Elena Pavlovna Kolmakova

Decorative and applied art by its origin - folk art, the people create things, preserve the beauty found in them and pass on all their achievements from generation to generation. In these works we see the national character, its feelings and ideas.

Studying works decorative-applied art, their features and means of creation brings up a careful attitude to things, develops a creative personality, raises the cultural level.

Many works of folk craftsmen are examples of genuine art, in which the form, decor and content are in undissolved unity. For centuries, people have been selecting ideal shapes, color combinations in nature and creating new ornaments.

Now in Russia there is a rise in interest in folk culture. Various aspects of the not yet completely lost folk life are being studied. It is important for the older generation to preserve and pass on pieces of folk art to the younger generation. Therefore, preschoolers are already introduced to folk creativity. It is important to interest and involve in the study decorative- applied arts. For children preschool age the most important thing is motivation. And the main tool is to get a "little thing" made by your little hands.

Decorative and applied art allows children to develop their imagination, choice of material, manufacturing technique, which contributes to development individual personality.

Studying traditions, we inevitably show a cultural aspect. The most important thing in the classroom is to involve children to folk culture through knowledge.

A handmade product is the result of an activity that has important properties.

Today, needlework is becoming relevant, since a thing made by oneself turns out to be unique, individual, special, we put our feelings, imagination, love into it, and therefore this thing is unique.

We teach by example children to a careful attitude to the ancient traditions of the masters, respect for the work of people, through their own work. Lessons decorative art may affect the self-determination of the child and influence the choice of profession in the future.

M. Gorky:

Man is an artist by nature. Everywhere, one way or another, he strives to bring beauty into his life. Beautiful things educate creative people's imagination and respect for their work.

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Every year in preschool an exhibition-competition of decorative and applied arts "Autumn Surprise" is held. Children together with

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Decorative and applied art is one of the factors of the harmonious development of personality. Through communication with folk art.

As part of the Year of Literature, the Department of Education, together with the Center for Children's (Youthful) Technical Creativity with. Pribelsky was organized.

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The creation of a museum of decorative and applied arts, its relevance is due to a number of social, scientific, theoretical and practical reasons.

1.1 Special place arts and crafts

1.2 Philosophy of arts and crafts

2.1 Emergence of arts and crafts

2.2 The role of arts and crafts in modern society

2.3 Decorative and applied arts as an integral part of the cultural life of society Conclusion List of used literature

Introduction Decorative and applied art has its roots in the depths of centuries. Man has been creating aesthetically valuable objects throughout his development, reflecting material and spiritual interests in them, therefore, works of arts and crafts are inseparable from the time when they were created. In its basic meaning, the term “arts and crafts” means the design of household items that surround a person all his life: furniture, fabrics, weapons, dishes, jewelry, clothes - that is, everything that forms the environment with which he daily comes into contact. All things that a person uses should be not only comfortable and practical, but also beautiful.

This concept was formed in human culture not immediately. Initially, what surrounds a person in everyday life was not perceived as having aesthetic value, although beautiful things have always surrounded a person. Even in the Stone Age, household items and weapons were decorated with ornaments and notches, a little later jewelry made of bone, wood and metal appeared, a wide variety of materials were used for work - clay and leather, wood and gold, glass and plant fibers, claws and teeth of animals. Painting covered utensils and fabrics, embroidered clothes, notches and chasing were applied to weapons and utensils, Jewelry made from almost any material. But a person did not think about the fact that the usual things that surround him all his life can be called art and separated into a separate trend. But already in the Renaissance, the attitude towards everyday objects began to change. This was caused by the awakening of people's interests in the past, associated with the cult of antiquity that arose at that time. At the same time, interest arose in housing as an object equivalent in terms of aesthetic value to other objects of art. Decorative and applied art reaches its greatest development in the era of baroque and classicism. Very often, the simple, practically convenient form of an object was hidden behind exquisite decorations - painting, ornamentation, embossing.

The modern artistic process is complex and multifaceted, just as modern reality is complex and multifaceted. Art, understandable to everyone, surrounds us everywhere - at home and in the office, at the enterprise and in the park, in public buildings - theaters, galleries, museums. Everything - from rings, bracelets and coffee sets to a holistic thematic complex of works of arts and crafts for a large public building - is diverse artistic searches masters who subtly feel the decorative purpose of the object, organizing and filling our life with beauty. In order to create the comforts necessary for a person and at the same time to decorate his life, artists strive to ensure that all things that are used in everyday life, not only corresponded to their purpose, but were also beautiful, stylish and original. And beauty and benefit are always nearby when the masters take up the matter, and from the most different materials(wood, metal, glass, clay, stone, etc.) create household items that are works of art.

1. The role of arts and crafts in the life of the people

1.1 A special place in the arts and crafts More than a century in the humanities in different forms ethnic problems literally invade, re-sorting already more or less established concepts and revealing new content in them. Indeed, the outwardly observable syncretism and heuristic nature of ethnic reality cannot remain unnoticed by those sections of human science that claim to be systematic. Along with the research tasks of revealing the common and special in the cultural life of various ethnic communities, there is an acute, in many cases urgent need to search for folk customs, and quickly solve practical problems. psychological tasks on the establishment of minimum cultural facilities. Zavyalov K. F. Religion Slavic peoples. T. 1, 2 / Tomsk, 1994 - 1995. A special place among these means is occupied by arts and crafts (DPI), which is closely connected, more precisely, organically grows out of the usual, rooted way of life of the people. The DPI of peoples, in particular, is rightly considered now not as obsolete household items, but as polyfunctional, constituting at the same time the mentality (according to L. Fevre) and utilitarian use, as beautiful, skillfully and appropriately made things, in which folk talents and artistic culture, technology and self-awareness of the ethnic group, the personality of the author and social norm. DPI has never limited its functions to only utilitarian design (decorative). What side of life Slavic tribe No matter how you look at it, you can see two mutual influences everywhere: life on art and art on life. In this "inhalation and exhalation" of art, the rhythm of the people's thinking, its magic and "prelogicality", the worldview and the system of interpersonal relations, educational foundations and ethical priorities are tangibly traced. The way in which these signs, past the crucible of artistic comprehension, affect the emerging generation ethnic community, and is the object of our study.

According to G. W. F. Hegel, “if we are talking about the universal, and not accidental, goal of art, then, taking into account its spiritual essence, this ultimate goal can only be spiritual and, moreover, not accidental, but rooted in the very nature of the goal. With regard to edification, this goal could only be to bring essential spiritual content to consciousness by means of a work of art. Art really became the first teacher of peoples.” It should be added to this that the identity of the people and its culture means its self-realization, the otherness of its spirit, its expansion and external representation in the form of products of the culture of its thinking. Artistic image, which accompanies the work of DPI, is not only determined by the purpose of the thing or the material from which it is made, but is also the source, means and result of semiotic activity, a sign and a message at the same time. Therefore, in relation to peoples with a primordially preserved DPI, it can be argued that from the very birth, mute envoys of culture begin to educate a child from birth. Whatever object a child picks up, he early age faces the need to deobjectify this message, since there is no such area of ​​everyday life, especially among peoples whose way of life is not yet very receptive to the ideals of mass European or Asian culture (where, along with mass character, alienation is growing), where the artist’s products of “everyday life” would not penetrate. The general task of psychological research may thus be oriented toward determining the actual role of the DPI in child development people, since even the most preliminary observation of the established forms of education indicates the deep involvement of the DPI in all the cultural circumstances of children's activities.

Among the Slavs, who continue to live in the context of nature (villages, farms, etc.) and retain their usual way of life, this upbringing takes place with the help of the surrounding world, which is framed not only in “concepts”, like in a technogenic society, but also in symbolic symbolic space - a kind of refraction through decor, ornament and mosaics, incorporated in household items, in clothes, in the way of life, in eternally living and carefully kept commandments, which are transmitted from century to century not in the form of instructions and advice "how to live", but through the traditions of joint study, use, production of DPI objects. According to D. Lukacs, “decorating the tools of labor, a person already in time immemorial mastered individual objects, which both practically and technically have long been a kind of continuation of his subjective range of action, made them an integral part of his “I” in broad sense". Indeed, DPI among the Slavs is the language of community, initial signs development of which can be found in children. This language was not specially formed, but in the conditions of a national boarding school - a kind of border between two cultures: external and internal, its own - it becomes one of the most developed systems of means that a child is ready to dispose of in a new situation for himself. Zavyalov K. F. Religion of the Slavic peoples. Vol. 1, 2 / Tomsk, 1994 - 1995.

1.2. Philosophy of arts and crafts A combination of ethnographic, historical, cultural and psychological methods is, according to I. S. Kon, necessary for the correct study of the psychological and philosophical phenomenon. That is why, in the study of the function and role of DPI in the formation of the means of adequate orientation of children in the world around us, we consider DAYS as an independent phenomenon, trying at the first steps to determine its boundaries and to present its philosophical phenomenology in general terms. In other words, the edge of our research is turned to the phenomenon of DPI in such a way that behind the forms of play behavior and thinking of the child, captured in the solution of special tasks, general meaning DPI for child development.

Studies of a cultural and philosophical nature (J. Fraser, E. B. Tylor, L. Levy-Bruhl, K. Levy-Strauss, etc.) reveal for us a special space for the existence of the thought of “natural” Slavs (still maintaining a special relationship with nature). This space is filled with the spirit (thinking) of the people, shaped by its traditions, rituals, ethnic stereotypes, saturated with magic, participation, pralogicality, etc. DPI is an essential and integral part, a moment of this spirit; one of its most essential properties is addressing each newly emerging generation of an ethnic community. It is in this form (along with formalized or emerging writing) in the language of costume and ornament, pattern and ritual, decor and color that peoples retain the connection of times and pass on their ethnic norms from grandfather to grandson. This transmission process is hidden from prying eyes; it is intimate though everyday, unsystematic though regular; it is set by cultural routine, but is mastered in a personal way.

So, all household items of the Slavs were made exclusively from local materials. Each family had a lot of birch bark containers of various shapes and purposes, and men carved mortars, tubs, scoops, and spoons from wood. Boxes and plates were original. Clothes and small items were stored in bags and various bags made of skins and fabrics. Perhaps more important than these purely practical and utilitarian functions were the informative and magical functions of DPI. Clothes and shoes were made colorfully and artistically, with great imagination. The informative (identifying) function was carried by the elements of color design and the ornament, which was widespread. Patterns decorated clothes, shoes, hats, belts, needle cases, pillows, bags, boxes, bodies, cradles. The ornament of the Slavs, like any other ethnic grapheme language, was distinguished by the richness of forms, the variety of plots, the rigor and clarity of construction. Therefore, the ornamentation of objects, as, indeed, all DPI in general, should be perceived by us not as a bizarre fantasy of a master, but as main part folk culture, as a means of expressing artistic tastes, national characteristics of the people, their worldview and history. Hegel G. W. F. Aesthetics. T. 1. M., 1968,

The educational function of the DPI may not be clearly expressed for an outside observer, but its thoroughness and regularity are certainly noticeable. From the cradle, the child is accompanied by household items made in the bright artistic technique of DPI. As far as we can judge from the results of surveys, interviews and observations, in the course of this inclusion in the culture, a kind of transformation of the “symbiosis” of the educator takes place (in the Khanty it is not explicitly distinguished, this function is taken on by all adults who are next to the child), sign-symbolic system of DPI and the child. The psychological distance between an adult, a child and an object begins already at early childhood be essentially transformed in this laconic culture into a kind of parity.

Being the language of the community, DPI carries ideas that unite the people into a single whole, a common sign that consolidates the spiritual forces of the Khanty and their ways of self-awareness and expression of faith in a better future, signs of which are easily detected in children. At the same time, it is noteworthy that the DPI language is not fully formed (or has already been lost) as a universal ethnic universal and is used mostly without understanding.

Most likely, the educational value of DPI exceeds all our possible ideas about it. One thing is clear, it is not limited to practical, utilitarian functions only: once upon a time, DPI products carried the function of a “talisman” and not a single person could do without them. Evil spirits would jump on him and injure him or send him sick. These products, such as jewelry for women, an ornament or a generic sign on clothes for men, protected their owners from the influence of forces that were not yet clear to them. In our time, people do not always admit that they believe in the miraculous power of jewelry and ornaments, but they continue to make and wear these products. In addition to the fact that the decorations are beautiful and amazing, they express the national, tribal and ethnicity, and earlier they also carried the identification and personal certainty of their owners. Hegel G. W. F. Aesthetics. T. 1. M., 1968,

The DPI phenomenon permeates all aspects of life: the organization of everyday life, the way of family, tribal, "international" and interpersonal relations. The role and functions of the DPI (enlightenment, ritual, aesthetic, etc.) are not always clearly understood, but they are consistently contained in any object of art, in manifestations of behavior and thinking. DPI is understood, appreciated, and used by all members of this community, and it would not be an exaggeration to say that many are involved in it. Attitude towards DPI can serve as a measure of the self-consciousness of the people as containing mental integrity and expressed in a sign-symbolic "message" for others and for themselves.

2. The development of arts and crafts in our time

2.1 Emergence of arts and crafts encyclopedic dictionary(RES) - a book designed to dryly state stereotypical views on any scientific phenomena. DPI is presented in a very detailed article:

“Decorative and applied art is the field of decorative art: the creation of artistic products that have a practical purpose in public and private life, and the artistic processing of utilitarian items (utensils, furniture, fabrics, tools, vehicles, clothing, jewelry, toys, etc. .). In the processing of materials (metal, wood, glass, ceramics, glass, textiles, etc.), casting, forging, embossing, engraving, carving, painting, inlay, embroidery, printing, etc. are used. D.-p.i. are part of subject environment surrounding a person, and aesthetically enrich it. They are usually closely connected with the architectural and spatial environment, the ensemble (on the street, in the park, in the interior) and with each other, forming a thin. complex. Having arisen in ancient times, D.p.i. has become one of the most important areas folk art, its history is connected with artistic craft, with the activities of professional artists and folk craftsmen, from the beginning of the 20th century. also with design and construction. Sokolov K. F. Religion of the Slavic peoples. T. 1, 2 / Moscow, 1994 - 1995.

So, in the "decorative art" three types are distinguished: monumental and decorative art, design art and DPI.

Let us immediately ask ourselves the question: why, of these three types, only DPI received short title known to almost everyone? Why is there a commonly used name for artists working in the field of fine arts - "DPIshniki", and there are no "MDIshniki" and "OIshnikov"? Why, when they talk about “applied”, they mean exactly the artists of the DPI?

Let's see: any muralist can call himself a painter (or sculptor), and no one will object to this. Designers (as well as poster artists, as well as stage designers) have the right to be called either graphic artists or painters (and sometimes sculptors), and this is also in the order of things. But the "DPIshniki" (officially - "applied") - these are jewelers, and ceramists, and casket-makers, and masters of folk crafts, and anyone, but not painters, not graphic artists, and not sculptors.

And if a jeweler or ceramist calls himself a sculptor, and a Palekh or Rostov miniaturist calls himself a painter, then this will cause mild surprise among those around him at best, and at worst a remark like “don’t get into your sleigh.”

Characteristically, the RES "legitimized" this situation as well. Without going into the vicissitudes of various areas of philosophy of art, its authors state:

"Art,

1) thin. creativity in general—literature, architecture, sculpture, painting, graphic arts, arts and crafts, music, dance, theatre, cinema, and other varieties human activity, united as artistic and figurative forms of the development of the world ...

2) In the narrow sense - the fine arts.

3) High degree skills, mastery in any field of activity.

And "art in the narrow sense" - fine, - according to the authors of the RES, means "a section of plastic art that combines painting, sculpture and graphics."

And if the absence in this exhaustive list, for example, of photographic art can be explained by the relative novelty of the latter, then why did not the DPI, which has existed for many millennia, be included here?

2.2 The role of arts and crafts in modern society In order to understand whether such a strange situation with the DPI arose by chance or not by chance, it is necessary to recall the thirties and fifties of the twentieth century - a long period of formation of "unions of Soviet artists". It was then that when the Moscow Union of Artists and the Union of Artists of the USSR were created, sections of painters, graphic artists, sculptors, decorators, muralists and "applied artists" were allocated on an equal footing.

Probably, when solving organizational issues of the unions, all these sections really enjoyed equal rights. But the confusion had already begun. Sokolov K. F. Religion of the Slavic peoples. T. 1, 2 / Moscow, 1994 - 1995.

The fact is that it is not easy to name a painter who has never designed any museum, exhibition, church or cultural center in his life. Or a sculptor who worked exclusively in easel plastic and did not stage a single monumental work. Or a graphic artist who has never illustrated a single book.

And so it happened that among the "equal" sections there were three "most equal" - painters, graphic artists and sculptors, who could engage in their "high" easel art, and at the same time do everything that, in theory, belonged to the competence of muralists and designers. And, of course, no one could forbid members of the “applied” sections to engage in “easel painting”, but at mass all-Union exhibitions they could only count on “peripheral” halls, and the purchase of easel works from them was the exception rather than the rule.

Consequently, any artist who at least once in his life tried his hand at easel painting, graphics or sculpture (and how could it be without this?), First of all, tried to join the sections that formed "art in the narrow sense." And if for some reason it didn’t work out, he went “to the outskirts” - to muralists or designers. There were exceptions to this rule, of course, but only for subjective reasons - if, for example, all the artist N's friends had already joined the Moscow Union of Artists as designers, then why did N try to go into painting or graphics with a huge risk of "rolling" at the reception commissions? It’s better to go straight to yours…

There were also exceptions of a different kind: in the history of each of the "unions of Soviet artists", as in the current Russian creative unions, there are periods when muralists or designers were "at the helm". But these situations were and are exclusively subjective.

In fairness, we note that the division into painters and graphic artists was just as conditional and subjective. For example, what painter has never painted in watercolor and never picked up pastel?

But the assignment of the painter to the graphics, although it meant the impossibility of being in the honorary center of any all-Union (and now all-Russian) exposition, was still not tantamount to falling out of "art in the narrow sense" - fine art.

As we have already seen, muralists and designers did not lose the right to be called painters and graphic artists and, accordingly, did not fall out of “art in the narrow sense” either. Sculptors-monumentalists never stood out from the “general sculptural community”.

But the “appliers” were the least fortunate. They turned out to be the eternal "second grade". It turned out that jewelers, ceramists and glass artists are not sculptors, and miniaturists are not painters. On the lush and spreading tree of Soviet official recognition, at best, the title of “Honored Artist” or “Honored Worker of Arts” shone for them. People's Artist of the USSR, a corresponding member, and even more so a full member of the Academy of Arts - these "heights" were sky-high for them. Moreover, for the vast majority of "applied workers" "free floating" was practically excluded (orders official organizations, Ministry of Culture purchases from exhibitions, etc.) - they were forced to either earn money through "folk crafts" or "leftist".

After the collapse of Soviet power, the formal restrictions on the activities of "appliers" disappeared, but the stigma of "second-rate" remained. Quite recently, one of my acquaintances, a painter who applied for admission to the Moscow Union of Artists, was offered to join the DPI section only because he had the imprudence to bring admission committee not photographs of their easel works, but printed postcards with reproductions of them. And if in our time there were no “alternative” unions of artists, this painter would have remained an “applied artist”. Ramzin V. M.,. Meet the Slavs. Moscow, 1992.

So where does this a priori “second-rate applicators” come from, and is it justified?

It is very likely that under the conditions of the monopoly domination of the Soviet distribution system, such “second-class” status had certain reasons.

"Historically" - from the 18th to the beginning of the 20th century - Russian jewelers, glass blowers, ceramists, embroiderers and other "applied workers" were largely "impersonal". The general public knew only the names of the owners of factories and workshops, and almost all craftsmen - even the most talented ones - rarely had the opportunity to show their author's individuality.

Regarding painters and sculptors Imperial Academy arts, rigidly imposing its own style and "rules of the game", almost never allowed depersonalization, preserving for history the names of even many "apprentices". And the vast majority of "ordinary" masters of the jewelry, glass and porcelain industry of the Russian Empire irretrievably sunk into oblivion. The unprecedented rise of the author's "decorative art of the USSR" occurred only at the end of the fifties of the twentieth century.

And in the 1930s-1950s, the leaders of creative unions and their curators from the party bodies quite sincerely (in any case, in accordance with the "imperial" tradition) tried to separate the "lambs from the goats" - "genuine creators" from "handicraftsmen".

It was then that the division of artists into "clean and impure" - "easel painters" and "applied artists" arose. In theory, “real Soviet” painters and sculptors were not supposed to earn extra money in folk crafts and make toys (the fact that many actually real artists were forced to earn extra money as loaders and stokers is now out of the question). Yes, and stamping "clones" of their works, putting their paintings and sculptures on the industrial stream, in theory, "real artists" should not have been - but for the "applied artist" this seems to be in the order of things.

2.3 Decorative and applied arts as an integral part of the cultural life of society Thus, we have one question left unresolved: what to do with the term “decorative art”, whose works, according to the RES, “artistically form surrounding a person material environment and bring into it an aesthetic-figurative beginning", but at the same time, unlike the "self-sufficient" easel art, "they most fully reveal their content in the ensemble, for aesthetic organization which they are created?

Yes, it is even more difficult to abandon the division of works of art into “decorative” and “easel” than into “easel” and “applied”. But, apparently, we will have to do this. Otherwise, the debate about whether the “Sistine Madonna” has an “easel” or “decorative” character can be endless and fruitless, since any opinions here can be extremely subjective.

For example, where does Andrei Rublev's "Trinity" look better? In a dimly lit and smoky, but "native" cathedral, or is it in the Tretyakov Gallery, where it is absolutely preserved and exhibited in accordance with all exposition canons?

According to the stereotypical view, "legitimized" by the RES, it turns out that the recognition of Rublev's masterpiece as a "decorative" or "easel" work depends solely on the answer to the question where "Trinity" looks better. But in fact, it is probably not in vain that they say: a masterpiece is a masterpiece in Africa too. And what’s more, even if it suddenly turns out that Rublev’s “Trinity” looks better in the cathedral than in the Tretyakov Gallery, would anyone dare to call this icon “a work of decorative art”?

Indeed, no one calls the “Trinity” that way. But the vast majority of icons are usually classified in this way.

This means that with “decorative art” it turns out exactly the same as with DPI: in the current practice of art criticism, this term a priori expresses the second-rate work. Consequently, all types of art included in it turn out to be “second-rate”: monumental, design and applied, from which we began our study.

But after all, few modern art historians will disagree with the fact that the sense of the ensemble, the ability to form a single space, the exit of the author's concept beyond the scope of the work itself is "aerobatics", and not every "easel painter" is capable of it [22, site ].

So, are we right to talk about “second class” here? No and no again. But it is precisely this “second-rate” that is dictated to us by the modern stereotypical understanding of “decorative art”.

Of course, we are by no means going to completely abandon the concept of "decorativeness" as such. For example, the primary positioning of a work of art as “decorative” is possible, as was the case with Raphael with the “Sistine Madonna” or Rublev with the “Trinity”. We also see the widespread use of “easel” things for decorative purposes: the majority of two-dimensional and three-dimensional works of art are still not in museums, but in “public and private life” in interiors.

But today a thing may end up in an interior, tomorrow in a museum, and the day after tomorrow it may return to the interior again. All these cases are subject only to a local assessment and in no case entail a classificatory assignment to such global categories as easel or decorative art.

L.V. Tazba, in his article "Rating of Artists and the Philosophical Understanding of Art", published in the third issue of the reference book "Unified Artistic Rating", defined the phenomenon of art (outside of political, economic and concrete social expediency) as a subject-object unity "artist-work". This approach, according to L. V. Tazba, gives everyone the opportunity to manifest themselves in the situation of "viewer-work".

These definitions will help us to move from the outdated concepts of easel and decorative art to more modern terminology. After all, "easel painting" and "decorativeness" classify works of art according to their location in a particular space - a temple, a museum, a corridor, a bedroom, etc. So, we have the right to say that these terms denote the spatial component of the situation "viewer- work".

All works have undoubted artistic merit, but there is also a certain calmness and repetitions of already found techniques in them. The works of many recognized masters sometimes lack creative courage, sharpness, and the search for novelty of form. Perhaps that is why the exposition draws attention to attempts to introduce creativity in the technique of macrame, which last years received wide use. This applies primarily to the large triptych by T. Myazina (Moscow Region) "Birch Grove" and the tapestry by artists V. and N. Yanovs "Fair" (Gorky). The tapestry of the young Krasnodar artists V. and L. Zubkov "Kubanskaya Niva", made in a bold expressive manner, aroused great interest at the exhibition. Its texture was also successfully found, slightly reminiscent of thick Kuban bread.

Plastic arts: glass: ceramics, porcelain and others - were presented in the exposition mainly by experimental works. Searches are very diverse. In glass, we are already accustomed to large decorative forms, which our leading glaziers use to express their worldview, and sometimes deep philosophical thoughts. Such are the works of L. Savelyeva, V. Muratov, B. Fedorov. They are interesting to us in terms of developing themes and images that these artists are constantly passionate about. From exhibition to exhibition, the skill of engraving and cutting crystal is growing and honed by A. Astvatsaturyan (Leningrad), O. Kozlova and V. Korneev (Gus-Khrustalny), plastic becomes richer and fuller in the compositions of S. Beskinskaya (Moscow), A. Stepanova (Moscow), L. Urtaeva (Moscow), more emotional and subtle color solution of the works of G. Antonova (Moscow), S. Ryazanova (Moscow), D. and L. Shushkanov (Moscow). Glass artists are open great opportunities in the transfer of such material properties as transparency, viscosity, brittleness, malleability, spatiality. The discovery of all these properties of glass is made possible by the high technical level of our glass industry. It is hard to imagine what the works of Gusev artists could look like if the factory did not know how to weld wonderful colored crystal, or we would hardly see the latest works of B. Fedorov if there were no such rich traditions of cutting crystal at the Dyatkovo Crystal Factory.

The perception of the subject-object unity "artist-work" largely depends on this component. Indeed, any viewer perceives the work (together with the information he has about the artist) primarily in the surrounding space - museum, interior, cult, urban planning, etc.

Let's clarify: not only the viewer perceives the work in space. The artist usually embraces the “easel” or “decorative” nature of the created work with his idea, that is, he also thinks for it a certain location in space. But this idea is an integral part of the act of creating a work and, therefore, is included in the subject-object unity "artist-work". And subsequently, the location of the work in space (for brevity, we will designate it as the “place of the work”) can change many times - we have already said that today the thing can be in the interior, tomorrow - in the museum, and the day after tomorrow - again return to the interior.

It seems useful to make one more clarification. Undoubtedly, the values ​​of art are eternal and imperishable - in our time, deep excursions into philosophy are hardly necessary to ascertain this fact. And yet, the perception of any work of art significantly correlates with the tastes and traditions of a particular era in which the viewer lives. Including in the issue of attribution to "easel art" or "decorative art" (ie, in the motivation for placing a particular work in a museum, on a square, in a temple, in a bedroom, etc.).

Thus, if we abandon the concepts of "easel painting" and "decorativeness" as primary classifiers, we must add to the subject-object unity "artist-work" components denoting the viewer's perception - the place and time of perception of the work. The place and time of the creation of the work are included in the first component - the "artist", therefore, in order to distinguish the viewer's perception from the act of creating the work, let's call the place and time of the viewer's perception the circumstances of place and time.

So, the subject-object unity "artist-work", existing in the circumstances of place and time, can be an exhaustive theoretical tool for the perception, evaluation and classification of a particular work of art.

All eternal problems audience perception - "like-dislike", "good-bad" - are determined by the interaction of these primary categories. But in any case, there is no place in art for plagiarism and soulless replication - only the uniqueness and originality of the unity "artist-work" (differently perceived in different circumstances of place and time, but not changing its deep, true essence from this) create that phenomenon, which we call art.

And all the other components of the perception, evaluation and classification of works of art (two-dimensionality or three-dimensionality, “decorative” or “easel” primary positioning, decorative or museum placement in a particular era, realistic or abstract style, plastic, colors, art materials etc.) can play the role of only auxiliary, but by no means primary.

And there should not be any division of creators into “pure and impure” — easel and applied, realists and abstractionists, traditionalists and conceptualists, muralists and miniaturists — at this level of understanding. The true (and not declarative) equality of all trends and trends in art is one of the greatest achievements of art history of the 20th century, and it is time to bring the basic terminology in line with these achievements.

baroque jeweler applied classicism

Conclusion Decorative and applied art has its roots in the depths of centuries. Man has been creating aesthetically valuable objects throughout his development, reflecting material and spiritual interests in them, therefore, works of arts and crafts are inseparable from the time when they were created. In its basic meaning, the term “arts and crafts” means the design of household items that surround a person all his life: furniture, fabrics, weapons, dishes, jewelry, clothes - that is, everything that forms the environment with which he daily comes into contact. All things that a person uses should be not only comfortable and practical, but also beautiful.

This concept was formed in human culture not immediately. Initially, what surrounds a person in everyday life was not perceived as having aesthetic value, although beautiful things have always surrounded a person. Even in the Stone Age, household items and weapons were decorated with ornaments and notches, a little later jewelry made of bone, wood and metal appeared, a wide variety of materials were used for work - clay and leather, wood and gold, glass and plant fibers, claws and teeth of animals.

The painting covered dishes and fabrics, clothes were decorated with embroidery, notches and chasing were applied to weapons and dishes, jewelry was made from almost any material. But a person did not think about the fact that the usual things that surround him all his life can be called art and separated into a separate trend. But already in the Renaissance, the attitude towards everyday objects began to change. This was caused by the awakening of people's interests in the past, associated with the cult of antiquity that arose at that time. At the same time, interest arose in housing as an object equivalent in terms of aesthetic value to other objects of art. Decorative and applied art reaches its greatest development in the era of baroque and classicism. Very often, the simple, practically convenient form of an object was hidden behind exquisite decorations - painting, ornamentation, embossing.

In the highly artistic works of the masters of Ancient Russia, the plastic principle was manifested in everything: spoons and cups were distinguished by sculptural forms, impeccable proportions, ladles usually took the form of a bird - a duck or a swan, the head and neck served as a handle. Such a metaphor had a magical meaning, and the ritual meaning determined the traditional character and stability of such a form in folk life. Gold chains, a monista of elegant medallions, colored beads, pendants, wide silver bracelets, precious rings, fabrics decorated with embroidery - all this gave the festive women's dress multicolor and richness. Painting a jug with patterns, decorating a cutting board with carvings, weaving patterns on fabric - all this requires great skill. Probably, such products decorated with ornaments are also classified as decorative and applied art because it is necessary to apply hands and soul to make amazing beauty.

The modern artistic process is complex and multifaceted, just as modern reality is complex and multifaceted. Art, understandable to everyone, surrounds us everywhere - at home and in the office, at the enterprise and in the park, in public buildings - theaters, galleries, museums. Everything — from rings, bracelets and coffee sets to a holistic thematic complex of works of arts and crafts for a large public building — bears the diversity of artistic searches of masters who subtly feel the decorative purpose of an object, organize and fill our life with beauty.

To create the comforts necessary for a person and at the same time to decorate his life, artists strive to ensure that all things that are used in everyday life not only correspond to their purpose, but also be beautiful, stylish and original.

And beauty and usefulness are always nearby when the craftsmen take up the work, and from a variety of materials (wood, metal, glass, clay, stone, etc.) they create household items that are works of art.

1. Zavyalov K. F. Religion of the Slavic peoples. Vol. 1, 2 / Tomsk, 1994 - 1995.

2. Lukina N. V. Formation material culture Russ. Tomsk, 1985.

3. Rites, customs, beliefs: Sat. articles / Comp. Yu. L. Khandrik, foreword. N. A. Rogacheva. Tyumen, 1997.

4. Hegel G. V. F. Aesthetics. T. 1. M., 1968,

5. Kaplan N. I. Folk arts and crafts. M., 1980.

6. Sokolov KF Religion of the Slavic peoples. T. 1, 2 / Moscow, 1994 - 1995.

7. Ramzin V. M.,. Meet the Slavs. Moscow, 1992.

8. Lukina N. V. Formation of the material culture of the Slavs. Tomsk, 1985.

9. Myths, legends, fairy tales of the Slavs / Comp. N. V. Kukina M., 1990.

10. Rites, customs, beliefs: Sat. articles / Comp. Yu. L. Khandrik, Moscow, 1997.

11. Korytkova N. F. Clothing of the Slavs. M.;, 1995.

12. Rombandeeva E. I. History of the Slavs and their spiritual culture. Moscow, 1993.

13. Sokolova Z. P. Eastern Slavs. M., 1994.

14. Don I. S. Arts and Crafts: Historical and Philosophical Perspective. M., 1998.

15. Barabanov N. I. Folk arts and crafts of the Eastern Slavs. M.,

16. 1980. Praskov KF Religion of the Slavic peoples. T

17. Elkonin D. B. Psychology of the game. M., 1999.

18. Drums N. I. Folk arts and crafts Western Slavs. Rostov-on-Don, 1999

19. Potapov N. I. Folk decorative and applied art of the Western Slavs. M., 1990.

Introduction

1.2 Philosophy of arts and crafts

Conclusion

Introduction

This concept was formed in human culture not immediately. Initially, what surrounds a person in everyday life was not perceived as having aesthetic value, although beautiful things have always surrounded a person. Even in the Stone Age, household items and weapons were decorated with ornaments and notches, a little later jewelry made of bone, wood and metal appeared, a wide variety of materials were used for work - clay and leather, wood and gold, glass and plant fibers, claws and teeth of animals. The painting covered dishes and fabrics, clothes were decorated with embroidery, notches and chasing were applied to weapons and dishes, jewelry was made from almost any material. But a person did not think about the fact that the usual things that surround him all his life can be called art and separated into a separate trend. But already in the Renaissance, the attitude towards everyday objects began to change. This was caused by the awakening of people's interests in the past, associated with the cult of antiquity that arose at that time. At the same time, interest arose in housing as an object equivalent in terms of aesthetic value to other objects of art. Decorative and applied art reaches its greatest development in the era of baroque and classicism. Very often, the simple, practically convenient form of an object was hidden behind exquisite decorations - painting, ornamentation, embossing.

The modern artistic process is complex and multifaceted, just as modern reality is complex and multifaceted. Art, understandable to everyone, surrounds us everywhere - at home and in the office, at the enterprise and in the park, in public buildings - theaters, galleries, museums. Everything - from rings, bracelets and coffee sets to a holistic thematic complex of works of arts and crafts for a large public building - bears a variety of artistic searches of masters who subtly feel the decorative purpose of the object, organizing and filling our life with beauty. To create the comforts necessary for a person and at the same time to decorate his life, artists strive to ensure that all things that are used in everyday life not only correspond to their purpose, but also be beautiful, stylish and original. And beauty and usefulness are always nearby when the craftsmen take up the work, and from a variety of materials (wood, metal, glass, clay, stone, etc.) they create household items that are works of art.

1. The role of arts and crafts in the life of the people

1.1 Arts and Crafts Special Place

For more than a century, ethnic problems have literally invaded the humanities disciplines in various forms, re-sorting already more or less established concepts and revealing new content in them. Indeed, the outwardly observable syncretism and heuristic nature of ethnic reality cannot remain unnoticed by those sections of human science that claim to be systematic. Along with the research tasks of revealing the common and special in the cultural life of various ethnic communities, there is an acute, in many cases urgent need to search for folk customs, and quickly solve practical psychological problems to establish the minimum cultural means. Zavyalov K.F. Religion of the Slavic peoples. Vol. 1, 2 / Tomsk, 1994 - 1995. A special place among these means is occupied by arts and crafts (DPI), which is closely connected, more precisely, organically grows out of the usual, rooted way of life of the people. The DPI of peoples, in particular, is rightly considered now not as obsolete household items, but as polyfunctional, constituting at the same time the mentality (according to L. Fevre) and utilitarian use, as beautiful, skillfully and appropriately made things, in which folk talents and artistic culture, technology and self-awareness of the ethnic group, the personality of the author and the social norm. DPI has never limited its functions to only utilitarian design (decorative). Whichever side of the life of the Slavic tribes is considered, everywhere you can see two mutual influences: life on art and art on life. In this "inhalation and exhalation" of art, the rhythm of the people's thinking, its magic and "prelogicality", the worldview and the system of interpersonal relations, educational foundations and ethical priorities are tangibly traced. The way in which these signs, past the crucible of artistic comprehension, influence the emerging generation of an ethnic community is the object of our study.

According to G. W. F. Hegel, “if we are talking about the universal, and not the random goal of art, then, taking into account its spiritual essence, this ultimate goal can only be spiritual and, moreover, not accidental, but rooted in the very nature of the goal character. With regard to edification, this goal could only be to bring essential spiritual content to consciousness by means of a work of art. Art really became the first teacher of peoples.” It should be added to this that the identity of the people and its culture means its self-realization, the otherness of its spirit, its expansion and external representation in the form of products of the culture of its thinking. The artistic image that accompanies a work of art is not only determined by the purpose of the thing or the material from which it is made, but is also the source, means and result of semiotic activity, a sign and a message at the same time. Therefore, in relation to peoples with a primordially preserved DPI, it can be argued that from the very birth, mute envoys of culture begin to educate a child from birth. Whatever object a child picks up, from an early age he is faced with the need to deobjectify this message, since there is no such area of ​​\u200b\u200buse, especially among peoples whose way of life is not yet very receptive to the ideals of mass European or Asian culture (where, along with mass character, alienation), where the products of the artist of “everyday life” would not penetrate. The general task of psychological research can thus be oriented toward determining the actual role of the PPI in the children's development of the people, since even the most preliminary observation of established forms of education indicates the deep involvement of the PPI in all the cultural circumstances of children's activity.

Among the Slavs, who continue to live in the context of nature (village, farm, etc.) and retain their usual way of life, this upbringing takes place with the help of the surrounding world, which is formed not only in “concepts”, like in a technogenic society, but also in symbolic symbolic space - a kind of refraction through decor, ornament and mosaics, incorporated in household items, in clothes, in the way of life, in eternally living and carefully kept commandments, which are passed down from century to century not in the form of instructions and advice "how to live", but through the traditions of joint study, use, production of DPI items. According to D. Lukach, “decorating the tools of labor, a person already in time immemorial mastered individual objects, which, both practically and technically, have long been a kind of continuation of his subjective radius of action, making them an integral part of his “I” in a broad sense.” In fact, DPI among the Slavs is a language of community, the initial signs of mastering which can also be found in children. This language was not formed on purpose, but in the conditions of a national boarding school - a kind of border between two cultures: external and internal, its own - it becomes one of the most developed systems of means that a child is ready to dispose of in a new situation for himself. Zavyalov K.F. Religion of the Slavic peoples. Vol. 1, 2 / Tomsk, 1994 - 1995.

1.2. Philosophy of arts and crafts

The combination of ethnographic, historical, cultural and psychological methods is, according to I. S. Kon, necessary for the correct study of the psychological and philosophical phenomenon. That is why, in the study of the function and role of DPI in the formation of the means of adequate orientation of children in the world around us, we consider DAYS as an independent phenomenon, trying at the first steps to determine its boundaries and to present its philosophical phenomenology in general terms. In other words, the point of our research is turned to the phenomenon of DPI in such a way that behind the forms of play behavior and thinking of the child, captured in the solution of special tasks, to reveal the general significance of DPI for child development.

Studies of a cultural and philosophical nature (J. Fraser, E. B. Tylor, L. Levy-Bruhl, K. Levy-Strauss, etc.) reveal for us a special space for the existence of the thought of "natural" Slavs (still maintaining a special relationship with nature). This space is filled with the spirit (thinking) of the people, shaped by its traditions, rituals, ethnic stereotypes, saturated with magic, participation, pralogicality, etc. DPI is an essential and integral part, a moment of this spirit; one of its most essential properties is addressing each newly emerging generation of an ethnic community. It is in this form (along with formalized or emerging writing) in the language of costume and ornament, pattern and ritual, decor and color that peoples retain the connection of times and pass on their ethnic norms from grandfather to grandson. This transmission process is hidden from prying eyes; it is intimate though everyday, unsystematic though regular; it is set by cultural routine, but is mastered in a personal way.

So, all household items of the Slavs were made exclusively from local materials. Each family had a lot of birch bark containers of various shapes and purposes, and men carved mortars, tubs, scoops, and spoons from wood. Boxes and plates were original. Clothes and small items were stored in bags and various bags made of skins and fabrics. Perhaps more important than these purely practical and utilitarian functions were the informative and magical functions of DPI. Clothes and shoes were made colorfully and artistically, with great imagination. The informative (identifying) function was carried by the elements of color design and the ornament, which was widespread. Patterns decorated clothes, shoes, hats, belts, needle cases, pillows, bags, boxes, bodies, cradles. The ornament of the Slavs, like any other ethnic grapheme language, was distinguished by the richness of forms, the variety of plots, the rigor and clarity of construction. Therefore, the ornamentation of objects, as well as all DPI in general, should be perceived by us not as a whimsical fantasy of the master, but as an important part of folk culture, as a means of expressing artistic tastes, national characteristics of the people, their worldview and history. Hegel G.W.F. Aesthetics. T. 1. M., 1968,

The educational function of the DPI may not be clearly expressed for an outside observer, but its thoroughness and regularity are certainly noticeable. From the cradle, the child is accompanied by household items made in the bright artistic technique of DPI. As far as we can judge from the results of surveys, interviews and observations, in the course of this inclusion in the culture, a kind of transformation of the “symbiosis” of the educator takes place (in the Khanty it is not explicitly distinguished, this function is taken on by all adults who are next to the child), sign-symbolic system of DPI and the child. The psychological distance between the adult, the child, and the object begins already in early childhood to be substantially transformed in this laconic culture into a kind of parity.

Being the language of the community, DPI carries ideas that unite the people into a single whole, a common sign that consolidates the spiritual forces of the Khanty and their ways of self-awareness and expression of faith in a better future, signs of which are easily detected in children. At the same time, it is noteworthy that the DPI language is not fully formed (or has already been lost) as a universal ethnic universal and is used mostly without understanding.

Most likely, the educational value of DPI exceeds all our possible ideas about it. One thing is clear, it is not limited to practical, utilitarian functions only: once upon a time, DPI products carried the function of a “talisman” and not a single person could do without them. Evil spirits would jump on him and injure him or send him sick. These products, such as jewelry for women, an ornament or a generic sign on clothes for men, protected their owners from the influence of forces that were not yet clear to them. In our time, people do not always admit that they believe in the miraculous power of jewelry and ornaments, but they continue to make and wear these products. In addition to the fact that jewelry is beautiful and amazing, they express national, tribal and ethnic affiliation, and earlier they also carried the identification and personal identity of their owners. Hegel G.W.F. Aesthetics. T. 1. M., 1968,

The DPI phenomenon permeates all aspects of life: the organization of everyday life, the way of family, tribal, "international" and interpersonal relations. The role and functions of the DPI (enlightenment, ritual, aesthetic, etc.) are not always clearly understood, but they are consistently contained in any object of art, in manifestations of behavior and thinking. DPI is understood, appreciated, and used by all members of this community, and it would not be an exaggeration to say that many are involved in it. Attitude towards DPI can serve as a measure of the self-consciousness of the people as containing mental integrity and expressed in a sign-symbolic "message" for others and for themselves.

2. The development of arts and crafts in our time

2.1 Emergence of arts and crafts

Therefore, we will not invent any new definitions of DPI and turn to the Russian Encyclopedic Dictionary (RES) - a book designed to dryly state stereotypical views on any scientific phenomena. DPI is presented in a very detailed article:

“Decorative and applied art is the field of decorative art: the creation of artistic products that have a practical purpose in public and private life, and the artistic processing of utilitarian items (utensils, furniture, fabrics, tools, vehicles, clothing, jewelry, toys, etc. .). When processing materials (metal, wood, glass, ceramics, glass, textiles, etc.), casting, forging, embossing, engraving, carving, painting, inlay, embroidery, print, etc. are used. Prod. D.-p.i. form part of the objective environment surrounding a person, and aesthetically enrich it. They are usually closely connected with the architectural and spatial environment, the ensemble (on the street, in the park, in the interior) and with each other, forming a thin. complex. Having arisen in ancient times, D.p.i. became one of the most important areas of folk art, its history is connected with artistic crafts, with the activities of professional artists and craftsmen, since the beginning of the 20th century. also with design and construction. Sokolov K.F. Religion of the Slavic peoples. Vol. 1, 2 / Moscow, 1994 - 1995.

So, in the "decorative art" three types are distinguished: monumental and decorative art, design art and DPI.

Let us immediately ask ourselves the question: why of these three types only DPI received a short name known to almost everyone? Why is there a commonly used name for artists working in the field of arts and crafts - "DPIshniki", and there are no "MDIshniki" and "OIshnikovs"? Why, when they talk about “applied”, they mean exactly the artists of the DPI?

Let's see: any muralist can call himself a painter (or sculptor), and no one will object to this. Designers (as well as poster artists, as well as stage designers) have the right to be called either graphic artists or painters (and sometimes sculptors), and this is also in the order of things. But "DPIshniks" (officially - "applied workers") - these are jewelers, and ceramists, and casket-makers, and masters of folk crafts, and anyone, but not painters, not graphic artists, and not sculptors.

And if a jeweler or ceramist calls himself a sculptor, and a Palekh or Rostov miniaturist calls himself a painter, then this will cause a slight surprise among those around him at best, and at worst a remark like “don’t get into your sleigh.”

Characteristically, the RES "legitimized" this situation as well. Without going into the vicissitudes of various areas of philosophy of art, its authors state:

"Art,

1) thin. creativity in general - literature, architecture, sculpture, painting, graphics, arts and crafts, music, dance, theater, cinema, and other varieties of human activity, combined as artistic and imaginative forms of mastering the world ...

2) In the narrow sense - the fine arts.

3) A high degree of skill, mastery in any field of activity.

And "art in the narrow sense" - fine, - according to the authors of the RES, means "a section of plastic art that combines painting, sculpture and graphics."

And if the absence in this exhaustive list, for example, of photographic art can be explained by the relative novelty of the latter, then why did not the DPI, which has existed for many millennia, be included here?

2.2 The role of arts and crafts in modern society

In order to understand whether such a strange situation with the DPI arose by chance or not by chance, it is necessary to recall the thirties and fifties of the twentieth century - a long period of the formation of "unions of Soviet artists". It was then that when the Moscow Union of Artists and the Union of Artists of the USSR were created, sections of painters, graphic artists, sculptors, decorators, muralists and "applied artists" were allocated on an equal footing.

Probably, when solving organizational issues of the unions, all these sections really enjoyed equal rights. But the confusion had already begun. Sokolov K.F. Religion of the Slavic peoples. Vol. 1, 2 / Moscow, 1994 - 1995.

The fact is that it is not easy to name a painter who has never designed any museum, exhibition, church or cultural center in his life. Or a sculptor who worked exclusively in easel plastic and did not stage a single monumental work. Or a graphic artist who has never illustrated a single book.

And so it happened that among the "equal" sections there were three "most equal" - painters, graphic artists and sculptors, who could engage in their "high" easel art, and at the same time do everything that, in theory, belonged to the competence of muralists and designers. And, of course, no one could forbid members of the “applied” sections to engage in “easel painting”, but at mass all-Union exhibitions they could only count on “peripheral” halls, and the purchase of easel works from them was the exception rather than the rule.

Consequently, any artist who at least once in his life tried his hand at easel painting, graphics or sculpture (and how could it be without this?), First of all, tried to join the sections that formed "art in the narrow sense." And if for some reason it did not work out, he went "to the outskirts" - to the monumentalists or designers. There were, of course, exceptions to this rule, but only for subjective reasons - if, for example, all the artist N's friends had already joined the Moscow Union of Artists as designers, then why did N try to go into painting or graphics with a huge risk of "rolling" at the reception commissions? It's better to go straight to yours...

There were also exceptions of a different kind: in the history of each of the "unions of Soviet artists", as in the current Russian creative unions, there are periods when muralists or designers were "at the helm". But these situations were and are exclusively subjective.

In fairness, we note that the division into painters and graphic artists was just as conditional and subjective. For example, what painter has never painted in watercolor and never picked up pastel?

But the assignment of the painter to the graphics, although it meant the impossibility of being in the honorary center of any all-Union (and now all-Russian) exposition, was still not tantamount to falling out of "art in the narrow sense" - fine art.

As we have already seen, muralists and designers did not lose the right to be called painters and graphic artists and, accordingly, did not fall out of “art in the narrow sense” either. Sculptors-monumentalists never stood out from the “general sculptural community”.

But the “appliers” were the least fortunate. They turned out to be the eternal "second grade". It turned out that jewelers, ceramists and glass artists are not sculptors, and miniaturists are not painters. On the lush and spreading tree of Soviet official recognition, at best, the title of “Honored Artist” or “Honored Worker of Arts” shone for them. People's Artist of the USSR, Corresponding Member, and even more so a full member of the Academy of Arts - these "heights" were sky-high for them. Moreover, for the vast majority of “applied” workers, “free swimming” was practically excluded (orders from official organizations, Ministry of Culture purchases from exhibitions, etc.) - they were forced to either earn money through “folk crafts” or “leftist”.

After the collapse of Soviet power, the formal restrictions on the activities of "appliers" disappeared, but the stigma of "second-rate" remained. Quite recently, a painter friend of mine, who applied for admission to the Moscow Union of Artists, was offered to join the DPI section only because he had the imprudence to bring to the selection committee not photographs of his easel works, but printed postcards with their reproductions. And if in our time there were no “alternative” unions of artists, this painter would have remained an “applied artist”. Ramzin V.M.,. Meet the Slavs. Moscow, 1992.

So where does this a priori “second-rate applicators” come from, and is it justified?

It is very likely that under the conditions of the monopoly domination of the Soviet distribution system, such “second-class” status had certain reasons.

"Historically" - from the 18th to the beginning of the 20th century - Russian jewelers, glassblowers, ceramists, embroiderers and other "applied workers" were largely "impersonal". The general public knew only the names of the owners of factories and workshops, and almost all craftsmen - even the most talented ones - extremely rarely had the opportunity to show their author's individuality.

With regard to painters and sculptors, the Imperial Academy of Arts, rigidly imposing its own style and "rules of the game", almost never allowed depersonalization, preserving the names of even many "apprentices" for history. And the vast majority of "ordinary" masters of the jewelry, glass and porcelain industry of the Russian Empire irretrievably sunk into oblivion. The unprecedented rise of the author's "decorative art of the USSR" occurred only at the end of the fifties of the twentieth century.

And in the 1930s-1950s, the leaders of creative unions and their curators from the party bodies quite sincerely (in any case, in accordance with the "imperial" tradition) tried to separate the "lambs from the goats" - "genuine creators" from "handicraftsmen".

It was then that the division of artists into "clean and impure" - "easel painters" and "applied artists" arose. In theory, “real Soviet” painters and sculptors were not supposed to earn extra money in folk crafts and make toys (the fact that many actually real artists were forced to earn extra money as loaders and stokers is now out of the question). Yes, and churning out "clones" of their works, putting their paintings and sculptures on the industrial stream, in theory, "real artists" should not have been - but for the "applied artist" this seems to be in the order of things.

Thus, we have one question left unresolved: what to do with the term “decorative art”, the works of which, according to the RES, “artistically form the material environment surrounding a person and introduce an aesthetic-figurative beginning into it”, but at the same time, unlike “ self-sufficient" easel art, "disclose their content most fully in the ensemble, for the aesthetic organization of which they are created"?

Yes, it is even more difficult to abandon the division of works of art into “decorative” and “easel” than into “easel” and “applied”. But, apparently, we will have to do this. Otherwise, the debate about whether the “Sistine Madonna” has an “easel” or “decorative” character can be endless and fruitless, since any opinions here can be extremely subjective.

For example, where does Andrei Rublev's "Trinity" look better? In a dimly lit and smoky, but "native" cathedral, or is it in the Tretyakov Gallery, where it is absolutely preserved and exhibited in accordance with all exposition canons?

According to the stereotypical view, "legitimized" by the RES, it turns out that the recognition of Rublev's masterpiece as a "decorative" or "easel" work depends solely on the answer to the question where "Trinity" looks better. But in fact, it is probably not in vain that they say: a masterpiece is a masterpiece in Africa too. And what’s more, even if it suddenly turns out that Rublev’s “Trinity” looks better in the cathedral than in the Tretyakov Gallery, would anyone dare to call this icon “a work of decorative art”?

Indeed, no one calls the “Trinity” that way. But the vast majority of icons are usually classified in this way.

This means that with “decorative art” it turns out exactly the same as with DPI: in the current practice of art criticism, this term a priori expresses the second-rate work. Consequently, all types of art included in it turn out to be “second-rate”: monumental, design and applied, from which we began our study.

But after all, few modern art historians will not agree that the sense of the ensemble, the ability to form a single space, the emergence of the author's concept beyond the framework of the work itself is "aerobatics", and not every "easel painter" is capable of it.

So, are we right to talk about “second class” here? No and no again. But it is precisely this “second-rate” that is dictated to us by the modern stereotypical understanding of “decorative art”.

Of course, we are by no means going to completely abandon the concept of "decorativeness" as such. For example, the primary positioning of a work of art as “decorative” is possible, as was the case with Raphael with the “Sistine Madonna” or Rublev with the “Trinity”. We also see the widespread use of “easel” things for decorative purposes: the majority of two-dimensional and three-dimensional works of art are still not in museums, but in “public and private life” in interiors.

But today a thing can be in the interior, tomorrow - in the museum, and the day after tomorrow - again return to the interior. All these cases are subject only to a local assessment and in no case entail a classificatory assignment to such global categories as easel or decorative art.

L.V. Tazba, in his article "Rating of Artists and the Philosophical Understanding of Art", published in the third issue of the reference book "Unified Artistic Rating", defined the phenomenon of art (outside of political, economic and concrete social expediency) as a subject-object unity "artist-work". This approach, according to L.V. Tazba, gives everyone the opportunity to manifest themselves in the situation of "spectator-work".

These definitions will help us to move from the outdated concepts of easel and decorative art to more modern terminology. After all, “easel painting” and “decorativeness” classify works of art according to their location in a particular space - a temple, a museum, a corridor, a bedroom, etc.. So, we have the right to say that these terms denote the spatial component of the situation “spectator -work".

All works have undoubted artistic merit, but there is also a certain calmness and repetitions of already found techniques in them. The works of many recognized masters sometimes lack creative courage, sharpness, and the search for novelty of form. Perhaps that is why the exposition draws attention to attempts to introduce creativity into the macrame technique, which has become widespread in recent years. This applies primarily to the large triptych by T. Myazina (Moscow Region) "Birch Grove" and the tapestry by artists V. and N. Yanovs "Fair" (Gorky). The tapestry of young Krasnodar artists V. and L. Zubkov "Kubanskaya Niva", made in a bold expressive manner, aroused great interest at the exhibition. Its texture was also successfully found, slightly reminiscent of thick Kuban bread.

Plastic arts: glass: ceramics, porcelain and others - were presented in the exposition mainly by experimental works. Searches are very diverse. In glass, we are already accustomed to large decorative forms, which our leading glaziers use to express their worldview, and sometimes deep philosophical thoughts. Such are the works of L. Savelyeva, V. Muratov, B. Fedorov. They are interesting to us in terms of developing themes and images that these artists are constantly passionate about. From exhibition to exhibition, the skill of engraving and cutting crystal is growing and honed by A. Astvatsaturyan (Leningrad), O. Kozlova and V. Korneev (Gus-Khrustalny), plastic becomes richer and fuller in the compositions of S. Beskinskaya (Moscow), A. Stepanova (Moscow), L. Urtaeva (Moscow), more emotional and subtle color solution of the works of G. Antonova (Moscow), S. Ryazanova (Moscow), D. and L. Shushkanov (Moscow). Great opportunities are open for glass artists to convey such material properties as transparency, viscosity, brittleness, malleability, spatiality. The discovery of all these properties of glass is made possible by the high technical level of our glass industry. It is hard to imagine what the works of Gusev artists could look like if the factory did not know how to weld wonderful colored crystal, or we would hardly see the latest works of B. Fedorov if there were no such rich traditions of cutting crystal at the Dyatkovo Crystal Factory.

The perception of the subject-object unity "artist-work" largely depends on this component. Indeed, any viewer perceives the work (together with the information he has about the artist) primarily in the surrounding space - museum, interior, cult, urban planning, etc.

Let's clarify: not only the viewer perceives the work in space. The artist's conception usually embraces the "easel" or "decorative" nature of the work being created, i.e. also thinks for him a certain location in space. But this idea is an integral part of the act of creating a work and, therefore, is included in the subject-object unity "artist-work". And subsequently, the location of the work in space (for brevity, let's designate it as the "place of the work") can change many times - we have already said that today the thing can be in the interior, tomorrow - in the museum, and the day after tomorrow - again return to the interior.

It seems useful to make one more clarification. Undoubtedly, the values ​​of art are eternal and enduring - in our time, deep excursions into philosophy are hardly necessary to ascertain this fact. And yet, the perception of any work of art significantly correlates with the tastes and traditions of a particular era in which the viewer lives. Including in the issue of attribution to "easel painting" or "decorative art" (ie, in the motivation for placing a particular work in a museum, on a square, in a temple, in a bedroom, etc.).

Thus, if we abandon the concepts of "easel painting" and "decorativeness" as primary classifiers, we must add to the subject-object unity "artist-work" components denoting the viewer's perception - the place and time of perception of the work. The place and time of the creation of the work are included in the first component - the "artist", therefore, in order to distinguish the viewer's perception from the act of creating the work, let's call the place and time of the viewer's perception the circumstances of place and time.

So, the subject-object unity "artist-work", existing in the circumstances of place and time, can be an exhaustive theoretical tool for the perception, evaluation and classification of a particular work of art.

All the age-old problems of spectator perception - "like-dislike", "good-bad" - are determined by the interaction of these primary categories. But in any case, there is no place in art for plagiarism and soulless replication - only the uniqueness and uniqueness of the unity "artist-work" (differently perceived in different circumstances of place and time, but not changing its deep, true essence) create the phenomenon which we call art.

And all other components of the perception, evaluation and classification of works of art (two-dimensionality or three-dimensionality, “decorative” or “easel” primary positioning, decorative or museum placement in a particular era, realistic or abstract style, plastic, colors, art materials, etc. .) can play the role of only auxiliary, but by no means primary.

And there should be no division of creators into “pure and impure” - easel and applied artists, realists and abstractionists, traditionalists and conceptualists, muralists and miniaturists - at this level of understanding. The true (and not declarative) equality of all currents and directions in art is one of the greatest achievements of art history of the 20th century, and it is time to bring the basic terminology in line with these achievements.

baroque jeweler applied classicism

Conclusion

Decorative and applied art has its roots in the depths of centuries. Man has been creating aesthetically valuable objects throughout his development, reflecting material and spiritual interests in them, therefore, works of arts and crafts are inseparable from the time when they were created. In its basic meaning, the term "arts and crafts" means the design of household items that surround a person all his life: furniture, fabrics, weapons, dishes, jewelry, clothes - i.e. everything that forms the environment with which he daily comes into contact. All things that a person uses should be not only comfortable and practical, but also beautiful.

This concept was formed in human culture not immediately. Initially, what surrounds a person in everyday life was not perceived as having aesthetic value, although beautiful things have always surrounded a person. Even in the Stone Age, household items and weapons were decorated with ornaments and notches, a little later jewelry made of bone, wood and metal appeared, a wide variety of materials were used for work - clay and leather, wood and gold, glass and plant fibers, claws and teeth of animals.

The painting covered dishes and fabrics, clothes were decorated with embroidery, notches and chasing were applied to weapons and dishes, jewelry was made from almost any material. But a person did not think about the fact that the usual things that surround him all his life can be called art and separated into a separate trend. But already in the Renaissance, the attitude towards everyday objects began to change. This was caused by the awakening of people's interests in the past, associated with the cult of antiquity that arose at that time. At the same time, interest arose in housing as an object equivalent in terms of aesthetic value to other objects of art. Decorative and applied art reaches its greatest development in the era of baroque and classicism. Very often, the simple, practically convenient form of an object was hidden behind exquisite decorations - painting, ornamentation, embossing.

In the highly artistic works of the masters of Ancient Russia, the plastic principle was manifested in everything: spoons and cups were distinguished by sculptural forms, impeccable proportions, ladles usually took the form of a bird - a duck or a swan, the head and neck served as a handle. Such a metaphor had a magical meaning, and the ritual meaning determined the traditional character and stability of such a form in folk life. Gold chains, a monista of elegant medallions, colored beads, pendants, wide silver bracelets, precious rings, fabrics decorated with embroidery - all this gave the festive women's dress multicolor and richness. Painting a jug with patterns, decorating a cutting board with carvings, weaving patterns on fabric - all this requires great skill. Probably, such products decorated with ornaments are also classified as decorative and applied art because it is necessary to apply hands and soul to make amazing beauty.

The modern artistic process is complex and multifaceted, just as modern reality is complex and multifaceted. Art, understandable to everyone, surrounds us everywhere - at home and in the office, at the enterprise and in the park, in public buildings - theaters, galleries, museums. Everything - from rings, bracelets and coffee sets to a holistic thematic complex of works of arts and crafts for a large public building - bears a variety of artistic searches of masters who subtly feel the decorative purpose of the object, organizing and filling our life with beauty.

To create the comforts necessary for a person and at the same time to decorate his life, artists strive to ensure that all things that are used in everyday life not only correspond to their purpose, but also be beautiful, stylish and original.

And beauty and usefulness are always nearby when the craftsmen take up the work, and from a variety of materials (wood, metal, glass, clay, stone, etc.) they create household items that are works of art.

List of used literature

1. Zavyalov K.F. Religion of the Slavic peoples. Vol. 1, 2 / Tomsk, 1994 - 1995.

2. Lukina N.V. Formation of the material culture of the Rus. Tomsk, 1985.

3. Rites, customs, beliefs: Sat. articles / Comp. Yu. L. Khandrik, foreword. N.A. Rogacheva. Tyumen, 1997.

4. Hegel G.W.F. Aesthetics. T. 1. M., 1968,

5. Kaplan N. I. Folk arts and crafts. M., 1980.

6. Sokolov K.F. Religion of the Slavic peoples. Vol. 1, 2 / Moscow, 1994 - 1995.

7. Ramzin V.M.,. Meet the Slavs. Moscow, 1992.

8. Lukina N.V. Formation of the material culture of the Slavs. Tomsk, 1985.

9. Myths, legends, fairy tales of the Slavs / Comp. N.V. Kukina M., 1990.

10. Rites, customs, beliefs: Sat. articles / Comp. Yu. L. Khandrik, Moscow, 1997.

11. Korytkova N.F. Slavic clothes. M.; , 1995.

12. Rombandeeva E.I. History of the Slavs and their spiritual culture. Moscow, 1993.

13. Sokolova Z.P. East Slavs. M., 1994.

14. Don I. S. Arts and Crafts: Historical and Philosophical Perspective. M., 1998.

15. Drums N. I. Folk arts and crafts of the Eastern Slavs. M.,

16. 1980. Praskov K.F. Religion of the Slavic peoples. T

17. Elkonin D.B. The psychology of the game. M., 1999.

18. Barabanov N. I. Folk arts and crafts of the Western Slavs. Rostov-on-Don, 1999

19. Potapov N. I. Folk arts and crafts of the Western Slavs. M., 1990.

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The role of arts and crafts in the life of the people

2.2 The role of arts and crafts in modern society

In order to understand whether such a strange situation with the DPI arose by chance or not by chance, it is necessary to recall the thirties and fifties of the twentieth century - a long period of the formation of "unions of Soviet artists". It was then that when the Moscow Union of Artists and the Union of Artists of the USSR were created, sections of painters, graphic artists, sculptors, decorators, muralists and "applied artists" were allocated on an equal footing.

Probably, when solving organizational issues of the unions, all these sections really enjoyed equal rights. But the confusion had already begun. Sokolov K.F. Religion of the Slavic peoples. Vol. 1, 2 / Moscow, 1994 - 1995.

The fact is that it is not easy to name a painter who has never designed any museum, exhibition, church or cultural center in his life. Or a sculptor who worked exclusively in easel plastic and did not stage a single monumental work. Or a graphic artist who has never illustrated a single book.

And so it happened that among the "equal" sections there were three "most equal" - painters, graphic artists and sculptors, who could engage in their "high" easel art, and at the same time do everything that, in theory, belonged to the competence of muralists and designers. And, of course, no one could forbid members of the “applied” sections to engage in “easel painting”, but at mass all-Union exhibitions they could only count on “peripheral” halls, and the purchase of easel works from them was the exception rather than the rule.

Consequently, any artist who at least once in his life tried his hand at easel painting, graphics or sculpture (and how could it be without this?), First of all, tried to join the sections that formed "art in the narrow sense." And if for some reason it did not work out, he went "to the outskirts" - to the monumentalists or designers. There were, of course, exceptions to this rule, but only for subjective reasons - if, for example, all the artist N's friends had already joined the Moscow Union of Artists as designers, then why did N try to go into painting or graphics with a huge risk of "rolling" at the reception commissions? It's better to go straight to yours...

There were also exceptions of a different kind: in the history of each of the "unions of Soviet artists", as in the current Russian creative unions, there are periods when muralists or designers were "at the helm". But these situations were and are exclusively subjective.

In fairness, we note that the division into painters and graphic artists was just as conditional and subjective. For example, what painter has never painted in watercolor and never picked up pastel?

But the assignment of the painter to the graphics, although it meant the impossibility of being in the honorary center of any all-Union (and now all-Russian) exposition, was still not tantamount to falling out of "art in the narrow sense" - fine art.

As we have already seen, muralists and designers did not lose the right to be called painters and graphic artists and, accordingly, did not fall out of “art in the narrow sense” either. Sculptors-monumentalists never stood out from the “general sculptural community”.

But the “appliers” were the least fortunate. They turned out to be the eternal "second grade". It turned out that jewelers, ceramists and glass artists are not sculptors, and miniaturists are not painters. On the lush and spreading tree of Soviet official recognition, at best, the title of “Honored Artist” or “Honored Worker of Arts” shone for them. People's Artist of the USSR, Corresponding Member, and even more so a full member of the Academy of Arts - these "heights" were sky-high for them. Moreover, for the vast majority of “applied” workers, “free swimming” was practically excluded (orders from official organizations, Ministry of Culture purchases from exhibitions, etc.) - they were forced to either earn money through “folk crafts” or “leftist”.

After the collapse of Soviet power, the formal restrictions on the activities of "appliers" disappeared, but the stigma of "second-rate" remained. Quite recently, a painter friend of mine, who applied for admission to the Moscow Union of Artists, was offered to join the DPI section only because he had the imprudence to bring to the selection committee not photographs of his easel works, but printed postcards with their reproductions. And if in our time there were no “alternative” unions of artists, this painter would have remained an “applied artist”. Ramzin V.M.,. Meet the Slavs. Moscow, 1992.

So where does this a priori “second-rate applicators” come from, and is it justified?

It is very likely that under the conditions of the monopoly domination of the Soviet distribution system, such “second-class” status had certain reasons.

"Historically" - from the 18th to the beginning of the 20th century - Russian jewelers, glassblowers, ceramists, embroiderers and other "applied workers" were largely "impersonal". The general public knew only the names of the owners of factories and workshops, and almost all craftsmen - even the most talented ones - extremely rarely had the opportunity to show their author's individuality.

With regard to painters and sculptors, the Imperial Academy of Arts, rigidly imposing its own style and "rules of the game", almost never allowed depersonalization, preserving the names of even many "apprentices" for history. And the vast majority of "ordinary" masters of the jewelry, glass and porcelain industry of the Russian Empire irretrievably sunk into oblivion. The unprecedented rise of the author's "decorative art of the USSR" occurred only at the end of the fifties of the twentieth century.

And in the 1930s-1950s, the leaders of creative unions and their curators from the party bodies quite sincerely (in any case, in accordance with the "imperial" tradition) tried to separate the "lambs from the goats" - "genuine creators" from "handicraftsmen".

It was then that the division of artists into "clean and impure" - "easel painters" and "applied artists" arose. In theory, “real Soviet” painters and sculptors were not supposed to earn extra money in folk crafts and make toys (the fact that many actually real artists were forced to earn extra money as loaders and stokers is now out of the question). Yes, and churning out "clones" of their works, putting their paintings and sculptures on the industrial stream, in theory, "real artists" should not have been - but for the "applied artist" this seems to be in the order of things.

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The role of arts and crafts in the life of the people

The role of arts and crafts in the life of the people

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INTRODUCTION

Decorative art is the most extensive area of ​​human creative activity. Products made of ceramics, wood, glass, textiles are the oldest products of human labor and creativity, they mark progressive development civilizations and cultures at all stages of history. Having arisen at the earliest time in the development of human society, arts and crafts for many centuries was the most important, and for a number of tribes and nationalities the main area artistic creativity. However, the role and importance of decorative art in the general cultural process is still underestimated. In world history art, it is usually not singled out as a special area of ​​​​aesthetic activity, but is considered only in its utilitarian function: as the design of subject products and the living environment, as a product of handicraft or industrial production. In principle, this is true: the decorative arts are closely related to material production and architecture. It is difficult to agree that the cultural level of the era is determined only by the fine arts and architecture, and artistic items - furniture, dishes, textiles, jewelry - only serve the everyday needs of people and shine with the reflected light of "high arts".

This paper sets the goal of a comprehensive study of modern domestic decorative art, establishes the problem of the development of mass production in the context of the socio-cultural situation in Russia in the 20th century.

The following tasks are set in the work:

Principles of modern shaping of subject and decorative products;

Their influence on addition artistic style objective world and living environment

The specific place of decorative art in the visual culture of the modern era is noted.

RESEARCH SECTION

History of Arts and Crafts

Folk arts and crafts is the result of creativity of many generations of craftsmen. It is united in its artistic structure and extremely diverse in its national characteristics, which manifest themselves in everything from the choice (use) of the material to the interpretation of pictorial forms.

Born among farmers, pastoralists, hunters, folk art throughout the history of its development is associated with nature, the laws of its renewal, the manifestation of its life-giving forces.

The very existence of a person is inseparable from nature, which provides material for housing and clothing, food, determines the rhythm human life change of day and night, alternation of seasons. Therefore, all this is reflected in the works of folk art, which constitute an integral phenomenon of the culture of each people.

The well-known assertion that folk art is firmly connected with everyday life concerns not only arts and crafts. Songs and dances, epics and fairy tales are also inseparable from the daily life of the people, because they embodied dreams of beauty, ideas about a better life, about good and evil, about the harmony of the world. In harvest festivals, seeing off winter, meeting spring, in various ceremonies and rituals, the creative principle manifested itself in a complex, multifunctional way. In this regard, folk art is called syncretic, i.e. unifying different functions objects and connecting them with everyday life (Appendix, Fig. 1).

And today, art products made by folk craftsmen from various materials are an indispensable part of everyday human life. They entered life as necessary items performing certain utilitarian functions. These are floor carpets and ceramic dishes, woven bedspreads and embroidered tablecloths, wooden toys and decorations for women's clothing. Their thoughtful shape and proportions, the pattern of the ornament and the color of the material itself characterize the aesthetics of these things, their artistic content, turn a utilitarian object into a work of art. All such products belong to the field of arts and crafts, in the sphere of which they find an organic unity of the spiritual and material principles of creativity. The world of this area is vast.

Many art objects produce enterprises equipped with advanced technology, which allows you to do things in large quantities. But in them there is a mechanical repetition of the original sample. This type of production is called the art industry. Adjacent to it, but noticeably different in the nature of products, are folk art crafts, in which the appearance of an object, the formation of its artistic features depend on the manual creative work of the master artist, which determines the final result. Therefore, the significance of the master in folk art is so great. The artistic level of the thing he creates depends on how he masters his craft, how he uses his knowledge and practical skills.

As a result of this development of folk art, the form of products was polished, beautiful and meaningful motifs of ornament were preserved, an artistic tradition was formed as a system of worldview of folk craftsmen and as a handicraft basis for creativity.

All these features that characterize folk arts and crafts manifested themselves in the course of its historical development. Coming from the depths of centuries, the creative development of the material, the improvement of the function of each object led to the endowment of the thing with additional significance. For example, a lock in the shape of a lion was supposed to enhance, according to the master, the protective function of this household item. The ornament in the form of a hoop, encircling the body of the lathe, visually strengthened the shape.

Folk arts and crafts not everywhere and not at the same time switched to functioning in the form of crafts. They arose only where there were appropriate economic conditions (steady demand, a sufficient amount of local raw materials, etc.). The most active development

Even before the revolution, the artel form of housekeeping was tested by masters of the Moscow Region and a number of other centers of folk art. So, after the ruin of the owners of the craft of the Fedoskino miniature, the craftsmen organized an artel in 1903, thanks to which the core of creatively working painters was preserved, and the art of craft did not die out (Appendix, Fig. 3).

In the 1920-1930s. the process of creating cooperative industrial artels of an artistic profile continued. New productions arose, but the main attention was paid to strengthening traditional crafts in areas where the ancient centers of folk art united several settlements. The production of products with Khokhloma painting on wood was restored on a large scale in the Nizhny Novgorod region, the manufacture of handmade lace in the Vologda region. New types of products were also born. So, the masters of the former icon-painting crafts switched to work in the field of lacquer miniatures. Painting on papier-mache by the masters of the village of Palekh, Ivanovo region, already in the first works, was highly appreciated by the largest scholars and researchers of folk art.

By the early 1960s, supplies of art products for export were being restored. In the future, a number of decrees were issued to promote the development of crafts. In particular, it is accepted important decision about attracting homeworkers to work. It not only made it possible to expand staffing, but also made it possible to create entire associations of craftsmen working at home in many union republics. Masters of artistic crafts are provided with a number of economic benefits. In accordance with the tasks set in the directive documents, expeditions, competitions, gatherings of masters, crafts festivals began to be held regularly. Such A complex approach to intensify the creativity of the masters, to promote their achievements, allowed each nation to see the values ​​of their national culture, to attract young people to the craft, which makes it possible to show their abilities. That is why the number of young people who want to enter special educational institutions is increasing every year.

Elegance, artistic content of handicrafts creates an atmosphere of festivity, causes a person to be in high spirits. Products of folk craftsmen are indispensable attributes of our life, enliven everyday life people become the main actors» on ceremonial occasions. Costumes in folk traditions are obligatory attributes of folklore ensembles, fairs, special exhibitions. Finally, almost every thing created by craftsmen serves as a wonderful gift for anyone. important event in life individual person, family or team. And small, convenient things for transportation - souvenirs - signs of memory of the national culture of the people and even the whole country.