Russian toys made of clay. Acquaintance with folk clay toys - abstract
Folk clay toy
3 class
Goals:
- Continue acquaintance with folk art (Dymkovo, Filimonovskaya, Kargopol, and Abashevskaya toys), introduce new ways of making some details.
- Develop cognitive interest, the ability to generalize and compare;
- Develop creative abilities;
- Develop independence and feelings of mutual assistance.
Forms of work: frontal individual.
Basic concepts: clay toy
Equipment: computer class, multimedia projector; screen, presentation, Internet access.
Practical significance
After getting acquainted with the types of clay toys, an excursion was organized to the village of Nizhnie Tavolgi near Nevyansk, which is famous for the production of ceramic products. Here they produce ceramics from local red clays, which are of good quality. Students, together with their parents, got acquainted with the entire process of making ceramic products, and were also able to try themselves as a potter. (Annex 1)
The file will be here: /data/edu/files/f1461659644.pptx (presentation)
During the classes:
I.Formulation of the lesson topic
Do you want to go to a fairy tale?
About a computer and bright colors?
Clay toy
We will dedicate the lesson
Computer techologies
We will connect with difficulty.
Students get ready to work. The topic of the lesson appears on the screen.
(Presentation, Slide 1)
IIIntroduction of new material.
Since ancient times, many cities and villages of Russia have been famous for the products of their potters. People began to sculpt from clay a long time ago. At first these were vessels. For strength, clay products were dried in the sun. But fire made the dishes durable, and people’s hands and imagination made them beautiful. A clay toy is a special type of folk art. It was sculpted everywhere where pottery was practiced. The master will get bored of making pots, and he’ll go ahead and make something like that for fun. Gradually, clay toys became an independent craft for ceramists and toy makers. Pottery is the name given to baked clay products. These are jugs, vases, plates, toys, figurines of people, animals, as well as various decorations.
In each area, toys had their own characteristics.
- Let's find out more about these toys.
Students watch a video presentation of the developed electronic lesson on the website https://ed.ted.com/on/tzJsIXFo
IIKnowledge update.
- What is a fairy tale without trials?
Answer the questions for the first task.
Students describe the toys, the area in which they are made, remember and name the craft. After this, a photo of the village appears on the screen, and then an image of the corresponding toys.
On the screen is a photograph with a view of Dymkov.
(Presentation, Slide 2)
| What are those toys called? What do they sell on Svistunya? (Dymkovo toy) |
|
On the screen is an image of a Dymkovo toy.
(Presentation, Slides 3, 4)
On the screen is a photograph with a view of Filimonov.
(Presentation, Slide 5)
On the screen is an image of a Filimonov toy.
(Presentation, Slides 6, 7)
On the screen is a photograph with a view of Kargopol.
(Presentation, Slides 8, 9)
On the screen is an image of a Kargopol toy.
(Presentation, Slides 10, 11, 12)
On the screen is a photograph of the village of Abashaev.
(Presentation, Slide 13)
| What are the names of the toys? What do they live in Abashaevo? (Abashaev toys) |
|
On the screen is an image of Abashaev’s toy.
(Presentation, Slide 14)
IIIRepetition of the features of clay toys from different crafts.
- Test two.
The computer has prepared for us
Description of toys,
You read carefully
Name of the fishery
Determine for yourself.
Students complete the second “Think” activity from the interactive lesson at https://ed.ted.com/on/tzJsIXFo#review
The task contains a description in poetic form of the main features of the toy and the names of four crafts. You need to read the task and write the answer in the empty window.
| 1.What kind of toys are painted like this? On the clothes of ladies and on animals - Dots, berries, circles, Wavy lines and curls. | |
| 2.A quill pen is not a brush!- Artists will take Christmas trees, stripes They will apply it to the toys. unusual flowers Combined into an ornament "Stars" and "suns" The skirts will sparkle. Symbols of earth and sun - Triangles and circle - Weaved into patterned inflorescences. In which toy will we find Are these features? |
|
| 3. Circles and lines, two-leaf strokes, Sun, diamonds and flowers It's fun to fit into a pattern, To intertwine in it "Herringbone" and "spikelet" Decorate a skirt or haystack. | |
| 4. There are no intricate patterns on the toys. Individual parts have a special color. They are covered with silver or gold. What is this fishery called? |
IVSample analysis
Look carefully at a sample of our toy.
Show sample.
(Presentation, Slide 15)
- What material will we use to make the toy?
- What properties does plasticine have in contrast to clay?
- What parts does the toy consist of? (Head, body, paws, tail)
- How are toys made?
(From a rolled out layer, by pulling from a whole piece, by rolling)
VWork planning
A. Modeling the body by rolling out the layer.
B. Using a piece of plasticine, we sculpt a dog’s head by stretching it out.
B. We sculpt the paws and tail by rolling.
D. We connect all the parts of the toy.
4. Safe work rules
Repetition of sanitary and hygienic rules.
VIPractical work
Mastering the technique of work (according to the instruction card).
(Presentation, Slide 16)
Torso
To sculpt the body, you will need a piece of plasticine with a flat cake shaped like a semicircle, from which it is then rolled into a cone.
Make a layer out of plasticine.
Using a plastic lid, measure its height 3 times. To determine the size of the semicircle.
Roll the semicircle into a cone.
Paws and tail
To sculpt the paws and tail you will need 1 piece of plasticine. We divide it into two parts: tail and paws. We divide a piece of plasticine for paws into two more halves (2 paws).
Preparation of other parts
Pay attention to the presence of ears.
2. Product assembly.
You can connect the parts in your own way. The dog's head can look up, its head can be hidden under its tail, etc.
VII. Lesson summary
Demonstration of the finished product
We will design and paint the toy during the drawing lesson. Now sign your toy and we will arrange an exhibition of your work.
Reflection
What centers of folk clay toys did you get acquainted with in the lesson?
Will you now be able to distinguish Dymkovo’s and Abashev’s, Filimonov’s toys from each other? By what signs?
What toy did we make today?
Did you like the lesson?
Students answer these questions in the interactive lesson in the section " Discussion » at https://ed.ted.com/on/tzJsIXFo#discussion
Evaluation of works:
Criteria:
Correct performance of work in accordance with the assignment and instructions received.
Creative approach to product execution.
Organization of the workplace.
Time spent on manufacturing the product.
Grading:
"5"- when all criteria are met;
"4"- taking into account the same requirements, but corrections and shortcomings in the work are allowed;
"3"- if the work is performed carelessly, but without violating the design of the product.
VIII. Homework.
1) Get acquainted with the products “Gzhel” and “Kalinin Toy” in an interactive lesson in the “Dig Deeper” section on the website https://ed.ted.com/on/tzJsIXFo#digdeeper
2) Find out the practical purpose of the product, which was performed during the lesson in the interactive lesson in the “And Finally” section on the website https://ed.ted.com/on/tzJsIXFo#finally
Folk clay toy
The folk clay toy is one of the components of the sculptural image. When working with folk clay toys, children gain skills that they use when creating other types of molded work, which makes the products more expressive both in design and design. The expressiveness of children's modeling depends not only on how much the child was able to convey the shape and proportions of the toy, but also on how he was able to decorate his work or sculpt the corresponding design elements of the figurine.
The folk toy opens up great opportunities for teaching children composition. It has a variety of performance styles. The ability to sculpt toys in different styles is possible only if the child fully understands the differences in the depiction of shapes and decorative ornaments. To do this, you need to more often introduce children to toys from different crafts, with their features, both sculptural and ornamental.
By showing children a toy, the teacher can direct the children’s attention to revealing the image from the point of view of its expressiveness. For example, when offering to sculpt a doll with a rocker - “Water Carrier”, the teacher tells what the figure represents, asks the children if they have seen how water is carried on rockers, then draws their attention to the plasticity of the form, analyzes the details of clothing, the position of hands, buckets, which swing funny on the rocker arms.
Almost all folk toys are monotonous in the way they are depicted. This must be taken into account when working with children. Thus, goats, horses, rams, deer and bears are depicted in one way: the body and legs are made from one piece. Birds are also depicted in the same way. Therefore, modeling techniques are shown only when children sculpt an object for the first time. The use of folk toys in the sculpting process can lead to the same type of work not only in the method of representation, but also in form. Therefore, toys should be selected in such a way that each character is presented in different versions. This will provide an opportunity to show children the variety of shapes, proportions, paintings and ways of depicting toys. It must also be remembered that folk toys are used only in the process of introducing children to the life around them.
Activities using folk art items help develop the mental activity of a small child. However, this is only possible if there is a systematic, systematic introduction of children to objects of folk art, as a result of which children create their own decorative works.
In Russia there are several centers for the production of traditional clay toys, and each of them has its own characteristics in sculpting and painting. The most famous are: Dymkovo, Filimonovsky, Kargopol and Kalinin toys.
Dymkovo toys.
The products of Kirov craftsmen surprise with their plastic shape, special proportions, and unusually bright patterns. Everyone likes lively, festive, magnificently sculpted and painted dolls of dandy ladies, goats, horses, roosters with painted tails. The fishery originated in the distant past. The earliest description of Dymkovo toys dates back to 1811. Its author is Nikolai Zakharovich Khitrovo. The description tells about the Vyatka folk holiday - “Svistoplyaska” (later it began to be called whistling), during which painted clay dolls with gilded patterns were sold.
Before the revolution, craftsmen worked in the village of Dymkovo alone and in families. They dug clay, mixed it with sand, kneaded it first with their feet and then with their hands. The products were fired in Russian kilns and then painted. Women and children took part in this work. The factory where Dymkovo toys are now made is located in the city of Kirov. Everyone knows the names of the famous masters of Dymkovo toys. This is A.A. Mazurina, E.3. Koshkina, 3.V. Penkina. The process of making a toy can be divided into two stages: modeling the product and painting it. Each craftswoman has the materials she needs at the moment. When sculpting, clay is placed on the tables in a plastic bag. The clay is local, from Kirov, very pleasant to work with due to its sculpting qualities. Craftswomen say: “Our clay is like butter.” In addition to the clay, on the table there is a basin with water, rags for smoothing the surface of the product and stacks. If the craftswomen are engaged in painting, there are paints, brushes in cups on the tables, and already fired and primed toys stand nearby.
When depicting a doll, craftswomen first make a skirt from a layer of clay, resulting in a hollow bell-shaped shape; the head, neck and upper part of the body are made from one piece, and the details of the clothing: ruffles, frills, cuffs, hats, etc. are sculpted separately and applied to the main form, calling them moldings. The craftswomen apply patterns onto the white surface of the product so deftly and confidently that you don’t have time to watch their hands.
The Dymkovo toy is very specific. There are traditions in creating its form and in its design, which are expressed, first of all, in staticity, splendor of forms and brightness of color. For example, in the composition “Mother with Children” the figure of a woman looks straight ahead, she seems to have frozen in this position. If you look closely at other toys depicting goats, roosters, bears, then this static quality is felt in them too.
Craftswomen strictly preserve and support the traditions established by previous masters, but each has its own characteristics in the work. Some dolls are tall and stately, while others are slightly smaller in size and wider in the shoulders. The curls of dandy ladies are styled differently, and the head turns of animals is different. The products also differ in color. Some masters work in warm colors: their predominant colors are ocher, red and orange; others - in cold ones - blue and dark blue. Some products are decorated with a dense network of ornaments, while others are covered with a pattern.
All products of Dymkovo craftsmen are distinguished by their cheerfulness and subtle humor (for example, “Scene at the Well” or “Dressed up dolls go to the market”), which especially attracts the attention of children: they like to look at the toys and listen to the teacher’s stories about where and how they are made.
Filimonov toys.
An equally famous folk craft is the village of Filimonovo, Odoevsky district, Tula region, where they make amazing clay toys. The village is located near deposits of good white clay. Perhaps this determined her craft (legend says that grandfather Philemon lived in these places, he made toys). The animals made by the artists differ in shape and painting. The toys are funny, whimsical and at the same time simple in execution and very expressive. The subjects of the Filimonov toy are traditional - peasant ladies, soldiers with epaulettes, dancing couples, horse riders; among animals - cows, rams, with tightly curled horns, a fox with a rooster, and mysterious creatures, the prototype of which is difficult to determine.
All toys have elastic bodies, long or short legs, elongated necks with small heads. These toys are difficult to confuse with any others, since they have their own traditions in the interpretation of shape and painting. For example, ladies have high bell-shaped skirts with an imperceptible expansion downwards; the upper part of the body seems smaller in comparison with the skirt. The small head ends in a tall, graceful cap. Funny toys depicting long-legged and elongated soldiers in characteristic costumes: a jacket at the waist and striped pants, which toys surprise with their imagination. So, among the toys there is a monster with the head of a deer. He has a chicken in his hands, a turkey sits on his back, and a chicken on his tail. Animal toys are cast with special plastic. Rams, cows and horses have small heads on elongated necks, and short legs give special stability to all figures.
All the toys are very funny and when there are a lot of them, it’s a holiday. The painting is bright, and the dominant colors are yellow, red, orange, green, blue and white. One can only be surprised how, by combining simple elements (stripes, arcs, dots, intersecting lines forming stars), craftswomen create amazing ornaments that beautifully fit on the skirts and aprons of the figures. The painting of toys is traditional: horses, cows and rams are painted with stripes, and human figures are painted using all the elements in a wide variety of combinations. The faces of the figures always remain white, and only small strokes outline the eyes, mouth, and nose.
A small child, first of all, sees fun in a Filimolov toy, fantastic images of an object that awaken his creativity. And where an adult thinks about determining the content of a toy, everything is clear to a child. He is not embarrassed by either the motley coloring or the imagination of the craftswomen regarding the conventional interpretation of the image. Filimonov toys, as a rule, are whistles and are designed for a child to play with them
Kargopol toys.
An interesting toy is the Kargopol one. Kargopol is an ancient Russian city surrounded by forest. Since ancient times, the inhabitants of this city and its environs have been engaged in pottery making. For the most part, they made pouring dishes, pots, krinkas, and bowls for sour cream. Some craftsmen made clay toys.
Research has shown that the modern Kargopol toy arose on the basis of home peasant pottery, which existed back in the 19th century in the village of Grinevo, located near Kargopol.
However, in 1930 artistic crafts fell into decline. Only the talented craftswoman U.I. Babkina continued to make toys. It is her products that exhibit the best features of folk toys. In 1967 Kargopol workshops for the production of clay painted toys were created. Among them, a large place is occupied by semi-fantastic images associated with pagan folk holidays, accompanied by music, dancing, and mummers. Whistle toys were an integral part of the holidays.
Next to the bright, sonorous colors of the Dymkovo and Filimonov toys, the plasticity of the figurines from this northern region may seem harsh. Images of people are given with psychological characteristics, so the viewer can imagine the life and way of life of local residents. In the toy we see a reflection of the village theme: peasant women with baskets or birds in their hands, dolls with spinning wheels, bearded men while working or relaxing. The Kargopol toy is also characterized by multi-figure compositions - cheerful threes with riders in a sleigh, dancing figures, boat rides and many other scenes accurately noted by the masters. The depiction of the characters' clothing is typical: women in sweaters and skirts, and sometimes in dresses, with a scarf or hat on their heads, men in caftans. Mostly the plots are dynamic, taken from life. Kargopol artists also love to depict animals: bear, hare, horse, dog, pig, goose and duck. Among the toys of this craft, you can also find those whose prototypes are associated with legends, for example. Polkan is a half-beast, half-man, two-headed horses and deer. The assortment of modern Kargopol toys includes plots on the themes of folk tales: “The Wolf and the Seven Little Goats”, “The Cat, the Rooster and the Fox”, etc.
The Kargopol toy is characterized by a convention in the interpretation of the image in form, proportions and coloring. All the figures are somewhat squat, with short arms and legs, an elongated body, a thick and short neck, and a relatively large head. Figurines depicting men always have a thick beard, which is made by pulling clay away from the general volume of the head. The female figures have skirts in the shape of low bells, which can give the impression of being squat. But since the dolls’ waists are elongated, this balances the figure, making it slender and monolithic.
Kargopol masters depict animals as thick-legged and sometimes dynamic, for example, a bear stands on its hind legs - the moment of attack; the dog has its paws spread and its mouth open; duck with outstretched wings and outstretched neck, ready to fly. As for the painting, its coloring is stern and restrained. However, now craftsmen are adding yellow, blue and orange colors to bring toys to life. They are used to decorate buttons, beads, and beaks of birds, and to highlight clothing. The main elements of the ornament are combinations of intersecting lines, circles, branches without leaves, Christmas trees, dots and stripes.
They sculpt toys in parts. The basis of the figure is the torso, which, together with the head, is attached to a pre-fashioned skirt. To depict male figures, legs and arms are attached to the body in the form of rollers. The joints of the parts are carefully smoothed out, the figures acquire plasticity. The molded products are dried for one to two weeks and fired in a kiln.
Both in shape and color, a modern toy is made more carefully; it has become more beautiful and brighter. But at the same time, her naivety was lost, which was the main charm of the samples of the old masters.
Among the masters who have brought the traditions of the old toy to our time, the most famous are U.I. Babkin and I.V. Druzhinin. Nowadays hereditary masters K.P. work in Kargopol. Sheveleva, A.P. Shevelev, S.E. Druzhinin. However, the images are based on old folk traditions.
Kalinin toys.
Craftsmen decorate the toy with moldings that are well connected with its basic shape. The bright enamel pattern beautifully complements the figures, lying on a brown background, since the product is not primed and the background is the color of baked clay. The toy is basically static, but there are swan birds with sharply turned necks and heads, which gives them special plasticity. Among the toys there are roosters, chickens, geese, swans, ducks and ducklings.
This initial activity leads children to understand that the work done can be decorated, it will become more interesting and beautiful. With age, children's familiarity with folk art expands, and therefore the tasks of decorating objects become more complex. Children begin to sculpt and decorate dishes, dolls, and animals with ornaments similar to folk toys. Gradually, they learn to select and combine decorative elements, create a pattern from them, and place it first on a flat and then on a three-dimensional object. All this, in turn, develops in children the need to create beautiful products and develops their artistic taste. Each locality created its own clay toys. The toys were distinguished by their sculpting and painting features.
Thus, folk toys, with their rich themes, influence the child’s design during modeling and enrich the idea of the world around him. In addition, children’s capabilities in plot modeling are expanded. Folk clay toys should be studied taking into account the age characteristics of children.
Introduction.
A toy is a subject of children's fun and entertainment and serves the purposes of mental, moral, physical and aesthetic education - the versatile development of children. The toy contributes to the child’s knowledge of the surrounding reality, develops his thinking and speech, and awakens creative initiative.
The history of folk toys begins in ancient times. It is connected with the creativity of the people, with folk art, with folklore. A toy is one of the most ancient forms of creativity; over the centuries it has changed along with its folk culture, absorbing its national characteristics and originality.
The main materials for making toys were clay and wood, and, starting from the first half of the 19th century, papier-mâché. They also made toys from tallow, moss, fir cones, and flax. Both clay and wooden toys were made in many places in Russia. Wooden toys were mostly made in the Moscow and Nizhny Novgorod provinces, clay ones - in Tula and Kargopol. The largest center of wooden toys has long been Sergiev Posad with its adjacent villages. The toys were dominated by genre images, figurines of ladies, hussars, and monks.
Another toy center that formed later was the village of Bogorodskaya, which became a large wooden toy industry. Bogorodskaya carving still occupies a significant place in decorative art. Bgorod toys are characterized by plot, group compositions, genre scenes, masters often use fairy-tale and historical themes. Many toys are made to move, which enhances their expressiveness. A large center for the production of wooden and children's toys was the Nizhny Novgorod province, in many of its districts - Gorodetsky, Semenovsky, Fedoseevsky - toys were cut and painted. The main plot of Gorodets toys is horses in carts. The coloring of these toys is close to the coloring of children's furniture, chests, which created the fame of Gorodets painting.
Of particular interest is the Dymkovo toy, named after the settlement Dymkovo, near the city of Kirov. The assortment of Dymkovo toys is extremely diverse: ladies, wet nurses, horsemen, hussars, fantastic birds and animals, multi-figure plot compositions. Simplified - the laconic plasticity of Dymkovo toys corresponds to the nature of its decorative painting, striking in its colorfulness and originality.
Clay toys of the Voronezh, Tula, Arkhangelsk regions differ in appearance from each other, but all of them are characterized by extraordinary clarity and simplicity of forms, beauty and fantasy.
From time immemorial, every nation has its own toys, which reflected the social way of life, way of life, customs and customs, technical and artistic achievements. Toys among many peoples, despite their differences, are largely similar in design, shape, and decor. And this happened because toys were born in labor, and a famous master and a simple peasant studied with one great master - nature. The child played in both the luxurious palace and the thatched hut. Some had a puddle of wooden chock wrapped in a rag, others had expensive, intricate, custom-made mechanical dolls.
The earliest toys were primitive, generalized, they were reduced images of surrounding things: toy tools, miniature dishes, rattles, whistles, horses, fish, birds, weapons - bows, swords, daggers, human figures. What were they made of? From branches, tree knots, fruits, flowers, bread crumbs, straw, clay, that is, from what the generous surrounding nature provided. These toys did not last long, they quickly broke and disappeared.
To make them more entertaining, our ancestors forced them to act: make simple movements, make sounds and noises, and painted them brightly and beautifully. An important role was assigned to the doll, since the person saw himself in it. She was a symbol of procreation, and playing with dolls was strongly encouraged by adults. There was even a sign that if children play with dolls a lot and diligently, then there will be profit and prosperity in the family, and if they are careless with their toys, there will be trouble. A “amulet” doll was placed in the child’s cradle, believing that it protected his peace and sleep. The doll also participated in adult rituals. In the old days, at a wedding, she, smartly dressed, with a scarlet ribbon in her braid, decorated the wedding table.
Symbolic dolls accompanied other peasant holidays and rituals. Maslenitsa was celebrated with a large straw doll, which was burned at the stake at the end of the holiday. By the feast of the Trinity, they made Semik and Semichikha from branches, planted them under a birch, danced around them, and at the end of the ceremony they drowned them in the river.
Such toys can be seen in local history museums. But there is a unique toy museum in Sergiev Posad, the collection of which contains toys from the most ancient to modern ones. It is no coincidence that the museum arose here, near Moscow, in Sergiev Posad. In pre-revolutionary Russia, it was one of the main centers for the production of toys. There were special craft workshops where masters of various professions worked: sculptors, carvers, painters, carpenters - after all, not one master, but several, began to make a toy.
A master of Korgopol toys lived in the village of Grinevo, his name was Ivan Vasilyevich Druzhinin. Thanks largely to the efforts of this potter, the toys ended up in various museums and are still known as “classic” Kargopol toys. Another bright folk artist is Ulyana Ivanovna Babkina. Grandmother Ulyana took over the craft from her parents, inheriting a sensitive sense of the plasticity of small forms. Grandmother Ulyana’s products further “fuelled” interest in the Kargopol craft, and a decision was made to organize a pottery workshop in the city of Kargopol itself. The first director of this creative workshop was Alexander Petrovich Shevelev. Having preserved traditional Kargopol subjects, the master began to develop new ones. Multi-figure compositions appeared. Filimonov toys were born in the village of Filimonov, Odoevsky district, Tula region. The village is located near deposits of good clay. Perhaps this determined her profession. Legend says that grandfather Philemon lived in these places, and he made toys. Mostly women were involved in the toy business.
Folk art summarizes ideas about beauty, aesthetic and spiritual ideals of the people. These are traditions, customs, features of life and everyday life that are passed on from generation to generation.
Each image in folk art has its own meaning, symbol.
The bird is a symbol of joy, happiness, it is the soul of ancestors.
The horse is the main symbol of the sun and a talisman.
The bear is a symbol of power, the awakening of nature.
Ram, cow - power, fertility.
The goat is a good force.
Deer is a symbol of abundance.
Russian folk toy is a special type of folk art. A folk toy, like toys in general, is a traditional, necessary element of the educational process. Through play and toys, a child learns about the world and becomes socialized in society.
Toys made of clay and wood, straw and birch bark, dough or beads... Toys - amulets and nursery rhyme toys, haircuts and roes, spillikins and whistles... Dymkovo and Kargopol, Arkhangelsk and Filimonov. All these are Russian folk toys, warmed by the warmth of human hands, colorfully painted by masters and craftsmen, who have long been endowed with love and kindness to people. And, unfortunately, completely unfairly forgotten by our children. Meanwhile, a folk toy is not only a cultural heritage, a museum exhibit or a souvenir for interior decoration. Laconic in form, but so expressive and understandable to any child, even today it can not only surprise and delight a child, but also successfully cope with his training in even the most serious sciences.
The successful development of children's creative abilities is helped by the skillful use of works of folk applied art. It is necessary to select authentic folk samples, which must have imaginative artistic expressiveness, be accessible to children’s perception, and be able to be widely used in the practice of educational work in kindergartens.
Theoretical foundations and methods of introducing preschoolers to folk clay toys.
Types of folk clay toys: traditions of making and painting.
The land is surprisingly rich in folk crafts and handicrafts. Since ancient times, they produced the famous Belevsky lace, marshmallows, cast steel and, of course, sculpted a clay toy. At one time, the products of Belevsky artisans became famous. Not far from the city, Belev clay was mined in small quantities. It was amazingly good and heat resistant. Various types of local clay toys, popular in the Tula region, were made from it. What significantly distinguishes the Belevskaya lady from others is, first of all, her surprisingly high and thin neck and slender waist, harmonious proportions in the relationships of the main parts - support - bottom, shoulder girdle and hat with the obligatory cockerel-whistle. Summer and winter version with long sleeves. In addition to the main version with an umbrella, the craftsmen developed figures without an umbrella, but with some kind of animal in their arms, a dog, for example. The so-called “gift option”, given on the eve of the “year of the dog”.
The clay used for production is light-burning, usually Oryol, Filimonovskaya or Belevskaya. The painting uses soft pastel colors - turquoise, ocher, field, pink, gray, etc. The color range is not limited, but does not allow open, bright colors. The painting should be in moderation, not “crushing” the figure. Unlike the Tula one, the handle of the umbrella is also painted, and a mesh pattern, a motif introduced from Belyov lace, is applied to the very bottom of the skirt. The composition of tempera dyes (or gouache with PVA glue), matte, without the use of varnishes and glazes.
The most famous are clay toys from the Dymkovskaya settlement near Vyatka. Toy samples are simple, original and very clearly express the ideas of folk craftsmen about the world, nature, and people.
The toy was made almost everywhere where there were clay deposits and pottery was practiced. At first it was an incidental, secondary activity in pottery production. Gradually, clay toys became an independent craft and were increasingly intended not for fun, but became art, the work of folk craftsmen. Over time, the clay toy acquired a number of stable techniques, images, scenes of a female figure on a stable cone-skirt, the streamlined shape of a bird-whistle, an image of a horse, rider, deer, and bear. Dymkovo toys are the most “rich”, cheerful, joyful. They are characterized by a generalized form, an abundance of details that make them more elegant, magnificent and even luxurious. These are all kinds of frills on skirts, aprons, sleeves, teeth on ladies' caps, numerous decorations on crowns, on the extremely lush tails of peacocks and turkeys. The painting of Dymkovo toys is elegant and decorative. On a white background, crimson, blue, green, yellow-orange colors sparkle very brightly. At the same time, the ornament itself is original: small circles, ovals, dots, stripes, and cells make up several types of patterns.
Folk ceramic toy is a special type of folk art. It is intended not only for play, but also to decorate everyday life. Samples of toys were sculpted everywhere where pottery was practiced. When the craftsman gets bored with making pots, he’ll go ahead and make something like that. The masters did not attach any importance to toys; they made them only for fun. Women often made clay toys to amuse children. It was women who began to paint clay toys, creating unique designs.
There are a huge variety of types of ceramics - the extraordinary plastic properties of clays and the richness of decoration allow you to create works of art in small plastic.
Terracotta is fired pure clay, unglazed pottery with a porous shard. After firing, they range in color from light cream to red-brown and black.
Majolica-ceramics made of white or colored fired clay, with a large-pored shard. As a rule, majolica products have relief decorations covered with muted colored glazes.
Faience-ceramic products with a dense, finely porous shard, usually white, covered with a transparent or opaque glaze. For faience, as a rule, a transparent glaze is used, which is close in chemical composition to ordinary glass. These are mainly boron or boron-lead glazes, as well as feldspar-based glazes. After applying the glaze, the earthenware product is decorated with ceramic paints.
Russian faience was a white opaque painted with printed drawings, with reliefs and colored glazes. Many earthenware products, despite their cheapness, were distinguished by a high artistic level.
The Filimonovskaya toy is a Russian artistic craft that was formed in the Odoevsky district of the Tula region. It got its name from the village of Filimonovo. The toy industry arose in the mid-19th century. among local potters. Thanks to the excellent quality of white clay, pottery was produced in the Odoev area, selling it at local bazaars. As in most pottery crafts, the craftsmen worked as families, handing over the products to resellers or independently selling them at the bazaar. At the same time, men only made dishes, and women sculpted and painted toys.
The appearance of the toy was reflected in the natural properties of the local clay - “blue”. When dried, it is plastic, thanks to which the figure becomes thinner and elongated, acquiring a disproportionate, but surprisingly graceful shape. The bulk of the products of Filimonov craftswomen are traditional whistles: ladies' whistles, horsemen's whistles, cows, bears, roosters, etc. The depiction of people - monolithic, stingy with details - is close to ancient primitive figures. The narrow bell skirt of the Filimonov ladies smoothly transitions 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. All characters of the animal world have a thin waist and a long neck with a graceful curve, smoothly turning into a small head.
Filimonov craftswomen paint their toys with bright aniline paints mixed with eggs, applying them with a chicken feather. Despite the relative stinginess of their palette - crimson, green, yellow and blue - the toys turn out to be bright and cheerful. Animals are traditionally painted with multi-colored stripes along the body and neck. Filimonov's ladies and gentlemen are always dressed smartly and brightly, their hats are decorated with multi-colored stripes, and the same simple ornament is applied to the collar of the jacket, skirt and pants.
The Ryazan land, rich in traditions of various types of folk art, became the birthplace of the production of pottery and molded clay whistles. There was a whole “pottery end” in the city, and the city residents were called “Skopinsky whistlers.”
In such a craft, where the craftsmen had an innate ability to sculpt, the production of toys could not help but arise. Like dishes, toys were sculpted from white clay and glazed. The craftsmen turned even the defects that were inevitable in handicraft production to the benefit of the work: unevenly ground grains of glaze spread differently during firing, and potters made every possible use of this feature in decorating products. The sculpting of the toys in Skopinsky style is bold and confident, the processing is sharp and rough, the toy characters are not only funny - they are strong, expressive, and temperamental. Among the images of Skopino ceramics is Polkan the hero with a club in his hand. The themes and forms of toys are in direct connection with the material life of society, with the development of its spiritual culture and pedagogical views. At the early stages of the development of human society, the toy was given magical significance. Since ancient times, toys have been known in the form of tools, weapons, and household items, made from the simplest natural materials. With the help of toys such as bows, arrows, traps, sleds, equipped boats, etc., made in miniature, but technically correct, the boy developed the skills necessary for a hunter, fisherman, and nomadic cattle breeder. Playing with dolls, sewing clothes for them, and handling doll objects taught the girl to work as a housewife.
Based on archaeological research and literary sources, it is known that on the territory of the Soviet Union, the oldest toys were found among objects of Fatyana culture (2nd millennium BC) - clay hatchets and dishes. Scythian toys-riders and clay carts are known (2nd century BC); clay figurines of horsemen and rattles, found during excavations of Slavic settlements in the Middle Dnieper region (6-8 centuries AD); clay bird whistles, horses, ducks, dolls, dishes - from excavations in Radonezh, Kolomna, Moscow (10th-18th centuries)
The meaning and objectives of introducing children to folk clay toys.
One of the tasks of aesthetic education of preschoolers is the development of creativity and artistic abilities. Introducing children to decorative and applied arts and the products of folk craftsmen has enormous educational value. Folk art instills interest and love for folk art, love for the Motherland, for one’s people, nature, forms artistic taste, teaches us to see and understand the beauty in the life around us, evokes better feelings in children, a desire to do something themselves, adopting from folk art. masters simple techniques.
Of course, educators have the opportunity to teach preschool children not all techniques for working with different materials. And that's not the main thing. It is very important that they fall in love with Russian folk art, learn to observe, and know how to use elements of folk art in independent artistic activity.
An accessible and favorite material for children's creativity is clay. Great opportunities open up for them in decorative modeling, which includes the creation by children of dishes, decorative plates, various figurines similar to folk toys and subsequent painting of the completed products.
The surrounding reality, especially in the city, does not provide the opportunity for children to really engage with folk culture. Teachers make up for these problems by visiting various exhibitions of folk applied art, visiting museums of Russian architecture, local history exhibitions, etc. Therefore, in order to fully introduce children to the national culture, in-depth work in this area is carried out in kindergarten. These are exhibitions of folk arts and crafts toys, excursions to the “Treasury of Folk Craftsmen”, equipped and decorated by kindergarten employees and parents of pupils. Here children directly come into contact with household items of the Russian people and products of folk craftsmen (household utensils, toys made of clay, birch bark, wood, fabric). With great interest and pleasure, the children make toys from clay themselves, and then paint them. Getting to know Russian culture also includes memorizing nursery rhymes with explanations of Old Church Slavonic words that are now not used in colloquial speech.
Exercises with clay - modeling, kneading, working on a potter's wheel, etc. - as a method of correctional work have no equal in terms of effectiveness.
A certain force load on the hand and the need to perform fine-motor movements for a long time during the sculpting process significantly strengthen the muscle tone of the hands, develop fine finger motor skills, tactile sensitivity, and improve coordination of movements. This contributes to an additional effect on the centers that excite the cerebral cortex and the formation of new associative connections. Children enjoy working with clay, combining business with pleasure.
Working with clay offers great opportunities for aesthetic and artistic education, as well as for the general development of children. Modeling is an effective means of understanding the volumetric-spatial properties of reality, an important factor in the overall development of a child. Sculpting means studying in space, in volume, from several points of view, coordinating hand movements with the visual perception of an object, training hands and eyes.
In modern culture, decorative and applied arts live in their traditional forms. It is thanks to this that the products of folk craftsmen retain their traditional characteristics and are perceived as carriers of an integral artistic culture. Works of decorative and applied art form artistic taste, create an aesthetically complete environment that determines the creative potential of the individual.
Folk art is the property of not only adults, but also children, which is why the role of kindergartens is so important, where work is successfully carried out to familiarize children with examples of folk art.
Fine folk art has enormous emotional impact and is a good basis for the formation of a child’s spiritual world. Folk art is figurative, colorful, and original in its design. It is accessible to children’s perception, since it contains understandable content that specifically, in simple, laconic forms, reveals to the child the beauty of the world around him.
Ornaments used by folk craftsmen for painting toys and dishes include flowers, berries, leaves, which a child encounters in the forest, field, or kindergarten area. Under the guidance of a teacher, children carefully examine them, draw and model them based on samples of folk products.
Folk arts and crafts should enter the everyday life of kindergartens, delighting children, expanding their understanding of the world, and cultivating artistic taste.
It is clear that it is impossible to give a small child a deep understanding of folk art, but some examples of national crafts can be shown to children, which can become valuable material for the artistic education of every child.
The Dymkovo toy was born of a holiday and absorbed all the brightest signs of folk culture: its cheerfulness, optimism, richness of imagination, sharpness of realistic generalization, high skill. It is cheerful, beautiful in color, evokes a feeling of joy and light, a desire to repeat this beauty, to make it with your own hands. The world of Dymkovo toys is a fabulous, elegant world of beautiful expressive figures: animals, people, birds.
Using these toys as an example, we introduce children to bright palettes of colors and a cheerful rainbow of colors.
The rounded shape of the figures, generalized lines, silhouettes, and the simplicity of this form are firmly established by tradition. For example, a lady's skirt, a fan of a turkey tail, thick legs of a skate, branched antlers of a deer, you can list many features that do not change from generation to generation, passed on by craftsmen who bring this extraordinary beauty to us.
The Vyatka (Dymkovo) toy is of great importance for the fulfillment of creative tasks for children who are happy to try to realize their ideas in modeling and drawing.
With the help of the toy, children are more fully acquainted with folk arts and crafts in the form of thematic creative tasks. There is a certain logic and consistency in their alternation; the principle is used from simple to a gradual increase in the complexity of techniques and skills in work.
The Dymkovo folk toy is one of the most important means of aesthetic influence on children. The beauty of the painting and the expressiveness of the form evoke in them feelings of joy, admiration, and teach them to see and notice the beauty in the surrounding life and nature.
When working with children of senior preschool age, we set the following tasks:
introduce a new type of decorative and applied art - the Dymkovo toy;
to develop knowledge about the features of Dymkovo painting, color, and basic elements of the pattern;
raise children in folk traditions (fine art is inseparable from folk music and folk oral creativity);
develop children's imagination and desire for creativity;
cultivate love and respect, caring attitude towards handicrafts;
develop a sense of color and color perception;
develop aesthetic perception;
evoke a positive emotional attitude towards folk toys;
consolidate sculpting techniques: rolling clay, pulling, flattening, pinching;
learn to create images based on Dymkovo toys; sculpt a figure from a whole piece of clay;
be able to distinguish works of folk applied art;
sculpt objects of different shapes using learned techniques and methods;
create small plot compositions, conveying proportions, poses and movements of figures;
familiarization with artistic materials and tools, techniques and ways of working.
Forms and methods of familiarization with a clay toy.
In the senior group of kindergarten, subject, plot and decorative modeling is given. Each of these types can be carried out at the suggestion of the teacher and according to the children’s plans.
In design classes, children learn to independently choose a theme for modeling, methods of depiction, and means of expression.
For viewing, children are offered folk toys, which different nations have their own specific content and design. Thus, Dymkovo toys are painted rhythmically and brightly, Dagestan ones are painted with a thin pattern of white engobe, Uzbek clay toys are often decorated with moldings or in-depth relief. When examining a toy, children pay special attention to the plastic transitions from one part to another, to the ways in which they are sculpted and decorated. To better familiarize children with folk clay toys, didactic games are held: “Toy Store” (where the child guesses the toy from the description of other children) or “Let’s arrange an exhibition of Dymkovo toys” (from the many toys displayed on the table, children select only those that are needed for Exhibitions).
Before starting classes, the teacher will introduce the children to the history of the fishery.
Over the years of the industry's existence, people have come up with many new toys. Today, a large place belongs to compositions on themes of city life, in which several figures are united by a common plot: festivities, fairs, boat rides, carousels. But all the traditional toys were also preserved in production - young ladies in dresses with crinolines, ladies in capes with umbrellas, gentlemen, soldiers, fine fellows on horses.
The raw materials for the production of Dymkovo toys remain the same as many years ago - red clay mixed with sifted sand. The figures are sculpted in parts, rolling into the desired shape from clay pieces rolled into a pancake. First, the torso of the figures is sculpted, then balls (heads and handles) are smeared onto it, connecting them with liquid clay. To give the product a smooth surface, marks are smoothed with a damp cloth. The finished figures are dried and calcined in an oven. In ancient times, it was important to entrust firing to an experienced craftswoman. If the figures were taken out of the oven ahead of time, they could crumble, and if they were over-exposed, the primer would not stick to them.
Then the toys are whitened with chalk diluted in milk and painted. Previously, they were painted with aniline dyes mixed with eggs and kvass, using sticks and feathers instead of brushes. The painted toy was again covered with beaten egg, which gave the faded aniline paints shine and brightness. Today, tempera paints and soft core brushes are used for painting. The use of a large number of different colors (up to ten) gives the Dymkovo toy a special brightness and elegance. Usually the toy is painted with a simple geometric pattern - bright spots, circles, zigzags, stripes, checkered patterns. Contrasting colors are boldly combined - blue, red, light blue, yellow, crimson, green - from four to ten colors. Once upon a time, even leaves of gold leaf were used. Whistles are also molded by hand, and the holes are pierced with a stick.
In the old days, they worked, as they said, in “factories”: one craftswoman made a skirt, another made a head, a third sculpted buckets, and then everything was assembled into one figurine. Nowadays, every craftswoman makes the entire toy - from modeling to the finishing touches of coloring. Despite the strict rules of painting, each author brings his own style and favorite flavor to his works. Any figurine is handmade and exists in a single copy; Traditionally, this fishery does not have serial production.
Having interested children, we also attract parents who willingly participate in collecting material on the Dymkovo toy. We will make an album together with parents and children, select drawings from preschool age groups, their works, and collect toys from craftsmen from all over the kindergarten.
After introducing the children to the history of the craft, we will make a small exhibition of Dymkovo toys that were available in groups and in kindergarten. At this colorful and musically designed exhibition, each child chooses their favorite toy and talks about it. Children admire them, look at the works, the painting on the toys, and play with them.
Conversations are held with children on the topic “Dymkovo toy”, poems, riddles, proverbs and sayings about the Dymkovo toy are memorized. They look at the illustrations in the album “Dymkovo Toy” and in books with the goal of introducing children to the folk toy and making them want to draw or sculpt it.
Music plays a big positive role in classes. We introduce children to Russian folk songs and melodies, and introduce them to oral folk art.
The teacher will use all methods to implement the assigned tasks: visual, visually effective, practical, game.
Age characteristics of senior preschool age.
In the sixth year of life (senior preschool age), children’s forms of play activity change significantly. The plot-role-playing game comes to the fore: plots become more complex, the game becomes more and more creative, fantasy games, games with rules, and director's games appear.
During these games, the child develops independence, responsibility, and self-control. The preschooler realizes that by fulfilling the responsibilities of the role, he contributes to the realization of the rights of other participants in the game. Games are becoming longer in duration. A child of senior preschool age can play one story throughout the whole day or even several days. More and more rules appear in games; they reflect more complex life situations.
For children 5-6 years old, productive activities become especially important: drawing, modeling, design, appliqué, modeling. They require mastery of certain methods of action, knowledge of sensory standards, and stimulate the development of the child. At this age, it is especially useful for a child to visit a children's development center.
Labor skills are being improved. The child develops ideas about the work and professions of adults, motives for carrying out work assignments, develops the ability to independently set the goal of his activity and maintain it until it is achieved, and develops some personal qualities - hard work, perseverance, determination, diligence.
The foundations of learning activities are laid, and this happens during the game. The child begins to learn by playing, and treats learning as a kind of role-playing game with rules. By mastering them, the preschooler, unnoticed by himself, masters elementary educational actions, he develops the desire and ability to learn, and develops a willingness to submit to specific regulated forms of organizing the educational process.
In older preschool age, self-awareness changes greatly: the image of “I” develops, a system of ideas about oneself (advantages and disadvantages), self-esteem, and level of aspirations are formed. The child evaluates himself as a representative of a certain gender and can regulate his behavior based on internal ethical beliefs.
During this period, the child learns to subordinate his actions not only to desires, but also to necessity. Cognitive motives, motives of social significance, and approval are formed.
In older preschool age, intensive development of the intellectual, moral-volitional and emotional spheres of the personality occurs. The development of personality and activity is characterized by the emergence of new qualities and needs: knowledge about objects and phenomena that the child did not directly observe is expanding. Children are interested in the connections that exist between objects and phenomena. The child’s penetration into these connections largely determines his development. The transition to the senior group is associated with a change in the psychological position of children: for the first time they begin to feel like the oldest among other children in kindergarten. The teacher helps preschoolers understand this new situation. It supports a sense of “adulthood” in children and, on its basis, causes them to strive to solve new, more complex problems of cognition, communication, and activity.
Based on the characteristic need for older preschoolers for self-affirmation and recognition of their capabilities by adults, the teacher provides conditions for the development of children's independence, initiative, and creativity. He constantly creates situations that encourage children to actively apply their knowledge and skills, sets more and more complex tasks for them, develops their will, supports the desire to overcome difficulties, bring the work they have started to the end, and aims to find new, creative solutions. It is important to provide children with the opportunity to independently solve assigned problems, to direct them to search for several options for solving one problem, to support children’s initiative and creativity, to show children the growth of their achievements, and to instill in them a feeling of joy from successful independent actions.
The development of independence is facilitated by children mastering the ability to set a goal, think about the path to achieving it, implement their plan, and evaluate the result from the perspective of the goal. The task of developing these skills is set broadly by the educator and creates the basis for children’s active mastery of all types of activities.
The highest form of independence for children is creativity. The teacher’s task is to stimulate interest in it. This is facilitated by the creation of creative situations in gaming, theater, artistic and visual activities, manual labor, as well as verbal creativity. All these are mandatory elements of the lifestyle of older preschoolers in kindergarten. It is in exciting creative activities that a preschooler faces the problem of independently determining the plan, methods and forms of its implementation. The teacher supports the children’s initiatives and creates an atmosphere of collective creative activity in the group based on their interests.
The teacher pays serious attention to the development of cognitive activity and interests of older preschoolers. The whole atmosphere of children's lives should contribute to this. An obligatory element of the lifestyle of older preschoolers is participation in resolving problem situations, in conducting basic experiments (with water, snow, air, magnets, magnifying glasses, etc.) in educational games, puzzles, in making homemade toys, simple mechanisms and models. The teacher, by his example, encourages children to independently search for answers to emerging questions: he pays attention to new, unusual features of the object, makes guesses, turns to children for help, and focuses on experimentation, reasoning, and assumptions.
A condition for the full development of older preschoolers is meaningful communication with peers and adults.
The teacher tries to diversify the practice of communication with each child. By entering into communication and cooperation, he shows trust, love and respect for the preschooler. At the same time, he uses several models of interaction: by the type of direct transfer of experience, when the teacher teaches the child new skills, a way of action; according to the type of equal partnership, when the teacher is an equal participant in children’s activities, and according to the “guarded adult” type, when the teacher specifically turns to children for help in solving problems, when children correct mistakes “made” by adults, give advice, etc.
An important indicator of the self-awareness of children aged 5-6 years is their evaluative attitude towards themselves and others. For the first time, a positive idea of his possible future appearance allows the child to take a critical look at some of his shortcomings and, with the help of an adult, try to overcome them. The behavior of a preschooler in one way or another correlates with his ideas about himself and what he should or would like to be. A child’s positive perception of his own self directly affects the success of activities, the ability to make friends, and the ability to see their positive qualities in interaction situations. The experience of self-knowledge creates the prerequisites for the development in preschoolers of the ability to overcome negative relationships with peers and conflict situations.
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Summary of the conversation for students in grades 5-6 on the topic: “Folk crafts of Russia. Clay toys»
This material may be useful for technology teachers when preparing extracurricular activities in the subject, art teachers, as well as teachers and educators when preparing for classes on Russian folk crafts.
Tugareva Irina Vasilievna, teacher of GBS(K)OU "Suponevskaya special school - boarding school of the VI type."
Target: Formation of ideas about the diversity of Russian folk crafts.
Tasks:
-Introduce the history of origin and features of making toys from clay as one of the folk crafts;
-develop cognitive interest in the study of folk art;
-instill respect for folk traditions and culture.
Decor: exhibition of samples of clay toys: Dymkovo, Kargopol, Filimonov; nesting dolls, items with Khokhloma painting, illustrations of folk crafts.
Progress of the conversation:
Guys, look at our exhibition. Tell me which of the presented products are familiar to you?
/students name/
Russia has always been famous for its masters and folk craftsmen. Many people are familiar with the story of Danila - the master from Bazhov’s fairy tale “The Stone Flower”, the famous Lefty who shoed a flea. And of course, one of the symbols of Russian folk art is the well-known Russian beauty. And who is she? Let's guess!
Scarlet silk scarf,
Bright sundress in a flower,
Hand rests
On wooden sides.
And there are secrets inside:
Maybe three, maybe six.
Got a little flushed
Our Russian... - matryoshka!!!
The symbol of Russian artistic crafts has become the Matryoshka - a wooden toy in the form of a set of several painted dolls, hollow inside.
There have always been many craftsmen in Rus', famous for their golden hands; their craft became a family trade. Sometimes entire villages were engaged in one type of craft: they made spoons, weaved lace, painted dishes or made toys. Today we will get acquainted with one of the types of such craftsmanship - clay toys. Toys from different areas differ in the manner of modeling, in the quality and properties of the clay for the products.
The most ancient toys found in our country date back to the Bronze Age. These are small clay hatchets and rattles. A clay toy was also found in excavations of the 10th-17th centuries (Moscow, Ryazan). These are whistles in the form of birds, horses, and human figures. The clay toy was found along with pottery. At first, toys made of clay were not the main trade, but a secondary one. The master will get tired of his main work, take a piece of clay and make a funny toy or whistle for the joy and amusement of his children. Later, clay toys became an item for sale.
On long winter evenings they were made for spring fairs: whistles, horsemen, ladies made of clay. Entire families began to make toys, passing on the secrets of craftsmanship from generation to generation.
A bright, cheerful, beautiful clay toy has the magical ability to decorate our life, to bring warmth and joy into the decoration of our home.
Dymkovo toy
The settlement of Dymkovo, Vyatka province (now Kirov region) became the birthplace of clay toys, painted and baked in a kiln. Dymkovo clay toy is a symbol of Russian craft. Toy craftsmen create various images: riders on horses, elegant young ladies, painted birds. A clay toy is considered a talisman against evil. The first Dymkovo toys were whistles, sculpted for the annual spring festival “Svistuni”, held “in honor of those killed” in the battle of 1418 between the Vyatchans and Ustyuzhans near the walls of the Khlynovsky Kremlin.
Over the four hundred years of existence and development of the Dymkovo craft, traditional themes, plots and images have developed in it, the expressive means inherent in very plastic red pottery clay, simple (geometric design) painting patterns, in which red, yellow, and blue predominate, have been displayed and consolidated. , green colors.
Halftones and imperceptible transitions are generally alien to the Dymkovo toy. All of it is an overflowing fullness of the feeling of the joy of life.
Filimonovskie toys
Filimonovo toys are made in the village of Filimonovo, Tula region, where they have very high-quality white clay. Not far from the ancient city of Odoev, Tula region, on the high bank of the Una River stands the village of Filimonovo. According to local legends, the origins of pottery go back to the time of Ivan the Terrible. It was then that the potter Filimon allegedly arrived in the local possessions of Prince Vorotynsky. He discovered deposits of excellent clay and began making pots from it. The place where he settled was called Filimonovo.
Filimonov toys cannot be confused with others because of their elongated neck, small head and colorful coloring.
The elongated shape appears due to the properties of the clay. When the clay dries, it becomes covered with small cracks that need to be smoothed out with a damp hand. Because of this, the figure becomes elongated and thinner, acquiring a disproportionate, elongated shape that is unusual for the eye.
The main colors of the Filimonov toy painting: red, yellow and green.
The main patterns of the Filimonov toy are alternating stripes. But there are also branchy “Christmas trees”, bright “berries”, radiant “stars”.
A distinctive feature of Filimonov toys is that they are always whistles.
For elegant young ladies and gentlemen, the whistle is hidden in the tails of the animals they hold.
Kargopol toy
Kargopol toys are made in the distant northern city of Kargopol, Arkhangelsk region. Rich clay deposits contributed to the development of pottery production here already in the 19th century. Moreover, along with dishes, they also made toys that were sold at fairs and bazaars. They sculpted horses, rams, deer, ladies, carts and much more.
A long time ago, they began to make dishes from local red clay in Kargopol, and they began to make toys from the remains of clay.
They were made in a special “scalded” way:
First, they sculpted the figure, then it was fired. After that, it was immersed in a thick flour solution - mash. The flour burned and left a black lace pattern on the light toy.
Kargopol toys were very simple and resembled toys from the Stone Age. In addition to human figures, Kargopol residents sculpt horses, cows, bears, deer, heroes of fairy tales and epics. The most popular Kargopol toy is Polkan. Initially it was half-man, half-dog, later Polkan began to be made as half-man, half-horse.
Among other fairy-tale heroes there is a lion, the Sirin bird, and a horse with two heads.
Kargopol toys cannot be confused with any others. They are the size of a palm, but if you look at them for a long time, they seem like huge giants.
Time passes, years and decades fly by, but the folk toy still lives. It flourished, died, was reborn, changed, turned into a souvenir, exotic, but continued to live. And it comes alive every time we pick it up. The toy still arouses genuine interest. Looking at it, everyone, without exception, has a desire to pick it up, play with it, have it nearby, or make one like it. The folk toy is loved for its simplicity and accessibility; it gives joy and warmth from the kind human hands that made it.
Guys, today we got acquainted with one of the types of folk crafts - making toys from clay. Tell me, are these interesting products? Are they similar to each other?
Try to name their distinctive features.
/Students formulate their answers, name the differences in painting and making toys/
The world of folk toys is diverse, amazing and in many ways unique. Traveling along it, we can learn a lot of interesting things. The roots of folk toys go back to ancient times. We can say that everything created by adults in order to please children was a toy, be it a boat made of twigs, a figurine carved from wood, a little animal or a man rolled up from a piece of fabric.
I suggest you guys work on this topic and propose a message, a mini-project about folk crafts for making toys from other materials. Thank you for your attention and good luck in your creativity!
Bibliography:
1. Decorative and applied arts in human life [Text]: Textbook for 5th grade. general education institutions / N.A. Goryaeva, O.V. Ostrovskaya - M.: Education, 2001. - 176 p.
2. Folk toy [Text]: educational method. a manual for university students studying in the specialty “Folk artistic creativity” / E.I. Kovycheva - M.: VLADOS, 2010. - 159 p.
3. N.A. Goryaeva “Decorative and applied art in human life”, M.; Enlightenment, 2001.
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Introduction
1. Artistic ceramics
2. Clay toy making centers
2.2 Skopin
2.3 Dymkovo toy
2.4 Filimonovo
2.5 Kargopol
2.6 Abashevo
2.7 Petrovskoye
2.8 Somovo
2.9 Khludnevsky nozzles and rattles
3. Toys and their role in raising children
Conclusion
Bibliography
Introduction
Folk decorative and applied art is the result of the creativity of many generations of masters. It is united in its artistic structure and unusually diverse in its national characteristics, which are manifested in everything, from the choice (use) of material to the interpretation of pictorial forms.
Born among farmers, cattle breeders, and hunters, folk art throughout the history of its development is associated with nature and the laws of its renewal. The very existence of man is inseparable from nature, which provides materials for housing and clothing, food, and determines the rhythm of people’s lives by the alternation of day and night, the alternation of seasons. And all this is reflected in works of folk art and constitutes an integral phenomenon of the culture of each nation.
The art that will be discussed was initially formed among the people as the production of objects necessary for everyday life. With the discovery of firing, clay products, primarily pottery and utensils, became the most necessary and most practical in the everyday life of ancient people. Each person made them for himself, without being a professional blacksmith or potter. He performed handicraft work in parallel with his main occupations (cattle breeding, arable farming, hunting), i.e. in a subsistence economy. Earlier than others, there was molded ceramics - clay products sculpted by hand, without any special devices. Along with the vessels, there were countless stucco figurines of animals, birds, and people. They clearly reflected ancient beliefs, superstitions, and signs; Clay figurines were often seen as guardian spirits of man, his home, livestock, and crops. Over the centuries, they gradually turned into molded clay toys, and in this form they exist and continue to be made to this day.
Around the 9th-10th centuries, a potter's wheel appeared in Russia - a simple machine or, rather, a device, initially set in motion by hand, later by foot. Although clay vessels usually did not have such a specific image as figurines, potters indirectly identified them with living nature and even with humans.
The main modern crafts of Russian artistic ceramics are Gzhel porcelain of the Ramensky district of the Moscow region, Skopinsky majolica of the Ryazan region, Dymkovo toy of the city of Kirov (former name - Vyatka), Filimonovsky toy of the Tula region, Kargopol toy of the Arkhangelsk region, Abashevo toy of the Penza region. Craftsmen of clay toys work in the villages: Zhbannikovo near Gorodets, Vladimir region, Kozhlya, Lgov district, Kurgan region, Aleksandro-Praskovinka, Sapozhkovsky district, Ryazan region, Khludnevo, Dumnichesky district, Kaluga region, and in other Russian villages.
1. Art ceramics
Products made from baked clay are a widespread and very ancient type of folk art craft that uses easily accessible natural materials. Dishes for various purposes - jugs, bowls, plates, flasks, pots, as well as toys are the most typical products of folk ceramic art.
The term “ceramics” includes all types of products made from clay. Depending on the main raw materials and additional components, terracotta, majolica, faience, and porcelain are obtained, which differ in appearance and methods of decoration.
Terracotta. It has the light red-brown color of fired clay, which is not covered with glazes. It easily absorbs moisture, so it is used mainly for decorative products.
Majolica. It has the natural color of baked clay and a porous shard. To use majolica products for utilitarian purposes, their surface is covered with glazes and colored enamels, which makes the crock waterproof. The decoration of majolica is enriched by applying angobo-white-burning clay in the form of a very thin layer. Against its background, glazes and colored enamels acquire increased sonority.
Faience. Unlike majolica, it has a thinner shard, predominantly white, and its porosity is largely eliminated by transparent glazes.
Porcelain. It is the most advanced type of ceramics. Whiteness, mechanical strength, resistance to chemical and temperature influences have provided porcelain with wide application possibilities in the production of technical products, tableware, sculptures and other artistic works.
In the works of modern masters, along with the depiction of single symbolic figures, multi-figure compositions depicting genre scenes are increasingly found.
2. Clay toy making centers
2.1 Gzhel
The most famous large-scale folk art ceramic folk craft is Gzhel near Moscow. This area, which includes 30 villages and hamlets of the former Bronnitsky and Bogorodsky districts, 60 km from Moscow (now Ramensky district), has long been famous for its potters. The center of pottery was the Gzhel volost - the villages of Rechitsa, Gzhel, Zhirovo, Turygino, Bakhteevo, Novokharitonovo, Volodino, Kuzyaevo and others.
Gzhel craftsmen created elegant dishes: kvasniks - decorative jugs with a ring-shaped body, a high domed lid, a long curved spout, a sculpted handle, often on four massive rounded legs; kumgans, similar vessels, but without a through hole in the body; jugs, wash basins, joke mugs, “if you get drunk, don’t get drunk,” dishes, plates and other items decorated with ornamental and narrative paintings in green, yellow, blue and violet-brown colors on a white background.
Small decorative sculptures were also created independently of the utensils. The masters again depicted with humor what they saw in life: here is a woman carrying a child on a sled, and here is a military man in a cocked hat; the wife pulls the boot off her husband's foot; an old man fights with his old woman; a guide boy leads a beggar.
Semi-faience production existed in Gzhel throughout the 19th century. along with the fine earthenware and porcelain that appeared after it. Utensil shapes and printed designs were transferred from one factory to another. At the small Gzhel porcelain factories, with all their desire to imitate expensive products, their original art of Russian porcelain lubok was born with its rough floweriness, folk interpretation of sculptural images, which the masters created in their own way, taking samples of expensive porcelain as a basis. Through the efforts of Gzhel craftsmen, the figurines acquired the features of a simple clay toy. Gzhel products were distributed not only throughout Russia, they were exported to Central Asia and the countries of the Middle East. Taking into account the tastes of customers, Gzhel craftsmen created a stable assortment of so-called Asian porcelain: teapots, bowls of different sizes and specific shapes, with characteristic floral painting in medallions on a colored background. At the end of the 19th and beginning of the 20th centuries, high-speed free brush painting with floral motifs was called agashka. The art of Gzhel crafts itself had fallen into complete decline by this time and was consigned to oblivion. Only in 1940-1950, thanks to the research of art critic A.B. Saltykov and the works of the Moscow artist N.I. Bessarabova, the art of Gzhel began to revive. The basis for the revived craft was the heritage of Gzhel majolica from the 18th century. and semi-faience of the 19th century. The painting adopted was a single-color blue underglaze (cobalt) similar to traditional semi-faience. N.I. Bessorabova not only created a number of new items: jugs, mugs, milk jugs, vases, ashtrays, but also taught the craftswomen forgotten techniques of brush painting.
2.2 Skopin
Among the centers of folk artistic pottery, the craft of decorative ceramics, located in the city of Skopin, Ryazan region, is unique. The Ryazan land, rich in traditions of various types of folk art, became the birthplace of the long-established production of pottery and molded clay whistles. There was a whole “pottery end” in the city, and the city residents were called “Skopinsky whistlers.”
Until the middle of the 19th century. Glazes were not used here, but ordinary black (blue) and scalded pots were made. With the development of glazing, Skopino products became much more colorful and decorative. The usual household utensils of the Skopino potters of the 19th and early 20th centuries are made of light clay, have soft outlines, and the edges often end with scalloped “frills.”
From about the middle of the 19th century. Decorative sculptural ceramics began to be made in the industry. There is information that at first the craftsmen made single figured objects: a lion, a bird, a ball, a samovar - and placed such a thing on a pole at the gate of their house as a decoration and as a sign that an extraordinary master lived here. At the same time, they competed in the complexity of the fantastic works. Clay figurines were decorated with scratching, stamps, moldings and honorary colored glazes. Often brown and green or green and yellow glazes were picturesquely combined on one object. The dried products were coated with tar, sprinkled with unevenly ground powder of colored glazes and fired in a pit furnace.
One of the old masters who worked at the end of the 19th century, Zhelobov even made portrait images of acquaintances, drawing them from memory, as usual, on a potter’s wheel and finishing the details by hand.
During the First World War, the Skopino fishery gradually fell into decline. Its revival dates back to the 1940-50s. In the following decades, attempts were made to create a special type of souvenir Skopino ceramics. These are small figures of lions, birds, circus scenes.
Fantastic figured Skopino vessels, covered with brown or green glaze, occupy an increasingly significant place at exhibitions of decorative and folk art.
2.3 Dymkovo toy
Among modern Russian clay toys, the most famous and popular is the Dymkovo toy. The name of the toy comes from the settlement of Dymkovo, now a district of Vyatka, where toys were produced already at the beginning of the 19th century. has acquired its own meaning. The craft was usually of a family nature - women and girls sculpted the toy, timed to coincide with its production at the spring fair.
The toy industry in Vyatka apparently arose in ancient times. Many researchers associate the production of clay whistles with the Vyatka spring holiday “whistle dance”, which has pagan roots and is dedicated to the sun. Participants in the celebration whistled into clay toys and threw painted clay balls. The cult significance of the holiday was lost long ago, but the ritual itself was preserved until the beginning of the 20th century.
The revival of the craft is associated with the names of A.A. Mezrina, a hereditary craftswoman who preserved the techniques of modeling and painting toys, and the artist A.I. Denshin, the author of the first monographs on the Dymkovo fishery.
The Dymkovo toy is a generalized decorative clay sculpture, close to primitive folk art: figures with an average height of 15-25 cm, decorated on a white background with a multi-colored geometric pattern of circles, polka dots, stripes, checks, wavy lines in bright colors, often with the addition of gold. Traditional and constantly recurring images in Dymkovo toys are horsemen, roosters, female figures in bell-shaped skirts flaring downward and high headdresses - kokoshniks, called nannies, nurses, ladies, water-carriers. All of them clearly came from the 19th century, but in the 60-80s of the 20th century. are updated, rethought and, almost without changing their appearance and costume, become “kindergarten teachers”, “teachers”, “collective farmers”, “milkmaids”. Dymkovo turkeys and horses are real and fantastic at the same time. A turkey with a lush fan-shaped tail, a horse with bright blue apple-circles, a goat with red and gold horns. In all these naive and colorful images one can see the innocence, daring, optimism, and penchant for a fairy-tale, song interpretation of reality inherent in the Russian people. In female figures, expressive details are of great importance: elegant hairstyles, headdresses, frills on sleeves and aprons, capes, muffs, umbrellas, handbags.
The molded toys are dried at room temperature from two to three days to two weeks (depending on size). Then they are fired. Previously, firing was carried out directly in a Russian oven. Now - in electric muffle furnaces. The toys, burned to a red-hot state and cooled in the oven, are covered with a dazzling white layer of chalk diluted with skim milk. Bright multicolor painting is done on this whitewash. 4-8 colors are used on one figure. Currently, gouache paints diluted in eggs are used. Traditional preparation consisted of rubbing dry aniline dyes on an egg diluted with vinegar or peroxided kvass. In the past, the tassel was homemade from a threaded piece of canvas wound around a stick. The stains were applied with the end of an evenly cut twig. Nowadays they use kolinsky or ferret brushes.
The painting is, as a rule, a large geometric pattern, combined with smoothly painted parts. The skirts are especially varied and elegantly decorated. The ornament often covers animal figures, replacing images of fur or plumage. The colors of the painting are local, combined according to the principle of contrast and complementarity. The multicolor is emphasized by the presence of white and black colors and complemented by shiny squares of gold leaf (now copper potash) glued to the hats and collars of ladies, epaulettes and cockades of military men, and the bushy tails of turkeys.
The main raw material for making toys is local fatty clay, mixed with fine river sand sifted through a sieve and thoroughly kneaded. When sculpting, constantly use water and a wet cloth, otherwise the clay quickly begins to crack. For whistles, only the upper front part of the figure is sculpted. These are the whistles - horsemen, birds, horses with one, two and three heads, goats, rams, military figures. In Soviet times, with the development of the craft, many fabulous, historical and everyday multi-figure compositions appeared, including architecture (houses, carousels), landscape elements (trees symbolizing the forest, beds with cabbage forks are depicted in the scene “Harvesting Cabbage”). The meaning of the Dymkovo toy has long ceased to be playful. This is a folk decorative sculpture that harmonizes perfectly with modern furniture, fabrics and not only decorates a residential or public interior, but always carries an active positive emotional charge.
2.4 Filimonovo
The village of Filimonovo, Odoevsky district, Tula region, is the center of the famous clay toy industry.
Filimonov toys are molded, almost always with a whistle; Even large-sized “women” keep a bird-whistle at hand. The height of the toys is from 5 to 20 cm, sometimes 40 cm. Their plots are not as varied as those of Dymkovo. Mainly: female figure (woman), male figure (soldier), ram, horse, riders, deer, rooster, dog, cow. In some, the influence of Dymkovo toys is noticeable (for example, a milkmaid, a horseman), but a number of subjects are exclusively local: a dog with a mirror, a soldier with a goose, lyubota (beloved). The figures have very generalized, conventional shapes, elongated proportions, elongated necks and heads, which is explained by the properties of the material - local oily clay, which requires repeated smoothing during the sculpting process; but this is their peculiar attractiveness and uniqueness. Their conventionality is surprisingly combined with the spirituality and living persuasiveness of the images. They are very decorative in their monumental laconicism and cheerful thanks to the sunny brightness of the painting, consisting of crimson and green or purple stripes on a yellow background.
The favorite color for painting Filimonov toys is crimson-red. It predominates in female figures, often completely covering a significant surface area. The clothes of female figurines are decorated with rhombuses, rosettes, and stripes. The ornament of the most ancient geometric style in folk art predominates. Sometimes, instead of stripes, colored dots appear, conditionally reproducing the plumage of birds; less often, flowers and branches are depicted as a herringbone pattern, reminiscent of folk embroidery motifs. Toys are traditionally painted with a chicken feather, after they have been dried for several days and fired in an electric muffle for 12 hours at a temperature of 800 degrees (previously they were fired in pit pottery kilns along with dishes). After firing, the figures acquire a light, slightly yellowish or pinkish tone, on which all the colors of the painting play brightly. education children ceramics toy
The modern Filimonov toy, like the Dymkovo one, has become a collectible and decorative item.
2.5 Kargopol
In our time, the life of the traditional art of folk clay toys continues in the Kargopol district of the Arkhangelsk region. The center of the craft was the village of Grinevo, where masters I.V. lived. Druzhinin and I.V. Babkina. Museums contain toys by I.V. Druzhinin, created in 1935-1940. These are peasant-like powerful, stocky figures of people, as well as deer, bears, birds standing like people on two legs - either fairy-tale characters, or images of mummers. There are many female figurines holding a child in their arms or holding a basket or a bird. They wear wide skirts, various hats, and sweaters with large molded buttons. Other figures are not devoid of everyday features. Each character is shown in action: some carry vessels, others play the accordion or horn, a man smokes, lounging in a chair. The generality of forms, a clear expressive silhouette, large laconic painting make them monumental, despite their small size (10-15 cm).
The color scheme of these toys is very beautiful and unusual. After preliminary whitewashing, they are painted with matte gouache paints in exquisite combinations of yellow, pink, gray, lilac, turquoise, brown, and black. The geometric white and black ornament of circles, straight and oblique crosses, stripes, strokes, ovals is similar to ancient signs. Spots, stripes, and strokes indicate the shape of clothing and facial features. All images are full of vitality and inner significance, looking relaxed and self-confident.
Toys U.I. Babkina are much smaller in size, they are more dynamic. They are painted with oil paints, rougher colors, sometimes with an unusual combination of colors. Despite this, the works are attractive for their spontaneity and plasticity. Their themes are varied: here are the horse, ram, and deer familiar to folk toys, as well as more complex group compositions. For example, bear hunting, everyday scenes are common: sledding, a dancing couple, fairy-tale images: Polkan the hero, the Sirin bird and others.
2.6 Abashevo
Since the second half of the 1970s, the previously forgotten Abashevo toy, which originated and exists in the village of Abashevo, Bednodemyanovsky district, Penza region, has gained great popularity. It comes in two types: glazed and cold painted. Small or rather large-sized horsemen, deer, lions, roosters, ducks, ladies in hats - with depressed notches and covered with green or brown glaze, others are painted with oil paints and gold or silver powder (bronze, aluminum). The Abashevo toy was developed in more traditional and primitive forms at the beginning of the 20th century. The works of P. and L. Zotkin from the 1930s using doll stamps to imprint faces have been preserved. The figures of people are dressed in intricate hats with brims, in addition to notches and holes, the patterns are large molded buttons and epaulettes.
Some of the figures are painted in several bright colors. For example, a red goat with a green neck and a silver (aluminum) head and bronze horns. It is the sharpness and diversity that creates the amazing power of self-affirmation. The type of decorative image of animals created by Larin Zotkin - goats, bulls, deer, endowed with power - is then preserved in the works of other masters working later, in particular in the figures of I.L. Zyuzikova. In recent toys, which largely repeat the type of products of the 1930s, the massiveness of the figures, long necks and powerful horns, and short legs are even more exaggerated. They are often painted entirely in one color, with the favorite color being red. The type of Abashevo toy from the 1930s, preserved by modern masters, has acquired the meaning of tradition - the stability and persuasiveness of the established decorative system.
2.7 Petrovskoe
Pottery in the Kostroma province back in the 19th century. existed in all counties, where two thousand potters worked at 130 brick factories. The Susaninsky land was especially famous for its master potters. The best potters lived in the village of Petrovskoye.
The fishery began to fade away in the 40s of the 20th century. After the Great Patriotic War, only two masters, P.A. Ivanov and A.V. Zaychikov produced an almost complete assortment of traditional Peter the Great pottery. Along with products that were in demand in the household, Peter's potters sculpted various figures of animals, birds, buffoons, accordion players, and balalaika players. And to make it more fun, all the toys whistled. When you blow the whistle, a ringing trill is heard, each toy has its own, unique sound.
Petrovsky craftsmen mixed two types of local clay - brown and red. Traditional images of Peter the Great's toy craft: horse, rooster, deer, elk, ram, goose, goat, bear, dog, men with accordions and balalaikas, women with children, buffoons...
Air-dried toys are glazed. To do this, they are coated with lead (not iron) red lead diluted in water. Copper sawdust added to it gives the product a tint when fired in a muffle furnace. Under a layer of glaze, which forms dark sagging in the recesses, the pattern becomes more expressive and picturesque. The toys shine and shimmer in ocher shades with a green tint.
Peter's toys have a completely different style, different from the world famous Dymkovo and Filimonov toys - light, colorful, bright. The style is unique and has its own charm.
2.8 Somovo
The roots of Somov pottery go back to the distant past. In the second half of the XIX century. The production of pottery and whistles was carried out in every house in the village of Somovo. The potters brought the products they made over the winter to the city of Velsk and to all the major fairs in the Arkhangelsk region. Everywhere, Somov dishes were in great demand, as they were light and durable thanks to the excellent quality of local clay.
At the beginning of the 20th century. objects appear that imitate porcelain and earthenware, purely decorative things, which speaks of the creative search of folk craftsmen.
Somov toys are diverse and original. There are also small whistles in the form of birds, riders on two-headed horses, and domestic animals with their ancient pagan form. Also large, up to 50 cm high, the dolls are an example of bright and expressive folk sculpture, which has no analogues in the Russian North.
In the early 1950s, the catfish fishery fell into decline. The artel of potters created in 1925 was closed. The Zhitnukhin brothers, Alexander Ivanovich and Pavel Ivanovich, also worked there. The brothers' works became the property of museums and collectors and were often exhibited at exhibitions. Since 1979, the masters have had students. And for many years now, young masters have been continuing long-standing traditions.
2.9 Khludnevsky nozzles and rattles
The village of Khludnevo is located in a ravine, you won’t see it right away. Everyone in the village of Khludnevo knew how to make clay: bricks for construction, dishes for everyday use, and “nozzles” and “rattlers” for the children. Toy making was considered a purely female craft, and the money raised from the sale of “nozzles” was used only for women’s needs, for the purchase of fabrics or jewelry.
“Toys worked all year round, but most of all for the Trinity. Sometimes they would make a thousand, or even two. Rag pickers also traveled to villages, bought whistles for three kopecks, exchanged them for food and material. And they themselves carried their toys around the villages, they gave an egg for a nozzle, and bartered for other products,” the craftswomen recall.
The Khludnev toy retains its most valuable quality, captured in plastic, - the peasant artist’s perception of life and nature as a single indivisible world. Many figures and parts are skillfully combined by the toy makers into sculptural compositions. Cockerels, bears, dogs, men, flowers and leaves, heads of various animals and animals, paws and tails - all these separately made elements are molded, tied, smeared to each other, growing from a single trunk , personifying a strong fruitful tree, once the tree of life. All kinds of whistles are likened to him, resembling twigs, branches with nests, hollows with animals and birds looking out from there. This ancient symbolism is clearly expressed in the plasticity of the tree-like Khludnev doll, sprouting flowering branches with leaves, berries, fruits and birds. At the same time, the doll plausibly conveys the specific details of the local folk costume.
Craftswomen work with ready-made brushes and paints. Watercolors and bright aniline dyes for wool are diluted on eggs and toys are dyed using traditional colors: green, yellow, purple, crimson. They usually paint the details of the tufts, wings, tails of cockerels, and head frills and headdresses of dolls; horns, ears, tails - animals. The main color remains a natural warm clay background with a simple mottled pattern. However, there have been noticeable changes in the finishing and sculpting of toys, especially in recent years.
If earlier craftswomen “made all the nozzles and rattles,” that is, real toys, now they began to sculpt large trees, tall ladies, large roosters, and they began to try to seat the “peacock” figures side by side on benches. They began to introduce solid white coloring, which was completely unusual for local ceramics, explaining this with the desire to hide firing defects.
3. Toys and their role in raising children
Toys made of clay and wood, straw and birch bark, dough or beads... Amulet toys and nursery rhyme toys, haircuts and roes, spillikins and whistles... Dymkovo and Kargopol, Arkhangelsk and Filimonov. All these are Russian folk toys, warmed by the warmth of human hands, colorfully painted by masters and craftsmen, who have long given people love and kindness. And, unfortunately, completely unfairly forgotten by our children. Meanwhile, a folk toy is not only a cultural heritage, a museum exhibit or a souvenir for interior decoration. Laconic in form, but so expressive and understandable to any child, even today it can not only surprise and delight a child, but also successfully cope with his training in even the most serious sciences.
Made from natural materials, the toy introduces a child to nature from the first days of life and fosters a creative attitude towards the world. But this is not only a subject for admiration, admiration and fun. The toy introduces the baby to the world of abstract mathematical images and ideas.
The first age toys that introduce a baby to the world of sounds and shapes are rattles: a mature poppy head or a pea pod are the patriarchs of rattles. Fairytale clay hollow rattle dolls are made simply: ceramic balls or pebbles are placed inside the two halves, and the seam is smoothed. While listening to a rattle, the child makes one movement and many intense noises. In different regions of Russia, rattles were called differently: sharkun, sharkunok, bryakushka, grematushka. The name itself suggests how the first “instrument” sounds - whether it rustles, rattles, tinkles... Rattles were made of clay, wood, birch bark, wicker and were of various shapes. Spherical, egg-shaped, pear-shaped, bean-shaped, cylindrical, cross-shaped - they gradually introduced the baby into the world of a number of sounds and geometric spatial forms.
Identification and selection of one representative (element) from the many was easily solved by the ancient game of spillikins. There were many small toys in the wooden bowl: a bucket, a jug, a cup, etc. The spillikins spilled onto the table, and the child had to collect them in a bowl, making up a set of elements.
Other traditional folk toys also have their own mathematical purpose. The world-famous nesting dolls model, from the point of view of the latest science, the transformation of similarity. Matryoshka dolls, like pyramids with many rings, help to distinguish elements of sets by size and build serial series. “Vanka-Vstanka” and “Tumbler” give an idea of stability. Wooden cubes with fragments of drawings on the edges introduced not only the spatial form and its characteristics. From the fragments of the drawing, as from subsets, the child created a set - a general drawing (an animal, a cup). Toys and products of folk crafts and crafts formed ideas about numbers, geometric shapes, rows, and taught them to navigate on a plane (when a child places small toy items on the table) and in space (when he shoots an arrow from a bow). The folk crafts of Kargopol and Yelets serve to master the concept of series. It was here that the craftswomen “threaded” pearls and embroidered with beads. When embroidering with cross stitch, counted satin stitch and typesetting, knowledge of geometric figures and their elements was also used, which ensured the ornamental diversity of folk costume. Patterns of women's folk costume also consist only of geometric shapes - rectangles and squares. Ural and Kuban rag dolls are made from scraps of square, round, and rectangular shapes.
A real poem of beauty, symmetry and rhythm is Yelets and Vologda lace. We also find rich designs - interweaving geometric shapes on products made from birch bark. Tueski, nabirushki, pesteri, and kitchen utensils made by craftsmen from Uglich and Prokopyevsk contain rows of stripes, rosettes, and circles evenly spaced on the surface. The geometric shape was studied by folk weavers, leather workers, blacksmiths, and manufacturers of products made from straw, hemp, and bast. Considering a folk toy as a means of shaping a child’s mathematical development, one involuntarily comes to the conclusion that children’s education began much earlier than is commonly thought. There was no training system, there was (and could not be) a definition of number and arithmetic operations as a scientific mathematical basis, but the skills of counting, measuring and computing activities were formed, and in the game. And if, by the grace of God, a national methodologist happened to be nearby (mother, father, grandfather, grandmother, nanny), a training system appeared.
Conclusion
Clay modeling is easy to learn and incomparable in its impact on the creative development of a person of any age. The most ancient feelings, which, unfortunately, in the conditions of modern city life are almost completely extinguished, with the help of modeling begin to be restored and lead not only to the development of a sense of aesthetics, a sense of harmony and color and form, but also restore the internal balance of the body and mental balance, i.e. That is, it has a certain psychotherapeutic effect on a person.
Clay toys have received a new life these days as decorative sculptures and national souvenirs. Widespread interest in them stimulated the creativity of masters in a number of forgotten centers. The passion of individuals for collecting them and the constant replenishment of museum collections, orders from masters for exhibitions, art salons, and for export, encourage creativity, sometimes revealing significant potential opportunities where, it would seem, this art has already become a field of history. Obviously, the revival of that area of folk art, where the very process of making a thing has enormous artistic significance, is a matter of the near future.
Bibliography
1. Aleksakhin N.N. Magic clay. Methods of teaching modeling in a children's circle. Publishing house "AGAR" Moscow 1999
2. Dine G. Toy makers. “Enlightenment” Moscow 1994
3. Dine G. Russian folk toy. Light and food industry. Moscow 1981
4. “Folk Art” No. 2 2007
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