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, which consists 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 collected and finished 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 the Dymkovo toy a 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. IN color scheme prevail White background and a red main pattern. Yellow and green colors backgrounds are accompanying. 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 of Sergiev Posad craftsmen, Polkhov-Maidan dishes began to be covered with scorched contour 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. The village of Mstery, 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 plots Palekh miniatures 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 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, view applied arts. 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. Predominantly soft brownish-gray and light blue colors. 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 centuries: romantic landscapes, genre scenes, bouquets of flowers framed by stamped designs 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 technique traditional for this region is also widely used - 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, there is an artificial one - a tarsus.
29. Ural stone carving. All pre-revolutionary big cities Ural. Even private production is flourishing in many villages. TO 19th century A certain style of Ural stone carving has developed, and a permanent canon for the manufacture of elements in compositions appears. For example, leaves and roots were made from serpentine, Zlatoust jasper, ophite, and, less commonly, malachite. Each berry had its own stone. At the end of the 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. There is 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 drawing is very rich, with much more thick 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. Focuses on custom 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 measuring laces Kirov region They 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. A 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 scarves . 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.

Since time immemorial, a special form of creativity—“craft” or “crafts”—has occupied an important place in the life of the Russian people. She combined the production of everyday household items with highly artistic methods of making and decorating them. Russian crafts reflect the diversity of historical, spiritual and cultural traditions of our people, some of which originated centuries ago. Products of Russian crafts express the distinctive features and uniqueness of Russian traditional culture. Researchers classify painting of dishes and other household items, pottery, blacksmithing, and more as Russian folk crafts.

Gzhel painting

Since ancient times, dishes and other household items made from ceramics have been widely known in Rus'. One of the most famous settlements in Rus', whose residents were engaged in the manufacture of ceramic porcelain tableware, is Gzhel (now the city is located in the Ramensky district of the Moscow region). Since the 17th century, and even earlier, Gzhel has been a famous center for the production of porcelain and ceramics. The products of local craftsmen are distributed throughout Russia. It should be noted that in the old days this city was one of the centers of the Old Believers-Priests. The heyday of Gzhel occurred during the activities of the Partnership for the Production of Porcelain and Earthenware Products M.S. Kuznetsov" at the end of the 19th - beginning of the 20th centuries.

The formation of the Gzhel color palette familiar to us dates back to the beginning of the 19th century. Researchers point out that since the 1820s, an increasing number of Gzhel products were painted in White color and painted exclusively with blue paint. Nowadays, painting done in blue is characteristic feature Gzhel products. The popularity of such dishes turned out to be so great that similar products began to be created in other areas, but they had a similar blue and white ornament. Many fakes also appeared.

Experts say that only original works that shaped the familiar Gzhel style in the 80s of the 20th century can be called authentic Gzhel products. These are works by such artists as Azarova, Denisov, Neplyuev, Fedorovskaya, Oleynikov, Tsaregorodtsev, Podgornaya, Garanin, Simonov and others. Each of these craftsmen puts a personal signature or stamp of the company where they work on the product. If the master is an employee of the enterprise, then his products are transferred to manufacturing facility for replication purposes.

Zhostovo painting

In the middle of the 18th century, in the Urals, where the metallurgical plants of the Demidovs were located, the new kind fishing. Local craftsmen began to paint metal trays. It is interesting that such workshops appeared in cities where a considerable part of the population were Old Believers, who still have prayer houses and churches there. These are Nizhny Tagil, Nevyansk and Vyysk, founded in 1722. This is how the so-called Tagil trays appeared. The Demidov industrialists, who oversaw this craft, were very concerned about the quality and artistic value of the products. In order to educate and train professional personnel, they founded a school in 1806. Historical style Tagil trays were created thanks to this school and its most authoritative teacher - a graduate of the Imperial Academy of Arts V.I. Albychev.

Painted Tagil trays were sold throughout the country. They began to try to produce similar products in other places. The most successful such attempt was the organization of the production of painted trays in the village of Zhostovo, Moscow province. The trays made there became famous in the first half of the 19th century. Since then, this type of craft has received the name “Zhostovo painting”. To this day, the craft of tray painting has survived only in Nizhny Tagil and Zhostovo. Painting is done mainly on a black background (occasionally on red, blue, green).

The main motives for painting are: flower bouquets, both lush garden and small wildflowers; Ural landscapes or ancient cities. On some antique trays you can see people and fabulous birds. Painted trays are used either for their intended purpose (for a samovar, for serving lunch) or for decoration. According to their shape, trays are divided into round, octagonal, rectangular, and oval.

Palekh miniature

After the October Revolution and the beginning of persecution of religion, Palekh icon painters had to look for a new way to earn money. Thus, many retrained as masters of lacquer miniatures. This type of miniature is made using tempera on papier-mâché. As a rule, boxes, caskets, capsules, brooches, panels, ashtrays, needle cases and more are painted. The painting is done in gold on a black background. The original technology of the last century, which was used by the first Palekh craftsmen in the 1920-30s of the 20th century, has been partially preserved. The characteristic subjects of Palekh miniatures are borrowed from everyday life, literary works of the classics, fairy tales, epics and songs. Many stories are devoted to historical events, including revolution and civil war. There is a series of miniatures dedicated to space exploration. WITH beginning of the XXI century, among some masters working in the Palekh manner, there is a tendency to return to icon-painting subjects.

Fedoskino miniature is another type of traditional Russian lacquer miniature painting. Made with oil paints on papier-mâché. Unlike the Palekh miniatures, the techniques of which came from icon painting, the Fedoskino miniature was initially formed as a type of applied art, hence the more “down-to-earth” style of painting. Fedoskino miniatures originated at the end of the 18th century in the village of Fedoskino, Moscow province. The main motifs of the miniature: “troikas”, “tea parties”, scenes from the life of peasants. The most highly prized were caskets and caskets that were decorated with complex multi-figure compositions - copies of paintings by Russian and Western European artists.

In the 19th century, Fedoskino miniatures served mostly decorative purposes. In the middle of the 20th century, the author's direction began to develop. The plots of the miniatures began to become more complex.

Khokhloma

Nizhny Novgorod decorative Khokhloma painting is known throughout Russia. The fishery originated in the 17th century in the village of Khokhloma. It is located on the territory of the former Semenovsky district of the Nizhny Novgorod province, famous in ancient times for large Old Believer monasteries, such as the Sharpansky and Olenevsky monasteries. It is no coincidence that in the famous novel by Andrei Melnikov (Pechersky) the Old Believers of Semenovsky district are engaged in the manufacture of wooden utensils. We did this in Khokhloma as well. Khokhloma masters nevertheless became known throughout Russia for their unusual, bright paintings. They painted wooden dishes and furniture. The colors mainly used were black, red, gold, and sometimes green.

To achieve the golden color characteristic of Khokhloma, local craftsmen apply silver tin powder to the surface of the product when painting. After this, they are varnished and processed three or four times in the oven, which achieves a unique honey-golden color, which gives the light wooden utensils a massive effect.

Thanks to this technology that creates an unusual color, Khokhloma has become popular all over the world. Plates and spoons made in this style began to be perceived in the 20th century as a symbol of Russian national tableware.

Gorodets painting appeared in the mid-19th century in the area of ​​the ancient city of Gorodets, Nizhny Novgorod province. Through the efforts of the Old Believers, Gorodets became a center of wooden shipbuilding and grain trading with all-Russian fame. Old Believers merchants donated significant sums for the construction of churches, the maintenance of hospitals, orphanages, public education and the improvement of the city.

Gorodets painting is bright and laconic. The main themes of the painting are scenes from fairy tales, figures of horses, birds, flowers, peasant and merchant life. The painting is done with a free stroke with a white and black graphic stroke. Gorodets painting decorated spinning wheels, furniture, shutters, doors, chests, arches, sleighs, and children's toys. This is what V.S. says. Voronov about Gorodets painting: “The Nizhny Novgorod style presents us with the purest version of genuine pictorial art, which has overcome the framework of graphic captivity and is based exclusively on the elements of painting...”.

Mezen painting

Mezen painting on wood (palashelskaya painting) is a special type of painting of household utensils, in particular spinning wheels, ladles, boxes, bratins, which developed towards the end of the 19th century in the lower reaches of the Mezen River. Since ancient times, these places, like the entire seaside region, were inhabited by Old Believers. And from December 1664 to February 1666, Archpriest Avvakum was in exile in Mezen itself. The oldest surviving spinning wheel with Mezen painting dates back to 1815.

Artistic motifs of Mezen painting can be found in handwritten books of the 18th century, which were made in Pomerania. The main colors of Mezen painting are black and red. The main motifs of geometric patterns are discs, rhombuses, and crosses. The painted object was covered with drying oil, which protected the paint from being erased and gave the product a golden color.

At the end of the 19th century, Mezen painting was concentrated in the village of Palashchelye, where entire families of craftsmen worked: the Aksenovs, Novikovs, Fedotovs, Kuzmins, Shishovs. In the mid-1960s. Mezen painting was revived by the descendants of the old Palashchel masters: F.M. Fedotov in the village of Palashchelye and S.F. and I.S. Fatyanovs in the village of Selishche. The exhibition of Mezen spinning wheels in 2018 became the first event in the newly opened museum named after. Gilyarovsky, in Stoleshnikov Lane in Moscow.

Vologda lace is a Russian craft that originated in the Vologda region in the 16th century. The lace is woven using bobbins (wooden sticks). As a separate craft with its own characteristic features Vologda lace was already known in XVII-XVIII centuries. However, until the 19th century, lace making was a home craft, primarily practiced by private craftswomen. With the increasing popularity of Vologda lace, the production of products was put on stream. In the 19th century, lace factories appeared in the vicinity of Vologda.

All main images in interlocking Vologda lace are made with dense, continuous braid of the same width. For the production of Vologda lace, a cushion cushion, juniper or birch bobbins, pins, and splinters are used. A typical material for Vologda lace is linen. The subjects of Vologda lace are very different - from floral ornaments to figured compositions. In Vologda lace you can find Christian and ancient folk symbols.

Yelets lace is no less famous. It is plaited using bobbins. This type of lace originated in early XIX century in the city of Yelets. The lace is distinguished by the soft contrast of a small pattern (floral and geometric) and a thin openwork background.

It is believed that Yelets lace is lighter and more elegant than Vologda lace.

Mtsensk lace is a type of Russian lace that is woven using bobbins. Mtsensk lace appeared in the city of Mtsensk, Oryol region, in the 18th century. This became possible thanks to the local landowner Protasova, who gathered craftswomen from different corners Russia and founded the manufactory - the largest lace production in Russia at that time.

A distinctive feature is the use of geometric motifs. Compared to Vologda lace, the pattern in it is less dense and rich, as experts write - more “airy”.

At the beginning of the 18th century, craftswomen engaged in making lace appeared in the Vyatka province. However, lace production acquired an industrial scale only in the second half of the 19th century. This craft is carried out by peasant craftswomen. In 1893, in the settlement of Kukarka, Yaransky district, Vyatka province, a zemstvo school of lacemakers was organized. The shapes of the products are varied and sometimes unusual: these are vests, braids of scarves, collars, napkins with patterns in the form of butterflies, lush flowers, and whimsical loops.

The most interesting products made from Vyatka lace were created in Soviet times. These achievements are associated with the name of the famous lace artist, laureate of the State Prize of Russia named after Repin Anfisa Fedorovna Blinova. Her works are in the Tretyakov Gallery, the Russian Museum, the Russian Art Fund, and the Moscow Research Institute of the Art Industry.

During the economic crisis of the 90s of the 20th century, the lace factory located in the city of Sovetsk (former settlement of Kukarka) was closed. Only quite recently, in 2012, the Kukarskoe Lace production cooperative-artel was created in the city, little by little reviving the traditions of the ancient craft.

Orenburg downy scarf is a knitted scarf made from the unique down of Orenburg goats, applied to a special base (cotton, silk or other material). This fishery originated in the Orenburg province in the 18th century. The products are very thin, like cobwebs, but they usually have a complex pattern and are used as decoration. The thinness of a product is often determined by two parameters: whether the product fits through a ring and whether it fits in a goose egg.

In the middle of the 19th century, down scarves were presented at exhibitions in European countries, where they received international recognition. Repeated attempts have been made, including abroad, to open production of such fluff for the needs of light industry. However, they were not successful. It turned out that to obtain such fine and warm fluff from goats, rather harsh climatic conditions and a certain diet are necessary, the combination of which is possible only in the territory of the Orenburg region.

In the middle of the 19th century, in the city of Pavlovsky Posad, woolen scarves with a so-called printed pattern, which was applied to the fabric using forms with a relief pattern, began to be produced. Pavloposad shawls are traditionally black or red with a voluminous floral pattern.

In the 70s In the 19th century, the palette of scarves familiar to us was formed, and the range of scarves with naturalistic floral motifs expanded. Craftswomen prefer images of garden flowers, primarily roses and dahlias.

Until the 1970s, the design was applied to the fabric using wooden carved forms: the outline of the design was done with “manners” boards, and the design itself was used with “flowers.” The creation of the scarf required up to 400 overlays. Since the 1970s, dye has been applied to fabric using silk and nylon mesh templates. This allows you to increase the number of colors, the elegance of the design and improves the quality of production.

Krestetsky stitch (or Krestetsky embroidery) is a folk craft that has developed since the 1860s in the Krestetsky district of the Novgorod province, inhabited since ancient times by Old Believers. Krestetskaya stitch is the most labor-intensive and complex stitch embroidery technique.

Embroidery was done on linen fabric, and the threads, warps and weft were cut and pulled out of the fabric, forming gaps like a mesh. This fabric was used to create a variety of patterns and embroideries. Krestetsk embroidery was used to decorate items of clothing, curtains, and towels.

Kasli casting - artistic products (sculpture, lattices, architectural elements, etc.) made of cast iron and bronze, produced at an iron foundry in the city of Kasli. This plant was founded in 1749 by the Old Believer merchant Yakov Korobkov, who arrived here with his family from Tula. He was guided by the decree of Peter I, which read: “ It deigns to everyone and everyone, is given the will, no matter what rank and dignity, in all places, both on their own and on foreign lands, to search for, melt, cook, clean all kinds of metals and minerals».

The majority of the plant’s workers were also Old Believers who arrived from different places in the Ural land, where persecution of the old faith was not so noticeable.

The traditions of Kasli casting - graphic clarity of the silhouette, a combination of carefully finished details and generalized planes with an energetic play of highlights - developed in the 19th century. During this period, the plant's owners recruited new talented sculptors, artists, chasers and moulders. Kasli casting products received the Grand Prix award at the prestigious Paris World Exhibition of Applied Arts in 1900.

Shemogodskaya slotted birch bark, which originates in the Vologda region, has become especially popular. Birch bark, despite its apparent fragility, is a fairly strong and durable material. Vologda craftsmen make a variety of baskets, dishes, accessories, jewelry and even shoes and clothes. The peculiarity of these products is that natural plant patterns, leaves and berries, flowers and stems, animals and people are intertwined with the traditional pattern.

Traditional patterns of Shemogodskaya slotted birch bark are engraved on birch bark sheets with a blunt awl and cut with a sharp knife, removing the background. Sometimes it is placed under the openwork colored paper or another layer of birch bark; the carving is complemented by embossing. In the 19th century, these products were nicknamed “birch bark lace.”

In Soviet times, products made from Shemogodskaya slotted birch bark were considered a symbol of the Russian forest and were in demand among foreigners. At the same time, a birch bark carving workshop was organized at the Shemogodsky furniture plant (Vologda region). And these days, not a single Russian fair is complete without birch bark dishes.

This Russian craft originated among professional Nizhny Novgorod woodcarvers. As the main raw material, craftsmen use the tubular bone of cattle - the “tarsus” and horn. Also, rarer and more valuable types of mammoth and walrus bones are used to make expensive types of products.

Varnavin bone carving is used mainly in the manufacture of women's jewelry (hairpins, combs, hairpins, combs, brooches, pendants, beads, necklaces, pendants, bracelets, earrings, rings, rings), caskets, caskets, fountain pens, decorative dishes and other souvenirs. The peculiarity of such products is their absolute uniqueness and individuality. Each item is made by hand, without any patterns or stamps.

Abramtsevo-Kudrinskaya carving is an artistic craft of wood carving that was formed at the end of the 19th century in the vicinity of the Abramtsevo estate near Moscow. This technique was used to make ladles, dishes, vases and boxes, as well as any home decor and household items. The peculiarity of these products is the predominance of various curls, rosettes, twigs, tinting and polishing of the wood.

This fishery flourished in Soviet period time - 20-40s. Workers from the Kudrin artel “Vozrozhdenie” even received orders from the Tretyakov Gallery. Historical and modern products made in the style of Abramtsevo-Kudrin carving were presented at the international exhibition in Paris in 1937. After the collapse of the USSR, the Kudrin carving factory was closed. Today the fishery is preserved thanks to the work of private craftsmen.

The history of Gusev crystal began in 1756, when the Oryol merchant Akim Maltsov founded the first Glass factory. The first mentions of the Gussky volost date back to XVII century. When a ban was imposed on the construction of glass factories in the Moscow region due to excessive deforestation, the first crystal factory was built in the village of Gus on the river of the same name, the craftsmen for which were specially brought from Mozhaisk. Thus began the history of not just production, but an entire folk craft that continues to flourish to this day.

Now the plant is primarily famous for its art glass. Gusev's artists, taking into account the characteristics of the material, give it highly artistic expressiveness, skillfully using color, shape, and decoration.

Filigree

Filigree (or filigree) is a jewelry craft that uses an openwork or soldered pattern of thin gold, silver, etc. on a metal background. wire. Elements of a filigree pattern can be very diverse: rope, lace, weaving, herringbone, track, satin stitch. The individual filigree elements are joined into a single whole by soldering. Filigree is often combined with grains - small metal balls that are soldered into pre-prepared cells (recesses). The grain creates a spectacular texture and play of light and shade, thanks to which the products acquire a particularly elegant, sophisticated look. The materials for filigree products are alloys of gold, silver and platinum, as well as copper, brass, cupronickel, and nickel silver. Jewelry made using the filigree technique is oxidized and silvered. Filigree is often combined with enamel (including enamel), engraving, and embossing. Filigree items were produced in royal or monastic workshops. In the 18th century, large filigree items were made; along with stones, crystal and mother-of-pearl were widely used. At the same time, small silver items became widespread: vases, salt shakers, and boxes. Since the 19th century, filigree products were already produced by factories in large quantities. This includes expensive dishes, church utensils and much more.

The centers of scanner work today are:

• The village of Kazakovo, Vachsky district, Nizhny Novgorod region, where the artistic products enterprise is located, which produces unique jewelry products using the ancient technique of artistic metal processing - filigree.
• The village of Krasnoe-on-Volga Kostroma region, here is the Krasnoselsky School of Artistic Metalworking, the main task of which is to preserve the traditional Krasnoselsky jewelry craft - filigree, enamel, embossing and more.
• The city of Pavlovo, Nizhny Novgorod region, where the technical school of Russian folk arts and crafts is located.

Enamel

Enamel is the production of works of art using glassy powder and enamel on a metal backing. 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, adding gold gives glass a ruby ​​color, cobalt gives it a blue color, and copper gives it a green color.

Vologda (Usolskaya) enamel - traditional painting on white enamel. The fishery originated in the 17th century in Solvychegodsk. Later they began to engage in similar enamel in Vologda. Initially, the main motif was plant compositions painted on a copper base: floral patterns, birds, animals, including mythological ones. However, at the beginning of the 18th century, single-color enamel (white, blue and green) became popular. Only in the 1970s of the 20th century did the revival of “Usolskaya” multicolor enamel by Vologda artists begin. Production continues today.

There is also Rostov enamel - a Russian folk art craft that has existed since the 18th century in the city of Rostov the Great Yaroslavl region. Miniature images are made on enamel with transparent fireproof paints, which were invented in 1632 by the French jeweler Jean Toutin.

Malachite products

Malachite is a green mineral with rich hues that lends itself well to processing. The stone can be from light green to black-green, and the first craft dates back more than 10 thousand years. Dense varieties of malachite with good color and beautiful design are highly valued, they have been used since the end of the 18th century for cladding flat surfaces. Since the beginning of the 19th century, malachite has been used to create three-dimensional works - vases, bowls, dishes.

Malachite became widely known outside Russia thanks to orders from the World Exhibition in London in 1851, prepared by. Thanks to the Demidovs, since the 1830s, malachite began to be used as a material for architectural decoration: the first malachite hall was created by order of P.N. Demidov by architect O. Montferrand in a mansion in St. Petersburg on the street. B. Morskaya, 43. Luxurious interior works with malachite were performed in St. Isaac's Cathedral. Malachite is also used to make jewelry.

The technique of cladding with malachite is called “Russian mosaic”. It is based on the principle that was used by European craftsmen to reduce the cost of lapis lazuli products back in the 17th century: thinly sawed stone plates cover the surface of an object made of metal or cheap stone. This creates the illusion of a monolith carving.

The tales of the Russian writer Pavel Petrovich Bazhov, who began his career as a teacher in a school in the remote Ural village of Shaidurikha, inhabited by Old Believers, are dedicated to the malachite trade. The writer learned a lot from them interesting stories and legends associated with life in the Urals and folk customs of the local population.

If you love crafts and want to learn a new artistic technique, read our article on how to learn how to draw Khokhloma. Try to make the simplest option - a cutting board. It is not difficult to make, since the entire drawing is done on one flat surface. Step-by-step drawing tips will allow you to make beautiful gift in hand-made style.

Types of folk crafts and paintings

Russian regions are rich and diverse both in their landscapes and in their customs and traditions. Many places even have their own dialect. All this shaped the culture of every corner of our country. For a long time, different traditions of folk crafts have developed. The most famous include the following:

• Dymkovo, Filimonovskaya, Bogorodskaya toy;
• Gzhel ceramics;
• Vologda and Vyatka lace;
• Tula samovars;
• Rostov enamel;
• Msterskaya, Fedoskino, ;
• Zhostovo trays;
• Gorodets, Khokhloma painting.

Each of them is very original and unique, but they all reflect the culture and spirituality of the Russian people.

What to choose

If you do handicrafts and decide to do something based on folk motifs, Khokhloma painting is best suited. Step-by-step drawing will greatly facilitate the process of creating a souvenir. The choice of this particular technique is due to the fact that in this case it is easy to find a wooden base for decoration, no complex equipment is required, all materials are available and inexpensive.

What objects are decorated with Khokhloma painting

Traditionally, any household items made of wood were made in this style:

• spoons;
• nesting dolls;
• trays;
• dishes;
• caskets;
• chests;
• barrels;
• boxes;
• spinning wheels;
• handles and handles;
• vases;
• cutting and decorative boards.

IN modern version When interest in Russian folk motifs is high enough, Khokhloma painting sometimes appears on very exotic surfaces:

• fabric (for bed linen, for example);
• nails;
• keychains;
• lighters;
• screen and panels of a smartphone or laptop;
• body (tattoo and body art);
• cars (airbrushing);
• bags (paper and plastic).

Thus, almost any object can now be decorated with Khokhloma painting.

Samples on paper

If you are new to this business and are just starting to master the basics of drawing Khokhloma painting, it is better to practice on ordinary Whatman paper. As exercises for positioning your hand, choose simple elements: berries, leaves.

All of them are based on certain movements of the brush. Even if you later work on the finished pencil outline, the circles and curls should be even. It is better to do them in one go.

If you want to learn for a child, it is best to master this technique with him, also on paper. The same type of exercise in the form of leaves and berries quickly gets boring for children, so suggest depicting a round tray, plate, spoon or vase. Make the shape of the object yourself, and give your child the opportunity to decorate the object.

Learn to draw Khokhloma

Trial tasks on paper will take a different amount of time for everyone. It depends on your level of training. If you have some initial skills, you can quickly learn how to do circles, berries and curls. When you have mastered drawing elements of Khokhloma painting, you can start decorating specific items. At first, choose things that are simple in shape, preferably with a flat surface. These are the following objects:

• tray;
• table;
• chair;
• textile;
• phone or laptop panel;
• cutting board.

The last option is suitable for those who do not feel confident in their abilities. will take a lot of time. Non-standard application surfaces, such as silk, plastic, body for temporary tattoos, require special paints. A cutting board is a great gift option, beautiful and functional. It's quite simple to do.

Painting a cutting board step by step

To ensure that your first pancake doesn’t turn out lumpy, you need to think through everything in advance. Let's consider the preparatory activities.

Purchasing materials

Choose the right base. The shape can be round, rectangular, square, or complex carved. It is better if the board has a hole to hang it on a nail or hook. Avoid using plywood or untreated wood. The surface for applying the pattern must be smooth, without depressions, notches and burrs. The easiest way is to buy a high-quality base at a craft store. If this is not possible, but there is a board ready to size, properly treat the surface with sandpaper. If this is not done, all the unevenness will remain after applying the paint. They can interfere with the perception of the drawing and will interfere with drawing.

Pattern selection

Choose a suitable ornament motif. It doesn’t matter whether your Khokhloma painting will be simple or complex. Step-by-step drawing of each element will help you depict any object from a combination of twigs, leaves and berries to an exclusive bird of paradise. You just need to do everything piece by piece from simple to complex. Given the availability of computer technology, anyone can find the necessary image on the Internet, print it, for example, on film, and transfer the contours to a wooden base. It is more difficult to draw lines on a round surface. However, in this case, you can simplify your task by making several stencils of repeating elements.

Which color to choose?

You will need paints that are suitable for wood surfaces. The simplest and cheapest option is gouache. However, it does not form a waterproof surface once dry. It is necessary to add PVA glue to it, about a quarter of the volume of pigment, but not every color will respond well to this combination. It’s better not to take risks, but simply coat the finished product with transparent wood varnish. This will protect the drawing from moisture and other adverse factors. Another option is to use acrylic paints. They are waterproof and suitable for wood. Moreover, after such a layer has dried, you can even apply gouache on top. This means that the black background can be done with acrylic, and the pattern itself can be done with gouache.

Buy several brushes with fine tips. Squirrel, kolinsky and synthetic numbers from the first and above are suitable. The quantity and size depend on your design. You will need a thin brush in any case, and you can determine the maximum size visually depending on the planned design.

Let's get started

1. First, cover the surface of the selected pattern - black or gold acrylic, for example. If the drawing occupies almost the entire surface, and there is almost no background, you can paint in one layer, without first applying the background. Alternatively, you can pre-prime the wood with egg white.

2. After the background has dried, apply the lines of the ornament using a stencil or by hand. If you are confident in your abilities and have a paper sample in front of you, you don’t have to draw the contours, but do everything at once with a brush.

3. The next step is to complete the pattern. Here it is appropriate to propose several work schemes. The first option is to draw the ornament by compositional parts, for example, from the main element to the secondary ones. Another way is to paint by color: first all the red objects, then the golden ones, then the green ones. You can also choose the sequence of using brushes of different thicknesses, that is, first you paint large details with a large one, then medium ones, and finally, with a thin one, you draw small decor.

4. After drying, coat with clear varnish if necessary. A wonderful souvenir is ready.

You learned in more detail what Khokhloma painting is. Step-by-step drawing on the surface of any object will help turn it into a real masterpiece. Study, train, delight yourself, relatives and friends with wonderful handmade gifts.

Publications in the Traditions section

Mysteries of Russian painting patterns

Have Gzhel dishes always been blue and white, what traditional painting was born after the October Revolution, and why do painted boxes glow? We understand the secrets of folk art crafts.

Golden bowls. Khokhloma painting

Golden bowls. Khokhloma painting

Golden bowls. Khokhloma painting

The master began work by beating the baclush - he prepared wooden blocks (baklushi) from linden, aspen or birch. Wooden spoons and ladles, cups and salt shakers were made from them. Dishes not yet decorated with painting were called linen. The linen was primed and dried several times, and then painted in yellow, red and black tones. Popular motifs were floral patterns, flowers, berries, and lace branches. Forest birds on Khokhloma dishes they reminded the peasants of the Firebird from Russian fairy tales, they said: “The Firebird flew past the house and touched the bowl with its wing, and the bowl became golden.”.

After applying the design, the product was coated with drying oil two or three times, tin or aluminum powder was rubbed into the surface and dried in an oven. After hardening with heat, they acquired a honey hue and really shone like gold.

At the beginning of the 18th century, dishes began to be brought to the Makaryevskaya Fair, where sellers and buyers from all over Russia gathered. Khokhloma products turned out to be known throughout the country. Since the 19th century, when guests from all over Europe and Asia began to come to the Nizhny Novgorod fair, painted dishes have appeared in many parts of the world. Russian merchants sold products in India and Turkey.

Snow background and blue patterns. Gzhel

Snow background and blue patterns. Gzhel. Photo: rusnardom.ru

Snow background and blue patterns. Gzhel. Photo: gzhel-spb.ru

Snow background and blue patterns. Gzhel. Photo: Sergey Lavrentiev / Lori Photobank

Gzhel clay has been known since the time of Ivan Kalita - since the 14th century. Local craftsmen used it to create “vessels for apothecary needs,” dishes and children’s toys. At the beginning of the 19th century, factories appeared in the Gzhel volost that produced porcelain. The first enterprise here was founded in 1810 by merchant Pavel Kulichkov. At first, painting on porcelain dishes was colored, but in the middle of the 19th century, the fashion for blue and white Dutch tiles and Chinese porcelain of the same shades came to Russia. Soon the blue patterns on the snowy background became distinctive feature Gzhel painting.

To check the quality of porcelain, before painting, the product was dipped in magenta, a red aniline paint. The porcelain was painted an even pink color, and any crack was visible on it. The masters painted with cobalt paint - before firing it looks black. Using special techniques, working only with a brush and paint, the artists created more than 20 shades of blue.

Gzhel subjects are lush roses (they were called “agashkas” here), winter landscapes, scenes from folk tales. Children are sledding, Emelya is catching pike in the pond, villagers are celebrating Maslenitsa... After applying the design, the dishes were covered with glaze and fired. Pink products with black patterns took on their traditional look.

Luminous brooches and boxes. Fedoskino lacquer miniature

Luminous brooches and boxes. Fedoskino lacquer miniature

Luminous brooches and boxes. Fedoskino lacquer miniature

“When we organized the artel, for seven people we had only one collected works of Pushkin... This largely explains the fact that we wrote most of our miniatures based on Pushkin’s subjects.”

Alexander Kotukhin, miniaturist

In 1932 Palekh artists met with Maxim Gorky, who named the Palekh lacquer miniature "one of the miracles created October Revolution» . At his request, Ivan Golikov painted miniatures for the deluxe edition