Inna Surmina
Russian folk costume as a means of revealing the cognitive and creative potential of older children preschool age
Preschool childhood is a valuable period in a person’s life, in which mental processes, properties and qualities of the individual are formed, a time of active socialization of the child, entering into culture, awakening moral and patriotic feelings, and nurturing spirituality.
National culture becomes for a child the first step in mastering the riches of world culture, appropriating universal human values, and forming his own personal culture.
Every preschooler- a little explorer who discovers the world around him with joy and surprise. The child strives for active activity, it is important not to let this desire fade away, to promote it further development. The need to expand the child’s experience in order to create a sufficiently strong foundation for his creative activity. The more a child sees and hears, the more he understands and assimilates.
A big place in our work is communion children To cultural traditions Russia ranks Folk calendar. He combined spiritual, natural and human life. Special role, I would like to take the organization to familiarize itself preschool children with Russian folk costume, because folk costume is a system, reflecting a person’s worldview and worldview. Russian folk clothing is the keeper of the original folk culture, our heritage people, chronicle folk customs - one of the monuments Russian national culture.
Submissions preschoolers about national culture are very fragmentary and superficial. And a special attitude towards folk costume leads to the formation of the right image folk culture in general.
Working in this direction, we have set ourselves the following
Tasks:
-Introduce children to Russian folk costume, with its features, names and purposes of individual units suit.
Generate views children about Russian folk costume in the process of educational-research and productive activities
Develop children aesthetic taste , creative abilities curiosity, interest in Russian history, folk art.
Cultivate a sense of pride in your people, culture, for "golden" hands Russian masters.
System objectives preschool education , require the development of independence, initiative and children's creativity in all areas of their activities and carried out by different means. The main thing is to help children develop their intellectual and creativity. The need for mandatory accounting age And psychological characteristics children in the content and organization of work within the educational process contributed to the definition of its principles.
Implementation principles:
The basis is the following principles education:
1. Availability: accounting age characteristics children; adaptability of the material.
2. Systematic and subsequence: gradual presentation of material from simple to complex; frequent repetition of acquired knowledge.
3. Visual and entertaining: the proposed material must be understandable, playful or with elements of a game or surprise.
4. Dynamism: integration of the project into different types activities.
5. Differentiation: creating a favorable environment for absorption material proposed for study by each child.
6. The principle of cultural conformity in education, i.e. education based on universal cultural values;
For dating preschoolers with folk costume a long-term plan has been developed for topic: “Cultivating respect for national traditions, culture, costume and life of the Russian people through the organization of work on folk calendar» on academic year and the system of work for its implementation. (conditions)
The main directions of our work on this topic steel:
Studying history suit. Where children become familiar with appearance suit, its shape, coloring, decoration elements.
In our work we use folklore: proverbs, sayings, riddles about suit, fairy tales are like the first acquaintance with costume in illustrations
We introduce household items related to storage and production suits: spinning wheel, thimble, spindle, iron, chest. The materials from which they are made fabrics: linen, wool, leather, bast. We study methods of making fabric and costumes, i.e. labor actions: spin, weave, sew, knit, felt.
- Folk calendar(We are considering costume as an integral part national holiday, the difference between festive and everyday suit.) reveal its symbolism, we give an idea that costume reflected the close connection between man and nature. (Embroidery on suits, fabric paints, images conveyed in silhouette suit.)
Applied arts ( Suit in folk toys , embroidery, lace, beading, rag doll)
Terms of sale:
Organization of subject-spatial development environment. Information material, books, illustrations) Collection of dolls, Card indexes (riddles, proverbs, fairy tales, selection of books for children, Layout "Izba" with family, Didactic doll with a chest of clothes, Didactic games By folk calendar, suit, fairy tales, Creative workshop, Coloring pages, strokes, Corner "Mumming"
It must have the character of an open, non-closed system, capable of adjustment and development. In other words, Wednesday should become not only developing, but also developing, it must be replenished and updated.
Organization of educational activities. It is carried out in the process of organizing various types of children's activities: gaming, communicative, labor, educational and research, productive, musical and artistic, etc. Ideas about folk costume successfully integrates with almost all educational areas basic educational program preschool educational institution
Organization of independent activities children(didactic games, theatrical activities, viewing didactic pictures, illustrations, etc.)
Organizing interaction with families (participation in project activities, the product of which is magazines, the creation of collections, the preparation of excursion routes, the participation of parents in the replenishment museum exhibits and so on)
The work carried out contributed to the development of children's horizons, fostering respect and love for Russian history and culture, formed knowledge about the device Russian life, about history Russian costume. U children vocabulary expanded and enriched, stimulated creative abilities of preschoolers, allowed us to cultivate such qualities as kindness and love for loved ones, for our homeland, traditions people, pride in his achievements.
Publications on the topic:
Development of the creative potential of preschool children Play is one of the main types of children's activities, very attractive to preschoolers. In the game - dramatization of content and character.
Scarlet children are constantly in a state of exploring the world around them. They already know that a chair is made for sitting, a blanket.
Experimentation method as a means of developing cognitive interest in children of senior preschool age Master class "Method of experimentation as a means of developing cognitive interest in children of senior preschool age during familiarization.
Musical project for children of senior preschool age “Journey to the origins of Russian folk culture” PROJECT “Journey to the Origins of Russian Folk Culture” Type: informational-practical-creative, group Participants: music director,.
Introducing children of senior preschool age to Russian folk culture through familiarization with the “Museum of Folk Life”“Introducing children of senior preschool age to Russian folk culture through familiarization with the Museum of Folk Life.” To the present.
Humanity is on the threshold of a new millennium, on the threshold of the 21st century. What it should be like is our concern. The time has come for big and serious changes in the life of society, a time for serious concerns about man and his well-being. The time has come to think seriously about our culture, art, and the development of the richest national traditions.
Solving current problems of improving the quality of consumer goods is inextricably linked with updating and developing the range of modern clothing, shoes, and costume accessories. A creative source that contributes to updating and expanding the range, improving the quality of clothing and shoes is Russian folk costume.
Russian folk costume, as a rich artistic and design source of creativity, has hardly been studied or researched. Historian researchers turned to Russian folk costume mainly as a historical and ethnographic source, as an object material culture. There are only fragmentary works that examine, for example, the decorative design of Russian folk costume in individual regions. This explains the relevance of the research topic, which also has a deep ideological, moral, patriotic meaning: the art of modern costume cannot develop in isolation from folk, national traditions. Without a deep study of traditions, the progressive development of any type and genre is impossible contemporary art. Here, it is probably appropriate to recall the words of A.S. Pushkin: “Respect for the past is the trait that distinguishes education from savagery.”
Folk costume today is mostly a property museum collections. Museums mainly store samples of folk costume from the 19th - early 20th centuries. The fact is that the very idea of preserving folk costumes that are disappearing from everyday life, the originals of national traditional art, was born late - in the 19th century. These “living” museum materials are the main object of research in the monograph.
Russian folk costume as a monument folk art, collected by museums, is “published” today very insufficiently. At times, the reproaches of artists, art critics, writers and other artists against museums about the stingy, and sometimes incorrect and even distorted propaganda of Russian folk costume by museum exhibitions are fair. As V. Shcherbakov figuratively wrote in the Moscow magazine, in existing museum exhibitions of folk costume you can more often see patched army jackets made of rough canvas, a completely worn-out simple sundress that has lost its appearance, trampled bast shoes, etc.
The most meaningful, colorful costumes, as a rule, are kept in museums in storerooms; they can most often be found in chests, drawers or cabinets, carefully packed, hidden from human eyes. Because of such “propaganda,” a contemporary, a specialist, is unable to imagine how wise and inventive the Russian person is, what rich spiritual capabilities and nobility he is endowed with.
Individual temporary exhibitions, practiced, for example, by the Vologda and other regional museums of local history, the Museum of Folk Art (MNI), the State Historical Museum (GIM), the State Museum of Ethnography (GME, St. Petersburg), are not able to fill the gap in propaganda and knowledge of the richness of Russian folk costume.
Unfortunately, museum collections of costumes are sometimes more accessible to foreign viewers than to their own people. There are repeated statements from the press about the lack of literature revealing the merits of Russian folk costume, as well as about the release of individual publications that have neither aesthetic nor practical value. For example, those published in 1966 are rightly called such a publication.
publishing house "Soviet Artist" postcards of Russian folk costume of the 19th century. artist V.I. Gordeeva, who only parodied genuine folk beauty and even falsified some costumes.
Amateurs are not always worthy propagandists of Russian folk costume. folk choirs and ensembles. ""Pleated skirts, sundresses with tacky ornaments, stylized kokoshniks, oilcloth boots... The same pseudo-Russian style penetrates into professional art", V. Shcherbakov wrote in the 70s. This remark is still relevant today. The rich traditions of folk costume have not yet received widespread development in modern everyday costume. The reason for all this is the lack of knowledge about the authentic Russian folk costume, the inaccessibility of the original source specialists, lack basic research to identify the artistic and design merits of Russian folk costume.
Over time, the richest national heritage, stored in museums, acquires even greater uniqueness and value. Access in museums to such works of folk art is increasingly limited, and the interest of specialists in them is increasingly increasing. Being the property of museum collections, folk costume today is a kind of immovable “preservative of culture”. To traditional culture people, reflected in artistic monuments, which is a costume, has become accessible and widely understandable to a contemporary, and first of all to a specialist, it is necessary to create a special connection with the original source. Such a connection with museum samples is necessary so that, without turning to the originals of folk costume, one can obtain reliable information about them. There was a need to develop a principle and method for translating the content of folk costume into the language of specific maps and compiling a data bank.
For the first time, a study of the artistic merits of Russian folk costume is based on extensive authentic material. The author spent 20 years studying the originals of museum collections of Russian regional local history museums(12 regions), in the GME (St. Petersburg), MNI and GIM (Moscow) and other museums; The study also includes material collected by the author during an expedition to the Russian North (1966-1967) and donated to the museum of the Moscow Textile Institute.
The study of artistic and design merits was carried out mainly on the example of folk festive costume, which was more decorated, was the most colorful and was best preserved. Everyday clothing presented basically the same design solutions as festive clothing, but was made from coarser fabrics.
The main objectives of the study are as follows:
- development of a methodology for working with the originals of Russian folk costume. Systematization of material from museum collections and development of a classifier of Russian folk costume;
- identifying the most characteristic elements costume of each region under study, deciphering them and conveying to the specialist the compositional and constructive advantages of the elements of folk costume, as well as establishing specific communication with the original source;
- restoration of compositions of costume complexes by region and selection of costume images that most expressively represent the characteristics of each region, illustrating the compositional and plastic originality of the costumes.
This is a new direction of research, profile scientific activity an artist-designer, a specialist in modern costume, who sets the task of identifying the compositional and structural features of folk costume with the aim of using the primary source in the creative activity of designer-artists when creating a modern costume (household, stage).
The task was set to convey to the modern costume specialist the aesthetic essence of Russian folk costume. The research is also aimed at promoting the wealth of spiritual and aesthetic capabilities of the Russian people through identifying the artistic merits of traditional national folk costume.
It should be noted that the study was carried out for the first time from the position of identifying the artistic merits of Russian folk costume as an ensemble using extensive authentic material. The author has studied and analyzed over a thousand authentic samples of elements of Russian folk costume from the main museum collections of the country that have such monuments of national art.
The study of originals in museum collections was complicated by the fact that information was not always available regarding the place and time of existence of costume elements; The exhibits collected by museums are in most cases scattered and not assembled. Work has been carried out to select and assemble elements and restore the costume into complete compositions.
The study and systematization of museum originals was carried out on the principle of identifying the most typical, characteristic, taking into account the accumulated experience of working with the primary source, the necessary knowledge, as well as the available literary and illustrative materials on Russian folk costume. The task was set to reconstruct the elements of Russian folk costume, to identify the relationship between material, design, manufacturing technology and form.
The study of the originals was preceded by drawing up a description of the exhibits, photographing them (on black-and-white photo and color slide film), sketching and measuring. A system for measuring exhibits was developed and the component parts of each element, their size and configuration were determined, making it possible to reproduce the surface scan of the costume elements on a computer and reconstruct the design and technological features of the sample.
Measurements of the exhibits were carried out so that it was possible to obtain the appearance of the sample from the front and back. Drawing up a general appearance element of the suit was carried out by folding the sample in half and placing the front panels (shelves) on the back panel (back) along the shoulder line and the middle of the sleeve. The samples were laid symmetrically on a plane, the axis of symmetry was a longitudinal vertical line - the middle of the front was aligned with the middle of the back.
The general view (front and rear views) illustrates the location of the connection lines of the panel parts, the connection of the structures with the material, i.e. the presence of a modular dependence of the design and shape on the width of the fabric panel, specified by the parameters of the weaving machine.
According to the measurements, the main parameters of the parts were set. At the same time, the widths of the panels of fabric, the width and length of wedges, zeros, and gussets were recorded. To obtain the necessary additional measurements in order to obtain a complete picture of the design, the samples were respectively located in the most readable positions.
The scan of the surface of the sample was built to scale with orientation on the coordinate axes - the middle of the front and back and the line shoulder girdle(the line of inflection of the shelf and back and, accordingly, the longitudinal, middle line of inflection in the case of whole-cut panels).
The purpose of creating a design file is to illustrate the development of parts and the appearance (front and back) of the elements of the suit, to emphasize the rationality of the design, its functionality, and to confirm the residue-free modular cutting of clothing.
When forming a composition file, decorative elements characteristic of the sample were applied to the external appearance images (front and back) of the design file in order to reconstruct the composition and identify the expressiveness of the sample using constructive lines. The composition card illustrates the connection between decor and form and design, i.e. to what extent are structural lines simultaneously compositional (decorative). Thus, from the card files of the two arrays, it is possible to obtain information about the architectonics of the costume elements.
Independent digital coding of the design and composition of costume elements is offered. Taking into account the focus of the study of the primary source, detailed verbatim information is not required; generalization is allowed while preserving the figurative characteristics. In this regard, when coding the color and pattern of fabric (material), ornamental motifs, the classification of these characteristic features- creation of a data bank of color (background) standards for fabrics and decor.
The study of Russian folk costume based on surviving originals was preceded by the study of ancient Russian costume. Therefore, the history of the elements that make up the Russian costume, and the costume as a whole as an ensemble, is of interest.
What is most interesting here is the peasant costume as the basis of the national traditional costume.
PROJECT “From the history of Russian folk costume”
Ekaterina Titova, 3rd grade student of the Tatarsko-Burnashevskaya Secondary School, Verkhneuslonsky district of the Republic of Tatarstan, Head: Bochkova M.N., teacher primary classes 1 sq. categories
Respect for the past is the line
Distinguishing education from savagery.
A.S. Pushkin
Relevance of the problem
History has always aroused great public interest. This interest is explained by the natural need of every person to know the history of his people. Russian folk costume is a source of creativity, which is an object of the material and spiritual culture of the people. The clothes reflected the soul of the people and their idea of beauty. National clothing is a kind of book, by learning to read which you can learn about the traditions, customs, and history of your people. The desire to learn how to read this book led us to the topic of the project. Russian stories national costume is dedicated to our research work, project creation and visual aid. The relevance of the chosen topic is also confirmed by the responses of respondents during a sociological survey that we conducted among primary school students.
Project goal : having studied the history of Russian folk costume, make a visual aid;
Project objectives:
1. To attract the attention of as many children and adults (parents) as possible to studying the history of the emergence of Russian folk costume and arouse genuine interest in folk art;
2.Collect material about the regional characteristics of Russian folk costume, the influence of various historical events on it, show the daily life of a person;
3.Involve parents in joint activities to create a collective project;
4.Through participation in the creation of the project, contribute to the education of patriotic qualities, a sense of pride in the talent of our people, which gives us the knowledge of beauty and goodness;
5. Cultivate respect for the traditions and customs of your people, a sense of responsibility for the assigned work.
Stages of social project implementation:
Preparatory- survey among primary school students MOU classes"Tatar-Burnashevskaya Secondary School"
Conclusion: A sociological survey conducted confirmed the correctness of our chosen topic. To the question - do you think it is necessary to study the history of the emergence of Russian folk costume, 86% of respondents gave a positive answer.
Specific stage- By detailed study Russian folk costume
The history of Russian folk costume goes back many centuries. In the same way, for many centuries the natural conditions, in which the peasantry lived, the nature and conditions of peasant labor, dictated natural environment, rituals, beliefs, all folk life. As a result, the folk costume turned out to be maximally adapted to the life of the people and techniques for its manufacture were developed. Archeology, written sources in which are mentioned various types clothes, descriptions of travelers - all this gives us information about the history of Russian folk costume. The clothes were great value, they did not lose it, did not throw it away, but took great care of it, repeatedly altering it and wearing it until it was completely worn out. The nobility sought to ensure that her costume differed from the clothing of commoners. Life wasn't easy common man. Hard work from dawn to dusk in the field, caring for the harvest, pets. But when the long-awaited holiday arrived, people seemed to be transformed, putting on the best, most beautiful clothes. Clothes could tell a lot about marital status, the age of its owner. So in the southern regions of our country, all children under 12 years old wore only long shirts. Festive clothes were stored in chests.
DRESS (shirt)
In Rus', the main form of clothing was a dress made from various fabrics, depending on the wealth of the owner. The basis of women's clothing was a long shirt, cut from straight panels. The shirt had a round collar, sometimes with gathers around it, a front slit fastened with a button and long sleeves. For ordinary women, such a shirt, intercepted at the waist with a belt, served as a house dress; wealthy women also had undershirts, just like men's women's shirts, they were decorated with embroidery or trimmed with colored fabric along the edge of the hem, sleeves, and collar.
SORAFAN
On top of the shirt they put on a sundress, a long, swinging, sleeveless garment fastened from bottom to top with buttons.
DOUSHEGREYA
A soul warmer was put on top of the sundress - a short, just below the waist and very wide, ruffled garment without sleeves, with straps like modern sundresses.
LETNIK
The most elegant and unique women's clothing was a pilot. It was sewn from bright fabrics, worn over the head and not belted. The sleeves were sewn from more expensive fabrics from top to elbow. The ends of the sleeves and the front of the collar at the collar were decorated with stripes made of more expensive fabrics. Sometimes flyers were lined with fur along the hem. Embroidery not only decorated clothes, but also had magical meaning. By folk beliefs, embroidered patterns should bring happiness, good luck, prosperity to the home and health. And also protect from trouble and evil.
ORNAMENT
In the ornaments on clothes you can see the image of the sun, stars, the Tree of Life with birds on the branches, flowers, figures of people and animals. Such a symbolic ornament connected a person with the surrounding nature, with the wonderful world of legends and myths. The Russian folk clothes centuries-old history. Its general character, which has developed in the everyday life of many generations, corresponds to its appearance, lifestyle, geographical location and the nature of the work of the people. Starting from the 18th century, the northern part of Russia found itself apart from the developing centers and therefore the traditional features of folk life and clothing were much more fully preserved here, while to the south (Ryazan, Orel, Kursk, Kaluga) Russian folk costume received noticeable development. In the northern regions of Russia (Arkhangelsk, Tver, Vologda, Yaroslavl, Ryazan) the sarafan was widespread, and in the southern regions the sarafan was widespread. Each province had its own version of the costume. The clothing of each province had its own ornaments, decorations, shapes and styles.
HEADWEAR
Girls everywhere wore open headdresses such as headbands, married women before the birth of the first child, a young woman, they put on kokoshniks; Women giving birth wore kichkas or kokoshniks.
THIS IS INTERESTING:Daytime Russian clothing had its own characteristics: some types of clothing had sleeves longer than the arms. They were usually collected in small folds. And if you let your sleeves down, it was almost impossible to work. Therefore, they say about bad work that it was done “carelessly.” Very rich people wore such dresses. Those who were poorer wore short dresses, better suited for walking and working.
LET'S CONSIDER RUSSIAN FOLK COSTUMES OF DIFFERENT PROVINCES AND REGIONS OF GREAT RUSSIA,
1.North Russian costume , as it was also called, the women's sundress complex is widespread in the northern and central provinces (Arkhangelsk, Vologda, Ryazan, Tver, Yaroslavl). The main part of this costume was the sundress. The sundress was made from canvas, dyed fabrics, silk or spoil. The soft smooth lines of the sundress, which seemed to flow when moving, made the woman look like a swan. It’s not for nothing that in folk songs and fairy tales women are called swans. Sundresses were decorated with embroidery, ribbons, braid and fringe. Details varied in color and texture, but perfectly matched to each other, created an outfit that seemed to complement the harsh nature of the region, coloring it with bright colors.
Women's costume of the Vologda province consisted of a sundress with “bouquets”, a patterned soul warmer with gold trim, a white thin shirt, and a kokoshnik with a scarlet top and neck decoration. Bracelets and a scarf made of fine fabric complemented the costume. Girls wore a lot of rings, bracelets, necklaces, chains with crosses, and sometimes they could wear up to three chains. The earrings were pearl, silver, the cheapest were bronze or copper. In winter, narrow and long fingerless gloves were worn. They were knitted themselves on knitting needles from thin white cotton thread.
2.South Russian women's costume or poneva complex, the most important detail was the poneva. The southern Russian provinces include Voronezh, Tambov, Oryol, Nizhny Novgorod, Kursk, Tula)
Poneva- This is the great-grandmother of the modern skirt. Poneva certainly dressed over a shirt, followed by an apron, then a “top” and a headdress completed the costume. The multi-layered nature of the Russian costume is clearly expressed in the pony complex. This type of costume is considered more ancient than the sundress complex. All the costumes were different from each other, but at the same time they had common features:
Straight, widened silhouette of the product and sleeves;
The predominance of symmetrical compositions with the rhythm of rounded lines in details and decoration;
The use of decorative patterned fabrics with the effect of gold and silver, finishing with embroidery, fabric of a different color, fur.
Women's costume of the Voronezh province . Starting from the 17th century, many Ukrainians moved to the land of the Voronezh province. Therefore, despite all the similarities with other southern Russian provinces, there were original artistic phenomena, characteristic only for these places. This originality was especially clearly reflected in folk clothing. Women wore shirts embroidered with woolen threads; embroidery decorated the sleeves and top part shirts, sometimes they were embroidered with gold threads and sequins; on top of the shirts they were dressed with a blanket. Another feature of the costume of this province was: an overlaid collar and long cuffs - violators, completely covering the hands. Violators were decorated with ribbons, lace, and beads. A forehead protector was tied around the head, decorated with a green strip of fabric. Poneva embroidered with satin stitch with green, red, yellow threads is especially good. An example of the ability to decorate clothes is an item such as an apron; it not only protected the clothes, but also created a coherent color ensemble.
ADDITION: The complexity of women's costume is associated not only with territorial division, but also with age gradations: girls everywhere wore open headdresses such as headbands, married women before the birth of their first child, young women, wore kokoshniks; women who gave birth wore kichkas or kokoshniks; the poneva replaced the sundress upon reaching puberty, and sometimes during the wedding ceremony, and in some places in the areas where the poneva lived, old women put on sundresses again. Of course, there were no clear boundaries between the complexes: in some places in the southern provinces, for example, in Kursk, a women's sundress, as well as a kitty-shaped kokoshnik, was also in use, and in some places in the northern provinces, for example, in Olonets, a hoof-shaped kokoshnik was used; in the region of the Don Army, along with the kubelka, they wore sundresses and ponevs.
LET'S GET TO KNOW THE ELEMENTS OF MEN'S RUSSIAN FOLK COSTUME
MEN'S CLOTHING
SHIRT. Men's clothing consisted of a linen shirt with long wide sleeves, a sleeveless caftan that reached the knees and was made of coarse wool. The caftan was pierced with rings and beads, and the bottom was embroidered with colored patterns. Neither a peasant, nor a city dweller, nor a villager could do without a shirt. Men's shirts were usually made from fabric of one color, checkered, or with a small pattern. The festive shirt was embroidered with colored silk threads. The chest patterns were located along the cut in the center of the chest and protected the heart and lungs, the shoulder patterns protected the arms, and the side ones did not allow evil forces to penetrate from below.
PORTS (PANTS). Men also wore cloaks and wide ports (pants), sometimes wearing two pairs, one on top of the other. The pants were dark in color, sometimes striped. They were tucked into boots or wrapped in onuchas, and bast shoes were put on top. Relations with the Byzantines brought about a change in clothing.
KAFTAN. Relations with the Byzantines brought about a change in clothing. First, the royal Byzantine vestments, together with the court costumes, passed to the Russian grand-ducal house, and then the clothes of the rich Byzantines also passed on. Byzantine influence was disrupted by the Tatar-Mangol hordes, which flooded Russian soil. As always, the people remained faithful to their ancient clothes, and the upper classes exchanged or mixed their clothes with the clothes of their conquerors. Instead of a closed caftan, they began to wear a Mongolian caftan, which was open along the entire length in front, and instead of a cloak, an outer caftan.
ADDITION: In the 16th century, men began to wear a shirt with a narrow collar, long trousers, wide at the top, gathered with braid. The caftan was narrow, like a cover, reaching to the knees and equipped with sleeves.
Under Peter I, trousers made of silk, canvas or cloth were used, which were tucked into boots. Peter I forced the long caftan to be shortened. For those who did not want to do this voluntarily, according to the royal decree, the soldiers cut off the floors.
MODERNITY
Russian folk costume... One of the relics of our national culture that is fading into the past. A bright, colorful spectacle, organically intertwined with folk song and dance into an original action that goes back centuries. Without preserving, without cultivating folk costume, even if not in everyday life - this is no longer possible - even if on the stage - the unity of this culture will be destroyed and it will finally disappear, specialized catalogs and magazines. Dolls made by artists are presented in largest museums world, private collections. Dolls as works high art are highly valued and are a prestigious and popular collector's item. Modern fashion periodically returns to the sources of ancient Russian decor. Elements of the national costume inspire Couturier to create real masterpieces of modern fashion. For the most famous fashion designers, Russian folk costume is an inexhaustible source of inspiration for creating modern outfits.
I present to your attention the project “Doll in Russian national costume”
Literature.
1.Encyclopedia. Kingdom of people. M., Publishing house “Rosman”, 1994
2. A.E. Clients. Folk crafts. M. Publishing house “White City”, 2002
3.The first pages of history. Moscow educational company “Record”, 1994
4.Yu.A. Lotman. Conversations about Russian culture. Life and traditions of the Russian nobility. St. Petersburg, 1994
5.M.A. Ilyin. Things are told. M., 1989
6.L.A. Preobrazhensky History reveals secrets. M., 1991
7.T.Ya. Shpikalova. In the world of folk art M., 1998
8. Costumes of the peoples of the world. Publishing house “Litur”, Ekaterinburg, 2004.
9. Russian folk costume. Publishing house “Mosaic-synthesis”, M., 2006.
10.A.Yu. Andreeva. Russian folk costume. Traveling from North to South. Publishing house “Paritet” Saint Petersburg, 2004
11. Tales of Ivan Bilibin. Neo-Russian style. M., 2004
12.Russian fairy tale costume. St. Petersburg, 2006
Literature“Folk costume is a link between the past, present and future of our people. Making a stage costume for the Kostroma Snow Maiden based on a folk costume of the 18th century.”
History has always aroused great interest among people. This interest was explained by the need of every person to know the history of his people. Russian national clothing has a centuries-old history. Russian folk costume is a source of creativity. Russian national clothing is a kind of book, by learning to read which you can learn about the traditions and customs of your people.
This topic interested me very much. When we were preparing in class for folk holidays, we had to make a folk costume for the performance. So I decided to find out more about this.
Goals of my work:
1) Find out more about the Russian folk costume of a woman.
2) Create a sketch of a modern costume for a girl using the knowledge gained during the research about Russian folk costume.
Tasks:
1) Collect material about the Russian folk costume of women.
2) Find out what materials, colors, patterns were used to make the costume.
3) Introduce classmates to Russian traditions of women's clothing.
Stages of work
Selecting a topic.
Definition of goals and objectives.
Statement of the problem.
Collection of materials on the project topic.
Making a sketch of a costume for modern girl with elements of folk costume.
Problem:
Nowadays, science is developing, new computer technologies are appearing, and many people are beginning to forget about their Russian values.
What do we know about folk costumes?
What are the features of folk costume?
Is it possible to apply knowledge about folk costume in creating modern clothing?
Hypothesis
It is possible that in modern world You can use in clothing both details, fabrics, and patterns traditional for Rus' of past times.
Main part
Reading and looking at books, I realized that folk costumes differ from each other. Why? There is only one people.
The clothes varied:
- according to purpose (daily, festive, ritual),
-you can judge from it (about age, marital status).
As a rule, it was not the cut and type of clothing that changed, but its color and number of patterns. Each province had its own version of the costume, its own ornament, decoration, shapes and styles. The dress not only warmed and decorated a person, but also showed his place in society. Clothes were of great value. It was not lost or thrown away, but was taken very good care of, altered several times and worn until it was completely worn out. The poor man's festive attire was passed from parents to children. The rich sought to ensure that their costume differed from the clothing of ordinary people.
In Rus', the main form of clothing was a dress, made from various fabrics, depending on the wealth of the owner.
The basis of women's clothing was a long shirt, cut from straight panels.
The shirt had a collar, sometimes with gathers around it, a front slit fastened with a button, and long sleeves.
For ordinary women, such a shirt, tied at the waist with a belt, served as a house dress, while the wealthy also had undershirts. Like men's, women's shirts were decorated with embroidery or trimmed with colored fabric along the edges of the hem, sleeves, and collar.
On top of the shirt they put on a sundress, a long loose clothes sleeveless, fastened from top to bottom with buttons. It was comfortable to walk in such clothes.
On top of the sundress was put on a soul warmer, a warm sleeveless jacket, usually lined with fur. It is just below the waist, very wide, gathered clothing, with straps like modern sundresses.
Fabrics, color, ornament
The fabrics used for sewing folk clothes were natural - linen. Housewives wove and dyed them themselves. Each Russian province had its own patterns and certain colors. Striped and checkered patterns came in a variety of shapes. In the patterns you can see the image of the sun, stars, birds on branches, flowers, figures and people and animals. The technique of folk weaving, as well as embroidery by counting threads, led to straight, geometric shapes. For example, such patterns could be seen on shirts.Not only fabrics and clothing could tell a lot about their owner. Color is the language of the people.There were only a few colors used. Only those colors that the peasant could actually dye the fabric at home mattered. For this they used roots, stems, leaves, and bark of plants that grew in their areas - nettle, sorrel, blueberries, onions, St. John's wort, hazel, oak. Therefore, there were three ancient colors of clothing and embroidery: white, red and black. But they could also get other colors.
Each color had its own meaning.
White color was considered a symbol of a married woman-mother.Red is the color of fire and was believed to ward off evil spirits.
The black color symbolized eternal peace, earth.
Green color symbolized the plant world.
Blue color is a symbol of water and sky.
The life of a common man was not easy. Hard work from dawn to dusk in the field, caring for crops and pets. But when the holiday arrived, people seemed to be transformed, putting on the best, most beautiful clothes. Festive clothes were stored in chests.
Practical part
If only I could have such a beautiful sundress. Modern clothes are significantly different from those worn by our ancestors. Fabrics and dyes are mostly synthetic rather than natural. Patterns are not considered magical, as our pagan ancestors thought. And there is no such thriftiness towards things.
But there is so much warmth in the patterns, tenderness in rich colors, pleasant coolness of the fabric in the heat and warmth in the winter cold in the clothes of our great-grandmothers and great-grandfathers. Such things are cozy and pleasant at any time. Any modern person would wear such a sundress or shirt now. So I came up with a sketch of a smart shirt and sundress. The shirt was decorated with traditional embroidery, and the loose sundress with buttons was made in bright colors. And to sew such an outfit you need to take linen fabric.
Zlygasteva Galina, Sergienko Kristina
Scientific research work "Russian folk costume in the past and present"
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XXVIII open scientific conference for students
Stavropol Territory
Sections: applied creativity
Title of work:"Russian folk costume in the past and present"
Sergienko Kristina
Place of work:With. Kochubeevskoe,
Municipal educational institution secondary school No. 3, grade 6a.
Scientific supervisor:Lunegova Elena Mikhailovna,
Technology teacher.
Stavropol 2014
Introduction…………………………………………………………….……………………..……......3-4
Chapter 1……………………………………………………………………………….4
History of the development of Russian folk costume……..…….........................…....4
1.1.Costume and its role in a person’s life………….....................................…. ....4-7
1.2. Stage arrangement. The main thing of song and dance…………………….…...………..7
Chapter 2………………………………………………………………………………….………………..7
Dance performance………….…………………………………………….…….......7
2.1.Algorithm for creating a costume and dance......................................................7-8
2.2. Scenario for staging the dance and making the costume......……….…...……..8
2.3.Preparation for dance performance…………………………………...……...…..8
Chapter 3……………………………………………………………………………………….……...…8
Dance, folk costume and school…………………………….………..…..….8-9
4. Conclusions…………………………………………………………………………………..…..…9
Literature………………………………………………………….………….….…...10
Introduction
Folk costume is a priceless, inalienable property of the culture of the people, accumulated over centuries. Clothes that have undergone development long haul, is closely connected with the history and aesthetic views of the creators. The art of modern costume cannot develop in isolation from folk, national traditions. Without a deep study of traditions, the progressive development of any type and genre of modern art is impossible. All children love to sing, dance, in their fantasies they transform into fairy tale characters, princesses, artists. What is this? Where did the suit come from? How to make a stylized dance costume? Is it difficult? To answer these questions, it was necessary to conduct a whole study. Such research is very interesting, as you can learn a lot about the costume, traditions, culture of Russia and other countries.The topic “Russian folk costume in the past and present” interested us very much. And now we want to explore how a costume is created, but not on the basis of the work of modern professional craftsmanship, but of folklore. Moreover, in elementary school we staged plays, performed in the ensemble “Larks” with songs and dances: “Kolyada”, “Christmas”. In the 5th grade we took part in the festival “Cossacks gave shawls to Cossack women”; in the 6th grade we took part in the regional festival “Kuban Cossack”. This study is devoted to the study of the origin of folk costumes and the algorithm for creating a folk costume. When choosingresearch areaswe settled on Russian folk costume. This is fertile ground for identifying and describing the characteristics and cultural significance of this art form. We believe that our topicinteresting and relevant. Nowadays everything fewer people goes to the theater, exhibitions, libraries. Preferring television and the Internet. As we conduct our research, we want to encourage you to respect this ancient art, Russian folk costume.Relevance of this studydue to the fact that the costume plays an important role not only in the life of a child, but also an adult. Participating in theatrical games, productions, performances, chants. Children get to know the world around them. Russian folk costume is not only a theatrical performance, it is role play with the viewer. Children and adults enjoy participating in the art of singing and dancing: they sing songs, dance, transform into one image or another, and the costume helps them with this.Purpose of our research- learn the history of the creation of Russian folk costumes and sew them with your own hands. The solution to this goal is due to the following tasks : learn the history of Russian folk costume; sew a stylized suit. Show dance in costumes
in the Gzhel style. We can complete the tasks, hence our theme realizable. The main purpose of this studyis to study the origin of Russian folk costume and the algorithm for creating a costume. According to
the above purpose wasThe following tasks have been set:determine the origin of Russian folk costume; find out the algorithm for creating a Russian folk costume, choreograph a dance; the relationship between costume, dance and school; to make a costume and stage a dance, the object of research is Russian folk costume. Object our research - Russian folk costume, item - its production. The nature of the material, as well as the goals and objectives set, determinedresearch methods.During the work, modeling, observation, experiment, comparison, and generalization were used.Subject of research- algorithm for creating Russian folk costume.Research methods:studying literature on the topic, conversations with a senior counselor artistic director performances on the literary part - Olga Yakovlevna Romanova, library specialists.Theoretical significanceThis study expands existing information about folk costume, systematizes knowledge about culture in human life, the process of creating a costume, dance and the process of making a costume.Practical significanceThe research carried out is that we will conduct a master class and stage a dance. The research helped me learn a lot of new things and meet interesting people.Practical valueThe work is that the research materials and applications can be used in the lessons of technology, cultural history, literature, MHC, and dance in the production of a play, at a festive concert.Work structure:The study consists of an introduction, three chapters, a conclusion, a bibliography, and an appendix.
Chapter 1 History of the development of Russian folk costume
1.1 Costume, its role in a person’s life.
A detailed study of Russian folk costume
The history of Russian folk costume goes back many centuries. In the same way, for many centuries the natural conditions in which life lived remained practically unchanged.
the peasantry, the nature and conditions of peasant labor dictated by the natural environment, rituals, beliefs, the entire national life. As a result, the folk costume turned out to be maximally adapted to the life of the people, and techniques for its
manufacturing. Archaeology, written sources that mention various types of clothing, descriptions of travelers - all this gives us information about the history of Russian folk costume. Clothes were of great value, they were not lost, not
They threw it away, but took great care of it, repeatedly altering it and wearing it to complete disrepair. The nobility sought to ensure that her costume differed from the clothing of commoners. The life of a common man was not easy. Hard work from dawn to dusk in the field, caring for the harvest, pets. But when the long-awaited holiday arrived, people seemed to be transformed, putting on the best, most beautiful clothes. Clothing could tell a lot about the marital status and age of its owner. So in the southern regions of our country, all children under 12 years old wore only long shirts. Festive clothes were stored in chests.Dress (shirt).In Rus', the main form of clothing was a dress, made from various fabrics, depending on the wealth of the owner. The basis of women's clothing was a long shirt, cut from straight panels. The shirt had a round collar, sometimes with gathers around it, a slit fastened at the front with a button, and long sleeves. For ordinary women, such a shirt, tied at the waist with a belt, served as a house dress; wealthy women also had undershirts, like men's women's shirts, decorated with embroidery, or trimmed with colored material along the edge of the hem, sleeves, and collar. Sundress. On top of the shirt they put on a sundress, a long, swinging, sleeveless garment fastened from bottom to top with buttons.
Soul warmer. A soul warmer was put on top of the sundress - a short, just below the waist and very wide, ruffled garment without sleeves, with straps like modern sundresses.
Letnik. The most elegant and unique women's clothing was the letnik. It was sewn from bright fabrics, worn over the head, and not belted. The sleeves were sewn from more expensive fabrics from top to elbow. The ends of the sleeves and the front of the collar at the collar were decorated with stripes made of more expensive fabrics. Sometimes flyers were lined with fur along the hem. Embroidery not only decorated clothes, but also had a magical meaning. According to popular beliefs, embroidered patterns should bring happiness, good luck, prosperity to the home and health. And also protect from trouble and evil. Ornament. In the ornaments on clothes you can see images of the sun, stars, the tree of life with birds on the branches, flowers, figures of people and animals. Such a symbolic ornament connected a person with the surrounding nature, with the wonderful world of legends and myths. Russian folk clothing has a centuries-old history.
Its general character, which has developed in the everyday life of many generations, corresponds to the appearance, lifestyle, geographical location and nature of the work of the people. Starting from the 18th century, the northern part of Russia found itself aloof from developing centers and therefore the traditional features of folk life and clothing were much more fully preserved here, in
while to the south (Ryazan, Orel, Kursk, Kaluga) Russian folk costume received noticeable development. In the northern regions of Russia (Arkhangelsk, Tver, Vologda, Yaroslavl, Ryazan) the sarafan was widespread, and in the southern regions the sarafan was widespread. Each province had
your own version of the costume. The clothing of each province had its own ornaments, decorations, shapes and styles. Hats. Girls everywhere wore open headdresses such as headbands, married women before the birth of their first child, young women, wore kokoshniks; Women giving birth wore kichkas or kokoshniks.
This is interesting: ancient Russian clothinghad its own characteristics: some types of clothing had sleeves longer than the arms. They were usually collected in small folds. And if you let your sleeves down, it was almost impossible to work. Therefore, they say about bad work that it was done “carelessly.” Very rich people wore such dresses. Those who were poorer wore short dresses, better suited for walking and working.
Men's suit. Shirt. Men's clothing consisted of a linen shirt with long wide sleeves, a sleeveless caftan that reached the knees and was made of coarse wool. The caftan was pierced with rings and beads, and the bottom was embroidered with colored patterns. Neither a peasant, nor a city dweller, nor a villager could do without a shirt. Men's shirts were usually made from fabric of one color, checkered, or with a small pattern. The festive shirt was embroidered with colored silk threads. The chest patterns were located along the cut in the center of the chest and protected the heart and lungs, the shoulder patterns protected the arms, and the side ones did not allow evil forces to penetrate from below. Ports (pants). Men also wore cloaks and wide ports (pants), sometimes wearing two pairs, one on top of the other. The pants were dark in color, sometimes striped. They were tucked into boots or wrapped in onuchas, and bast shoes were put on top. Relations with the Byzantines brought about a change in clothing. Kaftan. Relations with the Byzantines brought about a change in clothing. First, the royal Byzantine vestments, together with the court costumes, passed to the Russian grand-ducal house, and then the clothes of the rich Byzantines also passed on. Byzantine influence was disrupted by the Tatar-Mangol hordes, which flooded
Russian land. As always, the people remained faithful to their ancient clothes, and the upper classes exchanged or mixed their clothes with the clothes of their victors. Instead of a closed caftan, they began to wear a Mongolian caftan, which was open along the entire length in front, and instead of a cloak, an outer caftan. Addition: In the 16th century, men began to wear a shirt with a narrow collar, long trousers, wide at the top, gathered with braid. The caftan was narrow, like a cover, reaching to the knees and equipped with sleeves. Under Peter I, trousers made of silk, canvas or cloth were in use, which were tucked into
boots. Peter I forced the long caftan to be shortened. For those who did not want to do this voluntarily, according to the royal decree, the soldiers cut off the floors. Modernity. Russian folk costume. One of the relics of our national culture that is fading into the past. A bright, colorful spectacle, organically intertwined with folk song and dance
into an original action that goes back centuries. Without preserving the folk costume, this is impossible; even if on stage, the unity of this culture will be revived, and it will not completely disappear. Costumes made by artists are presented in the world's largest museums and private collections. Folk costumes, as works of high art, are highly valued and are a prestigious and popular collector's item. Modern fashion periodically returns to the sources of ancient Russian decor. Elements of the national costume inspire Couturier to create real masterpieces of modern fashion. For the most famous fashion designers, Russian folk costume is an inexhaustible source of inspiration for creating modern outfits. I present to your attention the project “Russian folk costume in the past and present.”
1.2 Stage design, the main thing is song and dance.
The structure of the “stage” of a folk performance is extremely primitive. In the process of its development, three types of its “scene” were chosen. In most cases, it was arranged as follows: two poles are driven into the ground out of the blue, a cloth, usually colored, is stretched between them, and the “stage” is ready. The second type of stage - the most common - is in a booth, and the audience was usually seated on benches around the booth. Our third stage: we went to squares, fairs, and took an active part in public performances. On major holidays, performances went on continuously, and artists often earned up to 20-25 rubles a day. Thus, the Russian stage in the 17th century was not only the first Russian “concert” performance, but also
prepared the audience for the perception of art, and perhaps became one of the reasons for the emergence in Russia of professional skill in the art of songs and dances.
Chapter 2 Dance performance
2.1.Algorithm for creating a costume and dance.
So, the artists and spectators appeared. They wandered along the roads, showing stories about everything that troubled their souls: love, friendship, suffering and dreams. Then the songs entered every home, where family gatherings with singing and dancing were held. People themselves composed songs, designed and sewed costumes, and made scenery. In each house, each family member had his own occupation and his own role. Since then, songs and dances have entered our lives and taken their rightful place. We decided to create a dance and sew a costume based on our original culture. We tried to find an algorithm for creating a costume and dance. It turned out that there is no specific algorithm for creating a dance. Every time it's a search. We outlined the main tasks: searching for an idea, choosing a plot,
choreograph a dance, select music, make costumes in folk style, select performers and conduct rehearsals.
2.2. Dance script and costume making
Original folk culture has experienced many ups and downs over the centuries of its development, today, in the wake of the rise, culture is acquiring invaluable importance. Therefore, it is important to determine the origins of culture, find out the main traditions, and show the process of mutual influence national cultures. The customs and rituals that existed in Rus' have their roots in those distant times. Based on this, we became interested in the script for staging the dance “Moscow Quadrille”. We chose stylized Russian folk costumes in the Gzhel painting style. Why this particular piece? In our opinion this is the most best choice, suitable for our style, the image of the Russian peoples. We have repeatedly consulted with the senior counselor of the artistic director of performances for the stage and literary parts - Olga Yakovlevna Romanova. We received permission to stage the dance. We made the costumes.
2.3. Preparing for the dance performance
How much preparatory work It was necessary for a Russian costume: to draw a drawing, cut it out, sew it, process the product with appliqué, decorate the stage and hall, and come up with musical accompaniment. The plot can be finally resolved only when music is found that reflects the general idea, corresponds to the place and time of action and is put together into a coherent picture that does not cause rejection by anyone.
the director or the performers. Thus, the work proceeds in such a way that the initial general idea requires music of a certain character. When a general musical solution is found, it dictates the development of a specific action. Dance preparation and musical material making costumes is an extremely difficult job. We made costumes from fabric and rehearsed the dance a lot.(Appendix No. 1)
Conclusion: We live on Russian soil and we are interested in the life and customs of not only Russian peoples, but also foreign ones living here. We decided to create a dance based on our original culture.
Chapter 3 Dance, folk costume and school
Russian folk costume can come to the rescue when studying history, as well as when getting acquainted with literary works, when creating school museum, technology lesson, MHC. Dramatization using Russian is very popular among students in grades 2-5. folk songs. School founded
folk ensemble “Zhavoronushki”, director Olga Anatolyevna Ivanova, dance ensemble “Contrast”, director Olga Yakovlevna Romanova.
Theatrical and dance performances are an important and necessary element in the process of studying the culture of the Russian people. A serious obstacle, such as the “language barrier,” becomes easily overcome as soon as students find themselves in a situation of song, dance, and become involved in the creative process. “Folklore” turns the insecure “eternal C student” into Romeo, pronouncing monologues in one breath. Strong students help weak students, strengthening responsibility for the success of the common cause. Built and aimed at studying morality, culture, human character and behavior in society. In the form of a “game,” the child models his behavior as behavior on stage. He is passionate about this activity because he feels like an authoritative person who knows everything and can do everything. As mentioned earlier, art will help the child listen to the literary text more consciously, imagine the characters more clearly, and more actively follow the development of the action.
4. Conclusions
Based on research, we have come to the conclusion that songs and dances are an important factor in a child’s development. The most diverse inclinations of a child seek expression and exercise and find them in art. Undoubtedly, costumes must meet aesthetic and hygiene requirements. Special attention should be paid to the quality of the suit. In the process of research, it was found that art serves not only as a means of education and self-education, assimilation of new forms of behavior, but also as a kind of manifestation of individuality. In our work, we have established that Russian folk costume has survived many centuries. Thanks to art, a child learns social norms behavior, develops oneself as a person. By participating in productions, even the most timid and reticent children soon become sociable and self-confident. Folk costume contributes to the formation of worldview, moral beliefs, and creative abilities; develops imagination, aesthetic feelings and understanding of beauty; educates emotionally
– sensory attitude to the surrounding world. Based on the above, we can say that the topic is quite relevant, and at the moment has not been sufficiently studied. We believe that our work helps us plunge into the past and present of the Russian people. That is why we must preserve and preserve old songs, national clothes, and amazing folk holidays and artistic crafts. For these are the roots that nourished and nourish us, this is not only today, but also our future.
Literature.
- Encyclopedia. Kingdom of people. M., Publishing house “Rosman”, 1994
- A.E. Clients. Folk crafts. M. Publishing house “White City”, 2002
- The first pages of history. Moscow educational company “Record”, 1994
- L.A. Preobrazhensky History reveals secrets. M., 1991
- T.Ya. Shpikalova. In the world of folk art M., 1998
- Costumes of the peoples of the world. Publishing house “Litur”, Ekaterinburg, 2004.
- Russian folk costume. Publishing house “Mosaic-synthesis”, M., 2006.
- A.Yu. Andreeva. Russian folk costume. Traveling from North to South. Publishing house “Paritet” St. Petersburg, 2004
- Russian fairy tale costume. St. Petersburg, 2006