Ministry of Education and Science of the Russian Federation

Federal State Budgetary Educational Institution of Higher Professional Education

"Novosibirsk State Pedagogical University"

Faculty of Technology and Entrepreneurship

Department of Pedagogy and Psychology of Vocational Education

Course work

according to the methodology of training and education

"Formation of students' knowledge, skills and abilities in the circle of artistic woodcarving"

Completed by: 4th year student

41 FTP groups

Patylitsin A.V.

Leader: Art. Lecturer of the Department of PiPPO M.V. Leonov

Novosibirsk 2013

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

Section I. ……………………………………………………………………….... 5

The organization of the circle and the basic principles of its work…………………....... 5

The student as an object and subject of the learning process.…………………………..... 9

Age-related psychological characteristics of a student as an object of technology training.

Historical overview on the topic: "Artistic woodcarving"………. 12

Types of woodcarving…………………………………………………………... 15

Section II ..………………………………………………………………………. eighteen

"Artistic processing of wood" …...…………………………….. 18

Conclusion………………………………………………………………….. 27

Bibliographic list……………………………..………………………………………….. 29

Introduction

The peculiarity of this work is the combination of traditional woodcarving technique with modern views graphic image used as an activation of the individual creative activity of students.

Relevance - course work - "Formation of students' knowledge, skills in a woodcarving circle" - to preserve and preserve the best national traditions in creativity, not to let them sink into obscurity - a difficult task, but doable. The program contains an orientation to the knowledge of the diversity of living beings on earth, the properties and structure of wood - the most common natural material, to the disclosure of the needs of children to create and realize their capabilities.

The object of research is the technology of woodcarving. It consists in combining the traditions of the Russian people in the manufacture of decorative and applied wood products and the realization of the creative individuality of each student; The program covers all elements of woodcarving, starting with the formation of an artistic image of an applied product made of natural material and ending with its presentation at exhibitions.

The subject of research is the technology of decorating a product with various types of carving. The preservation of the studied technological methods allowed us to avoid direct copying and create our own composition, corresponding to the mastered technology.

The purpose of the work: to teach the manufacture of planar wood products using the techniques of slotted, geometric, flat-relief carving.

Hypothesis: Wood carving, as one of the most common and accessible forms of folk ornamentation, is a wonderful decoration.

The objectives of this course work:

– acquaintance with the history of artistic woodcarving in Russia,

– visits to local history museums,

– study of the manufacturing technology of the corresponding product,

– study of the experience of master wood carvers,

– study of literature on this issue,

- to show the existing types of wood carving and highlight in detail the technology of geometric carving, which decorates the product.

The organization of the circle and the basic principles of its work.

The circle is an important link in the system of labor training and education of schoolchildren. This concept refers to various forms of organizing the labor activity of stable groups of students. Labor circles provide a solution to the issues of instilling industriousness, organization, the ability to work in a work collective, obey its regime, and maintain business relations with comrades for a long time. Ample opportunities in choosing the content and organization of the work of the circle allow teachers to solve many issues of in-depth study and development of types of labor. At the same time, the interest and independence of choosing a circle, the voluntariness of work in it, contributes to the formation of consciousness in labor activity.

A student goes to a circle for various reasons: to do some thing, to master certain skills, to work together with comrades, to show his abilities, etc. In all cases, his interest is supported and developed by success in work, a major situation, and the expedient expenditure of time and effort. From this follows the specifics of circle work: they do not use punishment, censure and other methods of stimulating the activities of members of the circle, and, on the contrary, encourage business support, help, and advice. In circle work there are no such specific criteria as in educational work, but originality, independence of work, to a certain extent its spirituality by search, inquisitiveness, and satisfaction with what has been done are of great importance.

The distribution of students according to the studied types of arts and crafts should be voluntary, since teenagers often come to study not alone, but with friends. It is not recommended to distribute them evenly among different groups, creative communication with each other when studying the same type of artistic processing of materials helps them achieve great success, the process of their labor and aesthetic education is more active.

Classes in various types of arts and crafts eliminate one-sidedness in the creative development of students, helps to acquire a wide range of diverse knowledge and skills. It is absolutely not necessary that the members of the circle come out of the hands of ">

The effectiveness of the educational impact on students by means of arts and crafts depends on the correct and timely planning of the children's work. creative team. The work plan for half a year and for a month is drawn up on the basis of the annual program. This plan should provide for all the main forms of classes, a conversation with a display of the best examples of folk art, practical work on drawing up sketches, visits to museums, workshops of applied artists, factories of applied art.

The outlined plan and program are discussed with schoolchildren at the first lesson of the circle, where self-government bodies are also chosen - the headman and the asset of the circle. Their functions include helping the leader of the circle in emerging organizational matters. The headman is responsible, in particular, for drawing up a schedule of duty and appointing a duty officer for each lesson. The duty schedule promotes involvement in active self-service work.

Most often, those who "enrolled" in the circle want to start working in the workshops as soon as possible. Therefore, they (especially those who are not strong in drawing) are constantly drawn to some random pictures that they seek to translate into a tree. If you do not pay attention to this and start up a lesson on the principle of "do what you want", their efforts will be wasted in doing such work; students will develop bad taste.

The leader should direct the process of selecting compositions. It is better if the children see the finished work in front of them. And do not be shy to offer the guys to repeat certain images. Such a technique will help them understand what can and cannot be created in one form or another of arts and crafts. Along with professional skills, they will develop artistic taste.

The education of aesthetic taste in arts and crafts circles should go through students' understanding of the artistic and technological capabilities of the materials being processed, which leaves its mark on the solution of the image.

The task of the leader is to orient students to a deep independent study of the images of folk arts and crafts and the creation of their own products on this basis.

In the work on samples at the first stage of training, imitation of the model is inevitably observed to a certain extent. It is necessary to ensure that schoolchildren do not have blind copying, but conscious imitation.

Students come to the circle with the mood to work. Therefore, when the leader starts explaining, introduces them to the rules and methods of work, that is, conducts an introductory briefing, their patience does not last long. They become inattentive, impatient, wanting to get to work as soon as possible. The manager is required to take this into account and conduct the briefing briefly, purposefully, combining various information into a common system. However, although knowledge should be mainly practical in nature, the principle of the decisive role of theoretical studies should be observed in the initial period of training. An average of 20% of study time is allocated for theoretical information. Theoretical information can be transferred to schoolchildren in the form of thematic conversations.

When conducting briefings and conversations, it is necessary to use various options for combining words with a demonstration of visual aids.

A lot depends on the first task that the leader will offer to the circle members. It should be understandable, accessible, interesting in terms of decorative results. It is desirable that the first task was small in volume and could be completed in one or two lessons. When explaining the first task, the teacher focuses the attention of students not only on the final result of the work. It is equally important to clearly and clearly highlight all the stages, as well as the goals and objectives that schoolchildren face in the process of performing the initial methods of artistic processing of materials. This contributes to the development of independence of schoolchildren, when the sequence of stages in the execution of the product from the sketch to the final finishing operations is clear to them, they will wait less for hints from the leader, showing independence in creative activity.

The choice of processed material depends on the age of the circle members. In wood carving, the training tasks of the initial period are better in linden or aspen. If you do not take into account the physical properties of the material and give children the opportunity to work with inappropriate material, their enthusiasm can die out very quickly.

The first task in the circle can be common to all students. The leader must prepare the drawings for him himself.

A distinctive feature of individual creative activity in a circle is that each student has his own pace of work, his own deadlines for the implementation of various stages of performing the same tasks.

For the first lessons, the leader should have the tools prepared. After a few lessons, when students get a taste of the work, you can set aside a day for self-production necessary tools.

From the very beginning, members of the circle must be accustomed to independent work. Having received a drawing of the first task from the teacher, the student must independently translate it into the selected material and begin work. Professional tricks the student will master, learning the materials being processed when performing each of the tasks, i.e. learning will go in the creative process. After working on the samples, the creative work of students begins.

Schoolchildren of different age groups have certain interests in choosing subjects for decorative work. The plots of books and films form the basis of creative compositions. Often plots for decorative compositions are suggested by the material from which it will be created. When viewing the material, students actively form a visual image, which they subsequently embody in this material.

One of the peculiarities of wood carving classes is that it takes a long time to complete the task. So that students do not lose interest in working on the same thing, the end result of which is very far away, it is necessary that they, anticipating tomorrow's perspective, feel the joy and beauty of today's work. In order for children to receive emotional support in the process of working on a long task, it is recommended to sum up the results for each day of work, evaluate the creative activity of children, and note the effectiveness and significance of their work.

An effective result is given by intermediate views of the work performed by students. At the current intermediate reviews, the teacher fixes what has been achieved, sets new tasks. A general intermediate review can also be done when a difficult task is being completed and the supervisor sees that he cannot help students individually, or when many students repeat the same mistake. At the same time, students, participating in the discussion, will be accustomed to self-control. Here you can express signs of approval in cases where there are first successes. This raises the emotional mood of students, will stimulate their further work, and will give a surge of new strength.

At the end of the first year of studies and at the end of the two-year cycle, it is recommended to arrange a final exhibition. The members of the jury who select works for the exhibition are, as a rule, the most authoritative students. The chairman of the jury is the head of the circle.

The skillful organization and holding of an exhibition of students' creative works can become one of the effective forms of moral encouragement and stimulation of children's creative activity. Perhaps financial reward children for successful labor and creative activity in the process of wood carving, this will not only encourage the student for his success, but also create an emotional upsurge to continue studying not only at school, but also on his own, in his free time.

The student as an object and subject of the learning process.

In the learning process, technologies are directly involved on the one hand - the teacher, on the other - the student. Their roles in this process seem, at least at first glance, quite clear: the teacher organizes, directs and manages the process of teaching technology, and the student must learn, fulfill all the requirements of the teacher.

The main role of a technology teacher in modern conditions is the education of the personality of students, the formation of their need-motivational sphere, the education of their abilities, moral ideals and beliefs. Teaching knowledge, skills and abilities in technology is an integral part of this education and the process in which this education is carried out.

Age-related psychological characteristics of a student as an object of technology training.

The fact that it is necessary to take into account the age characteristics of students is said everywhere, but it is not always indicated what this means, what features should be taken into account and how they should be taken into account. Meanwhile, it must be borne in mind that age characteristics are not something unchanging and eternal that is inherent in students of a certain age. These features themselves change quite dramatically over time. Let us consider some psychological characteristics of a modern student, bearing in mind only those of his characteristics that are important to take into account in the process of teaching technology.

Adolescence is a very difficult period in the life of a student, fraught with the danger of crisis phenomena. During this period, the child's body undergoes dramatic changes. The process of puberty unfolds. Associated with this process is the emergence in the adolescent of a physical sense of his own adulthood. He has an idea of ​​himself no longer as a child, he strives to be and be considered an adult. From here, a teenager has a new life position in relation to himself, to the people around him, to the world. He becomes socially active, receptive to learning the norms of values ​​and behaviors that exist among adults.

Therefore, the period of adolescence is characterized by the fact that the formation of the moral and social attitudes of the student's personality begins here, the general orientation of this personality is outlined.

Teenagers tend to active communication with his peers, and through this communication he actively learns himself, masters his behavior, focusing on samples and ideals drawn from books, films, television.

A teenager becomes less dependent on adults also because he has such needs that he must satisfy only himself (the need for communication with peers, for friendship, for love). Parents and adults in general, with all their desire, cannot solve the problems that confront adolescents in connection with the emergence of new needs in them, while the satisfaction of all the basic needs of younger students depends mainly on parents. All this often painfully affects the attitude of students to learning. Here is how the famous psychologist N.S. Leites: “Children of 12–13 years old, for the most part, are generally complacent about learning: they don’t bother with unnecessary thought, they only do lessons within the prescribed limits, they often find reasons for entertainment ... The weakening of communication with the teacher, the decrease in his influence, especially make themselves felt know the shortcomings of the behavior of students in the classroom. Now students not only sometimes allow themselves to ignore the comments they receive, but can also actively resist them. In the middle classes, one encounters inventive pranks and the most frivolous behavior."

The overall picture of the work of adolescent students in the classroom is deteriorating compared to the lower grades. Previously exemplary and accurate students allow themselves not to complete assignments. Many students change the emphasis, it becomes illegible and careless. Attempts by the teacher to interest students in the form of presentation or in some other way often do not bring the expected result.

At the same time, these same adolescents are very willing to participate in the work of various circles, where, it would seem, the most difficult adolescents willingly follow all the instructions of the adult leader of the circle, with interest and zeal, master the theoretical knowledge necessary for practical work.

During these years, value-oriented activity acquires special significance for students. The student is trying to make a deep self-assessment of his personality, his abilities. Reflection grows and develops, cognitive interest in philosophical problems, the young man tries to find out the meaning of life; evaluate the observed phenomena from this point of view.

Of particular note is the desire of senior school students for autonomy, for emotional and value independence, for independence, for self-respect, while adolescents are characterized by dependence on their peer group. A teenager is very malleable to the influence of peers. The teacher needs to keep this in mind and take it into account in his work.

Motivation of the learning process.

Above, we established that the student in the process of learning technology from the object of this training gradually becomes its subject. What does it mean? What is the difference between the object and the subject of learning? Indeed, in both cases, the student somehow learns, acquires knowledge, skills, and abilities.

Indeed, when a student is only an object of learning technology, and when he becomes the subject of this process, he performs the tasks of the teacher, solves problems, repeats the studied material, etc., i.e. he is studying. All the differences between the teaching of the student in the role of an object and his own teaching in the role of a subject lie in the reason for which he does it.

Man, the disciple is an active being. He is always doing something, participating in some activity. But the student participates in many various activities, performs different actions. In order for a student to learn effectively, he must perform not any actions, but quite certain ones. The question arises: why does the student perform these actions, and not others, what motivates him to perform these actions, what directs and regulates his activity in the learning process? In other words, what motivates - encourages and directs - the activity of the student.

Only by understanding this, we will be able to understand what are the differences between the object and subject of the learning process. In addition, it is necessary to understand this also because, and perhaps mainly because the teacher must learn to manage the activities of students in the learning process, and for this he must form the necessary motivation in them.

Therefore, the teacher must arouse such a desire in students, which means that he must form the appropriate motivation in them.

What is motivation, how is it formed in a person? Motivation is usually understood as a set of motivations for activity.

However, when the activity has already begun, it has a definite purpose. A goal is what a person consciously wants to achieve as a result of this activity. But there is not always a complete correspondence between the purpose of an activity and its motives. When it is present, the activity is said to make sense; otherwise, when the goal of the activity and the motives that caused this activity do not correspond to each other, then they say that the activity has no meaning, is deprived for this person meaning.

So, the student is always the object of activity in the learning process, and he becomes the subject of this activity when he consciously accepts the objective goals of the activity as his personal goals. Obviously, in the latter case, learning is the most effective, only in this case the teacher can easily and with pleasure fully realize the goals and objectives of learning.

The teacher needs to strive to ensure that each student becomes the subject of activity in the learning process. And for this it is necessary that all aspects of the educational process, its content, organization and methods contribute to such formation, be directly aimed at educating the student - the subject of their activity.

Historical review on the topic: "Artistic wood carving."

Wooden patterns on Russian huts are like frozen beautiful music, like a song about love for one's home, for one's native land. Wooden carvings were used to decorate gable cornices, dormer windows, frieze boards, window frames and shutters, porches, gates, and gates. She became a constant companion of the architecture of peasant and urban dwellings. And now one can clearly see the predilection of our ancestors for decorating their homes with wooden lace. It made it a valuable architectural monument, which combined the simplicity of forms, naturalness with a variety of techniques for performing various types of carving. And if in the north of Russia the artistic and constructive solution of wooden decoration was distinguished by laconicism and severity, then in the Volga region the flight of imagination of artists was not restrained by anything. Here they boldly and uninhibitedly used all the centuries-old experience of folk art, borrowing from the original architecture. The Russian North and the Volga region are wood carving reserves, a museum and a workshop where anyone can admire and learn from the master the ancient honorable craft - wood carving.

The origins of Russian folk art go back to the distant past, revealing obvious pagan roots. In the material monuments of antiquity (and on buildings) there are schematic drawings that are not images of objects of the human environment. They often look like an ornament, but they are symbols with a deep meaning: in the pre-literate era, they recorded important knowledge, concepts, ideas about the world.

Slavic paganism consisted in the glorification of the vital forces of nature, the fertility of the earth, above all.

Over the years and centuries, the symbolic meaning of circles, triangles, crosses was forgotten, and they turned into an ornament that was passed down from generation to generation, illuminated by tradition. You can try today to penetrate into the past, unravel the original meaning of the ornament of the wooden pattern of houses, try to get closer to your ancestors. In modern peasant art, archaic elements as decorative elements have practically lost their incantatory meaning. But the ornament has changed little over the centuries, as before: zoomorphic, anthropomorphic, geometric and floral.

Wood carving is one of the most common and accessible forms and types of folk ornament.

House carving probably began with a note: a notch with an ax or a conventional sign of the owner of the house. Over time, these signs are complicated by the structure of their rows, figures, places where they were placed on the house. Some notes-notches from the very beginning were amulets-symbols of hope for well-being and protection of the hearth from troubles and adversities.

Russian peasant housing combined practicality and extraordinary beauty. Various architectural details carried a certain utilitarian meaning and at the same time played a decorative role, performing a protective function. So, for example, the need to close the gaps that inevitably arise between the log wall of the house and the window frame, caused the appearance of platbands that decorate the house and are a kind of border between it and the outside world. Platbands are both a decoration of the house and its amulet.

Among the elements of folk culture, wooden carved decorations are distinguished by a huge variety in terms of execution technique, plots and compositional arrangement on the house. Russian architectural carving is conditionally divided into: sculptural; flat; relief carving of the Volga region; propyl.

Sculptural carving is characteristic of the northern provinces: Arkhangelsk, Vologda, Pskov, Perm. The ends of the protruding logs and slabs were processed in such a way that they acquired the outlines of animals, birds and other figures. Sculptural carvings decorated the gable roofs of Russian huts with okhlupnik, which was shaped like a horse's head, a deer's head with branched horns, a goose, a swan. Gable roofs often had such a length that one frosting was not enough. On the roofs, two logs were strengthened with rhizomes in opposite directions, and each received a sculptural treatment. One horse looked out into the street, the other into the forest! The sculpture completed the composition of the facade of the hut perfectly. Skates floated above the ground in the distant sky against the background of changeable clouds. The antiquity of the origin of the motif of a paired horse and, in general, a horse, as a talisman, is confirmed by archaeological finds. Over time, ideas about the symbolic meaning of the horse weakened and turned into an element of decor. Horse - okhlupen as an important constructive and artistic element of the roof is preserved to this day. A tribute to tradition and good taste. The water outlets of the house were decorated with sculptural images of animal horns, snake-like heads, etc. In the Yaroslavl, Kostroma and Nizhny Novgorod provinces, images of birds are no less common - a goose, a swan, a duck. They symbolized a good start. Their images are especially frequent in window casings. Images of a duck, a peacock rooster, a chicken - a talisman against the evil eye of all those living in the house.

Flat carving is a group of the most common types of woodcarving in the 19th century. She has many names and varieties: crenate, dugout, notched, trihedral-notched. In flat carving, a rhythmic geometric pattern is often combined with a slit, creating real wood lace! Often the drawing repeats the image of a circle with rays diverging from the center, resembling the disk of the sun. We can observe this motif in the decoration of balconies, galleries, porches, architraves. Plots of flat carving of the 18th-19th centuries scientists associate with the ancient pagan beliefs of the Slavs and their magic spells. Circles, sockets, stars, crosses, wheels, rhombuses, squares served in ancient times as symbols of fire and the sun, were the strongest amulets.

The relief carving of the Volga region in the 19th century was especially widely used in the decoration of dwellings in the Upper and Middle Volga regions. Ship (baroque), deaf, chisel - these are also common names for the relief carving of the Volga region. How emphatically accurate are these names! This type of carving is distinguished by high relief, patterns of predominantly floral ornament. The male population of the Volga region has long been engaged in the construction of river vessels - boats, plows. The stern was richly decorated with wood carvings. Gradually, many carvers who decorated the ships began to apply their skills in the construction of houses of fellow villagers, received orders from the townspeople. Therefore, it is not surprising that many ship carving motifs were gradually transferred to the facades of houses.

Ship carving spread throughout the Volga-Oka interfluve. The Kolomna wooden palace of Tsar Alexei Mikhailovich, which was built in 1667-1668, was called the "eighth wonder of the world." When decorating it, the wood carvers outdid themselves. They decorated roofs, valances, porches, galleries, passages, window frames with the finest ship carvings. It is a pity that the palace now lives only in drawings and our memories of the past. At all stages of the development of ship carving in the Volga region, frieze (frontal) boards remained the most important detail of home decoration, although the talent of the carver was fully revealed when performing the entire complex of home decor. When decorating architraves, shutters, and valances, craftsmen used various motifs of native nature, but did not neglect the images of mythical, fairy-tale creatures: mermaids, siren birds with a woman's face and a luxurious peacock's tail, lions with a branch in their paws. Sirens - half women, half fish - mythical creatures in carvings are found not only among Russians, but also among Mordovians. In the Chuvash villages, you can even find images of human figures. And all this with a sharp ax and chisel!

By the beginning of the 20th century, the simplest type of wood carving, which does not require modern tools, was widely used - through (saw) carving, which is performed using saws of various configurations according to a pattern applied to the board. With a certain skill, it was possible to complete the decor of the house in a week. With a through carving, the drawing (ornament) became the main defining element of the whole work, like the craftswomen of the world-famous Vologda laces.

Types of woodcarving.

Wood carving has existed for many centuries, new directions, types and subspecies of carving appear, but there is no single classification of carving types. We have summarized the classic and new types of carving.

House carving occupies a special place in the classification of carving types. It practically concentrates all types and subspecies of thread.

house carving

The origins of wood carving can be traced back to ancient times. With the development of the Russian state, the art of woodcarving also develops. Carvings were used to decorate palaces, temples, churches, icons, houses, wooden buildings, interior items, furniture, household items, musical instruments, toys, souvenirs, amulets.

The reign of Peter 1 turned out to be favorable for the development of woodcarving in Russia. Under Peter 1, shipbuilding was most developed, since wood in those distant times was the main material for creating the Russian fleet. The bows of the ships were decorated with figures - images of animals and birds - a dragon, an elephant, the head of a lion or a horse. These images symbolized the power, strength and courage of sailors.

The skillfully carved prow figure is not only a worthy decoration of the ship, but also, as it was believed, a symbol of good luck for sailors. Such a carving is called ship or baroque.

"Coming ashore" wood carving has found wide application in wooden architecture, the manufacture of wooden utensils, in home decoration and various decorations.

House (ship) carving was most developed in the late 19th and early 20th centuries.

At the same time, the thread was not of the same type, it was performed in various techniques- what made the decor of the decorated products more figurative, richer and more picturesque.

Saw thread

In the second half of the 20th century, saw carving made with a thin jigsaw file became widespread in wooden buildings in the countryside and in the city.

Of the variety of types of thread - it is the most common and affordable.

Saw thread has several subspecies: through, consignment note, openwork. In all subspecies, the background is cut out or removed.

Flat wash thread and its subspecies

The most common, affordable, not requiring special premises and high material costs is flat-cutting thread and its subspecies.

contour thread

The name itself suggests that in this carving technique a contour, a contour drawing is performed. Contour carving is used to perform not strict geometric shapes, but free patterns, which, as it were, are drawn on the workpiece with a cutting tool. In this case, various lines can be used: straight lines, curves - arbitrary curvature, wavy, spiral, etc. (Fig. 6).

Geometric carving.

Geometric thread - the main subspecies of flat-cut thread, which is based on two components - a plane and a recess made on it. It is called geometric because it is based on all sorts of geometric elements- triangles, polygons, circles, rhombuses, squares, ovals. Combining the simplest geometric shapes, you can get an amazing pattern, where every element, every stroke is accurately drawn.

Complex elements of carving are formed from geometric figures: ladders, windings, beads, snakes, lights, spikes, various combinations of which with each other create geometric carving motifs, and the combination of motifs forms a geometric ornament.

Staple carving.

The stapled thread is based on a stapled notch or stapled cutting, shaped like a fingernail. Therefore, bracketed threads are often called nail threads. Staple carving is a kind of flat carving and, in combination with other types of carving, is used to decorate caskets, cutting boards, decorative panels, and household spatulas.

Wrinkled carving.

Wrinkled carving is used for finishing and decorating elements of flat carving. A feature of this carving is the decoration of the surface of the product of the executed motif with wrinkles-rays. Each ray is an acute-angled groove that originates from a center point. From the center, the groove smoothly passes into an extended wrinkle, reaching the greatest width and depth of the outer end of the ray.

There is a way to immortality for wood carving: to keep the skill, experience, carving techniques. Teach the young to carve wood. In villages and cities. After all, they build houses from wood, from logs. This is in the traditions of Russians - to build from wood, cut lace on wood, decorate their houses with carved architraves, porches. Folk art is a true value. Woodcarving is an integral part of it. Russians must not forget how to cut wood. Creating beauty with your own hands is in the blood of our crafty people.

Training program additional education

"Artistic processing of wood"

Explanatory note

At present, the problem of preserving the cultural and historical identity of Russia, national traditions, and the unshakable moral values ​​of the people has become urgent. Decorative and applied art has organically entered modern life and continues to develop, keeping national traditions intact. It contains a huge potential for development cultural heritage, as it has conveyed to this day in almost undistorted form the nature of the spiritual and artistic comprehension of the world.

Decorative and applied art is traditional in any country of the world. The subject environment surrounds a person constantly, it affects the subconscious, positively and negatively shaping his feelings and emotions, behavior and communication. This means that arts and crafts also contributes to the spiritual development of a person through creative, aesthetically significant creative activity.

Wood carving is an image, drawing or pattern, performed on wooden products. Wood carving is one of the types of monumental and decorative art and is used to decorate and decorate the interiors of public buildings and architectural structures. Carving is also used to decorate objects of arts and crafts: furniture, musical instruments, weapons.

Woodcarving is a national art form among many peoples of Russia. From time immemorial, the Russian peasant, having finished his hut and finished field work, in endless autumn and winter evenings, took up the art of woodcarving.

Only an introductory section is included in the study of wood carving in school curricula at technology lessons. The program "Artistic Woodworking" is focused not only on expanding the level of literacy of students in the field of arts and crafts, the development of aesthetic taste, but also on creating works that reflect the creative individuality, the spiritual world of children and adolescents.

A feature of this program is the combination of traditional woodcarving techniques with modern types of graphic images used as an activation of students' individual creative activity.

Additional educational program"Artistic woodworking", being applied, is practice-oriented in nature and is aimed at mastering the basic techniques of wood carving by students. Teaching this program creates favorable conditions for the intellectual and spiritual education of the child's personality, socio-cultural and professional self-determination, the development of cognitive activity and creative self-realization of students.

The novelty of this program lies in the unification of the traditions of the Russian people in the manufacture of decorative and applied wood products and the realization of the creative individuality of each student; The program covers all elements of woodcarving, starting with the formation of an artistic image of an applied product made of natural material and ending with its presentation at exhibitions.

The purpose of the program: to teach the manufacture of planar wood products using the techniques of slotted, geometric, flat-relief carving.

I. Cognitive.

Educational:

weaving", "loop weaving".

Educational:

Developing:

II. Methodical:

Use of ICT in the classroom Use of presentations in the classroom: The history of the development of woodcarving; Types of woodcarving; Safety precautions when carving wood. Tools (wood cutter) and accessories (blanks).

III. Organizational:

Acquiring the necessary tools and materials for classes with the help of parents.

Learning Outcomes

Students should know:

Students will learn:

Kitchen boards, coasters,

Volumetric baskets, shelves,

photo frames,

Stands.

Students will have the opportunity to learn:

Grading system

Based on the results of the training, students receive a credit. Conditions for receiving credit.

Accounting requirement:

Educational and thematic plan

Topic 1. Basic information about wood and its properties

Acquaintance with the natural texture of wood (cut in three directions). The value of the location and nature of the location of the wood fibers when creating a thread. Properties of coniferous and deciduous wood in terms of hardness. Disadvantages of wood moisture and dryness.

Topic 2. Tools for woodcarving. Workplace of a wood carver and his equipment.

Preparation of the workplace of the carver, depending on the nature of the work performed. More about tools Demonstration of tools for woodcarving, Rules for the safe use of tools. Safety rules for working with cutting tools.

Topic 3. Artistic and technical techniques of geometric woodcarving.

Types of artistic wood products, decorated with geometric carvings. Demonstration of examples of folk art. Carving techniques.

Practical work: Basic methods of geometric carving. Techniques for carving parallel lines along the fibers. Mesh threading techniques. Receptions of a carving of "checkers".

Topic 4. Creating simple compositions of geometric carving patterns

The concept of composition (rhythm, symmetry, identification of the center) in the carving of window frames, in decorating household utensils.

About the composition in geometric carving

Hands-On: Sketching geometric patterns to decorate the kitchen board. Translation of geometric ornament patterns on the surface of wood products using carbon paper, pencil.

Topic 5. Making geometric carving patterns on wood products.

Creating a geometric ornament to complete the composition.

Practical work: Performing creative work in the technique of geometric carving of ornamental compositions on a kitchen board.

Test: 2 forms theory and practice

The course is designed for students in grades 5-11, the study period is 36 hours, 1 hour per week.

Forms of organization training sessions:

Frontal: used when explaining theoretical material.

Individual. Used by students when performing practical tasks.

Teaching methods and techniques:

Verbal. It is used when explaining new material to students.

Visual. It is used by the teacher when showing and explaining on the example of finished products and schemes.

Practical. It is used when making products and consolidating the acquired knowledge.

Forms of conducting training sessions:

Practical work. Used by children when making wood products. Designed for in-depth study of the course.

Lecture. It is used to direct the primary mastery of knowledge about wood carving techniques.

Conversation. It is used to determine the level of knowledge in the course "Artistic woodworking".

Briefing. Used when explaining safety precautions.

Folk carving is one of the oldest art forms. Her memos are known in Ukraine mainly from the 16th - 17th centuries.

Interesting evidence from those times tells of rich carvings on wooden buildings. In the pursuit of beauty, the people used it not only in architecture, but also generously decorated things and tools with carved ornaments. Folk carpenters and carvers created genuine masterpieces, distinguished by originality and originality of art forms.

Quite numerous carved items - furniture, wooden utensils, boards for heel boards, molds for honey gingerbread, yokes, details of carts and sledges of the 17th - 19th centuries. Kiev, Chernihiv, Poltava, Carpathian, Transcarpathian regions.

In the XIX and early XX centuries. big role famous Hutsul carvers Yury Shkriblyak (1822 - 1884) and his sons Vasily Shkriblyak (1856 - 1928) and Mykola Shkriblyak (1858 - 1920) played in the development of folk carving.

Yuri Shkriblyak was known as an outstanding carver not only in the Hutsul region, but also far beyond its borders.

In our time, great changes have taken place in the art of folk carving. Folk craftsmen, along with traditional ornamental carving, create thematic works dedicated to important events in the life of the people, the themes of its historical past, outstanding figures, images of the heroes of the works of great writers. The desire to create thematic compositions contributed to the development of the bas-relief genre of carving and round sculpture. Often plot compositions are combined with ornamental flat carving and inlay.

The carvings of Vasily Garbuz are a continuation of the wonderful traditions of flat Poltava carving. In his ashtray miniatures and bird-shaped pencil cases, we encounter the extreme laconicism of forms typical of folk carving.

Rich ideological content and great artistic expressiveness are characteristic of the bas-reliefs "Hero of Socialist Labor Ekaterina Solomakha" and "Pig" carver Yakov Usik (1872 - 1960) from the Mirgorod region.

Numerous works by the carver from the Kiev region Peter Verna (1876 - 1966) are diverse in subject matter: "I've already passed thirteen ...", "Perebendia", "Blacksmith Vakula", "Aeneid", "The Sower", "Let's Plant the Roads". He owns works that personify various characters from the works of the classics of Ukrainian and Russian literature.

Petr Verna devoted almost his entire life to creating his favorite image of the great kobzar T. G. Shevchenko and images based on his poetic works of the same name. In other sculptures by Verna, filled with the pathos of modernity, the life and work of people are reflected.

The life of ordinary people of Transcarpathia is displayed in the works of the folk sculptor Vasily Svyda. In the work "On the Polonina" the author depicts the traditional spring exit to the mountains of the Hutsuls, driving cattle to summer pastures. This day is considered a great spring holiday. The author personally participated in such holidays more than once. The knowledge of life helped the carver excitedly and truthfully recreate the images of the new people of Transcarpathia: free, proud.

The talented Transcarpathian carver Ivan Barna in a relatively short period of time created a number of meaningful works of art that convincingly tell about the heroism of the past. Its bas-relief, which reveals the image of the national hero of Ukraine of the 18th century, deserves special attention. Oleksa Dovbush.

The creative growth of modern Hutsul carvers, in the past handicraftsmen, was facilitated by their unification into production and creative teams.

The richness of imagination and poetry are inherent in the works of the carver from the village of Bratky, Lviv region, Stepan Chaika - "Life in the Forest", "Family of Ducks", "Deer", etc. The carver finds the images of his works in the very life of the forest, and the bizarre forms of roots serve as material for it trees, twigs, etc.

Lviv carver Mikhail Tkachev works in an interesting material - poplar bark. His miniatures - cockerels, deer, horses - are made in the spirit of folk sculpture traditions.

Arts and Crafts(from lat. deco - decorate) - a wide section of art that covers various branches of creative activity aimed at creating art products with utilitarian and artistic functions. The collective term conditionally unites two broad kinds of arts: decorative and applied. Unlike works of fine art, intended for aesthetic enjoyment and belonging to pure art, numerous manifestations of arts and crafts can have practical use in everyday life.

Works of arts and crafts meet several characteristics: they have an aesthetic quality; designed for artistic effect; serve for decoration of everyday life and interior. Such works are: clothes, dress and decorative fabrics, carpets, furniture, art glass, porcelain, faience, jewelry and other art products. In academic literature from the second half of the 19th century, it was established classification of branches of arts and crafts by material(metal, ceramics, textiles, wood), according to the execution technique(carving, painting, embroidery, printing, casting, embossing, intarsia (paintings from different types of wood), etc.) and by functional signs of using the object(furniture, dishes, toys). This classification is due to the important role of the constructive-technological principle in arts and crafts and its direct connection with production.

Types of arts and crafts

Tapestry -(fr. gobelin), or trellis, - one of the types of arts and crafts, a one-sided lint-free wall carpet with a plot or ornamental composition, woven by hand with a cross weave of threads. The weaver passes the weft thread through the warp, creating both the image and the fabric itself. In the Encyclopedic Dictionary of Brockhaus and Efron, a tapestry is defined as “a hand-woven carpet on which a picture and a specially prepared cardboard of a more or less famous artist are reproduced with multi-colored wool and partly silk.”

BATIK - hand-painted on fabric using reserve compositions.

On the fabric - silk, cotton, wool, synthetics - the paint corresponding to the fabric is applied. To obtain clear boundaries at the junction of paints, a special fixer is used, called a reserve (reserving composition based on paraffin, gasoline, water-based - depending on the chosen technique, fabric and paints).

Batik painting has long been known among the peoples of Indonesia, India, etc. In Europe - since the 20th century.

PRINT -(stuffing) - a type of arts and crafts; obtaining a pattern, monochrome and color drawings on the fabric by hand using forms with a relief pattern, as well as a fabric with a pattern (printed fabric) obtained by this method.

Heel molds are made of carved wooden (manners) or type-setting (type-setting copper plates with studs), in which the pattern is typed from copper plates or wire. When stuffing, a form covered with paint is applied to the fabric and hit on it with a special hammer (mallet) (hence the name “heel”, “stuffing”). For multi-color designs, the number of printing plates must match the number of colors.

Making a heel is one of the ancient types of folk arts and crafts, found among many peoples: Western and Central Asia, India, Iran, Europe and others.

Printing is inefficient and almost completely replaced by printing a pattern on fabric on printing machines. It is used only in some handicrafts, as well as for reproducing large patterns, the repeating part of which cannot fit on the shafts of printing machines, and for coloring piece goods (curtains, tablecloths). Characteristic patterns of folk stuffing are used to create modern decorative fabrics.

BEADING - type of arts and crafts, needlework; the creation of jewelry, artistic products from beads, in which, unlike other techniques where it is used (weaving with beads, knitting with beads, weaving from wire with beads - the so-called bead weaving, bead mosaic and bead embroidery), beads are not only a decorative element, but also a constructive and technological one. All other types of needlework and DPI (mosaic, knitting, weaving, embroidery, wire weaving) are possible without beads, but they will lose some of their decorative possibilities, and beading will cease to exist. This is due to the fact that the technology of beading is original.

EMBROIDERY - well-known and widespread needlework art to decorate all kinds of fabrics and materials with a wide variety of patterns, from the roughest and densest, such as cloth, canvas, leather, to the finest fabrics - cambric, muslin, gas, tulle, etc. Tools and materials for embroidery: needles, threads, hoops, scissors.

KNITTING - the process of making a fabric or products (usually clothing items) from continuous threads by bending them into loops and connecting the loops to each other using simple tools manually (crocheting hook, knitting needles, needle, fork) or on a special machine (mechanical knitting). Knitting, as a technique, refers to the types of weaving.

Crochet

knitting

MACROME -(fr. Macrame, from Arabic - braid, fringe, lace or from Turkish. - scarf or napkin with fringe) - nodular weaving technique.

LACE - production of mesh fabric from woven thread patterns (linen, paper, woolen and silk). There are laces sewn with a needle, woven on bobbin, crocheted, tambour and machine.

CARPET WEAVING – the manufacture of artistic textiles, usually with multi-coloured patterns, which serve primarily to decorate and insulate rooms and to ensure noiselessness. The artistic features of the carpet are determined by the texture of the fabric (pile, lint-free, felted), the nature of the material (wool, silk, linen, cotton, felt), the quality of dyes (natural in antiquity and the Middle Ages, chemical from the second half of the 19th century), format, ratio borders and the central field of the carpet, ornamental set and pattern composition, color scheme.

QUILLING - Paper rolling(also quilling English quilling - from the word quill (bird feather)) - the art of making flat or voluminous compositions from long and narrow strips of paper twisted into spirals.

The finished spirals are given a different shape and thus quilling elements are obtained, also called modules. Already they are the "building" material in the creation of works - paintings, postcards, albums, photo frames, various figurines, watches, jewelry, hairpins, etc. The art of quilling came to Russia from Korea, but is also developed in a number of European countries.

This technique does not require significant material costs to start its development. However, paper rolling cannot be called simple, since in order to achieve a decent result, it is necessary to show patience, perseverance, dexterity, accuracy and, of course, develop the skills of twisting high-quality modules.

SCRAPBOOKING -(English scrapbooking, from English scrapbook: scrap - clipping, book - book, lit. "book of scraps") - a type of handicraft art, which consists in the manufacture and design of family or personal photo albums.

This type of creativity is a way of storing personal and family history in the form of photographs, newspaper clippings, drawings, records and other memorabilia, using a peculiar way of preserving and communicating individual stories using special visual and tactile techniques instead of the usual story. The main idea of ​​scrapbooking is to preserve photos and other memorabilia of any events for a long time for future generations.

CERAMICS -(ancient Greek κέραμος - clay) - products made from inorganic materials (for example, clay) and their mixtures with mineral additives, made under the influence of high temperature, followed by cooling.

In a narrow sense, the word ceramics refers to clay that has been fired.

The earliest pottery was used as pottery made of clay or its mixtures with other materials. At present, ceramics is used as a material in industry (engineering, instrumentation, aviation industry, etc.), construction, art, and is widely used in medicine and science. In the 20th century, new ceramic materials were created for use in the semiconductor industry and other fields.

MOSAIC -(fr. mosaique, Italian mosaico from lat. (opus) musivum - (work) dedicated tomuses) - decorative, applied and monumental art of various genres, the works of which involve the formation of an image by arranging, typing and fixing on the surface (usually on a plane) multi-colored stones, smalt, ceramic tiles and other materials.

JEWELRY ART - is a term that refers to the result and process of creativity of jewelry artists, as well as the totality of objects and works of jewelry created by them, intended mainly for the personal adornment of people, and made from precious materials, such as precious metals and precious stones. In order for a piece of jewelry or an object to be unequivocally classified as a jeweler, this piece of jewelry must satisfy three conditions: at least one precious material must be used in this piece of jewelry, this piece of jewelry must have artistic value, and it must be unique - that is, it must not be replicated by the artist-jeweler who makes it.

In the professional jargon of jewelers, as well as by students and students of educational institutions in the specialty "jewelry", the slang version of the word "jeweler" is often used.

Although it is believed that the concept of "jewellery" includes all jewelry made using precious materials, and the concept of "jewellery" includes jewelry made from non-precious materials, but, as we can see, at present the difference between jewelery and costume jewelry is becoming somewhat blurred. , and the assessment of whether to classify a given product as a jeweler or as costume jewelry is each time taken by experts individually in each specific case.

LACQUE MINIATURE - Miniature painting on small objects: boxes, caskets, powder boxes, etc. is a kind of arts and crafts and folk art. Such painting is called lacquer because colored and transparent varnishes serve not only as full-fledged painting materials, but also as the most important means of artistic expression of the work. They add depth and strength to paints and at the same time soften, unite them, as if melting the image into the very flesh of the product.

The birthplace of artistic varnishes is the countries of the Far East and Southeast Asia: China, Japan, Korea, Vietnam, Laos, where they have been known since ancient times. In China, for example, back in the 2nd millennium BC. e. lacquer tree sap was used to cover cups, caskets, vases. Then lacquer painting was born, which reached the highest level in the East.

This type of art came to Europe from India, Iran, the countries of Central Asia, where in the XV-XVII centuries. lacquer miniature, executed with tempera paints on papier-mâché objects, was popular. European craftsmen significantly simplified the technology, began to use oil paints and varnishes.

Artistic varnishes have been known in Russia since 1798, when the merchant P.I. Korobov built a small papier-mâché lacquerware factory in the village of Danilkovo near Moscow (later it merged with the neighboring village of Fedoskin). Under his successors, the Lukutins, Russian masters developed unique methods of Fedoskino painting. They have not been lost to this day.

 Palekh miniature - folk craft that developed in the village of Palekh, Ivanovo region. The lacquer miniature is executed in tempera on papier-mâché. Caskets, caskets, capsules, brooches, panels, ashtrays, tie clips, needle cases, etc. are usually painted.

 Fedoskino miniature - a type of traditional Russian lacquer miniature painting with oil paints on papier-mâché, developed at the end of the 18th century in the village of Fedoskino near Moscow.

 Kholuy miniature - folk craft that developed in the village of Kholui, Ivanovo region. The lacquer miniature is executed in tempera on papier-mâché. Caskets, capsules, needle cases, etc. are usually painted.

The collection of the art tree of the Sergiev Posad Museum-Reserve is one of the most complete and richest in Russia. At the origins of its formation is the collection of the Museum of Folk Art Crafts, created by the efforts of remarkable connoisseurs and researchers of folk art G.S. Maslova, V.N. Belitzer, Z.L. Schwager, M.P. Zvantsev. In 1941, this collection was transferred to the Zagorsk Museum, where it was significantly replenished due to active expeditionary work.

Most of the pieces in this collection date mainly from the 19th and first decades of the 20th century. Some examples date back to the 18th and 17th centuries. The museum's specialists examined almost all regions of the European part of Russia. The collection of wood products collected in this area is of great interest, primarily due to its great artistic significance. In their work, in an unstoppable flight of fantasy, folk craftsmen were transferred to the wonderful world of beauty. Every peasant house was filled with works of genuine great art, which itself very often was a wonderful monument of wooden architecture. Sledges and arcs, chests and cradles, spinning wheels and sewing machines, rolls and ruffles, ladles and salt boxes were skillfully decorated with carvings and paintings. In the forest regions of Russia, carpentry was especially developed. Great importance in Russian wooden architecture was attached to the carved decoration of buildings.
The most striking page of this art in the 19th century was the house carving of the Volga region. The craftsmen of the Volga region decorated the architraves of the light windows especially elegantly. Occupying the strongly recessed space of the pediment, the architrave of the light was its decorative center. He decided very sculptural, voluminous and was always brightly lit. In the carving of the light windows, the creative imagination of the craftsmen is striking: here are elements of classical architecture, perfectly inscribed in the overall composition of the casing, and fairy-tale creatures that adorned wooden columns, and birds in the halo of the rays of solar rosettes.

The techniques of carving, the peculiarities of the form of works from these centers have centuries-old traditions. Each region developed its own forms and character of the decor of this small wooden sculpture. In Russian folk art of the 19th century, there are individual unique works made by masters out of touch with established traditions. Such works of great artistic value include two birdhouses - an "old man" and an "old woman" from the Moscow region.

Slender, grandiose northern houses were crowned with an okhlupen - a huge log of larch, the rhizome of which was given the appearance of a horse, duck, and sometimes a deer. The image of a horse, sometimes powerful and motionless in its majesty, sometimes violently cheerful and impetuous, is one of the most popular and beloved in folk art. Along with large, monumental works, which should include the coolness of the North, children's toys - skates - are of great interest. In the 19th century, they were widespread both in the North and in the Volga region. But, despite the conventions of carving techniques, forms and paintings.

A large place in the design of facades and interiors of houses was occupied by painting. Her techniques, as well as in carving, are diverse. The painting of peasant interiors in the regions of the Russian North is best preserved. In the 19th century, and often also in the first decades of the 20th century, painting covered almost the entire interior of the northern hut. It was made without a preliminary drawing with free pictorial strokes of the brush, which were then emphasized with spaces (animations).

The motifs of this painting are various flowers. They painted a golbets (covered enclosure next to the stove, with a door to the stairs to the lower crate), a pod with doors (where the tongs were hidden), a ladle for dishes, a vessel with several doors (which went from the stove along the side wall), a voronets (a beam for shelves ), a shelf for icons in the red corner, the front door. In the center of a bright, cheerful, painted hut, also decorated with paintings, hung a cradle. This whole complex of wall and furniture painting was complemented by painted chests. In winter, a collar was hung at the entrance on a special ledge of the bench, the wooden parts of which were also covered with paintings; on the bench, illuminated by the light from the window, was a spinning wheel; painted wooden utensils stood on shelves above the windows; in winter they rode painted sledges.

Of the wooden household items and tools, the best preserved was the spinning wheel. She was a permanent fixture of the life of a Russian woman - from youth to old age. The spinning wheels were kept all their lives and passed on as a memory to the next generation. Even in our time, this item is still preserved in the peasant houses of the North of Russia, as a memory of the mother. This has made it possible today to collect the richest collection, which includes almost all varieties of spinning wheels of the Russian North and the Upper Volga region.

Many of the previously unknown art centers were discovered by expeditions of the Zagorsk Museum. By design, spinning wheels can be divided into solid (or root), made entirely of rhizome and "straight" (tree trunk), and detachable, consisting of a comb and bottom. The northern spinning wheel, always made from a monolithic piece of wood, is most often called “teremkovy”, “terem”, “terem”, “terem” and “terem”. Yaroslavl Terem spinning wheels were cut from birch and decorated on the front side, facing the viewer, with the so-called contour carving, which was based on a thin, slightly indented line.

The innumerable variety of compositional solutions, the technical perfection of geometric carvings on household items made of wood still delight our contemporaries with their original beauty. The classical center of large decorative trihedral-notched carving in the Vologda Oblast can be considered the remote area of ​​Tarnogi, located north of the Sukhona River along the Kokshenga. The shape of the Tarnog spinning wheel is archaic. A huge rectangular blade, apparently, once reached the bottom, but was later broken in its lower part by a low leg. The large blade is literally strewn with the smallest, masterfully executed pattern, which shimmers with many facets of its complex compositions.

There are several more varieties of Pechenga spinning wheels. Their form was apparently influenced by the neighboring centers - Sovega, Tolshma and, in particular, Totma. The totem spinning wheel usually has a thin and high stem, which carries a rather large square blade with large earrings at the bottom and a wide through lattice instead of towns at the top.

An outstanding phenomenon was the painting of wooden objects of the Northern Dvina, which were divided into different kinds, depending on the centers of their production. These are Permogorye, Rakulka and Borok, the late centers of Puchuga and Toyma close to it in style. The basis of the white-background paintings of the Permogorye spinning wheels is a clear black contour of the image applied on a flat background. This drawing was then painted over inside, or rather, filled with color.
Bork has long had its own scheme of construction and its own character of painting a spinning wheel. In contrast to the white background, very small and fractional murals of Permogorye and Bork, the spinning wheels of the third Severodvinsk center, located on the Rakulka River (a tributary of the Northern Dvina), have a yellow-ocher background and large painting. There are no genre scenes. The upper part of the spinning wheel is always occupied by a curved branch with large spear-shaped leaves surrounded by tendrils of black outline. And below it, a bird is inscribed in a square.

Mezen spinning wheels and boxes were widely known in the 19th and 20th centuries. They were painted in the village of Palashchelye. This craft seems to have very ancient traditions. This is evidenced by the theme of painting Mezen spinning wheels. Among the various geometric patterns, the central place in the composition is occupied by friezes with images of deer and horses. Among the large spade-shaped spinning wheels of the Russian North, graceful paddle-shaped spinning wheels with thin legs, like leaves on stalks, that exist on the coasts of the White Sea and in Karelia, stand out for their unusual shape.

In the west of the Arkhangelsk region, along the Onega River, there are spinning wheels of the usual spatulate shape, decorated with carvings and paintings. And to the south, in the Novgorod region, and in the Tver region bordering it, and even in Pskov, this original form of the spinning wheel is found, the continuous canvas of which descends almost to the base, and only its decor varies in each region or district.

No other items of peasant life, except for spinning wheels, make it possible to trace local art schools and manufacturing centers with such completeness. However, other items of peasant life were covered with carvings and paintings. Thin, very fine carving covered the shiny polished parts of the loom. For convenience and speed, a sewing machine was used in the work - an object that somewhat resembles columnar Volga spinning wheels in shape. But still, much less attention was usually paid to the decor of a sewing machine than to the design of a spinning wheel.

Almost all the processes of women's labor were accompanied by objects of art. So, for example, in some areas, rolls were extremely elegantly decorated, with which they went to the river to wash clothes. As well as rubel intended for rolling and smoothing the canvas. In shape, it somewhat resembles a roll, but is almost twice as long and its lower plane has a ribbed surface.

A lot of invention, craftsmanship, artistic taste and spiritual warmth were invested by Russian carvers in the carving of gingerbread boards. Flowers, leaves, fish, birds, skates and cockerels - all these real images taken from life, the folk carver retold in the tree in the language of ornament, decorated them with patterns, transferred them to the world of fantasy and fairy tales.

Among household items, things curved from a bast, such as boxes, baskets, bread bins, urinals, napkins, were very widespread even in distant centuries. The smooth, shiny surface of the thin walls of bast products seems to have been specially prepared by nature for painting.

In the peasant life of the 19th century, great attention was paid to the decoration of the table, the decoration of festive dishes. Salt shaker has always occupied the central place on it. In the decoration of the salt cellar, the main attention was usually given to its shape, its sculptural appearance. In the regions connected with the Volga - Gorky, Kostroma and Yaroslavl - there was a form of salt shaker in the form of an armchair. To the north of the Volga, salt boxes in the form of duck were widespread. They were woven from birch bark or from roots, but more often they were cut from wood. The festive peasant table was filled with a variety of wooden dishes, among which the main place was given to ladles for honey and beer, decorated with Permogorsk painting.

A skopkar was intended for bringing intoxicating drinks to the table. They cut it in the form of a huge bird, the body of which was a wide squat bowl, and the head and tail of the duck served as comfortable handles. Of the large external vessels, the valley had a wide distribution in the regions of the Russian North. This is a huge vessel, shaped like a brother on a pallet, but it has a small spout to pour the drink.

Bright, but very simple in pattern, the painting goes around the vessel in a wide strip, emphasizing its volume. Inside the bottom of the valley is also decorated with paintings. A round brother and a valley close to it in shape with a spout of various sizes existed in many areas.

Other accessories of the peasant economy, jugs, plates and dishes, washstands, etc., were also decorated with carving and painting.

Every item in peasant economy decorated with traditional painting. The pattern was made up of the simplest elements: dashes, circles, crosses and stripes. First, a black outline was applied, and the middle was filled with red lead. The painting was covered with drying oil, the golden tone of which gave composure and nobility to the whole color. Warm red, which is the leading color in the painting, blends softly with the white background. The plot compositions are very interesting, which fit perfectly into the floral pattern and do not disturb its color rhythm.

Not only convenient, but also very beautiful bucket-groom. In the shape of its bowl, four planes, as if cut down with an ax, are clearly visible, which are only then slightly rounded at the corners. This clarity of form gives his image some special significance. From large external vessels, honey and beer were poured into smaller vessels in small wooden ladles, the shape of which in some areas is surprisingly beautiful and original.

The names that they have retained to this day speak eloquently of their purpose. These are liquor ladles from the Vologda region with a round, very plastic bowl that smoothly turns into a lush decorative carved handle, and ladles-scoops from the Volga with a clear and strict silhouette. Giant ladles were not uncommon. Along the edge of one of them, like a golden ornament, there is an inscription in ligature: “This ladle of the Cheboksary district of the village of Minin by Mikhail Leksandrov Maslov was given to Anna Mikhailovna’s daughter.” Such a handsome giant ladle, of course, was the decoration of the festive table.

History and present day of arts and crafts art - carving on wood.

From time immemorial, a Russian person, having finished his hut and finished field work, was taken in endless autumn and winter evenings for art - wood carving.

Folk craftsmen, using the specific properties of the material, were able to reveal its discreet beauty, to give their things comfortable and artistically complete forms. Moreover, the decor of peasant products was organically merged with their practical household purpose.

There are several types of woodcarving: brownie (deaf, laid on, slotted), three-dimensional (sculpture, toys, hollowed out dishes), contour, geometric, flat relief (oval with pads and a selected background), relief and carving on gingerbread stamp boards.

During excavations of ancient Russian settlements and mounds, archaeologists discovered simple devices used by woodworkers: an ax, an adze, a spoon, a plow and a chisel.

The external forms were processed with an ax. Tesla for many centuries was used by masters of wooden utensils to sample internal volumes. And now in folk art crafts this tool, resembling a hoe, is used.

The spoon is a metal rod with an annular knife at the end. It levels the inside of wooden spoons, ladles, etc. The carver had a chisel, a saw and a drill in his arsenal.

Craftsmen scooped the motives of their drawings from the surrounding life. Household items decorated with carvings created a feeling of festivity and elegance in a peasant's hut.

The very first decorative images in folk art were ducks and horses. In the State Hermitage Museum in Leningrad there is a ladle-spoon with an elegant handle in the form of a bird's head (3rd century BC).

The stylized images of domestic and wild animals, performed by masters, have long been distinguished by their plasticity, sophisticated imagination, and sharp transmission of characteristic movements. Sculptural works were created (a wooden deer with branched horns on a proudly raised head dates back to the 5th-2nd centuries BC) and household items (ladles of Russian villages of the 10th-12th centuries depicting a horse, a duck, a solar disk). These images have passed through many centuries of carving and have remained traditional in folk crafts (Fig. 1).

In the products of the Middle Ages, wicker garlands of flowers, herbs, and leaves are often found. Floral ornaments covered carved icons of the 14th century, altar doors, royal gates.

Rice. 1. "Ladle-groom". Tver province. Early 19th century

Images of fabulous animals, crafty mermaids with curved tails are not uncommon.

Among the small wooden sculptures created by unknown carvers, sets of chess pieces stand out for their craftsmanship and rich sense of humor. They belong to approximately 1290-1340.

The 15th century is known for its luxurious carved iconostases. They represent a high ornamental weaving in several tiers, reminiscent of intertwined plant stems. The carving in the iconostasis was complemented by gilding. The name of Ambrose, a church carver and sculptor of the Trinity-Sergius Monastery, has been preserved. His carved crosses and icons were distinguished by complex multi-figure compositions, made with jeweler's care from dense, dark walnut wood, valuable rosewood, cypress and boxwood.

In the XVI century. The Kremlin Armory begins its activity, which, among other things, had a carving and carpentry workshop. Here, in 1551, one of the remarkable works of Russian decorative and applied art was created - the royal chapel of Ivan the Terrible for the Assumption Cathedral of the Moscow Kremlin. The tent-topped throne is completely covered with complex carved ornamental and plot compositions.

The nature of wood carving in the XVI century. has changed. "The carving relief of the 16th century is higher, voluminous, juicy and picturesque in comparison with some graphic flatness, in one plan of the relief of the 14th and 15th centuries." ( Dvoynikova E.S., Lyamin I.V. Artistic work on wood. M., 1972, p. 23.).

One of the most striking monuments in the history of Russian carving was the Kolomna wooden palace near Moscow. Architects S. Petrov and I. Mikhailov designed in the second half of the 17th century. a palace for Tsar Alexei, which eyewitnesses called the eighth wonder of the world.

The best craftsmen from many villages in Russia were called to build the Kolomna Palace. It consisted of picturesquely arranged high log cabins, connected by steep passages and vestibules, and was decorated with rich carvings and interior painting.

In the novel "Black People" writer Vs. Ivanov describes this event in detail.

"All over the land in the summer they searched for royal governors of carvers, skilled craftsmen. They are now assembled in the village of Kolomenskoye. The carpenter of the first articles Klim Mikhailov works, who worked in the service near the fortress for Prince Kurakin, and after Patriarch Nikon, worked for eight years in the Resurrection Patriarchal Monastery Yes, his student, Klimka’s, is Fedka Mikulaev, a peasant’s son, also a noble carpenter ... And also a monk, an archer Arseniy, a skilled carver, yes, Davyd the carver, also a monk ... and even masters without a count ...

They cut cunningly through ridges on riding princes-logs on roofs, with lions, bears, horses, eagles, roosters, fish, herbs, flowers, plan and cut berths, pendants, valances - patterned slotted boards with animals, suns, pharaohs, exactly towels embroidered, cut platbands with columns, red-windowed platbands, portage with birds of paradise - with Sirin and Gamayun, with toothy dogs, with bunches of grapes among palmate leaves, carved doors with patterns in Persian and Chinese business, with patterned jambs, like a smooth surface embroidered ... and all are painted in scarlet, pink, azure, red, yellow, emerald colors, they are pure gold "( Ivanov V with. Black people. M., 1962, p. 563.).

This palace, as if taken out of a magic box, stood for about a hundred years, glorifying the art of folk carvers.

Original art manifested itself in all its strength during the period of grandiose construction of St. Petersburg and its environs, when talented folk craftsmen decorated new palaces, estates, churches and cathedrals with carvings. And now the wooden iconostasis of the Peter and Paul Cathedral, created according to the project of I. Zarudny by carvers I. Telega and T. Ivanov and his comrades, is admired.

Andrei Konstantinovich Nartov, who was in charge of the palace turning workshop under Peter I, was an excellent woodcarver.

The works of Russian folk carvers were in no way inferior to samples of foreign masters. The most poetic, lively and truly folk were the works created in the depths of Russia, in villages and villages. The decor of the village huts is noteworthy, distinguished by the richness of the plastic language, the perfection of technology, and the originality of pictorial motifs and ornaments (Fig. 2). It combines slotted and applied carvings with embossed images on a smooth background.

Rice. 2. Oshevnev's house in Kizhi. Fronton decor. 19th century

Russian spinning wheels made with love are diverse. Since ancient times, the spinning wheel has been one of the main items in the peasant economy. Around her, women whiled away the endless winter evenings. They did not part with her even at a party. And when the peasant woman was busy with other work, the spinning wheel was hung on the wall. She decorated the hut. The villages and villages of Russia, as it were, competed with each other in choosing the shape and decoration of spinning wheels.

The direct connection with everyday work determined the artistic language and means of expressing the decor of spinning wheels. The carvers put all their skill into their decoration. We tried to keep them nice. For example, the peasants of the Vologda province scattered cascades of trihedral-notched carving patterns over the comb and head of the spinning wheel, leaving only the bottom smooth, complementing the carving with bright coloring (Fig. 3).

The masters of the Yaroslavl province left the natural color of the wood. The spinning wheel was given the shape of a hipped tower, covered with elegant contour and nail-like carvings. Often depicted genre scenes (Fig. 4).

In the village of Kaskovo, Nizhny Novgorod province, spinning wheels were completely different - the comb remained completely smooth, and the patterns were located on the bottom and head. The nature of the pattern was peculiar: pieces of dark bluish-gray bog oak were cut into light aspen wood.

In each region there were special forms of spinning wheels and the nature of their decor.

Gingerbread stamp boards occupy a special place in the art of carving. They are deep carved. In the XVIII century. several intricate shapes were cut out on one board and a whole batch of elegant gingerbread was baked at once (Fig. 5). In the 19th century gingerbread boards depicted birds, fish and animals, and sometimes figures of people. In terms of their artistic expressiveness, these boards are genuine works of arts and crafts (Fig. 6).

Rice. 3. Comb of the spinning wheel. Vologda province. 19th century

Rice. 4. Detail of a spinning wheel. Yaroslavl province. 19th century

Rice. 5. Gingerbread board. 18th century

Rice. 6. Gingerbread board. 19th century

Wishing to preserve this original, truly Russian art among the people, advanced people in the second half of the 19th century. created a wood carving center in the Abramtsevo estate near Moscow. An art and carpentry workshop was created, which was headed by the artist Elena Dmitrievna Polenova. From villages and villages, she collected all the best that was created by folk craftsmen. The children of the local handicraftsmen were trained on these samples.

Among the students of the Abramtsevo rural school - a carpentry workshop was the son of a carpenter from the village of Kudrino, Vasily Vornoskov, who later became the founder of a new style of Kudrin carving.

Wood remains one of the most popular craft materials today. Entire factories and creative associations work on this raw material. Only in the Russian Federation in 1970 there were more than fifty folk crafts and industrial enterprises working with wood ( Artistic crafts of the RSFSR. Directory. Comp. V. G. Smolitsky, 3. S. Skavronskaya. M., 1973.).

Under the Khokhloma painting, dishes are sharpened, carved polished vases, salt shakers, sugar bowls are made, spoons and famous nesting dolls are cut in the city of Semenov, Gorky Region. In the village of Lopatovsky, Kirov Region, there is a craft where world-famous art products are created from birch kapo-root (boxes, caskets, cigarette cases, powder boxes, etc.). The works of Hutsul masters of carving and inlay on wood are widely known. In recent years, new enterprises for the artistic processing of wood have appeared. The Estonian handicraft enterprise "Kodu" annually supplies novelties made of wood for sale, the Viljandi, Pärnu, and Tallinn forestries are expanding their assortment.

The Tiraspol Souvenir Factory produces colorful nesting dolls, various wooden vessels with carvings, inlays and paintings. She entered service only at the beginning of 1974, but already has orders from the GDR, France, and the FRG.

One of the oldest centers of woodcarving is the village of Bogorodskoye near Moscow. The traditional pattern of the local carvers is images of animals and birds, scenes from the life of the village, characters of folk tales and fables. From past centuries, works by A. Ya. Pushkin, Ya. P. Boblovkin, D. V. Barashkov have been preserved here (Fig. 7). The works of Stepan Shurygin have long been famous, the compositions of P. Bardenkov were distinguished by their beauty and folk humor.

Rice. 7. D. Barashkov. "Lumberjacks"

Honored Artists of the RSFSR V. S. Zinin, N. I. Maksimov, masters A. A. Pronin, V. S. Shishkin introduce modern themes into traditional toys and sculptures. At the International Exhibition in Brussels in 1958, Bogorodsk carvings were awarded a silver medal.

I. K. Stulov is now rightfully considered the best carver in Bogorodsk. Many of his works were exhibited at international and all-Union exhibitions. His compositions are distinguished by high technical skill, artistic expressiveness, and good humor. He widely uses the motifs of folk and Pushkin's fairy tales: "The Tale of the Golden Cockerel", "Top and Roots", "Hunter with a black grouse", "Soup from an ax". I. K. Stulov created compositions on contemporary themes: "Collective farm brigade", "Shepherd with a lamb", a series of "Women of the Great Patriotic War". The carved works of I. K. Stulov adorn the museums of Moscow, Leningrad and other cities of our country.

Today, talented young craftsmen work at the Bogorodsk factory of carved art products. Among them are I. Chibisov and M. Peregudov. In their works on contemporary topics, the national traditions of Russian carving find their further development.

In the city of Khotkovo, Moscow Region, decorative wooden products are created - dishes, shtofs, ladles in a kind of Kudrin technique (from the ancient Russian village of Kudrino) (color ill. 1). Here the master V.P. Vornoskov, together with his sons, created a special style and carved many interesting compositions that make up the design of public buildings.

ill. 1. Decorative dish "Summer". Kudrinskaya carving

Many well-known sculptors devote their creativity to working with wood. The tree was a favorite material for S. T. Konenkov, V. A. Vatagin, Erzya.

For more than half a century, the Moscow artist L. A. Kardashev, who is called the poet of wooden carving, devoted himself to creative activity. His works are distinguished by a truly Russian, traditional folk spirit, virtuosity of technique, and novelty of themes. One of the famous works of L. A. Kardashev is a grandiose pediment made of Karelian pine on one of the pavilions of VDNKh.

Russian carved art has adequately represented our country at many international exhibitions. Recently, in 1973, the inhabitants of Paris saw a unique exhibition "The Great Traditions of Russian Wood". More than four hundred exhibits were placed directly at metro stations and in shop windows.

Woodcarving is a national art form for many peoples of our country. In Belarus and Ukraine, artists create sculptural compositions and cover everyday objects with flat-relief geometric carvings. In the Carpathians, woodcarving is adjacent to bone inlay, mother-of-pearl and colored beads.

In 1968, at the jubilee exhibition "Decorative Art of the USSR", the carved wooden panel "Clocks and Beasts" by the Moldavian artist L. Yantsen, as well as the decorative pillar with multi-figure compositions "Autumn Festival" by the artist Y. Baronchuk, riveted everyone's attention.

The art of woodcarving is widely developed in the Baltic republics. Lithuanian folk woodcarving was presented in April - May 1973 at the Leningrad Museum of Ethnography. The sculptures of A. Mazheka, A. Zimantas, I. Vizbaras, P. Papchys, I. Uzhkurnys aroused particular interest.

I. Stulov, "Tsar Dodon and the Astrologer"

In the 70s, original monumental ensembles were created on the streets and squares of Lithuanian cities, on the outskirts of villages and just in the field. The battle of the Lithuanians with the swordsmen in 1236 is dedicated to the monument to V. Lukoshaitis, 3. Vaishvila and others, created in 1973 from oak trunks. In Lithuania, a traditional holiday is held - "The Day of All Crafts". In 1973, in Krytinga, and then in Vilnius, a festival of wood carvers was held. Later, the creative seminar of carvers was repeated in the city of Siauliai. After its completion, wooden sculptural ensembles remained in the streets and squares of the city.

The newspaper "Pravda" in one of the issues noted an ensemble of oak trunks, set by Lithuanian carvers on the Žviaginiai barrow. Here, in 1941, fascist punishers destroyed the population of the village of Ablinga. The composition, created in a short time by the architect D. Juhnevichenson, the graphic artist I. Šilinskas and the craftsman V. Maioras, included more than 30 carved sculptures of five and eight meters in height.

The Abling ensemble organically fit into the Lithuanian landscape. He, as it were, revived the traditions of peasant monumental wooden sculpture that had begun to fade here.

Wood carving is widespread among the peoples of the Caucasus. Georgian masters have long used walnut, oak, yew, boxwood, elm. They decorate folk musical instruments, furniture, small household items and traditional vessels for beer and wine.

In Armenia, woodcarving is used in architecture. The original drawing is preserved on the capitals of the Sevan monastery of the 9th century. Ancient wooden Armenian talismans-amulets (dagdans), various in shape and internal pattern, are decorated with trihedral-notched carving. A. Azatyan is considered an outstanding contemporary Armenian wood carver.

Dagestan carving is very diverse. In Kubachi wooden mortars, measures for flour, wooden dishes, salt shakers, spoons, floral ornament prevails. In other villages, an ornament of geometric stars, rosettes, and all kinds of triangles dominates. Along with the carving, a scorched ornament is used. Local and imported wood is used here: linden, pear, apricot, dogwood. Nowadays, craftsmen often make dishes, stylizing its shape as an old one.

In the wooded gorges of Karachay-Cherkessia, the art of making wooden utensils is passed down from generation to generation. The dishes have a purely utilitarian purpose. In the everyday life of the mountaineer's family, there are two-handled ladles for ayran, wooden dishes for baked goods and meat, various kinds of scoops and spoons. The art of the master is to express the entire wooden composition without a single glued seam - entirely from a piece of wood. Any gluing is excluded. These vessels are cut mainly from alder and burls, often found on the gnarled trunks of mountain trees. She is not ornamented. Wooden one-piece chains remain the only decoration on the festive bowls. The monolithic, plastic body of buckets and scoops contrasts with the fractional rhythm of the slotted chain links, creating an unexpected effect (Fig. 8).

Rice. 8. Two-handed bucket with a wooden chain

Yu. M. Geryugov from the city of Karachaevsk is the custodian and successor of folk traditions in woodcarving. Yu. M. Geryugov is known as one of the original masters of Caucasian folk carving. His carved furniture and utensils are remarkable for their amazing simplicity, clarity of ornamental decor, and deep knowledge of the mysteries of wood. The Geryugov House is a kind of museum of carved art, where both children and adults can see unique examples of household items.

Since 1970, he has been working as an educational master at the art and graphic faculty of the Karachay-Cherkess State Pedagogical Institute. His passion for folk art, deep knowledge of traditional wood carving techniques led many students to him. In their free time and in the classroom at the institute, future teachers comprehend the ancient art.

Since ancient times, the highlanders have acquired skill in the process of cutting one-piece chains on large potato tubers. Now students have at their disposal polystyrene foam - a light and easy-to-use material. Having mastered the techniques of working on foam, they move on to soft woods. Yu. M. Geryugov's students work in different parts of Karachay-Cherkessia, continuing the traditions of ancient Caucasian art. Now wooden products with inseparable chains - ladles, spoons, desk handles - adorn the life of many highlander families.

A new generation of talented carvers is growing in the Karachay-Cherkess Autonomous Region. A whole group of specialists graduated from the graphic arts department of the local pedagogical institute. Figures 10-14 show the work of young carvers N. and S. Chomoryan, R. Trebuev, V. Gnatyuk. Much can be expected from graduates S. Salpagarov and A. Aliyev. V. Zvereva is engaged in "carving on slabs". She uses the most gnarled slabs, the most seemingly unsuitable for carpentry and carpentry operations, noticing unexpected expressive images hidden in them (color ill. 2).

ill. 2 V. Zvereva. "Owl". Work on unedged board

Rice. 10. I. Chomoryan. Decorative dish. relief carving

Rice. 11. S. Chomoryan. Cup. Geometric carving

Rice. 12. S. Chomoryan. Candlestick. Geometric carving

Rice. 13. V. Gnatyuk. "Moscow Kremlin". Trihedral notched carving

Rice. 14. P. Tebuev. Decorative ornamental composition

The carving of the peoples of Central Asia has long been surprising with the accuracy and symmetry of the pattern. Let us recall the carved doors of Timur's tomb, reproduced in the painting by V.V. Vereshchagin.

It is known from the history of oriental culture that carving has always accompanied architecture here. This is confirmed by the magnificent architectural ensembles with openwork doors and colonnades in Khiva, Kokand, Tashkent and Bukhara.

The technique of Central Asian carving is very diverse - these are trihedral-notched patterns called "bagdadi", the thinnest openwork lattice "panjara", embossed with a matched background "pargori", with many varieties of plant character - "islimi" and geometric - "girih".

Nowadays, carving has been preserved in the works of the remarkable carver K. Khaydarov from Kokand, who develops the best traditions in this art form.

In recent years, a kind of "carved heritage" of the Mordovians has been discovered. A whole world of carved wealth was discovered in the region of the current Gorky region. Thousands of items covered with the richest carvings have been found. Of particular interest are ornamented cylindrical wedding chests.

Decorative freshness distinguishes Yakut wooden utensils, spoons, scoops and cups made of birch burl. The surface of the cups is covered with a contour or trihedral-notched pattern. P. G. Romanov from the village of Borogontsy in the Ust-Aldan region stands out among the modern carvers of Yakutia. He performs the finest work from capo roots.

The Buryat jeweler and carver M. Erdyneev is well-known in our country.

In the north and south, in the west and east of the vast territory of the USSR, in large cities, small villages and towns, carving art has always been held in high esteem for many centuries. It "warms" the souls of people with its warmth, opens up the scope of fantasy, as if connecting our antiquity with modern life.

Carved wood is widely used in interior design. For example, for the Wedding Palace in the city of Alexandria, Rivne region, the artist-carver P. Pryadko created several different panels on folklore themes.

Wood carving diversifies the interiors of Moscow State University on the Lenin Hills and the Theater. Alisher Navoi in Tashkent. It is widely and variedly represented in the design of the VDNKh pavilions. One of the pavilions of the exhibition - "Professional Education" - attracts special attention of visitors with an annually changing exposition of artistic wood products.

Artistic processing of wood (carving) in the second quarter is done at technology lessons by students of the 7th grade of our school and they get satisfaction from their work and are pleasing to the eye themselves and their crafts are liked by parents, peers, teachers. So the most interesting crafts after the class exhibition were recognized as the crafts of students of the 7th "B" class:

(works of students of the 7th "B" class: Kurguzova D, Bedny N., Chakanova E., Babaitseva E.)

The Bryansk wooden sculptures carved from the trunks of dead trees in the Park of Culture and Leisure named after A.I. A. K. Tolstoy. A sad fate awaited the park - every year 10-12 mighty trunks were cut down here. The disease has infected the trees. In order not to saw down the hundred-year-old giants, but to give them a new life, the director of the park, V. D. Dinaburgsky, decided to try to cut sculptures from trees left on the vine. Enthusiasts were needed.

The former pupils of vocational schools, modellers of the road machinery plant, I. F. Zhdanov and V. S. Mikhailov, were the first to respond. Subsequently, they were joined by amateur artists, a lawyer by education B. A. Zubarev and a fitter of instrumentation V. Kh. Orlov. The alleys of the park acquired a new, never seen before appearance (Fig. 15).

Rice. 15. Wooden sculptures in the park of the city of Bryansk

In the winter of 1962, schoolchildren of the VIII-IX grades began to help amateur artists. They were brought by K. I. Mogut - the head of the circle of the city Palace of Pioneers. For many years before working in the circle, K. I. Mogut was the chief architect of the Bryansk region. Having retired in 1962, he devoted all his time for 10 years until the last days of his life to educating schoolchildren, developing in them a desire for creativity, for beauty.

Under the hands of the children, the dead trees acquired a fabulous sound. Volodya Ershov skillfully carved the composition "Lel" (Fig. 16). The figure of the forest musician is enlivened by quivering spots of light and shadow. A creative group of children - Viktor Denisyuk, Sasha Kovalev, Yura Nechaenko and Yaroslav Stoklaska - created compositions on the themes of folk tales and legends "Eme-la" and "Desnyanka".

Rice. 16. Volodya Ershov. "Lel"

For 12 years now, with a sly cunning in his slightly narrowed eyes, he has been meeting visitors to the Emelya park (Fig. 17) from the Russian fairy tale "By the Pike's Command". Next to him is the stately, proud heroine of the ancient legend "Desnyanka" (Fig. 18).

Rice. 17. The work of students "Emelya". carved composition

Rice. 18. The work of students "Desnyanka". carved composition

Those guys have grown up. Sasha Kovalev, Yura Nechaenko, Yaroslav Stoklaska work at the enterprises. Victor Denisyuk and Volodya Ershov became mechanical engineers after graduating from the Institute of Technology. Former schoolchildren received different professions, but I think that they forever retained the good feeling that they acquired by creating their fairy-tale creations for the joy of people. Inspirational work on carved compositions was not in vain. She aesthetically enriched them, instilled a love for work, lit a spark of creativity in their souls for life.

Carved wooden compositions from tree trunks meet children in recreation areas near the Peter and Paul Fortress in Leningrad, on the arrow in Orel; the Yalta glade of fairy tales is widely known (Fig. 19, 19 a). The creative community of adults and children is bearing fruit.

Rice. 19. Yalta glade of fairy tales. "Ivanushka with an accordion". wood carving

Fig.19a. Yalta glade of fairy tales. "King Peas and Princess Goroshina". wood carving

You can talk for a long time about circles and studios of artistic wood processing in our country and in our school. After all, classes in various types of arts and crafts, as a rule, are loved by schoolchildren of all ages. I think that the information posted on the school website will contribute to the development of schoolchildren's interest in this exciting activity.

Technology teacher MOU BSOSH No. 1 N.V. Polunina.