Traditional folk crafts. The most famous folk crafts in Russia

What fresh, bright and lovely bouquets of flowers. Roses - white, tea, Scarlet - opened their delicate petals, peonies flaunt with lush hats, fiery poppies and asters, like big radiant stars, colorful dahlias and some other unfamiliar, unusual, but no less beautiful flowers.

All these wonderful bouquets… are painted on the famous trays from Zhostovo.

Zhostovo art craft is decorative painting on metal trays. The emergence of the craft dates back to the beginning of the nineteenth century, when in the village of Zhostovo, Troitskaya volost (now the Mytishchi district, Moscow region), a workshop was opened for the production of papier-mâché lacquerware with picturesque miniatures. But soon the Zhostovo craftsmen began to make metal trays painted with oil paints and varnished. In 1928, an artel was founded, now the Zhostovo factory of decorative painting.

The Zhostovo craft developed under the influence of the Ural decorative painting, the Fedoskino lacquer miniature, and the porcelain painting of factories near Moscow. But by the middle of the nineteenth century, an original artistic style of the Zhostovo masters had developed. Painting subjects - floral, floral ornaments, everyday scenes from folk life, landscapes. Various forms of trays.

Dymkovo toy

The name of this folk craft is associated with the village of Dymkovskaya Sloboda, which is on the outskirts of the ancient Russian city of Khlynov (later the city of Vyatka, now the city of Kirov).

Dymkovo toy is a decorative clay sculpture up to 25 centimeters high. The painting is made on the product burned in the furnace with tempera paints, gilding is applied. Riders, ladies, gentlemen, fairy-tale characters, animals, everyday scenes are depicted. The poses and movements of the Dymkovo toy are somewhat arbitrary, simplified, according to the ancient tradition of making folk toys, sculptures.

Bright, colorful "haze" is popular not only in Russia, but also abroad.

Gorodets painting

This folk art craft developed by the middle of the nineteenth century in the ancient Volga city of Gorodets, known from the annals since 1152. Gorodets was famous for its woodcarvers and skilled shipbuilders. The custom of decorating household items, spinning wheels, shutters of houses, gates with carving and inlay served as the source of the birth of folk craft.

The features of Gorodets painting are pure, bright colors, a clear outline, white strokes that create a conditional volume and picturesqueness. Gorodets masters depict not only floral ornaments, fairy-tale characters, but also genre scenes. At the beginning of the twentieth century, the fishery was revived. An artel has been operating since 1938, and the Gorodets painting factory has been operating since 1960.

Russian nesting doll

Matryoshka is a real Russian beauty. Ruddy, in an elegant sundress, a bright scarf on her head. But the matryoshka is not a lazy person, in her hands she either has a sickle and ears of corn, or a duck or cockerel, or a basket with mushrooms and berries.

But, most importantly, this doll - with a secret! Cheerful sisters are hiding inside it. Compared to other toys, the wooden young doll is young, just over a hundred years old. For a folk toy, this is not age.

The prototype of the nesting dolls could serve as "Easter eggs" - wooden, painted Easter eggs, they have been made in Russia for many centuries. They are hollow inside, and less is invested in more. At the end of the nineteenth century, in Abramtsevo, according to the sketch of the artist Sergey Malyutin, the local turner Zvezdochkin carved the first wooden doll. And when Malyutin painted it, it turned out to be a girl in a Russian sundress, in a headscarf, with a cockerel in her hand. According to legend, when someone saw the doll, laughingly exclaimed: “How similar to our Matryona!”. Since then, this toy has been called a matryoshka.

Matryoshka is one of the most popular Russian souvenirs. In the Moscow region, mass production of nesting dolls began in Sergiev Posad in 1890, and already in 1900 a toy from Russia was awarded a gold medal at an international exhibition in Paris.

Soon, nesting dolls began to be made in other regions of the country, for example, in the city of Semenov, in the village of Polkhov-Maidan, on Vyatka land, in Bashkiria and Voronezh.

Today, the traditional art of matryoshka is experiencing its second birth. It's just that her appearance has changed.

Khokhloma painting

Already in the 17th century, fairs were held in the village of Khokhloma, where they traded wooden painted utensils made in the villages and villages of the Nizhny Novgorod Territory.

Khokhloma painting is distinguished by a characteristic combination of gold with black, red, green, sometimes brown and orange. The image of plants, berries, fruits, birds and fish form a whimsical patterned ornament. The secret of the “gold” of Khokhloma is the use of an aluminum (formerly silver or tin) coating, a drawing and varnish are applied on top. The product is dried at a temperature of 100-120 degrees. Under the influence of temperature, the varnish acquires a yellowish tint, and through it the aluminum layer sparkles with “gold”.

Modern Khokhloma products - dishes, furniture, souvenirs - are created by the masters of the Khokhloma Artist factory and the Khokhloma Painting association, which in Nizhny Novgorod region.

Gzhel ceramics

Gzhel is one of the most famous folk art crafts in Russia. Gzhel craft unites two dozen villages and villages near Moscow. Since the 14th century, pottery has flourished in this area. Since the middle of the 18th century, Gzhel masters have mastered the production of majolica with multi-color painting on a white background. The painting was often supplemented with sculptural images of people, animals, and birds.

In the nineteenth century, Gzhel became famous for its faience and porcelain. Since that time, painting in cobalt blue on white has prevailed. A variety of products with a "signature" floral pattern, sculptures amaze with the imagination and skill of artists who have preserved folk traditions. Today, Gzhel ceramics is known all over the world and still adorns our lives.

Skopino ceramics

Skopinskaya ceramics as a folk art craft gained fame from the second half of the nineteenth century. Archaeological research confirms that in the 12th century in the area of ​​​​the city of Skopin, Ryazan region, pottery already existed.

The peculiarity of Skopino ceramics is that, as a rule, handmade products are complemented by stucco images of birds, fish, and fantastic animals. A magnificent floral ornament makes Skopino ceramics a real work of art. It is covered with colored glaze of brown, green or yellow tone.

In 1934, an artel was founded, since 1976 - Skopinsky factory of ceramic products.

Filimonov toy

This folk craft associated with the village of Filimonovo, Tula region. For a long time in these parts, dishes were made from local light pottery clay. The appearance of the Filimonovo toy is striking in its originality, unusual forms. According to experts, the original, ancient traditions of folk culture are preserved in the Filimonovo toy.

The figurines are somewhat elongated, three or four colors predominate in the painting. The painting itself is an alternation of horizontal stripes on a white, yellow background. The ornament is dominated by circles, rosettes, triangles, zigzags, dots. Faces on toys, small details are barely marked, like in ancient, pagan idols. Sizes of toys from 3-5 to 25-30 centimeters. For the most part, these are whistles.

Filimonov toys are unpretentious. But the toy pleases - it means that good hands made it.

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Russian folk crafts- a form of folk art, in which Russian traditional customs, which originated many centuries ago, are clearly traced. Products of Russian crafts combine the uniqueness of Russian traditional culture.

murals:
-Gzhel- a rich Russian folk craft for the production of ceramics (porcelain) and a type of Russian folk blue and white painting from the Moscow region.
-Gorodets painting- Russian folk art craft. It has existed since the middle of the 19th century in the area of ​​​​the city of Gorodets. Bright, laconic Gorodets painting (genre scenes, figurines of horses, roosters, flower patterns), made with a free brushstroke with white and black graphic stroke, adorned spinning wheels, furniture, shutters, doors. An artel was founded in 1936 (since 1960, the Gorodetskaya Rospis factory), which produces souvenirs; masters — D. I. Kryukov, A. E. Konovalov, I. A. Mazin, V. V. Putintsev.
-Zhostovo painting- Russian folk craft of artistic painting of tin trays, existing in the village of Zhostovo, Moscow Region, since 1825. The main motif of Zhostovo painting is a flower bouquet of a simple composition, in which large garden and small wild flowers alternate.
-Mezen painting- a certain type of painting of wooden spinning wheels and utensils - ladles, boxes, brothers, which had developed by the beginning of the 19th century in the village of Palaschelye on the banks of the Mezen River.
-Palekh miniature- folk craft, developed in the village of Palekh, Ivanovo region. The lacquer miniature is executed in tempera on papier-mâché. Caskets, caskets, capsules, brooches, panels, ashtrays, tie clips, needle beds, etc. are usually painted. Typical plots of the Palekh miniature are borrowed from everyday life, literary works of the classics, fairy tales, epics and songs. The works are usually done on a black background and painted in gold.
-Tagil tray- Russian folk craft for the manufacture and artistic lacquer painting of metal trays, existing in the city of Nizhny Tagil, a unique original phenomenon of Russian culture. It is believed that the Tagil painting is the predecessor of the Zhostovo painting. The craft of the Tagil tray is one of the brands of Russian culture, known far beyond the borders of Russia.
-Fedoskino lacquer miniature- a type of traditional Russian lacquer miniature painting with oil paints on papier-mâché, which developed at the end of the 18th century in the village of Fedoskino near Moscow.
-Khokhloma- an old Russian folk craft, born in the 17th century in the city of Semyonov, Nizhny Novgorod region. Khokhloma is a decorative painting of wooden utensils and furniture, made in black and red (and, occasionally, green) on a golden background. Khokhloma's traditional ornaments are red juicy rowan and strawberry berries, flowers and branches. Often there are birds, fish and other animals.

Fabric products:
-Vologda lace- Russian lace, woven on bobbins (wooden sticks); distributed in the Vologda region since the 16th-17th centuries. All the main images in the Vologda coupling lace are made with a dense continuous, uniform in width, smoothly wriggling braid, they clearly stand out against the background of patterned lattices, decorated with stars and rosettes.
-Yelets lace- a kind of Russian lace, which is woven on bobbins. It has existed since the beginning of the 19th century. The center is the city of Yelets (Lipetsk region). It is believed that Yelets lace is thinner and lighter than Vologda lace.
-Mtsensk lace- a type of Russian lace, which is woven on bobbins, developed in the city of Mtsensk, Oryol region.
- Orenburg downy shawl - a knitted shawl made from the down of Orenburg goats and warps (cotton, silk, etc.). Down-knitting craft originated in the Orenburg region in the 18th century. The cobweb and stole are very thin, like cobwebs, scarves. Thin cobwebs, as a rule, have a complex pattern and are used as decoration. The thinness of the product is often determined by 2 parameters: whether the product passes through the ring and whether it fits in a goose egg.
-Pavlovo shawls (shawls)- printed woolen shawls traditionally black or red, with a three-dimensional floral pattern. The production was established in the middle of the 19th century in Pavlovsky Posad. More about the Orenburg and Pavloposad shawls.

Toys:
-Abashevskaya toy- Russian clay toy. Artistic craft, formed in the Spassky district, now the Spassky district of the Penza region.
-Bogorodsk toy- Russian folk craft, consisting in the manufacture of carved toys and sculptures from soft woods (linden, alder, aspen). Its center is the village of Bogorodskoye, Sergiev Posad district, Moscow region of Russia.
-Dymkovo toy- Russian clay toy, painted and fired in a kiln. The name comes from the place of production - the settlement of Dymkovo, Vyatka province (now the Kirov region). Along with other products of folk crafts, it is considered one of the symbols of Russian craft.
-Zhbannikovskaya toy- Russian folk craft in the villages of Zhbannikovo, Roymino, Ryzhukhino and others in the Gorodetsky district of the Nizhny Novgorod region. The peculiarity of the Zhbannikov toy is that the body of all the figurines resembles a clay pyramid on three base legs.
-Kargopol toy- Russian clay toy. Artistic craft, common in the area of ​​​​the city of Kargopol, Arkhangelsk region.
-Kozhlyanskaya toy - Russian folk clay whistle toy. The name comes from the place of manufacture, the village of Kozhlya, Kurchatov district, Kursk region.
-Matryoshka- Russian wooden toy in the form of a painted hollow doll, inside of which there are smaller dolls similar to it. The traditional matryoshka painting often depicts peasant girls in traditional attire. Recently, the possible range of mural themes is unlimited, ranging from fairy-tale characters to Soviet leaders. Matryoshka is one of the most popular souvenirs for foreign tourists in Russia.
-Stary Oskol clay toy- Russian folk art craft in the Starooskolsky district of the Belgorod region. Known since the beginning of the 18th century.
-Filimonov toy- Russian clay toy. Old Russian applied art craft, formed in the village of Filimonovo, Odoevsky district, Tula region.

Craft- small-scale manual production, based on the use of hand tools, which makes it possible to produce high-quality, often.

Craft arose with the beginning of human production activity, went through a long historical path of development, taking various forms: a) home craft- in the conditions of natural economy; b) craft to order- in the conditions of decomposition of natural economy; in) craft to market. The appearance and development of cities as craft and trade centers is associated with the emergence of handicrafts to order and especially to the market. Home craft is often referred to as domestic industry (i.e. production of non-agricultural products), craft to order and to the market - handicraft industry. In Russian statistical literature, often all artisans of the 19th-20th centuries. were called artisans.

home craft widespread throughout the history of pre-capitalist societies. The rural population produced most of the handicrafts they consumed. Gradually, the craft to order and the market began to play a leading role. In ancient Greece, ancient Rome, in the countries of the ancient East, there were a significant number of artisans who led independent households and made products to order or to the market.

Formation professional craft, especially in cities, led to the emergence of a new sphere of production and a new social stratum - urban artisans. The emergence of advanced forms of their organization (shops), which protected the interests of this layer, created especially favorable conditions for the development of urban crafts in the Middle Ages. The leading branches of urban craft were: cloth-making, the production of metal products, glass products, etc. In the process of the industrial revolution (mid-18th century - first half of the 19th century), the factory industry, based on the use of machines, replaced handicraft. The craft (to order and to the market) has been preserved in industries associated with servicing the individual needs of the consumer or with the production of expensive art products- pottery, weaving, artistic carving, etc.

To a greater extent, the craft has been preserved in underdeveloped countries. However, even here it is being supplanted by the factory industry as a result of the industrialization of these countries. Folk arts and crafts associated with tourism and export are preserved.

Types of crafts

Since ancient times, mankind has known such crafts as:

and many others.

In Russia, after 1917, the number of artisans and handicraftsmen was sharply reduced, they were united in trade cooperation. Only a few world-famous folk art crafts have survived: Gzhel ceramics, Dymkovo toy, Palekh miniature, Khokhloma painting, etc.

art craft

art craft- the culture of labor professional skills and techniques for the artistic processing of various materials (metal, leather, fabrics, etc.), developed in the process of accumulating the creative experience of craftsmen who create artistic products. The professional experience of artistic craft was formed by discovering the most aesthetically effective methods and techniques of artistic processing of material, bringing it to perfection. This experience has been accumulated over the centuries, passed down from generation to generation. In the old days, the well-being of the country and the general level of its culture were judged by artistic craft. The masters of Ancient Russia and the Western European Middle Ages were divided into professions, within which they possessed the universal ability to apply various methods of artistic processing of a particular material. Thus, gold and silver craftsmen mastered the techniques of forging, casting, chasing, filigree, engraving, blackening on silver, and enamelling. They specialized in types of products (weapons, book frames, jewelry, etc.). This kind of specialization took place in pottery, weaving, artistic sewing, etc. In ancient Kyiv, for example, there were 60 different craft professions. By social status artisans were divided into patrimonials, who worked at the princely court, and monastic, urban and townspeople. The former worked on commission carefully and for a long time, reaching the highest perfection and skill in their work. Posad art craft was reflected in the work of urban craftsmen associated with the market. They developed the ability to economically achieve an artistic effect that brings the product closer to expensive samples. The general aesthetic ideals of the people, the professional artistry of manual labor determined the development of the culture of artistic crafts. Every item was creatively created. The artistry of the master was highly valued; belonging to the category of masters was determined by the ability to perfectly complete the most difficult artistic product. In Russia, there were handicraft corporations organized according to the type of Western workshops. Their activities were regulated by special rules and laws. Developing on the basis of folk traditions, the artistic craft of each country retained its national identity and at the same time reflected the development of world styles. , since its development is inseparable from the artistic imagery, aesthetics, culture of each nation.

Folk art crafts

Folk art crafts (folk craft) - a wide range of products made using simple improvised materials and simple tools. This traditional type of craft is diverse, where things are created with one's own hands with the help of skills and ingenuity. Work can be done on fabric, wood, non-ferrous metals, paper, etc. Usually the term is applied to things that have not only aesthetic value, but also find practical applications.

folk craft takes some of the origins of the rural craft, thanks to which the basic necessities were created, including complex structures. Rural crafts have been known since ancient times, in fact, having appeared at a time when humanity needed new tools and household items. In different regions and regions, among different peoples, arts and cultures differed, therefore, their crafts also varied. Like folk art, folk craft often depended on religious, cultural, and sometimes even political beliefs.

Many handicrafts created from natural or near-natural materials, but many modernists also use unusual elements and structures, such as industrial parts and mechanisms.

Products are considered folk craft until the process of their manufacture is put on stream (mass production of a factory type).

Insofar as handwork and this kind of craft develops intelligence and various kinds of skills, sometimes in learning processes schools and institutes introduce special tasks to create something. Many products require certain skills to make, but generally anyone can learn the craft. Many types of crafts become popular after some time after their appearance, sometimes not.

History of crafts

Already in the ancient world, the beginnings of handicraft activity are found, manifested in the processing of known objects, mostly at the home of the owner of the material and by the hands of slaves. We have the testimony of Homer about this character of handicraft work in Greece.

With the contempt of the Greeks for handicraft work, which was recognized as unworthy of a free person, R., as a permanent professional activity, was the work of a very limited contingent of people, except for the metoiki and slaves that were part of the house.

Some crafts in Greece, however, rose to a high level, despite the use of the simplest tools and tools. Over time, R. became widespread not only in luxury goods, but also in satisfying the everyday needs of the lower classes of the population.

Already in Greece, artisans sometimes experienced competition from relatively large industries that arose from the middle of the 5th century BC. e. The same, in general, is the nature of handicraft production in Rome. With the existence of isolated, closed farms that satisfied their needs through the specialization of slave labor, there was no ground in Rome for the development of slave labor as a free professional activity; in the absence of a contingent of people who would constantly need the products of someone else's labor and would be able to pay for them, Roman artisans, budler, etc. and (artifices) had to fill the ranks of the proletarians. Only in the presence of certain property that served as a source of income (usually a small plot of land), the artisan could live comfortably and, in the execution of random orders, have ancillary earnings. With the formation of large estates that absorbed a significant part of the small land plots, artisans, whose ranks were mainly replenished by freedmen, had to look for work on the side and perform it at the customer's home.

In order to increase the volume of production in any artel, the artel could be economically controlled or acquired by one or more owners, and then it would grow into a factory or plant. With the appearance in any craft of an increasing number of complex and energy-intensive machines and mechanisms, and, especially, with the involvement of the achievements of science, the craft grew into industry. The presence of complex and numerous machines and mechanisms and science-intensive processes is exactly the line beyond which fishing ends and industry begins. An example here is the transformation in Russia in the 19th century of Ivanovo, formerly a typical settlement consisting mainly of weaving artels, into a city with a large number of weaving factories. Further, with the great application of modern, scientifically based processes, Ivanovo became the center of the textile industry in Russia. Here are some other examples of the "evolution" of fisheries into industry with increasing production volumes, the complexity and increase in the number of equipment used and with the involvement of science:

• baking and milling have become, each in its own part of the food industry
• shoemaking has evolved over the years into the footwear industry
• weaving and spinning together gave birth to the textile industry
• tailoring turned into a clothing industry
• blacksmithing became the progenitor of a number of industries associated with metal processing.

However, many crafts continue to exist alongside the industries they gave birth to, creating a professional environment from which a mass of specialists is recruited into the respective industry. So, for example, highly skilled carpenters or shoemakers use their potential in the furniture or shoe industries.

Ordinary ideas about the craft, as obsolete in modern society phenomena are deceptive. And in our time, new crafts continue to appear. In the field of information technology, with the beginning of the development of social networks, the craft of an SMM specialist or, as it is more commonly called, a community manager, appeared. Such new crafts You can count at least ten.

The use of natural materials is one of the common and basic traditions of folk art. It is in the material that its artistic features are enclosed. Carving and painting on wood, weaving, embroidery, lace weaving, birch bark and root processing, pottery, artistic forging of metals - with all the variety of techniques and materials, modern folk masters of these ancient arts adhere to traditional elements, forms and plots.

The artistic processing of wood and birch bark has an exceptional place in the history of Russian peasant creativity. It is closely connected with all the art of Ancient Russia: with wooden carved architecture, carpentry and handicraft. The material and processing technique are inseparable from the nature of the items produced. They dictate both their generic affiliation, functional purpose, and features of the form. A gently curving vegetal shoot with steep curls is one of the most common motifs in modern art of slotted birch bark. Sometimes the pattern spreads freely along the plane, developing in several directions, sometimes it is given in the form of rhythmically repeating branches-spirals or stems symmetrically extending from the center to the right and left with many leaves and branches, topped with graceful shamrocks, rosettes, apples, stylized flowers to berries . Masters also use other techniques, placing, for example, among a lush floral pattern, an ornamentally interpreted image of birds, which acts as a talisman.

The famous lacquer miniature of Mstera originates from the school of icon painting XVII century. For more than 200 years, with the help of a unique painting technique, masterpieces known far beyond the borders of the region have been created here - caskets, powder boxes, needle cases, caskets. It is not easy to create a product of lacquer miniature. It takes great skill as an artist. Mstera land surprises with its craftsmen Mstera embroidery, known since the 17th century, has been widely developed in modern arts and crafts. One of the most beautiful and elegant embroideries is a white smooth surface with elegant small patterns of floral ornament on thin cotton fabrics. white surface - embroidery with white threads on a white field - famous for its openwork nets, cuttings, high quality, has no face and wrong side, looks equally beautiful on both sides. Craftswomen skillfully create the most complex ornaments, reproduce architectural forms and images of human figures. It is believed that this most complex technique (including up to 200 different cuts) is only mastered by the embroiderers of Mstera.

Folk craftsmen of the Russian North since ancient times they have been famous for the art of woodworking, since the 18th century - for the Arkhangelsk products of gold embroidery, patterned hand weaving, hand knitting, and since the 19th century - for a wonderful clay toy, called Kargopol toy. Folk craftsmen of artistic wood carving make traditional ladles - ducks, caskets, salt shakers, candeikas, kitchen boards, decorated with motifs of the folk ornament of the Russian North. Embroidery masters decorate products with beads, hand lace, hand embroidery, appliqués, hemstitch. The traditions of Kargopol molded clay toys are embodied in the multi-figure compositions "Gatherings", "Wagons". "Lumberjacks", "Troika", birds, animals, painted whistles, reflecting the ancient culture of Kargopol.

On a picturesque hill on the banks of the Kunya River, the left tributary of Dubna, stands the village of Bogorodskoye - the birthplace of a wonderful folk craft of carved wooden toys and sculptures. . Bogorodskoye is an old village. In the middle of the 15th century, the village belonged to the Moscow boyar M.B. Pleshcheev. Already in the 15th-16th centuries, Bogorodsk peasants, at that time monastic serfs, laid the foundations for the artistic craft of woodworking that developed later. The village has become one of the centers of folk art in the history of Russian applied art. In Sergiev Posad, there is a legend about how in the middle of the 18th century, a resident of the town carved a doll 9 inches (40 cm) in size and sold it to the merchant Erofeev, who traded at the Lavra. He put it as a decoration in the shop. The toy was immediately bought at a great profit for the merchant. After that, Erofeev ordered a whole batch of such toys. Particularly interesting are toys with movement: on slats, with balance, with a button. These uncomplicated, but always witty devices make the toy lively, expressive and especially attractive.

The Vyatka souvenir dates back to July 1930, when an artel called "Freedom" was created in the city of Nolinsk, Vyatka province. The main products of the artel were various wood products needed in the household, children's toys on a turning basis. The traditional assortment expanded. Turning products “Keg-piggy bank”, a set for the hostess”, a whistle “Nightingale” were produced. The qualification of wood turners made it possible to create the most complex turning products - original wooden nesting dolls. The main secret of the attractiveness of a wooden nesting doll is that its external image of a Russian woman-mother of many children is complemented by an internal structure, in her repetitions-inserts that are included in each other.

Gorodets painting - a unique phenomenon of Russian national culture, one of the most famous art crafts in Russia, the brightest phenomenon of "naive" art. This folk art combined the features of the artistic originality of folk painting, the roots of which go back to the depths of centuries. The history of the unique plot painting has more than a century and a half. In their compositions, peasant artists discovered a unique figurative world. Among the most common painting subjects are festivities, tea parties, the famous Gorodets horse with a rider, and folk holidays. Northern motifs are brightly embodied in painted souvenir samovars, caskets, chests and bast boxes, painted with motifs of the Mezen, Pinezh, Severodvinsk, Shenkur paintings, gift chess and kitchen utensils, traditional technologies and manufacturing methods of which are carefully preserved and transferred by the masters of the enterprise. The ancient folk craft of making a wooden toy with a painting in the form of a bright elegant beauty with pink cheeks and scarlet roses on an apron originated in the talented Nizhny Novgorod land at the beginning of the 20th century. Trading House Semyonovskaya painting - one of the oldest factories in Russia for the production of children's toys, souvenirs, traditional Russian nesting dolls.

The origins of the Untsukul craft of metal cutting on wood go back to the distant past - the 17th-18th centuries. The first artistic product that was typical for the masters of that time was a whip handle made of dogwood, decorated with an artistic notch. Later, craftsmen began to decorate ornamental canes with ornamental metal notches, artistic pipes and snuff boxes began to appear. The Untsukul ornamental pattern is based on a clearly fixed, stable compositional structure, called "ishan" (pattern, sign). The primary material today, as before, is a tree of dogwood and apricot. Canes, shoe horns Apricot is used to make vases, jugs, etc. from the wood of dogwood bushes, which are distinguished by good density, hardness, and viscosity.

For several centuries, Khokhloma craft has been an important part of the folk culture of Russia. Gilding with tin powder was used in icon painting. A wooden product covered with a thin layer of metal and drying oil was subjected to heating in an oven, from which it acquired a golden hue. This method was accepted by Zavolzhsky artisans and improved. Since the 17th century, painted wooden utensils have been famous all over Russia: “ceremonial” ones were made by special orders in small batches. Dishes made from different types of wood different forms and artistic decoration, it was customary to present eminent guests and foreign ambassadors. The method of Khokhloma technology in its origins is associated with icon painting. It was from there that the craft inherited the technique of painting on Khokhloma gold. Over time, the technique of icon painting on Khokhloma gold was lost, and only three centuries later, at the end of our century, this art was revived. The masters of Khokhloma writing developed three main types of painting: grass, painting "under the background" and Kudrin. The warmth, originality, poetry and fabulous beauty of the traditional pattern make Khokhloma products amazingly beautiful. Each product is written from beginning to end by one artist without the use of any templates, that is, each product, in fact, is an author's, individual. Khokhloma painting has become unusually subtle, virtuoso, and emotional today. In search of expressive forms of products, their creators adhere to the best traditions of Russian wooden utensils and furniture. The art of Palekh miniatures is relatively young. It was born at the time Soviet era. After the end of the civil war, the Palekh masters came up with a new kind of application of their art. Literally within five or six years, a new art of the great Palekh was born - a lacquer miniature on all kinds of items used in everyday life: caskets, cigarette cases, brooches, notebooks, powder boxes and other necessary little things made of papier-mâché. The new art was also characterized by a new theme - plots from village life, plots from Russian folk tales, plots taken from the work of Russian writers and poets were added. The desire of Palekh icon painters to sing the beauty of their native nature, to pass on to new generations their richest experience and the secrets of painting, kept for centuries, led to the creation of a special artistic language. Among the plots of Palekh painting, along with round dances, troikas of horses, musicians and hunting scenes, there are heroes of Krylov's fables, Pushkin's fairy tales and magnificent landscapes of the picturesque places of their native land. Palekh masters mastered new color transitions, focusing on more subtle relationships between tones. With the development of Palekh art, the traditional modeling of the volume of the depicted figures with gold spaces became a solution for other tasks of miniature painting - artists began to use gold to fill the space of the picture with light and warmth. In the many-sided and diverse Russian arts and crafts and folk art, lacquer miniature painting is preferred for the uniqueness, beauty, talent of artists and their "golden hands". The lacquer miniature is man-made, very laborious and difficult, both in execution and in understanding.

Fedoskino's lacquer miniature is more than two centuries old. This is a unique phenomenon in Russian and world art. Appearing in Russia from abroad, gaining popularity not least due to such a transient thing as the fashion for snuffing tobacco, the Fedoskino lacquer miniature has become an independent phenomenon of artistic life, incorporating the experience of folk craftsmen, the artistic influences of easel painting, and the decorative delights of jewelry technique, the naive sincerity of folklore, the magic of a Russian fairy tale. This craft has acquired a truly Russian soul. The factories abroad that gave rise to Russian lacquer miniature writing have long disappeared, but it itself exists and develops today, remaining faithful to old traditions and opening up new horizons for creativity. The history of the craft begins in 1795, when the merchant Pyotr Ivanovich Korobov, while in the German city of Braunschweig, at the factory of Johann Stobwasser, got acquainted with the papier-mâché lacquer products produced there. These were snuffboxes with picturesque miniatures on the lids. He liked them so much that he bought such a production, hired several Brunswick lacquer masters and brought them to Russia. Five or six years later, about fifty craftsmen already worked at the factory, and up to twenty students studied at the drawing school. The assortment of the factory has expanded - now it was a variety of snuffboxes, and purses, and matches, and cigarettes, and caskets, and tea caddies with paintings on five sides, special travel glasses (several pieces one in another), and writing instruments, and chess tables, and trays. Such a thing is pleasant to take in hand, it is convenient and functional. Lukutinsky products bear the imperial coat of arms, as evidence of the outstanding merits of the lacquer craftsmen. The Fedoskino lacquer miniature is executed with oil paints in three or four layers - scribing (general outline of the composition), writing or repainting (more detailed study), glazing (modeling the image with transparent paints) and glare (finishing the work with light colors that convey glare on objects) . The original Fedoskino technique is “writing through”: a reflective material is applied to the surface before painting - metal powder, gold leaf or gold leaf, or mother-of-pearl inserts are made. Shining through transparent layers of glazing paints, these linings give the image depth, an amazing glow effect. In addition to miniature painting, products are decorated with “filigree” (an ornament of miniature pieces of foil of the desired shape is laid out on wet varnish), “zigzag” (scratching a pattern with a pattern on varnish placed over a sheet of metal on the surface of a product), “plaid” (a complex grid , applied with liquid paints with a drawing pen using a ruler), etc. In the Fedoskino lacquer miniature, the images are realistic, voluminous. Everyday and genre scenes, Russian fairy tales, landscapes, portraits, direct good-natured humor, plots inspired by literary works, old "troikas" and "tea parties", folklore motifs - a huge variety of topics in the Fedoskino miniature. Lacquer miniature painting is a chamber art, it is very difficult to look at it in exhibition halls, where it is impossible to carefully examine the details, only careful examination allows you to understand and appreciate it.

Kholuy miniature painting is just that, but it has its own distinctive features. It is realistic and at the same time decorative, which is why it is understandable. In Kholui, as nowhere else, the main attention is paid to the image of a person. A person is hyperbolically monumental, whether it is the image of the stern "Prophetic Oleg" or the graceful "Snow Maiden", the desperate "Stepan Razin" or the mighty "Svyatogor-hero". This feature is specifically Russian and can be clearly seen in all national art. The beauty of Kholuy miniature painting is also peculiar, discreet, but convincingly kind, attractive, starting with the shape and proportions of the product itself and ending with the ornamental pattern. At the end of the 19th century, on the territory of the modern Chkalovsky district, a special kind embroideries "along the pull", that is, on a large grid formed by pulling out the longitudinal and transverse threads of the fabric, known as "guipure". Transparency and softness, this embroidery resembles lace. The main element of the pattern, characteristic of the "Nizhny Novgorod guipure", are rhombuses, "flowers". There are about 50 types of seams - cuttings with which "flowers" are filled. Artistic embroidery becomes a subject of craft and the entire female population of villages and villages from dawn to dusk sat at the hoop, covering the white canvas with an openwork pattern. Gorodets gold embroidery is one of the most ancient and unique types of highly artistic folk art in Russia. The craftswomen from Gorodets mastered the most difficult craft of gold embroidery and felt the decorative possibilities of metal threads of different textures and twists. The best craftswomen knew more than 100 complicated variants of embroidery only in the technique of patterned attachments, as well as the old buttonhole stitch (“for axamite work”), consisting of gold or silver elastic loops that densely fill in the main motifs of the ornament and many other unique embroidery techniques. The entire district knew about the owner of the gold payment, he raised the prestige of the bride. Often, Gorodets craftswomen came from all over the area to order such scarves. Gorodets merchants were also very fond of being photographed in old costumes.

Kadom embroidery originated in the era of Peter the Great, who ordered the boyars and other noble people to wear clothes richly decorated with lace. . For the Brussels and Venetian lace of the Russian nobility, it was necessary to pay in gold. And so that the state treasury would not become impoverished, the tsar forbade buying lace abroad, but ordered Russian nuns to be taught lace-making. Several craftswomen were brought to the Kadomsky Monastery from Venice, who taught local needlewomen the art of creating marvelous patterns. Having quickly mastered the jewelry technique of embroidery, the needlewomen began to weave at first wonderful Venetian lace, and soon they created a unique needle embroidery on its basis - “veniz”, leaving the base from the word “Venetian” in the name.

This type of folk craft, which arose during the reign of Peter 1, was able to survive and receive further development in our time. The Tarusa factory of artistic embroidery was originally founded as an artel of embroiderers by a prominent specialist in folk art crafts N.Ya.Davydova with the active participation of M.N.Gumilevskaya, who in 1924 officially registered it as an artel. The purpose of organizing the artel was to strengthen and develop folk embroidery skills, which had rich traditions in the Kaluga region. Samples of patterns were brought to the artel by peasant women of the Tarusa region, traditional motifs of Kaluga folk embroidery were used in embroidery: geometric, floral, zoomorphic, anthropomorphic. Already in the first home-based period, the craftswomen of the artel worked according to the samples of Kaluga folk embroidery, developing the traditional ornament and technique (color interlacing and white stitching) in a different subject context. Gold embroidery is one of the ancient traditional art crafts of Russia. Existing since the 8th century, it has been constantly developing, each era has introduced something new, while maintaining the traditions that have developed over the centuries. Russian traditional motifs are used in gold embroidery compositions: geometric and floral ornaments, figurines of birds and animals, architectural motifs. The golden thread, obedient to the hand of an embroiderer, is a transparent thread of memory, tradition, culture, leading deep into the centuries. In Russia, clothes, shoes, and interior decoration items of religious significance were decorated with gold embroidery. And today there is a need for beauty, which shaped the life of our ancestors and which Torzhok craftswomen skillfully recreate. Gold-embroidered products are made with gilded, silver-plated, metallic threads on leather, suede, velvet, silk, wool and other materials. Embroidery is done with beads, sequins, pearls, glass beads. Gold embroidery is a rather complex type of embroidery.. It requires a lot of attention, patience, accuracy, and a lot of time. The technique of gold embroidery differs significantly from ordinary embroidery. Embroidery is done on a sliding wooden hoop. A cotton or linen fabric is used as a base, on which a material is attached - a background (leather, suede, velvet, etc.). in even rows on the surface of the template and attached in a certain order with precise stitches to the material with cotton thread. To create a greater variety of embroidery textures, master embroiderers use various types of "forged" seam. The variety and combination of traditional seams is one of the principles of creative variation of gold embroidery. Artists and embroiderers take a creative approach to creating gold embroidery products. The use of different types of seams creates a unique play of light and shadow on the surface of the embroidery. Lace weaving in Russia was known long before the 15th century. The stylistic features of Vologda lace, judging by the surviving samples of measured lace, were formed by the beginning of the 18th century, and in the first half of the 19th century, paired and coupling lace by Vologda masters began to be made for wide sale. In the middle of the 19th century, especially after the reform of 1861, there were over 40,000 lace makers in the Vologda province, who worked not only in workshops, but also at home on orders from buyers who sought to take control of the sale of large products. Vologda lace became famous all over the world. Demand for it grew every year, trade reached a significant size.

In the mid-80s of the last century, S.A. Davydova gave a lot of strength to the development of the lace craft in Russia, contributing to the opening of the Mariinsky practical school in 1883 in St. Petersburg, one of the tasks of which was to train professional lace artists for work in the Vologda province. Among the first graduates of this school was S.P. Bryantseva, who, together with her mother A.P. Bryantseva, introduced new methods of lace-making, which differed significantly from the methods of other centers. In 1919, the first decree of the Soviet government on handicraft industry was issued. This year is connected with the birth of cooperation of handicraftsmen, including Vologda lace-makers. Yelets lace, a type of Russian lace woven on bobbin. Differs in soft contrast of a small graceful pattern (vegetative and geometrical) and a thin openwork background. Yelets lace has been known in Russia since the end of the 18th century. It was then that one of the centers arose here, in Yelets, where Russians began to actively master this art that came to us from Europe. It is known that in the Yelets district, within a radius of up to 25 versts, hundreds of people mastered the craft of lace-making at the beginning of the last century, which was far from easy. At first, drawings for patterns were delivered to the Yelets residents from abroad, but over time, their own original artists appeared here, their own unique style, which distinguishes Yelets lace to this day. Ryazan lace as a whole is a major phenomenon in Russian applied art. It received a particularly original, original character in the city of Mikhailov and the Mikhailovsky district of the Ryazan province. In the 16th century, with the emergence of the defense line of the Moscow state, a significant number of service people were resettled here, as evidenced by the names of the ancient city settlements Streletskaya, Pushkari, Plotniki. Free from serf oppression, Moscow settlers were actively engaged in various crafts. It was in their midst, probably in the first half of the 19th century, that lace-making arose in the form of craft.

IN different time different types of lace weaving also dominated here. At first it was the thinnest multi-pair lace of the "Ryazan style" and "grassy", as well as coupling. The third way of weaving is connected with the life of ordinary citizens of Mikhailov and its environs - numerical . It was the local numerical lace that became widely known under the name "Mikhailovskoye". In the second half of the 19th century, Mikhailovsky lace became a subject of trade not only within Russia, but also abroad. Nowhere, except for the city, Mikhailov and his county, numerical lace did not receive such originality of patterns and colorfulness. No wonder it has become so widespread in the peasant costume of different localities. Dense, bright, it perfectly complemented clothes made of heavy fabrics of embedded technology and coarse linen, combined with bright patterning of fabric and embroideries.

More than 150 years ago, in the ancient mountain village of Gotsatl, the art of metal processing (silver, copper, cupronickel) was born. By the end of the 19th century, a rare mountain woman married without a Gotsatlin water-bearing jug with an engraved pattern. The Gotsatly master, like the Kubachi one, knows several professions: he must know melting, mounting, chasing, engraving, blackening. But if the processes of the work of masters are similar, then their works differ in their ornament. Unlike Kubachi, Gotsatlin on the surface of the product does not occupy the entire area, but is performed in a strict graphic form. Mainly kumgans, cutlery, wine sets, wine horns, decorative plates, table and tea spoons and various women's jewelry are made.

One of the oldest types of artistic metal processing is filigree (from Old Russian - to twist), or, as this type of jewelry technique is also called - filigree (from the Italian filigrana, in turn, this word comes from the Latin filum (thread) and granum (grain), since the pattern is sometimes made not only from twisted wire, but from the smallest metal balls). In Russia, filigree has been known for a very long time. Filigree products are still found in the excavations of burial mounds of the 9th century. In Russia, one of major centers filigree production becomes the village of Kazakovo, Nizhny Novgorod region. The traditions of Rostov enamel (enamel) have a pronounced national recognition. It is especially important that the enamel artists of Rostov Veliky retained the classical skills of the artistic technique of miniature painting on enamel and the culture of working with enamel, as with a precious specific material of manual artistic craft. The art of painting on enamel appeared in Rostov in the second half of the 18th century. Information has been preserved about the existence during this period of an enamel workshop at the Rostov Bishops' Court and individual craftsmen who worked on orders from the monasteries and churches of the city. According to some sources, the founder of the miniature painting "Efinift" is Metropolitan Arseniy Motseevich . The craftsmen were engaged in the manufacture of enamel fragments to decorate items of church use. Since the 1770s, workshops appeared in Rostov, uniting artisans according to their specialties. Among others, a workshop of icon painters was organized, which included masters of enamel.

Niello, as a type of artistic metal processing in Russia, has been known since the 10th century. Niello art was widely developed in the second half of the 17th century in the North, in Veliky Ustyug. Since the second half of the 17th century and especially in the 18th century, Veliky Ustyug has been one of the largest trade and craft centers of Medieval Russia. In terms of size, Veliky Ustyug ranked seventh among 125 Russian cities, second only to Moscow, Kazan, Yaroslavl, Nizhny Novgorod, Vologda and Kostroma. For Veliky Ustyug, the 18th century was the period of the greatest flowering of niello art. By the middle of the 18th century, Veliky Ustyug masters of niello had mastered whole line artistic and technical techniques that gave their work features of unique originality. Thanks to talented craftsmen, the Ustyug niello found its own face, different from the art of other art centers.

The history of the Zhostovo craft dates back to the beginning of the 19th century, when in a number of villages and villages near Moscow of the former Troitskaya volost (now the Mytishchi district of the Moscow region) - Zhostovo, Ostashkovo, Khlebnikovo, Troitskoye - workshops for the manufacture of painted lacquer products from papier-mâché arose. The emergence of the Zhostovo painted tray is associated with the name of the Vishnyakov brothers. In 1830, the production of trays in Zhostovo and the surrounding villages increased. The first forged metal trays appeared, decorated with flower painting. Iron trays gradually replaced snuff boxes and other papier-mâché items. The favorable location near the capital provided the fishery with a permanent sales market and made it possible to do without the intermediary of buyers. In Moscow, all the materials necessary for production were also purchased. The main motif of Zhostovo painting is a flower bouquet. In the original art of the Zhostovo masters, a realistic feeling of the living form of flowers and fruits is combined with decorative generalization, akin to Russian folk brush painting on chests, birch bark tues, spinning wheels, etc. Since ancient times, the Nizhny Novgorod region has been famous for its metalworking traditions.

One of the centers of blacksmith and knife crafts was and remains ancient city Pavlovo, located on the banks of the beautiful river Oka. At the end of the 17th century, there were up to 50 forges in Pavlovo. One of the most famous was the weapons industry. Later, the metalworking industry found its development in the production of household items: knives, locks, scissors. The exposition of the Pavlovsk Museum of Local Lore carefully preserves unique products Pavlovsk craftsmen: cutlery made of English steel, polished to a mirror finish and decorated with fine engraving, oyster openers, cheese knives, locks ranging in size from 0.7 grams to 50 kilograms and the most various forms: in the form of roosters, clocks, coats of arms, cars and others. Among the modern exhibits there is an "invisible" knife and a "savvy" golden mechanical flea. The creative research of the craftsmen also touched upon the production of artistic Orthodox-ecclesiastical metal products using artistic enamels and other technologies traditional for these products. This unique kind of arts and crafts came into being as the art of decorating edged weapons at the beginning of the 19th century, when the Zlatoust Arms Factory was opened. German specialists from Solingen and Klingenthal were invited to work at the factory, among whom was the famous blade decorator Wilhelm Schaff and his sons. He decorated the first Zlatoust blades. But later, Zlatoust artists were already engaged in this, who not only mastered Shaf's methods of drawing a picture on metal, but also improved this technique, creating complex plot compositions and multi-figured battle scenes. The use in the manufacture of blades of the famous damask steel P.P. Anosov and Obukhov steel, high artistry in their decoration glorified Zlatoust decorated weapons not only in Russia, but also far beyond its borders. This is evidenced by numerous domestic and foreign industrial exhibitions, at which these weapons were constantly presented and received high marks, and the best examples are stored in the State Hermitage, the Armory of the Moscow Kremlin, the State Historical Museum, the Central Museum of the Navy, the Artillery Museum. The subject of decoration is very diverse: ornaments in Russian, Western European, Arabic and other styles, nature paintings, hunting or battle scenes, portraits, symbols (monograms, personal signs, coats of arms). Decorated blades can be made from high quality coated tool steels, stainless steels or Damascus steels. The scabbard can be leather, wood, metal or a combination.

Semikarakorsky faience is a bright phenomenon of the folk art culture of the Don land . He absorbed all the colors of this beautiful and mighty land, its local spiritual culture, the traditions of the Don art, fanned by the freedom-loving spirit of the Cossacks. The craft originates from the age-old traditions of pottery in the Cossack village of Semikarakorskaya. Numerous archaeological studies in the vicinity of the current city of Semikarakorsk confirm that since pre-Christian times, handicraft pottery workshops spontaneously arose everywhere here, using rich local resources of raw materials: various clays and sand. Snow-white painted faience with openwork lace ornaments, stucco genre sculptures in combination with forms are a new direction in the Don applied art. For independent use, sculptures of small plasticity of various plot compositions are made by casting and hand molding.

Distinctive features of Gzhel porcelain products are decorativeness, elegance, aesthetic and functional expressiveness, as well as a variety of forms. . The painting of products is distinguished by the brightness and contrast of cobalt paint with a white background due to the use of hand-made underglaze painting with cobalt on scrap. As a result of firing black, cobalt becomes bright and blue. The product is painted with a squirrel brush with a certain set of paint on only one side of the brush (the so-called “stroke with shadows”), where each subsequent stroke differs from the previous one and has a wide tonal range: from deep and dark tones to light and light. Along with the traditional elements of painting (vegetative, plot ornament), twisting tendrils, spiral curls, dot and dashed fillings, nets, stripes of a simple geometric ornament are also used. The scale of the ornament corresponds to the size of the products, and the nature of the arrangement of the pattern emphasizes the beauty of the form. The specific technology ensures the ever-preserving brightness and freshness of colors. In 1766, the Englishman Franz Gardner in Verbiltsy (and now Verbilki) began to produce high-quality porcelain products that were whiter than the snow covers of the Russian winter. After the successful fulfillment of the order of the imperial court for the manufacture of 4 order sets - St. George, Andreevsky, Alexander and Vladimir in 1778-1785, the brand of Verbilkovsky porcelain gained wide popularity and unconditional recognition. In 1892 the factory was bought by M.S. Kuznetsov. After the revolution of 1917, the enterprise was nationalized and became known as the Dmitrov Porcelain Factory.

The technique of hand molding was destined to define the face of Kislovodsk porcelain production for a quarter of a century. . With good reason, we can say that in this case, the virtuoso mastery of the technique has grown into a creative direction. Under the golden hands of the masters, delicate roses, graceful daisies and lilies of the valley, and other flowers surprisingly reminiscent of living ones, are born before our eyes. Along with brilliant models of modeling, others have recently been used. famous species porcelain decoration. Complex technologies of engobe, underglaze, miniature and luster painting are used. Kislovodsk porcelain is a new decorative possibilities of the ancient material, a variety of plastic forms, an organic combination of the merits of artistry and functionality.

The deep antiquity of Balkhar ceramics is evidenced, along with the remnants of matriarchy in its organization (the craftsmen are only women), the most ancient motifs in the decor. The Balkharians, in the process of long development and improvement of ceramic painting in ornamental forms, developed very interesting peculiar features that are unique to this type of art. The entire painting, starting from horizontal belts and ending with the details of the pattern, is applied on the foot potter's wheel, with its slow rotation, without preliminary plans and thoughts. This, in turn, predetermines the absolute originality and endless variability of the ornamental compositions of the Balkhar draughtsmen. Roasting is carried out in home-made domed furnaces using dung. Its mixed redox character, obtained thanks to such fuel, turned out to be the reason for the peculiar coloring of the shard of Balkhara vessels: from pinkish-terracotta to matte black. This characteristic Balkhara ceramics in combination with lace engobe painting enhances the feeling of man-made and uniqueness of each item. Currently, more than 30 types of various products are produced. Each is unique because of the peculiar beauty and completeness of the form that meets the purpose in everyday life. The most common are large household jugs without handles, special water-bearing jugs, oil jugs, pails, jugs with a nose for washing, small jugs for water, open bowls for dairy products, decorative plates, mugs, vases, original stucco sculptures of animals and humans, painted with traditional Balkhara ornaments.

Dymkovo clay toy is one of the brightest and most original folk art crafts of the Vyatka region. For more than four centuries, the Dymkovo toy has embodied the life and way of life of many generations of Vyatchka. The craft originated in the Dymkovo settlement of the Vyatka province (now the Kirov region), hence the name of the toy. The first Dymkovo toys were whistles, molded for the annual spring holiday "Whistlers", held "in honor of those killed" in the battle of 1418 between the Vyatchans and Ustyuzhans near the walls of the Khlynovsky Kremlin. Since the middle of the 20th century, the craft has been living and developing only in the city of Kirov (Kirov region) on the opposite bank of the Vyatka River from the Dymkovo settlement. The city of Kirov is the only traditional place of existence of this folk art craft. Whole families made toys in Dymkovo. In the summer they dug and kneaded clay, pounded lump chalk by hand and rubbed it in paint grinders, from autumn to spring they sculpted, dried, burned products, closer to the “Svistunya” they whitened with chalk diluted in skimmed cow's milk, painted with egg paints, decorated with rhombuses of gold leaf, golden sweated. For more than four hundred years of existence and development of the Dymkovo craft, traditional themes, plots and images have developed in it, the expressive means inherent in very plastic red pottery clay, simple (geometric pattern) mural ornaments, which are dominated by red, yellow, orange, have been displayed and consolidated. , blue, green colors. Halftones and imperceptible transitions are alien to the Dymkovo toy. All of it is an overflowing fullness of feeling the joy of life.

Pskov (Lukovsky) pottery has more than 300 years of existence. The first detailed description of this trade was published in the "Statistical Essays" of the Pskov Provincial Statistical Committee for 1884. The stable long-term existence of the fishery in one place is explained, in particular, by the fact that in these places (along the banks of the Cherekha River) there are significant deposits of clay suitable for the manufacture of ceramic products. During the existence of the craft, a number of artistic and stylistic features have developed that are characteristic of Pskov pottery. First of all, this is engobe painting, which was widely used already in the 17th century. The methods of applying engobe to products are different - with a brush, with a pear, splash. Traditional motifs of painting both by old masters and modern ones - plant compositions, animal style, geometric ornament, based on conditional images of the sun, trees, etc. The method of engobe painting gives the master almost unlimited possibilities for variation. Particularly widespread use of engobe painting is used in decorating the group of dishes. The combination of red-burning clay with white and black engobe is unique. One of the traditional directions is a relief ornament with a highlight. The origins of this trend are Pskov tiles on stoves and fireplaces, Pechersk ceramides. This is one of the oldest traditions of Pskov pottery.

Skopinsky pottery art craft is a traditional center of folk art in the Ryazan region. The industry owes its origin to clay, which occurs in large quantities in the vicinity of the town of Skopin. Pottery in places where the city of Skopin later appeared was made back in the days of Kievan Rus. In this dish they churned butter, fermented the dough, stored milk, water, kvass. 1640 is considered the year of birth of Skopinsky pottery. This year, the first name of the Skopinsky potter appeared in the census - Demka Kireev, the son of Berdnikov. Skopinsky pottery developed, like many others in Russia, producing pottery for peasant life, chimneys, bricks, and tiles. But in the second half of the 19th century, an industry appeared in Skopin that glorified it far beyond its borders, the production of glazed figured vessels and candlesticks, multi-tiered, decorated with complex stucco, made in the form of an outlandish beast or with figures of birds, fish and animals.

Turin mountain is an unusual craft. The products produced by him are based not on a tradition preserved and passed down from generation to generation, as, for example, in Palekh or Khokhloma, but on the creative originality of the artistic vision and thinking of each master. However, this does not mean that there are no traditions in Turin Mountain. While maintaining their individuality, most artists are guided in their work by the pictorial foundations of archaic cultures. The name of the craft associated with the ancient culture of mankind reflects its main stylistic orientation, which organically fits into the modern artistic process. The people of Turinogor draw inspiration from the symbolism of the art of the Ancient East, from the pagan culture of Ancient Russia and the peoples of Siberia, and turn to the motifs and forms of ancient classics. From the interest in archaic cultures, the art of the ancient Turks, the Altai Scythians, as well as the traditional art of modern Altaians, which retained archaic roots, an artistic credo of craft was gradually formed, which gave its products uniqueness and recognition. The "pearl of folk art" is called the Filimonovo toy. It impresses with its simplicity and, at the same time, the elegance of its forms, the beauty and expressiveness of the ornament and the uniqueness of its sound. A monolithic, stingy image on details: a narrow bell skirt smoothly passes into a short narrow body and ends with a cone-shaped head, which is integral with the neck. In the hands - a bird-whistle and a child. The stinginess of the form is wonderfully compensated by the elegance and cheerfulness of the artless ornament: multi-colored strokes, spots, twigs, rosettes ... Before us is the image of the Filimonovo young lady - a descendant of one of the oldest (according to some sources, she is about seven hundred years old) toys in Russia. The age of the Filimonov miracle is rather conditional. Experts say that the art of modeling and painting intricate clay nursery rhymes came to the Odoev region from the distant Paleolithic, and during excavations of the Zhemchuzhnikovsky and Snedkovsky mounds, settlements in Odoev, pottery shards dating back to the 9th - 11th centuries were found, with drawings and signs that are painted today Filimonovo toy. The traditional set of plots in the Filimonov toy is a lady, a rider, a horse, a deer. They are characterized by elongated proportions associated with the plastic properties of the local black-and-blue clay - "sinika", found exclusively in the vicinity of Filimonovo. Blue-black in color, greasy, viscous, it does not at all look like pottery clay or the clay from which toys are molded in Kirov, Kargopol, and in other places. "Sinika" herself suggests a method of working with her, hand-sculpting techniques. Viscous, homogeneous, like dough, the mass is easily crumpled, molded, allows you to freely stretch out the shape of the toy as a whole, and there is no need to mold it in parts, sticking it to each other. And now, in habitual hands, in learned movements, a lump of this clay first becomes the bell of a skirt, and from it the graceful figure of a lady already rises, deftly stretches into a small head, and at the moment ends with a crumpled peaked hat. Not a single extra lump remains in the hands of the craftswoman - everything is precisely calculated. Only the duck-whistle under the armpit of the lady is always molded separately. Other toys are made in the same way. If the craftswoman wants to mold a whistle - a horse or a cow - she separates the desired piece of clay and habitually deftly bends it into a thick tourniquet. And then from one half of it he pulls out four strong legs-deliveries and a whistle, and from the other - a long, long neck with a tiny head of a strange animal.

Patterned shaft weaving - an ancient type of folk craft - was developed in many villages of the Nizhny Novgorod Territory, especially in its northern outskirts. Peasant women decorated rugs, clothes, bedspreads, tablecloths, countertops, towels with homespun patterns. Linen, wool and cotton served as the material for weaving. Nizhny Novgorod weaving was distinguished by a large pattern of geometric ornament and subtlety of color. The number of colors in the fabric is not numerous, harmonious and noble in shades. Basically it is white, red, blue colors. Thanks to the subtly found compositional solution of color and ornament, the products of weavers had a special sophistication. These are highly artistic tablecloths, curtains, napkins, bedspreads for sofas and armchairs, towels, aprons made of cotton and linen yarn, viscose, wool mixture using synthetic yarn. All manufactured products are certified. Beautiful and practical products of Shakhun weavers are needed by people for everyday life, holidays, and will satisfy any taste. They enliven the interior, give it a special appeal and national character, fill it with warmth and comfort.

The history of stone-cutting craft is rooted in the distant past and is inextricably linked with the mysterious "marble" cave, located on the banks of the Pyana River in the village. Bornukovo, Buturlinsky district. This cave has long been famous for its ornamental stone - anhydrite, or as it was called "Nizhny Novgorod marble". It came in a variety of shades: pink, white, bluish, brown, gray and greenish, with a variety of designs and patterns. During the time of Catherine II, the stone mined in the cave was sent to St. Petersburg to decorate palaces. The heyday of Bornuk's stone-cutting art falls on the 30s of the XX century, when in the village. Bornukovo, a factory of artistic stone-cutting products "Bornukovskaya Cave" was created. At first she worked as a branch of the Kazakov Jewelry Association, then on her own. A few years later, having adopted the experience of the Ural masters, Bornuk stone carvers reached the heights of skill and repeatedly received the highest awards in Russian and international exhibitions, including at an exhibition in 1937 in Paris. When processing stone, turning is used in combination with volumetric and relief carving, engraving. Samples of animals and birds are laconic and at the same time unique "characters" that allow you to reveal the natural beauty of the material. The expressive silhouette, soft plasticity, lyricism, ingenuousness of the created samples convey the beauty and originality of the animal world and the kindness of the Russian soul. In addition to sculptures of birds and animals, the masters of the enterprise make household items in a large assortment: elegant candlesticks, vases, caskets, writing sets.

Tobolsk bone carving, one of the four traditional bone carving industries in Russia, arose in the early 17th century during the reign of the first Tobolsk governor, Matvey Gagarin. The emergence of bone carving in Tobolsk is due to the abundance of mammoth tusk, which was found along the banks of the northern rivers. In the 19th century, exiled Poles were engaged in bone carving in Tobolsk, who in the 1860s began to make brooches, snuff boxes, hairpins, as well as images of the Madonna. By the end of the 1860s, a group of local bone carvers worked in the city, and in 1874 the "Siberian workshop of products from mammoth bone by S. I. Oveshkova" was opened. Tobolsk bone cutters were in demand in St. Petersburg, Moscow, Kazan, Kyiv, Nizhny Novgorod. By the mid-1870s, Tobolsk bone carving practically became a craft, with all the peculiarities of the organization of production and marketing inherent in it. The main line of development of the Tobolsk craft was a miniature three-dimensional sculpture. The figures are distinguished by generalized plasticity, the texture of the material is revealed, the surface of which is left smooth, carefully polished. The northern theme is declared traditional for the Tobolsk carved bone. The Uelensk bone carving workshop, founded in 1931, brought together Chukchi and Eskimo bone carvers who are passionately engaged in sculpture or specializing in decorating bone with color engraving. The workshop is one of the largest centers in the world visual arts aboriginal peoples of the Arctic.

The unique technique of color engraving on the tusk of a walrus was created in Uelen at the beginning of the century and is used only by local Chukchi and Eskimo bone carvers. The sculptures, made in a laconic and expressive manner, are multi-figured compositions depicting scenes from the life of the peoples of the North - hunting, catching deer, reindeer and dog teams. The works of talented carving masters are deeply individual, they combine lyricism with expression, traditions with current trends development of bone carving art.

In our vast country, rich in various natural materials and multinational human resources, over time, a lot of new directions have been formed. handicrafts. Even crafts borrowed from the "neighbors" acquired a certain uniqueness, motifs, characteristic, at times, only in a certain area. The folk crafts of Russia are our heritage, which you must know and honor in order to preserve the traditional Russian culture and bring a lot of new things to it.

Artistic folk crafts need a separate description. There are innumerable types of crafts, but not all manufactured products are highly artistic. But here the border is very blurred, if it exists at all. Let's figure it out.

The lack of a clear definition of crafts and art products only means that fewer and fewer people are dealing with this issue. - the creative activity of artisans, aimed at creating unique and inimitable items using their hand tools, skills, ingenuity and inner sense of beauty. Accordingly, artistic products are the result of the creative work of an artisan.

Why do I put creativity at the head of everything? I believe that as soon as products begin to be stamped, copied, they automatically cease to be artistic. How unpleasant it is for me to see copies of the same subject in the art store! It's stamping! The artist is always in search, he cannot have the same picture. Like any craftsman, each product is unique. The craftsman is able to define his work among the variety of seemingly identical items.

So, I was approached with a question by the master, who saw the photo image of the product in the gallery on the site. I took this photo in a kindergarten in my native village. The master identified his work and together we found out how this item could have ended up on my site.

Let's summarize. Among any craft, separate artistic trends can be distinguished, any art craft can be lost along with a creative vein. I'm not saying that the conveyor is bad. He also has a place, but you can not lose the craving for creating something new, unique.

Classification of types of crafts

You are already familiar with some types of crafts. Of course, you have heard about products made of birch bark, wood, metal. So, the types of folk crafts are primarily formed from product material. This includes the processing of metal, wood, stone, clay and other materials.

Another gradation of types of folk crafts is already narrower than the previous one - division by processing method of this or that material. In this article we will consider several main types of craft. In the future, this article will be supplemented with more detailed information, but for now it will only be a brief introductory material.

I don't think there is a clear division, and some crafts can only be relatively formulated. In addition, now the types of folk crafts in Russia have been supplemented with new directions. I don’t know whether it is already possible to call handicrafts that have taken root in our time a traditional craft. But back to what I know. I will build a list of craft types exactly the way I wanted: the main sections by the name of the material, and the subcategories - by the method of processing. All of these species can be artistic folk crafts.

1. Tree

There are many riches in the vastness of the Russian land. One of the available ones is undoubtedly wood. It is available not only because it covers most of the territory, but also in terms of processing methods. Agree, for some types of processing you do not need complex devices and fixtures. Hence the variety of types and subspecies of crafts associated with the use of wood.

• Woodcarving. There are several types of woodcarving:
  • Flat thread (contour, bracket, geometric, etc.);
  • Relief carving (flat-relief carving, deaf, Kudrinskaya, etc.);
  • Through thread (cut and saw);
  • Sculptural carving (3D);
  • House carving (can combine several types);
• Milling. Processing on a lathe, milling cutter;
• Birch carving;
• Birch bark embossing;
• Tues manufacturing;
• Souvenir production(amulets, jewelry, accessories, toys and pictures);

2. Metal

When the metal and its properties were discovered, a technological revolution took place. Many household items and tools were replaced with metal ones. This did not displace other materials, by no means - it made it possible to process them more efficiently. And thanks to the properties of the metal, the range of artisan products has multiplied several times. Metal processing is technically much more complicated than wood, but it's worth it and at the moment it is possible to clearly formulate metal processing methods:

• Forging;
• engraving;
• Chasing;
• blackening;
• Casting;
• Filigree(soldered, openwork, voluminous);
• Milling. Processing on a lathe, milling cutter.

3. Clay

A natural material that has received no less distribution than wood. This type of material suffers from a small number of types of processing, which also affects the variety of clay products. Most of the products are utensils, and the rest are sculptures and souvenirs. But the plasticity and ease of processing of the material, along with accessibility, allow a small number of types of products to give the most incredible shapes.

• pottery;

4. Stone.

Very difficult to process. Due to the rarity of some materials, difficulties in processing - such a high cost of products. Take a sculpture. The works of art of the Middle Ages are priceless, although they are made of marble or plaster. The number of craftsmen is much less than the number of, say, wood carvers. And not every stone is suitable for processing. Nevertheless, stone products, whether it be a precious stone or a huge granite, are truly impressive and delightful.

• Sculpture;
• Thread;
• Gypsum(ebb of reliefs and three-dimensional figures);

5. Bone

Bone carved caskets are amazing. Intricate patterns and plots can be considered endlessly. But the distribution of this type of folk craft is highly dependent on the territory. Not every bone is suitable for processing, not all animals have the necessary valuable body parts, and all this is aggravated by the fact that many animal species are rare and subject to protection.

• Thread;

6. Thread

Few types of folk crafts can be called exclusively female. Working with a thread can be classified as one of them. Making products from a thread is associated with incredible perseverance and concentration. When creating the most complex patterns and objects, one cannot do without arithmetic and cutting skills, since loops love counting, and most products are clothes that are subject to certain important requirements of fashion, convenience, practicality and beauty.

• Knitting;
• Weaving;
• Lace;
• Embroidery;

7. Skin

Leather products are becoming rarer and rarer. The price and the possibility of replacing with artificial polymers affected the spread of this type of craft. I don’t remember seeing a real work of art made of leather, made by hand, lately. Nevertheless, in recent times, this material was used to manually create art products. Ordinary objects were mainly decorated with inserts of multi-colored leather, compositions and patterns were created.

• Manufacture of clothes and shoes;
• Embossing;
• Thread;

Often, craftsmen combined several types of crafts in one product. Thus, birch bark tuesas could be decorated with embossing, carving, painting, as well as their wooden lids, carved stone was enclosed in a metal frame, and clay products were supplemented with various materials to create bizarre compositions.

This is not a complete list of types of crafts. There are a lot of subspecies, the features of which got their roots both in relation to the nationality of peoples, and geographical location, and even species of animals and plants, common near the villages of masters.

We will try to consider many of the listed folk crafts using examples and master classes that reflect the features of technologies and methods of work. And I ask you, my dear reader, for a favor: if there is an opportunity to contribute to the development of traditional crafts and arts and crafts, be sure to tell others about it. You can do it on this resource. A site about folk crafts is looking for talents.