The most beautiful crafts in Ukraine. Ukrainian crafts Russian folk crafts

Pottery- one of the oldest types of folk craft. Already Tripillian pottery testifies to the delicate aesthetic taste of old potters, their high skill. Pottery carries valuable information about the ethnographic features of the life of the most ancient tribes and peoples who inhabited our land in the past. Having information about the geomagnetic field of the Earth, scientists determine the age of pottery with an accuracy of 25 years (a pot burned in a fire, after being magnetized, remains so for many centuries).

Ceramics(gr. keramos - clay) during the Middle Ages experienced technological innovations: the use of a foot potter's wheel, the production of tiles, etc. In the XVII century. in Ukraine, one of the varieties of ceramics, majolica, which was widely used in many cities of Ukraine, has spread, although the centers of its production were only in Kiev, Nizhyn, Ichnya, and later in Oposhnya (Poltava region), Kosov (Ivano-Frankivsk region), Slavyansk ( Donetsk region). Majolica products made of colored clay, covered with glaze and painted in the folk style, still adorn the houses of modern Ukrainians. Ceramic plastic is also popular today: toys and sculptures. Among the ceramics - bowls, jugs, pots, makitras, mugs, barrels. Ceramic plastic items - lions, horses, deer, birds, subject sets of sculptures.

Thread- one of the most ancient techniques of artistic decoration of wooden products. In the Carpathians and Bukovina, the technique of flat carving is very often combined with inlay - ornamental framing with pieces of wood, metal, ivory, mother of pearl, beads, etc.

For artistic decoration of wood, painting with various paints has long been used, which were then varnished.

Gunting- the manufacture of glass products - it was known in Ukraine over a thousand years ago. Exact time its origin has not been established, but necklaces made of glass with the addition of multi-colored dyes have already been found in Scythian burials. The name of the fishery comes from the word "guta", which means glass furnace.

Glassware was not an everyday thing, it was used as a festive art decoration. It was not only dishes, but also decorative toys, as well as various candlesticks and necklaces. Today gutnic crafts are the rarest phenomenon in Ukraine. Only three of its centers are known: one in the Ivano-Frankivsk region and two in the Lviv region.

Weaving- one of the oldest and most important elements of the national culture of the Ukrainian people. The presence of weaving in the East Slavic lands in ancient times is evidenced by archaeological finds from the period of early Neolithic cultures. Practical human need for fabrics for clothing and household needs caused their mass production at home. Reshetylivka (Poltava region) is one of the centers of Ukrainian folk weaving, carpet weaving, embroidery and handicrafts. Reshetilov carpets are distinguished by unique floral patterns, each branch, each flower of which is like a hymn to the beauty of nature.

Embroidery- one of the oldest and most widespread types of folk arts and crafts. It arose a long time ago and was passed down from generation to generation. Nowadays they are engaged in embroidery all over the territory of Ukraine. The main function of embroidery is to frame clothing and fabrics for home furnishing. Clothing embroidery is a long-standing East Slavic tradition.

Decorative painting. Petrikovskaya painting is a visiting card of Ukraine. The village of Petrikovka in the Dnepropetrovsk region is one of the few where the traditions of ancient folk crafts are carefully preserved. Petrikovka was founded by Pyotr Kalnyshevsky. And immediately an interesting custom arose in this Cossack village: women began to paint the walls of huts with colorful floral patterns. They were painted with brushes made of cat hair, matches wrapped in soft cloth, and just fingers. The paints were bred on eggs and milk, and the colors were chosen the brightest, to match the colorful nature of the Dnieper region. The hostesses competed with each other, striving to make their home the most picturesque. They said about the most successful paintings: beautiful, like in a church. But if the hut remained white, they stopped greeting the hostess as if it were someone else's. The most diligent hostesses in Petrikovka were called "chepurushki". Thanks to them, painting skills were passed down from generation to generation until the 30s. XX century An attempt to revive the remarkable painting was undertaken by the village teacher Alexander Statev. He opened a school and took on the last Petrykiv craftswoman Tatyana Pata as a teacher. And after the war, one of the students of this school, Fyodor Panko, decided to devote himself entirely to folk art. Thanks to his efforts, a creative association "Petrikovka" and an experimental workshop were created in the village, in which more than 40 folk craftsmen now work.

Cooper- a type of woodworking industry associated with the manufacture of containers - barrels, tubs, buckets, etc. Compared to carpentry and other woodworking trades, cooperage in Ukraine spread later. This craft required special skill, as it is associated with complex technical operations... Coopers possessed the principles of geometry: in particular, the radius of the tub bottom was calculated by dividing the size of its circumference by six.

Blacksmithing- metal processing by hot forging. The forging process took place like this: the blacksmith heated a piece of metal red-hot in the forge, where he burned charcoal(burning was intensified by fanning the flame), then he took iron with tongs, beat it with a hammer, giving it the desired shape. Often the blacksmith was assisted by an assistant - usually a teenager, who acted as a hammer. After forging an object, it was thrown into a trough of water for quenching. Important types of blacksmithing were the shoeing of horses, as well as the forging of carts, and especially the pulling of iron tires onto wheels. With great honor and at the same time with a certain prejudice, blacksmiths were treated as wizards who mastered the complex and mysterious art of transforming metal into certain things. They were seen as defenders from evil spirits, "blacksmiths of human destinies." The forge in the village, as usual, was a meeting place for men, a kind of club. Today the largest center of blacksmithing is the Donetsk region.

Folk crafts and crafts in Russia

Russian folk crafts

Such centers of folk crafts are known in Russia:

v Khokhloma

v Zhostovo

v Gorodets

v Filimonovo

v Fedoskino

v Dymkovo

v Gus-Khrustalny and others.

Khokhloma

Khokhloma is one of the most beautiful Russian crafts, which originated in the 17th century. near Nizhny Novgorod. This is a decorative painting of furniture and wooden dishes, where herbal patterns of bright scarlet berries and golden leaves are intricately intertwined on a black background.

The painting looks bright despite the dark background. To create the picture, the following paints are used: red, yellow, orange, a little green and blue. Also in the painting there is always a gold color. Traditional elements of Khokhloma are red juicy berries of rowan and strawberry, flowers and branches. Birds, fish, and animals are not uncommon.

Zhostovo painting

At the beginning of the nineteenth century. In the village of Zhostovo, Mytishchi district, Moscow region, the Vishnyakov brothers lived, who were engaged in painting lacquered metal trays, sugar bowls, pallets, papier-mache boxes, cigarette cases, tea-boxes, albums and other things. Since then art painting in the Zhostovo style began to gain popularity and attract attention at numerous exhibitions.

Trays are made from ordinary sheet iron. They are round, octagonal, combined, rectangular, oval, and others in shape. Forged products are primed, putty, polished and varnished, which makes their surface impeccably even, then painted with oil paints and covered with several layers of transparent colorless varnish. The most important operation is painting.

Rostov enamel

Enamel came to Russia from Byzantium, therefore the Russian name for enamel - "enamel" - comes from the Greek "fingitis", which translates as "light, shiny stone".

A glassy mass of various colors was used to decorate metal objects by artisans of Kievan Rus, who mastered the techniques of champlevé and cloisonné enamels.

Vintage brooches, bracelets, pendants, which have rapidly "entered" modern fashion, are nothing more than jewelry made using the enamel technique. This type of applied art emerged in the 17th century. in the Vologda region.

Masters depicted floral ornaments, birds, animals on white enamel using a variety of colors. Then the art of multicolored enamel began to be lost, it was replaced by monochromatic enamel: white, blue and green. Both styles are now successfully combined.

Tula samovar

In the 1760s, the gunsmith Fyodor Ivanovich Lisitsyn created his own private, or, as they said at the time, "particular" enterprise in Tula, which produced not only pots, but also "devices for heating water." Samovars of the Lisitsyns were famous for a variety of shapes and finishes: barrels, vases with embossing and engraving, egg-shaped samovars with dolphin-shaped cranes, loop-shaped handles, etc.

At the beginning of the XIX century. The factory "Merchants Vasily and Ivan Lomov in Tula", founded in 1812, became famous. The inscription was engraved on the lids of samovars: "Vasily Ivan Lomov in Tula".

Per high quality Samovars Lomovs were among the first to have the right to wear the Russian state emblem as the highest award. And now samovars made by the hands of Tula masters are genuine works of art and an indispensable attribute of tea drinking in Russia.

Gzhel

In the very center of Russia, in a picturesque region near Moscow (Ramensky District), porcelain is produced with elegant blue painting and multicolored majolica.

Gzhel is the cradle and the main center of Russian ceramics.

In fact, no one knows when this craft arose, because the first mention of Gzhel was found in the will of Ivan Kalita from 1328.

For centuries, Gzhel peasants made household items, dishes, tiles, tiles.

From the second half of the 18th century. Gzhel became famous for the release of majolica dishes. These were items made of colored clay with bright multicolored painting on white enamel. At the end of the XVIII and the beginning of the XIX century. there was a gradual transition from multi-color painting, typical for majolica, to one-color, underglaze.

Palekh miniature

This is a folk craft that has developed in the village of Palekh, Ivanovo region.

The lacquer miniature is executed in tempera on papier-mâché. Usually, boxes, caskets, money boxes, brooches, panels, ashtrays, tie pins, pincases are painted. Palekh miniature is a special, subtle, poetic vision of the world, which is characteristic of Russian folk beliefs and songs. The painting uses brown-orange and bluish-green tones.

Palekh painting has no analogues in the whole world. It is performed on papier-mâché and only then transferred to the surface of boxes of all shapes and sizes.

Gorodets painting

Gorodets painting appeared in the middle of the 19th century. in the town of Gorodets. Bright, laconic patterns reflect genre scenes, figurines of horses, roosters, flower ornaments. Painting is performed with a free stroke with white and black graphic strokes; decorates spinning wheels, furniture, shutters, doors.

Filimonovskaya toy

According to legend, the village of Filimonovo was named after Filimon's grandfather, an escaped convict, master of pottery, bogomaz and toy maker. The age of the Filimonov toy is rather relative. Experts say that the art of modeling and painting clay toys came to the Odoy region of Tula from the distant Upper Paleolithic. And during the excavations of the Zhemchuzhnikovsky and Snedkovsky burial mounds, fortified settlements in Odoyev, shards of pottery were discovered, dating back to the 9th-11th centuries, with drawings and signs that are used to paint the Filimonov toy today.

The beauty and power of Filimonov's toys are in pagan antiquity. The main thing in a toy is a whistle. With his help, the pagan ancestors scared away the devil, evil spirits. They whistled at him at a funeral, he was buried in the grave with the deceased. Full of pagan symbols and colorful toys. Bear is one of the leading characters folk tales- foreshadowed the awakening of nature, was a symbol of power. The deer portrayed a successful marriage, warmth and fertility. In folk art, a horse is time, light, and heroic strength. Birds are a sign of the resurrection of nature, the awakening of the earth, dawn, a good harvest, a happy family. The cow symbolized vigorous strength, fertility and power.

The bulk of the products of Filimonovo craftswomen are traditional whistles: ladies, horsemen, cows, bears, roosters, etc. The images of people are monolithic, sparse in details, they are close to ancient primitive figurines. The narrow bell skirt of the Filimonov ladies smoothly turns into a short narrow body and ends with a cone-shaped head, which is one piece with the neck. In rounded hands, the lady usually holds a baby or a whistle bird. The gentlemen look like ladies, but instead of a skirt, they have thick cylindrical legs, shod with clumsy boots. The heads of the figurines are crowned with intricate hats with narrow brims. At almost all stages of the production of Filimonov toys, craftsmen follow ancient traditions. This is a method of sculpting, and firing, and the classic Filimonov painting. After sculpting, the toys are dried and then fired at a temperature of 950 degrees. After firing, they start painting. Its main elements are Christmas trees and the sun.

Interior of the State Museum of Ukrainian Folk Art in Kiev

There were many reasons for this, but first of all, the fact that even the most remote village was involved in the historical significance of the event for some time and could not help but pass them in the most lively way through the world of their ideas. Arts and crafts of Ukraine.
The Mongol yoke of the 13th century was the hardest for Ukraine. In the 14th century, the Ukrainian lands came under the rule of Lithuania and Poland. A heavy share went to the lands of the Dnieper region, which felt the hardships of the war with the Turkish conquerors.
With the intensification of the struggle for national liberation, the intensification of the processes of the formation of the Ukrainian nationality, the popular principle in Ukrainian culture, the Ukrainization of the most canonical themes and plots
The lands of Ukraine, its villages and cities with magnificent architecture, workshops and manufactures literally did not know a respite, torn apart by numerous foreign pretenders to dominance. Already in the 16th century, Poland intensified its advance to Volhynia and the Dnieper region. An intensified catholicization of the population began. Again, already in the 17th century, a powerful wave of adherence to the past, to our national traditions, rises. Ukrainian enlighteners glorify folk culture as the guardian of national dignity, on nional independence in the spiritual field. In 1825, shortly before the desired reunification with Russia, enlightened Ukrainians called out to Russia for protection: "Ukraine will perish among Poles, Uniates and damned heretics."

Painted stove, work of artist Y. Khimich

The difficult historical situation helped to attract active public attention to folk culture, tolerance for the penetration of folk images into all types of professional and even church canonical art. Images of boys, species and young women penetrate into frescoes and icons. Perceived in the 17th century, the Catholic baroque is so much modified in Ukraine, it is so freed from its inherent exaltation, acquiring the devils of bright calmness, harmony and the plastics are easily readable, that the history of art has rightfully gone not as a Western European baroque in Ukraine, but as a kind Ukrainian baroque. The highest achievements of the Ukrainian baroque were achieved in the original Ukrainian wooden architecture of the late 17th-18th centuries. They are amazing in their artistic expressiveness and bright folk type, in the emotionality and realism of the painting of the wooden rural church pRAToro Spirit in Potelichi in 1620.
Thus, the brilliant development of folk arts and crafts in Ukraine, in addition to many economic, natural and historical reasons, was based on the growth of national consciousness, the vitality of folk ideals.
Until the beginning of the 20th century, Ukraine was an agrarian country. Agriculture was the backbone of labor. Blacksmithing, pottery and weaving played an important role in the development of crafts.
Folk arts and crafts of rural Ukraine are closely related to certain regions. The most important of them is the forest region of Polesie from Sumshnna to Volyn: Sumska. Chernigov, Kiev, Rivne, partly Zhytomyr and Volyn regions. Podolia is a hilly plain that includes Cherkasy, Vinnytsia, Khmelnytsky and the eastern part of the Ternopil region. South - endless steppes of the Dnieper plains. The foothills of the Carpathians and Transcarpathia are Lviv and Ivano-Frankivsk regions.
Ceramics.
Since time immemorial, the Kiev region has become the main centers of pottery production. Poltava region, Chernihiv region, Podolia and Transcarpathia.
The Kiev region is characterized by Vasylkiv ceramics, a feature of which is a large pictorial multi-colored smear of crucible ornament with a white outline. A kind of feathery stroke is also used, which has color transitions from darker to light.
It is in the Chernihiv region that beautiful black smoky ceramics with polished linear decor, which have centuries-old artistic traditions, are still being manufactured.

Decorated folk motives interior of the Chamber of Pioneers in Kiev. Ada Ribachuk, Vladimir Melnichenko

In the Vinnitsa region, in Podolia, ceramics were painted with small-color large paintings on a dark green or brownish-red background. The main centers here are Bubnovka and Krishentsy. In the ceramics of the masters of these villages, there is a certain color and ornamental restraint, in contrast to the multicolored ceramics of the Kiev region.
The most famous pottery production in Ukraine is the villages of Poltava region.
In the Poltava region, excellent ceramics were made in Chomutz and mainly in Oposhnya. In the village of Khomutets, the ceramics were simpler, the forms and painting were a little coarser, however, folk foundations were felt more strongly, and especially in figured vessels. A cute amusing lei sits on its hind legs like a dog, its mouth is ajar, it is a wonderful curly mane made of spirals of clay. The image is naive and good-natured, the color of the vessel is modest, monochromatic - brown.
Opishny's ceramics are distinguished by a great variety. In production, there is a significant proportion of sculptural vessels, which are highly decorative. Kumanians, barrels, candlesticks, jugs and other utensils were made in large quantities. The works of this craft have such a striking style that they are always easily recognizable. The fishery has come a long way of acquisitions and, unfortunately, some losses.
The products of the Opishnyansky masters of the 18th-19th centuries are variously presented in many museum collections. In 1894, the masters were united in the Oposhnyanskaya pottery workshop, and in 1897 the Ceramic Art and Industrial School named after N.V. Gogol in Mirgorod was formed to train potters.
Over time, the list of products decreases, the colorfulness of the painting increases, the sculptural nature of the plastic becomes more complicated, and the products themselves significantly increase in size. Their appearance becomes more gift-giving, already in many ways far from everyday life.
In the 1940s and 1950s, this process was only outlined. During this period D. Golovko and O. Zheleznyak became the classics of the Opishnyansky trade. An understanding of the plasticity of the material is felt in their works. The shapes of the products were quite compact, expressive, watering with a deep saturated color, which organically combined with the generalized plasticity. But already in the late works of D. Golovko, a certain woodiness, dryness of form, complexity of color and fragmentation of the silhouette appear. In this one cannot fail to see the desire for easeliness of the work, exhibition TM, which clearly prevails over practical expediency.

Ceramic figurines three men

In the 1970s, in the sculptural works of G. Poshivailo, one also felt the desire to get away from the actually applied nature of everyday things, the search for new means of artistic expression. In his works, the dynamics of forms are emphasized, the expressiveness of the detail is emphasized due to the general impression: if it is a lion's mane, then the curls are powerful, large, tightly curled, the tail is bent in an elastic arc, the muzzle has lost the expression of naive good nature, it even became somewhat aggressive. Sculptural vessels are becoming almost easel small plastic, in contrast to those simple, harmonious and purposeful everyday things that we know from past decades.
The master's aspiration to reflect modernity finds expression in the diversity and individuality of his own creative handwriting. In this regard, the experience of Ukrainian ceramic sculpture of the 1920s is undoubtedly useful, when in the works created, for example, by the remarkable master Ivan Honchar, there was a deep sense of modernity and at the same time the traditional folk character of the images was preserved. So, in his plastic composition "Demidov's dumplings" (apparently, a version of the famous "Demianova fish soup"), in the plastic "Budenovets", the scene "Pan with the dog" and others, with all the topicality of the plot, the fullness of the works with a personal attitude to reality, that connection with folk art that distinguishes best works Ukrainian ceramists. Such works, with all the seriousness of the topic, still did not pass into the category of easel art, since, first of all, it was a toy made of clay, fun.
In recent years, one can note with satisfaction the successes in the work of the master N. Pishchenko. The toys he created: riders, cockerels, rams, cute perky turkeys are distinguished by the features of traditional Ukrainian folklore. With a sly smile, the master puts the pompous important rider with amusing seriousness in his face on the dog. The playful moment has always been distinguished by Ukrainian folk toys and plastic. The works of the family of Poshivailo Gavrila Nikiforovich, his son and grandson, today attract a true understanding of folk traditions, an appeal to the origins of the national heritage.
The Kosovar ceramic craft of Ukraine, which is located in Transcarpathia, in the Ivano-Frankivsk region, is world famous. This craft is characterized by pottery with an engraved pattern on a whitewashed shard and a painting that is glowing transparent, with a spread of yellow-green glaze and the inclusion of a small amount of brown.
In the old days, a lot of dishes were made here: bowls, plates, vases, jugs, pleskanki with four handles, painted clay toys and stove tiles, which often featured complex plot painting on the themes of the day.

Painted board, 19th century

A characteristic feature of Kosovo ceramics, in addition to the color scheme, was the image of lush grasses and flowers, surrounded by birds, deer, horsemen and all kinds of other characters. A geometric ornament in the form of a mesh, triangles and rosettes was sometimes introduced into the pattern. Large patterns are located in relation to the forms quite independently - the pattern passes from the bottom of the plate to the side or from the body of the vase to the neck, breaking, without literally following the plasticity of the form.
Kosovo ceramics is unique, there is no other such craft, and it is no coincidence that these products with their bright joyful painting attracted attention to international exhibition in Ostend in 1959, where the works of two wonderful craftsmen Grigory Tsvylyk and Pavlina Tsvylyk were shown. The tradition of this ceramics, rather low variability for a long time does not prevent it from being extremely modern in our days.
In Kosovo, many toys were made: these are horse-boxes, beer-brewers, soldiers, ladies and many other decorative, with everyday details, funny little things.
Artistic wood processing. One of the most famous centers artistic processing wood in Ukraine - Poltava region. By the time of the formation of Soviet power in the Poltava province, several thousand families were working in this truly folk craft, and they worked all year round and sold many products to the zemstvo and in the markets.
In the Poltava region in the 1920s and 1930s, a lot of small plastic was done from wood. We are familiar with the statuettes "Woman with a makitroy", "Party in the club", and "Cossack with an oar in a boat" scoop. All of them are distinguished by their realistic interpretation of images and great skill. In the distant past, the Kiev and Carpathian crafts developed. In the Kiev region, in addition to traditional household items, a lot of small sculptures were also made, especially in the post-revolutionary period. The compositions of the 1930s - "Coming Out to Kosovitsa", "Kolkhoz Holiday" and many others have the same distinctive features as those of Poltava: a fairly strong folk tradition in the pre-war period and the transition to some easel art in the post-war period, which was largely overcome already in the 1970s.
Artistic merits are distinguished by the works of the family dynasty Shkriblyaks, Korpankzhov, master A. Ishchenko and many, many others. They are attracted by the special architectonics of their works, the precise construction of symmetrical decor on the surface. It is in this rhythm, devoid of significant accents, that there is the main decorative quality of works, the power of artistic expression and the specificity of this art.
Pisanki. Easter eggs were made everywhere in Ukraine, but it is in Transcarpathia that the ancient geometric ornamentation is traditional, which connects this art with embroidery and woodcarving. Transcarpathian Easter eggs are made in many villages - in Kosmach, Zamagorov, Yavoriv, ​​Vizhenka.
Many museums collect collections of Easter eggs - these masterpieces of Ukrainian folk art. Among the first is the remarkable collection of the Museum of Hutsulytsin Art in Kolomyia.
The kilims of Kosovo are beautiful, as are the eggs with geometric patterns. This ornament has its own peculiarities: the edges of geometric shapes - stepped rhombuses seem to stratify, like a rainbow ray, creating a wonderful spectacle of color flickering of the surface of overflows of color shades.
Kilims of central Ukraine are distinguished by lush floral decorations. Such colorful floral patterns in carpets are typical for the Poltava and Kiev regions.
Podolia is characterized by strict geometric patterns of carpets. Rather, they have a commonality with Asian and Balkan carpets. Carpets of this geometric character are woven in the Vinnitsa and Ternopil regions; as a rule, they are typically characterized by an eight-beam rosette and a border with the same rosette, but somewhat smaller.
Chernihiv kilims, more than any others, have a free, unrestricted arrangement of floral decoration. These carpets were woven mainly in Tar.
Ukrainian carpets have always been distinguished by a clean and delicate range of colors. They were so beautiful with their colors that Catherine II issued a special decree on "finding the paint of a worm" in the Poltava province for the palace needs. In the Poltava region, beautiful patterned striped carpets were also made. They had their own differences. The fact is that in any striped carpet it is customary to weave equal-sized ornamental figures that make up the pattern. In the Ukrainian carpet everything is different - the rhythm of the carpet is based on a combination of ornamental figures, different in size and color. None of them repeats the other, but within each stripe they make up balanced masses of the pattern in relation to the background, which calms the composition, makes it harmonious. Such a technique for decorating a carpet requires tremendous skill, and this is all the more striking, since it is known that the masters did not make preliminary patterns and weaved from memory. The shapes of the ornaments, the color of the figures are the elements of the pattern, their size is freely variable: there is almost no background, geometric figures seem to emerge from it. One is clearer, clearer outlined, the other has almost disappeared into the background color, since it is close to it in colors, the third has blurred edges, the fourth has a peeling contour. There is practically no border in such a carpet. In another type of carpets in the same area, there is a wide border, even equal in width to the field. But in such a carpet, all woven hexagonal rosettes differ in shades of color. This technique allows avoiding the simplification of the pattern even in a geometric Ukrainian carpet. The almost imperceptible variety of individual motifs in the decorative pattern gives the carpet an inexpressible charm. And not only in one carpet there is such a variety of motives, but each carpet individually does not repeat the other, they are all different and made with extraordinary imagination.
The skill of Ukrainian carpet weavers is incomparable. I recall documents about the hardest situation of carpet weavers in the pre-revolutionary past. As contemporaries wrote, in a year it was necessary "to weave more than forty carpets for food for forty rubles." The weavers' fingers burst. In the documents of the craftswomen and craftsmen, they did not name it otherwise, as "such-and-such slave" or "such-and-such" slave. And in the carpets woven by them of clear light colors there was eternal spring, harmony and poetry reigned.

Nowadays, great successes of Ukrainian carpet weavers are pleasing. The master L. Tovstukha, the chief artist of the Reshetilov factory, has recently made a carpet "Spring", in which both the tenderness of a multicolored shimmering background and the spring flowering of nature. His carpet “Summer” is somewhat different in its image: here there is a bright multicolor, resolved in a hot, ringing gamut - flowers, berries, fruits, birds - all in luxurious ornamentation.
Weaving and embroidery. In addition to carpets, home fabrics were woven everywhere in Ukraine for making clothes, linen, for decorating a hut. Linen and hemp fabrics were made in large quantities in Degtyary, Reshetilovka, Dikanka, Sorochintsy, Shishaki. Krolevets of the Chernihiv region was famous for fabrics with patterns of stars, surrounded by squares of a darker color. Plakhtovaya Ukrainian fabrics have a lot of options, but they are united by a checkered rhythm, a small size of the pattern and multicolor. In Degtyary there was a particularly beautiful checkerboard pattern of interweaving of threads in the finest mesh of the pattern.
In an old girl's song it is sung:
If I had waited On the towel stand up,
Then they will not separate me Neither father nor mats,
Neither judgment nor bulk
They will only part with a shovel and a shovel.
Krolevets is known for the lush red and white patterns of its towels, and in the Poltava region, a small floral pattern tightly covers the canvas of the towels.
The girl sings:
Well my silk khustochka, which is sewn with silk, why did I spin you, so that a disliked daddy.
Previously, both candles and gonfalle shafts were wrapped in little kystochki. In memory of the departed, they were hung over the graves. There is a legend of 1599 about Samuil Kishka, who in Turkish captivity kept a khustochka as a memory of his native land.
Costume. In the villages of Ukraine, to this time, there is a folk costume with a predominance of light colors. The materials for making the fabrics from which the clothes were made were wool, hemp and flax. Women wore shirts, beautifully embroidered, unstitched skirts - plakhtas, panevs, as well as aprons and various headdresses, depending on the woman's age. More often these were towel-like headdresses of the Russian plate-ubrus type. In the Kiev region, they preferred an ochipok-cap, decorated with embroidery. The girls wore wreaths. Moreover, in Bukovina, wreaths with plumes of feathers were a festive headdress for girls, probably, such a dress was associated with ancient pagan ideas. For the winter time, jackets and coats were used. The costume was decorated with beads-namist, colored woven patterned belts. Since the 19th century, gerdan buies made of factory porcelain and glass beads have become widespread.

Fragment of decorative-thematic carpet Tears. 19th century.

Shirts and shirts were often embroidered with satin stitches.
In the Poltava region, shirts with modest, one-color, more often grayish threads on white or white on white embroidery were widespread. In the Volyn region, a red-blue and white skirt is beautifully combined with a white shirt, embroidered on the shoulders and on the collar with red stitches on a white linen. Especially juicy, bright dense embroidery of shirts is distinguished by the Kiev region. Bukovina is characterized by bright multicolor saturated embroidery with colored red, black, yellow and blue thread. In the Vinnitsa region, the exquisite embroidery of shirts is unusually beautiful: one black thread over a white linen or black with thick cherry over white. Lviv embroidery - small, continuous stitching in squares. Embroidery was especially polychrome in the Carpathian region. Here, women wore pleated shirts with slits on the back or shoulder, linen skirts with an insert in the front, an apron, and a sleeveless jacket. Sleeveless jackets are richly embroidered, trimmed with leather, fur, pompons, metal overlays. Hutsul men's winter clothing with a suede top on a fur-keeper has colorful tassels on the back, fur trim, colored floral embroidery, decorative buttons.
The popular light ideal of beauty, embodied in Ukrainian clothing, is associated with nature, its flowering, herbs, birds. The Ukrainian costume was especially revered. And even on the icon, the Mother of God was often depicted in folk costume, with namists - beads.
But if the embroidery, nevertheless, rather indirectly and somewhat restrainedly conveyed the motives of nature, than, for example, it was in carpets, then most fully, luxuriously Ukrainian nature was reflected in the wall paintings.
Painting. In all its fullness, in a relaxed, free way, the emotional feeling of the craftswoman poured out in the paintings of the hut. Painted huts were everywhere in Ukraine, especially in the Khmelnytsky, Odessa, Dnepropetrovsk regions, except for the Poltava region, where the huts were not whitewashed. Painted outside - friezes under the roof, around windows, inside - walls, stoves, friezes under the ceiling.
Both in the huts and on paper, the paintings in those years were modest, more like a line than a stain, discreet, delicate color, with a great sense of proportion. There were many murals in the hut: both the walls and the stove, and then there was a hidden room, a bench, a wardrobe, a shelf were painted, but nothing screamed, everything was surprisingly harmonious and proportionate to the patterned textiles that also adorned the hut.
In the post-war period, decorativeism began to grow in the paintings. Drawings were mainly made on paper, as decorative panels of large forms. A spot of intense bright color began to predominate in the painting. True, there are often very modest works. Such are the works of N. Belokon. Its flowers with fluffy leaves, similar to chrysanthemums or dahlias, are almost voluminous in the nature of the painting, but the composition is balanced, harmonious and the colors are not variegated.
In recent years, Grigory Sobachka, Tatiana Pata, Galina Pavlenko-Chernichenko were the leading figures of Pstrikov's painting. The folklore character of the images is well traced in such popular prints as "Cossack Mamai", "Gypsies", "Natalka-Poltavka" and others. In the recent works of the remarkable master Maria Primachenko, the cycle of which is called "For the joy of people", the whole meaning of her work is revealed: she creates for the joy of people. She does a lot of work on
plots of famous songs, fairy tales, in which animals, birds, lush nature are presented. Sometimes a master will call a character in his work that she herself does not know who he is - this "kochubarka". And he is interesting, unlike anyone else, a little scary and funny.

Decoratic panel Ukrainian women of fashion. Shevchenko Prize Laureate Maria Primachenko. 1964 g.

The works of Petrykivtsi are national in character, they are characterized by the features of Ukrainian folk art - bright, kind openness to man, humor, a little childish constitution of a pure soul, close to nature, just as soft, kind and sunny.
In recent years, in Petrikovka, they began to do lacquer painting on wood. But in this new quality, the painting loses somewhat: it is more dull in color. There is no such harmony of light radiant colors that were on a white background.
Hut - dwelling villager Ukraine is pretty. In the hut there are colorful patterns of carpets, embroidered towels, patterned curtains and bright folk pictures, painted hidden chests, simple glass workmanship, glazed ceramics and wooden carved utensils, colorful wall paintings. Finely smelling dry herbs and flowers are suspended.
And although life in the Ukrainian village has changed significantly in recent decades, many new modern factory-made items have been introduced, they do not determine the appearance of the hut, which has retained its unique national flavor.
Folk art has the most direct impact on the appearance of the modern art industry in Ukraine - the manufacture of products from porcelain, faience, textiles, carpets, glass. His influence is also noticeable in monumental art. The traditions of stove tiles can be traced in the works of Omelyan Zheleznyak, made for the Kiev hotel "Dnepr". Folk traditions are typical for all areas of creativity of contemporary artists of Ukraine.
The world of Ukrainian arts and crafts continues to remain integral, with a deep national identity, largely determined by deep folk traditions.

Painted board, 19th century Decorative composition ram. Honored Master of the URSR Dmitry Golovko

1. Petrikovskaya painting, or "Petrikovka" - Ukrainian decorative and ornamental folk painting, formed in the Dnipropetrovsk region in the village of Petrikovka, from where the name of this type of art comes. Household items made of patterns in the style of Petrikov painting have been preserved since the 17th century.

The defining features of painting that distinguish it from other similar types of painting (for example, from the Ukrainian opishnyansky painting and from the Russian Khokhloma painting and Fedoskin miniatures) are the execution technique, patterns, their colors and a white background.

The famous painting technique has evolved into a brand. At the end of January, the Petrikovka logo was created. It was handed over to the village craftsmen free of charge so that they could prove the authenticity of the products to the buyers.

2. Oposhnyanskaya ceramics- traditional Ukrainian ceramics from the village. Opishnya in Poltava region, one of the largest pottery production units in Ukraine. Object of the intangible cultural heritage of Ukraine.

According to archaeological finds discovered in the vicinity of Opishnya, the territory of the village was inhabited as early as the Neolithic era. It was then that the widespread use of ceramic tableware acquired. The development of modern craft dates back to the late 19th century, when the majority of the Opishnya population was engaged in the production of original decorative jugs. Modern ceramics from Opishnya have retained a rich variety of forms, among which, along with traditional national ones, a number of new ones have appeared - vases, decorative dishes, etc.

3. Ukrainian vishivka even more profitable. Kozhny district, to visit the village I have my favorite colors, my art patterns, my own technique. For example, in Poltava oblast, love vishivati ​​with lower vidtinks of blakit, zhovtoy abo zvsim bilim. Zhytomyr and Rivnenskiy regions have a worm-name. In the Vinnytsia region, they are essentially black, or in the same way they are black and red. In Kiev region - chervona with blue, one with black. Near the Carpathian Territory, we will see a ferry and we will be able to decorate the Koloram.

4. Vytynanka(from the Ukrainian word - "cut out") - a kind of ancient Slavic,
in particular Ukrainian folk decorative arts. Includes storylines
and ornamental home decorations - openwork, silhouette, etc. Manufactured
using scissors, a knife and other tools. Pull-out material - paper (white
or colored), wood, plant materials. Vytynanks are used to decorate a room (house) - walls, windows, shelves, chimneys, stoves. Vytynanks are used
both in everyday life and before religious or secular holidays. It is especially common in Podillia, Vinnytsia region.

6. Kilimarism(carpet weaving). Chronicle sources testify to the flourishing of carpet weaving in Kievan Rus in the second half of the X-XII centuries. In the XV-XVII centuries and especially in the XVIII century. carpets were already made in many landowners' workshops, carpet-making workshops, manufactories and factories in Podolia, Volyn, Galicia. At that time, carpet weaving of the central, eastern and southern regions of Ukraine developed extremely.

7. Wood carving (wood carving) - a kind of decorative and applied art (carving is also one of the types of artistic woodworking along with sawing, turning). Hutsul carvers perform works in the technique of relief carving, portrait and subject images on decorative plates, album covers.

8. Burshtin (amber)... The Klesovskoye field was discovered quite recently, after the Great Patriotic War in the village Klesova, Rivne region Ukraine.

9. Straw weaving... The use of cereal straw for the manufacture of household items dates back to the historical period when agriculture was mastered by man. Straw-weaving masters work practically in every region of Ukraine, enriching the traditions of old masters.

10. Weaving from a vine- handicraft for the manufacture of household
and art products from various elastic raw materials. It has rich and long-standing traditions in Ukraine, especially in Polesie. Vines, bark of certain trees, especially young linden, were used as raw materials for weaving. (bast) and birch (birch bark, bast), willow, coniferous
and an oak torch, spruce, pine roots, etc.

11. Lyalka-motanka - making a doll from multi-colored scraps of fabric and threads, which in the Ukrainian tradition was not only a toy for a child, but also her amulet (this explains the absence of faces in Ukrainian dolls - instead of them there are crosses).

A selection from the Internet. If someone wants to add - I will be glad.

As one of the predecessors of industrial production, it was developed in Ukraine since ancient times, but for a long time it was cut off from other types of activity.

Antique and Medieval craft

The craft was developed in the ancient cities of the Northern Black Sea region. In the early period, starting from the 1st millennium, the craft began to separate from Agriculture... In princely times, crafts were distinguished by the complexity of the nature of production and higher. More than 60 industries already existed in large cities: metallurgy, blacksmithing, processing of fur, wool, flax, bone, stone, glass production. The production of jewelry, clothing and religious buildings reached its heyday. By social status the artisans of Kievan Rus were divided into free and serfs, as well as into princely, boyar and city (the largest number). They mostly settled in one area or on one street of the city. To protect their interests, they created societies that can be considered the birth of guilds. The Tatar-Mongol invasion led to the decline of crafts. They were revived only during the times of the Galicia-Volyn state. In the 2nd half of the 14th century - the 1st half of the 15th century, a guild organization appeared in the system of Magdeburg Law.

New Times Craft

In the second half of the 17th century, handicraft in Western and Right-Bank Ukraine decreased due to the general decline of cities and bourgeoisie, the spread of non-workshop handicrafts, settlements at castles, landowners' courts in cities and suburbs of citizens of rural artisans, and the competition of goods from European artisans. Crafts developed better in Kiev, Chernigov, Poltava, Novgorod-Seversky, Nizhyn. In the first half of the 19th century, handicrafts felt the pressure of tax policy in the central and eastern lands, as well as in Galicia. In the second half of the 19th century, the development of the factory industry and capitalism, the construction of railways, which facilitated the transportation of factory goods, the loss of the importance of craft workshops, and the low level of education of artisans, had a negative impact. The artisans experienced a significant crisis due to their lack of competitiveness in front of factory products during the 1870-1890s.

20th century craft

Before World War I, in 9 Ukrainian provinces of the Russian Empire, there were 700 thousand artisans and handicraftsmen, 57 thousand independent artisans, 105 thousand non-taxable handicraftsmen and artisans, 135 thousand handicraftsmen of the food industry, 45 thousand participants in various non-commodity trades. Craftsmen lived mainly in villages, artisans - in cities. In the early 20s. the importance of handicrafts increased in part due to the decline of the factory industry. The number of artisans and handicraftsmen in the Ukrainian SSR increased to 820 thousand by 1928. Over time, due to the nationalization and development of the factory industry, crafts fell into disrepair. The number of artisans and handicraftsmen in the Ukrainian SSR in 1939 was 57.7 thousand. After the liquidation of industrial cooperation in 1960, the handicraft and handicraft industry was transferred to the system of the state regional industry.

Handicrafts

The Ukrainian house was decorated with towels, sackcloths, carpets. The floor was sprinkled with aromatic herbs to breathe coziness and smell of freshness.

The national symbol of Ukraine, the national amulet is a towel. - it is a symbol of harmony, love, beauty, happy fate, hope, protection from evil forces. Each dwelling was decorated with towels, embroidered by the hands of the hostess, or even those that she inherited from her mother and grandmother. Towels not only decorated the home, they were also hung over doors and windows so that no evil could enter the house. A well-decorated towel hung on a peg near the porch, they wiped their hands and dishes with it, covered a tub of dough, baked palyanitsa, went with it to milk a cow, started roasting - a towel accompanied the person everywhere. The towel was called differently, depending on its purpose. Towel for wiping hands and face - wipe; for dishes, table and lava - washer; festive, for covering the table - obrus; for tying matchmakers - shoulder strap. And there was one more - a towel of fate. His mother prepared it even before the birth of the child. For the boy, she embroidered oak leaves on it, so that the son was strong and courageous, and for the girl, the viburnum, so that the daughter was beautiful, like a viburnum. After the birth of the child, this towel was put by the mother under the baby's pillow. They carried the child with him to baptize, the mother of the son or daughter blessed him for the wedding, she dressed the child with him on a long journey. This towel was cherished all life and was placed in a coffin when a person was dying.

In each region of Ukraine, towels have their own characteristic features. In the Kiev region, the Chernigov region, the floral pattern of red, blue and black predominates; for Western Ukraine, a geometric pattern with bright colors is characteristic.

Popular wisdom says that a person in his life must build a house, plant a tree, raise a child. And you need to start with building a house.

Once upon a time, our ancestors, settling new lands, chose the best, most picturesque places for housing.

Houses in Ukraine were most often built from wood, clay, straw, reeds, and vines. They were, albeit small, but warm, smart, with windows to the sun. Choosing a place for a future home, Ukrainians adhered to certain traditions: where they like to lay livestock, people will be happy there; if rye grew well on the site chosen for construction, then this place is good for a home. And it was also impossible to build an om where there used to be cemeteries, where they were often sick, on wastelands, on a road, at a crossroads.

The house was planted with mallows, lovage, mint, it was always clean bleached, very often painted.

The house was light and sunny, which is why it was called the loft. The pride of every home was a stove - a symbol home comfort and warmth. She stood in the left corner of the entrance. Food was cooked in the oven, it heated the house. For this she was greatly respected in the Ukrainian family. Each housewife, after having heated the stove, swept it, often smeared it with white clay.