of her wealth. Man, iron robot, who is he - the guardian of nature or her gravedigger?

Many contemporary artists are looking for the unity of man with nature; they move away from the rigidly drawn path of depicting the hero-conqueror. In the art of the 60s and 70s, the natural beginning is noticeably enhanced, and, first of all, in decorative and applied art, with its decisive turn from utilitarian and technical things to uniquely artistic, to imagery, plasticity. Thus, in the work of the Shushkanovs, in a new and unexpected form, a connection was found between natural and folk principles, which had noticeably faded away in the art of previous years. Something similar happens in ceramics and art glass. The search for connections with folk tradition is inseparable from interest in national arts and, in general, in the culture of the past. In folklore, nature is always the exponent of Beauty, Goodness, it is merged with the moral world. Therefore, the natural acts as a criterion for human values. And this raises the problem of folk art in conditions of unlimitedly growing technical capabilities to a new level of environmental problems of the modern world.

The ecology of nature, the ecology of culture cannot but include the ecology of folk art as a part of culture, as a part of nature, with which man is initially associated.

Putting the question in this way, we also determine the way of its solution in the system man - nature - culture.

This new formulation of the problem of folk art raises it to a level of great relevance, allows one to penetrate deeper into the content of images, helps to understand its essence as an independent integrity. We undertook a theoretical understanding of the problems of a huge area of \u200b\u200bfolk art in order to determine its artistic nature, spiritual value and, accordingly, its place in culture.

As a part of culture, folk art is both nature itself and the historical memory of the people, the unbreakable connection of times. The aesthetic unity, integrity of folk art is evidence of its highly moral foundations. It is from these positions, reflected in the illustrative series of our book, that folk art is considered and questions of its theory are solved.

This is the problem of the general and the particular, which determines the interaction of professional art and folk art, it is also the question of the own specificity of folk art as a special type of artistic creation, the forms of its development and connections with nature. Finally, the main questions are about the values, essence, nature of the collective, about the content of the concepts of "folk art" and "folk master". The study of the key issues of the theory will allow, according to the specifics of the subject, to deepen the methodological principles of studying folk art. It will help to understand its place in the cultural system, a huge role - historical, moral, aesthetic - in human life, in the spiritual development of culture, its construction in the present for the future. The material of our book will be the folk art of many peoples of our country, mainly over the past two decades.

So, we will consider folk art, first of all, as a world of spiritual values.

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17 most beautiful types of folk art in Russia.

Handicrafts are exactly what makes our culture rich and unique. Painted objects, toys and fabric products are taken with them by foreign tourists in memory of our country.

Almost every corner of Russia has its own kind of needlework, and in this material we have collected the brightest and most famous of them.

Dymkovo toy

The Dymkovo toy is a symbol of the Kirov region, emphasizing its rich and ancient history. It is molded from clay, then dried and fired in a kiln. After that, it is painted by hand, each time creating a unique copy. There can be no two identical toys.

Zhostovo painting

At the beginning of the 19th century, the Vishnyakov brothers lived in one of the villages near Moscow of the former Trinity Volost (now the Mytishchi district), and they were engaged in painting lacquered metal trays, sugar bowls, pallets, papier-mache boxes, cigarette cases, tea-boxes, albums and others. Since then, art painting in the Zhostovo style began to gain popularity and attract attention at numerous exhibitions in our country and abroad.

Khokhloma

Khokhloma is one of the most beautiful Russian crafts, which originated in the 17th century near Nizhny Novgorod. This is a decorative painting of furniture and wooden dishes, which is loved not only by connoisseurs of Russian antiquity, but also by residents of foreign countries.

Intricately intertwined herbal patterns of bright scarlet berries and golden leaves on a black background can be admired endlessly. Therefore, even traditional wooden spoons, presented on the most insignificant occasion, leave the recipient with the kindest and longest memory of the donor.

Gorodets painting

Gorodets painting has existed since the middle of the 19th century. Bright, laconic patterns reflect genre scenes, figures of horses, roosters, flower ornaments. The painting is carried out with a free stroke with white and black graphic outlining, decorates spinning wheels, furniture, shutters, doors.

Filigree

Filigree is one of the oldest types of artistic metal processing. The elements of the filigree pattern are very diverse: in the form of a rope, lace, weaving, a Christmas tree, a path, a smooth surface. The weaves are made of very thin gold or silver wires, so they look light and fragile.

Ural malachite

There are well-known deposits of malachite in the Urals, Africa, South Australia and the United States, but in terms of color and beauty of patterns, malachite of foreign countries cannot be compared with the Ural. Therefore, malachite from the Urals is considered the most valuable in the world market.

Gusev crystal

Products made at the crystal factory in the city of Gus-Khrustalny can be found in museums around the world. Traditional Russian souvenirs, household items, sets for the festive table, elegant decorations, boxes, handmade figurines reflect the beauty of native nature, its customs and primordial Russian values. Products made of colored crystal are especially popular.

Matryoshka

A chubby and plump cheerful girl in a headscarf and Russian folk dress won the hearts of lovers of folk toys and beautiful souvenirs around the world.

Now the nesting doll is not just a folk toy, the keeper of Russian culture: it is a memorable souvenir for tourists, on the apron of which play scenes, stories of fairy tales and landscapes with sights are subtly drawn. Matryoshka has become a precious collectible, which can cost more than one hundred dollars.

Enamel

Vintage brooches, bracelets, pendants, which have rapidly "entered" modern fashion, are nothing more than jewelry made using the enamel technique. This type of applied art originated in the 17th century in the Vologda region.

Masters depicted floral ornaments, birds, animals on white enamel using a variety of colors. Then the art of multicolored enamel began to be lost, it was replaced by monochromatic enamel: white, blue and green. Now both styles are successfully combined.

Tula samovar

In his free time, an employee of the Tula arms factory Fedor Lisitsyn liked to make something from copper, and once made a samovar. Then his sons opened a samovar establishment, where they sold copper products, which were wildly successful.

Samovars of the Lisitsyns were famous for a variety of shapes and finishes: barrels, vases with embossing and engraving, egg-shaped samovars with dolphin-shaped cranes, loop-shaped handles, painted.

Palekh miniature

Palekh miniature is a special, subtle, poetic vision of the world, which is characteristic of Russian folk beliefs and songs. The painting uses brown-orange and bluish-green tones.

Palekh painting has no analogues in the whole world. It is performed on papier-mâché and only then transferred to the surface of boxes of all shapes and sizes.

Gzhel

The Gzhel bush, an area of \u200b\u200b27 villages located near Moscow, is famous for its clay, which has been mined here since the mid-17th century. In the 19th century, Gzhel craftsmen began to produce semi-faience, faience and porcelain. Of particular interest are still products painted in one color - blue overglaze paint applied with a brush, with graphic details.

Pavlovo Posad shawls

Bright and light, feminine Pavloposad shawls are always fashionable and relevant. This folk craft appeared at the end of the 18th century at a peasant enterprise in the village of Pavlovo, from which the shawl manufactory subsequently developed. It produced woolen shawls with a printed pattern, which was very popular at the time.