Ural crafts and crafts. "Folk traditions and crafts of the Southern Urals
Many trades and crafts have been developed in the Urals, many of them are still alive, and some have not survived to our time.
Beetroot fishing
Production and painting of tuesov (boxes with a lid) from birch bark. This type of craft has spread in Nizhny Tagil, and the largest collection of beetroots can be seen in the Nizhnesalda Museum of Local Lore.
Linen production
Linen weaving and sewing developed in settlements on the site of the modern Alapaevsky district. Flax was grown everywhere, it is one of the most important agricultural crops in the region. Folk craft became the basis for the development of light industry and the emergence of linen factories in the Sverdlovsk region. Museums of Alapaevsk allow you to get acquainted with the ancient technique of processing flax, which dates back hundreds of years.
Chest fishing
The city of Nevyansk and the village of Byngovsky became the centers for the development of this craft in the 19th century - the largest factories were located here. Chests and caskets were made of pine and cedar wood, rich finishes were made of iron and varieties of tin: blackened, painted, printed, chased, bronzed and many others.
Samovar production
The samovar business was developed at the Nizhneirginsky plant near Krasnoufimsk. The date of manufacture of the first samovar is 1746. The local history museum has the richest exposition of locally produced samovars.
Ural painting
The art of painting became widespread in the Urals in the 17th century, during the active settlement of these lands by people from Central Russia and the Volga region. The Ural painting developed especially actively in the Alapaevsky mining district. Painted utensils and furniture were found even in the poorest houses, in some places entire rooms were painted. Vivid examples of this original craft can be seen in the exposition of the Nizhnesinyachinsky Museum-Reserve.
art casting
The active development of the metallurgical industry in the Urals contributed to the emergence of artistic crafts in this area: many ironworks and iron-smelting plants had artistic casting workshops. Kasli and Kusinskoe cast iron castings are the pride of the Southern Urals. In the Museum of Decorative and Applied Arts, you can see an exposition that clearly shows the history of the development of this craft since the beginning of the 19th century.
icon painting
The Nevyansk icon-painting school is relatively young, but quite well-known. It was founded in the 18th century by Old Believers who fled from church reform, and reflected the features of the authentic culture of the Urals and the tradition of icon painting of Ancient Rus'. Samples of Nevyansk icons can be seen in the Nevyansk Icon House and the Sverdlovsk Regional Museum of Local Lore.
Lacquer painting on metal
The birthplace of this craft is Nizhny Tagil. The art of lacquer painting was formed in the 19th century, over the years of its existence it has not only successfully developed, but also put on an industrial footing.
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stone carving
The Ural school of stone carving originated in the 18th century. On the territory of the modern Sverdlovsk region, many private workshops worked. Local stones such as jasper, malachite, marble and many others served as the basis for stone-cutting products. The ancient traditions of this trade are developing even now, not only in small workshops, but also in large stone-cutting enterprises in Nizhny Tagil, Asbest, Yekaterinburg and Zarechny.
Ancient craft traditions also gave rise to a number of modern industrial productions:
Porcelain production
Established in 1960 in the town of Sysert. The local porcelain factory is famous for its products throughout the country, and the artistic element "Sysert Rose" based on the Ural house painting has become a characteristic symbol of the Ural porcelain.
Bell production
The Pyatkov & Co. plant was founded in 1991 in the city of Kamensk-Uralsky and is the first private bell casting enterprise in Russia. Since 2005, the city has hosted a bell ringing festival, which annually gathers thousands of listeners.
Introduction
1 SOUTHERN URAL
1.1 Historical background and conditions for the formation of folk art crafts of the Russian population of the South Urals
1.2 Ural house painting
1.3 Stone-cutting art of the Urals
1.4 Ural iron casting
1.5 Pottery and clay toy
2 CHELYABINSK REGION
2.1 Kasli casting
2.2 Zlatoust engraving on steel
2.3 Artistic processing of copper
3 ORENBURG REGION
3.1 Down scarf
4 BASHKORTOSTAN
4.1 Woodcarving, wooden utensils, spindles
4.2 Cotton mills
Conclusion
REFERENCES
APP ALBUM
APPENDIX A. SOUTHERN URAL
APPENDIX B. CHELYABINSK REGION
APPENDIX B. ORENBURG REGION
APPENDIX G. BASHKORTOSTAN
INTRODUCTION
The introduction of a modern person to the traditional art of his people is significant for his aesthetic and ethical education, it is on this basis that respect for his Land, Motherland grows, and the revival of national self-consciousness takes place. This is determined by the specifics of traditional applied art as a centuries-old cultural experience of the people, based on the continuity of generations that transmitted their perception of the world, embodied in the artistic images of folk art. Folk art strikes with two features (along with others): inclusiveness and unity. “All-encompassing” is the permeation of everything that comes out of the hands and mouth of a person with an artistic principle. Unity is, first of all, the unity of style, popular taste ”(D.S. Likhachev). Folk arts and crafts is one of the time-tested forms of expression of a person's aesthetic perception of the world.
Folk art crafts of Russia are an integral part of the national culture. They embody the centuries-old experience of the aesthetic perception of the world, turned to the future, preserving deep artistic traditions that reflect the identity of the cultures of the multinational Russian Federation.
The definition of the concepts of "fishery", "craft" in the specialized literature remains debatable. Conventionally, craft refers to the small-scale manual production of exchange values. The handicraft prevailed until the emergence of a large-scale machine industry, and has partially survived along with it to the present day. The conditionality of the manual method of production as the basis of a sign of a craft, enshrined in the “Charter on Factory and Factory Industry” of 1893, is manifested when comparing handicraft establishments with a factory one: “Manufactories, factories and plants differ from crafts in that they have establishments and machines in a large form; artisans have none, except for hand-held machines and tools.”
The definition of a craft as a professional occupation remains indisputable, which is characterized by: the craftsman's skill, which makes it possible to produce high-quality, and often highly artistic products; the small nature of production; use of simple tools.
Artistic crafts are both a branch of industry and an area of folk art.
The combination of traditions and innovation, style features and creative improvisation, collective principles and views of an individual, handmade products and high professionalism are the characteristic features of the creative work of craftsmen and craftsmen.
The unique handicrafts of the Southern Urals are loved and widely known not only in our country, they are known and highly valued abroad, they have become symbols of national culture, Russia's contribution to the world cultural heritage.
In the age of technological progress, machines and automation, standard and unification, handicrafts, made mainly by hand, mostly from natural materials, have acquired special significance.
Even before the middle of the 20th century, various types of traditional crafts were in demand in Russia, such as pottery, weaving, blacksmithing and many others. In peasant and partly in urban life, there continued to be a vital need for clay vessels or woven paths, until they were replaced by factory products from new materials. Today, there are fewer and fewer carriers, keepers and creators of folk art, especially in the field of applied art.
Of great importance in the development of crafts, and then in the study of their condition, were the All-Russian Art and Industrial Exhibitions held in large Russian cities: Moscow (1831), St. Petersburg (1829, 1870, 1902 and further), Nizhny Novgorod (1896) , Kazan, Yekaterinburg (1887), as well as the participation of Russian handicraftsmen in foreign fairs and world exhibitions in Paris (1900, 1904), Leipzig (1907, etc.). The studies of M.D. Car. The scientist, relying on documentary materials, shows the levels and volumes of development of the small-scale industry and the crafts of interest to us in the processing of fibrous raw materials (weaving), wood, birch bark, metal. The main trends in the development of the handicraft industry of the Urals in various periods were also studied by historians A.A. Kandrashenkov, P.A. Vagina, L.V. Olkhovaya. The question of the influence of the small-scale industry of the Urals on the arts and crafts of the region in the second half of the 19th and early 20th centuries is raised and covered in scientific articles by L.B. Alimov.
The central theme of B.V. Pavlovsky was the arts and crafts of an industrial nature (cast iron, stone-cutting art, artistic processing of weapons, copper products, painting metal products, faience, porcelain).
The purpose of this work for me was to study art crafts and the activities of enterprises engaged in the production of art crafts in the Southern Urals, their development and placement in the territories: Chelyabinsk, Orenburg regions and Bashkortostan. For this, the following tasks are set:
1) to study the system of formation of centers of art crafts in the South Urals,
2) as a result of which there was the formation of certain centers of artistic crafts in the Southern Urals, the Orenburg, Chelyabinsk regions and Bashkortostan,
3) compose several albums - applications, consisting of the most important illustrations of various types of artistic crafts.
1.1 Historical background and conditions for the formation of folk art crafts of the Russian population
The roots of folk art and crafts go back to ancient times, when a person lived in a primitive communal and tribal system. He obtained his means of subsistence by primitive means. Any activity in primitive society could only be collective. The division of labor was carried out only into male labor (war, hunting) and female labor (cooking, making clothes, housekeeping); at that time, even ceramic production was a domestic women's business. The need for joint labor led to common ownership of tools, land, and products of production. There was no wealth inequality yet.
The beginnings of art then also had a collective character. Making tools of labor, hunting and war, dishes, clothes and other household items, a person sought to give them a beautiful shape, decorate them with ornaments, that is, thereby making ordinary things works of art. Often the shape of the product and its ornament also had a magical, cult purpose. Thus, one and the same object could simultaneously satisfy the real needs of a person, meet his religious views and correspond to his understanding of beauty.
This indivisibility, the fusion of the functions of ancient art was also a characteristic feature of the art of the ancient Eastern Slavs, which was inseparable from their way of life. The very first production that emerged as an independent craft in the city and countryside was metalworking.
Ancient Rus' knew almost all types of modern artistic metalworking, but the main ones were forging, casting, chasing, filigree and granulation.
Jewelry art reached the highest level of development at that time.
The second craft in time of origin, after metal processing, was pottery. In the 9th-10th centuries. Kievan Rus already knows the potter's wheel, the appearance of which meant the transition of ceramic production from the hands of women engaged in domestic work to the hands of a male artisan. Pottery workshops produced dishes, household utensils, toys, church utensils, tiles - decorative ceramic tiles that were used in architecture as a finishing material.In ancient Rus', the art of stone-cutting artisans was also developed: carvers of icons and casting molds, cutters of beads. There were many bone-carving workshops, the mass products of which were combs of various shapes, as well as religious objects: crosses, icons, and so on.
Craftsmen of Ancient Rus' mainly made products to order. According to their social status, they belonged to different groups of the population. Free masters were already working in the cities: icon painters, goldsmiths, chasers, blacksmiths, toy makers and others. At the same time, enslaved master-serfs worked in the boyar and princely courts, in estates and estates. Craftsmen also worked in the monasteries. It should be noted that in Ancient Rus' not all types of crafts were treated equally. There were professions more "revered", such as icon painting, goldsmithing, and there were "black", "dirty", such as pottery.
The main types of women's artistic creativity in Ancient Rus' were patterned weaving, in particular, "abusive", embroidery on canvas, gold embroidery, "silk spinning".
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Folk crafts of the Urals Prepared by a teacher of additional education Karpuk Nadezhda Alexandrovna Chelyabinsk region, the city of Bakal, MBUDO "House of Children's Creativity"
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MBOU DOD DDT Bakal Karpuk Nadezhda Alexandrovna. Master class: “Tagil monogram” Introducing a modern person to the traditional art of his people is significant for his aesthetic and ethical education, it is on this basis that respect for his Land, Motherland grows, and the revival of national identity takes place. This is determined by the specifics of traditional applied art as an age-old cultural experience of the people, based on the continuity of generations that transmitted their perception of the world, embodied in the artistic images of folk art.
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Folk crafts of the Urals Folk art strikes with two features: inclusiveness and unity. “All-encompassing” is the permeation of everything that comes out of the hands and mouth of a person with an artistic principle. Unity is, first of all, the unity of style, popular taste ”(D.S. Likhachev). Folk arts and crafts is one of the time-tested forms of expression of a person's aesthetic perception of the world. The unique handicrafts of the Southern Urals are loved and widely known not only in our country, they are known and highly valued abroad, they have become symbols of national culture, Russia's contribution to the world cultural heritage.
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Folk crafts of the Urals Folk art as one of the forms of information culture. Traditional art, in addition to its undoubted significance as a result of the creative activity of a particular people, is also the most valuable ethnographic source involved in solving ethnogenetic and many cultural and historical problems. In its images and symbols, information about the development of the worldview of our distant ancestors is encrypted. Starting from the most ancient stages of the formation of human culture, creativity harmoniously combined two methods of cognition and transformation of reality - artistic and intellectual, it found a way out and merged together the aspirations of the soul and mind inherent in human nature from time immemorial.
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The folk crafts of the Urals include Ural house painting Stone-cutting art of the Urals Ural iron casting Pottery and clay toys CHELYABINSK REGION Kasli casting Zlatoust engraving on steel Artistic processing of copper ORENBURG REGION Downy shawl BASHKORTOSTAN Wood carving, wooden dishes, spindle products Cotton mills
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Folk crafts of the Urals Folk crafts in the Urals have a long history. They began to develop more than three centuries ago, when the first factory settlements began to be built in our region, and its population grew significantly due to immigrants from Central Russia. Initially, the traditional Ural crafts were distinguished by a variety of trends and styles. They were developed by talented original masters. Nowadays, traditional trades and crafts are being revived in the Ural cities and villages. More than half of the Ural crafts have long been associated with the processing of stone and metal. Pavel Petrovich Bazhov sang the art of the Ural stone cutters in his tales.
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Folk crafts of the Urals In 1726, on the initiative of the founder of the city of Chelyabinsk, Vasily Nikitich Tatishchev, a lapidary workshop was established in Yekaterinburg, which later became a lapidary factory. From the second half of the 19th century, stone-cutting enterprises appeared in Berezovsky, Verkh-Isetsky, Polevskoy, Marble, Nizhne-Isetsky factories, Shartash village. The current masters - jewelers and stone cutters - revive and continue the traditions of Danila the master. The textile products of the Ural craftswomen were also widely known in the past. Many residents of the village of the Verkh-Isetsky factory were engaged in bobbin lace making, and in the villages and villages surrounding Yekaterinburg, women made handmade carpets. And to this day in the village of Butka there is a factory of manual carpet weaving.
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Folk crafts of the Urals One of the areas of work of the Ural artisans was ceramic craft. Even in the first half of the 18th century, ceramic dishes were produced in the village of Nizhnie Tavolgi in the Nevyansk region. And today, master ceramists of the Sysert Porcelain Factory make unique faience iconostases for churches and monasteries of the Yekaterinburg diocese.
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Folk crafts of the Urals At the beginning of the 18th century, the first bell was cast in the Nevyansk factory by order of Nikita Demidov. Today, the Kamensk-Ural enterprise "Pyatkov and K" is widely known, which has become one of the leading bell factories in Russia. The art of making products from birch bark also developed in the Urals - the so-called "beetroot" craft. Its centers were the Nizhnesaldinsky, Verkhnesaldinsky and Nizhny Tagil factories, where more than 40 handicraft workshops operated at the beginning of the 20th century.
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Folk crafts of the Urals Since the middle of the 18th century in the Urals, in Nizhny Tagil, Verkh-Neyvinsky, Turinsk and Nevyansk, another interesting craft began to develop - lacquer painting on metal. Nowadays, the largest enterprise in this direction is the Metal Lavka enterprise in Nizhny Tagil, where excellent craftsmen and artists work. Folk crafts in the Urals live and develop. As of old, the products of the Ural stone cutters, jewelers and blacksmiths, Nizhny Tagil masters of lacquer painting on metal, hand-painted porcelain dishes, Kamensk-Ural bells are in great demand. Masters honor centuries-old traditions, keep secrets and create new techniques for creating original products that cannot be confused with any others.
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Tagil Wenzel Nizhny Tagil, founded by the Tula blacksmith Nikita Demidovich Antufiev in 1725, was and is famous for the talented serf artisans of the owners of the Ural metallurgical plants - the Demidovs. Their products were known not only in Russia, but also abroad. And to this day, in some places, islands of old, but still solid buildings of the last century are barely guessed. One of them, the former Demidov factory management, now houses the local history and local history museum. Nizhny Tagil was rich in craftsmen. Handicraftsmen bought sheets of soft and malleable roofing iron and made ladles, caskets, tables, trays out of them, covering them with paintings.
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Tagil monogram Entire dynasties formed, jealously guarding the secrets of their craft. The workshops of the Dubasnikovs, Perezolovs, Golovanovs enjoyed great fame ... But Andrei Stepanovich Khudoyarov, a man of a tough and stubborn disposition, was considered the first master. Rumor ascribes to him the honor of inventing the famous lacquer, which was transparent as glass, hard - not scratched with a knife, resistant to heat - neither a hot samovar, nor boiling water accidentally spilled, did not spoil his sparkling armor, neither acid did not take it, nor fire. They said: "The paper will be burned on it, the ashes will remain - and that's it." The old man passed on his skill to his sons Vavila and Fedor
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Tagil monogram They, like their father, received the right from Demidov to have their own workshops for painted iron products. In 1784, the Khudoyarov brothers painted "bright butterflies and birds" on lacquered iron plates for the Demidovs' house in Moscow. For this work, they were rewarded with sashes, hats and cloth for caftans, and their father (he was already over sixty) was released from factory work. The grandfather's tradition was continued by the sons of Fyodor Andreevich Khudoyarov - Pavel, Isaac and Stepan, talented painters. Pavel owns the painting “Leaf Shop”, a rare image of the work of workers at that time.
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Tagil Monogram The Tagil Museum keeps the works of old masters... And although the colors have faded from time to time, the flowers still shine as if alive, and the lacquer shines like glass. The Russian traveler of the 18th century, academician Pyotr Pallas, wrote that in the Urals "there are things lacquered, not much worse than Chinese, but better than French ones, including paintings." But this folk art, which developed at the Ural ironworks in the first half of the 18th century, could have disappeared forever, if not for the painstaking and disinterested interest in it of many today's keepers of our culture. True, one secret of the Ural lacquer painting has not been unraveled to this day.
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Tagil monogram How were the Nizhny Tagil trays created in those distant times? First of all, the farrier took over. He cut out round, rectangular or guitar-shaped pieces of roofing iron with scissors, then selected six blanks so that each subsequent one was smaller than the previous one, strengthened the "six" on a cast-iron gutter. With a five-pound hammer, the master forger struck the blanks until the iron took the form of trays. After that, he made a "gurtik" - he bent the edges, made pterygoid or slotted edges and handles. Before varnishing, the master puttied and polished the tray, then covered it with drying oil and put it in a hot oven to burn. This procedure was repeated several times.
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Tagil monogram After varnishing, the surface of the product acquired depth, began to gleam mysteriously. The background of the trays was prepared by Tagil craftsmen in a variety of tones. In one case, they symbolized green grass-ant, in another - a fiery evening dawn, in the third - a warm summer night. Sometimes the background was painted "under the turtle" or "under the malachite". After drying, the tray was again carefully polished, and only after that it fell into the hands of the painters - “scribbler”. Do you think that something has changed since those distant times?... There is no only thing that blanks are stamped without the use of manual labor.
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Master class Tagil monogram I bring to your attention where the Tagil monogram is used today. You see that a wide variety of household items are painted.
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When they say<<народные промыслы>> immediately appears Russian hut. Evening, summer suffering is over, and the owners are engaged in easy, in a peasant's opinion, business - weaving lace, painting spinning wheels, sculpting whistles, painting wooden spoons ...
Photo 2. Historical fence of Kalinsk casting. Moscow.
Photo 1. Products with elements of Kasli casting
But the Ural folk crafts are not something that can be done on winter evenings in a hut. Cast iron! The basis of life in the Urals was the Factory - and folk crafts flourished at the factories. For example, the famous Kasli casting. First, cannons were poured from cast iron, then they learned how to make beautiful openwork grates for houses, bridges, fireplaces (a cast-iron fireplace weighed 36 pounds) (photo 1), (photo 2). They were sent to Moscow for sale, and in the 1830s and 40s cast-iron openwork bracelets of incredible beauty and subtlety came into fashion.
Photo 6. Candlestick. Kasli plant. 1997
Photo 7. Kasli casting - art products At the end of the nineteenth century, the Kasli iron plant
At the end of the 19th century, the Kasli iron plant made vases, ashtrays, inkwells, figurines ... (photo 3, 4, 5, 6, 7)
And in 1900, at the World Exhibition in Paris, an openwork cast-iron pavilion from the city of Kasli, unknown in Europe, received the highest award, causing general delight (photo 8).
Photo 9. Tray. Nizhny Tagil, 1850-1860s Iron, forging
Photo 10. Tray Peter's wedding 1.1874
Another masterpiece of the Ural craft - Nizhny Tagil lacquer tray. (photo 9, 10,).
The Tagil tray has been known since 1747. It gained recognition thanks to lacquer painting on metal. From the middle of the 19th century, trays began to be forged from a single sheet with punched handles. They painted with fruits, floral and floral patterns, especially a fabulous flower - "Tagil rose" against a background that imitated malachite or wood.
The unique technique of lacquer painting was invented not at all near Moscow, but at the Ural factories of the merchants Demidovs, in Nizhny Tagil. The serf Khudoyarov invented "crystal" lacquer, which "does not crack at all on iron, copper and wood." A special painting technique developed in Tagil from the end of the 18th century, then it was mastered in other workshops - everyone really liked these elegant trays with beautiful bouquets of flowers!
How did the Nizhny Tagil tray differ from others, for example, Zhostovo?
First, painting. In Zhostovo and other places, each paint was laid separately. And the Tagil master picked up several colors on the brush at once - and with one stroke he painted a petal of different shades.
Photo 11. Tray
Secondly, with an amazing crystal varnish, which was invented by the Nizhny Tagil serf Demidov Andrey Stepanovich Khudoyarov. Completely transparent, it was not scratched with a knife, did not warp in the fire, was not poisoned by acid; it was possible to put a hot samovar and pour boiling water on the products covered with this varnish... The craftsmen kept the recipe for this varnish in secret. Now in Nizhny Tagil they also make trays, but the lacquer on them is of poorer quality - the secret of crystal lacquer has been lost (photo 11).
Photo 12. The difference between blades from the Urals - Metal of the highest quality
Photo 13. I. Bushuev. Saber. 1824 Chrysostom.
And one more thing was done in the Urals like nowhere else in the world: patterned blades(photo 12). In fact, ornaments were engraved on edged weapons for a long time and in different places in Europe and Asia, but not in the Urals of the 17th-18th centuries - cast-iron cannons were cast there and they did not dream of precious blades. But in 1815, after the victory over Napoleon, Russian officers began to be treated differently than before the war. And in the capital they decided: we should have our own decorated blades. First, they hired craftsmen from Germany, then they themselves came up with a new way of engraving the blade. German craftsmen covered the entire surface of the blade with cinnabar and scratched a pattern on it. After the product was etched with acid, the surface of the blade remained shiny, and the pattern remained matte. Zlatoustians acted differently: they applied a pattern with cinnabar, and etched the entire blade. It was easier to draw with cinnabar than to scratch; drawings can be made more complex and beautiful. And multi-figure paintings appeared on the Zlatoust sabers, scenes of battles - ancient and modern (photo 13).
For example, on the saber "Battle of Borodino" there was a detailed panorama of the battle and a fragment of the equestrian battle, and on the decorations there were crossed sabers, spears, knives, laurel wreaths, drums, shakos ...
Photo 14. Hunting knives Zlatoust
Photo 15. Blade with a winged horse
Hunting knives depicted scenes of bear and wild boar hunting (photo 14). This has not been done anywhere in the world. Time has preserved for us the names of many gunsmiths, the most famous of which was Ivan Nikolaevich Bushuev, nicknamed Ivanko-Krylatko, because he liked to draw winged horses on blades (photo 15). This is how Bazhov's tale about him is titled.
Photo 16. Knight's Armor. Helmet
Bushuev's latest work is armor for Alexander II. (photo 16, 17).
However, Alexander never wore them,
The fact is that the masters worked on the armor for 4 years, during which time the heir to the throne grew up, and the weapons turned out to be small for him. This work is unique in that nowhere in the world did knightly armor intended for combat be decorated.
The armor is decorated with engravings, bluing and gold and silver: on the breastplate there is an image of the Gorgon Medusa, and on the helmet the masters placed the image of the Sphinx.
Nicholas I generously rewarded the Zlatoust masters for their work. “Nicholas the First thanked the masters in an imperial way. He gave them 3,000 rubles for all of them, a lot of money in those days. At the same time, the cost of the armor itself was then estimated by the masters at 1643 rubles.
Folk art crafts- one of the forms of folk art, the production of art products. The origin of folk art crafts, as a rule, is determined by the history of the economic and cultural development of the region, and in most cases they are based on local natural resources. Folk arts and crafts are an important element of the culture and life of the population.
Folk arts and crafts in our country are diverse in their products, materials used, techniques and technologies used. The most common are hand weaving and painting of fabrics, artistic stitching and embroidery, lace weaving, carpet weaving, wood carving and painting, art pottery, bone carving, soft stone processing, artistic metal processing, lacquer miniature, etc.
The Chelyabinsk region occupies a worthy place in the palette of Russian folk art. In the South Urals, unique products of the Zlatoust engraving on steel are made, Kasli casting and Ural bronze are famous all over the world.
More than half of the Ural crafts have long been associated with the processing of stone and metal. Pavel Petrovich Bazhov sang the art of the Ural stone cutters in his tales.
Zlatoust engraving on steel originated in 1816-1817.
The art of Chrysostom absorbed the richest traditions of Russian and Western European gunsmiths of the 17th-18th centuries, but soon the Ural engravers created their own original style of decorating weapons.
Zlatoust weapons have gained fame not only in Russia, but also far beyond its borders. In the late 1830s, household appliances began to be decorated at the factory - various caskets, caskets, trays. In the second half of the 19th century, the range of products expanded - decorated cutlery, paper knives, cigarette cases, cigarette cases, hunting knives and hatchets appeared.
Today, along with gift weapons, the factory produces prizes, decorative souvenirs, wall panels, similar in artistic solution to easel painting.
Orenburg downy shawl
Knitted goat down scarves are an ancient craft that originated in the Orenburg region 250 years ago. Handmade shawls, knitted by craftswomen, light as a feather and warm as mother's hands. Downy scarves live for a long time and are passed down from generation to generation, warming with their warmth and the accumulated energy of their ancestors. Russian craftswomen make three types of scarves: shawls, cobwebs and stoles. They are different in shape, knitting density, color and pattern. Downy shawls fulfill not only their intended purpose - to insulate and warm, but are also an exclusive decoration. Openwork light shawls and white cobwebs will be an adornment for any woman, they will emphasize her grace and delicate taste.
Kasli art casting
Garden furniture, lattices, tombstones, household items, sculptures made of cast iron and bronze, made at the Kasli iron foundry (Southern Urals), become a work of art. The traditions of Kasli casting are complex technologies for molding and casting products, hand-chasing, and graphic clarity of the silhouette. The plant was built in the 18th century, and since then the iron foundry has been a center for casting highly artistic products. Openwork lattices, ornamented slabs, bas-reliefs and sculptures, plates and candlesticks are not inferior in quality and artistic value to the best world samples. Well-known sculptors and artists, graduates of the St. Petersburg Academy of Arts, worked at the plant. With their participation, many projects were developed and implemented, incl. production of memorial plaques with portraits, monuments, architectural casting for the Moscow Metro.
Ural painted trays began to be produced at the beginning of the 18th century, during the period of development of metallurgical production, also associated with the production of sheet iron. Bright multi-colored painting has long been entrenched in Nizhny Tagil. At the turn of the XVIII-XIX centuries. in Nizhny Tagil trays, plot painting by professional artists appeared, creating a new direction of painting, which brought the tray closer to a decorative painting.
Artistic processing of plant materials. Natural wealth - the presence of various tree species - contributed to the development of woodworking crafts in the Chelyabinsk region. Here they harvested kapo-root, bast, splint, green and peeled twig, birch bark, and bast. Woodworking enterprises specialized in the production of furniture, agricultural implements, carts, sledges, boats and household utensils - chests, dishes. Cooperage was developed. The manufacture of products from birch bark is developed in the Satka and Ashinsky districts of the Chelyabinsk region. The presence of linden on the western slopes of the Urals led to the development of crafts associated with its processing - the production of bast shoulder pouches, baskets, and bast shoes. At all times, weaving from wicker was very popular. The craftsmen of the Uvel district wove baskets and furniture from the wicker.
