What are objects of decorative and applied art? “Decorative and applied arts as a means of introducing children to folk culture

Olga Makeenko
“Decorative and applied arts as a means of introducing children to folk culture»

Introduction

Folk culture is one of the important elements of any nation, since it carries within itself the experience of past generations, which has developed over centuries. Folk culture reflects the life and skills of our ancestors, which are reflected in one way or another arts.

Studying folk culture should be included in the compulsory curriculum children. After all, it is from childhood that people develop habits and skills. In order for the concept of the world to develop correctly, art necessary from the very early years to form in the minds of children ideas about the world around them, as well as talk about the history of both the country as a whole and the region in which they live. Children are our continuation; the future of both the family, the city, the country and the world as a whole depends on how we raise them.

"Guides" in this case, parents as well as teachers will speak. For future teachers of pedagogical schools, heads of kindergartens and methodologists preschool education you need to know the basic methods and techniques of leadership various types activities children preschool age. Among Of these types of activities, the visual arts occupy a large place.

Folk culture is traditional culture , which includes cultural layers different eras , from ancient times to the present, the subject of which is people cultural connections and mechanisms of life. Such non-literate culture, which is why tradition is of great importance in it as a way of transmitting information vital to society.

There are several ways in which learning is possible children's folk culture. These include literature, cinema, and fairy tales. This includes paintings, games and much, much more.

In this work we will consider decorative and applied arts as a means of introducing children to folk culture. To achieve a given goal, you will first need to consider the basic concepts of this topic. This concept, its main directions and types; concept folk culture; And means of introducing children to folk culture.

Represents a section decorative arts, which covers several branches of creativity dedicated to the creation of artistic products and intended mainly for everyday use. Works arts and crafts can be: various utensils, furniture, weapons, fabrics, tools, as well as other products that are not works according to their original purpose art, But acquire artistic quality due to the artist’s labor applied to them; clothing and all kinds of jewelry.

Since the second half of the nineteenth century, the classification of industries has been established in the scientific literature arts and crafts:

1. Depending on the material used (ceramics, metal, textiles, wood);

2. Depending on the execution technique (carving, printed material, casting, embossing, embroidery, painting, intarsia).

The proposed classification is associated with the important role of the design and technological principles in decorative and applied arts and its immediate connection with production.

It simultaneously belongs to the spheres of creation of both material and spiritual values. Works arts and crafts inseparable from the material culture era of their contemporary era, are closely connected with the way of life corresponding to it, with one or another of its local ethnic and national characteristics, social group and class differences.

Works arts and crafts form an organic part of the subject environment, with which a person comes into daily contact, and with their aesthetic merits, figurative structure, character, constantly influence a person’s state of mind, his mood, and are an important source of emotions that influence his attitude to the world around him. Works arts and crafts aesthetically saturate and transform Wednesday, surrounding a person, and, at the same time, seem to be absorbed by it, since they are usually perceived in connection with its architectural and spatial design, with other objects included in it or their complexes (a set of furniture or a service, a suit or a set of jewelry). Due to this, ideological meaning works arts and crafts can be understood most fully only with a real understanding of these relationships between the subject and environment and man.

Decorative and applied arts arose at the earliest stages of the development of human society, and for many centuries has been the most important, and for a number of tribes nationalities the main area of artistic creativity.

According to another source, arts and crafts- this is the creation of artistic products that have a practical purpose (household utensils, dishes, fabrics, toys, jewelry, etc., as well as artistic processing of old objects (furniture, clothes, weapons, etc.). Also, as in the previous designation, masters arts and crafts a wide variety of materials are used - metal (silver, gold, platinum, bronze, as well as various alloys, wood, clay, glass, stone, textiles (natural and artificial fabrics) and etc.

Making products from clay is called ceramics, from precious stones and metals - jewelry art. In process works of art from metal, casting, forging, chasing, engraving techniques are used; textiles are decorated with embroidery or printed material (a paint-coated wooden or copper board is placed on the fabric and hit with a special hammer, obtaining an imprint); wooden objects - carvings, inlays and colorful paintings. Painting ceramic dishes is called vase painting.

Artistic products are closely related to the everyday life and customs of a certain era, people or social group (nobles, peasants, etc.). Already primitive craftsmen decorated dishes with patterns and carvings, and made primitive jewelry from animal fangs, shells and stones. These objects embodied ancient people’s ideas about beauty, the structure of the world and man’s place in it.

Traditions of the ancient art continue to appear in folklore and in products folk crafts.

Thus, based on the above, let us note the main points. So the term arts and crafts conventionally combines two broad genera arts: decorative and applied. Unlike works of fine art, intended for aesthetic pleasure and related to pure art, numerous manifestations decoratively-applied creativity mainly have practical use in everyday life. This is a distinctive feature of this type art.

Works arts and crafts have certain characteristics: aesthetic quality, designed for artistic effect and used for home and interior decoration.

Kinds decorative arts: sewing, knitting, burning, carpet weaving, weaving, embroidery, artistic leather processing, patchwork (sewing from scraps, artistic carving, drawing, etc. In turn, it should be noted that some types arts and crafts are subject to their own classification. For example, burning is the application of a pattern to the surface of any organic material using a hot needle, and It happens: wood burning, fabric burning (guilloché, making appliqués by burning using a special machine, hot stamping.

2. Folk culture

Previously, a definition of the concept has already been provided folk culture. I repeat, folk culture is traditional culture, which includes cultural layers of different eras - from ancient times to the present, the subject of which is people- collective personality, which means the unification of all individuals of the collective by a community cultural connections and mechanisms of life. This non-literate culture, and therefore tradition is of great importance in it, as a way of transmitting information vital to society. This definition is quite comprehensive, but not the only one. Let's turn to other sources.

Under culture understand human activity in its most diverse manifestations, including all forms and methods of human self-expression and self-knowledge, the accumulation of skills and abilities by man and society as a whole. Culture represents a set of sustainable forms of human activity, without which it cannot be reproduced, and therefore cannot exist. Culture is a set of codes, which prescribe a person a certain behavior with his inherent experiences and thoughts, thereby exerting a managerial influence on him. Source of origin culture human activity is conceived.

Concept " people"in Russian and European languages is a population, a collection of individuals. Also, people is understood as a community of people who recognize themselves as an ethnic or territorial community, social class, a group, sometimes representing the entire society, for example, at some decisive historical moment (national liberation wars, revolutions, restoration of the country, and so on, having similar (general) beliefs, ideas or ideals.

This community acts as the subject and bearer of a special holistic culture, excellent for its vision of the world, ways of embodiment in various forms of folklore and directions close to folklore cultural practice, which often dates back to antiquity. In the distant past, its bearer was the entire community (clan, tribe, later ethnic group (people) .

In past, folk culture determined and consolidated all aspects of life, customs, rituals, regulated relationships among community members, family type, upbringing children, the nature of the home, ways of developing the surrounding space, type of clothing, attitude towards nature, the world, legends, beliefs, language, artistic creativity. In other words, it was determined when to sow grain and harvest crops, drive out livestock, how to build relationships in the family, in the community, and so on. At present, in a period of increasing complexity of social relations, many large and small social groups of formal and informal types have appeared, a stratification of social and social cultural practice, folk culture has become one of the elements of modern multilayer culture.

IN folk culture creativity anonymously, since personal authorship is not realized, and the goal of following the model that is adopted from previous generations invariably prevails. This sample is, as it were, “owned” by the entire community, and the individual (storyteller, master craftsman, even very skillful, perceiving patterns and standards inherited from ancestors, identifies with the community, realizes his belonging to locus culture, ethnic group, sub-ethnic group.

Manifestations folk culture is the identification of oneself with one’s own by the people, its traditions in stereotypes of social behavior and action, everyday ideas, choice cultural standards and social norms, orientations towards certain forms of leisure, amateur artistic and creative practice.

An important quality folk culture in all periods there is tradition. Traditionality determines its value-normative and semantic content folk culture, social mechanisms of its transmission, inheritance in direct communication from face to face, from master to student, from generation to generation.

Thus, folk culture is culture, created over thousands of years, through natural selection, by anonymous creators - people of labor, representatives people who do not have special or professional education. Folk culture consists: religious (Christian, moral, everyday, labor, recreational, gaming, entertainment cultural subsystems. This culture recorded in folklore, folk crafts, exists in customs and way of life, in the decoration of the home, in dance, song, clothing, in the nature of nutrition and education children(folk pedagogy) .Folk culture there is a basis for national culture, pedagogy, character, self-awareness. Introducing children to the origins of folk culture means preserving traditions people, continuity of generations, growth of his spirit.

3. Means of introducing children to folk culture.

Due to the characteristics of age, for communion A child needs a special approach to any of the skills. Basically, a game is used for this, since it is most interesting for kids. During the game, children become interested in the subject, which allows them to reveal the most significant elements without imposing them on the child, but easily and not forcedly. Games are chosen based on their useful information about culture of the people, in whose territory he lives, or the one about which he needs to talk. Features are explained during the game nationalities, they can also be laid down in the rules. For example, you can organize a game - competition: who will notice more details, who will list more familiar colors, shades or objects presented in the picture, and so on. This game stimulates their cognitive activity, develops children’s powers of observation, and teaches them to formulate and express their thoughts.

In addition to the game, it is possible to use drawing and painting. Landscape painting is one of the most lyrical and emotional genres of fine art. art, this is the highest level of artistic exploration of nature, recreating its beauty with inspiration and imagery. This genre promotes emotional and aesthetic development children, fosters a kind and caring attitude towards nature, its beauty, awakens a sincere, feeling of love for one’s land, one’s history. Landscape painting develops the child’s imagination and associative thinking, sensual, emotional sphere, depth, awareness and versatility of perception of nature and its depiction in works art, ability to empathize artistic image landscape, the ability to correlate its mood with your own.

Identification of abilities children and their correct development is one of the most important pedagogical tasks. And it should be decided taking into account age children, psychophysical development, educational conditions and other factors. Development of abilities children to fine arts Only then will it bear fruit when teaching drawing is carried out by the teacher systematically and systematically. Otherwise, this development will follow random paths, and the child’s visual abilities may remain in their infancy.

Children love trying new things. It is important not to spoil the child’s attitude towards creativity, as this can affect his future life. You need to allow him to reveal his capabilities and not scold him if something doesn’t work out. After all, people have been programmed since childhood preferences: some people like to draw, some find themselves in music, others will become humanitarians. With this in mind, you need to use different methods in teaching children, so that they themselves determine for themselves what they like, otherwise in the future, in choosing a profession, factors imposed from outside will become decisive, and not what is really interesting and what is worth devoting their lives to. Take possession of the entire amount funds and the methods of representation that make up visual literacy, the child cannot. The teacher’s knowledge of the features of expressive means each art helps to establish, which of them can be realized and mastered by the child and which are inaccessible to him.

Thus, the main goal of development preschool education is the formation of the child’s personality, the development of his creative abilities. In classes with children, the main task of the teacher is to attract their attention to the picture, sculpture or another work and hold it. Children are more willing to be interested in paintings if the teacher manages to awaken their imagination and include the children in the game. For example, you can ask them to imagine themselves in the place of the characters in the picture, discuss what each of them would do in the place of the depicted character, what emotions they would experience, and in what words they would describe their state. In general, get the child to tell you about himself in the situation depicted.

Conclusion

Introducing children to arts and crafts This is an introduction to traditional household items. Children learn how and why this or that thing was used, and try to use it themselves. In addition, children are encouraged to consider decorative patterns, explains symbolic meaning individual elements of the ornament. It is important to draw the child’s attention to the repeatability of patterns and individual elements on different objects, and to tell what traditional ways of decorating things are characteristic of different regions of Russia.

In classes that are devoted to traditional folk crafts, children learn the basic principles of constructing an ornament and learn to correctly perform repeating elements. Samples for children's modeling and painting can be traditional dishes, toys and other household items.

In order to introducing children to art cognitive and creative activities which involves visiting various painting exhibitions, sculptures, folk art and so on. Tours can be conducted, but they are intended children, over five years of age. Exhibition exhibits, the viewing of which is accompanied by explanations from the guide, consolidate the knowledge and skills acquired in aesthetic education classes.

Decorative and applied arts is in close relationship with folk culture. This type art embodies folk culture. By using arts and crafts, you can study folk culture.

Decorative and applied arts contains a large amount of information that is useful for children in the process of studying the history of one’s own or another country, nation or community. How decorative and applied arts as a means of introducing folk culture is one of the most effective and interesting.

Unlike faceless mass-produced products, handmade items are always unique. Masterfully crafted household utensils, clothing, and interior elements are expensive. And if in the old days such things were objects of utilitarian purpose, then in our days they have passed into the category of art. Beautiful thing made a good master, will always be in value.

In recent years, the development of applied art has received a new impetus. This trend cannot but rejoice. Beautiful dishes made of wood, metal, glass and clay, lace, textiles, jewelry, embroidery, toys - all this, after several decades of oblivion, has again become relevant, fashionable and in demand.

History of the Moscow Museum of Folk Art

In 1981, the Museum of Decorative, Applied and Folk Art opened in Moscow, on Delegatskaya Street. His collection consisted of unique samples of products self made domestic masters of the past, as well as the best works of contemporary artists.

In 1999, the next important event occurred - the All-Russian Museum of Decorative, Applied and Folk Art accepted exhibits from the Savva Timofeevich Morozov Museum of Folk Art into its collection. The core of this collection was formed even before the 1917 revolution. It was based on exhibits from the very first Russian ethnographic museum. It was the so-called Handicraft Museum of Decorative and Applied Arts, opened in 1885.

The museum has a specialized library where you can get acquainted with rare books on the theory and history of art.

Museum collection

Traditional types of decorative and applied arts are systematized and divided into departments. Basic thematic areas- these are ceramics and porcelain, glass, jewelry and metal, bone and wood carvings, textiles, lacquer miniatures and fine materials.

The Museum of Decorative and Applied Arts has more than 120 thousand exhibits in its open fund and storage facilities. Russian modernism is represented by the works of Vrubel, Konenkov, Golovin, Andreev and Malyutin. The collection of Soviet propaganda porcelain and textiles from the second quarter of the last century is extensive.

Currently, this museum of folk arts and crafts is considered one of the most significant in the world. The oldest exhibits of high artistic value date back to the 16th century. The museum's collection has always been actively replenished through gifts from private individuals, as well as through the efforts of senior government officials during the years of Soviet power.

Thus, the unique exhibition of textiles was created largely thanks to the generosity of French citizen P. M. Tolstoy-Miloslavsky, who donated to the museum a large collection of Russian, Eastern and European textiles collected by N. L. Shabelskaya.

Two large collections of porcelain were donated to the museum by prominent figures Soviet art- Leonid Osipovich Utesov and spouses Maria Mironova and Alexander Menaker.

The Moscow Museum of Applied Arts boasts halls dedicated to the life of Russian people in different time periods. Here you can get acquainted with the homes of representatives of all classes. Furniture, dishes, clothes of peasants and city residents, and children's toys were preserved, restored and put on display. Carved decorations of platbands and roof canopies, tiled stoves, chests, which served not only as convenient storage for things, but also as beds, as they were made in appropriate sizes, conjure up pictures of the quiet, measured and well-fed life of the Russian outback.

Lacquer miniature

Lacquer miniature as an applied art reached its greatest flourishing in the 18th and 19th centuries. The artistic centers that gave residence to the main directions were cities famous for their icon-painting workshops. These are Palekh, Mstyora, Kholui and Fedoskino. Boxes, brooches, panels, caskets made of papier-mâché were painted with oil paints or tempera and varnished. The drawings were stylized images of animals, plants, characters from fairy tales and epics. Artists, masters of lacquer miniatures, painted icons, made custom portraits, and painted genre scenes. Each locality has developed its own style of painting, but almost all types of applied art in our country are united by such qualities as richness and brightness of colors. Detailed drawings, smooth and rounded lines - this is what distinguishes Russian miniatures. It is interesting that images of the decorative and applied arts of the past also inspire modern artists. Antique drawings are often used to create fabrics for fashion collections.

Artistic painting on wood

Khokhloma, Mezen and Gorodets paintings are recognizable not only in Russia, but also abroad. Furniture, cabinets, boxes, spoons, bowls and other household utensils made of wood, painted in one of these techniques, are considered the personification of Russia. Light wooden dishes, painted with black, red and green paints on a gold background, look massive and heavy - this is a characteristic manner of Khokhloma.

Gorodets products are distinguished by a multi-color palette of colors and somewhat less roundness of shapes than Khokhloma products. Genre scenes are used as plots, as well as all kinds of fictional and real representatives of the animal and plant world.

The decorative and applied arts of the Arkhangelsk region, in particular Mezen wood painting, are utilitarian objects decorated with special designs. Mezen craftsmen use only two colors for their work - black and red, that is, soot and ocher, fractional schematic drawings of boxes, boxes and chests, friezes in the form of borders from repeating truncated figures of horses and deer. A static, small, frequently repeated pattern evokes sensations of movement. Mezen painting- one of the most ancient. Those drawings that are used by modern artists are hieroglyphic inscriptions that were used by Slavic tribes long before the emergence of the Russian state.

Wood craftsmen, before turning any object from a solid block, treat the wood against cracking and drying out, so their products have a very long service life.

Zhostovo trays

Metal trays painted with flowers - the applied art of Zhostovo near Moscow. Once having an exclusively utilitarian purpose, Zhostovo trays have long served as interior decoration. Bright bouquets of large garden and small wildflowers on a black, green, red, blue or silver background are easily recognizable. Typical Zhostovo bouquets are now decorated with metal boxes containing tea, cookies or sweets.

Enamel

Decorative and applied art such as enamel also refers to metal painting. The most famous are the products of Rostov craftsmen. Transparent fireproof paints are applied to a copper, silver or gold plate and then fired in a kiln. Using the hot enamel technique, as enamel is also called, jewelry, dishes, weapon handles and cutlery are made. When exposed to high temperatures, paints change color, so craftsmen must understand the intricacies of handling them. Most often, floral motifs are used as subjects. The most experienced artists make miniatures of portraits of people and landscapes.

Majolica

The Moscow Museum of Applied Arts provides an opportunity to see the works of recognized masters of world painting, executed in a manner that is not entirely characteristic of them. For example, in one of the halls there is a Vrubel majolica - a fireplace “Mikula Selyaninovich and Volga”.

Majolica is a product made of red clay, painted on raw enamel and fired in a special oven at a very high temperature. IN Yaroslavl region Arts and crafts became widespread and developed due to the large number of deposits of pure clay. Currently, in Yaroslavl schools, children are taught to work with this plastic material. Children's applied art is a second wind for ancient crafts, A New Look on folk traditions. However, this is not only a tribute to national traditions. Working with clay develops fine motor skills, expands the angle of vision, and normalizes the psychosomatic state.

Gzhel

Decorative and applied art, in contrast to fine art, presupposes the utilitarian, economic use of objects created by artists. Porcelain teapots, flower and fruit vases, candlesticks, clocks, cutlery handles, plates and cups are all extremely elegant and decorative. Based on Gzhel souvenirs, prints are made on knitted and textile materials. We are used to thinking that Gzhel is a blue pattern on a white background, but initially Gzhel porcelain was multi-colored.

Embroidery

Fabric embroidery is one of the most ancient types of needlework. Initially, it was intended to decorate the clothes of the nobility, as well as fabrics intended for religious rituals. This folk decorative and applied art came to us from the countries of the East. The robes of rich people were embroidered with colored silk, gold and silver threads, pearls, precious stones and coins. The most valuable is considered to be embroidery with small stitches, which creates the feeling of a smooth, as if a pattern drawn with paints. In Russia, embroidery quickly came into use. New techniques have appeared. In addition to the traditional satin stitch and cross stitch, they began to embroider with hemstitch stitches, that is, laying openwork paths along the voids formed by pulled out threads.

Dymkovo toys for children

In pre-revolutionary Russia, folk craft centers, in addition to utilitarian items, produced hundreds of thousands of children's toys. These were dolls, animals, dishes and furniture for children's fun, and whistles. Decorative and applied art of this direction is still very popular.

The symbol of the Vyatka land - the Dymkovo toy - has no analogues in the world. Bright colorful young ladies, gentlemen, peacocks, carousels, goats are immediately recognizable. Not a single toy is repeated. On a snow-white background, patterns in the form of circles, straight and wavy lines are drawn with red, blue, yellow, green, and gold paints. All crafts are very harmonious. They radiate so much power positive energy that anyone who picks up a toy can feel it. Maybe there is no need to place Chinese symbols of prosperity in the corners of the apartment in the form of three-legged toads, plastic red fish or money trees, but it is better to decorate the home with products of Russian craftsmen - Kargopol, Tula or Vyatka clay souvenirs, miniature wooden sculptures of Nizhny Novgorod craftsmen. It is impossible that they will not attract love, prosperity, health and well-being to the family.

Filimonovskaya toy

In the centers children's creativity In many regions of our country, children are taught to sculpt from clay and paint crafts in the manner of folk crafts of central Russia. The kids really enjoy working with such a convenient and flexible material as clay. They come up with new designs in accordance with ancient traditions. This is how domestic applied art develops and remains in demand not only in tourist centers, but throughout the country.

Mobile exhibitions of Filimonov toys are very popular in France. They travel around the country throughout the year and are accompanied by master classes. Whistle toys are purchased by museums in Japan, Germany and other countries. This craft, which has a permanent residence in the Tula region, is about 1000 years old. Primitively made, but painted with pink and green colors, they look very cheerful. The simplified form is explained by the fact that the toys have cavities inside with holes going out. If you blow into them, alternately covering different holes, you will get a simple melody.

Pavlovo shawls

Cozy, feminine and very bright shawls from Pavlovo Posad weavers became known throughout the world thanks to the amazing collection of fashionable clothes by Russian fashion designer Vyacheslav Zaitsev. He used traditional fabrics and patterns for tailoring women's dresses, men's shirts, other clothes and even shoes. The Pavlovo Posad scarf is an accessory that can be passed down from generation to generation, like jewelry. The durability and wear resistance of scarves is well known. They are made from high quality fine wool. The designs do not fade in the sun, do not fade from washing and do not shrink. The fringe on scarves is made by specially trained craftsmen - all the cells of the openwork mesh are tied in knots at the same distance from each other. The design represents flowers on a red, blue, white, black, green background.

Vologda lace

World-famous Vologda lace is woven using birch or juniper bobbins from cotton or linen threads. In this way, measuring tape, bedspreads, shawls and even dresses are made. Vologda lace is a narrow strip, which is the main line of the pattern. The voids are filled with nets and bugs. The traditional color is white.

Applied art does not stand still. Development and change occur constantly. It must be said that by the beginning of the last century, under the influence of developing industry, industrial manufactories equipped with high-speed electric machines appeared, and the concept of mass production arose. Folk arts began to decline. Only in the middle of the last century were traditional Russian crafts restored. In art centers such as Tula, Vladimir, Gus-Khrustalny, Arkhangelsk, Rostov, Zagorsk, etc., vocational schools were built and opened, qualified teachers were trained, and new young masters were trained.

Modern types of needlework and creativity

People travel, get acquainted with the cultures of other peoples, and learn crafts. From time to time new types of decorative and applied arts appear. For our country, scrapbooking, origami, quilling and others have become such new products.

At one time, concrete walls and fences were decorated with a variety of drawings and inscriptions made in a highly artistic manner. Graffiti, or spray art, is a modern interpretation of an ancient look rock art. You can laugh as much as you like at teenage hobbies, which, of course, includes graffiti, but look at photographs on the Internet or walk around your own city, and you will discover truly highly artistic works.

Scrapbooking

The design of notebooks, books and albums that exist in a single copy is called scrapbooking. In general, this activity is not entirely new. Albums designed to preserve for posterity the history of a family, city or individual person, have been created before. Modern vision of this art- this is the creation of art books with illustrations by the authors, as well as the use of computers with various graphic, music, photo and other editors.

Quilling and origami

Quilling, translated into Russian as “paper rolling,” is used to create panels, to design postcards, photo frames, etc. The technique involves rolling thin strips of paper and gluing them to a base. The smaller the fragment, the more elegant and decorative the craft.

Origami, like quilling, is work with paper. Only origami is work with square sheets of paper from which all sorts of shapes are formed.

As a rule, all crafts related to papermaking have Chinese roots. Asian arts and crafts were originally a pastime for the nobility. The poor did not create beautiful things. Their destiny is agriculture, cattle breeding and all kinds of dirty work. Europeans, having adopted the basics of the technique, which historically represented very small and delicate work with rice paper, transferred the art to conditions convenient to them.

Chinese products are very abundant small parts, which look monolithic and very elegant. Only very experienced craftsmen can do such work. In addition, thin paper ribbons can be twisted into a tight and even coil only with the help of special tools. European lovers of handicrafts have somewhat modified and simplified the ancient Chinese craft. Paper, curled in spirals of different sizes and densities, has become a popular decoration for cardboard boxes, vases for dried flowers, frames and panels.

Speaking about decorative and applied arts, it would be unfair to ignore such crafts as silk painting, or batik, printed material, or embossing, that is, metal painting, carpet weaving, beading, macrame, knitting. Some things become a thing of the past, while others become so fashionable and popular that even industrial enterprises start producing equipment for this type of creativity.

Preserving ancient crafts and demonstrating the best examples in museums is a good deed that will always serve as a source of inspiration for people of creative professions and will help everyone else to join in the beauty.

Unlike faceless mass-produced products, handmade items are always unique. Masterfully crafted household utensils, clothing, and interior elements are expensive. And if in the old days such things were objects of utilitarian purpose, then in our days they have passed into the category of art. A beautiful thing made by a good craftsman will always be valuable.

History of the Moscow Museum of Folk Art

In 1981, the Museum of Decorative, Applied and Folk Art opened in Moscow, on Delegatskaya Street. His collection consists of unique examples of handicrafts by Russian masters of the past, as well as the best works of contemporary artists.

In 1999, the next important event occurred - the All-Russian Museum of Decorative, Applied and Folk Art accepted exhibits from the Savva Timofeevich Morozov Museum of Folk Art into its collection. The core of this collection was formed even before the 1917 revolution. The basis for it was the exhibits of the very first Russian ethnographic museum. It was the so-called Handicraft Museum of Decorative and Applied Arts, opened in 1885.

The museum has a specialized library where you can get acquainted with rare books on the theory and history of art.

Museum collection

Traditional types of decorative and applied arts are systematized and divided into departments. The main thematic areas are ceramics and porcelain, glass, jewelry and metal, bone and wood carvings, textiles, lacquer miniatures and fine materials.

Two large collections of porcelain were donated to the museum by outstanding figures of Soviet art - Leonid Osipovich Utesov and their spouses Maria Mironova and Alexander Menaker.

Lacquer miniature

Artistic painting on wood

The decorative and applied arts of the Arkhangelsk region, in particular Mezen wood painting, are utilitarian objects decorated with special designs. Mezen craftsmen use only two colors for their work - black and red, that is, soot and ocher, fractional schematic drawings of boxes, boxes and chests, friezes in the form of borders from repeating truncated figures of horses and deer. A static, small, frequently repeated pattern evokes sensations of movement. Mezen painting is one of the most ancient. Those drawings that are used by modern artists are hieroglyphic inscriptions that were used by Slavic tribes long before the emergence of the Russian state.

Wood craftsmen, before turning any object from a solid block, treat the wood against cracking and drying out, so their products have a very long service life.

Zhostovo trays

Enamel

Majolica

Majolica is a product made of red clay, painted on raw enamel and fired in a special oven at a very high temperature. In the Yaroslavl region, arts and crafts have become widespread and developed due to the large number of deposits of pure clay. Currently, in Yaroslavl schools, children are taught to work with this plastic material. Children's applied art is a second wind for ancient crafts, a new look at folk traditions. However, this is not only a tribute to national traditions. Working with clay develops fine motor skills, expands the angle of vision, and normalizes the psychosomatic state.

Gzhel

Embroidery

Fabric embroidery is one of the most ancient types of needlework. Initially, it was intended to decorate the clothes of the nobility, as well as fabrics intended for religious rituals. This folk decorative and applied art came to us from the countries of the East. The clothes of rich people were embroidered with colored silk, gold and silver threads, pearls, precious stones and coins. The most valuable is considered to be embroidery with small stitches, which creates the feeling of a smooth, as if a pattern drawn with paints. In Russia, embroidery quickly came into use. New techniques have appeared. In addition to the traditional satin stitch and cross stitch, they began to embroider with hemstitch stitches, that is, laying openwork paths along the voids formed by pulled out threads.

Dymkovo toys for children

The symbol of the Vyatka land - the Dymkovo toy - has no analogues in the world. Bright colorful young ladies, gentlemen, peacocks, carousels, goats are immediately recognizable. Not a single toy is repeated. On a snow-white background, patterns in the form of circles, straight and wavy lines are drawn with red, blue, yellow, green, and gold paints. All crafts are very harmonious. They emit such powerful positive energy that anyone who picks up a toy can feel it. Maybe there is no need to place Chinese symbols of prosperity in the corners of the apartment in the form of three-legged toads, plastic red fish or money trees, but it is better to decorate the home with products of Russian craftsmen - Kargopol, Tula or Vyatka clay souvenirs, miniature wooden sculptures of Nizhny Novgorod craftsmen. It is impossible that they will not attract love, prosperity, health and well-being to the family.

Filimonovskaya toy

In children's art centers in many regions of our country, children are taught to sculpt from clay and paint crafts in the manner of folk crafts of central Russia. The kids really enjoy working with such a convenient and flexible material as clay. They come up with new designs in accordance with ancient traditions. This is how domestic applied art develops and remains in demand not only in tourist centers, but throughout the country.

Pavlovo shawls

Cozy, feminine and very bright shawls from Pavlovo Posad weavers became known throughout the world thanks to the amazing collection of fashionable clothes by Russian fashion designer Vyacheslav Zaitsev. He used traditional fabrics and patterns to make women's dresses, men's shirts, other clothing and even shoes. The Pavlovo Posad scarf is an accessory that can be passed down from generation to generation, like jewelry. The durability and wear resistance of scarves is well known. They are made from high quality fine wool. The designs do not fade in the sun, do not fade from washing and do not shrink. The fringe on scarves is made by specially trained craftsmen - all the cells of the openwork mesh are tied in knots at the same distance from each other. The design represents flowers on a red, blue, white, black, green background.

Vologda lace

Applied art does not stand still. Development and change occur constantly. It must be said that by the beginning of the last century, under the influence of developing industry, industrial manufactories equipped with high-speed electric machines appeared, and the concept of mass production arose. Folk arts and crafts began to decline. Only in the middle of the last century were traditional Russian crafts restored. In art centers such as Tula, Vladimir, Gus-Khrustalny, Arkhangelsk, Rostov, Zagorsk, etc., vocational schools were built and opened, qualified teachers were trained, and new young masters were trained.

Modern types of needlework and creativity

At one time, concrete walls and fences were decorated with a variety of drawings and inscriptions made in a highly artistic manner. Graffiti, or spray art, is a modern interpretation of an ancient type of rock painting. You can laugh as much as you like at teenage hobbies, which, of course, includes graffiti, but look at photographs on the Internet or walk around your own city, and you will discover truly highly artistic works.

Scrapbooking

The design of notebooks, books and albums that exist in a single copy is called scrapbooking. In general, this activity is not entirely new. Albums designed to preserve the history of a family, city or individual for posterity have been created before. The modern vision of this art is the creation of art books with illustrations by the authors, as well as the use of computers with various graphic, music, photo and other editors.

Quilling and origami

Origami, like quilling, is work with paper. Only origami is work with square sheets of paper from which all sorts of shapes are formed.

As a rule, all crafts related to papermaking have Chinese roots. Asian arts and crafts were originally a pastime for the nobility. The poor did not create beautiful things. Their destiny is agriculture, cattle breeding and all kinds of menial work. Europeans, having adopted the basics of the technique, which historically represented very small and delicate work with rice paper, transferred the art to conditions convenient to them.

Chinese products are distinguished by an abundance of very small details that look monolithic and very elegant. Only very experienced craftsmen can do such work. In addition, thin paper ribbons can be twisted into a tight and even coil only with the help of special tools. European lovers of handicrafts have somewhat modified and simplified the ancient Chinese craft. Paper, curled in spirals of different sizes and densities, has become a popular decoration for cardboard boxes, vases for dried flowers, frames and panels.

decorative arts and crafts

Decorative and applied art is one of the types of plastic art: the creation of artistic products that have a practical purpose in public and private life, and the artistic processing of utilitarian objects (utensils, furniture, fabrics, tools, vehicles, clothing, jewelry, toys, etc.). d.). Works of decorative and applied art form part of the objective environment surrounding a person and aesthetically enrich it. Originating in ancient times, decorative and applied art has become one of the most important areas of folk art, its history is connected with artistic craft, art industry, and activities professional artists and folk craftsmen, from the beginning of the 20th century. also with artistic design. Big encyclopedic Dictionary 1997

S.V. Pogodin gives a definition of folk decorative and applied art: “Folk decorative and applied art is defined as a type of art aimed at creating artistic products that have a practical purpose in public and private life, and the artistic processing of utilitarian objects (utensils, furniture, fabric, tools, clothes, toys."

Decorative and applied art existed already at an early stage of the development of human society and for many centuries was the most important, and for a number of tribes and nationalities, the main area of artistic creativity. The most ancient works of decorative and applied art are characterized by exceptional content of images, attention to the aesthetics of the material, to the rational construction of form, emphasized by decoration. In traditional folk art, this trend has persisted until the present day. With the beginning of the class stratification of society, interest in the richness of material and decor, in their rarity and sophistication, becomes increasingly important. Products that serve the purpose of representation are singled out (objects for religious rituals or court ceremonies, for decorating the houses of the nobility), in which, in order to enhance their emotional sound, craftsmen often sacrifice the everyday expediency of constructing the form.

Decorative and applied art is a multifunctional phenomenon. Practical, ritual, aesthetic, ideological, semantic, educational functions are in inextricable unity. However, the main function of the products is to be useful and beautiful.

In folk arts and crafts there are two directions:

-urban art crafts;
- folk arts and crafts

When we talk about decorative and applied arts, an important concept is folk art craft - a form of organizing artistic work based on collective creativity, developing local cultural traditions and focused on the sale of handicrafts. Crafts are an unusually flexible, mobile structure, developing although within the framework of the canon, but, nevertheless, sensitively responding to changes in style in professional art, individual creativity, to the demands of the time and a specific social environment. Preschoolers are introduced to some crafts: matryoshka, Gorodets, Khokhloma paintings, Filimonov and Dymkovo toys, Gzhel ceramics. The power of folk art lies in the transmission original techniques local professional excellence.

Decorative and applied art has characteristic features that distinguish it from other types of art:

- utility, practicality;
- syncretism or indivisibility of various aspects of the culture of the people (the relationship between the world and man, which enshrines the moral and aesthetic principles of both creativity and behavior), the essence of which was created and transmitted over many millennia;
- collectivity of creativity, i.e. the work is collective in nature, centuries-old experience of folk art is passed on from generation to generation;
- traditionalism is characterized by observance of traditions, but also arises due to urgent and spiritual needs, revealing the sphere of individuality;
- a reality that lies in its centuries-old relevance.

The category of integrity allows us to draw a dividing line between folk and decorative art itself. The distinctive feature of traditional decorative art from folk art is precisely the lack of integrity of worldview.

Getting acquainted with the variety and richness of products of folk craftsmen, children become inspired good feelings to those who created extraordinary things. In his book S.V. Pogodina writes: “Folk art provides food artistic perception children, contributes to aesthetic experience and first aesthetic judgments"

Getting acquainted with works of folk art, not only the child’s cognitive experience is enriched, but also his emotional and aesthetic activity. Each region has its own folk crafts, and the perception of their works by children contributes to the formation of aesthetic feelings and an emotionally positive attitude towards folk craftsmen and traditions. Beauty as a philosophical and aesthetic category in folk art has real forms of reflection. What we call beautiful in a work is created by expressive means that the master combines in accordance with the traditions of a particular trade or craft. In works of decorative and applied art, one of the main components that attract attention is form. It allows you to combine the functional side and the aesthetic side, so that external beauty and grace do not deny the practical purpose of the thing. Shape is one of the main components that attracts attention. The form contains several characteristics. Firstly, it largely determines the meaning of the subject. Secondly, the form expresses the creative intent of the master and reveals a specific idea. Thirdly, it serves as a kind of symbol, the meaning of which has been passed down from generation to generation.

In folk art, the relationship between purpose and material, the interaction of form and function, is important. The material can help reveal the essence of the object, or it can disrupt its integrity and make it unsuitable for use. Thanks to the material, the master manages to come up with material basis to its design, however, the material itself remains in the background when perceiving the object, while the decor comes to the fore. Decor is the final moment of decorating a thing. Decorations distinguish works of folk art from each other, make them unique and therefore valuable. In decor there are no objects of the same type in shape. When making the same ornament, it is difficult to repeat all the details in detail.

Techniques for performing work depend on the tasks facing the master.

Technology. Traditional folk art and technology are not mutually exclusive. It all depends on how technology is used in the process of creating something that bears the imprint of the past experience of the people. The most important thing is that in the pursuit of improving or facilitating the process of making an object of folk art, its cultural and historical uniqueness is not lost.

An object acquires aesthetic value thanks to its ornamentation. Ornament is a pictorial, graphic or sculptural decoration that artistically decorates a thing, which is characterized by a rhythmic arrangement of design elements

The rhythmic structure of the ornament forms the artistic basis of many products: dishes, furniture, carpets, clothing. The ornamental language is extremely rich. Depending on the nature of the motifs, the following types of ornaments are distinguished: geometric, floral, zoomorphic, anthropomorphic, combined.

A geometric pattern can consist of dots, lines, circles, rhombuses, polyhedra, stars, crosses, and spirals. This type of ornament is one of the oldest. At first these were easily remembered signs and symbols. Gradually, people began to enrich it with real observations and fantastic motifs, observing the rhythmic principle, complicating its content and aesthetic significance.

Vegetable the ornament is made up of stylized leaves, flowers, fruits, branches. The “tree of life” motif is often found - this is a floral ornament. It is depicted both as a flowering bush and in a more decorative manner.

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

Anthropomorphic ornament uses male and female stylized figures or parts of the human face and body as motifs. This also includes fantastic creatures such as the bird-maiden and the horse-man.

Often there is a combination of a variety of motives. Such an ornament can be called combined . L.V. Kosogorov and L.V. Neretina also includes calligraphic (from letters and text elements) and heraldic (cornucopia, lyre, torches, shields) ornaments.

According to the nature of the compositional schemes, the ornaments are:

- tape
- mesh
- closed.

Ornament - the most characteristic, a special sign of peasant art objects. Ornament allows us to talk about the aesthetics of the object, its artistry.

The following materials are used in decorative and applied arts: wood, clay, metal, bone, fluff, wool, fur, textiles, stone, glass, dough.

Based on technique, decorative and applied art is divided into the following types.

Thread. Decorating a product by applying a pattern using various cutters and knives. Used when working with wood, stone, bone.

Painting. Decoration is applied with dyes to a prepared surface (usually wood or metal). Types of painting: on wood, on metal, on fabric.

Embroidery. A widespread type of decorative and applied art in which the pattern and image are made by hand (with a needle, sometimes with a crochet hook) or using an embroidery machine on various fabrics, leather, felt and other materials. They embroider with linen, cotton, wool, silk (usually colored) threads, as well as hair, beads, pearls, precious stones, sequins, coins, etc.

Types of embroidery: mesh, cross stitch, satin stitch, cutout (the fabric is cut out in the form of a pattern, which is subsequently processed with various seams), typesetting (done with red, black threads with the addition of golden or blue tones), top stitch (allows you to create three-dimensional patterns on large planes) .

For sewn appliqués (a type of embroidery, often with a raised seam), fabrics, fur, felt, and leather are used. Embroidery is used to decorate clothing, household items, and to create independent decorative panels. Main means of expression embroidery as an art form: identifying the aesthetic properties of the material (the iridescent shine of silk, the even shimmer of linen, the shine of gold, sparkles, stones, the fluffiness and dullness of wool, etc.); using the properties of the lines and color spots of the embroidery pattern to additionally influence the rhythmically clear or whimsically free play of seams; effects obtained from the combination of a pattern and image with a background (fabric or other base) that is similar or contrasting to the embroidery in texture and color.

Knitting. Making products (usually clothing items) from continuous threads by bending them into loops and connecting the loops to each other using simple tools manually (crochet hook, knitting needles) or on a special machine (mechanical knitting).

Weaving. Refers to a technique based on the interweaving of strips in the form of a mesh, having different configurations and patterns.

Types of weaving: lace and bead weaving, weaving from birch bark and wicker, from threads (macrame), from paper.

Printing (stuffing). Obtaining a pattern, monochrome and color patterns on fabric manually using forms with a relief pattern, as well as fabric with a pattern obtained by this method. Forms for heeling are made from carved wood (manners) or typesetting (typesetting copper plates with nails), in which the pattern is typed from copper plates or wire. When printing, a paint-coated form is placed on the fabric and hit with a special hammer (mallet) (hence the name “printing”, “stuffing”). For multi-color designs, the number of printing plates must correspond to the number of colors.

Printing is low-productivity and has almost completely been replaced by printing designs on fabric on printing machines.

Casting. Used when working with precious metals. Under the influence of high temperatures, the metal is brought to a molten state and then poured into prepared molds.

Coinage. When heated, the metal is accelerated into a thin sheet, without losing its elasticity and elasticity. The shape of the object is created already in a cooled state using accelerating hammers, as a result of which products of convex and concave shapes are obtained.

Forging. One of the ways to process iron. The heated workpiece is given the desired shape by hammer blows.

Gilding. A gold-making operation in which less valuable metals acquire the appearance of gold. Types of gilding: cold, fire, liquid.

Filigree (filigree); (from Latin wire). It is a decoration made of thin gold or silver smooth or embossed wires, which are rolled into spirals, tendrils, lattices and soldered to the object. Filigree is made from pure gold or silver, which, due to the absence of impurities, are soft and capable of being drawn into very thin wires. Cheap scanned items were also made from red copper wire and then gilded or silvered.

Enamel. A special type of glass that is colored with metal oxides in various colors. It is used to decorate metal products and represents a picturesque accompaniment to a gold product. Enameling is the complete or partial coating of a metal surface with a glass mass, followed by firing of the product.

Black. A mixture of silver with copper, sulfur and lead, composed according to certain recipes, is applied to engraved objects made of light metal, and then the whole thing is fired over low heat. Niello is a black mass - a special alloy of silver, similar to coal.

Blowing. Techniques used when working with glass. Glass, brought to a liquid state, is blown in a hot state using special tubes, thereby creating products of any shape.

Modeling. One of the most common techniques in arts and crafts, thanks to which many toys and ceramic products are created. This is giving shape to a plastic material (plasticine, clay, plastic, plastics, etc.) using hands and auxiliary tools.

Batik. Hand-painted on fabric using reserve compounds. The fabric - silk, cotton, wool, synthetics - is coated with paint corresponding to the fabric. To obtain clear boundaries at the junction of paints, a special fixative is used, called reserve (reserve composition, paraffin-based, gasoline-based, water-based - depending on the chosen technique, fabric and paints).

Mosaic. Decorative, applied and monumental art of various genres, the works of which involve the formation of an image by arranging, setting and fixing on the surface (usually on a plane) multi-colored stones, smalt, ceramic tiles and other materials.

Origami. Ancient art folding paper figures. Classic origami requires the use of one sheet of paper without the use of glue or scissors. In this case, often to give the shape of a complex model or to preserve it, impregnation of the original sheet with adhesive compositions containing methylcellulose is used.

By purpose: utensils, furniture, fabric, tapestries, carpets, tools, weapons, clothing and jewelry, toys, culinary products.

By functional role:

Practical art is associated with the use of human activity in economic and everyday life to obtain practical benefits.

Artistic and aesthetic, due to the realization of human aesthetic needs.

Leisure activities aimed at satisfying the human child’s needs for entertainment and games.

According to manufacturing technology:

Automated. Products are made automatically according to a given program, pattern, patterns (Tula gingerbread cookies, printed scarves, etc.).

Mixed. Both automated and manual labor are used.

Manual. The products are made only by hand, and each product is individual.

Decorative and applied arts use a number of means of artistic expression.

1) Proportion

Proportions in a work of art are the ratio of the sizes of its elements, as well as individual elements of the composition with the entire work as a whole. Compliance with proportions plays an important role in the composition, since this creates a favorable relationship between the whole and its parts.

2) Scale and enormity

The concepts of scale and magnitude are used if it is necessary to characterize the proportionality of the whole or its individual parts.

Objects of the subject environment created by man must be large-scale in relation to him, i.e. their mass should be related to the mass of the human body.

Scale is a relative characteristic of the size of an object; it is the ratio of the size of an image in a picture, sketch, or drawing to its actual size in kind.

Scale is the proportionality of a form and its elements in relation to a person, the surrounding space and other forms. Each object has its own scale, but it is not always possible to talk about its scale and proportionality in relation to a person. Scale is a qualitative characteristic, especially in volumetric and volumetric-spatial compositions. As a means of composition, it should be used quite freely, guided by considerations of artistic expressiveness.

An important means of bringing various forms and their elements to harmonious unity is rhythm.

Rhythm (Greek flow) is the alternation of commensurate elements of any whole, occurring with a natural sequence and frequency.

Rhythm is inherent in various phenomena and forms of nature: the change of seasons, day and night, the arrangement of leaves on a tree branch, stripes and spots in the color of animals, etc. It exists in all works of art: music (alternation of sounds), poetry (alternation of rhymes ), architecture, fine and decorative arts (various repetition and alternation of forms on a plane or in space).

Color is one of the important means of artistic expression; it conveys the attitude towards the created image. It helps to identify the basic properties of objects and gives everyone the opportunity to express their individuality.

5)Composition

This is the most important structural principle of a work, organizing the relative arrangement of its parts, their subordination relative to each other and the whole, which gives the work unity, integrity and completeness.

6) Texture

This is the nature of the surface of an object, determined by the properties of the material from which it is composed and the method of its processing.

7) Symmetry

Symmetry - Proportional, proportional arrangement of parts of something. in relation to the center, middle.

A silhouette is a single-color outline image of a person or object against a background of a different color, drawn or cut out.

Children's aesthetic perception of the visual, plastic features and textural properties of materials characterizing examples of folk applied art has been studied relatively little. Numerous observations and conversations allow us to say that children show a keen interest in subjects of Russian folk art. Children are impressed by colorful brush paintings on wood in the works of folk artists of Gorodets and Khokhloma painting, patterns of plants, flowers and birds, rich in color, decorative Zhostovo trays, and Semyonovskaya painted nesting dolls. The products of Bogorodsk carvers evoke cheerful smiles and sympathy among children: bears that can build houses and ride bicycles, birds and deer, decorated with the famous Bogorodsk carvings. Children very emotionally and directly show their attitude towards decorativeness, expressiveness of images, the beauty of the texture of materials of folk works of applied art, rejecting, as a rule, naturalistic and overloaded with decor samples.

Through communication with folk art, the child’s soul is enriched and a love for his land is instilled. Folk art is preserved and passed on to new generations national traditions and forms of aesthetic attitude towards the world developed by the people. Because the experience of thousands of years is embodied in folk art.

When talking about the use of works of decorative and applied art in kindergarten, special attention is paid to the objects traditional types folk art. Indeed, the products of folk craftsmen: wood carving and painting, lacquer miniatures and embossing, glass and ceramics, woven, lace and embroidered products, folk toys are a manifestation of the talent, skill and inexhaustible optimism of folk artists. Beautiful examples of decorative and applied arts help to instill in children respect and love for the culture of their people, their Motherland, and their land. The predominance of plant forms is a feature of Russian folk art.

The art of folk craftsmen helps to reveal to children the world of beauty and develop their artistic taste. Folk art contributes to a profound impact on the child’s world, has moral, aesthetic, and educational value, embodies the historical experience of many generations and is considered as part of material culture.

Folk decorative and applied art is a complex phenomenon of historical, sociological, ethnographic and national artistic cultures and at the same time the most democratic and accessible to people from childhood.

DECORATIVE AND APPLIED ARTS - section visual arts, whose works differ in function and scale from monumental and easel works.

The term is characteristic of the culture of modern times, emphasizing the subordinate position of decorative and applied arts in relation to other types of fine arts. Separation of arts and crafts from others fine arts reflects the concept of prevalence aesthetic value works of art over their utilitarian properties. Widespread in Western art history, the term ars minoris (art of small forms), close to the definition of Decorative and Applied Arts, emphasizes the difference in scale, without contrasting works of different types of art and implying freedom to borrow forms and motifs. Works of decorative and applied art (dishes, furniture, other household items, costume, weapons, luxury items and decorations, including insignia - signs of power and dignity - crown, stemma, tiara) are commensurate with a person, closely related to his activities, taste, wealth, level of education, but their materials and technologies may largely coincide with other types of spatial arts.

Interest in arts and crafts and medieval crafts among European artists romantic era mid-19th century is associated with an increase in the production of industrial products of low artistic quality. The Pre-Raphaelites, representatives of the Arts and Crafts movement, proclaimed the equality of art and craft, and the Arts and Crafts were defined as “artistic crafts.” In the 60-90s of the 19th century, W. Morris and F.M. Brown organized a company that specialized in decorating interiors with handmade works of decorative and applied art. The medieval form of association of artists (“Guild of the Century”, 1882, England) was proposed as a social form for the revival of artistic crafts.

The understanding of decorative and applied art as an independent field of artistic creativity and an integral component of the synthesis of arts, partly consonant with medieval church artistic syncretism, is characteristic of the Art Nouveau style at the beginning of the 20th century, for example, for the works of artists of the Abramtsevo circle and the World of Art association (M.A. Vrubel , V.M. Vasnetsov, E.D. Polenova, etc.). Avant-garde artists of the 20th century, who set the task of transforming man through reforming everyday life and living conditions, often worked in the field of decorative and applied arts (for example, drawings for fabrics by V. Stepanova in the 20s of the 20th century). The combination of creative freedom in the interpretation of the image, characteristic of the leading spatial arts, with the abundance of forms and materials of decorative and applied art stimulated the development of design - the leading specialization of modern art, the art industry and the mass goods industry in the 20th century. Since the end of the 20th century, crafts specializing in the manufacture of church items have been actively revived in Russia. The leading role in this process belongs to the artistic and production enterprise of the Russian Orthodox Church "Sofrino", founded in 1944, which produces more than 3 thousand types of products, including iconostases, altars, fences on the salt, wall and floor church utensils (cases, funeral tables, lecterns), furniture for the temple, chandeliers, jewelry (icons and frames for them, censers, monstrances and tabernacles, chalices, dishes, lamps, crosses, Easter eggs, etc.). In the sewing workshop, vestments for clergy are made, as well as shrouds, covers, banners, airs, tablets, etc. decorated with facial and ornamental embroidery. Church fabrics of high artistic quality come from the gold-embroidery workshop of the Trinity-Sergius Lavra. The sisters of the Novotikhvinsky Monastery in Yekaterinburg are reviving the church art of embroidery, creating temple and liturgical vestments, embroidered icons and souvenirs. With the restoration of monastic life in 1989 at the Holy Trinity Novo-Golutvinsky Convent in Kolomna, workshops were created, among which embroidery and ceramics are of particular interest, where icons, miniature sculptural or relief compositions on the theme of monastic life, etc. Modern artists working in the Rostov enamel technique create miniature images of saints (“St. Sergius of Radonezh the Wonderworker, with a Life”, 1997, artist M. A. Rozhkova (Maslennikova), Sofrino company; “Saints Sergius of Radonezh and Seraphim of Sarov”, 1992, Rostov, artist B.M. Mikhailenko, GMZRK; “Saint Demetrius, Metropolitan of Rostov”, artist N.A. Kulandin, private collection, and many others).

The classification of types of decorative and applied art by scale, material, degree of creative freedom, adopted by the art history of modern times, reflects the difference in their perception by secularized consciousness and medieval religious consciousness, which emphasized the semantic unity of the architecture of the temple, works of monumental (mosaic, fresco) or easel (icons) forms and items of church utensils and decorations filling the church building, which is confirmed by the inventories of church property, which defined church utensils, icon decorations, vestments and books as “church building”, “the grace of God”. Their descriptions are often more detailed than the descriptions of the iconography of the images, therefore the existence of a particular icon, primarily a revered one, can be traced only thanks to the peculiarities of its decoration (setting, weights, butts).

For the Middle Ages. For Christians, the symbolic meaning of the material from which the object was made was important. Thus, precious materials were considered the most appropriate for objects intended for the Divine Liturgy or adorning the dwelling of God. The close connection of objects of decorative and applied art, including works of church utensils and decoration, with natural materials and handicraft technologies for processing them allowed the art history of the Soviet period to consider them in the context of folk art. In modern domestic science, the term “church utensils” (“church building”) has gradually become established, denoting works of decorative and applied art created for worship and church decoration. These include liturgical vessels (chalices, patenes, dishes, plates, stars, copies, spoons, etc.); priestly vestments and vestments of the throne (antependium, indium); lamps (candeas, chandeliers, lamps); decoration of icons (frames, tsats, weights), books (frames of the Gospels), interior (choirs, barriers, pulpits, fonts); small plastic works (cameos and intaglios, crosses and icons made of bone, cast encolpion crosses and shotguns); bells

In the Middle Ages, there was a tradition of making contributions “to commemorate the soul” in churches and monasteries in the form of donations of items of secular luxury (fabrics, clothing, dishes, jewelry), as a result of which the sacristies and interiors of the most ancient cathedrals, for example Hagia Sophia in Constantinople and Hagia Sophia in Kiev, became the first collections of masterpieces of decorative and applied art. Treasure troves of works of medieval goldsmithing Western Europe are the sacristies of the cathedrals of St. Peter in Rome, San Marco in Venice, St. Vitus in Prague, the cathedrals of Genoa, Cologne, Madrid, Aachen, the Loretan Monastery in Prague and the collection of the Christian Museum in Esztergom. In Russia, the sacristies of the Trinity-Sergius Monastery (SPGIAHMZ), the Hagia Sophia Cathedral in Novgorod (NGOMZ), and the churches of the Moscow Kremlin (GMMK) are famous.

The details of the decoration of the icons of the Mother of God (coruna, ubrus, cassocks, earrings, monista pendants, wrists) repeated the types of women’s jewelry or were actually secular jewelry “attached” to the shrine (Sterligova 2000, pp. 150-160; Royal Temple. 2003. P. 69). Pious zeal had no national boundaries. The Novgorod prince Mstislav Vladimirovich sent to Constantinople, accompanied by trusted people, the Gospel written on his order, for which a precious setting was created there, the price of which “only God knows” (Mstislav’s Gospel, 1st quarter of the 12th century; updates of the 16th century, State Historical Museum).

Materials and techniques of decorative and applied arts.
The most common classification of decorative and applied arts is based on differences in materials and methods of processing. Items can be made of metal, stone, glass, ceramics, porcelain, fabrics, wood and bone. Some arts and crafts materials (metal, stone, wood) have been known since the prehistoric period. Techniques and technologies for their processing, improved for the purpose of creating works of art in antiquity, were inherited by medieval and modern civilization through Byzantium (see the article Byzantine Empire, section “Applied Art of Byzantium”). The popularity of Constantinople jewelry and enamel workshops is evidenced by the fragments (1st quarter of the 12th century) from the frame of the Mstislav Gospel (before 1125, State Historical Museum), the altar image of the Cathedral of San Marco in Venice - the so-called Pala d'Oro (Pala d'Oro) (2nd half of the 11th century), numerous Byzantine stavrotheques and enamel medallions stored in medieval Christian treasuries. Christian culture adapted works of the ancient pagan world (cameos, intaglios, vessels from semi-precious stones) to your needs. Thus, the decor of water bowls with images of Dionysus was supplemented with Christian prayer formulas or texts of psalms, after which the vessels were used for liturgy.

During the Middle Ages, masters of decorative and applied arts from different countries borrowed forms and ornamental motifs from each other. Thus, Gothic pointed cross-shaped flowers and elongated S-shaped figures are found in the works of Byzantine masters of the 14th century (the paten of Thomas Prelubovich, 2nd half of the 14th century, Vatopedi monastery) and Russian silversmiths of the 15th century (Panagiar 1435 by the Novgorod master Ivan, NGOMZ). Russian gold and silver smiths of the 14th-15th centuries used oriental motifs; in the 16th century they decorated church utensils with beads made by Golden Horde craftsmen of the 13th-14th centuries (Tsarsky Temple. 2003. pp. 354-355. Cat. 125). Turkish designs appear on silver ecclesiastical vessels made in Constantinople in the 15th-16th centuries (chalice of Patriarch Theoleptos, 1680s, Pavlos and Alexandra Kanellopoulos Museum, Athens; see: Byzantium: Faith and Power (1261-1557): Cat. оf an Exhibition. N. Y., 2004. P. 446-447. Cat. 271), are used in works of Balkan toreutics of the 16th-17th centuries (Feher G. Türkisches und Balkanisches Kunsthandwerk. Corvina, 1975; Christian art of Bulgaria: Exhibition Catalog. October 1 - 8 December 2003. M., 2003. P. 45). The art of the masters of Istanbul influenced color scheme Russian enamels of the 17th century (Martynova. 2002. pp. 14, 20).

Among the metal processing techniques known are casting, forging, embossing, punching, perforating, shotting, basma, engraving, inlay, electroplating (gilding, silvering, patination), filigree, filigree, granulation, enameling. For liturgical vessels, it was prescribed to use precious metals or tin, which does not form toxic substances. Treasures with silver and gold church objects have been known since the late antique and early Byzantine periods in Asia Minor and Syria. Metal objects of church decoration, covered with images, repeated the iconographic designs adopted in icon painting and monumental painting; when they became dilapidated, they were renewed while preserving the ancient parts; if this was impossible, they were kept in the church treasury or sacristy, noted in inventories and inventories. Metal secular utensils (ladles, cups) were placed in churches, given as gifts to clergy, and used in worship as vessels for warmth (dill pots).

Using the casting technique, encolpion crosses, beads for decorating frames, etc. were made. Images and inscriptions were made by engraving (the chalice of Archbishop Moses, 1329, GMMK). The fire gilding technique, adopted by Russian craftsmen from Byzantine craftsmen, was used to decorate church and altar gates (Vasilevsky Gates, 1335/1336, the southern portal of the cathedral of the Alexander Assumption Monastery). The frames of icons, books, and lamps were decorated with filigree, filigree, and grain. A type of filigree were cones made of thin wire soldered onto the surface, often used by Western European craftsmen of the Ottonian era (10th - mid-11th centuries) and Moscow goldsmiths of the 14th century, who used them to decorate icon frames (the crown and hryvnia of the “Our Lady of Bogolyubsk” icon from the Annunciation Cathedral of the Moscow Kremlin, the crown of the Mother of God on the icon “Our Lady of Mammal” (GOP) (Martynova. 1984. P. 109; Sterligova. 2000. P. 207-213; Royal Temple. 2003. P. 101-103. Cat. 9-10)). In the mature Middle Ages, Novgorod filigree and filigree were famous on the territory of Ancient Rus'; during the period of the unification of the Russian state, Moscow became the leading center of filigree technology.

One of the varieties of enameling is the niello technique, which consists of applying a mass of silver, copper, lead, sulfur and borax to an engraved or etched image on metal, followed by firing. IN XVI-XVII centuries niello was used to decorate the pellets on official vestments, shrouds, and church objects, referred to in the inventories as “holy pellets written in niello” (Inventory of the Image Chamber of the Moscow Kremlin, 1669; see: Uspensky A.I. Church-archaeological repository at the Moscow Palace in the 17th century // CHOIDR 1902. Book 3. pp. 67-71). Weapons were also decorated with niello. The masterpieces of silver and gold making in the 17th century were examples of ceremonial weapons decorated with enamels, made by masters of the Armory Chamber (Martynova. 2002. Cat. 65, 66, 80-82, 104, 105, 221-224).

Stone cutting is closely related to architecture and sculpture. The ancient tradition of decorating buildings with sculpture was inherited by Byzantium and the countries around it. It is reflected in the external decor of Christian churches in the Lesser Metropolis of Athens (12th century), including ancient reliefs transformed in the Christian spirit. Russian churches in pre-Mongol times, for example the Hagia Sophia Cathedral in Kyiv, were decorated with slate slabs with relief figures of holy warriors. A small slate icon with shoulder-mounted images of the Savior and St. John the Baptist from the collection of A.S. Uvarov (State Historical Museum) dates back to the 18th-19th centuries.

Foreigners who came to the Moscow state from the Orthodox East (Arseniy of Elassonsky at the end of the 16th century, Archdeacon Pavel of Aleppo in the middle of the 17th century) noted the luxury of church decoration, the abundance of pearls and precious stones on objects and clothes. In the 16th-17th centuries, polished and faceted precious stones were used to decorate frames, crowns, pendants, and tsats of revered icons of Moscow Kremlin churches, etc. Thus, the frame of the Vladimir Icon of the Mother of God, according to the inventory of the Assumption Cathedral of 1627, was decorated with 64 “azorium yahonts” (sapphires ) of various sizes, 44 lalas, 7 emeralds, 25 shells, “stone of the south”, “tunpas” (topaz), approximately 160 “gurmin grains” (large and medium pearls of regular shape), not counting weights, butts and small pearls on the bottom elements of the frame (Inventory of the Moscow Assumption Cathedral of the 17th century // RIB. 1876. Issue 3. Stb. 375-376). According to the inventory of 1701, the frame of the same miraculous icon was decorated with almost 1 thousand diamonds, as well as stones, pearls and weights (Ibid. Stb. 575-577). The local image of the Savior on the throne (“The golden robe of the Savior”) had 282 “emeralds” on the frame, in addition to other stones (Ibid. Stb. 568). According to the inventory of the Annunciation Cathedral of 1701-1703, the headdress of the Don Icon of the Mother of God, made by order of Tsarina Natalia Kirillovna in the mid-90s of the 17th century, was “a real mineralogical collection, because it consisted of six hundred differently cut emeralds, many other precious stones and pearls” (Royal Temple. 2003. pp. 63-78).

Stone-cutting art includes works of glyptics - precious and semi-precious stones placed in a frame with relief (cameo) or counter-relief (intaglio) images. Byzantine cameos with images of saints were included in the decor of ceremonial objects (a 10th-century sapphire cameo as part of the panagia of Archbishop Pimen, 1561, NGOMZ) or in butts for icons ordered by sovereigns (“Our Lady of the Burning Bush” in the Kirillov Belozersky Monastery: a gold icon with a chain and a sapphire cameo with the image of the Great Martyr George - see: Inventory of the Kirillo-Belozersky Monastery of 1601. St. Petersburg, 1998. P. 74), belonged to noble persons (carved image of the Great Martyr George on the jasper stone of the Mezetsky prince Semyon Romanovich - see: Acts of the Suzdal Spaso- Evfimievsky Monastery, 1506-1608. M., 1998. P. 220).

Old Russian craftsmen used antique, Byzantine or Western European bowls made of semi-precious stones to make vessels for communion, for example, chalice (the chalice of Archbishop Moses of Novgorod, 1329, GMMK). There were similar bowls in Moscow and Novgorod cathedrals; an inventory of 1577-1578 records in the cathedral of the city of Kolomna “patyr ... carnelian” (Cities of Russia of the 16th century: Materials of scribal descriptions. M., 2002. P. 7).

Among the artistic glass processing techniques, blowing, stamping, carving, and engraving are common. Glassware was produced in Ancient Egypt, Ancient Greece and Rome, in Byzantium. In pre-Mongol Rus', colored glass beads and bracelets were in demand. In Western Europe, during the Gothic era, glass reliquaries of architectural forms began to be made, which were used to display shrines during religious processions and ceremonies. The heyday of Western European art glass began with the Renaissance.

Glass was the basis of stained glass - a type of monumental painting that reached its highest development in Western Europe, but was known in Byzantium and the countries around it.

Smalt was made from glass for monumental and miniature mosaics; examples of the latter are Byzantine icons of the 13th-14th centuries.

Glass is the basis of cloisonné and champlevé enamel decorating metal products. The technique of cloisonne enamel, which was developed in Byzantium in the 9th-12th centuries, consists of soldering thin partitions onto a metal surface to form the outlines of images. The voids between them are filled with powdered colored glass, diluted in water or a vegetable binder (honey, resin), followed by firing and polishing of the product. The most famous are the enamels of the Constantinople workshops, which worked for both Byzantine and foreign customers (enamels of the 10th-12th centuries. Pala d'Oro; the initial fractions of the Mstislav Gospel, 1st quarter of the 12th century). A simpler type of enamel is champlevé, which involves filling glass mass of depressions in a copper or bronze base, forming an image. One of the oldest centers for the production of enamels was the city of Limoges. Limoges enamels are used to decorate utensils found during archaeological research in Suzdal, the setting of the Gospel from the Anthony Monastery (XIII century, NGOMZ). In the mature Middle Ages the largest center for the production of enamel was Novgorod, at the turn of the 15th and 16th centuries this role passed to Moscow. In the 17th century, in various Russian centers (Vyatka, Rostov, Usolye), picturesque enamel flourished, decorating small medallion pellets. A background was applied to a silver or copper base a layer of one-color enamel, then it was painted with enamel paints, fired and polished. Since the era of Peter the Great, portraits have been created using this technique (masters A.G. Ovsov, G.S. Musikiysky).

One of the largest centers of enamel production was Rostov, where by the middle of the 19th century about 100 enamellers worked. In the 18th-19th centuries, enamel medallions (fractions) with images of sacred subjects were used to decorate church decorations (chalice by Yegor Iskornikov for the Donskoy Monastery, 1795, State Historical Museum; tabernacle of the Kazan Cathedral, 1803-1807, State Historical Museum; enamel inserts by D.I. Evreinov with scenes of “The Sermon of John the Baptist in the Desert” based on the original by A. R. Mengs, “The Resurrection of Christ” based on the original by an unknown artist, “Transfiguration” based on the original by Raphael, “The Holy Family” based on the original by A. Bronzino), vestments and bishop’s mitres (mitre XIX century, State Historical Museum "Rostov Kremlin"), frames of icons and altar Gospels. Enamel medallions with images of revered saints served as pilgrimage relics (“Reverend Sergius of Radonezh before the tombs of his parents,” 2nd half of the 19th century, Central Museum of Art and Culture, State Museum of Fine Arts of the Republic of Tatarstan (Kazan)). Enamels in combination with filigree were widely used in objects of the so-called Russian style of the 2nd half of the 19th - early 20th centuries.

The material of ceramics (from the Greek κέραμος - shard) is clay, formed by hand or on a potter's wheel and then fired. Since antiquity, ceramic products have been decorated by engraving, stamping, painting and then covering them with a facing layer of colored glaze. In the Romanesque era (11th century), high-quality architectural ceramics appeared - facing tiles and tiles. On the territory of the countries of the Byzantine circle, ceramic icons were created, the prototype of which was one of the main Christian shrines - the Image of the Savior not made by hands on the skull (Keramidion), located in Constantinople, revered on a par with the Image of the Savior not made by hands on the ubrus (Mandylion). These images, closely related to architecture, in Moscow churches of the 14th-16th centuries were often complemented by other elements of facade decoration made using ceramic techniques, for example, ornamental belts. Similar icons were found in Bulgaria in the 10th century. Among the Russian icons, the following are known: the round icon “St. George” from the Assumption Cathedral of Dmitrov (2nd half of the 14th - 1st half of the 15th centuries), icons from the facades of the Boris and Gleb Cathedral of the Staritsa (1558-1561), “The Crucifixion of Christ” with an arched finish and a round icon “The Savior Not Made by Hands” (both 1561, State Historical Museum). Tiles with ornaments were part of Russian temple decor. architecture XVII century (the cathedrals of Yaroslavl, Joseph Volokolamsk Monastery, Resurrection New Jerusalem Monastery).
In Western European art, religious subjects were depicted on stove tiles (stove tile depicting martyrdom, Bohemia, 15th century, Prague, Museum of Applied Arts). During the Renaissance in Italy, the majolica technique developed: clay white covered with 2 layers of glaze - opaque, containing tin, and transparent, shiny, containing lead. Painting is done on wet glaze using blue, green, yellow and purple paints that can withstand subsequent firing. Especially famous are the majolicas made by the masters of the Florentine della Robia family - Luca, Giovanni and Andrea, who collaborated with outstanding architects, for example with F. Brunneleschi. Majolica reliefs decorated the interiors of churches (Pazzi Chapel, 1430-1443) or the facades of buildings (Orphanage, 1444-1445). Majolica dishes were popular: dishes, pilgrim flasks painted with biblical or allegorical scenes borrowed from engravings, jugs with decorations and figures of saints (jug with relief figures of Saints Catherine, Barbara and Elizabeth, Bohemia, 16th century, Prague, Museum of Applied Arts; pilgrimage flask with images of Cain and Abel, Urbino, 16th century, ibid.). Items made of earthenware and porcelain (dishes, small plastic items), produced in Europe from the beginning of the 18th century, served mainly for secular needs. Much later, porcelain began to be used for church decorations (porcelain iconostases in Russian monasteries in the 2nd half of the 19th century).

The flourishing of majolica in the Art Nouveau era is associated with the decoration of facades, including church ones: churches in honor of the Resurrection of Christ and the Intercession of the Mother of God in Gorokhovsky Lane in Moscow (architect I.E. Bondarenko, 1907-1908), the Church of the Savior Not Made by Hands in the village of Klyazma near Moscow (architect S.I. Vashkov, 1913-1916).

Among the techniques of church artistic fabrics, front and ornamental sewing and tapestries predominate. In the weaving of late antiquity and early Christianity, pagan and Christian ornamental motifs and images coexisted (Coptic fabrics of the 4th-10th centuries, GE). In Eastern and Western Christianity, a common way of decorating woven products, especially those intended for church service, there was embroidery. During the Middle Ages, face sewing was an area women's creativity, distinguished by special piety, since it partly repeated the activities of the Virgin Mary during Her stay in the Jerusalem temple, when She, according to the account of the Annunciation of the Most Holy Theotokos, spun purple thread. Spinning with the hands of the Mother of God symbolized the Incarnation, the woven flesh of the God-Man, which gave the ancient craft a theological meaning.

Ornamental embroidery in combination with precious stones, pearls, facial and ornamental beads decorated the clothes of clergy (Big (Byzantium, 1414-1417, GMMC) and Small (mid-14th century, Byzantium, XV-XVII centuries, Russia, GMMC) sakkos of Metropolitan Photius ). Face sewing was used to create shrouds for icons, liturgical and grave covers. The iconography of the subjects, as a rule, repeated the pictorial iconography. Work on the execution of important sewing items was distributed similarly to work on icons or frescoes. The posters for the compositions were the best artists of their time. Thus, in the middle - 2nd half of the 17th century, S. Ushakov was engaged in marking the works of the workshops of the Armory Chamber (Mayasova. 2004. P. 9, 46-47). Other masters specialized in “signifying” words and herbs. The workshops had technical secrets and stylistic features. In the 16th century, the sewing of the craftswomen of Princess Eudokia (monastically Euphrosyne) Staritskaya, which served as a model, was popular: it is known that in 1602, by order of Boris Godunov, the shroud (“great air”) made by the Staritsky workshop was returned to the Kirillov Belozersky Monastery, which was taken to Moscow for copying (Ibid. p. 62). In the 17th century, the Stroganov workshops were famous for the quality and quantity of their works.

The precious decoration of liturgical books, especially the altar Gospels, includes povorozes, or pads - richly decorated bookmarks with ornamental embroidery and pearls. They were used to lay the texts read at the service (Sazanova E.G. Bookmarks as an element of design of altar gospels of the 16th-17th centuries. // Kirov Art Museum named after V.M. and A.M. Vasnetsov: Materials and research. Kirov, 2005. With 4-11).

Fabrics and sometimes even foreign-made sewing were widely used in the Orthodox East for church vestments. The sakkos, probably ordered in Italy for the Patriarch of Constantinople Cyril Lucaris (late 16th-17th centuries, GMMC), is decorated with embroidered inserts with images of saints; in the middle of the 17th century, this sakkos came to Russia and belonged to Patriarch Joasaph II.

Facial church embroidery in the Western tradition could have a monumental and memorial character. Thus, on a carpet from Bayeux (circa 1080, Museum in Bayeux; 2x0.5 m) the history of the conquest of England by the Normans is depicted. In addition, the Western tradition used woven wall works (trellises) with images of New Testament events (the adoration of the Magi, the life of the Virgin Mary, the Apocalypse). Some woven products for church purposes, for example, carpets for choir benches with abundant floral decoration produced in the French city of Tours, imitated curtains with pinned fresh flowers that traditionally decorated the streets during religious processions on the feast of Corpus Christi. From the Middle Ages to the end of the 16th century, woven works, items of church vestments, as well as tapestries and tapestries with themes of a church nature were made in the Netherlands, France, and Germany.

Since the Renaissance, tapestries have been woven on cardboards by famous masters, including religious subjects (the series of tapestries “Tales of the Virgin Mary of Sablon”, Brussels, 1518-1519, on cardboards by B. van Orley (?)).

From the 17th to the beginning of the 19th century, interest in religious subjects and other products of an ecclesiastical nature declined; European tapestry manufactories concentrated on repeating the works of leading secular masters (P.P. Rubens, F. Boucher, etc.).

Wood, including rare species (cypress - the material of Athonite carvers), is one of the most ancient materials of decorative and applied arts. The leading wood processing techniques are carving and turning. Wooden works of church decorative and applied art are close to works of architecture (royal and entrance gates, for example the “Golden” gates for the southern entrance to the Hagia Sophia in Novgorod (60s of the 16th century, fragments in the State Russian Museum), tiblas and iconostases of the 17th-18th centuries centuries, pulpits, for example the Novgorod pulpit (1533, State Russian Museum)) and sculptures (statues, crucifixes, votive crosses, for example the Lyudogoshchinsky cross (1359, NGOMZ)), to “icons on the rezi” (“Nicholas of Mozhaisk”, XIV century, Tretyakov Gallery; “Nikola of Mozhaisky”, XIV century, St. Nicholas Church of the Vysotsky Monastery in Serpukhov). Service vessels were made from wood, as well as wooden crosses, rosaries, bowls, produced by monastery workshops for pilgrims, along with the painting of images of revered saints, copies of icons revered in the monastery, and the rewriting of lives. In the 16th-17th centuries, double-sided crosses set with precious frames were richly decorated with wooden carvings.

Wood carving techniques are similar to bone processing techniques: ivory (chrysoelephantine technique) has been known since antiquity, later in Byzantium, and also in Western Europe. Russian craftsmen carved from walrus ivory (the Cilician cross (1569, VGIAHMZ), the carved icon “St. Peter, Metropolitan, with the Life” (early 16th century, GOP), similar in design to the pictorial icon of Dionysius).

History of the study of decorative and applied arts of Ancient Rus'.
It goes in parallel with the development of history and philology (Sterligova. 1996. pp. 11-20). This process is facilitated by the beginning of major changes in the existing medieval complexes of church decoration (Petrine's decree of 1722 on weights, the influence of the art of Western Europe, the ideas of Protestantism). The first secular collections were formed - ancient repositories, private collections. Until the 2nd half of the 19th century, it was monuments of decorative and applied arts, and not painting, that attracted the attention of scientists and connoisseurs of national artistic antiquities. The first monographic study of decorative and applied art was devoted to the Magdeburg (Korsun, Sigtun) gates of the Novgorod St. Sophia Cathedral (Adelung F.P. Korsun Gates located in the Novgorod St. Sophia Cathedral. M., 1834). Among the publications of this period should be named “Antiquities of the Russian State” by I.M. Snegirev (M., 1849-1853. 6th department), illustrations for which (drawings by F.G. Solntsev) served as material for research by I.E. Zabelin on the history of Russian crafts.

Since the middle of the 19th century, the development of church archeology has intensified, complementing written sources and studying works of decorative and applied art as monuments of national history and spirituality. The following were published: the 2nd part of “Archaeological descriptions of church antiquities in Novgorod and its environs” (1861) by Archimandrite Macarius (Mirolyubov), containing a list of utensils and icons from different times and different countries; research by G.D. Filimonov, founder of the Old Russian Society. art at the Moscow Public Museum (existed in 1864-1874). Church utensils represent monuments of national history in museum and private collections of this time: in the collection of P.I. Shchukin, which he transferred to the Historical Museum in Moscow, in the Museum of Ancient Russian Art of the Academy of Arts (1856), in the Central Academy of St. Petersburg (1879). In the works of N.P. Kondakova and N.V. Pokrovsky, published at the turn of the 19th and 20th centuries, works of church utensils, mainly from Novgorod, were included in the history of both Russian and all Christian art. At the same time, descriptions of large collections of church decoration were created, preceding museum catalogues, for example, a description of the Patriarchal Sacristy in the Moscow Kremlin by Archimandrite Savva (Index for viewing the Moscow Patriarchal (now Synodal) Sacristy and Library. M., 1863).

After 1917, most icon painters were forced to specialize in the production of household items (boxes, panels, brooches, addresses) decorated with paintings in the villages of Palekh, Mstera, Fedoskino, Kholuy, which were traditionally engaged in folk crafts. Items confiscated from private owners and the Church formed the basis of large collections of state museums, in which a systematic study of monuments of secular and ecclesiastical antiquity and their scientific restoration. During the Soviet period, the study of objects of church utensils and decoration, perceived as secondary in relation to architecture, sculpture, painting, including icon painting, was possible either within the framework of folk art, or in the context of the development of style, without considering their liturgical function.

A great contribution to the development of the study of the history of ancient Russian art, including monuments of decorative and applied arts, was made by finds made by scientific archaeological expeditions. Works of A.V. Artsikhovsky, V.L. Yanina, B.A. Rybakov, who systematized the results of archaeological discoveries, created the basis for fundamental research into the history of ancient Russian art. In the 2nd half of the 20th century, small-shaped objects made in various techniques, studied by T.V. Nikolaev; works of gold and silversmithing - M.M. Postnikova-Loseva, G.N. Bocharov, I.A. Sterligov; artistic casting, including copper, - V.G. Putsko; sewing - N.A. Mayasova. The gold aiming technique was studied by N.G. Porfiridov (NIAMZ); wood processing - N.N. Pomerantsev, wooden carving - I.I. Pleshanov (GRM), I.M. Sokolov (GMMK); cloisonne enamels - T.I. Makarova. The works of A.V. are devoted to various issues related to the monuments of decorative and applied arts of local schools of Ancient Rus'. Ryndina; works on Byzantine decorative and applied arts were published by A.V. Bank, V.N. Zalesskaya (GE). Catalogs of collections of objects of decorative and applied art were published, as well as separate monographs devoted to this issue. Foreign researchers of the mid-20th century examined the subject in its cultural and historical context (Grabar. 1957). A new stage in the study of domestic medieval arts and crafts was marked by an exhibition dedicated to the celebration of the 1000th anniversary of Christianity in Rus' (Moscow, Academy of Arts, 1988), which widely presented monuments of church decoration. Modern studies of works of decorative and applied art are based on their stylistic art historical analysis in combination with data from church archeology and related disciplines of source study, paleography, epigraphy, etc. (Sterligova. 2000). Contemporary exhibitions and catalogs present in the exhibition items of church decoration from the point of view of material and technology, as well as their functions in the temple ensemble (Royal Temple. 2003).