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Types of folk crafts. The most famous folk crafts in Russia

Russian folk craft combines a huge layer of culture. Another peculiarity of our country is that almost every corner, region or autonomous region have their own type of handicraft. This could be a painting various materials, pottery and toys, lace weaving, baked goods and much, much more.

painting

Since ancient times, Rus' has been famous throughout the world for its artists. No European artist could have come up with the kind of patterns our craftsmen made. Over time, even separate directions and schools have emerged that continue the traditions of our people.

It is almost impossible to list all types and techniques of painting in Rus'. There are so many of them, and each carries certain features of the area and culture. The most famous Russian folk arts and crafts are:

Gzhel. These blue patterns on white porcelain are known throughout the CIS and abroad. Initially, dishes made from special white clay were used for personal needs. Over time, it spread throughout Russia and even began to be used for “pharmaceutical needs.” The original and memorable pattern on white dishes appeared much later - at the end of the 19th century.
Artistic folk crafts - Khokhloma. This is another one of the well-known symbols of Russia. This idea is already about 400 years old. It originated in Nizhny Novgorod. The peculiarity of the picture is that various berries, flowers, birds and animals are depicted on wood or dishes. In this case, predominantly red and black paint is used on a gold background. Sometimes green and yellow are used.
Gorodets painting. This craft is unique in that its technique originally used different types of wood: one light, the other dark. The cut out parts were inserted into special recesses and a peculiar pattern was obtained. Later they started using tint. In almost every picture, the main element is a horse with a beautiful elongated neck.

In addition to these techniques that are used by artistic crafts and folk crafts, there are also great amount paintings that all of Russia is proud of to this day. They are a symbol of our country and a source of pride. These are Zhostovo and Fedoskino and much more.

Pottery

As you know, the Russians were predominantly sedentary and hard-working people. A variety of pottery was actively used in everyday life. Therefore, such a Russian folk craft - pottery - was popular in those days.

Few people know that initially this was done exclusively by women. And only much later this fishery completely passed into the strong hands of men.

As a rule, they practiced this craft in places where clay was naturally concentrated. As a rule, villages and settlements were formed near them. The secrets of pottery were passed down from generation to generation.

The most famous districts in Russia, which were famous for their craftsmen who made wonderful products from clay, were Novgorod, Smolensk, Ryazan, Gzhel, Vologda and many, many others. Typically, these were areas located near rivers and lakes.

Not only dishes were made from clay. Various toys, figurines, whistles, decorations and interior items became widespread. Bright to that An example is the folk crafts of Gzhel. Initially, various ceramic dishes were made here. Now in any souvenir shop in Russia you can find a ceramic product with a signature unique blue pattern.

IN Nizhny Novgorod region Pottery craft originated in the 16th century. The village of Bogorodskoye became one of its centers. A festival of craftsmen and fans of this craft is still held there.

In the central part of Russia, clay tiles were widely known and used. Such art required special skill and endurance. Clay casings were used to decorate the houses of wealthy boyars, as well as many churches and cathedrals.

Weaving and lace making

This is practically the same traditional art for Russia as painting or wood carving. However, this ancient Russian folk craft carried magical functions. After all, clothing among the Slavs is not only a way of protection from cold and bad weather, but also a good way once again protect yourself from any evil eye, damage or disease.

This is why the pattern on the products of Russian craftsmen is so important. For many centuries it has remained virtually unchanged. At the same time, it is also the calling card of every people living in Russia. They also contain information about its development, important events and heroes.

The most famous handicrafts are:

Items of royal use. In the Middle Ages, this skill was highly valued and often in the houses of rich boyars and princes one could see embroidered tablecloths, patterned fabrics and special linen fabrics. The most famous were the masters of Kadashevskaya Sloboda and Khamovniki of the Moscow region. Products from Cherkasovo and Breytovo, Yaroslavl region, were also valued.
Down scarves. These products, just like matryoshka or Khokhloma, are business card Russia. The Orenburg down shawls became the most famous. They first became known at the dawn of the 18th century. They are made from soft and warm goat down, as well as silk, cotton and other threads taken as a basis. Half-woolen and woolen Pavlovo Posad printed scarves are also known.
Lace making. This folk craft first became widespread in the 17th century. Lace is made by hand using wooden bobbin sticks. Moreover, they have special recesses for threads. It is with the help of these sticks that craftswomen weave the desired patterns. The original centers of lace making in Rus' were Vologda, the Mikhailovsky district in Ryazan, Sovetsky district in the Kirov region and Yeletsky district in the Lipetsk region.

Like many Russian folk crafts, weaving and lace making practically did not develop during the Soviet period and today. There are quite a few craftsmen left who could completely recreate the techniques and patterns according to ancient customs.

blacksmith craft

Rus' has always been famous for its strong and healthy people. It is not for nothing that blacksmithing became one of the most honorable and revered crafts among our ancestors. It was about these strong and resilient people that legends circulated and epics were composed as the pride of the people and their heroes.

Iron was known to our direct ancestors - the Slavs. And already in the 11th century this Russian folk craft received greatest distribution. Even the largest principalities were located near deposits of ore and clay.

Usually blacksmiths mined and processed metal themselves. At the same time, the forging technique itself remained virtually unchanged until the 19th century. First, a piece of metal was heated using a forge, and then the metal was compacted using a hammer and all slag was removed.

Craftsmen made not only swords. They gave people locks and keys, axes and knives, nails and needles, cauldrons, weights and much, much more.

The main centers of blacksmithing in Russia were the city of Zlatoust, which was valued and revered by our kings as the weapons capital, Pavlovsk fortress, Siberia, the city of Belev and many, many others. It was these places that glorified blacksmithing and forever included it in the folk crafts of Russia.

Wood and bone carving

Another ancient, but not completely forgotten craft. For our people, everything has its own sacred meaning. Even in ordinary objects ancestors tried to use special things in everyday life. This is precisely why various folk crafts existed. Products made from natural materials were especially valued: stone, bone or wood.

Besides what they were made of various items everyday life, artistic crafts, etc., the facades of buildings were decorated with carvings, sculptures were made, etc.

The following folk crafts have gained particular popularity:

Shemogodskaya slotted birch bark. This art originates in Vologda region. Birch bark, despite its apparent fragility, is a fairly strong and durable material. Vologda craftsmen make a variety of baskets, dishes, accessories, jewelry and even shoes and clothes. The peculiarity of these products is that natural plant patterns, leaves and berries, flowers and stems are intertwined with the traditional pattern.
Varnavinskaya bone carving. This is the art of folk crafts of Nizhny Novgorod masters. It arose on the basis of a special work done on wood. The peculiarity of such products is their absolute uniqueness and individuality. After all, each item is made by hand, without any templates or stamps.
This extraordinary artistic craft became widely known in the 19th century. This technique was used to make ladles, dishes, vases and boxes, as well as any home decor and household items. The peculiarity of these products is the predominance of various curls, rosettes, twigs, tinting and polishing of the wood.

In addition to these folk crafts, Russia is rich in craftsmen who can do more than just apply patterns to stone, bone or wood. They seem to complement the natural pattern of the material own work. That is why these products become so unusual and unique.

Folk crafts: toys

The main thing for any family is procreation. That is why children have always been given Special attention. They were watched, trained and, of course, played with. In order to keep the child occupied, they made special crafts: from leather, fabric, wood, stone, etc.

Russian folk crafts for children:

The list of all the famous and ancient dynasties that dedicated their skills to children is endless. And each toy had its own character, special features not typical of the others.

Glassblowing

This is one of the most difficult and interesting activities at the same time. In Russia, glassblowing appeared not so long ago - in the 18th century. Its founder was Prince Menshikov. And, despite the fact that foreigners were initially invited to the production, the occupation subsequently turned into our national Russian folk craft.

The city of Klin became the center of glassblowing production. This is where you can now go to a fabulous exhibition Christmas decorations and decorations. Why this particular town near Moscow? This region is rich in deposits of the most valuable sand for glass blowers - quartz, without which production is impossible.

Another place known throughout the country is Gus-Khrustalny. This town owes its name to an ancient glass-blowing factory founded in the 18th century and owned by the famous Russian entrepreneurs Maltsov.

Now this wonderful factory produces a wide variety of products from this fragile material. These are wine glasses and glasses, vases and damasks, as well as interesting souvenirs and even interior items.

Modern exhibitions of folk crafts

Now the main thing for many Russian crafts and craftsmen is to continue to develop. Popularity is the key to success. After all, the more people know and appreciate the craft, the better, the more orders the masters receive.

In addition, handicrafts help the new generation understand the history and culture of their own country. It is not only interesting and educational, but also a lot of fun, especially for young children. After all, almost every product we use uses bright colors, funny drawings with funny characters.

As a rule, annual fairs and exhibitions are held in places where the production of certain crafts is concentrated. This is where craftsmen bring their best products for display and sale.

The most famous and interesting fairs today:

Exhibition of folk crafts "Ladya". It takes place in Nizhny Novgorod every year. The artistic crafts of not only local craftsmen, but also the best craftsmen of Russia are presented here. This event takes place in mid-December.
Ethnoworld - masters and crafts. This exhibition takes place in the Kaluga region in September. The best masters of Russia and the world gather there. As part of this festival, very interesting and educational master classes are also held for everyone.

Solovetsky Crafts Fair. This annual event in the Arkhangelsk region is attended by craftsmen from Yaroslavl, Arkhangelsk, Murmansk, Nizhny Novgorod and other craftsmen from cities and villages. Folk crafts - Khokhloma, toys and Gzhel - are especially valued by visitors.

In addition to these fairs, there are many others that gather a huge number of people and contribute to the revival of long-forgotten folk crafts.

Knife craft

Artistic metal processing was widespread throughout almost the entire territory of Russia. And in different areas, entire centers for the production of knives, dishes, and various cutlery appeared.

Nizhny Novgorod craftsmen were especially famous for their skills. Pavlovskaya Sloboda became the center of artistic metal craft. The first reminder of it appeared in the 16th century. Then this art of folk crafts spread to other areas and regions. For example, this is the village of Vorsma. The art and skills of the local craftsmen were known far beyond the borders of Russia. During the years of the USSR, this place became the official capital of the “Knife Craft”.

Russian knives and cutlery were decorated with a wide variety of materials: from bone to mother-of-pearl and jasper. They had a special engraving on them, which served not only as decoration, but also as a kind of production mark.

Some of the most famous houses that made these folk crafts a family affair and passed on technologies and secrets of craftsmanship from father to sons were the Ptitsyns, Zavyalovs and Biryutins. Their products made a huge impression at trade fairs in Philadelphia, London, Berlin and Paris.

Jewelry making in Rus'

This is one of the most valuable and sought-after folk crafts of our people. Until now, the products of ancient Russian masters amaze the minds and imaginations of visitors and experts at numerous museums and exhibitions. Jewelry making is notable for the fact that it is based on many artistic crafts and folk crafts. This includes forging, carving, painting and much, much more.

Jewelry accompanied the Russian people from birth to death. Even the baby was wearing some kind of beads, and girls had their ears pierced at the age of 6-8 years. Boys, as a rule, were given one earring. In addition to these jewelry, a variety of bracelets, rings and precious rings, clasps, etc. were popular among the people. The most common materials in Rus' were gold, silver and pearls. Later, during the development of active trade relations, rubies, emeralds, sapphires and garnets appeared.

Despite the fact that Russian princely houses quite often invited foreign masters, Rus' had many of its own heroes. These are Gavrila Ovdokimov, who made the lid of the shrine for the deceased Tsarevich Dmitry, Moscow masters Ivan Popov, Tretyak Pestrikov and Afanasy Stepanov.

The centers of jewelry craft were central regions, which gave rise to folk crafts - Gzhel, artistic forging and painting, etc., Nizhny Novgorod, Veliky Ustyug and many others.

Folk arts and crafts go back to antiquity, to home crafts and village crafts. Later, handicrafts working for the market were formed, as well as private workshops, involved in the capitalist market system and often unable to withstand the competition of factory goods. At the end of the 19th - beginning of the 20th centuries. In many countries, a revival of folk artistic crafts began, including in Russia. In our country there is a special state program to support and revive original Russian folk crafts, including: Khokhloma, Gzhel, Zhostovo trays, Birch bark, Fedoskino boxes, Samovars, Balalaikas, Gorodets painting.

But, first of all, it’s worth finding out where these, rightfully so, works of art came from in Rus', having gone through centuries and a lot of difficulties, passed down from generation to generation, from master to master, from father to son, folk crafts have reached our times!

On the Uzola River, in the ancient forests of the Trans-Volga region, there are ancient Russian villages - Novopokrovskoye, Khryashi, Kuligino, Semino. This is where the world famous Khokhloma fishery traces its history. In these villages, master artists still live today, who paint wooden dishes, continuing the traditions of their fathers, grandfathers and great-grandfathers.

However, researchers have not yet been able to establish the time of appearance of the Khokhloma painting. After all, wooden dishes and other utensils were not stored for a long time. From frequent use it wore out and became unusable. It was thrown away or burned, replaced with a new one. The products of Khokhloma masters have reached us mainly only from the 19th century. But various documentary information indicates that the fishery originated in more early time, possibly in the 17th century.

The original technique characteristic of Khokhloma, where painting with cinnabar and black paint was performed on a golden background, finds analogies in ancient Russian art.

There is a mention in the documents that in late XVI And early XVII centuries in the Trinity-Sergius Lavra, during the ceremonial reception of guests, they were presented with wooden ladles decorated with gold and cinnabar, as well as cups.

At the beginning of the 17th century, the Trans-Volga lands were assigned to the Trinity-Sergius Lavra, among which was Khokhloma. The peasants not only saw this gilded dishes, but also could know how to paint them. But Khokhloma masters had their own method of “gilding”. The dishes were rubbed with tin powder, covered with drying oil and heated in carved gilded ovens. The drying oil turned yellow from the high temperature, and the tin shining through it became gold.

One of the best masters Khokhloma painting spoke about this craft like this: (The very nature of the painting, imitating gold and silver dishes, was suggested by the decorative art of Ancient Rus'... Khokhloma was probably only a late reflection of this great art...)

In the 19th century, the fishery grew so much that it supplied its goods to large quantities not only on domestic market, but also abroad to the countries of Central Asia and Western Europe. Several villages of Semenovsky and Balakninsky districts were engaged in the production of dishes and other household items. Nizhny Novgorod province, Makarinsky and Varnavinsky - Kostroma. Among them there was something like a division of labor. In one village wood was processed, in another a design was applied.

The earliest works of Khokhloma in the collection of the Russian Museum date back to the second half of the 19th century. They number about 170 household items of various purposes. The dishes are represented by bowls and cups of any size: from small ones, similar to dessert rosettes, to huge 70-80 centimeters in diameter; various suppliers and barrels of salt shakers and a variety of spoons.

Cheap everyday utensils could be distinguished by simple patterns applied with special stamps made of felt fabric or a raincoat mushroom. These are spirals, diamonds, small rosettes and leaves.

More expensive items were painted by hand with a brush, creating various compositions of herbal patterns, where slightly curving thin red and black twigs with lush feathery blades of grass were rhythmically combined.

Sometimes red and black fluffy grass complemented the main ornamental motif of a large curly stem, each curl of which ended with a red berry.

In the 1960s, multi-item sets and services began to be produced.

Modern Khokhloma has rightfully received wide recognition not only in our country, but also far beyond its borders. Brightly painted cutlery sets, cups, spoons, and furniture are exhibited at many of the largest international exhibitions. And this unique, cheerful art always finds love and understanding among people of all nationalities.

There is a village called Zhostovo in the Moscow region, whose residents have mastered the art of decorating just one thing for more than a century and a half - a tray. Under the brush of folk painters, this object acquired qualities work of art. Collected in bouquets or freely spread out on a shiny black background, garden and wildflowers decorate the tray and bring people a feeling of joy of the soul, the poetry of the eternal flowering of nature. After all, there is hardly a person who does not love nature, who is indifferent to flowers, their beauty, aroma, and the great power of life contained in them. This topic is close to everyone, which is why there are so many admirers of Zhostovo talent not only in our country, but also abroad.

And once upon a time, in early XIX century, opening the first workshop for the production of papier-mâché products in Zhostovo, the merchant Philip Nikitievich Vishnyakov had no idea that he had founded a new craft, which would eventually become one of the unique centers of Russian folk culture. The original art of decorative painting developed here, incorporating the traditions of folk painting on household objects and easel painting of still life, understood and reworked by folk artists in their own way. The first trays were made of papier-mâché, as were the boxes, snuff boxes, vintage boxes and boxes produced with them. At first, the paintings that adorned them were the same - landscapes painted from engravings and paintings, summer and winter threesomes of horses, tea parties at the table. Placed on a black background in the center of the field, silhouettes of figures and local color spots were clearly readable.

In the 1830s, trays in Zhostovo began to be made of metal. The idea of replacing papier-mâché with a more durable material was inspired by the Zhostovo trays from Nizhny Tagil, the famous center of their production back in the 18th century. In the 19th century, trays were made in Tagil, decorated with floral patterns characteristic of Ural folk painted utensils.

Another famous center for the production of trays was St. Petersburg. Trays of curly shapes and complex patterns depicting flowers, fruits, birds among various shells and whimsical curls were in fashion here.

Zhostovo masters took into account the experience of painters from Nizhny Tagil and St. Petersburg, but did not just use the styles and techniques they liked, but based on them they created their own unique style and character for decorating trays. It developed in the 1870s - 1880s.

During this time, the demand for trays increased in cities. In taverns, drinking establishments and hotels, trays were used for their intended purpose and as interior decoration. Tray production in Zhostovo gradually separated from lacquer miniatures on papier-mâché. Many workshops arose that produced trays for sale in Moscow, St. Petersburg and other areas. Since then and until now, Zhostovo and the surrounding villages have been a kind of reserve of this unique art.

The collection of Zhostovo trays in the Russian Museum is small. But it contains first-class works, performed in different periods of the life of the craft and clearly reflecting the characteristics and level of art of their time.

Among the most famous works is an oval tray decorated with mother-of-pearl painting.

Almost every antique tray bears the mark of the workshop in which it was made. From this mark you can find out the name of the owner of the workshop, and from it you can determine the time of creation of the tray.

At a distance of 50-60 kilometers northeast of Moscow, in the Ramensky district, along the Yegoryevskoe highway there are two dozen merging beautiful villages and villages.

Gzhel is the name of one of the villages - a former volost center, which has become a collective for the entire region, a symbol of unique art and folk craftsmanship.

Gzhel is the name given to highly artistic porcelain products produced in these places, painted with cobalt on a white background.

Gzhel was first mentioned in written sources in 1339 in the spiritual letter of Ivan Danilovich Kalita. Since then, over the centuries, as one of the most profitable volosts, Gzhel was inherited by the family of the great Moscow princes and tsars, bringing them considerable income.

Back in the 16th century, Gzhel residents transported surplus household utensils to Moscow, as well as to Moscow potters in the Yauzskaya Sloboda; some stayed there to work. They also went to Moscow fairs and auctions. At the auction we got acquainted with imported products of craftsmen from other places in Russia, from other countries.

On the basis of peasant crafts and trade, a new type peasant population of Gzhel.

By the 70s - 80s of the 18th century, Gzhel became the center of production of artistic majolica in Russia. The fact is that since the opening of the manufactory of Afanasy Grebenshchikov in 1724, many Gzhel residents worked there as potters. Savvy and efficient, they quickly grasped the secrets of the new production of majolica products, and returning to their homeland, they started their primitive, but numerous new forges, created their products not only from ordinary red clays, as before, but used the new technology of white masses with admixtures of other varieties of clays and mineral additives.

Original Gzhel products were in constant demand. Handicraft peasants worked from dawn to dusk, dealing with clay and creating things necessary for everyday life from it. Each of them had his own style, and when creating products, he introduced his own vision of the world around him. The value of dishes and toys was determined by the tastes of buyers and controlled by their demand. The popularity of Gzhel products meant that they met the requirements that met the utilitarian goals and artistic tastes of the people of that time. In the middle of the 18th century, pottery production began to develop quite quickly in Russia, but Gzhel products were in constant demand. From here, the production of ceramics spreads to Kolomenskaya, Serpukhovskaya and other districts of the Moscow province.

The end of the 18th century was the heyday of Gzhel majolica; Local craftsmen achieved especially great skill in the manufacture of jugs, kumgans, and kvass. The work required great patience and skill. The painting did not allow for corrections or alterations, since it was carried out on a soft, unfired shard covered with white enamel. The Gzhelians also produced separately small majolica sculptures, which often reflected typical scenes of their lives, compositions filled with humor, soldiers, peasant women, fashionistas and dandies, busy with one thing or another. The plots were expressive and intelligible, captivating with the clarity of their plans and the naivety of their creators - simple folk craftsmen.

For many decades, Gzhel residents created tiles of amazing beauty and variety of paintings for decorating stoves and fireplaces. The Hermitage now keeps over 500 of their samples in its collection.

Many Gzhel masters participated in the creation of pottery in other places in Russia.

They tried to make Gzhel semi-faience back in the last years of the 18th century. Objects made from this material imported from abroad were so expensive that only a few could buy them, but they involuntarily pushed Gzhel residents to master the technology of their production.

Semi-faience already had a white, albeit thick shard, and painting was carried out not on raw enamel, as on majolica products, but after firing, on a hard shard, which greatly facilitated, speeded up the work and accelerated defects.

Semi-faience has become as wonderful an artistic phenomenon as majolica. The Gzhel residents managed to obtain white tableware, similar to earthenware, at the beginning of the 19th century. By adding lime to their clay, the Gzhel people obtained a material called simple faience or semi-faience, and during the 19th century they created tens of thousands of necessary household items from it.

It took a while for the Gzhel people to develop their own unique style of cobalt painting, but gradually it reached perfection in semi-faience. The blue color becomes classic, inseparable from Gzhel semi-faience. This was a new visual pictorial language that replaced contour drawing with polychrome coloring, which was previously used in majolica. Blue paint combines best with glaze, produces less defects when fired, and emits a timeless radiance. The painting also contains elements of humanization and spiritualization of things.

TO mid-19th century Gzhel was the largest supplier of ceramic products in the country.

In the second half of the 19th century in Russian ceramic production Significant changes are taking place. Large mechanized factories are now in the lead. Economical production, high quality products and moderate prices made it possible to win the fight in the sales markets.

In 1926, the number of workers in the porcelain and earthenware industry in the Gzhel region was 506 people.

The Gzhel Partnership was created as a result of the merger of six small workshops from different villages in 1972.

In the village of Zhirovo they produce ceramic fireplaces, in the villages of Troshkovo and Fenino - pottery and majolica dishes. In the village of Fenino, together with an Italian company, a production facility for the production of tiles and tiles is being created. In the village of Kolomino-Fryazino they make porcelain toys, and modern production in the villages of Turygino and Bakhteevo are the main centers for the production of artistic porcelain.

Gzhel masters deeply and sacredly preserve the traditions of their ancestors, creatively develop and multiply them. In the semi-fairy-tale world created by the ceramists of today's Gzhel, it is difficult to draw a clear line between the art of the past and the present. The spring that arose centuries ago in the soul of the Russian people does not dry up; having passed through the thickness of centuries, he still remains a powerful aesthetic force and does not lose its purity. The continuity of the traditions of folk craftsmen and loyalty to them is the seed of success and popularity of Gzhel ceramics in our time.

The history of Gzhel goes back centuries, and its folk art is destined to have a long life; today the famous folk craft is gaining new strength. Bluebirds of Gzhel fly to different parts of the planet to decorate people’s lives and cultivate a sense of beauty.

Birch bark

Birch barkFor a long time in Rus', birch bark was used to make household and convenient things - baskets and boxes were woven. And in birch bark containers they stored honey and berries, sour cream and butter... In such “packaging” everything remained fresh for a long time.

They also made boxes and caskets from birch bark, all kinds of boxes, dishes and even bast shoes. They were painted with bright, cheerful colors: they painted flowers and berries, green twigs and fabulous birds, animals unknown or well known. Sometimes a real picture was born under the master’s brush: buffoon jokers played balalaikas, bears danced... You can’t take your eyes off the beautiful pattern, colorful ornament...

Birch bark is an excellent material for cutting sharp knife thin lace patterns. It seems that this beauty was woven by a skilled lacemaker. Such openwork birch bark “lace” was used to decorate caskets, caskets, powder compacts and boxes, vases and cups. And to emphasize the whimsical pattern and design, craftsmen sometimes placed colored foil or pieces of mica under the birch bark “lace”.

They also pressed patterns on birch bark with special stamps. This is called embossing. This method made products made from it especially elegant.

Birch bark has long been used to make various household and artistic products. Reached to this day birch bark letters, found during excavations in Veliky Novgorod and other cities of Russia. Birch bark products were decorated with painting, carving, and embossing.

Birch bark trades were widespread throughout our country. The traditions of making artistic products from birch bark have been preserved in the northern and northeastern regions of the European part of Russia, in the Volga region, Siberia, and Yakutia.

And today, in the 21st century, interest in ancient folk crafts and the art of our ancestors has not faded away. We admire the talent of the masters who gave us beauty. And it doesn’t matter at all that it is made not from gold and silver, but from ordinary, modest, but also magical birch bark.

The origin of Mezen painting still remains a mystery. Some researchers compare it with the painting of the Komi Republic, others believe that it originated from ancient Greek images. Painting researcher V.S. Voronov, for example, said about it: “This is an ornament that has preserved in its elements the deepest remnants of the archaic ancient Greek styles, covering the surfaces of wooden objects with thick lace.” It is very problematic to establish this in our time, because perhaps more than one hundred years have passed since the Mezen painting appeared. It became known about it in 1904, but, of course, painting originated much earlier. The unusual nature of the painting, its graphic nature, and the primitive-conventional interpretation of the images of horses and birds encourage researchers to look for the origins of Mezen painting in the art of neighboring northern peoples and in rock paintings. V.S. Voronov, studying the styles of folk paintings on wood in different areas Russia, singled out the Mezen style as “mysterious and curious,” pointing out its connections with ancient Greek styles.

The origins of this type of painting lead to the lower reaches of the Mezen River in the Arkhangelsk region. It was used to paint various household utensils- spinning wheels, ladles, boxes, chests, caskets. WITH late XIX century, the village of Palashchelye became the center of Mezen painting, therefore Mezen wood painting is also known as “Palashelye painting”.

The area of Mezen painting is very extensive. In addition to the Mezen basin with Vashka, it includes in the west the areas of Pinega and the lower reaches of the Northern Dvina to the Onega Peninsula, and in the east - the Izhma and Pechora basins. Here you can find spinning wheels with Mezen painting not only from Palashchelye, but also from other villages.

Most often, Mezen paintings depicted figures of deer, horses, and less often people, but only the silhouette of a person was painted. Despite the fact that everything in this painting is simple and concise, you can write a whole essay with drawings, convey some kind of message with signs. After all, there are many signs of the elements, luminaries, earth, as well as the protection and replenishment of the family. Knowing their decoding, you can read each work.

Basically in the old days they painted spinning wheels. Mezen spinning wheels were truly unique. Firstly, if ordinary spinning wheels consisted of three parts: a bottom, a riser and a blade, then in Mezen spinning wheels were made in one piece, for which they selected trees whose roots could become the bottom.

And secondly, the drawings themselves were unique. Scientists believe that the front part of the spinning wheel, depicted very strictly, is divided using geometric patterns into three parts: heaven, earth and the underworld. Birds and the so-called “window” were depicted in the sky, with the help of which one could communicate with God. Then row after row of horses and deer or a tree were depicted, often with a bird sitting on the top of its head. In the underworld, deer and horses were also painted, but shaded with black paint. And on the reverse side, the artist, strictly maintaining the levels, could make inscriptions, for example: “To whom I love, I give.” Spinning wheels with similar messages were given by a husband to his wife for a wedding or for the birth of a child. By the way, only men were engaged in painting, passing this art down from generation to generation.

Traditionally, objects painted with Mezen painting have only two colors - red and black (soot and ocher, later red lead). The painting was applied to unprimed wood with a special wooden stick (vice), a capercaillie or black grouse feather, or a human hair brush. Then the product dried out, which gave it a golden color. At present, in general, the technology and technique of Mezen painting have been preserved, with the exception that brushes have begun to be used more often. Some internal difference between modern Mezen painting and the old one is also felt because initially painting was carried out only by men, whereas in our time it is more done by women.

Now Mezen painting is practiced in almost all of Russia, and in some schools it is included in the fine arts curriculum.

Gorodets wood painting, a traditional artistic craft that developed in the mid-19th century in villages along the Uzole River in the vicinity of Gorodets, Nizhny Novgorod region.null

The origin of painting originates from the production of Gorodets spinning wheels, inlaid with bog oak and decorated with contour carvings. Unlike the widespread spinning wheels, hewn from a single wooden monolith, Gorodets spinning wheels consisted of two parts: the bottom and the comb. The bottom was a wide board, tapering to a head with a pyramidal “toe”, into the hole of which the stem of the comb was inserted. When they were not working on the spinning wheel, the comb was removed from the comb, and the bottom was hung on the wall, becoming a kind of decorative panel.

In the middle of the last century, craftsmen began to revive the inlaid bottoms, first only by tinting the background, then by carving, and subsequently by introducing colorful plot drawings. The earliest similar bottom that has survived to this day was made by master Lazar Melnikov in 1859. Gradually, painting, technologically simpler, finally replaced labor-intensive inlay. Gorodets masters transferred into painting not only the subjects previously used in inlay, but also a generalized interpretation of the images suggested by carving techniques. The painting used bright rich colors of red, yellow, green, black, mixed with liquid wood glue. Over time, the range expanded; In addition to traditional spinning wheels, the Donets began to make and paint brush boxes, wooden toys, furniture, even parts of the house, shutters, doors, and gates. In 1880, about 70 people from seven neighboring villages were involved in the fishery. Among the oldest masters who became the founders of Gorodets painting, the names of the brothers Melnikov and G. Polyakov were preserved; later they were joined by painters who preserved the secrets of the craft at the beginning of the 20th century I. A. Mazin, F. S. Krasnoyarov, T. Belyaev, I. A. Sundukov.

Gradually, original techniques of Gorodets painting were developed, which in their multi-stage nature were close to professional painting. Initially, the background is painted, which also serves as a primer. Based on the colored background, the master makes an “underpainting”, applying the main color spots with a large brush, after which he models the shape with thinner brushes using strokes. The painting is completed by “living up” with white and black, combining the drawing into one whole. The finished plot is usually enclosed in a graphic frame or outline. In Gorodets painting there are many simple ornamental motifs of roses, buds, and grass.

With the development of the craft, the subjects of painting, apparently borrowed from popular prints, were also significantly enriched. In addition to traditional horses, tea parties, festivities, scenes from city life, and characters appeared folk tales, battle scenes inspired by the Russian-Turkish War.

The Gorodets fishery existed for about fifty years. Its heyday was in the 1890s, when Donets production reached 4 thousand per year, but by the beginning of the 20th century the fishery had fallen into decline. After World War I, painting production ceased completely, and even the most famous painters were forced to look for other income.

The revival of Gorodets painting is associated with the name of the artist I. I. Oveshkov, who came to the Gorky region in 1935 from Zagorsk. Through his efforts, a public workshop was opened in the village of Koskovo, uniting old painters. Oveshkov not only took over the leadership of the workshop, but also organized professional training for artists. With his direct participation, the expansion of the range of painted products began: boxes, wall cabinets for dishes, high chairs, and folding screens. In 1937, Gorodets craftsmen participated in the exhibition “Folk Art”, held at the Tretyakov Gallery in Moscow, where modern products were demonstrated next to the Don people of the 19th century

In 1951, the Stakhanovets carpentry and furniture artel was opened in the village of Kurtsevo, headed by the hereditary Gorodets painter A.E. Konovalov. The artel began manufacturing furniture with motifs of traditional painting on cabinets, bedside tables, stools, and tables; the range was constantly expanding. In 1960, the artel was transformed into the Gorodets Painting factory.

Currently, the factory produces painted rocking toys, children's furniture, decorative panels, dishes, and turning utensils. Although the functional purpose of the Gorodets products has changed, traditional motifs and images, long-legged horses, riders, magical birds, and flower-cups have been preserved in their painting.

History of the balalaika

Balalaika is a Russian folk three-stringed musical instrument, with triangular shapes wooden case. The balalaika has become an integral musical symbol of Russia. The history of the origin of the balalaika goes back centuries and is not clear-cut. Some believe that this instrument was invented in Rus', while other historians claim that the history of the balalaika originates from the Kyrgyz-Kaisak folk instrument - the dombra. Also, the word “balalaika” itself causes a lot of speculation and controversy. The most basic hypothesis is that the word “balalaika” has the same root as such words as balacat, balabonit, balabolit, balagurit, which means to chat, empty ring. All these words convey the uniqueness of this folk instrument: light, funny, “strumming”, not very serious.

Most historians believe that the balalaika was invented around 1715, but there are many historical documents that say more early history creating a balalaika. The first written mention of the balalaika is contained in a document dated June 13, 1688 - “Memory from the Streletsky Prikaz to the Little Russian Prikaz”, which mentions the peasant Ivashko Dmitriev playing the balalaika. The next document tracing the history of the balalaika dates back to 1715. This is a “Register” signed by Peter I, dating back to 1715: in St. Petersburg, during the celebration of the clownish wedding of the “prince-papa” N.M. Zolotov, in addition to other instruments carried by the mummers, four balalaikas were named.

Until now, the balalaika has experienced different periods of its history. Either this folk instrument was forgotten, or with renewed vigor it became popular in all villages and hamlets. Why is it that Russian people are so attracted to the sounds of this instrument? Perhaps these cheerful, strumming, light and funny sounds helped our ancestors forget about the whole hardship of peasant life, or maybe these sounds conveyed the whole essence of life in Rus' and now, having heard the sound of the balalaika, we can easily look at history through the eyes of our ancestors. Who knows what ups and downs await this unique Russian folk instrument, but now we can say with confidence that the balalaika is the most recognizable Russian folk instrument throughout the world.

On the Uzola River, in the ancient forests of the Trans-Volga region, there are ancient Russian villages - Novopokrovskoye, Khryashi, Kuligino, Semino. This is where the world famous Khokhloma fishery. In these villages, master artists still live today, who paint wooden dishes, continuing the traditions of their fathers, grandfathers and great-grandfathers.

However, set the appearance time Khokhloma painting Researchers have not yet succeeded. After all, wooden dishes and other utensils were not stored for a long time. From frequent use it wore out and became unusable. It was thrown away or burned, replaced with a new one. Products have reached us Khokhloma masters mostly from the 19th century. But various documentary information indicates that the fishery originated at an earlier time, possibly in the 17th century.

The original technique characteristic of Khokhloma, where painting with cinnabar and black paint was performed on a golden background, finds analogies in ancient Russian art.

The documents mention that at the end of the 16th and beginning of the 17th centuries in the Trinity-Sergius Lavra, during the ceremonial reception of guests, they were presented with wooden ladles decorated with gold and cinnabar, as well as cups.

At the beginning of the 17th century, the Trans-Volga lands were assigned to the Trinity-Sergius Lavra, among which there was also Khokhloma. The peasants not only saw this gilded dishes, but also could know how to paint them. But Khokhloma masters had their own method of “gilding”. The dishes were rubbed with tin powder, covered with drying oil and heated in carved gilded ovens. The drying oil turned yellow from the high temperature, and the tin shining through it became gold.

One of the best masters Khokhloma painting spoke about this craft like this: (The very nature of the painting, imitating gold and silver dishes, was suggested by the decorative art of Ancient Rus'... Khokhloma, probably was only a late reflection of this great art...)

In the 19th century, the fishery grew so much that it supplied its goods in large quantities not only to the domestic market, but also abroad to the countries of Central Asia and Western Europe. Several villages of Semenovsky and Balakninsky districts of the Nizhny Novgorod province, Makarinsky and Varnavinsky - Kostroma province were engaged in the production of dishes and other household items. Among them there was something like a division of labor. In one village wood was processed, in another a design was applied.

Earliest works Khokhloma in the collection of the Russian Museum date back to the second half of the 19th century. They number about 170 household items of various purposes. The dishes are represented by bowls and cups of any size: from small ones, similar to dessert rosettes, to huge 70-80 centimeters in diameter; various suppliers and barrels of salt shakers and a variety of spoons.

Cheap everyday utensils could be distinguished by simple patterns applied with special stamps made of felt fabric or a raincoat mushroom. These are spirals, diamonds, small rosettes and leaves.

Sometimes red and black fluffy grass complemented the main ornamental motif of a large curly stem, each curl of which ended with a red berry.

In the 1960s, multi-item sets and services began to be produced.

Modern Khokhloma has rightfully received wide recognition not only in our country, but also far beyond its borders. Brightly painted cutlery sets, cups, spoons, and furniture are exhibited at many major international exhibitions. And this unique, cheerful art always finds love and understanding among people of all nationalities.

There is a village in the Moscow region Zhostovo, whose residents have mastered the art of decorating just one thing for more than a century and a half - a tray. Under the brush of folk painters, this object acquired the qualities of a work of art. Collected in bouquets or freely spread out on a shiny black background, garden and wildflowers decorate the tray and bring people a feeling of joy of the soul, the poetry of the eternal flowering of nature. After all, there is hardly a person who does not love nature, who is indifferent to flowers, their beauty, aroma, and the great power of life contained in them. This topic is close to everyone, which is why there are so many admirers Zhostovo talent not only in our country, but also abroad.

And once upon a time, at the beginning of the 19th century, opening in Zhostovo The first workshop for the production of papier-mâché products, merchant Philip Nikitievich Vishnyakov did not even suspect that he had founded a new craft, which would eventually become one of the unique centers of Russian folk culture. The original art of decorative painting developed here, incorporating the traditions of folk painting on household objects and easel painting of still life, understood and reworked by folk artists in their own way. The first trays were made of papier-mâché, as were the boxes, snuff boxes, vintage boxes and boxes produced with them. At first, the paintings that adorned them were the same - landscapes painted from engravings and paintings, summer and winter threesomes of horses, tea parties at the table. Placed on a black background in the center of the field, silhouettes of figures and local color spots were clearly readable.

In the 1830s, trays in Zhostovo began to be made of metal. The idea of replacing papier-mâché with a more durable material was inspired by the Zhostovo trays from Nizhny Tagil, the famous center of their production back in the 18th century. In the 19th century, trays were made in Tagil, decorated with floral patterns characteristic of Ural folk painted utensils.

Zhostovo The masters took into account the experience of the painters of Nizhny Tagil and St. Petersburg, but did not just use the styles and techniques they liked, but based on them they created their own unique style and character for decorating the trays. It developed in the 1870s - 1880s.

At this time, the demand for trays in cities. In taverns, drinking establishments and hotels, trays were used for their intended purpose and as interior decoration. Tray production in Zhostovo gradually separated from lacquer miniatures on papier-mâché. Many workshops arose that produced trays for sale in Moscow, St. Petersburg and other areas. From then to now Zhostovo and the surrounding villages are a kind of reserves of this unique art.

Collection Zhostovo trays in the Russian Museum is small. But it contains first-class works, performed in different periods of the life of the craft and clearly reflecting the characteristics and level of art of their time.

Among the most famous works is an oval tray decorated with mother-of-pearl painting.

At a distance of 50-60 kilometers northeast of Moscow, in the Ramensky district, along the Yegoryevskoye Highway, there are two dozen beautiful villages and hamlets merged with each other.

Gzhel- the name of one of the villages - a former volost center, which became a collective for the entire region, a symbol of unique art and folk craftsmanship.

Gzhel is the name given to highly artistic works produced in these places. porcelain, painted with cobalt on a white background.

Gzhel was first mentioned in written sources in 1339 in the spiritual letter of Ivan Danilovich Kalita. Since then, over the centuries, as one of the most profitable volosts, it passed Gzhel by inheritance in the family of the great Moscow princes and kings, bringing them considerable income.

On the basis of peasant crafts and trade, a new type of peasant population of Gzhel gradually emerged.

By the 70s - 80s of the 18th century Gzhel becomes the center of production of artistic majolica in Russia. The fact is that since the opening of the manufactory of Afanasy Grebenshchikov in 1724, many Gzhel residents worked there as potters. Savvy and efficient, they quickly grasped the secrets of the new production of majolica products, and returning to their homeland, they started their primitive, but numerous new forges, created their products not only from ordinary red clays, as before, but used the new technology of white masses with admixtures of other varieties of clays and mineral additives.

Original Gzhel products were in constant demand. Handicraft peasants worked from dawn to dusk, dealing with clay and creating things necessary for everyday life from it. Each of them had his own style, and when creating products, he introduced his own vision of the world around him. The value of dishes and toys was determined by the tastes of buyers and controlled by their demand. The popularity of Gzhel products meant that they met the requirements that met the utilitarian goals and artistic tastes of the people of that time. In the middle of the 18th century, pottery production began to develop quite quickly in Russia, but Gzhel products were in constant demand. From here, the production of ceramics spreads to Kolomenskaya, Serpukhovskaya and other districts of the Moscow province.

The end of the 18th century was a time of prosperity Gzhel majolica; Local craftsmen achieved especially great skill in the manufacture of jugs, kumgans, and kvass. The work required great patience and skill. The painting did not allow for corrections or alterations, since it was carried out on a soft, unfired shard covered with white enamel. The Gzhelians also produced separately small majolica sculptures, which often reflected typical scenes of their lives, compositions filled with humor, soldiers, peasant women, fashionistas and dandies, busy with one thing or another. The plots were expressive and intelligible, captivating with the clarity of their plans and the naivety of their creators - simple folk craftsmen.

For many decades, Gzhel residents created tiles of amazing beauty and variety of paintings for decorating stoves and fireplaces. The Hermitage now keeps over 500 of their samples in its collection.

Many Gzhel masters participated in the creation of pottery in other places in Russia.

By the middle of the 19th century Gzhel was the largest supplier of ceramic products in the country.

In the second half of the 19th century, significant changes occurred in Russian ceramic production. Large mechanized factories are now in the lead. Economical production, high quality products and moderate prices made it possible to win the fight in the sales markets.

In 1926, the number of workers in the porcelain and earthenware industry was Gzhelskaya region there were 506 people.

The Gzhel Partnership was created as a result of the merger of six small workshops from different villages in 1972.

In the village of Zhirovo they produce ceramic fireplaces, in the villages of Troshkovo and Fenino - pottery and majolica dishes. In the village of Fenino, together with an Italian company, a production facility for the production of tiles and tiles is being created. Porcelain toys are made in the village of Kolomino-Fryazino, and modern production facilities in the villages of Turygino and Bakhteevo are the main centers for the production of artistic porcelain.

Gzhel masters deeply and sacredly preserve the traditions of their ancestors, creatively develop and multiply them. In a semi-fairy-tale world created by master ceramists of today Gzhel, it is difficult to draw a clear line between the art of the past and the present. The spring that arose centuries ago in the soul of the Russian people does not dry up; Having passed through the thickness of centuries, it still remains a powerful aesthetic force and does not lose its purity. The continuity of the traditions of folk craftsmen and loyalty to them is the seed of success and popularity of Gzhel ceramics in our time.

Story Gzhel goes back centuries, and its folk art is destined to have a long life; today the famous folk craft is gaining new strength. Bluebirds of Gzhel fly to different parts of the planet to decorate people’s lives and cultivate a sense of beauty.

Since ancient times in Rus' from birch bark They made things that were necessary for the household and convenient – they wove baskets and boxes. And in birch bark tues they stored honey and berries, sour cream and butter... Everything remained fresh for a long time in such “packaging”.

And also from birch bark did caskets And caskets, all kinds of boxes, dishes and even bast shoes. They were painted with bright, cheerful colors: they painted flowers and berries, green twigs and fabulous birds, animals unknown or well known. Sometimes a real picture was born under the master’s brush: buffoon jokers played balalaikas, bears danced... You can’t take your eyes off the beautiful pattern, colorful ornament...

– an excellent material for cutting thin lace patterns with a sharp knife. It seems that this beauty was woven by a skilled lacemaker. Such openwork birch bark “lace” was used to decorate caskets, caskets, powder compacts and boxes, vases and cups. And to emphasize the whimsical pattern and design, craftsmen sometimes placed colored foil or pieces of mica under the birch bark “lace”.

They also pressed patterns on birch bark with special stamps. This is called embossing. This method made products made from it especially elegant.

It has long been used for the manufacture of various household and artistic products. Birch bark letters found during excavations in Veliky Novgorod and other Russian cities have survived to this day. Birch bark products were decorated with painting, carving, and embossing.

Birch bark trades were widespread throughout our country. The traditions of making artistic products from birch bark have been preserved in the northern and northeastern regions of the European part of Russia, in the Volga region, Siberia, and Yakutia.

And today, in the XXI century, interest in ancient folk crafts and the art of our ancestors has not faded. We admire the talent of the masters who gave us beauty. And it doesn’t matter at all that it is made not from gold and silver, but from ordinary, modest, but also magical birch bark.

Origin Mezen painting still remains a mystery. Some researchers compare it with the painting of the Komi Republic, others believe that it originated from ancient Greek images. Painting researcher V.S. Voronov, for example, said about it: “This is an ornament that has preserved in its elements the deepest remnants of the archaic ancient Greek styles, covering the surfaces of wooden objects with thick lace.” It is very problematic to establish this in our time, because perhaps more than one hundred years have passed since the Mezen painting appeared. It became known about it in 1904, but, of course, painting originated much earlier. The unusual nature of the painting, its graphic nature, and the primitive-conventional interpretation of the images of horses and birds encourage researchers to look for the origins of Mezen painting in the art of neighboring northern peoples and in rock paintings. V.S. Voronov, studying the styles of folk painting on wood in different regions of Russia, singled out Mezen as “mysterious and curious,” pointing out its connections with ancient Greek styles.

The origins of this type of painting lead to the lower reaches of the Mezen River in the Arkhangelsk region. Various household utensils were painted with it - spinning wheels, ladles, boxes, chests, caskets. Since the end of the 19th century, the village of Palashchelye became the center of Mezen painting, therefore Mezen wood painting is also known as "palace painting".

Area Mezen painting very extensive. In addition to the Mezen basin with Vashka, it includes in the west the areas of Pinega and the lower reaches of the Northern Dvina to the Onega Peninsula, and in the east - the Izhma and Pechora basins. Here you can find spinning wheels with Mezen painting not only from Palashchelye, but also from other villages.

Basically in the old days they painted spinning wheels. Mezen spinning wheels were truly unique. Firstly, if ordinary spinning wheels consisted of three parts: a bottom, a riser and a blade, then in Mezen spinning wheels were made in one piece, for which they selected trees whose roots could become the bottom.

And secondly, the drawings themselves were unique. Scientists believe that the front part of the spinning wheel, depicted very strictly, is divided into three parts using geometric patterns: heaven, earth and the underworld. Birds and the so-called “window” were depicted in the sky, with the help of which one could communicate with God. Then row after row of horses and deer or a tree were depicted, often with a bird sitting on the top of its head. In the underworld, deer and horses were also painted, but shaded with black paint. And on the reverse side, the artist, strictly maintaining the levels, could make inscriptions, for example: “To whom I love, I give.” Spinning wheels with similar messages were given by a husband to his wife for a wedding or for the birth of a child. By the way, only men were engaged in painting, passing this art down from generation to generation.

Traditionally, objects painted with Mezen painting have only two colors - red and black (soot and ocher, later red lead). The painting was applied to unprimed wood with a special wooden stick (vice), a capercaillie or black grouse feather, or a human hair brush. Then the product dried out, which gave it a golden color. At present, in general, the technology and technique of Mezen painting have been preserved, with the exception that brushes have begun to be used more often. Some internal difference modern Mezen painting You can feel the old style also because initially painting was done only by men, whereas in our time it is more done by women.

Now Mezen painting is practiced in almost all of Russia, and in some schools it is included in the fine arts curriculum.

Balalaika - Russian folk three-string plucked musical instrument, with triangular wooden body shapes. Balalaika has become an integral musical symbol of Russia. The history of the origin of the balalaika goes back centuries and is not clear-cut. Some believe that this instrument was invented in Rus', while other historians claim that history of the balalaika originates from the Kyrgyz-Kaisak folk instrument - dombra. Same word "balalaika" causes a lot of speculation and controversy. The most basic hypothesis is that the word “balalaika” has the same root as such words as balacat, balabonit, balabolit, balagurit, which means to chat, empty ring. All these words convey the uniqueness of this folk instrument: light, funny, “strumming”, not very serious.

Most historians hold that balalaika was invented around 1715, but there are many historical documents talking about an earlier history of the creation of the balalaika. The first written mention of the balalaika is contained in a document dated June 13, 1688 - “Memory from the Streletsky Prikaz to the Little Russian Prikaz”, which mentions the peasant Ivashko Dmitriev playing the balalaika. The following tracking document history of the balalaika, just dates back to 1715. This is a “Register” signed by Peter I, dating back to 1715: in St. Petersburg, during the celebration of the clownish wedding of the “prince-papa” N.M. Zolotov, in addition to other instruments carried by the mummers, four balalaikas were named.

Still balalaika experienced different periods of her stories. Either this folk instrument was forgotten, or with renewed vigor it became popular in all villages and hamlets. Why is it that Russian people are so attracted to the sounds of this instrument? Perhaps these cheerful, strumming, light and funny sounds helped our ancestors forget about the whole hardship of peasant life, or maybe these sounds conveyed the whole essence of life in Rus' and now, having heard the sound of the balalaika, we can easily look at history through the eyes of our ancestors. Who knows what ups and downs await this unique Russian folk instrument, but now we can say with confidence that the balalaika is the most recognizable in the whole world Russian folk instrument.

From time immemorial, the Russian land has been famous for its craftsmen, people capable of creating and creating real beauty with their own hands. Through the art of folk crafts, the connection between the past and the present is traced.
Russian folk crafts are represented by the production of porcelain, decorative painting, making clay toys, knitting down scarves, and lacquer miniatures. The soul of the people lives in Russian works of art.

Gzhel
Unusual blue-white porcelain dishes captivate the eye, enveloping them in a smoky mist - this is the famous Gzhel - folk ceramic craft. The picturesque region of Gzhel near Moscow is located 60 km from Moscow. Gzhel is known and popular not only in Russia, but also far beyond the country’s borders. The blue fairy tale, embodied by the masters of Gzhel in elegant teapots, cups, jugs, vases and plates, pleases the eye and warms the soul. Traditional ornament decorating porcelain products - blue and blue flowers, leaves, cereals, and Gzhel blue rose. Large dishes are decorated with blue painting strange birds, depicting everyday scenes. The history of Gzhel porcelain begins in the 14th century with the production of household items, tiles and tiles. Then there was a difficult path to majolica dishes, faience, and in the 19th century Gzhel craftsmen began to make dishes from porcelain. Today in Gzhel they produce not only dishes, but also toys, fireplaces, and chandeliers. Masters paint their products only by hand, putting their skill and soul into every stroke.

Khokhloma
Since ancient times, people have been striving to decorate their homes and household items. In the city of Semenov, which is located in Nizhny Novgorod region, since ancient times they decorated wooden utensils with paintings. This is how “Golden Khokhloma” appeared - the art of painting with paints on wood. The technology of painting with gold paints appeared in the 17th century, and since then, strange flowers have lived on a golden background - bright scarlet and brooding black. Golden ornaments decorate wooden furniture. Painted spoons and matryoshka dolls are known all over the world. Today, craftsmen offer not only painted wooden dishes, but also children's furniture, candlesticks, and decorative dishes. A special varnishing technology imparts elegance and special color to wood products. By drying the varnished product in ovens at high temperatures, the product acquires a special golden-honey hue.
The symbol of Russian artistic crafts has become the Matryoshka - a wooden toy in the form of a set of several painted dolls, hollow inside. The Matryoshka appeared about 100 years ago in the city of Sergiev Posad. Traditional painting Matryoshka dolls - outfits of peasant girls of ancient Rus'. Modern Matryoshkas “wear” a wide variety of outfits; paint colors and painting options make her image unique.

Orenburg downy shawl
Knitted scarves made from goat down are an ancient craft that originated in the Orenburg region 250 years ago. Shawls self made, knitted by the hands of craftswomen, light as feathers and warm as the palms of a mother. Down scarves live a long time and are passed on from generation to generation, warming their ancestors with their warmth and accumulated energy. Russian craftswomen make three types of scarves: shawls, cobwebs and stoles. They are different in shape, knitting density, color and pattern. Down scarves not only fulfill their direct purpose - to insulate and warm, but are also an exclusive decoration. Openwork light shawls and white cobwebs will become an adornment for any woman, emphasizing her grace and delicate taste.

Dymkovo toy
The settlement of Dymkovo, Vyatka province (now Kirov region) became the birthplace of clay toys, painted and baked in a kiln. Dymkovo clay toy is a symbol of Russian craft. Toy craftsmen create various images: riders on horses, elegant young ladies, painted birds. Clay toy considered a talisman against evil. Since ancient times, toys in Rus' have been participants in ancient rituals. The life of the people can be traced in the shapes of toys, paintings and decorative patterns, character traits Russian nationality.

Palekh miniature
Palekh is a center of icon painting, located near the city of Ivanovo. Currently, the folk craft “Palekh miniature” has been developed in the city of Palekh to replace the existing school of icon painting. Traditions have been preserved in painting lacquer miniatures ancient Russian art and the skill of icon painters. Miniature lacquer painting is done with tempera on papier-mâché. Boxes, brooches, ashtrays and pincushions are usually painted in gold on a black background. Russian lacquer miniatures are distinguished by the grace of their forms, the skill of the artist’s fine brush, and the poetry of their images.

The filigree jewelry technique is an openwork or soldered pattern on a metal background made of thin gold, silver or copper wire, smooth or twisted into ropes. Filigree products are decorated with small silver or gold balls (grains) and enamel. Artistic metal processing - filigree - has been known for a long time. This artistic and applied art appeared in the 9th century. The finest wire, skillfully twisted, makes each product unique. A wide variety of filigree types allows you to create truly examples of artistic craftsmanship. Brazed filigree involves soldering wire and grain onto sheet metal, volumetric filigree is used for volumetric objects - cups, vases, trays, openwork filigree - lace made of wire with soldered grain. The filigree openwork filigree burns and shimmers with all the colors of the rainbow, scattering gold, silver and copper sparks around.

Kasli casting
Garden furniture, trellises, tombstones, household items, sculptures made of cast iron and bronze, made at the Kasli Iron Foundry (Southern Urals), become a work of art. The traditions of Kasli casting include complex technologies for molding and casting products, hand-chasing, and graphic clarity of the silhouette. The plant was built in the 18th century, and since then the iron foundry has been a center for casting highly artistic products. Openwork lattices, slabs with ornaments, bas-reliefs and sculptures, plates and candlesticks are not inferior in quality and artistic value the best world standards. Famous sculptors and artists, graduates of the St. Petersburg Academy of Arts, worked at the plant. With their participation, many projects were developed and implemented, incl. production of memorial plaques with portraits, monuments, architectural casting for the Moscow metro.

one of the forms of folk artistic creativity(in particular, the manufacture of decorative products applied arts(See arts and crafts)). Many N. x. Their roots go back to ancient times, when home crafts and village crafts developed. With the development of commodity-money relations, handicraft agricultural technologies were formed. etc., working for the market. Under the conditions of capitalism N. x. items acquire the character of private workshops involved in the general system of the capitalist market; often they could not withstand the competition of factory goods, degenerated and died. At the end of the 19th - beginning of the 20th centuries. In many countries, the revival of N. x. began. n. This process has become systematic in socialist countries. It is facilitated by the cooperation of folk craftsmen and the assistance of special research institutes. In countries (mainly Asia and Africa) where capitalist commodity-money relations were undeveloped, N. x. n. did not cease to exist. Branches of N. x. items are varied. These are embroidery, ceramics, artistic varnishes, carpet weaving, artistic processing of wood, stone, metal, bone, leather, etc. More about N. x. p. see art. Folk art, in sections devoted to fine and decorative arts, articles about the republics of the USSR, countries, as well as in special articles about folk art. items: Abramtsevo-Kudrinskaya carving, Bogorodskaya carving, Veliky Ustyug blackening on silver, Vologda lace, Gzhel ceramics, Gorodets painting, Dymkovo toy, Yelets lace, Zhostovo painting, Kirov capo spine, Kosov, Krestetskaya embroidery, Kuban (See. ) , Mstera embroidery, Mstera miniature, Oposhnya, Palekh miniature, Skopinsk ceramics, Tobolsk carved bone, Torzhok gold embroidery, Fedoskino miniature, Kholmogory carved bone, Kholuy miniature, Khotkovsk carved bone, Khokhloma painting, Chukchi carved bone, Shemogodskaya carved bone birch bark

Great Soviet Encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .

See what “Folk artistic crafts” are in other dictionaries:

One of the forms of folk art (in particular, the production of decorative and applied arts). Many folk arts and crafts have their roots in ancient times, when home crafts and rural... ... Art encyclopedia

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One of the forms of folk art, the production of folk art products. Folk arts and crafts go back to antiquity, to home crafts and village crafts. Later, those working for the market were formed... ... encyclopedic Dictionary

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Folk arts and crafts- form of people creativity, including the production of household items that have the nature of decorative works. adj. claim va: embroidery, ceramics, carpet weaving, processing of wood, stone, metal, bone, leather, lace weaving, etc. N.H.P., as a rule, ... ... Russian humanitarian encyclopedic dictionary

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Books

Folk arts and crafts of the USSR. In 1979, in Moscow, in the halls of the Central House of Artists, the All-Union Exhibition of works by masters of folk arts and crafts took place. It presented works performed…