folk art
Considering folk art, we will pay special attention to the features folk art noted by domestic scientists, art historians. So, V.M. Vasilenko emphasizes that all objects of folk art were created by the hands of a master who himself made each object from beginning to end. Therefore, exact repetition is not possible here. Things were created that were somewhat similar, close to each other, but "always marked by the charm of originality." The master sought to find them not only purely practical, but also decorative and artistic use.
Native nature has always been reflected in folk art. Flowers and herbs familiar to everyone since childhood, images of animals and birds, sun and sky, earth and water, transformed by the artist's imagination, turned into a bright, expressive ornament in the product. The proximity of folk art to nature determines the joyful, optimistic nature of his works.
The most striking features of folk applied art of the past include unusually accurate, thoughtful and truthful characteristics of a particular image, conveyed with great expressiveness, and the form in which the folk master puts his idea is always extremely concise. Everything secondary is discarded, giving way to the main thing, which comes to light especially clearly. Such an artistic interpretation of the image in folk art makes it especially understandable and accessible to perception.
Another characteristic feature of the works of folk applied art is colorfulness and decorativeness. Bold, often specific color combinations distinguish the works of the folk master, making them unusually attractive.
Researcher of Russian folk applied art M.N. Kamenskaya notes that in the arts and crafts of folk masters, two types of images are clearly distinguished - narrative and ornamental.
Among the plot images, first of all, the images of animals and birds should be noted. Often these images had a symbolic meaning. A symbol is a particular communication model. The sacred meaning of symbolism is a legacy of the history of mankind, when people began to express their thoughts, their worldview through conventional signs.
The lion, leopard and eagle symbolized strength, power, the falcon personified courage and courage, the image of a young girl personified spring, etc. .
Swans (ducks) are the most revered birds in the North, associated with the sky, the sun and the water element. The images of paired swans are very stable in art: people's ideas about a happy marriage were associated with them, and remnants of the veneration of these birds in the North persisted until the beginning of the 20th century.
The circle (sun) is often the main motif of the pattern. The sun, according to popular ideas, righteous and pure, was opposed to everything evil, impure. It was revered as a source of life, with great cleansing and protective power. He was addressed with prayers for fertility and prosperity. It was depicted as a circle, a flower. Sometimes a flower with six or eight petals was placed in the center of the circle. The motif of a circle (sometimes a rhombus or a hexagon) with a radiant or floral frame is well known from the paintings of the North.
A certain symbolism was associated with the entire plant world, which was reflected in the paintings. White birch - sometimes this is the image of the bride, for whom the oak is wooing - the groom. Kalina often symbolized girlhood, the same applied to cherries. Sweet fruits and berries are images of love. Trees, berry branches, plants with fruits and berries were, to a certain extent, symbols of prosperity.
The image of a “tree” surrounded by birds and animals is widely represented in the paintings. Crowns, trunks, sometimes roots marked with rhombuses and crosses are emphasized in the images of trees. A tree with birds - the "tree of life" - has become one of the favorite subjects of Russian folk art: the idea of \u200b\u200bthe power of the forces of nature, the well-being of mankind and its happiness was associated with it.
Ornamentation achieved great development in folk applied art of the past. An ornament is a deliberately created pattern, the elements of which are rhythmically repeated. It consists mainly of diverse plant forms, which often include images of animals and birds. Floral ornaments are decoratively conditional. Freely filling the surface of various objects and products, the ornament leaves almost no background, as a rule. Along with the floral ornament, there is also a geometric one. The simplest geometric shapes in the form of concentric circles, rhombuses, rosettes, stars, intertwined with each other in a variety of ways, are distributed in all types of folk applied art.
The ornament is a unique artistic phenomenon. It combines the past with the present. The ornament, like writing, tells us about the historical era, about the peculiarities of the culture of the people, their attitude to the world. In ancient times, people knew how to read ornaments, encrypted their ideas about life, about the other world, about eternal truths in the form of symbols. Symbols came to folk art from the pagan Slavs who inhabited the territory of Ancient Russia in the past, who, deifying the Sun, carrying earthly blessings, depicted it in the form of a circle, rosette or rhombus. The Russian peasant from time immemorial lived by the earth. The land, in the view of the Russian peasants, was endowed with human features. He associated the earth, its fertility with the image of the mother. She was depicted on ornaments in the form of a female figure. The female figure is a deity who expressed ideas about the earth that will give birth, and about the woman - the successor of the family.
This image is called in different ways: the great goddess of the earth, fertility, the mother of the damp earth, Makosh, which means "mother of a good harvest."
Subsequently, having lost their original pagan meaning, all these traditional forms entered the geometric ornament and received in it wide use. AT modern world ornament - a pattern that adorns household items without carrying a semantic load. For us, the diamonds on the sweater are just diamonds, and the circles are just circles.
A folk toy in its original form is a cult and ritual sculpture, an instrument of magic. It is a phenomenon of folk art, in which the aesthetic and cult principles were merged into one.
The female figurine personifies the great goddess "Nature". The feminine principle carried a sign of good forces: Mother - the nurse, Spring, Kupava, Bereginya, Lada, etc. The bear - one of the leading characters in folk tales - foreshadowed the awakening of nature, was a symbol of power. Deer - depicted a successful marriage, warmth and fertility. Horse - was considered a servant of the Sun. The horse in the art of pagan Russia had a protective meaning and symbolized both the cult of the sun and water. In folk art, a horse is time, light, heroic strength. Birds are a sign of the resurrection of nature, the awakening of the earth, dawn, a good harvest, a happy family. They are the messengers of the goddess Mother - the earth and the obligatory companions of female images. The cow symbolized cheerful strength, fertility and power. All these plots reflected the naive faith of the peasant in good and evil, the poetic animation of the forces of nature, on which the well-being of man, happiness and prosperity depended.
Due to the above features, decorative art is understandable and accessible to people and even the smallest - preschoolers, it corresponds to their worldview.
Foreword
The currently growing processes of erosion of the spiritual identity of the 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, as a result of which there is a loss of national and cultural identity and the destruction of cultural individuality. Reducing the level of artistic culture population, the lack of demand for traditional arts and crafts as a means of artistic development personality, 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, the transformation of folk art products into a variety of mass souvenirs.
The author of the proposed manual is trying to solve the above problems by systematizing numerous materials on arts and crafts. This publication is aimed at the formation of artistic culture among various categories of the population using the best examples of world arts and crafts as an example, the upbringing of historical consciousness and a sense of identity with the image of traditional culture. A large amount of informative information and numerous illustrations presented in the book will introduce the reader to the basics of arts and crafts, through which people expressed their ideas about beauty in various historical periods, trying to transform the surrounding space according to the laws of harmony and beauty.
Petryakov Petr Anatolievich,
Doctor of Pedagogy, Professor, Head of the Department of Pedagogy
technologies and crafts, NovGU.
1. Folk arts and crafts in the value system of culture
latin word decoraretranslates as"decorate".That is the root of the concept."decorative", that is "decorated". Therefore, the term"decorative art"literally means"decoration skills".
Folk arts and crafts (NDPI) are an integral part of artistic culture, which develops according to its own laws. The works created by the masters of folk arts and crafts reflect the artistic traditions, worldview, worldview and artistic experience of the people, preserve the historical memory and have a spiritual and material value, differ in 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, the tradition, fixed for centuries, selects only the best creative achievements.
The most common types of folk arts and crafts are art ceramics, weaving, lace-making, embroidery, painting, wood or stone carving, forging, casting, engraving, chasing, etc. All this, for the most part, is created in order to be able to use in daily life.
When decorating the works of the NDPI, much is given to the ornament, which not only decorates an 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 ornamented products are of great value, which lies in the fact that it is necessary to make hands to create this amazing beauty.
How can you determine if a given product is a work of arts and crafts? 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 of art. This is not true. Sometimes the ornaments that decorate a vase make it a tasteless fake, 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 apparent.
What are the similarities and differences between the works of folk and professional arts and crafts? How do you know if a vase or a carpet is a work of folk or professional decorative art?
Sometimes, according to the method of making a thing, the share of manual labor in this process, and the mass circulation, works of applied art are tried to be attributed to folk or professional decorative 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.
Artistic thing today, just like a hundred years ago, the folk craftsman mainly performs by hand. At the same time, the master can work both alone and in a team, as well as in organized workshops and even in factories in the centers of traditional folk art crafts.
As a rule, works of arts and crafts are created by artists of art industry enterprises or workshops. They participate both in the production of decorative items produced in mass circulation, and in the creation of individual author's 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 in determining which type of art to attribute this or that thing to is to determine in which artistic tradition it was created, whether the signs of the image-type of a particular craft and material processing technology 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 thing in folk and decorative and applied art 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 language of fine arts acquire a new sound and their specificity in folk and decorative arts. In this regard, one of the most important is the question of the relationship between the pictorial and the graphic in decorative works, that they are dominated by figurativeness or plasticity. For example, in the ornaments of Khokhloma and Zhostov, the main thing is the picturesque beginning, 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 decorative art. In some products, the plastic carries the beginning of the picturesque - Skopinsky ceramics, Kargopol, Filimonov, Dymkovo toys. In others, the picturesque carries the beginning of the plastic: Zhostovo, Gorodets and Polkhov-Maidan murals, Pavlovo Posad shawls, Vologda lace.
The synthesis of the part and the whole is obligatory for the folk master, no matter how his palette expands, no matter what prevails - the pictorial or ornamental beginning.
The expressiveness of the 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 an artist of arts and crafts in his work seeks to show in the best possible way the aesthetic qualities of materials: wood, textiles, metal, ceramics, glass, paper, bone, leather, stone, etc.
decorative in folk arts and crafts is the main means of expressing beauty, at the same time it is a feature of works of other types of art (Figures 1, 2).
Picture 1. Decorative image in various ornaments. Figure 2. Decorative image in cross-stitch embroidery.It should be taken into account that in every art form the artistic image has its own structure, determined, on the one hand, by the peculiarities of expressing the spiritual content, and, on the other hand, by the technology, the nature of the material in which this content is embodied. The artistic image in folk and arts and crafts has common and distinctive features.
The decorative image expresses not the singular, but the general - “species”, “generic” (leaf, flower, tree, bird, horse, etc.). A decorative image requires artistic and figurative thinking, a mythopoetic attitude to reality.
Therefore, in folk art it is customary to single out images-types of products of traditional arts and crafts, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, a horse, a tree of life, a woman, signs-symbols of earth, water, the sun can be seen in various artistic materials: embroidery, weaving, lace, wood and metal painting, wood carving, ceramics, etc. Stability and the traditional nature of these images largely determine the high artistic and aesthetic value of works of folk art.
At the same time, the universality of image-types in art different peoples 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 art also reflect the ideas of this or that people about beauty. They are also often created on the basis of natural or geometric motifs, but here great freedom in the interpretation of images is allowed. Historical plots or themes modern life actively used in works of applied art.
Now consider the similarities and differences in the concepts of "artistic image", "symbol" and "sign" on the example of works of folk decorative art. The concept of "artistic image" will be the most capacious and multifaceted. In some cases, a symbol is a sign endowed with an organic and inexhaustible ambiguity of the image. In others, the symbol is not equivalent artistic image, but, most importantly, it should always have artistic value. Thus, an artistic image does not always have a symbolic meaning, and a symbol is not always figuratively expressive. A sign 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, 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 a bird in general, then this will not be an image of a specific bird, and not even an image of a bird in the traditions of some kind of craft, but an image close to the sign (Figures 3, 4). At the same time, a decorative image of a rooster can be a symbol of the sun. On the other hand, a number of symbols can have not one, but several meanings. So, the symbol of the sun can be not only a rooster, but also a horse. Such a symbolic-poetic system originates from signs-symbols associated with the worship of natural deities.
Figure 4 Decorative image of a rooster in various techniques.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 things in general affect its figurative solution.
If you learn to analyze the image well in any of the artistic systems, then the richest opportunities will open up for revealing the interconnections of artistic and expressive means.
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.
However, one must also be aware of the significant differences between these art forms. Folk art, which transforms reality, is considered by modern art critics as a special type of artistic creativity, the hallmarks of which are: the collective beginning and traditions, the stability of themes and images, the universality of the 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 life of people, their ideas about the universe, labor activity, rituals and holidays. The figurative thinking of the people is materialized in the objects of folk art.
The results of the artistic and creative activity of the people reflect their life, views, ideals, therefore, the works of folk art contain the experience of moral feelings, knowledge, and behavior. Unique and rich in content, the 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-consciousness and historical memory. Communication with folk art, with its moral and aesthetic ideals developed over the centuries, plays a significant educational role. The appeal of folk art to a person and the impact on his intellectual and emotional-sensual spheres open up great opportunities for using products 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 the centuries, does not interfere with the manifestation of a sense of modernity. In folk art, it is expressed not so much in external signs of the times, although, of course, they also take 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, the 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.
The traditional appears in folk art in the form of a system for which the following aspects are important: the connection of man with nature, the expression of the national, the school of folk art (national, regional, regional, the school of individual crafts).
Figure 5 The image of the Sirin Bird in the paintings of the Northern Dvina.The continuity of traditions forms the artistic folk culture of the region, supports the high professionalism of folk craftsmanship. It is this quality that makes it possible to single out the features of one or another school as a creative community. Only the school as a cultural continuity, determined by the existence of tradition, is able to provide such an artistic basis that makes folk art alive in time, allows the development of artistic crafts.
The main person in the arts and crafts is the folk master, a special creative personality, spiritually connected with the people, culture, nature of the region, the bearer of traditions and collective experience.
In every touch of the hands of the master to the created thing, there lives a sense of beauty, organic to the inner structure of the people's perception. National temperament and national character are expressed in folk art. They largely determine the diversity of forms of folk art.
In folk art, artistic skill, technical skill, working methods, motives are passed from master to student. The art system is worked out collectively.
The basis of peasant art was craft. The laconism of expressive means, economy and refinement of performance techniques characterize the work of the master. The feeling of the material, knowledge of its expressive properties, processing by hands with the help of the simplest tools lead to an artistic generalization of the form. Often a folk master creates his works on the basis of natural forms (Figure 6).
Figure 6 a - Skopkar(Permogorsk painting on wood); b - duck(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 worked out labor techniques, a technology based primarily on the properties of the material being processed. The art of the master was to turn even the properties of the material, which are inconvenient for processing, into the artistic merit of things. So, for example, the different properties of clay determined the originality of the methods of its processing and the aesthetic solution of the image. Too soft and plastic white clay helped to create a special elongated silhouette of the Filimonovo toy.
The concept of "mastery" includes the presence of creative abilities and the ability to properly organize work, observing a certain sequence of creating an artistic thing: conception, technology development, manufacturing in material, finishing, self-esteem. The creative abilities of the master are largely determined by the ability to vary and improvise within the tradition of the school. It is important to know the properties of the materials being processed, high level possession of tools and processing techniques.
The development of mastery takes place 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 as follows: first, the master puts students around him and makes them strictly repeat the elements of the ornament.
After mastering them, students get the opportunity to vary their favorite painting motifs. And only on the basis of the acquired experience do they move on to improvisation based on the painting, composing their own compositions. If everyone goes through the stage of repetition and variations without fail, then only the most talented students who can become real masters of their craft are allowed to work at the level of improvisation.
Works of folk and professional decorative art adorn and transform life.
2.1. aesthetic essence.
Decorativeness as a technique of artistic and figurative thinkingTerm "decorative" is currently widely used in the fine and decorative arts, in architecture and design, in research contemporary problems synthesis of the arts, in the theory of the aesthetic organization of the environment.
However, often the term "decorative" refers to various concepts, to one degree or another, reflecting 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 conventionality allegedly overshadows the content of a work of art and complicates its understanding, others see the prospect of further development in the active use of decorative techniques. development of fine arts, in particular decorative painting.
concept "decorative" derived from Latin word"Decor" - beauty, charm, grace, sometimes it is translated as decoration. The Latin word "decorare" means - to decorate, clean, dress up. Headdress, outfit, decoration are indicated 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 beauty expression.
Decorativeness as a positive quality of products of arts and crafts, as an aesthetic value is enshrined in them. 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 the optional presence in this thing.
Decorativeness can act as a constructive basis for products of arts and crafts. Decorativeness is a technique of artistic and figurative thinking, feature which is the creation of a special compositional model. Decorativeness as a technique serves to reveal the internal consistency of the work, the proportionality and orderliness of all its details and forms, and is used not only in decorative and applied art, but also in all spatio-temporal arts.
Thus, decorativeness is not only a specific feature of arts and crafts, inextricably linked with expressiveness, since arts and crafts in aesthetics is classified as an “expressive form” of art, but also a technique of artistic and figurative thinking in all spatio-temporal arts, in including decorative painting.
2.2. The manifestation of decorativeness in the works of easel
and arts and crafts
If we trace the development of the pictorial language and expressive means of decorative painting from the point of view of using the principles of decorativeness in evolutionary and historical terms, then we can say that decorativeness, as a special method of artistic and figurative thinking, is inherent in almost all works of decorative painting. However, in different periods of the development of fine arts in decorative painting, various facets and properties inherent in decorativeness were used, enriching the form of a painting.
In primitive rock paintings, ancient Eastern, early antique and early medieval miniatures, the plane-decorative interpretation of the image was due to tasks other than in post-Renaissance times. The image was understood as a designation of an object and its features, and not as an optical similarity.
When depicting people and various objects, from the totality of qualities that characterize the surrounding objective world, mainly the outlines of objects, their silhouette and color are extracted, which are interpreted not naturally and subordinated to the tasks of coloristic decorativeness. In icons, frescoes, oriental miniatures, pink and blue horses, golden trees, red and golden brown faces are found.
Using mainly the line as the most conditional and clearly “readable” pictorial means, neglecting the unity of point of view and simultaneity, abstracting from the environment where the action takes place, or conveying it with a pictorial hint, pattern, flat background, the ancient painters depict in essence not a segment of visibility, but visible objects in their generalized "contour" characteristics".
Images on frescoes and icons are consonant with the decorative appearance of the wall or iconostasis. Art at that time was not yet divided into easel and other forms, and painting performed a narrative function, since writing was the property of a few.
The basic principles of decorativeness as a special technique of artistic and imaginative thinking found their vivid embodiment in Russian icon painting of the 14th-16th centuries, which still amazes viewers with spirituality and emotional depth. The expressiveness of the plane-ornamental, coloristically harmonious compositional structure of the icon was subordinated to the content of the image.
Decorativeness in aesthetics is interpreted as a specific feature of arts and crafts, which can be interpreted as a form of expression of beauty.
Decorativeness as a technique of artistic and figurative thinking is hallmark and works of arts and crafts.
Decorative and applied art is a special area of people's artistic activity, in the products of which the intended use for a practical purpose organically merges with an aesthetically expedient formal solution (Figure 7).
Decorative and applied arts are considered to be expressive views art, since his works acquire ideological and aesthetic significance due to expressiveness, which is realized as a special communicative quality of a thing. The ensemble nature of the existence of objects of this art is a way of manifesting this quality. The artistic expressiveness of works of arts and crafts is emphasized by their heightened emotional picturesqueness and colorfulness.
Thus, the ensemble nature of the existence of works in the environment and the fact that the artistic and figurative language of arts and crafts are distinguished by decorativeness are recognized as specific properties of decorative and applied art: expressiveness, expressiveness, heightened emotional picturesqueness, and colorfulness.
Figure 7. The manifestation of decorativeness.3. Associative-figurative language of arts and crafts
(the specifics of the artistic image, the concepts of "conventionality",
"depictive" and "expressiveness")The “sense of the decorative”, which has its own associative-figurative means of expression, and the skillful use of ornamental motifs are necessary for artists who create works of decorative and applied art.
When creating works of decorative and applied art, including the artistic design of products, the artist draws images from the same reality as the easel artist, but selects those properties and qualities of nature that most correspond to the specific associative-figurative language of arts and crafts. One of its features is the planar interpretation of the ornament on various subjects arts and crafts.
Decorative painting, like all types of art, is one of the forms of social consciousness that reflects reality in artistic images.
The artistic image is “one of the most important terms in aesthetics and art history, which serves to indicate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, a feature of which is the expression of an abstract idea in a concrete sensual form. Such a definition allows us to highlight the specifics of artistic and imaginative thinking in comparison with other forms of mental activity.
Conventionality is a specific feature of any work of art, since it only displays life in figurative forms, and does not represent it in the form of a real phenomenon. Conventionality is "a way of figuratively revealing artistic truth." The degree of conventionality is determined by the creative task, the artistic goal and, above all, by the need to preserve the internal integrity of the image.
The purpose of artistic convention is to find the most adequate forms of the essential, contained in these forms, in order to reveal the meaning, giving it the most expressive metaphorical sound. Conventionality becomes a way of artistic generalization, which implies an increased emotionality of the image and is designed for the same emotionally expressive audience response.
The degree of convention in different works of decorative painting is different, but the task of convention is to serve as the most vivid expression of the artist's creative intention, the expressiveness of the image.
Conventionality as a way of figuratively solving problems in arts and crafts consists in: revealing the ornamental and rhythmic basis of a natural production, in a plane-decorative interpretation of color by means of a “limited palette”, in a partial departure from natural color in order to search for a harmonious color system of a painting, in application of the method of creative interpretation of nature to identify the idea.
Figurativeness and expressiveness, along with conventionality, characterize the features of the reflection of reality in art, the specifics of the artistic image in works of art. In the visual arts, representation and expressiveness, as properties of the artistic reflection of reality, are in a dialectical relationship.
The artist expresses his idea, individual qualities and phenomena of the surrounding reality through their depiction; “in decorative painting, color and light, line and form, rhythmic and compositional patterns have initially pictorial nature serve as a visible reproduction of the phenomena of the objective world. There are no arts that would only depict without expressing anything, or only express without depicting anything.
The role of sensory-concrete resemblance to individual phenomena of the objective world in different arts is not the same. In the visual arts, it is the basis of the artistic reflection of life, but in the so-called expressive arts (architecture, music, non-pictorial ornament), this role is private and subordinate.
In decorative and applied art, expressiveness is the most important moment of artistic and figurative reflection. Expressiveness in art is a property of artistic reflection in a figurative, visual, vivid form to reveal the essence of the depicted phenomena and characters, convey the artist’s attitude to the material of creativity, his experiences, feelings, assessments ... Expressiveness is a manifestation of the artist’s activity, his interested attitude to life, original artistic interpretation , ideologically and emotionally rich images of art.
LINE
In decorative and applied art, lines perform structural, compositional and aesthetic artistic and pictorial functions. Such a division is very conditional, because often these functions coincide. Structural and compositional division of the plane into its component parts is usually assessed by artists and viewers from an aesthetic point of view.
The structural and compositional functions of the line are expressed in revealing the ornamental and rhythmic basis of a painting, dividing the image plane into parts for the initial expression of a compositional idea, a creative concept.
The line defines the boundaries of the forms of the image elements, separating them from the surrounding space.
The aesthetic, artistic and visual functions of the line are evaluated by different criteria, but the main one is the correspondence of the linear interpretation of the elements of the image to the general artistic image and stylistic solution of the painting.
In art criticism, various epithets are used that characterize the aesthetic properties of lines. Lines are called “light”, “soft”, “expressive”, “whimsical”, “intricate”, “hard”, “rapid”, etc.
In arts and crafts, line is a powerful means of expression, in some cases acting as a compositional "counterpoint" of a painting, uniting all elements of the image into a harmonious whole.
The nature of lines in arts and crafts is different. This may be the contour of the ornamental-rhythmic structure of a painting, made with lines of different thicknesses, which is later written in color and translucent in places.
Consequently, the lines in decorative and applied art are not invented, they are subtly noticed in reality and in a painting they are turned into a means that ornamentally unites the elements of the image, structuring and decorating it.
HATCH
A stroke in arts and crafts is an element of a pictorial image, which can be conditionally considered a kind of line. If the line in some cases conveys the boundaries of forms, then the stroke conveys volumetric, light and shade, tonal and texture characteristics. various elements Images.
Unlike a line, a stroke is a set of short hand movements that are physically conditioned and to some extent limited by the possibilities of hand movement.
The manner of execution of a stroke in the arts and crafts of each artist is individual and unique, like handwriting, and is largely due to the creative tasks of the image.
The manner of execution of a picturesque stroke by various artists in decorative and applied art conveys the energy of creation in creative process. Each stroke - touching the plane of the image - is unique, organic, due to the individuality of the artist, the specifics of his worldview, is an enduring artistic value.
SPOT
Spot is an image element in different types fine arts, including decorative and applied arts. A spot is usually understood as a part of the plane, highlighted by some local color, which differs in color and tone from the environment. A spot can also consist of a group of dots, lines, strokes, textures that are extremely close to each other and, when viewed from a distance, form a single whole.
A spot in arts and crafts can be enriched with nuances - different shades of color - or have different tonal characteristics, sometimes tonal gradations of color from light to dark, but the outline, shape, configuration of the spot unite them. As a result, certain parts of the elements of the image are perceived as spots of different colors and tones, united by the ornamental-rhythmic compositional structure of the painting.
Spot shapes in the fine arts, in particular the arts and crafts, are of three types, which differ in configuration.
1. Geometric shape: circle, triangle, square and their derivatives - oval, rhombus, rectangle, trapezium, hexagon, octahedron, etc. Derived geometric shapes are the result of summing basic geometric shapes, for example, a rhombus is the sum of two triangles, etc. d.
2. An arbitrary, amorphous form, which is obtained, for example, by applying a drop of paint or ink on paper or canvas. Such a spot has an arbitrary, unpredictable shape that does not carry a pictorial beginning.
3. Silhouette spot images with visual and subject characteristics. The allocation of silhouette spot images into a separate group is rather conditional and is due to the historically established assignment of certain works to an independent type of graphic art - the silhouette, because geometric and "amorphous" spot images have an unconditional silhouette expressiveness.
In arts and crafts, the interpretation of the contours of spots is very important. The contour of the spot can be rigid and multi-tonal: on the one hand, dark, on the other hand, light, blurry along the entire edge of the spot or in its individual parts.
SILHOUETTE
A silhouette is, of course, a kind of spot, i.e. a spot that has pictorial and subject characteristics. The universal role of the silhouette in the visual arts allows us to consider it separately as an element of the image in the arts and crafts.
The search for expressive silhouettes of forms of image elements is one of the specific tasks of decorative painting and arts and crafts at all stages of the development of these types of art. The elements of the "picturesque environment" in arts and crafts are often interpreted by the silhouette.
DOT
In decorative painting and arts and crafts, the point is the most important element of artistic expression. A point is a trace from the touch of a drawing tool - a brush, on a surface without moving in any direction. point is integral part all elements of the image in arts and crafts. Any line, stroke starts with a dot, and a spot can be considered a set of many dots.
The ideal shape of a point in decorative painting should be round, but the practice of art shows that the shape of a point touch with a brush on a painting base can be varied: round, square, triangular, trapezoidal, star-shaped, and simply arbitrary asymmetrical shape.
A point in arts and crafts can convey the state of light and air in the environment of image elements, model the form - light, penumbra and shadows of image elements, enrich a painting in texture and rhythm.
TEXTURE
The word "texture" comes from the Latin word "factura", which means processing, structure. In arts and crafts, texture is understood as the nature of the surface treatment of a painting, due to the method of applying the paint layer, in other words, the “micro-relief” of the paint layer. However, the surface of the ink layer is not some special, independent quality.
Texture in arts and crafts is not only the external relief of the paint layer, but also its entire structure, determined by compositional and creative tasks.
In decorative and applied art, texture has a certain aesthetic content and is a means of artistic and figurative expression. Like other components art form it is determined by the creative concept, temperament of the artist, the stylistic orientation of his work.
The texture in decorative and applied art is determined by the type of paints used, the type of basis for decorative painting, and the tools used by the artist. Painting in watercolor, gouache, tempera, oil, pastel allows you to get a variety of textures. Nevertheless, the listed materials have known limitations, which are not recommended to be neglected, so as not to lose a sense of the specificity of these pictorial materials.
In arts and crafts, it is important to deeply study the specifics of various painting techniques to obtain a variety of textures.
In arts and crafts, texture is used quite often on white and colored grounds. It can be embossed, convex, or it can be "scratched" in the ink layer, which creates the effect of "flickering" of color. In arts and crafts, texture is an element of the image and essential tool artistic expression.
4. Development of folk arts and crafts and folk art crafts
Folk arts and crafts is an inexhaustible source of wisdom and beauty, which open up the more multifaceted and deeper, the more interested and inquisitive they are addressed. To know folk art means to fall in love with it, understanding and feeling that this is the basis of the entire artistic life of peoples.
Man has long been striving for creativity, for beauty. After all, beauty always brings joy to people. And people began to ennoble the things around them that accompany them throughout their lives, from childhood to old age, at home and beyond.
Born among farmers, pastoralists, hunters, throughout its history it has been associated with nature, the laws of its renewal, the manifestation of its vitality. Man began to decorate his dwelling, household and labor items, and throughout nature was his teacher. She not only suggested how to decorate things artistically, but also clearly demonstrated this in her creations ─ flowers, leaves, frosty patterns and much more. In addition, nature provided man with the simplest materials for making things ─ clay, wood, metal, stone, bone, linen, wool, ... while processing these materials, man was looking for simpler, more proportional, more convenient forms of created products.
So the most necessary household items were improved: clothes, shoes, dishes, furniture, tablecloths, curtains, towels. And all of them, responding to their main purpose, at the same time, being artistically designed (embroidery, carving, chasing, painting), have already become works of decorative and applied art.
Proximity to nature gave the creators of folk art unusually broad opportunities for constant observation of the world of animals and plants, the images of which were used throughout the centuries-old development of Russian folk art.
Fairy-tale images created in arts and crafts are always based on a very specific image. So, when creating fantastic fairy-tale images, a folk artist refers to a specific living being. In the image of a Sirin, a bird is represented; mermaid is made from fish, etc.
Artistic decoration of a thing is good when it matches the product, it helps to reveal its purpose. This valuable feature is inherent in products created by the hands of craftsmen. Ordinary objects ─ cups, spoons, bowls, towels, carpets, etc. ─ are turned into works of art by them.
The ability to create such things was passed down from generation to generation, enriched with new techniques and forms. Skill turned into skill.
Depending on the availability of local material, living conditions, time, climate, demand, entire families, villages, and settlements mastered the skill. This is how artistic folk crafts were born, which specialized in the production of individual products. At the same time, each folk art craft had its favorite themes, ornaments, color combinations, features of the shape of products, its own specifics of production, inherent only to them. These original, and sometimes national features give the products originality, brightness, originality.
Folk arts and crafts was originally formed as the production of household items. The formation of a centralized Russian state, the development of the market created the conditions for the sale of household products. At the turn of the 17th - 18th centuries, crafts for the production of products for the market began to take shape. Handicraft becomes the main occupation of entire villages and districts. In cities, workshops are organized, representing one of the forms of art crafts, which arose only where there were appropriate conditions (steady demand, a sufficient amount of local raw materials, etc.). The most active development of crafts in all regions of Russia began in the second half of the 19th century.
Folk crafts, as one of the forms of organization of masters of arts and crafts, have preserved the valuable traditions of the artistic heritage, providing the ground for the revival and subsequent development of artistic crafts. An example of this is the organization in 1903 of an artel, after the ruin of the crafts of the Fedoskino miniature, thanks to which the core of creatively working painters was preserved, and this type of decorative and applied art did not die out.
In 1920-1930. the process of creating artels continued. New productions arose, but the main attention was paid to strengthening traditional crafts in areas where the ancient centers of folk art united several settlements. The production of products with Khokhloma painting on wood was restored on a large scale Nizhny Novgorod region, making handmade lace in Vologda region, the masters of the former icon-painting workshops switched to work in the field of lacquer miniatures in Palekh. Vocational schools were organized in the locations of the respective types of thoughts.
War 1941-1945 interrupted the normal process of development of the activity of masters of arts and crafts.
After the war, due to economic difficulties, the process of restoration of such enterprises was slowed down. But that hasn't stifled creativity. In the 60s, a decree was issued on the involvement of homeworkers, which made it possible to expand the personnel of newly created folk craft enterprises and restored old ones.
The creatively gifted Russian people managed to fruitfully use all the riches of their land and created highly artistic images of decorative and applied arts. Masters from the people well understood the artistic tastes of their time and always created masterpieces with creative inspiration, using the richest folk traditions.
5. The art of ornament
(Types and structure of ornaments. Diversity and unity of ornamental motifs different countries and peoples.)
Ornament is the most important part of folk and arts and crafts. It serves to decorate buildings, clothing, household items (utensils, furniture, tools, etc.), weapons, and is widely used in book and applied graphics, posters, etc.
An ornament can be drawn with graphic material and painted with paints, embroidered or woven from threads, carved on wood or embossed on metal, etc. An ornament can become a thing if it is woven in the form of lace (napkin, collar, tablecloth, etc.), mats or forged from metal (lamp, supply, fence, gate, etc.). The ornament can be multi-color (polychrome) and one-color (monochrome), made on the surface of the object convex, embossed or, conversely, deepened.
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 period of time. 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.) (Figure 8) .
Figure 8 Different kinds ornaments: a - meander, b - girih, c - zoomorphic motifs in a ribbon ornament, d - combined ornament.For many centuries, people believed in the protective power of the ornament, believed that it protects from 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 the ornament depend on the purpose, shape, structure and material of the thing that it decorates. The ornament helps to emphasize the plastic and design features of the object, enhance its figurative solution, and better reveal the natural beauty of the material. All this is possible under the condition of a harmonious combination of the ornament and the shape of the object (Figures 9, 10).
Figure 9 The layout of the ornament in the circle. Figure 10. Ornament layout in a square.The art of ornamentation is a complex, multi-valued phenomenon that requires deep study, theoretical understanding and practical development. Acquaintance with this art involves the study of ornamental motifs and compositional schemes for constructing ornaments.
An ornament is a pattern built on rhythmic alternation and an 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.
A geometric ornament can consist of dots, lines (straight, broken, zigzag, reticulate), circles, rhombuses, polyhedrons, stars, crosses, spirals, etc. Complex meander-type ornaments found in art Ancient Greece, can also be attributed to the geometric ornament.
Behind these words is a great and important phenomenon: folk poetry and theater, music and dance, architecture and art. Folk art is the foundation on which the building of world artistic culture has grown.
This article talks only about folk arts and crafts. It originated in ancient times and, like other types of artistic creativity, at first was not perceived as art at all. It’s just that people did the things they needed in everyday life, creating, as we say now, an objective environment: the traditional design of a home, a costume, household utensils, tools and military weapon. All the working people created this objective world, reflecting in it their social and everyday way of life, a peculiar perception of the world, ideas about happiness and beauty, and a unique national character.
The collective nature of creativity is a characteristic feature of folk art. After all, almost everything in the work of the master was dictated by a centuries-old tradition: the choice of material and the methods of its processing, the nature and content of decorative decoration.
A great connoisseur of folk art, V. S. Voronov, wrote well about the collectivity of folk art: “All its formal richness was created through constant repetition: the slow accumulation of paraphrases, additions, amendments, changes ... and variations ... led to the creation of strong, worn forms ... Successful and original, brought into art by individual dexterity and sharp vigilance, was instilled, developed and brought into a finished form; random, untalented and far-fetched did not withstand further collective verification, fell away and disappeared.
This is a historical collectivity, closely associated with the transmission of traditions from master to master, from generation to generation. But there is also the collective creativity of contemporaries, in which the “choral” principle characteristic of folk art is clearly manifested. From time immemorial, its spiritual basis was a common worldview, rituals, customs, folklore. The same image varied in the work of different masters. A new technique or motive found by someone quickly became public domain. As a result, the art was developed and enriched not by one or several masters, but by the whole craft as a single creative organism. And today, the artists of Palekh and Khokhloma, the village of Kubachi and Polkhovsky Maidan are proud of their belonging to the unique art of their native craft, together they solve the creative problems facing it (see Folk art crafts).
Isn't this the source of the amazing cheerfulness of folk art - from the consciousness of one's own strength! After all, behind every thing - be it a carved spinning wheel or an embroidered towel, a painted spoon or a woven tablecloth - is the talent, work and unanimity of many people, ideally - a whole people! And beauty is also from this source. And of course, from native nature, from which the master learns tirelessly. And she takes colors, and rhythms, and forms - to recall at least typical for the Russian North ladles in the form of a floating bird. Like nature, folk art selects only the best and polishes it for centuries, creating truly perfect technology, forms, ornament, color. Over time, all this acquires the character of a tradition: since the achieved beauty must be preserved - this is the demand of the people. That is why people talk about works of folk art as monuments of history and culture.
Today we buy the “golden” Khokhloma bowl not because it is needed in the household. It captivates us with the nobility of form, the elegance of painting. For this beauty, we, as it were, free the thing from the performance of its direct function and put it on the shelf as an interior decoration. Today, the decorative side is beginning to dominate more and more in the work of folk art.
Making any thing necessary in the economy, the master reproduced the picture of the world as he imagined it in the conditional language of ornament. One of the largest researchers of folk art - V. M. Vasilenko recently "read" the symbolism of a wooden ladle-scoop from the area of the city of Kozmo-Demyansk. Looking into the scoop, you can easily see the head of a swan. Above - a circle and a rhombus decorated with radial notches. These are very ancient motifs, most often denoting the sun. And the figure of a horse crowns the whole product. He stands solemnly, as if on a pedestal. Without a doubt, this is not an ordinary peasant horse, but a real “horse-fire”! To make the symbolism of the thing understandable, let us recall that for centuries the people have lived a poetic idea that in the daytime the horses pulled the light across the sky in a cart, and at night it is transplanted into a boat, which is dragged along the underground ocean by swans or ducks.
This meaning, often incomprehensible to us now, made quite ordinary thing an integral part of not only everyday life, but also the worldview of the people, associated with the peculiarities of their worldview and ethical ideals. Other aspects of a work of folk art are also inseparable: utilitarian and aesthetic. Over the centuries, peculiar rules have been developed that the masters have always followed. For example, the shape of an object is dictated by its purpose, so it is ideally simple and well thought out. Further, any form is the result of special properties of the material. An earthen jar will have one configuration, a wooden one of the same dimensions will have a completely different configuration, and a copper one will also have its own. Finally, the shape of the object and its decor must match each other.
Having originated in ancient times, folk art has long been the common property of the people. The situation changed with the development of class society. The division of labor gave rise to a new type of artistic activity - professional art that satisfies the spiritual and aesthetic needs of the ruling classes. At the center of it was a creative individuality with its uniquely personal perception of the surrounding world. By the beginning of the capitalist period, folk art in industrialized countries is everywhere turning into the art of the working masses of the countryside and city. Increasingly, it is assessed as "common" and "obsolete". The efforts of patrons who tried to save the "dear old times" could not change the fate of the folk craftsman, doomed to compete with the factory, throwing millions of faceless, but cheap things on the market. By the end of the XIX century. in most European countries it has been practically solved.
In the states that took the capitalist path of development later, the gap between folk and professional art was not so noticeable. Especially where, as in Russia, folklore elements have penetrated deeply into the culture of the upper strata of society. It is no coincidence that the golden ladles, now kept in the Armory, decorated with a light herbal ornament, are very similar to their wooden counterparts used by ordinary people.
The folk art of Russia was predominantly peasant, so it clearly reflected the farmer's view of the world around him. What concepts occupy a central place in such a worldview? Sun, earth, water. And, of course, everything that grows on earth. Hence the main "characters" of folk art: the sun, which was most often depicted in the form of a cross, rhombus or rosette; horses and birds; mermaids strongly associated with the water element; the mythical Tree of Life, symbolizing the endless growth of the fruits of the earth; finally, Mother-Cheese-Earth, whose image scientists recognize in women embroidered on towels with their hands raised to the sky, as if asking him for rain and blessed sunlight, and in clay toys from various regions of Russia - a woman with a baby at her chest, and along the hem - bright "suns".
But life changed, and folk art changed with it. After all, the strength of tradition lies precisely in the fact that it sensitively responds to changes in reality, helping to imprint the new in art. Otherwise, folk art would long ago have turned into a cold stylization. But it makes us happy today! Gradually, the mythological meaning of the ancient symbols was forgotten, their connection with agricultural rituals weakened. AT late XIX in. the master often no longer knew what certain images meant, and yet he did not refuse them: he crowned the roof of the hut with a ridge, carved solar rosettes on the shutters. True, gradually the ancient symbols acquired an increasingly noticeable decorative character, but something important for people from their original meaning was always preserved.
In the XVII-XIX centuries. many new motifs entered the art of the people - the sources were baroque, classicism, empire. However, these images became an expression of a purely popular worldview, often acquiring even a new look. So, the lions on the window sills of the Nizhny Novgorod huts clearly echo the stone lions of the noble estates. But how good-natured they are: often such an animal resembles a dog or a cat. Folk art never copies, always remains itself. It can be said that there is no change of styles in it at all, which is so characteristic of professional art. All historical layers, starting from the most ancient, coexist in folk art, just as they are inseparable in the memory of the people. This is a clear example of the wise accumulation of cultural values.
Folk art experienced a rebirth in the USSR and the countries of socialism with the entry into the historical arena of the broad masses of the people. A lot has been done during the years of Soviet power. Many art crafts that had died out were revived, new folk art crafts arose, for example, a lacquer miniature of the former icon painters of Palekh, Mstyora and Kholuy. The works of local artists are saturated with images of Soviet reality, they carry a new content that pre-revolutionary folk art did not know (see Palekh, Lacquer miniature).
Similar processes took place in the Kholmogory bone carving, in the Fedoskino lacquer miniature, in the Tobolsk bone plastic, in the Shemogoda carved birch bark. A surprisingly fresh phenomenon is Ukrainian wall painting, which found itself in easel-type art. The same can be said about Kosovo ceramics, painted Uzbek dishes, pottery Georgian and Armenian vessels, and the art of northern peoples. Soviet folk art did not know the simple restoration of old traditions. On their basis, a new arts and crafts, imbued with genuine nationality, was created.
Today it exists in two main forms. On the one hand, the traditional art of the village is still alive, associated with the unique way of life of this or that people, the peculiarities of the surrounding nature. On the other hand, folk art crafts are developing, many of which have a rich history. The resolution of the Central Committee of the CPSU "On Folk Artistic Crafts" (1974) emphasizes the important role of folk art in the culture of socialist society.
And today, works of folk art give us all those spiritual and aesthetic values that the people have been accumulating for centuries. Here - the history of the country, its present and future. Because the rich and varied art of the people is a guarantee of its creative power, moral health and historical longevity.
Alexandra Petrovna
The value of folk arts and crafts for the aesthetic education of children
Folk and arts and crafts are an integral part of artistic culture. Applied works art reflect the artistic traditions of the nation, world outlook, worldview and artistic experience people preserve historical memory.
folk art develops according to its own laws, determined by its essence, and as an independent type of creativity interacts with another type of creativity - art professional artists.
It is especially important to note that folk art, as part of spiritual culture, can be a source of ideas and inspiration for professional artists. In the picturesque canvases of the remarkable old masters A. Venetsianov, V. Vasnetsov, M. Vrubel, K. Petrov-Vodkin, V. Popov, folk ideas about the world, the greatness of man and nature, the commonality of traditions in ancient Russian art and folk art.
Artworks folk art have spiritual and material value, are distinguished by beauty and usefulness. Masters create their works from a variety of materials. big importance in folk art is given to ornament that decorates an object (thing) or is its structural element. The motifs of the ornament have ancient mythological roots.
Theoretical basis folk art, its essence and meaning how art system in general, the leading domestic scientists A. B. Bakushinsky, I. Ya. Baguslavskaya, G. K. Wagner, V. S. Voronov, M. A. Nekrasova, S. B. Rozhdestvenskaya, A. B. Saltykov and others substantiated. In their writings, the main laws of development folk art have been identified"collective start" and « nationality» .
One of the first researchers popular fine arts, which recognized the high artistic and scientific value "peasant" art, was V. S. Voronov. He defined artistic traditions as « folk style» .
Folk arts and crafts - one of the means of aesthetic education- helps to form an artistic taste, teaches to see and understand the beauty in the life around us and in art.
folk art, national in content, is able to actively influence the spiritual development of the child, the formation of moral and patriotic feelings. In works popular creativity reflects love for the native land, the ability to see and understand the world around. In the content of the majority folk A lot of works come from nature - from the earth, forest, herbs, water and sun, from all living things that a person loves and appreciates.
folk art promotes artistic parenting, since it is based on all the specific patterns decorative arts - symmetry and rhythm. It is accessible to children. perception, as it carries content understandable to children, which specifically, in simple, concise forms, reveals to the child the beauty and charm of the world around.
The main meaning of wide application in working with schoolchildren is upbringing prerequisites for a feeling of deep love for one's homeland, for one's own people, feelings of patriotism, self-awareness, awareness of their national identity. This is only the beginning of the development of such complex feelings. A complex, deep, conscious feeling of love for the Motherland, people are formed much later, but only on condition that the fontanel of the first feelings scored during preschool childhood.
decorative, the expressiveness of color and plasticity, the patterning of the ornament, the variety of textures of materials - that's characteristics works folk arts and crafts.
Acquaintance with folk arts and crafts contributes to the solution of the most difficult tasks facing the teacher in the field of aesthetic education the younger generation, expansion and development of children artistic performances, spiritual needs, art evaluation skills art, the formation of artistic taste, aesthetic relationship to the environment.
Systematic mastery of all the necessary means and methods of activity provides children with the joy of creativity.
The method of working with children should be carried out simultaneously in two directions:
1. general educational work on materials folk decorative arts.
2. Special training children relevant activities in the classroom.
System-forming beginning of work with children (first direction) is the formation of emotional and intellectual experience among schoolchildren, which contributes to the emergence of effective motives for their own visual activity and meaningful development.
An addition to such work with children can be watching films, filmstrips, art albums, postcards on relevant topics. Reading literature or a story that reveals in an accessible and interesting way a small amount of information about the history of art craft, its features will be useful to children.
Without special training, mastering by children decorative patterns based on folk painting is difficult. Therefore, it is necessary to develop a cycle of classes aimed at training children how to create a pattern (second direction). The cycle of such classes is based on the content educational work described above, coexists and interacts with it, since it is in it that the basis for creating children of the respective, morally valuable motives for activities in the classroom. This cycle of classes is also built systematically. At the heart of the gradual complication of the content (pictorial and expressive means, the nature of cognitive activity, and means, degree of independence and creativity children. Therefore, the use of teaching methods and techniques should also be systematic.
Related publications:
The influence of arts and crafts on the development and upbringing of children with disabilities
In the context of modernization Russian education Of particular relevance is the problem of creating optimal conditions for education and development.MBDOU "Kindergarten No. 2 Sun" In our kindergarten a competition of mini-museums of folk arts and crafts was held. Parents.
The creation of a museum of decorative and applied arts, its relevance is due to a number of social, scientific, theoretical and practical reasons.
Holiday "Beginning of all beginnings". Acquaintance with folklore and works of folk arts and crafts
MADOU d / s No. 3, art. Novoderevyankovskaya. Educator: Doroshkova Angela Nikolaevna. HOLIDAY "THE BEGINNING OF ALL BEGINNINGS". (dedicated to folklore and works.It is very important to educate in children the need to create beautiful things. As adults, they will always strive for beauty. Art.
Explanatory note. The focus of additional educational program: artistic activity It is an integral part.
