Various crafts. Folk crafts and crafts of Russia

The village of Bogorodskoye near Moscow is located near the city of Sergiev Posad. The craft of carved wooden toys arose in the 16th and 17th centuries. There are two types of toys: sculpture toys and moving toys. The style of Bogorodsk carving is precise, sharp, and the mark of the chisel is clearly visible. As a rule, the toy was not painted, preserving the natural warm color of the wood, but sometimes painted toys were made. The themes are varied: peasants, hunters, soldiers, animals and birds, scenes from everyday life, fairy tales.

Gorodets painting.

This artistic craft developed by the mid-19th century in the ancient Volga city of Gorodets. The custom of decorating household items, spinning wheels, shutters, gates with carvings, paintings and inlays developed a long time ago. Later they began to paint chests, furniture, dishes and wooden toys. Features of Gorodets painting are clean bright colors, clear contours, white strokes, giving conventional volume and picturesqueness. Gorodets artists depicted not only floral patterns (flowers, leaves, grass, the tree of life), but also fairy-tale characters and genre scenes: tea parties, boat rides and carousels...

Khokhloma painting.
Already in the 17th century, fairs were held in the village of Khokhloma, where they sold painted wooden dishes made in the villages of the Nizhny Novgorod region. Khokhloma painting is distinguished by a characteristic combination of gold with black, red, green, sometimes brown and orange. They depict plants, berries, fruits, birds and fish. The pattern fills almost the entire surface. The background can be gold, red, black.
Gzhel ceramics.

In the village of Gzhel, several tens of kilometers from Moscow, skilled potters have long lived. From the mid-18th century, Gzhel craftsmen mastered the production of majolica painted on a white background. The painting was often supplemented with sculptural images of people, animals, and birds. Since the 19th century, painting (floral patterns) began to be done mainly in cobalt blue on white. Sometimes, in addition to flower garlands, Gzhel artists depict fabulous birds, landscapes, pictures from folk life.

Skopino ceramics.

Archaeological research has shown that already in the 17th century in the area of ​​​​the city of Skopin, Ryazan region, pottery already existed. The peculiarity of Skopino ceramics is that handmade products were complemented by stucco images of birds, fish, and fantastic animals. Sometimes the product itself was in the shape of an animal or bird. In addition, dishes (pots, jars, jugs, bowls, mugs, candlesticks) were decorated with floral patterns and covered with brown, green or yellow color. Externally, the products resemble the branches of an old tree covered with thick embossed bark.

Filimonovskaya toy.

The village of Filimonovo is located in the Tula region. Since ancient times, dishes and toys have been made here from local light pottery clay. The shapes of the toys are original and unusual. The figures are somewhat elongated; 3-4 colors predominate in the painting. The painting itself is an alternation of horizontal stripes on a white and yellow background. The ornament also uses circles, rosettes, triangles, zigzags, and dots. The toys depicted birds, fairy-tale animals, horsemen, ladies, everyday scenes (bride and groom, riding a troika, etc.)

Dymkovo toy.

The name of the fishery is associated with the Dymkovskaya settlement near the city of Vyatka (now Dymkovo is the outskirts of Kirov). Riders, ladies in beautiful dresses with colored frills, gentlemen, fairy-tale characters, animals, and everyday scenes are depicted. The poses and the figures themselves are somewhat conventional and simplified. The painting uses bright colors, usually on a white background, and gilding. The ornament uses circles, wavy lines, stripes, and checkered patterns.

Zhostovo trays.

Zhostovo art craft is decorative painting on metal trays. The fishery originated in the village of Zhostovo (Moscow region). At first, Zhostovo craftsmen painted items from papier-mâché, then they began to make metal trays painted with oil paints and varnish. Subjects of painting - floral, plant ornaments, landscapes, scenes from folk life. Roses, peonies, poppies, asters, dahlias, forget-me-nots, violets and other flowers, bunches of grapes, baskets of ripe fruits and berries were depicted. The shape of the trays is varied.

Kasli cast iron casting. The smelter and steel plant in the city of Kasli, Chelyabinsk region, has been operating since the mid-18th century. The factory produced fences, gratings, dishes and even furniture. Kasli foundry workers created not only monumental structures, but also small sculptures and decorative objects. The cast iron sculptures turned out graceful: clothes flow softly, elastic muscles roll - the cast iron seems to come to life.

Folk crafts are exactly what makes our culture rich and unique. Foreign tourists take with them painted objects, toys and textile products in memory of our country.
Almost every corner of Russia has its own type of needlework, and in this material we have collected the brightest and most famous of them.

Every work of the master is praised - it’s hard to disagree with this, looking at the “branded” things of Russian masters, which were liked not only in the Motherland, but also loved far beyond its borders...

Dymkovo toy

The bright and elegant Dymkovo toy has become a symbol of the Vyatka land. This is one of the oldest Russian crafts, which Vyatka craftsmen have been practicing for 400 years. The appearance of the toy is associated with the spring holiday of Whistling, when clay whistles in the form of lambs, horses, goats or ducks came out of the hands of the women of the Dymkovo settlement.
In the 30s of the 20th century, not only a large number of variations of spring toys on the theme of everyday life and fairy tales, but many new ornaments and color combinations. Each toy is unique and one of a kind, because it is sculpted and painted by a master every time anew. At the same time, there are no analogues of this clay miracle in the world.

Orenburg shawl

This unrivaled item is knitted from goat down and cotton, silk or other threads that form its base. Knitting from down in Orenburg began in the 18th century. Abroad for the first time Orenburg down scarf was presented in 1857 at the Paris International Exhibition. Beauty and grace captivated the European public. These scarves are as integral a part of the original Russian wardrobe as earflap hats. From time immemorial, earflap hats have been worn in Rus' and today this headdress does not lose its relevance.

In the 18th-19th centuries, the French imported tens of thousands of poods of Orenburg fluff, which was considered higher than Kashmir fluff. Shawl, “gossamer” and stole are the three main types of Orenburg scarves. The main quality criteria are that the scarf must pass through the ring and fit into the goose egg. The best “spider webs” are knitted today in the villages of Shishma and Zheltoye, Saraktash district.

Zhostovo painting

At the beginning of the 19th century, the Vishnyakov brothers lived in one of the Moscow villages of the former Trinity volost (now Mytishchi district), and they were engaged in painting lacquered metal trays, sugar bowls, pallets, papier-mâché boxes, cigarette cases, teapots, albums and other things. Since then, artistic painting in the Zhostovo style has begun to gain popularity and attract attention at numerous exhibitions in our country and abroad.

Gorodets painting

Gorodets painting has existed since the mid-19th century. Bright, laconic patterns reflect genre scenes, figurines of horses, roosters, and floral patterns. The painting is done in a free stroke with a white and black graphic outline; it decorates spinning wheels, furniture, shutters, and doors.

Gusev crystal

Products made at the Gus-Khrustalny crystal factory can be found in museums all over the world. Traditional Russian souvenirs, household items, sets for festive table, elegant jewelry, boxes, handmade figurines reflect the beauty native nature, its customs and primordially Russian values. Products made from colored crystal are especially popular.

Ural malachite

Despite the fact that malachite is mined not only in the Urals, this green mineral with a unique pattern is considered a “Russian” stone, because it is the Ural malachite that surpasses others in its magnificence: “on the surface, like velvet, and in a fracture, like satin.” The generally accepted stone processing technique throughout the world, called “Russian mosaic,” came from the Urals. Russian tsars also loved to present malachite products. Thus, Alexander I gave Napoleon a table, a vase and a candelabra made of malachite. Unfortunately, today in the Urals there are almost no true masters left who are capable of creating masterpieces like the vases of Halberg and Stackenschneider, the tabletops of Montferrand or the malachite columns of Bryullov.

Matryoshka

A chubby and plump cheerful girl in a headscarf and Russian folk dress won the hearts of lovers of folk toys and beautiful souvenirs around the world.
Now the nesting doll is not just a folk toy, a keeper of Russian culture: it is a memorable souvenir for tourists, on the apron of which play scenes, fairy tale plots and landscapes with attractions are finely drawn. The nesting doll has become a precious collectible that can cost hundreds of dollars.

Tula samovar

In the 60s of the 18th century, gunsmith Fyodor Lisitsyn decided to organize an enterprise in Tula to produce pots and “devices for heating water.” Soon, not a single fair takes place without the participation of this product of Tula craftsmen. Along the Oka River, “pot-bellied beauties” traveled all over Russia. Interestingly, the price of the product was determined by its weight. Despite the variety of shapes and designs, any samovar had the same structure - the walls of the tray, jug, tap, handles. Often the whole family participated in the manufacture of the samovar - in this way, the older masters passed on their experience and skills to the younger ones.
In 1829, at the St. Petersburg exhibition, the Tula was awarded a small silver medal. Today, Tula samovars are not only an indispensable attribute of Russian tea drinking, but also genuine works of art that have glorified Tula not only in their native country, but also far beyond its borders.

Shemogodskaya slotted birch bark

Products made from birch bark by craftsmen from the Vologda region are filled with extraordinary warmth. The popularity of birch bark among our ancestors is not accidental - it is a very light, durable and strong material. Dishes, baskets, tues, boxes, jewelry, clothing and shoes were made from birch bark. The most popular was Shemogodskaya slotted birch bark, which received its name from the Shemoksa River, which flows below Veliky Ustyug in the Vologda province. The openwork of the floral ornament, intricately intertwined stems, flowers, leaves and berries - this makes the traditional pattern of Veliky Ustyug birch bark lace inimitable.

Khokhloma painting

Probably, Khokhloma painting appeared in the 17th century in the village of Khokhloma, on the left bank of the Volga. However, there are a large number of other versions of the appearance of this ancient folk craft. Traditional juicy rowan berries in gilded leaves on a black background are unlikely to leave anyone indifferent. Later, images of birds, fish and animals were added with floral ornaments. This type of decorative painting was used to decorate dishes and furniture. Cups, bowls, barrels, and, of course, wooden spoons are just a small part of the assortment with Khokhloma painting.
Khokhloma products are valued not only for their beauty, but also for their amazing practicality. In such a bowl you can serve okroshka or serve tea, and not worry that the colors will fade or the varnish will crack. Today, the Nizhny Novgorod village of Kovernino is considered the birthplace of Khokhloma. Khokhloma painting is a unique phenomenon not only for Russia, but for all world art

Tula gingerbread

Tula gingerbread is a Russian delicacy. Without these sweet and fragrant products, not a single event took place in Rus' - neither funny nor sad. Gingerbread was served both at the royal table and at the peasant table. The traditional shape is given to the gingerbread using a board with a carved ornament.

Gzhel

The Gzhel bush, an area of ​​27 villages located near Moscow, is famous for its clay, which has been mined here since the mid-17th century. In the 19th century, Gzhel craftsmen began to produce semi-faience, earthenware and porcelain. Of particular interest are still items painted in one color - blue overglaze paint applied with a brush, with graphic detailing.

Pavlovo Posad shawls

Bright and light, feminine Pavloposad shawls are always fashionable and relevant. This folk craft appeared at the end of the 18th century at a peasant enterprise in the village of Pavlovo, from which a shawl manufactory subsequently developed. It produced woolen shawls with printed patterns, which were very popular at that time.
Nowadays, original designs are complemented by various elements such as fringe, are created in different colors and remain an excellent accessory to almost any look.

Vologda lace

Vologda lace is woven on wooden sticks and bobbins. All images are made with dense, continuous, uniform width, smoothly curling linen braid. They stand out clearly against the background of patterned lattices, decorated with elements in the form of stars and rosettes.

Enamel

Vintage brooches, bracelets, pendants, which quickly “entered” modern fashion, are nothing more than jewelry made using the enamel technique. This type of applied art originated in the 17th century in the Vologda region.
Masters depicted floral patterns, birds, and animals on white enamel using a variety of paints. Then the art of multi-color enamel began to be lost, and monochromatic enamel began to supplant it: white, blue and green. Now both styles are successfully combined.

Palekh boxes

A small town in the Ivanovo region, Palekh, has been famous for its icon painting craft for a long time. Ever since Tatar-Mongol yoke Small “pysanka” icons, which could be easily hidden, were in great demand. In the middle of the 17th century, Palekh works reached Moscow, and craftsmen began to be invited to work - the Chamber of Facets in the Kremlin, the Trinity Lavra of St. Sergius, and the Novodevichy Convent were decorated with Palekh icons. In the 20th century, Palekh masters were forced to change the subject matter of their works - Pushkin’s fairy tales, scenes from rural life, revolutionary motifs. At this time, an artel is created that transfers lacquer painting to papier-mâché. Exquisite works of Palekh craftsmen - cigarette cases and brooches, boxes and notebooks, caskets and famous boxes - become known all over the world.

But, first of all, it’s worth finding out where these, rightfully so, works of art came from in Rus', having gone through centuries and a lot of difficulties, passed down from generation to generation, from master to master, from father to son, folk crafts have reached our times!

On the Uzola River, in the ancient forests of the Trans-Volga region, there are ancient Russian villages - Novopokrovskoye, Khryashi, Kuligino, Semino. This is where the world famous Khokhloma fishery. In these villages, master artists still live today, who paint wooden dishes, continuing the traditions of their fathers, grandfathers and great-grandfathers.

However, set the appearance time Khokhloma painting Researchers have not yet succeeded. After all, wooden dishes and other utensils were not stored for a long time. From frequent use it wore out and became unusable. It was thrown away or burned, replaced with a new one. Products have reached us Khokhloma masters mostly from the 19th century. But various documentary information indicates that the fishery originated at an earlier time, perhaps in the 17th century.

Characteristic of Khokhloma original technique, where painting with cinnabar and black paint was performed on a golden background, finds analogies in ancient Russian art.

The documents mention that at the end of the 16th and beginning of the 17th centuries in the Trinity-Sergius Lavra, during the ceremonial reception of guests, they were presented with wooden ladles decorated with gold and cinnabar, as well as cups.

At the beginning of the 17th century, the Trans-Volga lands were assigned to the Trinity-Sergius Lavra, among which there was also Khokhloma. The peasants not only saw this gilded dishes, but also could know how to paint them. But Khokhloma craftsmen had their own method of “gilding”. The dishes were rubbed with tin powder, covered with drying oil and heated in carved gilded ovens. Drying oil from high temperature turned yellow, and the tin shining through it became gold.

One of the best masters Khokhloma painting spoke about this craft like this: (The very nature of the painting, imitating gold and silver dishes, was suggested by decorative art Ancient Rus'... Khokhloma, probably was only a late reflection of this great art...)

In the 19th century, the fishery grew so much that it supplied its goods in large quantities not only to the domestic market, but also abroad to the countries of Central Asia and Western Europe. Several villages of Semenovsky and Balakninsky districts of the Nizhny Novgorod province, Makarinsky and Varnavinsky - Kostroma province were engaged in the production of dishes and other household items. Among them there was something like a division of labor. In one village wood was processed, in another a design was applied.

Earliest works Khokhloma in the collection of the Russian Museum date back to the second half of the 19th century. They number about 170 household items of various purposes. The dishes are represented by bowls and cups of any size: from small ones, similar to dessert rosettes, to huge ones 70-80 centimeters in diameter; various suppliers and barrels of salt shakers and a variety of spoons.

Cheap everyday dishes could be distinguished by simple patterns applied with special stamps made of felt fabric or a raincoat mushroom. These are spirals, diamonds, small rosettes and leaves.

More expensive items were painted by hand with a brush, creating various compositions of herbal patterns, where slightly curving thin red and black twigs with lush feathery blades of grass were rhythmically combined.

Sometimes red and black fluffy grass complemented the main ornamental motif of a large curly stem, each curl of which ended with a red berry.

In the 1960s, multi-item sets and services began to be produced.

Modern Khokhloma has rightfully received wide recognition not only in our country, but also far beyond its borders. Brightly painted cutlery sets, cups, spoons, and furniture are exhibited at many major international exhibitions. And this unique, cheerful art always finds love and understanding among people of all nationalities.

There is a village in the Moscow region Zhostovo, whose residents have mastered the art of decorating just one thing for more than a century and a half - a tray. Under the brush of folk painters, this object acquired the qualities of a work of art. Collected in bouquets or freely spread out on a shiny black background, garden and wildflowers decorate the tray and bring people a feeling of joy of the soul, the poetry of the eternal flowering of nature. After all, there is hardly a person who nature lover, indifferent to flowers, their beauty, aroma, the great power of life contained in them. This topic is close to everyone, which is why there are so many admirers Zhostovo talent not only in our country, but also abroad.

And once upon a time, in early XIX century, opening in Zhostovo The first workshop for the production of papier-mâché products, merchant Philip Nikitievich Vishnyakov did not even suspect that he had founded a new craft, which would eventually become one of the unique centers of Russian folk culture. The original art of decorative painting developed here, incorporating the traditions of folk painting on household objects and easel painting of still life, understood and reworked by folk artists in their own way. The first trays were made of papier-mâché, as were the boxes, snuff boxes, vintage boxes and boxes produced with them. At first, the paintings that adorned them were the same - landscapes painted from engravings and paintings, summer and winter threesomes of horses, tea parties at the table. Placed on a black background in the center of the field, silhouettes of figures and local color spots were clearly readable.

In the 1830s, trays in Zhostovo began to be made of metal. The idea of ​​replacing papier-mâché with a more durable material was inspired by the Zhostovo trays from Nizhny Tagil, the famous center of their production back in the 18th century. In the 19th century, trays were made in Tagil, decorated with floral patterns characteristic of Ural folk painted utensils.

Another famous center for the production of trays was St. Petersburg. Trays of curly shapes and complex patterns depicting flowers, fruits, birds among various shells and whimsical curls were in fashion here.

Zhostovo The masters took into account the experience of the painters of Nizhny Tagil and St. Petersburg, but did not just use the styles and techniques they liked, but based on them they created their own unique style and character for decorating the trays. It developed in the 1870s - 1880s.

At this time, the demand for trays in cities. In taverns, drinking establishments and hotels, trays were used for their intended purpose and as interior decoration. Tray production in Zhostovo gradually separated from lacquer miniatures on papier-mâché. Many workshops arose that produced trays for sale in Moscow, St. Petersburg and other areas. From then to now Zhostovo and the surrounding villages are a kind of reserves of this unique art.

Collection Zhostovo trays in the Russian Museum is small. But it contains first-class works, performed in different periods of the life of the craft and clearly reflecting the characteristics and level of art of their time.

Among the most famous works is an oval tray decorated with mother-of-pearl painting.

Almost every antique tray bears the mark of the workshop in which it was made. From this mark you can find out the name of the owner of the workshop, and from it you can determine the time of creation of the tray.

At a distance of 50-60 kilometers northeast of Moscow, in the Ramensky district, along the Yegoryevskoye Highway, there are two dozen beautiful villages and hamlets merged with each other.

Gzhel- the name of one of the villages - a former volost center, which became a collective for the entire region, a symbol of unique art and folk craftsmanship.

Gzhel is the name given to highly artistic works produced in these places. porcelain, painted with cobalt on a white background.

Gzhel was first mentioned in written sources in 1339 in the spiritual letter of Ivan Danilovich Kalita. Since then, over the centuries, as one of the most profitable volosts, it passed Gzhel by inheritance in the family of the great Moscow princes and kings, bringing them considerable income.

Back in the 16th century, the Gzhel residents brought surplus household utensils to Moscow, as well as their clay to the Yauzskaya Sloboda for Moscow potters; some stayed there to work. They also went to Moscow fairs and auctions. At the auction we got acquainted with imported products of craftsmen from other places in Russia, from other countries.

On the basis of peasant crafts and trade, a new type of peasant population of Gzhel gradually emerged.

By the 70s - 80s of the 18th century Gzhel becomes the center of production of artistic majolica in Russia. The fact is that since the opening of the manufactory of Afanasy Grebenshchikov in 1724, many Gzhel residents worked there as potters. Savvy and efficient, they quickly grasped the secrets of the new production of majolica products, and returning to their homeland, they started their primitive, but numerous new forges, created their products not only from ordinary red clays, as before, but used the new technology of white masses with admixtures of other varieties of clays and mineral additives.

Original Gzhel products were in constant demand. Handicraft peasants worked from dawn to dusk, dealing with clay and creating things necessary for everyday life from it. Each of them had his own style, and when creating products, he introduced his own vision of the world around him. The value of dishes and toys was determined by the tastes of buyers and controlled by their demand. The popularity of Gzhel products meant that they met the requirements that met the utilitarian goals and artistic tastes of the people of that time. IN mid-18th century century, pottery production began to develop quite quickly in Russia, but Gzhel products were in constant demand. From here, the production of ceramics spreads to Kolomenskaya, Serpukhovskaya and other districts of the Moscow province.

The end of the 18th century was a time of prosperity Gzhel majolica; Local craftsmen achieved especially great skill in the manufacture of jugs, kumgans, and kvass. The work required great patience and skill. The painting did not allow for corrections or alterations, since it was carried out on a soft, unfired shard covered with white enamel. The Gzhelians also produced separately small majolica sculptures, which often reflected typical scenes of their lives, compositions filled with humor, soldiers, peasant women, fashionistas and dandies, busy with one thing or another. The plots were expressive and intelligible, captivating with the clarity of their plans and the naivety of their creators - simple folk craftsmen.

For many decades, Gzhel residents created tiles of amazing beauty and variety of paintings for decorating stoves and fireplaces. The Hermitage now keeps over 500 of their samples in its collection.

Many Gzhel masters participated in the creation of pottery in other places in Russia.

Gzhel tried to make semi-faience back in last years XVIII century. Objects made from this material imported from abroad were so expensive that only a few could buy them, but they involuntarily pushed Gzhel residents to master the technology of their production.

Semi-faience already had a white, albeit thick shard, and painting was carried out not on raw enamel, as on majolica products, but after firing, on a hard shard, which greatly facilitated, speeded up the work and accelerated defects.

Semi-faience has become as wonderful an artistic phenomenon as majolica. The Gzhel residents managed to obtain white tableware, similar to earthenware, at the beginning of the 19th century. By adding lime to their clay, the Gzhel people obtained a material called simple faience or semi-faience, and during the 19th century they created tens of thousands of necessary household items from it.

It took a while for the Gzhel people to develop their own unique style of cobalt painting, but gradually it reached perfection in semi-faience. The blue color becomes classic, inseparable from Gzhel semi-faience. This was a new visual pictorial language that replaced contour drawing with polychrome coloring, which was previously used in majolica. Blue paint combines best with glaze, produces less defects when fired, and emits a timeless radiance. The painting also contains elements of humanization and spiritualization of things.

By the middle of the 19th century Gzhel was the largest supplier of ceramic products in the country.

In the second half of the 19th century, significant changes occurred in Russian ceramic production. Large mechanized factories are now in the lead. Economical production, high quality products and moderate prices made it possible to win the fight in the sales markets.

In 1926, the number of workers in the porcelain and earthenware industry was Gzhelskaya region there were 506 people.

The Gzhel Partnership was created as a result of the merger of six small workshops from different villages in 1972.

In the village of Zhirovo they produce ceramic fireplaces, in the villages of Troshkovo and Fenino - pottery and majolica dishes. In the village of Fenino, together with an Italian company, a production facility for the production of tiles and tiles is being created. In the village of Kolomino-Fryazino they make porcelain toys, and modern production in the villages of Turygino and Bakhteevo are the main centers for the production of artistic porcelain.

Gzhel masters deeply and sacredly preserve the traditions of their ancestors, creatively develop and multiply them. In a semi-fairy-tale world created by master ceramists of today Gzhel, it is difficult to draw a clear line between the art of the past and the present. The spring that arose centuries ago in the soul of the Russian people does not dry up; having passed through the thickness of centuries, he still remains a powerful aesthetic force and does not lose its purity. The continuity of the traditions of folk craftsmen and loyalty to them is the seed of success and popularity of Gzhel ceramics in our time.

Story Gzhel goes back centuries, and its folk art is destined to have a long life; today the famous folk craft is gaining new strength. Bluebirds of Gzhel fly to different parts of the planet to decorate people’s lives and cultivate a sense of beauty.

Since ancient times in Rus' from birch bark They made things that were necessary for the household and convenient – ​​they wove baskets and boxes. And in birch bark tues they stored honey and berries, sour cream and butter... Everything remained fresh for a long time in such “packaging”.

And also from birch bark did caskets And caskets, all kinds of boxes, dishes and even bast shoes. They were painted with bright, cheerful colors: they painted flowers and berries, green twigs and fabulous birds, animals unknown or well known. Sometimes a real picture was born under the master’s brush: buffoon jokers played balalaikas, bears danced... You can’t take your eyes off the beautiful pattern, colorful ornament...

– an excellent material for cutting thin lace patterns with a sharp knife. It seems that this beauty was woven by a skilled lacemaker. Such openwork birch bark “lace” was used to decorate caskets, caskets, powder compacts and boxes, vases and cups. And to emphasize the whimsical pattern and design, craftsmen sometimes placed colored foil or pieces of mica under the birch bark “lace”.

They also pressed patterns on birch bark with special stamps. This is called embossing. This method made products made from it especially elegant.

It has long been used for the manufacture of various household and artistic products. Birch bark letters found during excavations in Veliky Novgorod and other Russian cities have survived to this day. Birch bark products were decorated with painting, carving, and embossing.

Birch bark trades were widespread throughout our country. The traditions of making artistic products from birch bark have been preserved in the northern and northeastern regions of the European part of Russia, in the Volga region, Siberia, and Yakutia.

And today, in the XXI century, interest in ancient folk crafts and the art of our ancestors has not faded. We admire the talent of the masters who gave us beauty. And it doesn’t matter at all that it is made not from gold and silver, but from ordinary, modest, but also magical birch bark.

Origin Mezen painting still remains a mystery. Some researchers compare it with the painting of the Komi Republic, others believe that it originated from ancient Greek images. Painting researcher V.S. Voronov, for example, said about it: “This is an ornament that has preserved in its elements the deepest remnants of the archaic ancient Greek styles, covering the surfaces of wooden objects with thick lace.” It is very problematic to establish this in our time, because perhaps more than one hundred years have passed since the Mezen painting appeared. It became known about it in 1904, but, of course, painting originated much earlier. The unusual nature of the painting, its graphic nature, and the primitive-conventional interpretation of the images of horses and birds encourage researchers to look for the origins of Mezen painting in the art of neighboring northern peoples and in rock paintings. V.S. Voronov, studying the styles of folk painting on wood in different regions of Russia, singled out Mezen as “mysterious and curious,” pointing out its connections with ancient Greek styles.

The origins of this type of painting lead to the lower reaches of the Mezen River in the Arkhangelsk region. Various household utensils were painted with it - spinning wheels, ladles, boxes, chests, caskets. Since the end of the 19th century, the village of Palashchelye became the center of Mezen painting, therefore Mezen wood painting is also known as "palace painting".

Area Mezen painting very extensive. In addition to the Mezen basin with Vashka, it includes in the west the areas of Pinega and the lower reaches of the Northern Dvina to the Onega Peninsula, and in the east - the Izhma and Pechora basins. Here you can find spinning wheels with Mezen painting not only from Palashchelye, but also from other villages.

Most often, Mezen paintings depicted figures of deer, horses, and less often people, but only the silhouette of a person was painted. Despite the fact that everything in this painting is simple and concise, you can write a whole essay with drawings, convey some kind of message with signs. After all, there are many signs of the elements, luminaries, earth, as well as the protection and replenishment of the family. Knowing their decoding, you can read each work.

Basically in the old days they painted spinning wheels. Mezen spinning wheels were truly unique. Firstly, if ordinary spinning wheels consisted of three parts: a bottom, a riser and a blade, then in Mezen spinning wheels were made in one piece, for which they selected trees whose roots could become the bottom.

And secondly, the drawings themselves were unique. Scientists believe that the front part of the spinning wheel, depicted very strictly, is divided into three parts using geometric patterns: heaven, earth and the underworld. Birds and the so-called “window” were depicted in the sky, with the help of which one could communicate with God. Then row after row of horses and deer or a tree were depicted, often with a bird sitting on the top of its head. In the underworld, deer and horses were also painted, but shaded with black paint. And on the reverse side, the artist, strictly maintaining the levels, could make inscriptions, for example: “To whom I love, I give.” Spinning wheels with similar messages were given by a husband to his wife for a wedding or for the birth of a child. By the way, only men were engaged in painting, passing this art down from generation to generation.

Traditionally, objects painted with Mezen painting have only two colors - red and black (soot and ocher, later red lead). The painting was applied to unprimed wood with a special wooden stick (vice), a capercaillie or black grouse feather, or a human hair brush. Then the product dried, which gave it a golden color. At present, in general, the technology and technique of Mezen painting have been preserved, with the exception that brushes have begun to be used more often. Some internal difference modern Mezen painting You can feel the old style also because initially painting was done only by men, whereas in our time it is more done by women.

Now Mezen painting is practiced in almost all of Russia, and in some schools it is included in the fine arts curriculum.

Balalaika - Russian folk three-string plucked musical instrument, with triangular wooden body shapes. Balalaika has become an integral musical symbol of Russia. The history of the origin of the balalaika goes back centuries and is not clear-cut. Some believe that this instrument was invented in Rus', while other historians claim that history of the balalaika originates from the Kyrgyz-Kaisak folk instrument - dombra. Same word "balalaika" causes a lot of speculation and controversy. The most basic hypothesis is that the word “balalaika” has the same root as such words as balacat, balabonit, balabolit, balagurit, which means to chat, empty ring. All these words convey the uniqueness of this folk instrument: light, funny, “strumming”, not very serious.

Most historians hold that balalaika was invented around 1715, but there are many historical documents talking about an earlier history of the creation of the balalaika. The first written mention of the balalaika is contained in a document dated June 13, 1688 - “Memory from the Streletsky Prikaz to the Little Russian Prikaz”, which mentions the peasant Ivashko Dmitriev playing the balalaika. The following tracking document history of the balalaika, just dates back to 1715. This is a “Register” signed by Peter I, dating back to 1715: in St. Petersburg, during the celebration of the clownish wedding of the “prince-papa” N.M. Zolotov, in addition to other instruments carried by the mummers, four balalaikas were named.

Still balalaika experienced different periods of her stories. Now this folk instrument was forgotten, then new strength became popular in all villages and villages. Why is it that Russian people are so attracted to the sounds of this instrument? Perhaps these cheerful, strumming, light and funny sounds helped our ancestors forget about the whole hardship of peasant life, or maybe these sounds conveyed the whole essence of life in Rus' and now, having heard the sound of the balalaika, we can easily look at history through the eyes of our ancestors. Who knows what ups and downs await this unique Russian folk instrument, but now we can say with confidence that the balalaika is the most recognizable in the whole world Russian folk instrument.

In our huge country, rich in various natural materials and multinational human resources, over time a lot of new directions have emerged folk crafts. Even crafts borrowed from their “neighbors” acquired a certain uniqueness, motifs that were characteristic, sometimes, only in a certain area. Russian folk crafts are our heritage, which you must know and honor in order to preserve traditional Russian culture and bring a lot of new things to it.

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

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

Why do I put creativity at the forefront of everything? I believe that as soon as products begin to be stamped and copied, they automatically cease to be artistic. How unpleasant it is for me to see copies of the same subject in an art store! This is stamping! An artist is always searching; he cannot have the same painting. Likewise, for any artisan, each product is unique. A craftsman is able to identify his work among the whole variety of seemingly identical objects.

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

Let's summarize. Among any craft, individual artistic directions can be distinguished; any artistic craft can be lost along with the creative streak. I'm not saying at all that the conveyor belt is bad. There is a place for it too, but you cannot lose the desire to create something new and unique.

Classification of types of crafts

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

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

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

1. Tree

There is a lot of wealth in the vastness of the Russian land. One of the available ones is undoubtedly wood. It is accessible not only because it covers most of the territory, but also because of its processing methods. Agree, some types of processing do not require complex devices and devices. Hence the variety of types and subtypes of crafts associated with the use of wood.

• Wood carving. There are several types of wood carving:
  • Flat grooved thread (contour, staple, geometric, etc.);
  • Relief carving (flat relief carving, blind carving, Kudrinskaya carving, etc.);
  • Through thread (slotted and sawn);
  • Sculptural carving (volumetric);
  • House carving (can combine several types);
• Milling. Processing on a lathe, milling machine;
• Birch bark carving;
• Embossing on birch bark;
• Manufacturing of tues;
• Souvenir production(amulets, jewelry, accessories, toys and pictures);

2. Metal

When the metal and its properties were discovered, a technology revolution occurred. Many household items and tools were replaced with metal ones. This did not displace other materials; far from it, it made it possible to process them more efficiently. And thanks to the properties of metal, the range of handicraft products has increased several times. Metal processing is technically much more difficult than wood, but it’s worth it this moment metal processing methods can be clearly formulated:

• Forging;
• Engraving;
• Coinage;
• Blackening;
• Casting;
• Filigree(brazed, openwork, volumetric);
• Milling. Processing on a lathe, milling machine.

3. Clay

A natural material that is no less widespread than wood. This type of material suffers from a small number of types of processing, which also affects the variety of clay products. Most of the items are dishes, and the rest are sculptures and souvenirs. But the plasticity and ease of processing of the material, along with its accessibility, allow a small number of types of products to be given the most incredible shapes.

• Pottery art;

4. Stone.

Very difficult to process. Due to the rarity of some materials and difficulties in processing, the cost of products is so high. Take a sculpture for example. Works of art from the Middle Ages are priceless, even though they are made of marble or plaster. The number of craftsmen is much smaller than the number of, say, woodcarvers. And not every stone is suitable for processing. However, stone products, be it a precious stone or a huge granite, are truly impressive and delightful.

• Sculpture;
• Thread;
• Gypsum(ebb of reliefs and volumetric figures);

5. Bone

Carved bone boxes are amazing. Intricate patterns and plots can be viewed endlessly. But the distribution of this type of folk craft greatly depends on the territory. Not every bone is suitable for processing, not all animals have the necessary valuable body parts, and all this is aggravated by the fact that many animal species are rare and must be protected.

• Thread;

6. Thread

Few types of folk crafts can be called exclusively female. Working with thread can be considered one of them. Making items from thread requires incredible perseverance and concentration. When creating the most complex patterns and objects, one cannot do without arithmetic and cutting skills, since loops love counting, and most products are clothing, to which certain important requirements of fashion, convenience, practicality and beauty apply.

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

7. Leather

Leather products can be found less and less often. The price and the possibility of replacement with artificial polymers affected the spread of this type of craft. I don't remember seeing a true handmade piece of leather art lately. Nevertheless, in recent times this material was used to manually create artistic products. Mostly ordinary objects were decorated with inserts of multi-colored leather, compositions and patterns were created.

• Manufacturing of clothing and shoes;
• Embossing;
• Thread;

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

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

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

September 4th, 2017 , 10:26 am

I was looking for a complete list of folk crafts and couldn’t find it. It’s not complete on Wikipedia, so I decided to compile it myself. The structure of the text is a little strange, because it was originally compiled in the form of a table. The structure is as follows: Name/Place/Presence of factories, museums/Features.
If you remember anything else, write me and I’ll add it.

Toys
Wooden Toys
1. Bogorodskaya toy. The village of Bogorodskoye, Sergiev Posad district. The factory and museum, although in disrepair. Wooden toy with movements. Bogorodskaya carving is performed using a special Bogorodsk knife “Pike”.
2. Mazyk (Shuya) toy. G. Shuya, Vladimir region. The craft has not survived. Russian folk craft consisting of making toys using an axe. Ofeni were made as amulets.
3. The Bird of Happiness. Arhangelsk region. Now produced in many places, even abroad. It is made from a single block, wood chips, without the use of glue or fasteners, by cutting thin petals and a special bending method; the petals of the resulting wings and tail can be connected with threads. Usually made from pine, spruce, fir or Siberian cedar wood.

Clay toys
4. Abashevskaya toy. S. Abashevo, Spassky district, Penza region. In decline. These are whistles depicting animals, often taking on a phantasmagoric fairy-tale appearance
5. Vyrkovskaya toy. village of Vyrkovo, Kasimovsky district, Ryazan region
Production has been interrupted. The toys were decorated with light brown glaze, as were household dishes. The fashioned toys were dried in Russian ovens in frying pans and covered with liquid glaze, which was a mixture of red lead and vitriol in water. Then the toys were burned in forges. Watering drips conveyed the spotted color of the animals.
6. Dymkovo toy. S. Dymkovo, Kirov region. In decline. To produce the Dymkovo toy, local bright red clay is used, thoroughly mixed with fine brown river sand. The figures are sculpted in parts, individual parts are assembled and sculpted using liquid red clay as a binding material. Traces of molding are smoothed out to give the product a smooth surface. Today, aniline dyes and soft core brushes are used for painting. The use of a wide range of colors, in which there is a lot of red, yellow, blue, green, scarlet, gives Dymkovo toy special brightness and elegance. A strictly geometric ornament is built according to a variety of compositional schemes: cells, stripes, circles, dots are applied in various combinations. The decoration is completed with diamond toys made of gold leaf or gold leaf, glued on top of the pattern.
7. Filimonovskaya toy. S. Filimonovo, Tula region. Museum, private production only. The bulk of the products of Filimonov craftswomen are traditional whistles: ladies, horsemen, cows, bears, roosters, etc. The images of people - monolithic, sparse in detail - are close to ancient primitive figurines. The narrow bell skirt of the Filimonov ladies smoothly turns into a short narrow body and ends with a cone-shaped head, integral with the neck. In her round hands the lady usually holds a baby or a bird-whistle. The gentlemen are similar to the ladies, but instead of a skirt they have thick cylindrical legs shod in clumsy boots. The heads of the figures are crowned with intricate hats with narrow brims. Interesting compositions are made from several figures, for example “Lyubota” - a scene of a meeting between lovers.
painting
On wood
8. Khokhloma painting. Volga region, Nizhny Novgorod region. Now there are 2 centers: Semenov and Semino. Factories, private. Painting school. It is a decorative painting of wooden utensils and furniture, made in red, green and golden tones on a black background.
9. Boretsk painting. S. Borok, Shenkursky district, Arkhangelsk province. Now without a place. From the descendants of Marfa Boretskaya, who fled to the Northern Dvina.
10. Gorodets painting. Gorodets, Nizhny Novgorod region.
Now without a place. Bright, laconic Gorodets painting (genre scenes, figurines of horses, roosters, floral patterns), made in a free stroke with a white and black graphic outline, decorated spinning wheels, furniture, shutters, and doors.
11. Mezen painting. Lower reaches of the Mezen River, Arkhangelsk region. Now without a place. The objects are densely dotted with a fractional pattern - stars, crosses, dashes, made in two colors: black - soot and red - “earth paint”, ocher. The main motifs of the geometric ornament - discs, rhombuses, crosses - resemble similar elements of triangular-notched carving.
12. Permogorsk painting. Permogorye is a region in the Krasnoborsky district of the Arkhangelsk region. Now without a place. The basis of the painting is a floral pattern. Three-lobed curved leaves with sharp tips and tulip-shaped flowers, as well as Sirin birds. In the 19th century, genre scenes from peasant life were usually included in the pattern. The color scheme is dominated by a white background and a red main pattern. Yellow and green background colors are complementary. A thin black outline is of great importance in painting. First, a black outline is applied to the white ground with a pen, then it is filled with color.
The range of painted objects is large - wooden and birch bark dishes; cradles, caskets, chests, and headrests were painted. Spinning wheels are the most painted.

13. P Olkhov-Maidan painting. A number of villages in the Nizhny Novgorod region. A toy factory, but more of a family business. Since the middle of the 19th century, in the village of Polkh-Maidan they began to produce unpainted turned wooden utensils, which were sold at fairs. From the beginning of the 1920s, apparently under the influence of similar products by Sergiev Posad masters, Polkhov-Maidan dishes began to be covered with a burnt outline pattern. Soon the burning began to be painted with oil paints, and in the mid-1930s. aniline dyes diluted in alcohol. Gradually, the burnt outline of the design is replaced by more economical and easy-to-perform inking.

14. Rakul painting. Krasnoborsky district of the Arkhangelsk region. D. Ulyanovskaya. Now without a place. In the painting main role plays golden-ocher and black colors, and is accompanied by green and brown-red. The ornament is very large, mainly in the form of leaves, bushes and birds (magpies, chickens). Not only the outline, but also the details are painted in black. The fishery arose in the middle of the 19th century and began to fade in the 1930s.
On wood with varnish (lacquer miniature)
15. Mstera miniature. Mstery village Vladimir region. Iconography Center. Looks like there's a factory. The painting has the abstract character of a kind of panel. A characteristic feature of Mstera painting is carpet decorativeness, diversity and sophistication of color shades with the unity of the overall tone of the composition. The color scheme is bluish-silver, ocher-yellow and red. The products combine floral and geometric patterns.
16. Palekh miniature. The village of Palekh, Ivanovo region. Iconography Center. The factory and school are in general decline. Typical subjects of Palekh miniatures are borrowed from everyday life, literary works classics, fairy tales, epics and songs. A number of compositions are based on the traditions of classical art. The works are usually done with tempera paints on a black background and painted in gold.

17. Kholuy miniature. The village of Kholui, Ivanovo region. Iconography Center. Only a museum. The main difference between Kholuy painting is the use of bluish-green and brown-orange tones.
18. Fedoskino miniature. Fedoskino, Mytishchi district, Moscow Region. Factory and school, where they also study Zhostovo painting and Rostov enamel. The original Fedoskino technique is “through writing”: a reflective material is applied to the surface before painting - metal powder, gold leaf or potal, or mother-of-pearl inserts are made. Translucent through transparent layers of glaze paints, these linings give the image depth and an amazing glow effect. In addition to miniature painting, products are decorated with “filigree” (an ornament made of miniature pieces of foil of the desired shape laid out on wet varnish), “tsirovanka” (scratching a design using a pattern on varnish placed on top of a sheet of metal on the surface of the product), “tartan” (a complex mesh , applied with liquid paints using a drawing pen using a ruler), etc.
For metal
19. Tagil painting. G. N. Tagil, Sverdlovsk region. Museum, institute and 6 factories in the Ural cities. Still in decline. Predecessor of Zhostovo. In general, a very similar style. A special feature is the two-color brushstroke technique.
20. Zhostovo painting. Der. Zhostovo, Mytishchi district, Moscow Region.
There is a factory. On the rise, although recently it was still in decline. In the art of Zhostovo masters, a realistic sense of the living form of flowers and fruits is combined with a decorative generality, akin to Russian folk brush painting on chests, birch bark tues, spinning wheels, etc. The main motive of painting is a flower bouquet of a simple composition, in which large garden and small field ones alternate flowers. Painting is usually done on a black background (sometimes on red, blue, green, silver), and the master works on several trays at once.
According to their purpose, trays are divided into two groups: for household purposes (for samovars, for serving food) and as decoration.
The shapes of the trays are round, octagonal, combined, rectangular, oval and others.
21. Enamel. 2 main centers: Vologda and Rostov. In Vologda, multicolor enamel was used. Painting on a metal backing with enamel. Manufacturing works of art using glassy powder, enamel, on a metal backing, a form of applied art. The glass coating is durable and does not fade over time; enamel products are particularly bright and pure in color.
The enamel acquires the desired color after firing with the help of additives that use metal salts. For example, gold additives give glass a ruby ​​color, cobalt - Blue colour, and copper is green. When solving specific painting problems, the brightness of enamel can, unlike glass, be muted.
Porcelain, ceramic, earthenware products with painting and enamel
22. Gzhel. Gzhel, Ramensky district, Moscow region. Bloom! Factories and private production. Blue on white. Nowadays, in addition to painting ceramics, painting on wood
23. Sysert porcelain. Sysert, Sverdlovsk region. Factory in bloom. Modeling and painting of porcelain products 80% of the technological process at the factory is manual labor.
Products are most often covered with underglaze painting with salts, less often with overglaze painting. Soft brownish-gray and light blue colors predominate. The themes of the ornaments are often Ural landscapes.
24. Kuznetsov porcelain. G. Likino-Dulevo, Orekhovozuevsky district, Moscow Region. Kuznetsov acquired many other factories where he used the same equipment. There is a museum and factory in Dulevo. On the rise. Kuznetsov porcelain was produced in impeccable technical performance and with exquisite decoration. By the end of the 19th century, production became widespread, images began to be made with stamps, stencils, layering and decalcomania. For decoration, scenes from porcelain paintings of the first half of the 19th century were used: romantic landscapes, genre scenes, bouquets of flowers framed by a stamped design in gold or other paint. The tones that were fashionable in those years were widely used: blue, pink, lilac and yellow. In addition, the emerging Art Nouveau style with images of nymphs, naiads and mermaids was used. Typical mass-produced porcelain dishes were decorated with flat painting with simple plant motifs: roses, daisies with the obligatory addition of tendrils and twigs (the so-called “rocks”).
25. Tavolozhskaya ceramics. Der. V and N Tavolgi, Sverdlovsk region. There is a factory and a private one. Black polished ceramics and green malachite ceramics. This technique uses low-melting enamels applied over high-temperature glazes with copper oxides, which gives the product a unique malachite color. Another traditional method is also widely used of this region technique - hand-painted engobes using the flandrovka method.
26. Scopied ceramics. G. Skopin. Ryazan region There is a factory. The ceramic parts were formed on a hand-held machine, then joined with liquid clay and decorated with relief and pressed ornaments, dark brown glaze with the addition of manganese oxide, bright green with copper oxide, thick yellow with iron oxide and, less commonly, cobalt blue. During firing, grains of glaze melted unevenly, spreading picturesquely.
The products include jugs, candlesticks, kvass pots, kumgans, frames for mantel clocks and decorative sculpture of small forms (dragons, centaurs, fairy-tale lions, figures of fish, birds and domestic animals). The image of the Osprey bird, from whose name the name of the city came, was special.
Carving on wood, stone, bone, birch bark
27. Abramtsevo-Kudrinskaya carving. Abramtsevo estate, Kudrino. Sergiev Posad district. Now there is a factory in Khotkovo. Founded by Mamontov with artists, local peasants adopted it. Vornoskovsky's style especially stood out.
28. Tobolsk carved bone. Tobolsk, a factory where everything is done by hand. Instead of mammoth bone artificial - tarsus.
29. Ural stone carving. All pre-revolutionary big cities Ural. Even private production is flourishing in many villages. By the 19th century, a certain style of Ural stone carving had developed, and a permanent canon appeared for the production of elements in compositions. For example, leaves and roots were made from serpentine, Zlatoust jasper, ophite, and, less commonly, malachite. Each berry had its own stone. IN late XIX-XX centuries and the 21st century, one of the most popular stories is the Ural folk tales of P. P. Bazhov. Based on its themes, products are made from malachite using metals (most often gilded bronze) and a scattering of various semi-precious semi-precious stones. The most popular of them are the Mistress of the Copper Mountain, Danila the Master at work.

30. Shemogodskaya carving. Shemogodskaya volost, Veliky Ustyug district, Vologda province. There is a plant and a museum in Veliky Ustyug. Ornaments of Shemogod carvers, called “Birch bark lace”. The Shemogod carving pattern usually consists of a creeping stem with elongated leaves and spirally twisted branches. At their tips there are round rosettes, berries, and trefoils. Often, craftsmen introduced geometric patterns from circles, rhombuses - “gingerbreads”, ovals, and segments into floral ornaments. The composition was built on the principle of clear symmetry. The design was completed with a border of leaves, triangles, wavy lines, and mesh. This ornament can include images of birds or animals, architectural motifs, and sometimes even scenes of walking in the garden and drinking tea. Another characteristic feature of this carving are frames with geometric patterns surrounding the design
Metal products
31. Filigree, filigree, granulation. No specific place. Known in Rus' since the 9th century! Type of jewelry technology for metal. An openwork or soldered pattern on a metal background made of thin gold, silver or copper wire, smooth or twisted into ropes. Filigree products are often complemented with grain (small silver or gold balls) and enamel.

32. Frost on the tin. Veliky Ustyug. Lost. Tin processing. A thin sheet of tin was processed in such a way that a durable floral pattern was formed on its surface, similar to the one with which frost “paints” windows in winter. The design had various shades - gold, orange with pearlescent tints, silver and malachite. Decorative boxes and secret chests were lined with this kind of tin, sometimes in combination with milled iron.

33. B Eliko Ustyug blackening on silver. Veliky Ustyug, Vologda Region. Silver products. Ustyug blackening is always quite noticeably different from the works of Moscow and St. Petersburg masters: the plot engraving has a lot of weight; the pattern is very rich, with much denser color. The background made with strokes forms a kind of grid. Often the image is complemented by carved or chased details. In most cases, the general outline of the object is depicted, without fine detail.
34. Kasli casting. G. Kasli Chelyabinsk region. Cast iron products. The traditions of Kasli casting (graphic clarity of silhouette, combination of carefully finished details and generalized planes with an energetic play of highlights, coating of finished products with black paint of a special recipe - Dutch soot) developed in the 19th century.

Crystal products
35. Gusevsky crystal. G. Gus Khrustalny, Vladimir region. There is a museum, a factory and a college. There are paintings by Vasnetsov. Open again since 2013. Focused on individual orders. In decline.
36. Dyatkovo crystal. G. Dyatkovo, Bryansk region. Focuses on custom orders. In decline. College and Factory Museum.
37. Pervomaisky crystal. Pos. Pervomaiskoye (Nikolskoye), Smolensk region. Crystal products In 2013, the plant's products were recognized as examples of folk art.
Embroidery, sewing, etc.
38. Vednovskaya line. S. Vednoe, Remeshkovsky district, Tverskaya province. Now without a place. It is distinguished by the use of small cells. The main color is white, sometimes with colored edging fabric, with a predominance of flooring, combined with hemstitching. The most famous Vednovsky hems are “bug”, “column”, “sheaf”, “goat”
39. Vologda lace. Vologda and region. All the main images in interlocking Vologda lace are made with dense, continuous, equal in width, smoothly wriggling linen braid, “wilyushka”; they stand out clearly against the background of patterned grids decorated with patterns in the form of stars and rosettes
40. Vyatka (Kukar) lace. Center in Sovetskoye (formerly Kukarka), Kirov region. Only private cooperatives now. Traditional paired measured laces of the Kirov region are very diverse in the use of stitching (lace element), simple nets, they often contain rhombic motifs and angular zigzag stripes. Braids with air loops give them a special pattern. In coupling laces, the central latticework is sometimes more active than the edge ornament. Star-shaped, sharp-toothed forms are characteristic of Kirov coupling lace, large and medium-sized piece objects. Complex patterned dynamic floral and foliage ornaments predominate, the decorative expressiveness of which is largely created by the different density of weaving of the parts of each element.
41. Yelets lace. Yelets city, Lipetsk region. Factory and private production. Bloom! Yelets lace is thinner and lighter than Vologda lace.

42. Kadomsky Veniz. Pos. Kadom, Ryazan region. Now a factory. A type of Russian needle embroidery in white on white, combined with lace. The rolls are made on a sewing machine, and then the brids that tighten the rolls are cut out by hand. Lace weaving is carried out on these bridges. This is the main difference from bobbin weaving.

43. Mtsensk lace. G. Mtsensk, Oryol region. Museum and studio. A lace making school has been opened. Distinctive feature is the use of geometric motifs. Compared to Vologda lace, the pattern in it is less dense and rich, there are almost no background lattices used, so the pattern is more airy.
44. Orenburg shawl. Orenburg region. Factory and private Embroidery Three types: shawl, web and stole. Cobweb and stole are very thin scarves, like cobwebs. Thin cobwebs usually have a complex pattern and are used as decoration.
45. Oryol list. Oryol Region. There is no separate factory. The listing includes a combination of “typing” and “painting.” The contours of the composition are outlined with a “chain stitch”.
The predominant color is red and its shades, achieved through the density of the flooring of various “branchs” - patterned fillings inside the contour. Blue was also added, and later (20th century) black, yellow, and green colors.
The characteristic features of the Oryol list are the unusual outlines of the pattern and a wide variety of brankas: “stack”, “crow’s eye”, “bag with poker”, “wave”, “drobnushki”, “pine”, “horseshoe”, etc.
46. Pavlovo Posad printed shawls. G. Pavlovsky Posad, Moscow Region. Factory.
On the rise, large assortment, many stores. The design of Pavlovo Posad shawls developed from standard patterns characteristic of fabrics of the Moscow region and dating back to oriental shawls (“Turkish pattern”).
In the 1870s, there was a tendency to expand the range of scarves with naturalistic floral motifs. Preference was given to garden flowers, primarily roses and dahlias.
At the end of the 19th - beginning of the 20th centuries, the final design of the style took place: a three-dimensional image of flowers collected in bouquets, garlands or scattered across a scarf on a black or red background, sometimes with the addition of ornaments and stylized plant elements. Scarves were made of translucent or dense woolen fabric.

47. Torzhok gold embroidery. Torzhok, Tver region. School, factory. Nowadays they are emblems for the army and church vestments. In the 19th century, for dense fabrics, mainly the “forged seam” and the “attached” seam along the flooring were used. The most characteristic were floral patterns, the main motif of which was a rose branch with flowers, buds and leaves, complemented by curls, tendrils, and sparkles, which softened the transition from the relief ornament to the background. In the late 1940s - early 1950s, elements of Soviet symbols - stars, sickle and hammer - also began to be introduced into plant patterns.