Matryoshka Polkhov Maidan description. Polkhov-Maidan painting

Polkhov-Maidan painting

In the south of the Nizhny Novgorod region, in the Voznesensky district, the village of Polkhov-Maidan is located, one of the most famous centers of wood painting. According to local legend, the first lathe appeared in the hands of the peasant Nikita Avdyukov, when the time of crop failures came after the war of 1812. The craft developed quickly, but at first they turned only unpainted dishes.

From the beginning of the 1920s, apparently under the influence of similar products of 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.

Box with burning and painting

Gradually, the burnt outline of the design is replaced by more economical and easy-to-use inking.

Turning products of the masters of this craft - nesting dolls, birds - whistles, Easter eggs, mushrooms, salt shakers, cups, supplies - are generously decorated with rich ornamental and plot painting.

Products of Pokhov-Maidan

Among the pictorial motifs, the most common are flowers, birds, animals, rural and urban landscapes.

Piggy bank with rural landscape

The design on the product is first applied with ink, and only then filled in with color. A mandatory technique of Maidan painting is “pointing” (outlining the drawings with black color), the use of bright aniline paints. There are only four main colors - blue and green, red and yellow. In order to obtain the necessary shades, they are mixed. White background the tree itself allows you to get a fifth color.

Mushroom painted using the Polokhov-Maidan painting technique

Mostly local toys, or “Maidan tararushki” as they are called, are distinguished by combinations of dark blue and yellow, green and cold red. Matryoshka dolls from Polkhovo-Maidan are easy to distinguish - on their heads they have half shawls with the same large flower, moreover, they differ from Semyonov’s or Sergiev’s toys with a smoother contour and somewhat elongated proportions.

Polokhov-Maidan Matryoshka doll

On a golden-yellow background, conventionally depicted flowers alternate with orange spots and green patterns, which are emphasized with ink. Basically, two types of painting are used: a landscape motif and a floral ornament. The plant ornament is very stable - this is the so-called “rose”, which over the course of the existence of the craft has either been somewhat simplified or become more complex. And also the inevitable branch of apples and strawberries with alternating green and blue leaves.

Polokhov-Maidan toy

In 1928-1930 In Polkhovsky Maidan, the Red Dawn artel is formed from individual craftsmen. At the same time, an original artistic and decorative system was developed and the main specific techniques of local painting were identified. These techniques have received established local names: “flowers with guidance” - flower painting is outlined with a clear black outline; “flowers without guidance” - the drawing is drawn against the background of a non-linear contour; "oil" technique - painting with oil or nitro paints on a dull colored background, "mottled" - the simplest brush painting with strokes or dots. Krutets masters. In 1960, the artel was transformed into the Polkhov-Maidan Toy Factory. At the same time, the production of similar turned painted objects began in the village of Krutets, located a few kilometers from Polkhovsky Maidan. Using experience, turning forms and painting techniques from their neighbors, Krutets masters make minor changes. For example, their nesting dolls are more rounded in shape, and in the painting of tableware, preference is given to plot motifs. Association "Polkhov-Maidan Painting" In 1972, in the regional center of Voznesenskoye, on the basis of a toy factory, the production and artistic association "Polkhov-Maidan Painting" was created, where artists who had passed vocational training. Despite this, the fishery continues to exist mainly on the basis of family organization of production. Men are engaged in the production of turning “linen”, and women do painting. The products produced by the association are more souvenir in nature, their painting is more monotonous, and the design is less free than in the works of artisans. The orientation of the Polkhov-Maidan and Krutets craftsmen to the market required constant updating of forms and techniques for decorating products. Since the early 1980s. Floral painting on a background burnt with a blowtorch is beginning to be widely used. Contemporary events find a lively response in the subjects and themes of the painting. Today, this unique craft continues to develop according to the natural laws of folk art.

Painting technology

Before painting, the surface of the product is usually sanded and primed.starch paste.

Then in black ink with a student's pen and nib N 11-13, which, depending

Pressing makes a line of different thicknesses, drawing a clear outline of the design.

You can paint the product immediately with brushes, freely, without prior

drawing.

Polkhov - Maidan painting is performed only with aniline paints,

diluted with hot water at a temperature of 70 - 80 0 C (6 -8 g of paint per 1 liter of water).

To enhance the brightness of the colors, you can add a few drops of alcohol to the solution.

Paints are applied in a certain order: first, for example, yellow,

it is covered with scarlet and a bright red color is obtained, but if it is covered

blue - you get a bright green color.

Painted items are dried for 8-12 hours at room temperature,

then varnished twice with varnish PA - 231 or PA - 283 with intermediate and

final drying for 10-12 hours.

Gouache painting

The surface of the product is carefully prepared, sanded, primed and

Finally sanded down.

Gouache paints are diluted with a 3 - 5% solution of wood glue.

They are applied with soft squirrel or kolinsky brushes, the background is written

wide bristle brush.

After painting, the product is dried for 2 - 3 hours at room temperature

and varnished with nitro varnishes NTs-221, NTs-316.

Literature:

1. Dine G.L. Russian toy. Moscow “Soviet Russia”. 1987

2. Russian wooden toy. Ed. “Artist of the RSFSR” Leningrad, 1968

Polkhov-Maidan Matryoshka doll

This is the neighbor of Semenov’s nesting doll. And they grind it in the village of Polkhovsky Maidan, Nizhny Novgorod region. The first two stages - priming with paste and painting - are carried out in the same way as in Semyonovskaya, but the painting is more laconic: the oval of the face with curls of hair, the scarf falls from the head, there is a rose trefoil on the head, the oval replacing the apron is filled floral painting. Lush roses, dahlias, bells, rose hips, berries and apples decorate this nesting doll. And she will be slimmer than her friends: the shape of the nesting dolls is more elongated, the head is small and flattened.

Now almost every region and republic makes its own nesting dolls. There are known Belarusian nesting dolls, which are made in the cities of Zhlobin and Brest, Mari matryoshkas from Yoshkar-Ola, nesting dolls from Vyatka, whose outfit, in addition to painting, is decorated with straws, there are musical nesting dolls and many, many others. Almost simultaneously with the Merinovo one, another nesting doll appeared in the Volga region - in the large village of Polkhovsky Maidan, or Polkhov Maidan, as it was called in common parlance.

In its shape, the Polkhovskaya nesting doll is noticeably different from its Sergiev and Semenovskaya nesting dolls. In addition, its extraordinary diversity is surprising, from multi-place nesting dolls, emphatically elongated vertically with a small, rigidly outlined head, to primitive single-place matryoshka dolls - columns and plump, mushroom-like dolls. The painting of Polkhov's nesting dolls is based on a combination of raspberry-red, green and black colors along a previously drawn outline with ink. “Flowers with guidance” is the most typical and beloved painting of a matryoshka doll in Polkhovsky Maidan, closer and “variegation” is decoration using individual strokes, “pokes” and dots.

The masters of Polkhovsky Maidan, like their Merinovsky and Semenovsky neighbors, paint nesting dolls with aniline paints on a previously primed surface. Dyes are diluted with an alcohol solution. The painting of the Sergievskaya matryoshka doll is done without preliminary drawing with gouache and only occasionally with watercolor and tempera, and the intensity of the color is achieved with the help of varnishing.

Sergievskaya matryoshka

The fishery supposedly arose in the 17th century and reached its peak at the turn of the 18th - 19th centuries. There is no exact information about the time of creation of the first toy in this town, but it is known that back in the 15th century, at the Trinity-Sergius Monastery, there were special workshops in which monks were engaged in three-dimensional and relief wood carving.

The subject matter of Sergievskaya handmade wooden toys was quite diverse, which was explained, first of all, by the favorable geographical location of the craft. The proximity of Moscow and the immediate vicinity of the Trinity-Sergius Lavra, which attracts a huge number of pilgrims, had a great influence on the choice of subjects. The toy reflected many aspects of Russian life, events of that time, and the peculiarities of life of various segments of the population.

Everyday themes occupied a strong place in the plots of the Sergiev artisans. Gradually, the main themes of the dolls were formed, which became a kind of Sergius canon.

Since the early 80s of the last century, as a result of increased competition from private toy factories, a period of decline began in the industry. The Moscow provincial zemstvo drew attention to this. In the 1890s, the zemstvo assisted in maintaining the stable development of handicraft production, including toy production. Professional artists, teachers, and economists were invited to the fishery, who for the first time tried to disassemble new models of toys on a serious basis. scientific basis. To improve the state of the fishery in Sergiev Posad, a training and demonstration workshop was opened in 1891 under the leadership of V.I. Borutsky.

The masters reacted vividly to events taking place in the world and easily picked up original ideas and new technologies. Therefore, the figurine of a girl in a headscarf, reminiscent of many neighboring Mashas, ​​Parashas and Matryoshkas, aroused the interest of Sergiev toy makers due to the originality of the design and its folk character.

The appearance of the nesting doll in Russia at the very end of the last century was not accidental. It was during this period of time that among the Russian artistic intelligentsia they not only began to seriously engage in collecting works of folk art, but also tried to creatively comprehend the rich experience of national artistic traditions. In addition to zemstvo institutions, private art circles and workshops were organized at the expense of patrons, in which craftsmen were trained under the guidance of professional artists and a variety of household items and toys were created in the Russian style. As an example, we can name the workshops of N.D. Bartram near Kursk, Countess N.D. Tenisheva in Talashkino.

Most likely, the mass production of nesting dolls directly in Sergiev Posad began after the world exhibition in Paris in 1900 after the successful debut in Europe of a new Russian toy.

In 1904, the workshop - the Children's Education store - closed, and its entire assortment was transferred to the zemstvo educational and demonstration workshop in Sergiev Posad. In the same year, the workshop received an official order from Paris to produce a large batch of nesting dolls. The interest in the nesting doll is explained not only by the originality of its shape and the decorativeness of the painting, but also, probably, by a kind of tribute to the fashion for everything Russian, which spread at the beginning of the 20th century, largely thanks to the “Russian seasons” of S.P. Diaghilev in Paris.

The annual fairs in Leipzig also contributed to the massive export of the Sergievskaya matryoshka doll. In 1911, a Japanese fake was even brought from the Leipzig fair, which was an exact copy of the Sergievskaya nesting doll, differing from it only in facial features and the lack of varnish. This fact in itself does not speak in favor of the version of the Japanese origin of the nesting doll.

The silhouette and style of painting of the nesting dolls in Sergiev Posad changed over time. At the beginning of the 20th century, the general passion for Russian history, encouraged by the Moscow provincial zemstvo, had a great influence on the topic. In the period from 1900 to 1910, a series of nesting dolls appeared depicting ancient Russian knights and boyars, both of which were sometimes carved in a helmet-shaped form. In honor of the centenary Patriotic War in 1912, "Kutuzov" and "Napoleon" with headquarters were manufactured.

The beloved national hero Stepan Razin with his closest associates and the Persian princess was not ignored by the nesting dolls.

Literary works of Russian classics were also used as subjects for painting nesting dolls - “The Tale of Tsar Sultan”, “The Tale of the Fisherman and the Fish” by A.S. Pushkin, "The Little Humpbacked Horse" by P.P. Ershov, fable "Quartet" by I.A. Krylova and many others...

100- summer anniversary N.V. Gogol in 1909 was also marked by the appearance of a series of nesting dolls depicting the heroes of his works. The same plot could be used to paint solid, one-piece dolls and detachable, hollow inside dolls; the arrangement could contain sequentially decreasing detachable inserts or several identical one-piece figures.

A metal core was sometimes inserted into the lower, more massive part of such dolls and structures, turning them into “tumblers.” Some toys were equipped with additional parts on the outside, turned and hand-attached headdresses, carved trays with food, etc.

These examples speak of the inexhaustible imagination of the Sergiev artisans and the intensive search for the most optimal shape shaped turning toy.

Gradually, the shape of the nesting doll, closest to the original, and the similar “tumbler”, which was made in Sergiev Posad from papier-mâché back in the 19th century, became established. And from all the variety of themes and subjects of painting greatest development received everyday items, since they reflected the holidays and everyday life of each artisan, therefore they were generally available and loved by both craftsmen and buyers. These are brides and grooms with numerous relatives and guests, gypsies, Old Believers, constables, merchants with their children and household members, companies behind a samovar and an endless row of girls and boys, adult women and men with baskets, bundles, dishes, animals, tools or treats in their hands .

Despite its Moscow origin, the real birthplace of the nesting doll was Sergiev Posad near Moscow - the largest center of handicraft toy production in Russia, a kind of “toy capital”.

Within ten s small years old The production of nesting dolls in Sergiev Posad developed as one of the types of original artistic creativity. In 1913, most of the craftsmen who made nesting dolls united into an artel. Finally, the “Zagorsk” style of painting nesting dolls (as it began to be called after the renaming of Sergiev Posad to the city of Zagorsk in 1930) took shape in the 1920s, when it was replaced by the emphatically picturesque “Zemstvo” style with its abundance of carefully painted small details and gilding a style came that was more economical and closer to S.V.’s original idea. Malyutina.

Project on the theme “Polkhov-Maidan Matryoshka”

Introduction………………………………………………………………………………….. 3

Chapter 1. Polkhov-Maidan Matryoshka doll as part of cultural

heritage of the people……………………………………………………………………………… 5

1.1 History of the emergence and development of the Polkhov-Maidan matryoshka doll……... 5

1.2 History of the emergence of papier-mâché technology……………………………... 7

1.3 Features of the Polkhov-Maidan painting……………………………………….. 9

1.4 Features of papier-mâché technology……………………………………… 13

1.5 Manufacturing technology of the Polkhov-Maidan matryoshka doll……………….. 15

1.6 Technology for making a model using the papier-mâché method………………….. 18

Chapter 2. Technological features production of Polkhov-Maidan matryoshka dolls…………………………………………………………………………………….. 20

2.1 Stages of the manufacturing technology of the Polkhov-Maidan matryoshka doll………... 20

2.2 Methodology for conducting extracurricular activities…………………………….. 23

2.3 Outline of the extracurricular lesson “Russian nesting dolls”……………….. 25

Chapter 3. Methodology for conducting extracurricular activities………………………….. 32

Conclusion…………………………………………………………………………………... 35

References…………………………………………………………….36

Introduction

Introducing children to folk culture and folk art is a means of shaping their spiritual development. That is why the native culture, like father and mother, must become an integral part of the child’s soul, the beginning that gives rise to personality. How to develop the imagination and creative abilities of children if you do not introduce them to the origins of folk craftsmanship? What do we know about the old days, about a long time ago the past few days? How to captivate a child if not with a toy? So bright, original, unlike any other toy in the world. To introduce children to Russian folk toys, traditions, and customs, we pay attention to spiritual education, form a creatively developed personality, help increase the development of children’s cognitive abilities, develop imagination, aesthetic taste, and the ability to compose patterns for decorating a matryoshka sundress, to create a game, a gift, or a craft. .

Relevance of this project lies in the fact that folk art as a manifestation of the creativity of the people is close in nature to the creativity of a schoolchild. In folk decorative and applied art, the surrounding world is reflected conventionally, with symbols; the artist avoids excessive detail, but maintains the integrity and completeness of the image. Inclusion of the child in various types artistic activities based on works of folk art are one of the main conditions for the full aesthetic education of a preschooler and the development of his artistic and creative abilities.

The problem and relevance justified the choice of the theme of the project “Polkhov-Maidan Matryoshka”

Goal: to arouse interest and respect for decorative applied arts Russia through acquaintance with the Polkhov-Maidan Matryoshka doll.

1. Study the history of the origin and development of the Polkhov-Maidan nesting doll.

2. Find out the history of the technology papier-mâché.

3. Find out the features of the painting of Polkhov-Maidan.

4. Explore the features of papier-mâché technology.

5. Master the technology of making the Polkhov-Maidan matryoshka doll.

6. Master the technology of making a model using the papier-mâché method.

Generalization.

Collect information about the history and features of painting of the Polkhov-Maidan matryoshka doll.

Master the technique of sculpting using the papier-mâché method.

Master the methods of painting Polkhov-Maidan.

Demonstrate finished toys, make a film or presentation about the life of the Polkhov-Maidan atreshka.

Project form: layout.

Implementation period: May 2016.

Expected results:

Expand knowledge about the Polkhov-Maidan Matryoshka doll.

Learn how to make a model of the Polkhov-Maidan Matryoshka doll and paint it.

Chapter 1. Polkhov-Maidan Matryoshka doll as part of the cultural heritage of the people

1.1. The history of the origin and development of the Polkhov-Maidan matryoshka doll.

The village of Polkhovsky Maidan is located on the Polkhovka River in the Voznesensky district of the Nizhny Novgorod region. There is only forest and ravines around. It was to these lands that in 1667, after the suppression of the uprising under the leadership of Stepan Razin, exiles arrived, who, according to legend, were expelled from the Don for participating in the peasant war, and they became the founders of the Polkhov Maidan. “Maidan” is an old word, meaning “gathering of people,” and the river was called “Polkhovka” because disturbed (exiled) people settled on it. So it turns out: a gathering on Polkhovka - Polkhovsky Maidan.

The name of the famous craft - Polkhov-Maidan painting - comes from the name of the village. When painting, a wooden base is covered with liquid potato starch, then with a metal pen and ink the outline of the future pattern is drawn ("drawn") on a dry surface and painted with aniline paints - pink, red, green, yellow, blue. But free brush painting can also be used. The brightness of the painting is achieved using the “glazing” technique (layering of pure paints on top of one another) and a combination of contrasting colors (red - green, yellow - blue, etc.). The main elements are flowers (rose, poppy, chamomile, tulip, rosehip). The subject painting is most often represented by a rural landscape with a river, houses, a mill on the bank, and the sky is always drawn.

Polkhov-Maidan painting has a short, but quite interesting story development. It arose at the beginning of the 20th century, on the basis of the turning industry, which, according to legend, existed here since the end of the 18th century. Local peasants adopted the turning trade from the monks of the Sarov Monastery, who produced wooden utensils in their own workshops. Turning products of masters of this craft are usually divided into two types: First- these are children's toys, nesting dolls, mushrooms, Easter eggs (balls, scarecrows, rattles, bird whistles, horses, toy dishes, piggy bank mushrooms, balalaikas, apple boxes); Second- these are traditional Russian dishes and boxes (salt shakers, cups, bowls, sugar bowls, supplies, samovars, boxes and boxes). All these products are generously decorated with rich ornamental and narrative painting. The utilitarian principle is rather weakly expressed in them. Apparently that's why they were called "crackers", which in the popular understanding means things that are not serious, just for fun.

Folk crafts have long been a family activity. As a rule, men made blanks - the so-called “linen”, and women painted the finished products.

So, in every family where from time immemorial they were engaged in this craft, they claimed that it was their “grandparents” who were the first to start painting tararushki, but there were neither the first toys nor documents where they were mentioned...

It is known for sure that in 1916, the artisan peasant Polin Pavel Nikitich brought a burning device to the village. They began to burn drawings onto toys. From burning in 1926 they switched to “cutting” with oil paints. Since 1933, painting of toys in Polkhovsky Maidan began to be done not with oil, but with alcohol (aniline) paints. Objects painted with aniline dyes acquired extraordinary brightness and were very impressive.

Obviously, the example of the Polkhovites was gradually set by the Zagorsk people, the Semyonovtsy, and the Merinovo people; more than one person brought this art to the local soil. Some people liked the nesting dolls; another managed to learn about starch lining and more convenient alcohol paints; the third drew a rosehip flower; the fourth added “bull’s eye” to it; the fifth took a set of flowers from the “pouch” ribbons; the sixth remembered ancient prints and, simplifying, stylized the flower, as folk artists did two or three hundred years ago.

1.2 History of the emergence of papier-mâché technology.

Because of its French name, it is believed that art papier-mâché originated in France, however, this is not entirely true: products made from papier-mâché (French “chewed paper”) did not appear in France until the very middle of the 17th century, and the birthplace of this art form is China, where paper was invented. During excavations in Ancient China, helmets made using the papier-mâché method were discovered, and the period of creation of these helmets ranges between 202 and 220 BC. e.

Further, the passion for papier-mâché spread to Japan and Persia, where masks for special ceremonies were made using this method, and only in the 70s of the 17th century did papier-mâché become known throughout the world, including in France. In 1740, the production of papier-mâché lacquerware began, based on samples brought from Japan. The business turned out to be so successful that more and more new adhesives and techniques began to be invented, thanks to which the products had the same strength as wood.

Most often, papier-mâché was used to make dolls. Their mass production was established in France, and now these dolls are at a high price among collectors. To this day, the papier-mâché technique is used in theaters to make scenery. They turn out to be very light and can be moved around the stage without effort. And if such a product is not exposed to moisture, it can last a very long time.

Exists three types of techniques making objects from papier-mâché. First, classic papier-mâché technique is a layer-by-layer gluing of small pieces of wet paper onto a pre-prepared model. There can be about a hundred layers of paper. Polyvinyl acetate glue or starch paste is used as an adhesive.

Second method characterized by the fact that the product is formed from liquid paper pulp. The paper torn into small pieces is poured with hot water and placed in a warm place for a whole day. Then this mixture is boiled, squeezed through a sieve or cheesecloth, loosened and dried. Next, the mass is mixed with chalk and wood glue or starch paste is gradually added to it, with constant stirring. Having brought it all to the consistency of a creamy dough, apply it to the prepared pan and leave until completely dry.

Third method involves gluing the product like plywood, under a press of plates of dense hard cardboard. When the product dries, it is puttied, sanded, primed, painted and covered with several layers of varnish. Models for shaping products are made mainly of clay, plasticine, plaster or wood.

For the modern consumer, papier-mâché products are attractive because they are made using natural materials. If you learn this art form well, it can become quite profitable business, because you can do anything using the papier-mâché technique. This could be an original painted box, mask, Christmas tree decorations, dolls and even furniture.
1.3 Features of the Polkhov-Maidan painting.

The stylistic features of Polkhov-Maidan painting took shape in the 20s. Burning is completely replaced by painting, first with oil and then with aniline paints. The main motifs of the painting: flowers, birds, rural landscape, fragments of architecture.

Painting is preceded by the application of a pen drawing to the forms of turning products primed with starch. Painting is done with a brush within the black contours made with ink, scarlet, yellow, blue, violet, and green aniline colors. Paints cover the products with local bright colors. Floral motifs of the ornament are adjacent to landscape pictures - a house on the river bank, bushes over which the “scarlet dawn” blooms.

Among aniline dyes, painters prefer rich, active colors: bright yellow, bright red, bright purple. The painting uses primary colors - red, green, blue. The application of paints has its own order. The lightest color, yellow, is applied first. Then color combinations begin. Overlaid with bright red or scarlet, the yellow color acquires special intensity and richness. The same yellow combined with blue gives bright greens.

Several types of painting can be traced in the modern products of the masters of Polkhov Maidan. Among them, the most famous and original is “flowers with guidance”, when the drawing is first drawn with ink, and then color is filled within its contours (see color incl. 10). “Flowers without guidance”, or “grass”, is a painting reminiscent of bouquets on Semenov’s nesting dolls, when leaves, flowers, and plant stems are freely painted with a brush without first drawing an outline with a pen. There is a painting technique called “variegation” - linear strokes, layering, black dots, a pockmarked pattern of spirals. The colors of these patterns are applied using a device made of tightly rolled nylon fabric.

Painting “houses” - a landscape with views of architectural structures is drawn with a brush.

Painting “under oil” - black branches are painted on a colored background, green, brown or crimson, then everything is covered with varnish, and then diluted oil paint or light-colored nitro paint, lightly tinted with aniline dyes, is applied “poke”, this is how berries and inflorescences are applied to paintings.

Painted items are dried and then varnished twice, thanks to which the design is fixed. The products are varnished with 4C oil varnish, to which a little solvent is added - purified turpentine or white spirit. Under the shiny film of varnish, the already bright colors acquire even greater expressiveness and depth.

At the same time as family workshops in the villages of Polkhovsky Maidan and Krutets, where literally the whole family creates products: the father and eldest sons make forms on lathes, and women paint them, there is production association"Polkhovsko-Maidan painting" with the center in the village. Voznesenskoye and branches of the turning and painting workshop in the village. Polkhovsky Maidan.

Currently, this is a fairly large enterprise, employing experienced craftsmen and youth. The assortment of products from the family workshops and the enterprise is, in general, close: multi-place nesting dolls, supplies, spoons, bird whistles, etc.

Artistic processing of wood has always been one of those types of folk decorative art, where in a relatively cheap and accessible material, such as wood, the abilities of a peasant carpenter, turner, joiner, woodcarver and master of decorative painting were manifested in the process of creating household items, building and decorating their home to achieve the perfection of their skills.

Currently, more than 65 enterprises of folk art crafts are engaged in artistic wood processing in the system of the Ministry of Local Industry of the RSFSR. Of these, 8 enterprises are specialized, with valuable artistic traditions, each of which has a unique art characteristic only of this craft, an original technique for artistic wood processing, original methods of designing products, and has its own established range of products.

In the last decade, much attention in the field of development of artistic woodworking has been paid to the creation of new enterprises, intended mainly for the mass production of wooden souvenirs.

New enterprises created in recent years, are heterogeneous in their structure. The closest to traditional production are the Experimental Enterprise of Folk Art Crafts "White Sea Patterns" in the Arkhangelsk Region, the Semenovsky Association for the Production of Souvenirs in the Gorky Region, the Experimental Plant "Karelian Souvenirs" of the Karelian Autonomous Soviet Socialist Republic, the Bashkir Production Association "Agidel" , Yakut souvenir factory "Sardaana" and some others, where, based on the revival of extinct types of artistic woodworking and the involvement of home-based craftsmen in social production products are created in the nature of folk art of these areas.

Among other enterprises, the most established ones include the Kalinin Production Association of Art Products and Toys, the Khalturinsk Cultural Goods Factory in the Kirov Region, the Sochi Souvenir Factory, the Zhigulevsk Art Products Factory and some others, where, to one degree or another, their own creative team has been formed, capable produce products of high artistic quality. However, all these enterprises still need to determine the artistic and stylistic direction of their activities.

1.4 Features of papier-mâché technology.

Currently, there are several techniques for making papier-mâché products.

The first is that the product is glued layer by layer onto a model from small pieces of wet paper on a pre-prepared model. In the classical technique, from several to 100 layers of paper are applied. Nowadays polyvinyl acetate glue is often used for this, but previously starch paste was used.

The second method - products are formed from liquid paper pulp. Paper, cut into small pieces, is filled with hot water and placed in a warm place for a day. Then it is boiled, squeezed, loosened and dried. The resulting paper pulp is thoroughly mixed with chalk. Add glue to the paper-chalk mixture with constant stirring until a plastic, creamy dough is obtained. A mixture of starch paste and wood glue is used as glue. The dough is poured into the prepared form or applied in a layer on its surface and left until completely dry.

The third method - products are glued together like plywood under pressure from plates of hard, dense cardboard. Dried products are puttied, sanded, primed, and then painted.

Models for molding products are traditionally made from plasticine, clay, wood and plaster.

In the production of papier-mâché products, pressure and temperature can be used to intensify processes and increase the density of products, just as we do in the manufacture of solid fiberboard.

Technology for making papier-mâché from paper

The whole wisdom of the papier-mâché technique lies in pasting over some shape with pieces of soft paper in several layers. This in itself is not difficult, but it requires patience and accuracy. And as a result, you can create such wonderful works that you will not regret the time spent.

It is also appropriate to cover papier-mâché with paints, but it is advisable to use acrylic or oil-based helmets that do not wear off when touching the object. Gouache and watercolor must be varnished. When painting with gouache, it is best to add a little PVA glue to the paint, then it will adhere well to the surface.

The finished papier-mâché product can be decorated with three-dimensional figures, creating a composition or ornament. To make them, salt dough or hardening mass for modeling is used. Salt dough is a simple and cheap way to decorate the surface of papier-mâché. To prepare the dough, you need to mix 1 part flour with 1 part fine salt, add a little boiled water and knead this mixture. Pour in 1 tsp. vegetable oil to make the mass more elastic. Figures from salt dough can be simply fashioned or cut out of a thin rolled out layer with a sharp knife. Ornaments made up of figurines made of thin flagella look especially successful and beautiful.

The papier-mâché surface will look very beautiful if you decorate it with beads glued with PVA glue and varnished for strength.

1.5 Manufacturing technology of the Polkhov-Maidan matryoshka doll.

All painting is done along a contour clearly outlined in ink. The outline of the drawing is drawn with a school pen with a steel nib No. 11, 12, 13, which gives a line of different thickness depending on the pressure. To paint the background for painting, large squirrel brushes are used in the industry; for painting, small brushes No. 2-6 with a well-shaped tip, which will allow strokes with smooth edges. The paint is applied in one step; you cannot brush over the same place twice.

When working with aniline dyes and powders and solutions, it is necessary to protect clothes and hands, as the paint leaves bright colored stains that are difficult to remove.

Aniline dyes used in painting are diluted in hot water at a temperature of 70-80C at the rate of 6-8g of dye per liter of water. To increase the brightness of the paints, add a few drops of alcohol to the solution. You can paint with more light-resistant dyes of 6-10% concentration, diluted in water at a temperature of 60-80 C: active - bright yellow 53, bright red 5СХ, bright violet, as well as acidic ones - red 2Zh, green Zh, bright blue, purple C. Their color corresponds to the traditional color scheme paintings of the craft.

Before painting, the surface of the product is carefully sanded and primed with starch paste so that water-soluble paints do not spread. The paste is applied to the surface using a swab or sponge. The product is primed in three passes: the first time with a more concentrated solution of sour cream density, followed by drying for 15-16 hours, the second and third with a thinner solution and dry each layer for 4 hours at room temperature.

During the painting process, the product must be held by the pallet, since all fingerprints left on the primed surface will appear under the paint.

The outline of the ornament is applied freely in a proven sequence. There are no templates for painting. In the composition “Houses”, first the outline of the house is drawn, next to it is the trunk and branches of trees, the banks of the river with silhouettes of birds and a boat. Then the craftswoman takes paints, and the river turns blue, its banks are green, the tree is covered with green-blue foliage and yellow-red fruits, and the sun lights up above the house.

There is a certain order in applying aniline paints to the surface to be painted: first on required areas, including those that should be red or green, apply yellow paint, then, covering it with scarlet, you get a bright red color, and laying blue on top of yellow, you get bright green.

In flower painting, first the outline of a large flower is applied - the center of the composition, then the stems and branches of branches slightly inclined towards them with small flowers, buds, leaves and berries. On the lid there is a composition with a rose and a flowering twig curved in a circle.

Painted items are dried for 8-12 hours at room temperature and varnished twice with pentaphthalic varnish PF-231 or PF-283. Add a little solvent to the varnish - for example, purified turpentine will do. The varnish can be applied with a brush or spray gun. After varnishing, the product dries at room temperature in a room where there are no drafts or dust. After the first varnishing, drying lasts 5 hours, after the second - a day.

In the home-based workshops of Polkhovsky Maidan, in addition to the graphic painting “flowers with guidance”, there is a non-contour painting. All the elements here are made with ray-like strokes: converging towards the center - the core applied with a poke, they form a flower similar to a cornflower, and coming from the stem and closing into a circle - an apple. The pinnate leaves are also composed of a series of strokes extending from the stem. The compositions of this painting are very different, sometimes with large gaps in the background and light ornamentation, sometimes with a pattern densely filling the surface.

They paint without contours with aniline and synthetic water-soluble paints. But sometimes, on the varnish surface with some light oil or nitro paint, berries and simple flowers are additionally applied. This type of painting is called “oil-look” or “nitro-look”.

In addition, there is another way to decorate the surface of products - “variegation”. This is the development of backgrounds and motifs with various textured cuts.

Not all innovations produce positive results; they often lead to an undesirable disruption of the color of the painting and the depersonalization of even fundamentally interesting works.

1.6 Technology for making a model using the papier-mâché method.

Papier-mâché matryoshka

A large fake nesting doll can be made using the papier-mâché technique (in French this means chewed paper). The essence of this technique is as follows: small pieces of loose paper (newsprint, packaging) are placed on an object (bowl, vase, etc.) in layers, covering each layer with potato paste.

There can be from 6 to 10 layers, depending on the size and shape of the product. After the paste has dried, the resulting form is removed. It’s easier to do this from a tray or saucer, but it’s not easy to do it from complex items (a jug, a vase). In this case, papier-mâché is cut into 2 halves, then, after removing them, the halves are glued together. The surface should be smooth, and if there are dents, they are primed with putty or carbolate, and the protruding tubercles are removed using sandpaper.

Matryoshka on a jar.

A glass jar will serve as a good basis for making nesting dolls.

Let's take it glass jar the desired size (baby food, half-liter, 3-liter bottle) and close it with a lid. Let's form the sides and head of the nesting doll from plasticine. Then, using the papier-mâché technique, we begin making the toy.

To ensure that the finished paper product leaves the mold well, lubricate it with oil or Vaseline.

Tear the newspaper into small pieces and, having welded the glue, start gluing the matryoshka doll. We advise you to alternate a layer of newspaper with a layer of, for example, gray wrapping paper. After making 2-3 layers, let the work dry, then glue again. Cut the finished work into 2 halves with a sharp knife. Lubricate the edges of the cut with PVA glue and connect. You can tie them with thread. Glue the joint again. Sand the product with fine sandpaper, paint your nesting doll with water-based paint and paint it. To protect your work from exposure to water, coat the painting with varnish.

Chapter 2. Technological features of manufacturing the Polkhov-Maidan matryoshka doll

2.1 Stages of manufacturing technology for the Polkhov-Maidan matryoshka doll.

Tools and materials:

PVA glue or paste

Tassels

• Paper (newspaper is fine)

• Rag

Workplace organization

There should be an oilcloth on the table on which the work will take place. There should also be those tools and materials that will be useful during the work. There should be no unnecessary objects on the table that will interfere with work.

Safety rules when working with glue:

Take the amount of glue (paste) that is required to complete the work at this stage.

Remove excess glue (paste) with a cloth or napkin, pressing it gently.

After working with glue (paste), wash your hands with soap.

Working man rules:

Before you start work, prepare workplace.

Keep your work area clean and tidy.

Take care of tools, save materials.

Always think about how to do the job better.

Work together, you did it yourself, help someone else.

The job is done, the workplace is cleaned quickly and neatly.

4. Stages of performing the work.

First you need to prepare a “paste”, a glue based on flour or starch. Of course, you can use standard PVA glue, but the paste is still more convenient and practical: it is made from natural materials, which means it is non-toxic and non-poisonous.

Mix pure starch (or flour) with a small amount of cold water until all lumps disappear completely. Then, stirring gently, pour boiling water into the starch and bring to heat. Heat the mixture until a transparent mass is obtained.

Apply with a brush reverse side dishes (in our case, a saucer). Begin carefully, trying not to go beyond the boundaries of the dish, gluing pieces of paper onto the saucer. Try to cover the entire area with an even layer. Repeat until the thickness of the paper layer reaches the size you need.

It should be noted that all operations with papier-mâché can be carried out in several stages, each time waiting for the previous layer to dry.

After finishing work, let the paper dry for 24 hours.

After waiting a day, pry the edge of the paper layer with the tip of scissors or a knife and gradually begin to remove the resulting “cast.” After this, trim the uneven edges with scissors and begin decorating the resulting dishes.

Various watercolor and acrylic paints. To begin with, you can paint the dishes with one layer of paint, a kind of primer. And then apply patterns and any other illustrations on top of it. Don't limit your imagination.

The finished papier-mâché can be varnished to make the design glossy. In addition, this will make the dishes stronger and more durable.

2.2 Methodology for conducting extracurricular activities.

Presentation of new material:

Practical work:

Stage 1 – ore planning:

Sample analysis;

Search for solutions;

Stage 2 – material processing.

Cleaning the workplace.

2.3 Outline of the extracurricular lesson “Russian nesting dolls”.

Group: 21 group

Students: Viktor Konstantinovich Openyshev, Alexandra Sergeevna Yudina, Victoria Vladimirovna Zemlyakova.

Methodist: Artamonova Elena Vladimirovna

Detailed outline of a lesson on the topic “Russian nesting dolls”

Lesson objectives:

Educational: to give an idea of ​​Russian nesting dolls as a folk craft of Russia; teach the elements of painting the Zagorsk matryoshka doll.

Developmental: promote the development of aesthetic sense, artistic taste, imagination; fine motor skills of hands.

Educating: promotes the development of love and respect for folk culture and folk crafts of Russia; accuracy, perseverance.

Lesson equipment:

Methodological equipment of the lesson:

Lesson outline;

Presentation;

Cards with words (“matryoshka”, “droplet”, “poke”, “ozhivka”);

Audio recording.

Material and technical equipment of the lesson:

Matryoshka template;

Oilcloths;

Water glasses;

Napkins;

A simple pencil.

Didactic equipment of the lesson:

Product sample;

Semenovskaya nesting doll, made using papier-mâché technique;

Zagorsk matryoshka made using papier-mâché;

Polkhov-Maidan nesting doll, made of wood.

Class type: Combined.

Progress of the lesson:

1. Organization of the beginning (2 min.)

(Russian folk music plays, 1 slide on the screen)

Hello, today we will conduct the lesson: Alexandra Sergeevna, Viktor Konstantinovich and Victoria Vladimirovna. Guys, I will list what we will need in class, and you listen to me carefully. If you're missing something, raise your hand and I'll fix it. So: matryoshka template, simple pencil, paints, brushes, napkins, glass, oilcloth.

2.Updating knowledge (2 min.)

Today, guys, we will talk about toys. But not about ordinary ones, but about folk ones. Our homeland has long been famous for its craftsmen and its deeds. Wherever we are, we will meet miracle masters who know how to transform natural materials into amazing creations. The places where these masters live are called centers of folk crafts. There are many of them. Today I suggest you go on a visit, and guess who we’ll go to – guess for yourself. I will read a riddle, and you will need to guess it.

Scarlet silk handkerchief
Bright sundress with flowers,
The hand rests on the wooden sides.
And there are secrets inside:
Maybe 3, or maybe 6.
The first doll is fat, but inside it is empty,
It splits into two halves.
There is another doll living in it in the middle.
Got a little flushed

Our Russian……..

(Matryoshka) (slide 2) (attach a card with the word “matryoshka”)

Guys, what do you know about such a Russian folk toy as the matryoshka doll? (children's answers)

3. Presentation of new material (10 min.)

- Listen carefully, and at the end I will ask you questions that you must answer.

Now I will tell you a little about the history of the creation of the Russian nesting doll.

The matryoshka came to us from the world of legends and fairy tales, from hoary antiquity. In fact, she is only a little over 100 years old. There are many versions of how and when she was born.

Once in Japan, the artist Sergei Vasilyevich Malyutin saw her and brought her a toy - a large-headed wooden Japanese Fukuruma (slide 3), who looked angry. You open it, and there is another toy of the same kind; you open a second one, and there is a third one.

Malyutin dressed the doll in a Russian costume and showed it to folk craftsmen. Russian craftsmen really liked this toy. They dressed her in a Russian sundress with an apron, tied a bright scarf on her head, painted her beautiful eyes and put a bright blush on her cheeks. I really wanted to give the doll a Russian name. Dunyasha? Manyasha? Matryosha? Matryosha!! And the new toys began to be called nesting dolls.

There are 6 types of nesting dolls (slide 4), but I will tell you about the three most famous: Semenovskaya, Zagorskaya, Polkhov-Maidansky (slide 5). Their names depend on the place where they are painted. Let's take a closer look at all three types of nesting dolls.

a) Semenovskaya matryoshka (slide 6 - photo of the town of Semenov)

Semenovskaya (the town of Semenov, in the Nizhny Novgorod region) the toy is turned from wood on lathe. For work, use well-dried linden, aspen, and birch wood. It is described as follows. First, the white nesting doll is primed with potato paste, rubbing it into the pores of the wood. On the dried, primed surface, the craftswomen make a “tip” with black ink: they draw an oval of the face, eyes, nose, lips, outline a scarf tied in a knot, and separate the border on the scarf. Then they draw an oval in which hands and flowers are depicted: lush roses, bells, spikelets. When the tip is ready, painting is done with aniline transparent paints of yellow, red, crimson, green, and violet. And finally, they are varnished. And here in front of us is a bright matryoshka doll. (slide 7)

b) Zagorsk matryoshka (slide 8-photo of the city of Zagorsk)

This toy still looks like the first matryoshka doll with a rooster in its hands. (slide 9). This nesting doll always has something in hand. The Zagorsk nesting doll is of good quality, steep-sided, and stable in shape. Paint it on white wood with gouache paints, using pure (local) colors. The oval of the face and hands are painted beige. Two strands of hair are hidden under a scarf, the nose is represented with two dots, and the lips are made with three dots: two at the top, one at the bottom. The scarf of this nesting doll is tied in a knot. Next, the master draws the sleeves of the jacket and sundress. The scarf and apron are decorated with a simple floral pattern. Having finished painting, the master varnishes the nesting doll. (Slide 10)

c) Polkhov-Maidan nesting doll (slide 11-photo of the village of Polkhov Maidan)

This is the neighbor of the Semyonovskaya nesting doll. And they grind it in the village of Polkhovsky Maidan, Nizhny Novgorod region. The first two stages - priming with paste and brushing - are carried out in the same way as Semenovskaya, but the painting is more laconic: an oval face with curls of hair, a scarf falling from the head. Lush roses, dahlias, bells, rosanas, and berries decorate this nesting doll. The shape of this nesting doll is more elongated, the head is small. (Slide 12)

You all listened carefully and are probably tired, now let’s rest a little.

Physical education “Matryoshka”

I have a nesting doll, a new toy, (hands on belt)

A nice fat girl in a yellow sundress. ( right, left foot forward and on the heel)

I’ll turn away the nesting doll - there’s another toy there, ( turn around)

A bright girl in a blue sundress ( hands in front of you with a shelf)

Well, in the blue matryoshka there is a little crumb, ( turn around)

I love her most of all - the red nesting doll! (hands “matryoshka” alternately to the right and left cheek)

I suggest you become Zagorsk masters and create your own nesting doll

4.Practical work (20-25 min.)

Guys, today we will paint our nesting dolls, and at the end of the lesson we will arrange a girls’ round dance with them.

Product sample analysis.

What is the nesting doll made of?

What elements are used in this painting? (Flowers, leaves)

What colors are used when painting a sundress?

What colors are used when painting a scarf?

What colors are used when painting a shirt?

What other colors are used when painting matryoshka dolls?

But you and I will not paint a wooden matryoshka doll, but we will paint a doll like this (showing a template).

The work is organized according to plan: demonstration with explanation.

Stage 1: Doing the work in pencil:

It is necessary to draw the elements of the face. We start by drawing the hair (from the top point of the middle oval of the face, draw a bracket to the right and left). After that, draw the eyebrows (draw 2 brackets). Let's start drawing the eyes (we draw 2 brackets just below the eyebrows, then in these brackets we draw circles, and there are still small dots in them). Now draw the nose (put 2 dots). Now we draw a bracket - this will be the mouth of the nesting doll.

Stage 2: Drawing the sundress:

Let's start drawing the sundress. Fill the sundress straps with the color of your choice.

Stage 3: Work in color:

Wet the paints. We paint the face (let's start with blush, put pink paint on the brush and make circles on the cheeks. After that, we start painting the lips: put red paint on the tip of the brush and paint the lips. Next, put black paint on the tip, draw eyebrows and eyes. And at the end paint the hair: put brown paint on the brush and paint the hair).

Stage 4: Work in color:

Fill the sundress with yellow and the scarf with blue or red, your choice. We draw yellow circles on the corners of the scarf. Let's start painting the sundress: draw straight and wavy lines in the upper and lower parts of the sundress. Let's move on to our composition. We put white color on the tip of the brush, put a dot in the middle of the sundress using the “poke” method (we attach a card with the word “poke” to the board), and from there we draw the petals in red, using the “droplet” method (we attach a card with the word “droplet” to the board ").

Next, draw light green leaves on the right and left sides of the flower using the “droplet” method. Now we make green droplets in the lettuce leaves. Let's move on to drawing the berries: draw two blue circles on top and bottom, and on these circles on the side we put black dots using the “poke” method.

1. Before starting work, cover the working surface of the table with oilcloth.

2. During work, wipe dirty hands from paints using a napkin.

3. Maintain cleanliness and order in the workplace.

4. After finishing work, clean up the workplace and wash your hands with soap.

Stage 5: Revitalization (white and black). (attach a card with the word “revival” to the board)

We put white color on the tip of the brush and put dots in the eyes, these will be the pupils of the nesting doll. Draw a white line between the leaves. We put black color on the tip of the brush and add some color to the scarf and sundress.

5. Summing up the lesson (3 min.)

Exhibition of works: children come to the board and attach their nesting dolls to the board.

Who were you in class today? (by Zagorje masters)

What kind of nesting doll were we looking at?

What nesting dolls did you learn about in class today?

What are the names of the nesting dolls we looked at?

What have you learned?

Where will these nesting dolls come in handy?

You did a very good job. It's a pleasure to work with you, but our session has come to an end. Thanks everyone. Goodbye!

6.Cleaning the workplace (2 min.)

Chapter 3. Methods of conducting extracurricular activities.

Lesson plan:

Structure and content of the event extracurricular activities on technology with primary schoolchildren.

Progress of the lesson:

Organization started: 1. Report the topic of the lesson. Goal setting.

2. Introduction to the work plan.

Presentation of new material:

Club activities are a special area of ​​students’ lives. Maximum diversity, informality, focus on the individual interests and inclinations of children are important principles of its organization. It is the circle activity during proper organization creates for each child the opportunity to realize and assert themselves, to experience a feeling of success.

The duration of classes in 1st grade is 30–35 minutes, in 2nd–4th grades 35–40 minutes.

Approximate structure of the lesson:

Organizational moment;

Warm-up: short logical tasks, tasks to develop attention;

Explanation of new material or frontal work to solve new problems, work in notebooks, with additional material(puzzles, coloring books, construction sets, paper construction, etc.);

Physical education minute;

Work in groups;

Relaxation;

Summing up.

Structure and content of extracurricular technology classes with primary schoolchildren.

Planning takes important place in the work of a teacher primary classes. Good plan- lesson notes - this is a condition high level educational activity, because it can only be compiled as a result of careful preparation, thinking through each stage, each action.

The following stages are distinguished in organizing a lesson:

organizational part (2-3 min);

repetition of the covered material (5-7 min.);

presentation of new material (10 min.);

preparation for practical work (2-3 min.);

practical work (25-30 min. to 45 min.);

final part, summing up (3-5 min.);

cleaning the workplace (3 min.).

Total: 70-75 (80) min.

During the lesson, various teaching methods are used.

Organizational part:

At this stage it is determined target classes are reported tasks, subsequence doing the work. It is important at this stage to use motivation methods, helping to intensify the activity of students throughout the lesson and maintain interest in the work being performed.

The purpose and objectives are communicated to students in a simple, clear and attractive manner. At this stage, you can show the product to be manufactured.

When setting tasks, it is necessary to inform what new things the students will learn in the lesson, what techniques, what skills they will acquire.

Goals and objectives can be communicated in a playful way, causing interest and interest in the upcoming work.

An important part of this stage is checking readiness for work. The teacher lists what tools, devices, and materials will be needed during the lesson.

Repetition of covered material:

At this stage, an introductory conversation is used, during which the material covered is briefly checked. The conversation arouses interest in the work ahead.

Presentation of new material:

It starts with a story new topic(information about history, characteristic features, the purpose of the manufactured product).

A short conversation is used in every lesson. During the conversation, children are asked to determine, compare, analyze, and identify the degree of knowledge of the circle members, their preparedness for work, and the degree of mastery of the material. Practical work:

The main place in the lesson is given to practical work, which includes various exercises, all types practical work, the process of manufacturing the product itself. This stage takes up most of the class time. At this stage, the teacher shows the finished product, the sequence of its production, and the technological map of the product. Technological map is the most effective means when explaining to students how to make a product.

The practical part includes the stages of product manufacturing:

Stage 1 – ore planning:

Sample analysis;

Determination of the sequence of operations;

Search for solutions;

Stage 2 – analysis of the drawing, sketch, marking.

Stage 2 – material processing.

The practical part of the lesson can be implemented in various organizational forms: individual, group or collective. The choice of one form or another is determined by the tasks.

The final part, summing up.

At this stage, the products made by students are analyzed and evaluated: they are an indicator of the results achieved. At this stage, exhibitions are used finished products, their collective viewing and discussion. The analysis of products is carried out taking into account the requirements that they must satisfy.

After analyzing and evaluating the completed products, it is necessary to note how generally it was possible to achieve the goals and objectives set at the beginning of the lesson. Students are not given marks for completed products. The teacher, together with the children, gives a general assessment of the activity.

Cleaning the workplace.

Each student tidies up the workplace (remove trash, put away and put in order tools and materials).

Conclusion

In folk art, the best features of the people, always valued by humanity, are manifested; their originality clearly emerges: morals, customs, way of thinking, aesthetic preferences, national psychology, culture, history. Folk works of art were honed, preserved, and carefully passed on to a new generation, which is why they can rightfully be considered examples of highly artistic, moral and aesthetic human perception of the world and self-expression in relation to this world.

Most teachers of the past and present note the enormous influence of folk art on the formation of students’ first ideas about the Motherland and a feeling of love for it. Therefore, your own artistic activity should be considered as a means of solving the problems of developing the foundations of a child’s personality.

The appropriation by pupils of the moral and aesthetic values ​​of their people through art, the development of the first sense of the Motherland, are of great importance for the future development of personality, awareness of themselves as a part of their people, their country.

The emotional language of folk art is the easiest, most reliable and accessible bridge from the soul of the people to the soul of a child.

Works of decorative folk art are distinguished by their colorfulness, brightness and special color saturation. Tendencies towards brightness and colorfulness are also characteristic of children's drawings. Therefore, folk art is understandable and accessible to children, even the smallest. It is close to them, corresponds to their perception.

Based on the results of the work I did, I believe that the goals I set during the project were fully achieved.

The experience gained during the implementation of the project will allow me, as a future teacher, to organize extracurricular activities for junior schoolchildren, through the implementation of a circle on creative arts and visual arts. The material I collected - theoretical information, presentations, layouts, videos, illustrations - all this will help increase the interest of younger schoolchildren in Russian folk art, love of art, the formation of artistic taste, the development of children's cognitive activity, imagination and creative abilities, but most The main thing is to instill patriotism.

References:

1. Dine G.L. Russian toy. Moscow “Soviet Russia”. 1987

2. Russian wooden toy. Ed. “Artist of the RSFSR” Leningrad, 1968

3. Goldovsky B. Dolls: encyclopedia. M., 2004.

4. Clients A. Folk crafts. White City. M., 2008.

5. Lavrova S. Russian toys, games and fun. White City. M., 2009.

6. Maslova A. Extraordinary stories of ordinary things. Matryoshka. Fun lessons No. 2, 2010.

7. All about the nesting doll. www.mamatus.Lv 04.02.2016

8.Vyatka matryoshka.www.narod.ru 02/04/2016

9. Where and how dolls are made. www.narod2.ru. 02/04/2016

10. Goncharov K. Russian nesting doll. Report at the First International Congress “Pre-Cyrillic Slavic writing and pre-Christian Slavic culture”, St. Petersburg. 2008. www.organizmica.ru 19.02.2016

A colorful scarf is tied in the old-fashioned way, a gray lock of hair spills out from under it on the forehead, and blue eyes sparkle in the reflections of the flame of the Dutch oven. Rimma Vasilievna, a resident of the Nizhny Novgorod village of Polkhovsky Maidan, is preparing Sunday lunch. Having placed a clay pot with steaming soup on the table, the elderly woman thoughtfully asks: “I’ve been living with Matryoshka for almost fifty years, what exactly should I tell you?” Both Rimma Vasilievna herself and the decoration of her wooden hut, like the entire village, embody the traditional Russian flavor. Polkhovsky Maidan is one of several villages in our country that exist solely by making matryoshka dolls. Every family here sharpens, paints, varnishes, takes finished dolls to Moscow markets or sells them to resellers in Nizhny Novgorod. Hardworking Maidans (as the villagers call themselves) work every day, except for major church holidays; only a few families have vegetable gardens or livestock. In the department store, packages of gouache and art brushes crowd out soap and toothpaste.

Polkhovsky Maidan became one of the first villages where matryoshka production turned into a large-scale industry.

Rimma Vasilyevna’s spacious room, where old-fashioned carpets with deer are hung on the walls, is filled with bulky bags with nesting dolls of various sizes. Each doll is packed in a separate bag so that the drawing is not damaged during transportation. On Tuesdays, Rimma Vasilievna and several of her fellow villagers load the nesting dolls onto the bus and travel along the night road to Moscow, to the Izmailovsky vernissage, where trading begins early on Wednesday morning. Maidans have been selling in Izmailovo - to foreigners and resellers from other regions - for 20 years. This way of life developed when, after perestroika, the local matryoshka factory stopped working. The nesting doll people are used to it, but everyone understands: this won’t last long, life will soon change. Unscientific roots of the nesting doll. Polkhovsky Maidan is interesting primarily because it became one of the first villages where matryoshka production turned into a large-scale industry. The history of Polkh-Maidan is the history of the nesting doll itself. In the 1920s, local woodturners—who had been making wooden utensils and toys here since the 18th century—learned about profitable idea from the neighboring village of Semenova: there the decorated doll-styling was already put into production. Semenovsk turners, in turn, brought the first doll from Sergiev Posad. In the town near Moscow, the status of the nesting doll was completely different. The doll was not just a children's toy - a new direction in art, in which artists experimented, dreaming of reviving national traditions at the turn of the 19th and 20th centuries. Vrubel, Roerich and Vasnetsov tried to paint a matryoshka doll. Now these works are kept in the Art and Pedagogical Museum of Toys in Sergiev Posad. But who was the author of the first nesting doll, no art historian can yet accurately determine. Modern scientists even classify some versions of the origin of the nesting doll as myths and legends. According to the most plausible version, the nesting doll was invented by order of the Moscow philanthropist and collector Anatoly Mamontov, owner of the “Children’s Education” toy art workshop. It is believed that in 1896, on one of his trips to Europe, Mamontov bought a traditional Japanese doll for his collection and asked the artist Sergei Malyutin to do something similar, only in the Russian style. “But no drawings or sketches of Malyutin’s work have survived, and we cannot confidently assert his authorship,” explained art critic and researcher of Russian folk toys, director of the Novgorod branch of the Union of Artists of Russia Natalya Kvach. One way or another, the nesting doll ended up in Polkh-Maidan. And here, as in several other villages of the Nizhny Novgorod province, its heyday began in the 1920s–1930s. Hereditary turners, Polkhov men quickly made the so-called underwear - they turned dolls out of linden, and women learned to paint toys according to Moscow samples, later developing their own - Polkhov-Maidan - style. In those days when all toys were wooden, the nesting doll quickly became popular: for one price you could buy five or seven dolls at once. In 1930, the Red Dawn artel was founded in Polkhovsky Maidan - now matryoshka dolls were sold not separately, by each family, but centrally, by the entire village. 90-year-old Maria Petrovna Sayanova, one of the few Polkhov old-timers, recalls: at the age of 13, like almost all local children, she dropped out of school and got a job in an artel. “At first I helped my sister with a tip (a tip is the contours of a drawing on a matryoshka doll, drawn in pencil or ink), then she herself began better than sister paint,” says Maria Petrovna (we are talking in her daughter Anna’s room littered with modern nesting dolls). IN Soviet era nesting dolls continued to be produced in the artel, but, despite the prohibitions, individual entrepreneurship in Polkhovsky Maidan did not disappear. On trains and with bags full of nesting dolls, the Maidans traveled throughout the country. And almost everywhere there was a demand for wooden dolls, which paid for the fines and arrests of the police. Surprisingly, it was this one, bought second-hand at the market, and not a factory-made nesting doll from a Nizhny Novgorod village, that became, along with Semenov’s, a symbol of Russia. The Polkh-Maidan matryoshka doll has always been distinguished by its brightness and simplicity of execution. “I remember how in 1970, with huge backpacks on our shoulders, my friend and I arrived in Tallinn,” recalls Rimma Vasilievna. “We came to the market at seven in the morning, and by noon we were sold out of everything. Usually we avoided the police, but one day our bags of dolls were burned. The incident was terribly unpleasant, of course, but it still didn’t stop us.” Matryoshka remained consistently popular until the 1980s, when wooden toys began to be gradually replaced by plastic and rubber ones. After perestroika, the matryoshka rose on a new wave of popularity due to foreign demand. Today, the features of a modern city have begun to appear in the rural flavor of Polkh-Maidan. Along with the fallen linden logs - only linden is soft enough for quick processing - there are decent foreign cars next to many houses in the village. Satellite dishes are piled on the roofs of the houses themselves, some of which are two-story. In Rimma Vasilievna’s kitchen, a multicooker sits next to a clay Dutch oven. In general, compared to other Russian villages and hamlets, life on the Maidans can be called good. Mixed with rural superstition, an atmosphere of enterprise and efficiency reigns here, usually unusual for our village. The smooth and wide road laid on the main street proves this best of all. The new generation of nesting doll makers - those now between 35 and 60 - combine Soviet planning and control with American openness to new directions in business, a word that has begun to be used here in recent years. In order not to compete with each other, each family in the village occupies a narrow niche in the matryoshka craft. In one yard here they make meter-long 50-seater nesting dolls individual orders, on the other - nesting doll magnets and stands for toothpicks for sale to small wholesalers, on the third - nesting dolls are sharpened for IKEA and others furniture companies . Some Maidans deal only with linen - they turn out unpainted semi-finished products and sell them to other families for finishing. A local MP - a real Russian woman, Anna Sayanova - makes traditional nesting dolls in a style that art historians call a la Rus. Her two sons - now they are 25 and 30 years old - sharpen linen in a workshop in the yard, Anna and her daughter-in-law apply a design with gouache and varnish it. Like other deputies, in addition to her main work, Sayanova is responsible for “order” on several streets of the village. Having learned that a divorce or discord among relatives is brewing somewhere, Anna comes there to “talk.” Matryoshka is a family affair; if a person is left alone, in Polkh-Maidan it is considered a tragedy. The Maidans are not used to making a living with anything other than matryoshka dolls. There are no more than a dozen adults with more than a high school education in the entire village. Among them is a 75-year-old librarian at a rural school. Having worked in Polkh-Maidan for almost 50 years and having retired, Tamara Aleksandrovna still did not get used to the fact that the villagers did not read anything. Anna Sayanova, who introduced me to the librarian, admits that she wants her little grandchildren to get an education and stop doing “this hard work.” According to Anna, the nesting doll brings in less and less money, but it still takes a lot of time and labor to make it. Meanwhile, in Anna’s house, the love for the nesting doll is noticeable literally from the threshold. The square yard is covered with linden sawdust, and the yard dog sits comfortably on it. On the stairs in the entryway, stains of gouache have dried, defective parts of nesting dolls and brushes no longer suitable for use are scattered on the floor. On the refrigerator in the upper room are wooden bottles for Cahors, painted to look like nesting dolls, lined up, and on the shelf at the head of the bed Sayanova keeps the most valuable - collectible, best - dolls. She buys them from other nesting doll makers from Kirov and Arkhangelsk at the Izmailovsky vernissage, so that she can then hone her skills using samples. The abundance of nesting dolls is already amazing, but the hostess does not stop: Anna takes a key from her pocket and leads me to a locked room. Bumping into something, the door gets stuck, but in the end it reluctantly gives way, and a nesting doll country opens up to me. “This is my doll’s lair,” Sayanova laughs. The shelves, sofa, armchairs and chairs located around the perimeter of the room are all occupied by nesting dolls, which clearly do not fit in the cramped space. Those that didn’t fit are piled on the floor; periodically some naughty doll rolls from one pile to another. There is a table in the middle of the room, with freshly painted dolls lined up on it: they need at least two days to dry. I tiptoe through the matryoshka maze to get to a free corner of the sofa. A thick matryoshka doll falls from the top shelf of the closet, a centimeter from my head. The owner picks it up with the words: “Look how beautiful it is, I won’t sell it to anyone!” For coloring dolls the women of Polkhovsky Maidan spend more time than their husbands on turning dolls. First, the linen is covered with a layer of starchy glue, which holds the gouache well. Then the contours of the drawing are drawn, the doll’s face is painted first. The local craftswomen paint the rest of the nesting doll quickly, according to a proven pattern. Different backgrounds for the head and body, large flowers or berries on the apron and individual brush strokes, polka dots or curls on the scarf. It turns out a bright doll a la Russian. In the past, half-Maidan dolls were distinguished by dark curls of curly hair and flowers with four petals. Now these features are gone, and from characteristic features All that remains is the depth of color, which is achieved by layer-by-layer application of paint. So, to paint green flowers, Anna Sayanova makes them blue and immediately covers them with yellow. Maidans usually don’t have time for artistic painting of dolls - customers from Nizhny Novgorod and Moscow require high productivity. The works of several talented craftswomen who prefer finer painting cost three to five times more, but trading them is unprofitable due to low return on investment. “Connoisseurs of skillful and expensive work are rare; usually people just want a souvenir,” says Anna. “But our turners are the most skilled.” And he invites me to his brother, Valery Sentyurev, who is considered one of the best craftsmen in the village. In the house of Valery Sentyurev or, “streetwise”, Ryzhova - here every resident has an unofficial second surname - the wife and 18-year-old daughter paint the little dolls. Maria is a correspondence student at one of the Nizhny Novgorod institutes and has no plans to study matryoshka after her studies. Valery leads me into the workshop, through the backyard, where the stables are located. Sentyurev is the only turner in Polkhovsky Maidan who goes to the forest to get firewood the old fashioned way - on a horse. Other families do this by car or buy ready-made logs from resellers. In the workshop, on a machine, Valery grinds out a 10-centimeter doll in less than a minute (here, when making a nesting doll, they start with the smallest ones). Thin walls and a smoothly polished inside of the toy are considered signs of craftsmanship. Now Valery Sentyurev has an employee, and things are going well, but he is not optimistic about the future. “I believe that the fishery is dying, it is becoming unprofitable,” says Valery. – Now plastic toys have become cheaper and more interesting, children don’t need nesting dolls, and every year there are fewer and fewer buyers. The purchase of souvenirs is now also on the decline - other countries are already fed up with our nesting dolls. I don’t want my daughter to do this all her life; it’s good that she went to college.” Alas, most adult residents of Polkh-Maidan share Valery’s opinion. The demand for wooden toys falls, and the matryoshka becomes what it was originally - a rare piece of art. “Nowadays, urban culture all over the world is replacing rural culture,” says art critic Natalya Kvach. – This happens not only with the matryoshka doll, and nothing can be done about it. Folk crafts are slowly dying out and becoming an expensive hobby.” IN high school Polkhovsky Maidan, where I went at the end of my trip, younger guys, when asked what they are going to become, joyfully answer that they want to sharpen and paint dolls, but teenagers, on the contrary, are determined to leave the village for the cities or found another, more profitable business. “Almost all of our children are now entering universities or technical schools,” says a local mathematics teacher. “We insist that they study.” Despite the warm welcome, I leave Polkhovsky Maidan with sadness: it’s sad to realize that in 10–15 years the culture of nesting dolls will disappear forever, and this small, original village will turn into another faceless village. P.S. At the Izmailovsky vernissage on a cold May day, I make my way through the rows of Pavloposad shawls, Tomsk birch bark and Kaliningrad amber to the counters of nesting dolls. Trade is going on briskly here, despite the cold that is not at all like May and the unexpected snow that has fallen. Already distinguishing between Semenov and Kirov nesting dolls, I stop in front of the rows of half-Maidan dolls to watch how my friends are trading. You can’t hear the standard sayings that were told in the village: the unsmiling saleswomen are silent, disgruntledly shaking off the snow from their goods. In three minutes, Maidan nesting dolls-fives (with five dolls) are bought by an Indian and an Englishman. Several Chinese tourists pass by me and one of them asks in English: “Which matryoshka doll is the most Russian, can you help us?” I know that the painting of Semenovsk craftswomen is more skillful, but I want to help my friends: “There, bright, with big flowers,” I answer, and it flashes in my head: although the nesting doll craft is doomed, they certainly didn’t come up with the nesting doll in vain. After standing a little longer, I go to the exit, taking one last look at the sheet of paper pinned to the counter, wet from the rapidly melting – May, after all – snow. On it I read: From Russia with love - “From Russia - with love.”

The production of famous toys with bright, intricate paintings originates in the village of Polkhovsky Maidan, Voznesensky district, Nizhny Novgorod region.

At the end of the 18th century, many peasants adopted the turning trade from the monks of the Sarov Monastery, who produced wooden utensils in their own workshops. At the beginning of the twentieth century, in Polkhovsky Maidan they began to use “burning out” of turning products.

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For the first time, in the middle of the 19th century, a burning apparatus was brought to the village by the artisan peasant Polin Pavel Nikitich. The device itself ran on gas fuel (there was no electricity). I liked the idea of ​​making an outline using burning and it stuck.

Guide to Russian Crafts, CC BY-SA 3.0

From the beginning of the 1920s, apparently under the influence of similar products of 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 was replaced by more economical and easy-to-use ink.

Guide to Russian Crafts, CC BY-SA 3.0

Changes to the painting

With the use of oil and glue paints, the range of painted products has expanded. This type of artistic painting existed from 1928 to 1934. Until 1914, toys were not painted with anything at all.

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Since 1916, they began to apply firing, and since 1931, oil dyes. Since 1933, the village began to paint dishes with aniline dyes, which are brighter than oil and glue dyes.

Artel "Red Dawn"

In 1928–1930 In Polkh-Maidan, the Red Dawn artel was formed from individual craftsmen. At the same time, an original artistic and decorative system was developed and the main specific techniques of local painting were identified.

Guide to Russian Crafts, CC BY-SA 4.0

These techniques received well-established local names: “flowers with outline” - flower painting is outlined with a clear black outline; “flowers without outline” - the design is drawn on the background without a linear outline; "oil" technique - painting with oil or nitro paints on a dull colored background, "variegation" - the simplest brush painting with strokes or dots.

Krutetsky masters

In 1960, the artel was transformed into the Polkh-Maidan Toy Factory. At the same time, the production of similar turned painted objects began in the village of Krutets, located a few kilometers from Polkh-Maidan.

Guide to Russian Crafts, CC BY-SA 4.0

Using experience, turning forms and painting techniques from neighbors, Krutets masters introduce minor changes. For example, their nesting dolls are more rounded in shape, and in the painting of tableware, preference is given to plot motifs.

Association "Polkh-Maidan Painting"

In 1972, in the regional center of Voznesenskoye, on the basis of a toy factory, the production and artistic association “Polkh-Maidan Painting” was created, where artists who had undergone professional training work.

Despite this, the fishery continues to exist mainly on the basis of family organization of production. Men are engaged in the production of turning “linen”, and women do painting. The products produced by the association are more souvenir in nature, their painting is more monotonous, and the design is less free than in the works of artisans.

Guide to Russian Crafts, CC BY-SA 4.0

The orientation of the Polkhov-Maidan and Krutets craftsmen to the market required constant updating of forms and techniques for decorating products. Since the early 1980s. Floral painting on a background burnt with a blowtorch begins to be widely used.

Guide to Russian Crafts, CC BY-SA 4.0

Contemporary events find a lively response in the subjects and themes of the painting. Today, this unique craft continues to develop according to the natural laws of folk art.

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Authentic matryoshka dolls from Polkh Maidan can be purchased at the Russian Crafts store.

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Polkhov-Maidan painting

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Red flower of Polkhov-Maidan

To this day, the village remembers the legend that in ancient times, in the army of Stepan Razin there was a leader named Alena, a former peasant woman from near Arzamas.

The rebellious ancestors of the half-Maidan artisans also fought in her detachment. Near the village of Temnikov, in Mordovia, Alena was captured and, on the orders of Prince Dolgoruky, burned at the stake.

In the place where the peasant chieftain died, a scarlet rose hip grew and blossomed. So, supposedly, the masters of Polkhovsky Maidan transferred that same rose to their painted toys.

Cracker toys

Local craftsmen call their products with the funny word “Tararushki”. This means toys (from the words: chatter, chatter, i.e. chatter, joke).

Turning products of the masters of this craft - nesting dolls, Easter eggs, mushrooms, salt shakers, cups, supplies - are generously decorated with rich ornamental and plot painting.

Among the pictorial motifs, the most common are flowers, birds, animals, rural and urban landscapes.

Features of the painting

The souvenirs and nesting dolls that are produced here differ from all known ones in their extraordinary brightness and originality. In painting tararushki and souvenirs, Polkhov-Maidan masters use a variety of techniques: “flowers”, “grasses”, “variegation”, “houses”.

Unscientific roots of the nesting doll

Polkhovsky Maidan is interesting primarily because it became one of the first villages where matryoshka production turned into a large-scale industry.

The history of Polkh-Maidan is the history of the nesting doll itself. In the 1920s, local woodturners who had been making wooden utensils and toys since the 18th century learned about a profitable idea from a neighboring village: there, a decorated doll was already put into production. And the Semenovites, in turn, adopted the idea from Sergiev Posad.

Separately about the matryoshka

Polkhov-Maidanskaya is different from its “sisters”. This is noticeable in its shape - the head is slightly flattened, itself more elongated and slender.

Bright colors are used in painting. Now they have moved away from tradition a little, but the classic Maidan matryoshka doll was drawn without handles. They seem to be covered with a scarf. Researchers believe that this is due to the influence of Old Believer culture. In those places, as is known, there have long been settlements of Old Believers. Therefore, the nesting doll is beautiful, but “modest”.

Nowadays

Nowadays, fishing traditions have changed under the influence of time and demand. The village practically lives by making souvenirs. The designs on products are no longer just traditional.

From early childhood, “Maidans” - as they call themselves - are involved in a difficult craft. At school, during labor lessons, from the first grade, girls paint, boys carve.