Work of folk decorative art: types. Arts and crafts

Folk and decorative arts are an integral part of artistic culture. Works of applied art reflect the artistic traditions of the nation, worldview, worldview and artistic experience people, preserve historical memory.

Today it is obvious that folk art is a full-fledged and valuable part of artistic culture, and just a few decades ago scientists had to prove this.

Folk art develops according to its own laws, determined by its essence, and as an independent type of creativity interacts with another type of creativity - the art of professional artists.

It is especially important to note that folk art, as part of spiritual culture, can be a source of ideas and inspiration for professional artists. The paintings of wonderful old masters A. Venetsianov, V. Vasnetsov, M. Vrubel, K. Petrov-Vodkin, V. Popov embodied folk ideas about the world, the greatness of man and nature, the commonality of traditions in ancient Russian art and folk art.

A number of contemporary professional artists working in the fields of painting, graphics, textiles, carpet weaving, artistic treatment

glass, ceramics, wood, metal, and also turn to folk art.

In a broad sense folk art (folklore) - they are created" by the people on the basis of collective creative experience, national traditions and popular poetry (legends, fairy tales, epics), music (songs, tunes, plays), theater (drama, puppet theater, satirical plays), dance, architecture, fine and decorative arts.

Works of folk art have spiritual and material value, are distinguished by their beauty and usefulness. Masters of folk arts and crafts create their works from a variety of materials. The most common are artistic ceramics, lace weaving, embroidery, painting, wood or stone carving, forging, casting, engraving, chasing, etc. We can use painted dishes, lace napkins, carved wooden boards, embroidered towels and other works of folk art in everyday life .

Great importance is given to folk art ornament, which decorates an object (thing) or is its structural element. Motive: the ornaments have ancient mythological roots.

There are two directions in folk art: urban art craft And folk arts and crafts. As an example of traditional artistic crafts, we can name: painting on wood Khokhloma, Gorodets, Northern Dvina) and on porcelain (Gzhel), clay toys (Dymka, Kargopol, Filimonovo), nesting dolls (Sergiev Posad, Polkhov - Maidan), trays (Zhostovo) , lacquer miniatures(Fedoskino, Palekh, Kholuy), scarves (Pavlovsky Posad), carved wooden toys (Sergiev Posad, Bogorodskoye), jewelry (Kubachi), etc.

Folk art has lived for centuries. Technical skills and found images are passed down from generation to generation, preserved in the memory of folk artists. Because of this, the tradition established over centuries reflects only the best creative achievements.

Decorative arts - This is one of the types of plastic arts. Decorative art is divided into those directly related to architecture - monumental and decorative art(stained glass windows, mosaics, paintings on facades and interiors, decorative garden sculpture, etc. arts and crafts (household art products)

Decorative arts are largely related to the art industry and design. Together with architecture and design, it forms a material object-spatial environment, introducing an aesthetic, figurative element into it. Recently, decorative art has been classified as design. Works decorative arts always relate to the environment for which they are intended, and usually constitute ensemble.

Decorative and applied arts - area of ​​decorative art: with the construction of artistic products that have a practical purpose in everyday life: and are distinguished by decorative imagery (dishes, furniture, fabrics, clothing, jewelry, toys, etc.). All objects surrounding a person should not only be comfortable and practical, but also beautiful. The item must be expressive as a whole - in design, proportions, details, and in decoration. Painting a jug with patterns, decorating a cutting board with carvings, knitting a lace napkin, weaving patterns on fabric - all this requires great skill. Probably, such products decorated with ornaments are classified as decorative and applied arts also because you need to put your hands to work to create this amazing beauty. Benefit and beauty are always nearby when artists and the most various materials(wood, metal, glass, clay, stone, fabric, etc.) create household items that are works of art.

Another area of ​​decorative and applied art is associated with the adornment of the person himself - the creation of an artistically executed costume that makes up an ensemble along with a headdress, shoes and jewelry. But lately the suit is increasingly considered to clothing design. However, decorative products demonstrate not only the aesthetic taste and imagination of the artist. They, like works of other types of art, reflect the material and spiritual interests of people." And although today products of applied art are created by the art industry, they largely retain national characteristics. All this allows us to say that in the decorative arts of a certain historical eras, the features of stylistic unity are clearly expressed, for example, the period of Gothic, Art Nouveau, Classicism, etc.

How can you determine whether a given product is a work of decorative art? Sometimes they argue like this: if a vase has a beautiful shape, but it is not decorated with anything, then it is not a work of decorative art, but if you put some kind of pattern on it, it will immediately turn into a work. This is wrong. Sometimes the ornaments decorating a vase make it a tasteless fake and turn it into kitsch. Conversely, a vessel made of pure clay or wood can be so striking in its perfection that its artistic value becomes obvious.

What are the similarities and differences between works of folk and professional arts and crafts? How can you tell whether a vase or carpet is a work of folk or professional decorative art?

Maybe the level of education of the master or artist will help here? No, it won’t help, although it is generally accepted that a folk master does not have special education, but an artist of applied art must necessarily graduate from a special educational institution. However, today there are specialized educational institutions that train specialists for such centers as Gzhel, Fedoskino, Semenov, etc.

Sometimes, based on the method of making a thing, the share of manual labor in this process, and the mass circulation, they try to classify works of applied art as folk or professional decorative art. This is extremely difficult to do, since folk art products are sometimes created in factories, and decorative works by professional artists are sometimes created in one copy.

Today, just like a hundred years ago, a folk artist mainly performs an artistic work by hand. At the same time, the master can work either alone or in a team, as well as in organized workshops and even in factories in the centers of traditional folk arts and crafts. As a rule, works of decorative and applied art are created by artists from art industry enterprises or workshops. They participate both in the production of decorative items produced in mass quantities, and in the creation of individual designer designs. Professional artists in their work can rely on images of world artistic culture and refract the traditions of folk art in their own way. artistic creativity or completely follow only your individuality and imagination.

Probably the most important thing when determining what type of person is skilled in carrying this or that thing is to determine within the framework of what artistic composition it was created, whether the characteristics of a specific image-type are observed in the technology of processing the material.

Creations folk craftsmen and applied artists are united by the thoughtfulness of forms, the appropriateness of proportions, and the stylistic arrangement of all elements.

The ability to analyze the expressive means of an artistic image in folk and decorative arts is necessary to feel and learn to better understand the general and special in each of them.

In this regard, one of the most important questions becomes the question of the relationship between the pictorial and physical in decorative works, about what prevails in them. figurativeness or plasticity. It should be said about the complex interaction between the plastic and the belly in decorative art. In some products, the plastic carries the beginning of the picturesque - Skopino ceramics, Kargopol, Dymkovo toys. The synthesis of part and whole is mandatory for a folk artist, no matter how his palette expands, no matter what predominates - the visual or mental principle.

The expressiveness of line, silhouette, rhythm, color, proportions, shape, space in each type of decorative art largely depends on the materials used and the technology of their processing.

The relationship between form and material is obvious. The plasticity of clay, wood, the fragility and transparency of glass, and the strength of metal make it possible to create vessels of various shapes; its best artistic solution is determined by the properties of the material.

A folk craftsman or arts and crafts artist strives in his work to show in the best possible way the aesthetic properties of materials: wood, textiles, metal, ceramics, glass, paper, leather, stone, etc.

Decoration in folk and decorative arts is the main means of expressing beauty, and at the same time it is a feature of works of other types of art.

It must be taken into account that in each form of art: the image has its own structure, determined, on the one hand, by the peculiarities of the expression of spiritual content, and on the other hand, by the technological nature of the material in which this content is embodied. The artistic image in folk and decorative arts has both distinctive features.

The decorative image expresses not the individual, but the general - “specific”, specific” (leaf, flower, tree, bird, horse, etc.). A decorative image requires artistic and figurative thinking, a mythical and poetic attitude to reality.

Therefore, in folk art it is customary to highlight image-types of products of traditional artistic crafts, which reflect the mythological and aesthetic ideas of the people. For example, the image of a bird, a horse, the tree of life, a woman, signs-symbols of the earth, water, the sun can be seen in various artistic materials: embroidery, weaving, lace, painting on wood and metal, wood carving, ceramics, etc. Sustainability and the traditional nature of these images and their archetypal nature largely determine the high artistic and aesthetic value of works of folk art.

At the same time, the universality of image-types in the art of different peoples of the world shows their unity, associated with the commonality of approaches to the process of aesthetic cognition of natural and social phenomena.

Images in professional decorative art also reflect the ideas of a particular people about beauty. They are also often created based on natural or geometric motifs, but here great freedom is allowed in the interpretation of images. Historical subjects or themes modern life are actively used in works of applied art.

Now let’s look at the similarities and differences in the concepts of “artistic image”, “symbol” and “sign” using the example of works of folk decorative art. The most capacious and multifaceted concept will be “artistic image”. In some cases, a symbol is a sign endowed with the organic nature and inexhaustible ambiguity of the image. In others, the symbol is not equivalent to artistic

image, but, most importantly, must always have artistic value. Thus, an artistic image does not always have a symbolic meaning, and a symbol is not always figuratively expressive. A symbolic image, as a rule, does not carry any figurative and symbolic significance, although in folk art very often all signs are symbols, and sometimes even images. Such polysemy of images-symbols and signs-symbols in folk decorative art presents a certain difficulty. For example, a bird in Gorodets painting or in Gzhel ceramics has a different imagery. If we talk about a bird in general, then it will not be an image of a specific bird or even an image of a bird in the traditions of some craft, but an image close to a sign. a symbol of the sun can be a decorative image of a rooster. On the other hand, a number of symbols can have not only one, but several meanings. Thus, a symbol of the sun can be not only a rooster, but also a horse. Such a symbolic-poetic system originates from signs-symbols. associated with the worship of natural deities.

When analyzing the artistic merits of a particular work of folk or professional decorative art, it is necessary to pay attention to its figurative solution, taking into account the characteristics of the material, the expressiveness of form and proportions, the color scheme, the connection of the ornament with the shape of the product, the plastic, pictorial or graphic merits of the thing. At the same time, it is important to note how rhythmic repetitions, compositional features of the construction of the ornament and the thing as a whole influence its figurative solution.

If you learn to analyze an image well in any of the artistic systems, then rich opportunities will open up for identifying the interrelations of artistic and expressive means.

Folk and professional arts and crafts are interpreted as arts that serve the needs of man and at the same time satisfy his aesthetic needs, bringing beauty to life.

However, you need to be aware of the significant differences between these types of arts. Folk art, which transforms reality, is considered by modern art historians as a special type of artistic creativity, the distinctive features of which are: a collective principle and traditions, the stability of themes and images, the universality of a language understandable to all peoples of the world, the universality of spiritual values. All these features of art are determined by a holistic perception of the world.

The indicated qualities are equally inherent in both folk decorative and applied art, and oral, musical and poetic folklore, games, drama and other forms of folk art.

Folk art is a holistic phenomenon, since its basis is the life and way of life of people, their ideas about the universe, work activity, rituals and holidays. Objects of folk art materialize the imaginative thinking of the people. Over the centuries, different types of folk art have developed and improved in unity: oral folk art, musical folklore, decorative and applied arts, architecture.

The results of the artistic and creative activity of a people reflect their life, views, and ideals, therefore, the works of folk art contain the experience of moral feelings, knowledge, and behavior. Unique and rich in content, experience gives folk art a unique value as a means of moral and aesthetic education of a person. Therefore, in this context, it constitutes such an important area of ​​social life as folk pedagogy. The versatility of folk art allows us to consider it as a huge force influencing the individual and society.

Folk art is, first of all, huge world the spiritual experience of the people, their artistic ideas are an integral part of culture. Folk art is based on the creative activity of the people, reflecting their self-awareness and historical memory. Communication with folk art, with its moral and aesthetic ideals developed over centuries, plays a significant educational role. The appeal of folk art to people and the impact on their intellectual, emotional and sensory spheres opens up great opportunities for the use of traditional folk arts and crafts in the education system.

Theoretical basis folk art, its essence and significance as an artistic system as a whole were substantiated by leading domestic scientists A.B. Bakushinsky, I.Ya. Baguslavskaya, G.K. Wagner, V.S. Voronov, M.A. Nekrasova, S.B. Rozhdestvenskaya, A.B. Saltykov and others. In their works, the main laws of the development of folk art were defined as “collective principle” and “nationality”.

One of the first researchers of folk art who recognized the high artistic and scientific value of “peasant” art was V.S. Voronov. He defined artistic traditions as “folk style.” The scientist believed that tradition is capable of change, internally and externally it is mobile.

For a long time, the traditionality of folk art was understood mainly as the antiquity of its images, forms and techniques, the stability of their preservation and continuity in development.

Authors modern research in the field of art history, traditions are considered as a dialectical phenomenon associated not only with the past, but also with the present and future. In S.B. Rozhdestvenskaya’s understanding, tradition is a treasury of everything aesthetically perfect that has been passed down from generation to generation, a complex visual arts, stable and changing at the same time.

The formation and development of folk artistic traditions of a particular area took place under the influence of natural-geographical, cultural and socio-economic factors.

M. Nekrasova considers folk art as creative, cultural, historical system, which asserts itself through the continuity of traditions, functions as a special type of artistic creativity in the collective activities of the people. And each nation carries its own culture of poetic, figurative and craft traditions. They took centuries to develop and were polished by many generations of people. With traditions in folk art, not only skill is transmitted, but also images, motifs beloved by the people, artistic principles and techniques. Traditions form the main layers of folk artistic culture - schools and at the same time determine the special vitality of folk art.

It is impossible to underestimate the power of tradition for the development of folk art. M.A. Nekrasova quite rightly substantiates the artistic richness of images, forms, means and techniques on this very basis. She believes that only especially peculiar in national systems, in regional systems, in systems of folk art schools, the life of folk art as a cultural center can be determined; only a living tradition provides the way for its development. Law of tradition turns out the main force in development.

Tradition carried through centuries does not prevent the feeling of modernity from appearing. In folk art it is expressed not so much in external signs of the time, although, naturally, they also have their place, but in the ability to respond to the demands of today in a traditional form. This is reflected primarily in the perception of the world, in the idea of ​​beauty.

It is very important that folk art with its metaphors and symbolism - live creativity and at the same time historical living memory, memory of the origins of culture. It brings the experience of knowing the world. The integrity of folk art as an artistic structure is the key to its understanding. Tradition in this case - creative method.

“Considering tradition as living, we must first of all understand it as a holistic relationship to the world. Only then will folk art be revealed in the full scope of its meaning, ideological, emotional and aesthetic content. However, integrity does not mean the immutability of folk art.

Folk art reinterprets images, original motifs, and constants into new relationships, attaching new experiences and ideas to them. This is where its variety of forms comes from. However, at the same time, the special should not disappear, distinguishing this or that center of folk art in its national and regional characteristics; on the contrary, it turns out a necessary condition artistic diversity,” says M.A. Nekrasova 1 .

The traditional appears in folk art in the form of a system for which the following aspects are important: the connection between man and nature, the expression of the national, schools of folk art (national, regional, regional, school of individual crafts).

Most full definition concept "Skoda" given by M.A. Nekrasova. She believes that this concept necessarily includes cultural continuity, that is, folk art - artistic ys/our, formed by tradition. Thus, in folk art, the school is considered as skills, professional techniques and artistic systems, fixed by the continuity of traditions and characteristic of a given center of folk art, and not as a place of training for masters.

The continuity of traditions shapes the artistic folk culture of the region and supports the high professionalism of folk craftsmanship. It is this quality that allows us to highlight the characteristics of a particular school as a creative community. Only school, as a cultural continuity determined by the existence of tradition, is capable of providing such an artistic basis that makes folk art alive in time and allows artistic crafts to develop.

The main person in artistic craft is a folk master, a special creative personality, spiritually connected with the people, culture, nature of the land, a bearer of traditions and collective experience.

“In every touch of the master’s hands on the created cave, there is a feeling of beauty, organic to the internal structure of folk perception. In folk art national temperament and national character are expressed. They largely determine the variety of forms of folk art.

In folk art, artistic skill, technical dexterity, working methods, and motives are passed on from master to student. The artistic system is developed collectively."

After mastering them, students have the opportunity to vary their favorite painting motifs. And only on the basis of the acquired experience do they move on to improvising based on painting and composing their own compositions. If everyone goes through the stage of repetition and variation without fail, then only the most talented students who can become real masters of their craft get to work at the level of improvisation.

Works of folk and professional decorative art decorate and transform life.

3. Composition in folk and decorative arts

Composition as a significant relationship between parts of a work of art in folk and decorative arts can be built according to various schemes. Conventionally, the following active elements of a decorative composition are distinguished: color, ornament, plot (theme), planar or volumetric plastic solution.

To comprehend compositional patterns, it is necessary to perceive the image of an artistic object or a spatial-volumetric composition as a whole.

Color (one of the means of expression in folk and decorative arts) is considered as essential component decorative image. It is not associated with specific features of the depicted object or phenomenon. Each center of folk art creates its own coloristic solutions for artistic objects, associated with traditional technology for processing materials, the preservation of archetypes and other conditions of collective creativity. Achieving expressiveness in decorative work is associated with tonal and color contrasts.

In decorative work, artists also take care of the harmonious relationship of colors, and the real colors of objects can be replaced by symbolic ones. The coloristic unity of all elements of the ornaments is achieved with the help of color contrasts or nuances. When selecting color relationships in decorative work, the size of the parts of the design, their rhythmic arrangement, the purpose of the thing and the material from which it is made are taken into account.

Ornament, as part of the decorative image of a thing, plays a very important role in shaping its appearance. The same vessel, decorated with different ornaments, each time acquires a new imagery, and therefore a different expressiveness. The location of the ornament and

only a thin stripe; in another case, its entire surface can be decorated. When decorating an object, it is imperative to take into account the relationship between the ornament and the shape of the object. Big flower and the same small flower They decorate the cup in completely different ways.

Ceramic dishes, metal trays or papier-mâché boxes are decorated not only with ornaments, but also with plot drawings. Usually they are performed without taking into account perspective, since the drawings should emphasize the plane and not show depth.

The theme and plot can be expressed in decorative sculpture or on ceramic vessels different ways. For example, in Gzhel ceramics, a tea party scene is depicted on dishes or sculpted in small plastic. And the vessel is easily transformed into either an animal or a bird.

A thematic decorative composition has its own patterns, its own artistic language. It, like any work of fine art, tells about people, things or events. But at the same time, the pictorial story is subordinated decorative purposes, as a rule, serves to decorate the object. Therefore, decorative composition is also related to ornament. Its options are innumerable depending on specific tasks, and artistic possibilities can be expanded by using a variety of materials and techniques, changing the purpose and scale of the image.

The theme of a decorative composition can be expressed in ways that fundamentally distinguish it from the composition of a painting. The spatial relationships of real nature may be completely absent. The image of a landscape can unfold not in depth, but upward; in this case, distant plans are placed above the near ones.

A decorative thematic composition is a special artistic world with its own conventional order, and sometimes with its own architecture and specific, easily recognizable characters that relate to each other in a completely different way than in reality.

Often the image is combined with an ornament and acquires an almost ornamental character, as if “spreading” along a plane, which is due to the generalization of forms and conventional color characteristics. With all the originality of the decorative image, it does not at all exclude narration, and is not deprived of the opportunity to conduct an entertaining story. Even book illustrations can be made decoratively.

In a decorative composition special role acquire the expressiveness of the silhouette, the graphic beauty of the contours and lines of the figures; it is very important to find the correct color and tonal relationship between the figures and the background of the composition, since they are important in stylization.

The basic compositional patterns and patterns of the decorative composition are the same as when constructing a picture (circle, triangle, square, oval, etc.). The composition can be symmetrical and asymmetrical, open and closed. A composition built diagonally can convey rapid movement. Each of the listed means of expression in a decorative composition has its own uniqueness.

One of the main means artistic expression decorative composition is rhythm. A clear rhythmic organization of shapes, lines, color spots, tonal relationships is the key to constructing decorative images and patterns.

The organic property of a decorative thematic composition is the decorative transformation of any nature, revealing the elegance, beauty, pattern of the surrounding world, observing a certain measure of conventionality of the image. Skillful generalization of form does not harm expressiveness at all. Refusal of minor details makes the main details more noticeable and makes them sound in full force.

A theme in a decorative composition can be generalized almost to a symbol and have a corresponding artistic solution. A thematic decorative composition can be compared to an ornament, where the need to connect elements is obvious, not only where there is a repetition of motifs, but also in a pattern that freely fills the plane.

Let us dwell in some detail on the problem of color. The main distinguishing feature of a decorative image from a realistic one is that the color of an object can be given without taking into account light and shadow; it is even possible to completely reject the color of the object in kind. The main thing is to create an artistic image using color.

But one should not hastily abandon the real color; it can be taken as a basis, especially since in nature an apple, for example, can be yellow, red and green. Moreover, even one color can be light and dark, warm and cold and contain many shades.

The law of integrity plays a very important role in a decorative composition. This does not exclude the possibility of combining silhouette and volumetric images, use generalized and detailed images, because one stands out better by contrasting with the other. At the same time, we should not forget about the balance of parts, which can be achieved by abandoning the little things, strengthening the main thing, combining everything with light or color, etc.

In addition, compositional techniques in folk and decorative arts can emphasize the volume or flatness of the object being decorated, then the location and nature of the decor and details will be subordinated to this goal. The expressiveness of a volumetric-spatial composition as a whole is largely achieved through the compositional arrangement of its parts. For example, the decorative mosaic compositions by Z. Tsereteli, made for the sanatorium-resort complex in Adler, are varied in silhouette, freely scattered forms. Some of them smoothly flow into each other, while others retain their structure.

They are distinguished by a special variety of compositional techniques. game forms and sculptures in the courtyards of residential buildings.

The analysis of the compositional features of works of folk and decorative art is carried out taking into account the general laws of the plastic arts: from the analysis of the general form they move on to assessing the arrangement of parts and then again to the general expressiveness of the object.

4. Art of ornament

Ornament is the most important part of folk and decorative arts. It is used to decorate buildings, clothing, household items (utensils, furniture, tools, etc.), weapons, and is widely used in book and applied graphics, posters, etc. The ornament can be drawn with graphic material and painted, embroidered or weave from threads, carve on wood or emboss on metal, etc. An ornament can become an object if it is woven in the form of lace (napkin, collar, tablecloth, etc.), a mat, or forged from metal (a lamp, a stand, a fence, gates, etc.). The ornament can be multi-colored (polychrome) and monochrome (monochrome), made on the surface of an object in a convex, relief or, conversely, recessed manner. The general stylistic features of ornamental art are determined by the characteristics and traditions of the visual culture of each nation, have a certain stability over a long historical period and have a pronounced national character. Therefore, we can say that the ornament is the style of the era, a reliable sign that the work belongs to a certain time and to a certain country. (Gothic, Baroque, Art Nouveau and etc.).

For many centuries, people believed in the protective power of ornament, believing that it protects from troubles and brings happiness and prosperity. Gradually, the function of the amulet was lost, but the main purpose of the ornament remained - to make the object more elegant and attractive, artistically expressive.

The properties of an ornament depend on the purpose, shape, structure and material of the thing it decorates. Ornament helps to emphasize the plastic and design features of an object, enhance its figurative design, and better reveal the natural beauty of the material. All this is possible provided there is a harmonious combination of the ornament and shape of the object.

Works of decorative and applied art meet several requirements: they have aesthetic quality; designed for artistic effect; used for home and interior decoration. Such products are: clothing, dress and decorative fabrics, carpets, furniture, art glass, porcelain, earthenware, jewelry and other artistic products. In the scientific literature, from the second half of the 19th century, a classification of branches of decorative and applied art was established by material (metal, ceramics, textiles, wood), by technique (carving, painting, embroidery, printed material, casting, embossing, intarsia, etc.) and according to the functional characteristics of the use of the item (furniture, dishes, toys). This classification is due to the important role of the constructive and technological principle in the decorative and applied arts and its direct connection with production.

Appeal to folk art has gained a strong place in the work of a modern teacher with children. IN last years Arts and crafts classes have become very popular. Products made by children’s hands can serve as decoration for school interiors, as they have aesthetic value.

Arts and crafts classes will undoubtedly open up new ways of understanding folk art for many children, enrich their inner world, and allow them to spend their free time profitably.

The main types of decorative and applied arts:

1. (burning on wood, leather, fabric, etc.)
2. Beading

Let's focus on the last of the above.

Weaving with beads - ancient art. The history of beading goes back more than five thousand years. However, the weaving techniques remain the same, and even children are able to create simple crafts from beads.

Beading for children: is it necessary? Perhaps many people believe that such an introduction of schoolchildren to decorative and applied arts, in particular to beadwork, is advisable only in art centers where there are conditions for real vocational training. Experience shows that this is not so. The fact is that, in addition to beauty, this is quite a useful art in all respects. In the process of beading, children develop taste, imagination and creativity. The child learns the basics of counting, which is important for preschoolers. Fine motor skills and precision of movements develop, which is useful in any case. It has been proven that the development of fine motor skills contributes to the development of memory, attention and thinking, which will also come in handy. Handmade jewelry is more valuable than purchased jewelry. The presence of homemade original jewelry can raise the self-esteem of an insecure child and help him take his place in the team. Beading helps children express their emotions.

Beading classes are held in groups and provide the opportunity to communicate with peers while enjoying the process of working with beads.

Introducing children to decorative and applied arts, to mastering its techniques, does not mean at all that all the children will work in the artistic direction in the future. Aesthetic significance is associated with the very process of making beautiful, necessary and useful things. The ability to create them at first is much more important for the overall artistic development of children, instilling in them a healthy moral principle, respect for work, knowledge even to some extent of oneself, and the development of artistic taste.

Folk arts and crafts are a complex and multifaceted phenomenon. It includes a variety of directions, types, forms. But they are all united by a combination of the practical expediency of the products with the natural beauty of their appearance, coming from the surrounding nature.

In Ancient Rus', the whole life of people was literally permeated with the desire for beauty and harmony with the natural environment. House, hearth, furniture, tools, clothing, utensils, toys - everything that the hands of folk craftsmen touched embodied their love for their native land and an innate sense of beauty. And then ordinary household objects became works of art. The beauty of their form was complemented by decorative ornaments in the form of ornaments, images of people, animals, birds, and plot scenes.

Since ancient times, folk craftsmen in their creativity used what nature itself gave them - wood, clay, bone, iron, flax, wool. Nature has always served as the main source of inspiration for folk craftsmen. But, embodying images of nature in their works, the masters never copied it literally. Illuminated by folk fantasy, reality sometimes acquired magical, fairytale features, in it fact and fiction seemed inseparable.

It is this originality of folk arts and crafts, its unique expressiveness and proportionality that has inspired and continues to inspire professional artists. However, not all of them manage to fully comprehend and rethink its full depth and spiritual potential.

As the famous researcher of folk art M.A. Nekrasova notes, in modern conditions “the people’s need for folk art, for its authenticity and spirituality is increasing. But finding ways to preserve folk art and to its fruitful development is possible only by understanding its essence, creative and spiritual, and its place in modern culture.”

The leading creative idea of ​​traditional folk art, based on the affirmation of the unity of the natural and human world, proven by the experience of many generations, retains all its significance in the art of modern folk arts and crafts.

Let's get acquainted with the most famous of them.

Artistic wood processing

The tree is one of the ancient symbols of Russia. In ancient Slavic mythology, the tree of life symbolized the universe. Since ancient times, shady groves and oak forests, mysterious dark thickets and the light green lace of forest edges have attracted connoisseurs of beauty and awakened the creative energy of our people. It is no coincidence that wood is one of the most favorite natural materials among folk craftsmen.

In different parts of Russia, original types of artistic woodworking have developed.

Wood carving - these are Bogorodsk sculptural and Abramtsevo-Kudrinsk flat-relief carvings in the Moscow region; production of products with triangular grooved threads in the Kirov, Vologda, Tomsk, Irkutsk, and Arkhangelsk regions; birch bark carving in the Vologda and Kirov regions.

To traditional arts and crafts wood paintings include: Khokhloma, Gorodetsky and Polkhov-Maidansky industries in the Nizhny Novgorod region; Sergiev Posad painting with burning, painting with burning in Kirov, Gorky, Kalinin, Irkutsk and a number of other regions; production of products with free brush painting in the Arkhangelsk and Vologda regions.

Each of these crafts has its own history and its own unique characteristics.

Decorative and applied arts, section of art; covers a number of creative industries that are devoted to the creation of artistic products intended primarily for everyday use. His works can be: various utensils, furniture, fabrics, tools, vehicles, as well as clothing and all kinds of jewelry. Along with the division of works of decorative and applied art according to their practical purpose in scientific literature from the 2nd half of the 19th century. a classification of industries by material (metal, ceramics, textiles, wood) or by technique (carving, painting, embroidery, printed material, casting, embossing, intarsia, etc.) was established. This classification is due to the important role of the constructive and technological principle in the decorative and applied arts and its direct connection with production. Solving in the aggregate, like architecture, practical and artistic problems, decorative and applied art simultaneously belongs to the spheres of creating both material and spiritual values. Works of this art form are inseparable from material culture of their contemporary era are closely connected with the corresponding way of life, with one or another of its local ethnic and national characteristics, and social group differences. Composing organic part subject environment, with which a person comes into daily contact, works of decorative and applied art, with their aesthetic merits, figurative structure, and character, constantly influence a person’s state of mind, his mood, and are an important source of emotions that influence his attitude to the world around him.

Aesthetically saturating the environment surrounding a person, works of this genre at the same time seem to be absorbed by it, because are usually perceived in connection with its architectural and spatial design, with other objects included in it or their complexes (service, furniture set, suit, set of jewelry). That's why ideological content works of decorative and applied art can be understood most fully only with a clear idea (real or mentally recreated) of these relationships between the object and the environment and with man.

The architectonics of an object, determined by its purpose, design capabilities and plastic properties of the material, often plays a fundamental role in the composition of an artistic product. Often in decorative and applied art, the beauty of the material, the proportional relationships of the parts, and the rhythmic structure serve as the only means of embodying the emotional and figurative content of the product (for example, glass products devoid of decoration or other untinted materials). Here the special importance for decorative and applied art of purely emotional, non-figurative means of artistic language, the use of which makes it similar to architecture, is clearly demonstrated. An emotional and meaningful image is often activated by an association image (comparing the shape of a product with a drop, a flower, a human figure, an animal, its individual elements, with some other product - a bell, a baluster, etc.). Decor, appearing on a product, also significantly affects its figurative structure. Often, it is thanks to its decor that a household item becomes a work of art. Having its own emotional expressiveness, its own rhythm and proportions (often contrasting with the form, as, for example, in the products of Khokhloma masters, where the modest, simple shape of the bowl and the elegant, festive painting of the surface are different in their emotional sound), the decor visually modifies the shape and at the same time merges with it in a single artistic image.

To create decor, ornaments and elements are widely used (separately or in a variety of combinations) fine arts a (sculpture, painting, less often - graphics). Means of fine arts and ornament serve not only to create decor, but sometimes penetrate into the shape of the object (furniture parts in the form of palmettes, volutes, animal paws, heads; vessels in the form of a flower, fruit, figure of a bird, animal, human). Sometimes an ornament or image becomes the basis for the design of a product (lattice pattern, lace; pattern of weaving fabric, carpet). The need to harmonize the decor with the form, the image with the scale and nature of the product, with its practical and artistic purpose leads to the transformation of visual motifs, to the conventionality of interpretation and comparison of elements of nature (for example, the combination of motifs of a lion's paw, eagle wings and swan's head in the design of a table leg ).

The synthetic nature of decorative and applied art is manifested in the unity of the artistic and utilitarian functions of the product, in the interpenetration of form and decor, fine and tectonic principles. His works are designed to be perceived by both sight and touch. Therefore, revealing the beauty of texture and plastic properties of a material, the skill and variety of techniques for processing it receive the significance of especially active means of aesthetic influence in decorative and applied art.

Painting

Painting, a type of fine art, works of art that are created using paints applied to any hard surface. Like other forms of art, painting fulfills ideological and cognitive tasks, and also serves as a sphere for creating subject matter. aesthetic values, being one of the highly developed forms of human labor.

Painting reflects and evaluates in the light of certain concepts spiritual content era, its social development. Powerfully influencing the feelings and thoughts of viewers, forcing them to experience the reality depicted by the artist, it serves as an effective means of public education. Many works of painting have documentary and information value.

Due to the clarity of the image, the artist’s assessment of life, expressed in his work, acquires particular persuasiveness for the viewer. When creating artistic images, painting uses color and design, expressiveness of strokes, which ensures the flexibility of its language, allowing it to reproduce on a plane the colorful richness of the world, the volume of objects, their qualitative originality and material flesh, the depth of the depicted space, with a completeness inaccessible to other types of fine art, light-air environment. Painting not only directly and clearly embodies all visible phenomena of the real world (including nature in its various states), shows broad pictures of people’s lives, but also strives to reveal and interpret the essence of the processes taking place in life and inner world person.

The breadth and completeness of coverage of real reality available to this type of art is also reflected in the abundance of its inherent genres (historical, everyday, battle, animalistic, etc.).

By purpose, by the nature of execution and images, they distinguish: monumental and decorative painting (wall paintings, lampshades, panels), participating in the organization of architectural space, creating an ideologically rich environment for people; easel (paintings), more intimate in nature, usually not associated with any particular place; set design (sketches of theatrical and film sets and costumes); iconography; miniature (illustrations of manuscripts, portraits, etc.).

Depending on the nature of the substances that bind the pigment (coloring matter), and on the technological methods of fixing the pigment on the surface, they differ oil painting, painting with water paints on plaster - wet (fresco) and dry (a secco), tempera, glue painting, wax painting, enamel, painting with ceramic paints (binders - fusible glass, fluxes, glazes - are fixed by firing on ceramics), silicate paints ( binder - soluble glass), etc. Directly connected to it are mosaics and stained glass, which solve the same problems as monumental painting, visual and decorative tasks. Watercolor, gouache, pastel, and ink are also used for painting works.

The main expressive means of painting - color - with its expression and ability to evoke various sensory associations, enhances the emotionality of the image, determines the wide visual and decorative possibilities of this type of art. In works it forms an integral system (color). Usually one or another series of interrelated colors and their shades is used (colorful range), although there is also painting in shades of the same color (monochrome). Color composition (the system of arrangement and relationship of color spots) provides a certain color unity of the work, influences the course of its perception by the viewer, being a part of its artistic structure specific to the work. Another expressive means of painting - drawing (line and chiaroscuro) - rhythmically and compositionally, together with color, organizes the image; The line delimits volumes from each other, is often the constructive basis of the pictorial form, allows you to reproduce the outlines of objects in a generalized or detailed manner, and identify their smallest elements.

Architecture

Architecture (Latin architectura, from Greek architéкtón - builder), architecture, a system of buildings and structures that form the spatial environment for people’s life and activities, as well as the art itself of creating these buildings and structures in accordance with the laws of beauty. Architecture is a necessary part of the means of production and material resources existence of human society. Her artistic images play a significant role in the spiritual life of society. The functional, constructive and aesthetic qualities of architecture (usefulness, strength, beauty) are interrelated.

Works of architecture are buildings with organized internal space, ensembles of buildings, as well as structures used to decorate open spaces (monuments, terraces, embankments, etc.).

The subject of purposeful organization is the space of a populated place as a whole. The creation of cities, towns and the regulation of the entire settlement system became a special area inseparably connected with architecture - urban planning.

The most important means of solving the practical functions and ideological and artistic problems of architecture is construction equipment. It determines the possibility and economic feasibility of implementing certain spatial systems. The aesthetic properties of architectural works largely depend on the design solution. The building must not only be, but also look durable. Excess material gives the impression of excessive heaviness; visible (apparent) insufficiency of the material is associated with instability, unreliability and causes negative emotions. In the course of the development of construction technology, new principles of architectural composition, corresponding to the properties of new materials and structures, may conflict with traditional aesthetic views. But as the design spreads and is further mastered, the forms it defines not only cease to be perceived as unusual, but also turn in the mass consciousness into a source of emotional and aesthetic impact.

Qualitative changes in construction technology, the creation of new structures and materials have significantly influenced modern architecture. Of particular importance is the replacement of craft construction methods with industrial ones, associated with the general processes of production development, with the need to increase the pace of mass construction and which required the introduction of standardization, unified designs and parts.

The main means of creating an artistic image in architecture are the formation of space and architectonics. When creating a volumetric-spatial composition (including internal organization structures) the principles of symmetry or asymmetry, nuances or contrasts when comparing elements, their various rhythmic relationships, etc. are used. Of particular importance in architecture are the proportionality of parts and the whole to each other (system of proportions) and the proportionality of the structure and its individual forms to man (scale). In number artistic means architecture also includes texture and color, the variety of which is achieved by various methods of treating the surface of the building. A holistic artistic and expressive system of forms of works of architecture that meets functional and constructive requirements is called an architectural composition.

The stable commonality of the characteristic features of the artistic form of architecture and its ideological and content program forms its style. The most important features of the style are manifested in the system of functional and spatial organization of buildings, in their architectonics, proportions, plasticity, and decor.

Sculpture

Sculpture (Latin sculptura, from sculpo - carve, cut out), sculpture, plastic (Greek plastike, from plasso - sculpt), an art form based on the principle of a three-dimensional, physically three-dimensional image of an object. As a rule, the object of the image in sculpture is a person, less often - animals (animalistic genre), and even less often - nature (landscape) and things (still life). The placement of a figure in space, the transmission of its movement, posture, gesture, light and shadow modeling that enhances the relief of the form, the architectural organization of volume, the visual effect of its mass, weight relations, the choice of proportions, the character of the silhouette specific in each case are the main expressive means of this type of art. A volumetric sculptural form is built in real space according to the laws of harmony, rhythm, balance, interaction with the surrounding architectural or natural environment and on the basis of the anatomical (structural) features of a particular model observed in nature.

There are two main types of sculpture: a round sculpture, which is freely placed in space, and a relief, where the image is located on a plane that forms its background. The works of the first, usually requiring a 360-degree view, include: a statue (a full-length figure), a group (two or more figures that make up a single whole), a figurine (a figure significantly smaller natural size), torso (image of a human torso), bust (chest image of a person), etc.

According to the content and functions, sculpture is divided into monumental-decorative, easel, and so-called. sculpture of small forms. Although these varieties develop in close interaction, each of them has its own characteristics. Monumental-decorative: sculpture is designed for a specific architectural, spatial or natural environment. It has a pronounced public character, is addressed to the masses of spectators, and is located primarily in public places - on the streets and squares of the city, in parks, on the facades and in the interiors of public buildings. Monumental and decorative sculpture is designed to concretize the architectural image and complement the expressiveness of architectural forms with new shades. The ability of monumental and decorative sculpture to solve large ideological and figurative problems is revealed with particular completeness in works that are called monumental and which usually include city monuments, monuments, and memorial buildings. The majesty of the forms and the durability of the material are combined in them with the elevation of the figurative structure and the breadth of generalization. Easel sculpture, which is not directly related to architecture, is more intimate in nature. Exhibition halls, museums, residential interiors, where it can be viewed up close and in all details, are its usual environment. This determines the features of the plastic language of sculpture, its dimensions, and favorite genres (portrait, everyday genre, nude, animalistic genre). Easel sculpture, to a greater extent than monumental and decorative sculpture, is characterized by interest in the inner world of man, subtle psychologism, and narrative. Sculpture of small forms includes a wide range of works intended primarily for residential interiors, and in many ways is closely related to decorative and applied arts.

The purpose and content of a sculptural work determine the nature of its plastic structure, and it, in turn, influences the choice of sculptural material. From natural features and the methods of processing the latter largely depend on the technique of sculpture. Soft substances (clay, wax, plasticine, etc.) are used for modeling; in this case, the most commonly used tools are wire rings and stacks. Solid substances (various types of stone, wood, etc.) are processed by chopping (carving) or carving, removing unnecessary parts of the material and gradually releasing the volumetric form hidden in it; To process a stone block, a hammer (mallet) and a set are used metal tools, for processing wood - mainly shaped chisels and drills. Substances that can pass from a liquid to a solid state (various metals, gypsum, concrete, plastic, etc.) are used to cast sculptures using specially made molds.

Theater

Theater (from the Greek théatron - a place for spectacle; spectacle), a type of art. Theater is a form of social consciousness, it is inseparable from the life of the people, its national history and culture. The theater usually achieves artistic growth when it, imbued with the advanced ideas of the era, fights for humanistic ideals, deeply and truthfully reveals the complexity of man’s inner world and his aspirations.

The artistic reflection of life, the affirmation of certain ideas, worldviews, and ideologies is accomplished in the theater through dramatic action performed by actors in front of the audience. The struggle of characters, the revelation of social and psychological conflicts influencing the destinies of people, their relationships lie at the heart of the play or performance. The specifics of the theater require the emotional and spiritual unity of the stage and the audience, the presence of common interests between the creators of the performance and the audience. Theater is important in aesthetic, moral and political education. For this purpose, he has rich means of artistic generalization, expressiveness, and influence on the mass audience.

The basis of theatrical performance is drama. The theater transfers a literary work into the realm of stage action and specific theatrical imagery; The characters and conflicts of the drama are embodied in living faces and actions. The word, speech is the most important means with which drama equips the theater. In the theater, the word is also subject to the laws of dramatic action. In some cases, he turns speech into a means of everyday characterization of the character, in others he reveals complex conflicts of consciousness and psychology of the hero through the verbal fabric of the role. Speech on stage can take the form of a lengthy statement (monologue), proceed as a conversation with a partner (dialogue), be addressed to the viewer, or sound like the hero’s reflection, his “inner monologue,” etc.

Theater is a collective art. A performance is a work that has artistic unity and harmony of all elements. It is created under the direction of the director and in accordance with the director's plan through the joint efforts of actors, set designer, composer, choreographer and many others. The performance is based on the director’s interpretation of the play, its genre and stylistic decision. The action of the play is organized in time (tempo, rhythm, rise and fall emotional stress) and in space (development of stage areas, principles of its use, mise-en-scène, scenery, movement, etc.).

The main bearer of theatrical action is the actor, whose work embodies the essence of theater: the ability to captivate the audience of the arts. the spectacle of life directly flowing before their eyes, the creative process of its embodiment. The actor's image is created on the basis of the play and its interpretation by the director of the play. But even in the system it is strictly organized performance the actor remains an independent artist, capable only of the means available to him to recreate a living human image on stage, to convey the complexity and richness of human psychology. Working on oneself and on the role during the rehearsal process are, as K. S. Stanislavsky believed, two inextricably linked aspects of an actor’s activity.

Often an actor creates an image on stage that is dissimilar to his own, changing externally and internally in different roles. When embodying the appearance and character of a character, the performer uses means of plastic and rhythmic expressiveness, the art of speech, facial expressions, and gesture. The history of world theater knows actors who possessed the virtuoso skill of external transformation.

IN musical theater the action is embodied by means of musical dramaturgy, which is based on the general laws of drama - the presence of a clearly expressed central conflict, revealed in the struggle of opposing forces, a certain sequence of stages in the disclosure of dramas. plan. In each type of musical stage art, these general patterns find a specific refraction according to the nature of their means of expression: in opera, the action taking place on stage is expressed by music, that is, by the singing of the characters, as well as by the sound of the orchestra; in ballet, a role similar to singing in opera belongs to dance and pantomime. At the same time, in both cases, music is the main generalizing means that connects all the elements of the drama together. In an operetta, which is a type of opera with spoken dialogue, great importance have a verse song and dance. Expressive means of dramatic, operatic and choreographic arts, pop and everyday music are used in the musical genre.

Music

Music (from the Greek musike, literally - the art of muses), a type of art that reflects reality and influences a person through meaningful and specially organized sound sequences, consisting mainly of tones. Music is a specific type of sound activity of people. It is united with other varieties (speech, instrumental-sound signaling, etc.) by the ability to express thoughts, emotions and volitional processes of a person in an audible form and serve as a means of communication between people and control of their behavior. At the same time, it differs significantly from all other types of human sound activity. Keeping some semblance of sounds real life, musical sound is fundamentally different from them in its strict pitch and temporal (rhythmic) organization. These sounds are part of historically established systems, the basis of which are tones. In every piece of music tones form their own system of vertical connections and horizontal sequences - its form.

The main role in the content of music is played by emotional states and processes (as well as volitional aspirations). Their leading place in musical content is predetermined by the sound (intonation) and temporary nature of music, which allows it, on the one hand, to rely on the centuries-old experience of people externally identifying their emotions and transmitting them to other members of society primarily and mainly through sounds and, on the other hand, to adequately express emotional experience as a movement, a process with all its changes and shades, dynamic increases and decreases, mutual transitions of emotions and their collisions.

Of the various types of emotions, music primarily embodies moods. The emotional aspects of intellectual and strong-willed qualities personality (and corresponding processes). This allows this type of art to reveal not only the psychological states of people, but also their characters. In the most concrete (but not translated into words), very subtle and “infectious” expression of emotions, music has no equal. It is on this that the widespread definition of it as “the language of the soul” is based (A. N. Serov).

Striving for a broader coverage of the world of philosophical and social ideas, composers often go beyond the so-called pure (instrumental non-program) music, turning to the word as a carrier of specific conceptual content (vocal and program instrumental music, see Program music), as well as to stage action. Thanks to synthesis with words, actions, etc., new types of musical images are formed, which are steadily associated in the public consciousness with concepts and ideas expressed by other components of synthesis, and then pass into “pure” music as carriers of the same concepts and ideas. To express thoughts, composers also use sound symbols (which arose in social practice, melodies or tunes existing in a certain social environment that have become “musical emblems” of certain concepts) or create their own, new “musical signs” (for example, leitmotifs). As a result, the content of M. includes a huge and continuously enriched range of ideas.

Music content available different genera: epic, dramatic, lyrical. At the same time, however, due to its non-figurative nature, the lyrics are closest to her.

The material embodiment of the content of music, the way of its existence is musical form- that system of musical sounds in which the emotions, thoughts and figurative ideas of the composer are realized. Even taken separately, musical sounds already have primary expressive capabilities. Each of them is capable of causing a physiological sensation of pleasure or displeasure, excitement or calm, tension or release, as well as synaesthetic sensations (heaviness or lightness, heat or cold, darkness or light, etc.) and simple spatial associations.

In each musical work, from the individual elements of its form, in the process of their unification and subordination, a general structure is formed, consisting of several particular structures. The latter include structures: melodic, rhythmic, mode-harmonic, textured, timbre, dynamic, etc. Of particular importance is the thematic structure, the elements of which are musical themes (together with various types and stages of their change and development). In the majority musical styles It is the themes that are the material carriers of musical images.

Music has its own structure. Thus, in a developed musical culture, creativity is represented by many varieties that can be differentiated according to various characteristics. 1) By type of content: lyrical, epic, dramatic, as well as heroic, tragic, humorous, etc.; in another aspect - serious music and light music. 2) By performing purpose: vocal and instrumental; in another aspect - solo, ensemble, orchestral, choral, mixed (with possible further clarification of compositions: for example, for a symphony orchestra, for a chamber orchestra, for jazz, etc.). 3) By synthesis with other types of art and with the word: theater music, dance music, program instrumental, melodrama (reading to music), vocal with words. Music outside of synthesis - vocalises (singing without words) and “pure” instrumental (without a program). In turn, the first is divided into entertainment and concert, the second into mass and ritual. Each of the resulting four varieties (genre groups) can be further differentiated.

Film art

Cinematography, a type of art whose works are created using filming of real, specially staged or recreated reality events by means of animation.

In the art of cinema, the aesthetic properties of literature, theatrical and visual arts, and music are synthesized on the basis of expressive means that are inherent only to it, the main ones of which are the photographic nature of the image, which allows one to recreate any picture of reality with the utmost reliability, and editing. The mobility of the film camera and the variety of optics used in filming make it possible to present in the frame huge spaces and large masses of people (general plan), small groups of people in their relationships ( medium shot), a human portrait or a separate detail (close-up). Thanks to this, the most significant, aesthetically significant aspects of the depicted object can be highlighted within the frame. The combination of frames in montage serves as an expression of the author’s thoughts, creates continuity in the development of the action, organizes a visual narrative, and allows, by comparing separate parts. plans to interpret the action metaphorically shapes the rhythm of the film.

Creating a work of cinematic art is, as a rule, a complex creative and production process that combines the work of artists from different specialties: a film playwright (script author); the director, who determines the interpretation and implementation of the concept and directs the work of the other participants in the production; actors embodying the characters; an operator characterizing the action by means of compositional, light-tonal and color interpretation of frames; an artist who finds visual characteristics of the environment and the costumes of the characters (and in animation, the external characteristics of the characters); composer, etc.

During the development of cinematography, 4 main types of cinematography have been formed: feature (fiction) cinematography, which embodies works of film drama or adapted works of prose, drama, and poetry through the means of performing creativity; documentary cinematography, which is a special type of figurative journalism, based primarily on direct recording of reality on film; animated cinematography, “animating” graphic or puppet characters; popular science cinematography, using the means of these 3 types to promote scientific knowledge.

Feature cinematography has access to the possibilities of epic, lyricism and drama, but in film works of a narrative nature there are always features that bring them closer to drama, in particular dramatic conflict. Documentary cinematography has the full breadth of possibilities of journalistic genres of literature and journalism. It combines both works of figurative film journalism and informational films (film reporting). Images of graphic and three-dimensional animation are created by filming stationary successive phases of movement of drawn or puppet characters. She pays special attention to creating films for children. Popular science cinematography introduces viewers to the life of nature and society, scientific discoveries and inventions, recreates the course of creative searches of scientists and artists, clearly demonstrates physicochemical and biological processes. To solve these problems, she uses both purely didactic and artistic-figurative means, depending on the theme and purpose of the film.

Film genres, which were relatively clearly demarcated in the early stages of cinema development (melodrama, adventure film, comic strip, etc.), are changing and tend to merge, interpenetrate, or even disintegrate. The innovative aspirations of filmmakers determine the combination in one work of features characteristic of prose, drama, and lyrics.

Which covers various industries creative activity, aimed at creating artistic products with utilitarian and artistic functions. A collective term that conventionally unites two broad types of art: decorative And applied. Unlike works of fine art, intended for aesthetic pleasure and related to pure art, numerous manifestations of arts and crafts can have practical use in everyday life.

Works of decorative and applied art meet several characteristics: they have aesthetic quality; designed for artistic effect; used for home and interior decoration. Such products are: dress and decorative fabrics, furniture, art glass, porcelain, earthenware, jewelry and other artistic products.
In academic literature, from the second half of the 19th century, a classification of branches of decorative and applied art was established according to material (metal, ceramics, textiles, wood), by technique (carving, painting, embroidery, printing, casting, embossing, etc.) and according to functional characteristics use of an object (furniture, toys). This classification is due to the important role of the constructive and technological principle in the decorative and applied arts and its direct connection with production.

"Trellis", design for wallpaper (1862)

Types of arts and crafts[ | ]

• Application - a method of obtaining an image; arts and crafts technique.
• Felting is the creation of sculptures, accessories and compositions from natural wool. Depending on the technique used, a distinction is made between dry and wet felting. The technique is based on the unique property of wool to mat - form felt.
• Embroidery is the art of decorating all kinds of fabrics and materials with a variety of patterns, from the coarsest and densest, such as cloth, canvas, leather, to the finest fabrics - cambric, muslin, gauze, tulle, etc. Tools and materials for embroidery: needles, threads, hoops, scissors.
• Knitting is the process of making products from continuous threads by bending them into loops and connecting the loops to each other using simple tools, either manually or using a special machine.
• Sewing - creating stitches and seams on a material using a needle and thread, fishing line and the like. Sewing is one of the oldest production technologies, dating back to the Stone Age.
• Weaving is the production of fabric on looms, one of the oldest human crafts.
• Carpet weaving - production of carpets.
• Burning - a pattern is applied to the surface of any organic material using a hot needle.
• - one of the oldest and most widespread types of materials processing.
• Pictures made from straw.
• Stained glass is a work of decorative art of a fine or ornamental nature made of colored glass, designed for through illumination and intended to fill an opening, most often a window, in any architectural structure or interior.
• Decoupage is a decorative technique for fabric, dishes, furniture, etc., which consists of meticulously cutting out images from paper, which are then glued or otherwise attached to various surfaces for decoration.
• Modeling, sculpture, - giving shape to plastic material using hands and auxiliary tools.
• Mosaic is the formation of an image by arranging, setting and fixing multi-colored stones, smalt, ceramic tiles and other materials on the surface.
• Weaving is a method of making more rigid structures and materials from less durable materials: threads, plant stems, fibers, bark, twigs, roots and other similar soft raw materials.
• Crafts from matches and sticks.
• Painting:
• Scrapbooking - design of photo albums.
• Artistic processing of leather is the production of various items from leather for both household and decorative and artistic purposes.
• Topiar is the art of creating decorative trees (table and floor) from natural materials and artificial decor.